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Pierre Ryckmans (23 November 1891 – 18 February 1959), was a Belgian civil servant who served as Governor-General of Belgium's principal African colony, the Belgian Congo, between 1934 and 1946. Ryckmans began his career in the colonial service in 1915 and also spent time in the Belgian mandate of Ruanda-Urundi. His term as Governor-General of the Belgian Congo coincided with World War II in which he was instrumental in bringing the colony into the war on the Allied side after Belgium's defeat in May 1940. He was also a prolific writer on colonial affairs. He was posthumously created a peer of the realm in the Belgian nobility with the rank of count in 1962.

Biography

Early life
Ryckmans was born in Antwerp in Flanders, Belgium, as the sixth child of Alphonse Ryckmans and Clémence Van Ryn. The Ryckmans family originally came from Mechelen where his ancestors were lawyers for two generations. His father Alphonse was a prominent member of the Catholic Party, a senator in the Belgian Senate, and city councillor.

Ryckmans enrolled at the Catholic University of Leuven in Leuven to study philosophy. During his first year of studies he translated a novel by the Spanish writer Vicente Blasco Ibáñez. After two years of philosophy studies and one year of preparation for law school, he spent one more year in Braunfels, Germany (learning German), and then several months in Galway, Ireland (learning English), and then on the Aran Islands, where he learnt his sixth living language, Irish. He received his law degree in Leuven in 1913.

World War I and Africa
He had been called to the bar in Antwerp when World War I started. Volunteering for military service in August 1914, he spent the winter on the Yser Front, where he apparently enjoyed the camaraderie at the front, despite the hardships. But he had been drawn to Africa, even before the war, so he applied when Belgium wanted officers for overseas service in Belgian colonies. After a month and a half at Officers' School in September 1915, he left for Africa, first for Cameroon, then Kitega (the principal town of Urundi, present-day Burundi) where he arrived in August 1916. He was then posted to Mahenge in German East Africa (part of present-day Tanzania) in 1917, returning to Kitega in July 1918.

He went on leave in 1920, and on 3 February 1920 married Madeleine Nève in Belgium. They returned to Urundi via the Cape and the Congo. Ryckmans then stayed in Usumbura, as Acting Royal Commissioner during the leave of the serving Royal Commissioner, Alfred Marzorati, before returning to Kitega, where he remained until 1928.

These years as Resident-Commissioner for Urundi were probably the happiest of his life.  When he arrived in 1916, Urundi was divided. The chiefs were fighting for power; the Mwami (king), Mutaga IV, had died in 1915, leaving as heir, Mwambatsu, a boy of only five years of age. Ryckmans worked to create a regency council, including some political opponents, and then made it adopt reforms pertaining to land tenure and cattle contracts. These reforms eased some burden of the poorest of peasants.

Governor-General of the Belgian Congo

Interwar period
Ryckmans returned to Europe in 1928 and joined the bar in Brussels. However, he spent a lot of his time giving public lectures on the role of Belgium in Africa. Some of these lectures were later published in two books, Dominer pour Servir (1932) and La Politique Coloniale (1934). He then returned to Africa for six months in 1931–32 as a member of a commission tasked with studying the labour problem, and was put in charge of Congo-Kasai province. Upon his return to Belgium he again gave lectures at the Colonial University in Antwerp, and appeared in radio talks about Congo for Belgian radio listeners (published in Allo Congo in 1934). In October 1934 he was appointed Governor-General of the Belgian Congo.

At that time, the Belgian Congo was badly hit by the economic crisis triggered by the Great Depression. The European population in the Belgian Congo (23,000 in 1931) had dropped to just 18,000. Harsh reforms introduced by the previous Governor-General, Auguste Tilkens, had discouraged employees working in the civil service. The Belgian devaluation of 1935, under the Paul Van Zeeland government, enabled the new Governor-General to lower duties on imports and raise duties on exports, balancing the colony's budget. This move, with the support of the Belgian Minister for Colonies, Edmond Rubbens, helped revive the Belgian Congo's economy. By 1936, the economic situation was improving rapidly. Ryckmans was also very active, not staying long in the capital Léopoldville (now Kinshasa) and touring the colony frequently.

At the time, not only the government, but also simple administration services, were all centralised in Brussels, and all civil servants were appointed by Brussels. The Governor-General could pass regulations, but any such legislation had to be approved by a ministerial decree within six months. Therefore, some of the reforms he wanted – such as recruiting magistrates from the ranks of local experienced administrative officers with a law degree - could not be put into practice. Ryckmans also stressed the importance of the independence of administration from private interests, such as the large mining companies, and the right of both Protestants and Catholics to receive government subsidies for their schools.

World War II

His first five years in the Belgian Congo - during which he was twice on leave – were years of progress for the administration. In September 1939 World War II broke out in Europe, but Belgium remained neutral. On 10 May 1940, Germany invaded Belgium, bringing the country into the war. On that day, four of Ryckmans's eight children were in Belgium. Two daughters, who first fled as refugees into France with their aunt, managed to get to Lisbon, and were reunited with their parents in September, while two of his sons spent the whole war in Belgium.

In the Belgian Congo it was unclear how Belgium's surrender on 28 May 1940, and the following German occupation, should affect the colony. Ryckmans, who was strongly pro-Allied, insisted that the Belgian Congo declare its allegiance to the Allies. However, he encountered various opposition - on the one hand, the colonial military command initially advocated neutrality, while on the other hand some officers wanted to fight the Italian Royal Army in Italian Ethiopia, even though Belgium was not yet formally at war with the Kingdom of Italy. As a result, some whites in the Belgian Congo believed Ryckmans was "too soft". The Governor-General had received no instructions from the Belgian government in exile, established in London, which since its hesitations in July 1940 had lost much of its prestige. Instead, he engaged in important discussions with the Allies who saw the Belgian Congo as an important provider of strategic materials needed for the war effort – at first gold, and then (following the attack on Pearl Harbor in December 1941 and United States' entry into the war) tin, rubber – and finally uranium.

Ryckmans attended the Brazzaville Conference from 30 January to 8 February 1944.

Meanwhile, the Belgian government in exile wanted to curb Ryckmans' powers, censor his speeches and curb his independence. At the same time, local Europeans set up trade unions, while both European and African workers launched a series of strikes that he was forced to deal with. A collection of his wartime speeches, titled Messages de Guerre, were published in 1945.

United Nations
Ryckmans wanted his successor to inherit the legacy of political changes which had been launched in the Belgian Congo. In his last speech in Africa, Vers l'Avenir, later published in his speeches to the government council in Etapes et Jalons (1946), he spoke mainly about the aid which Belgium must give to the Belgian Congo, in order to allow the Belgian Congo to improve the well-being of its inhabitants.

For a number of years, until 1957, he defended the work done by Belgium in Ruanda-Urundi in the United Nations Trusteeship Council. He was also Belgium's Commissioner for Nuclear Energy, and helped with re-negotiating the terms of the co-operation between Belgium, the United Kingdom and the United States following the Atomic Energy Act of 1946. He was also a member of the council of Lovanium University, the first Congolese university founded in 1954. For health reasons, he did not play a role in preparing the Belgian Congo for independence in the late 1950s. He died in February 1959, 16 months before Congolese independence on 30 June 1960.

Family
In 1960, during the chaos that followed the independence of the Congo, his son, André, who was a civil servant in Bas-Congo, was in a helicopter looking for isolated Europeans. The helicopter came down in Lukala, a small town in Bas-Congo. André and the pilot were taken prisoner and then killed by Congolese soldiers.

In 1962, father and son were posthumously ennobled by King Baudouin of Belgium and given the title of Graaf (count) in the Belgian nobility.

Honours
  Grand cross in Order of St. Sylvester. (Holy See) - 1945

See also

List of colonial governors of Ruanda-Urundi
List of colonial governors of the Congo Free State and Belgian Congo

References

Works cited

Further reading
J. Stengers, in "Libres Propos", in the biography by J. Vanderlinden (1994), "Pierre Ryckmans, 1891-1959", Ed. De Boeck  Université.

External links
RYCKMANS (Pierre Maria Joseph) (comte) in Biographie Belge d'Outre-Mer (Académie Royale des Sciences d'Outre-Mer; T. VII-A, 1973, col. 415–426)
"Congo goes to War" from the Times Magazine, 10 Dec 1940
The Belgian Nuclear Research Centre
Fonds Andre Ryckmans, an NGO funding development projects

 Archive Pierre Rychmans, Royal Museum for Central Africa

1891 births
1959 deaths
Military personnel from Antwerp
Belgian military personnel of World War I
Officers of the Force Publique
Belgian Congo in World War II
Belgian civil servants
Governors-General of the Belgian Congo
Belgian people of World War II
World War II political leaders
Knights of the Order of St. Sylvester
Catholic University of Leuven (1834–1968) alumni
Colonial governors of Ruanda-Urundi
Counts of Belgium


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New York. A name weighted with countless associations and expectations, from its awe-inspiring skyline to its beautiful parks and museums. New York holidays have something for everyone, we've all been on holidays to New York City in our daydreams. We've been there a thousand times in the movies we watch. Now it's time for your feet to pad that famous grid system, step into those mile-high elevators and mosey across Central Park. As America's most populous city, New York is often referred to as "the city that never sleeps', and with good cause; there is so much to see and do in New York that you too will wish that you didn't have to take a nap during your visit.
New York City, a name weighted with countless associations, from sophisticated glamour to street-life grittiness. We've all been to visit New York in our day-dreams. We've been there a thousand times or more in the movies. Now, on your holiday to New York, it's time for your feet to pad that famous grid system, step into those mile high elevators and mosey across Central Park. Time to dive into the subway, 'be' in one of those yellow taxis and take the ferry to Staten Island. Time in fact to get the T shirt: 'I love NY' or 'Big Apple'. We defy anyone to go and not get bitten. New York has an absolute sense of its own identity. As do New Yorkers.
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Located in middle-upper Manhattan, Central Park is the single most visited urban park in all of the United States, drawing in approximately 40 million visitors each and every year. With 843 acres of greenery and activities to explore, it's easy to see why so many people are so eager to pay it a visit.
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You think we got a lot of snow on Monday morning? We can be thankful our commute doesn't look like THIS. A driver traveling through Interstate 70 in Colorado yesterday captured the moment an avalanche came barreling down through Ten Mile Canyon. Video Courtesy of YouTube.


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Short film immortalises 'truck days'
Dominique BayensMidwest Times
Wed, 17 May 2017 2:10PM
Camera IconGroups of about 20 men would spend months on the road together, travelling to sheep stations throughout regional Western Australia. Credit: Supplied
When Geraldton man Darryl Grey thinks back on his days as an 18-year-old shearing shed hand in 1958, travelling to sheep stations in northern WA and down through the Mid West, "hard work but a lot of humour" springs to mind.
In an era known as the "truck days", groups of about 20 men would spend months on the back of trucks working, travelling and socialising together as they moved from property to property looking for the next lot of sheep to shear.
Mr Grey remembers the bygone era, when roads to the isolated farms were not much more than windmill tracks.
"The trucks used to be known as ring pounders, because you were sitting on them all day and got as sore as anything," he said.
"Sometimes when you had a truck bogged, and it was real wet country, you might have to push and pull that truck 10 times in the next kilometre to get it out because there's no other choice to go except keep going forward."
Mr Grey said table manners were key to preventing arguments between men who often spent months together and had minimal contact with outsiders.
Camera IconFormer shearing shed hand Darryl Grey. Credit: Dominique Bayens, Midwest Times
"If a female came near the shed or in the shed, whoever saw her first would yell out "ducks on the pond" and that was a sign to stop swearing because there's a lady here," he said.
More than 60 years later, memoirs and oral histories of the few remaining shearers and team staff members who were part of the truck days was recorded in a short film funded partly by Mid West shires.
Members of the Shearers and Pastoral Workers Social Club wanted to permanently capture the piece of history of agricultural life in Western Australia in the early 1900s.
"What we think is something normal because we used to do it every day, a lot of people are fascinated by it," Mr Grey said.
The social club gathered in Perth on May 5, for the launch of the archival story The Truck Days.
Copies of the film will be delivered to the Mid West shires of Yalgoo, Mount Magnet, Meekatharra, Murchison, Sandstone, Wiluna and Carnarvon.
Anyone who wants a copy of the film may contact Darryl Grey on 0488 215 770.


Gabriel Shalom is an artist, director and composer. In parallel to his art practice he works in commercials, documentary and branded content. His signature style across mediums is the use of jumpcuts – both to slice and dice interviews and to handcraft rhythms and melodies from the sounds of objects on the video editing timeline. He has been commissioned by brands such as MINI, Sephora, Sony and BMW Italy and agencies such as Wieden + Kennedy and Meiré und Meiré. He received the ADC Young Guns award in 2012. He is the creative director of KS12 and producer of Betabook. His commercial portfolio can be viewed online.


Another book in Máire Ní Ghallchobhair's series Lúsaí for the 6-8 years age-group, beautifully illustrated by artist Peter Donnelly. Lúsaí is a little girl full of fun and games. Grown-ups find her a bit too giddy. But keeping an eye on Lúsaí is no easy task.
Lúsaí brings her friend Caoimhe to visit her Granny. They brought their skates with them. 'No skating inside the house,' says Granny. But Lúsaí has other plans.
The Gardaí say there's a thief at work in the area. Daidí and Mamaí want to get rid of Lúlú, and buy a guard-dog instead. But Jeaic has a better plan. He is going to build a robot that will catch the thief. But Mamaí and Daidí aren't too sure about that!
Bíonn faitíos ar Mhac Tíre i gcónaí, agus bíonn na mic tíre eile ag gáire faoi. Ceapann sé nach mac tire ceart é. Ar deireadh, socraíonn sé imeacht amach faoin domhain mór agus é sa tóir ar an misneach. Sraith trí phictiúrleabhar don aoisghrúpa 4-7 mbliana. Sna scéilíní deasa seo is iad na rudaí céanna a dhéan=ann imní do Mhac Tíre agus a bhíonn ag déanamh imní do gach páiste — an grá; siúl ar scoil; a bheith cróga, srl. Leabhair álainn soláimhseáilte iad le léamh os ard sa bhaile nó ar scoil.


The run-up to the South Korea summit has been dominated by disagreements over currency and trade policies.
A deeply divided G20 is struggling to move beyond broad promises of economic co-operation as finance ministers and other representatives gathered in Seoul, the capital of South Korea, for a two-day summit.
The agenda for the summit, that includes dozens of bilateral meetings for officials of the world's 20 largest economies, will officially kick off with a working dinner on Thursday night to be followed by a full day of meetings on Friday.
Contention came in the lead-up to the summit after the US central bank's announcement last week that it plans to buy another $600bn in government bonds, which drew sharp rebukes from many G20 members who said the US was ignoring consequences abroad.
Alan Greenspan, the former US Federal Reserve chairman, said in the Financial Times on Thursday the US was pursuing a policy of weakening the dollar, adding fuel to an already heated G20 debate over the Fed's bond-buying spree in a bid to revive its economy.
On Wednesday, Chinese state media carried an editorial with the headline: "Dollar bonanza may cripple delicate global economy", and Germany's finance minister called the US decision "clueless".
Brazil said a currency war between the US and China was resulting in global trade imbalances that keep economies from recovering.
The G20 club of rich and emerging economies had hoped to use the summit to soothe tensions over foreign exchange rates that have been created by sharply divergent economic growth rates.
Barack Obama, the US president, who arrived in Seoul on Wednesday, urged his peers to put aside differences and follow through on previous agreements to even out imbalances between cash-rich exporting nations and debt-burdened importers.
After meeting Hu Jintao, the Chinese premier, on Thursday Obama said that he expects the G20 nations to find consensus on broad-based and balanced growth.
"It is my expectation that the communique will begin to put in place mechanisms that help us track and encourage ... balanced and sustainable growth," he said at a joint news conference with Lee Myung-bak, the South Korean president.
Referring to the US economy, Obama said: "The single most important thing we can do to tackle our debt and deficits is to grow."
Lee said a "little bit" of progress had been made since finance ministers meet in Gyeongju, South Korea, last October but deep divisions remained over how best to reduce current account imbalances.
"We had reached an agreement [at Gyeongju] despite skepticism that no agreement would be reached because of a divide in opinion between US, China, Europe and other countries," he said.
Lee also said that the leaders would back the idea of "indicative guidelines" for the reduction of current account imbalances.
Rosiland Jordan, Al Jazeera's correspondent in Seoul, said that there was little sign that there would be concord at the meet.
"At the moment here doesn't seem to be any attempt to have agreement except on the pace of growth," she said. But such agreements usually come very last in the summit."
Alan Alexandroff, the co-director of the G20 Reseach Group at the University of Toronto, told Al Jazeera that the issue of means of dealing with imbalances between national economies - such as quantitative easing and currency revaluation - was going to dominate the summit.
Protests were set to intensify in Seoul on Thursday, although police set up a security corridor around the summit site and planned to keep disruptions far from the leaders.
There have been hundreds of applications for rallies, mostly by small groups, with a mass rally involving possibly tens of thousands of people.
Demonstrators have been present in Seoul over the past couple of days, holding a candle-light vigil on Wednesday.
They have said that globalisation has failed to bring prosperity to people and that a new world body is needed to represent all people.


Participants will discuss surgical targets in Deep Brain Stimulation, including a variety of technical approaches and complications.
Identify potential brain targets for deep brain stimulation (DBS) in movement disorders.
Discuss technical alternatives in placement of DBS electrodes.


text:
class ExtensionURLInfo {
 public:
  // The extension system uses both a document's origin and its URL to
  // grant permissions. Ideally, we would use only the origin, but because
  // the web extent of a hosted app can be less than an entire origin, we
  // take the URL into account as well
  ExtensionURLInfo(WebKit::WebSecurityOrigin origin, const GURL& url);

  // WARNING! Using this constructor can miss important security checks if
  //          you're trying to find a running extension. For example, if the
  //          URL in question is being rendered inside an iframe sandbox, then
  //          we might incorrectly grant it access to powerful extension APIs.
  explicit ExtensionURLInfo(const GURL& url);

  const WebKit::WebSecurityOrigin& origin() const { return origin_; }
  const GURL& url() const { return url_; }

 private:
  WebKit::WebSecurityOrigin origin_;
  GURL url_;
};

// The one true extension container. Extensions are identified by their id.
// Only one extension can be in the set with a given ID.
class ExtensionSet {
 public:
  typedef std::pair<base::FilePath, std::string> ExtensionPathAndDefaultLocale;
  typedef std::map<std::string, scoped_refptr<const extensions::Extension> >
      ExtensionMap;

  // Iteration over the values of the map (given that it's an ExtensionSet,
  // it should iterate like a set iterator).
  class const_iterator :
      public std::iterator<std::input_iterator_tag,
                           scoped_refptr<const extensions::Extension> > {
   public:
    const_iterator();
    const_iterator(const const_iterator& other);
    explicit const_iterator(ExtensionMap::const_iterator it);
    const_iterator& operator++() {
      ++it_;
      return *this;
    }
    const scoped_refptr<const extensions::Extension> operator*() {
      return it_->second;
    }
    bool operator!=(const const_iterator& other) { return it_ != other.it_; }
    bool operator==(const const_iterator& other) { return it_ == other.it_; }

   private:
    ExtensionMap::const_iterator it_;
  };

  ExtensionSet();
  ~ExtensionSet();

  size_t size() const;
  bool is_empty() const;

  // Iteration support.
  const_iterator begin() const { return const_iterator(extensions_.begin()); }
  const_iterator end() const { return const_iterator(extensions_.end()); }

  // Returns true if the set contains the specified extension.
  bool Contains(const std::string& id) const;

  // Adds the specified extension to the set. The set becomes an owner. Any
  // previous extension with the same ID is removed.
  void Insert(const scoped_refptr<const extensions::Extension>& extension);

  // Copies different items from |extensions| to the current set and returns
  // whether anything changed.
  bool InsertAll(const ExtensionSet& extensions);

  // Removes the specified extension.
  // Returns true if the set contained the specified extnesion.
  bool Remove(const std::string& id);

  // Removes all extensions.
  void Clear();

  // Returns the extension ID, or empty if none. This includes web URLs that
  // are part of an extension's web extent.
  std::string GetExtensionOrAppIDByURL(const ExtensionURLInfo& info) const;

  // Returns the Extension, or NULL if none.  This includes web URLs that are
  // part of an extension's web extent.
  // NOTE: This can return NULL if called before UpdateExtensions receives
  // bulk extension data (e.g. if called from
  // EventBindings::HandleContextCreated)
  const extensions::Extension* GetExtensionOrAppByURL(
      const ExtensionURLInfo& info) const;

  // Returns the hosted app whose web extent contains the URL.
  const extensions::Extension* GetHostedAppByURL(
      const ExtensionURLInfo& info) const;

  // Returns a hosted app that contains any URL that overlaps with the given
  // extent, if one exists.
  const extensions::Extension* GetHostedAppByOverlappingWebExtent(
      const extensions::URLPatternSet& extent) const;

  // Returns true if |new_url| is in the extent of the same extension as
  // |old_url|.  Also returns true if neither URL is in an app.
  bool InSameExtent(const GURL& old_url, const GURL& new_url) const;

  // Look up an Extension object by id.
  const extensions::Extension* GetByID(const std::string& id) const;

  // Gets the IDs of all extensions in the set.
  std::set<std::string> GetIDs() const;

  // Returns true if |info| should get extension api bindings and be permitted
  // to make api calls. Note that this is independent of what extension
  // permissions the given extension has been granted.
  bool ExtensionBindingsAllowed(const ExtensionURLInfo& info) const;

  // Returns true if |info| is an extension page that is to be served in a
  // unique sandboxed origin.
  bool IsSandboxedPage(const ExtensionURLInfo& info) const;

 private:
  FRIEND_TEST_ALL_PREFIXES(ExtensionSetTest, ExtensionSet);

  ExtensionMap extensions_;

  DISALLOW_COPY_AND_ASSIGN(ExtensionSet);
};

#endif  // CHROME_COMMON_EXTENSIONS_EXTENSION_SET_H_

redpajama_set_name: RedPajamaGithub


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By Thomas Schueneman
Key words :
global warming news
climate change and politics
I am a freelance environmental writer and web publisher based in San Francisco, California, USA. I write for the popular business and sustainability blog TriplePundit...
Is the International Target of 2 Degrees Warming a "Pipe Dream?"
12 Aug, 2009 08:59 pm
comment(s) 1
The Sydney Morning Herald reported late last week that research by Australian National University scientist Andrew Macintosh indicates that, based on most industrialized nations' stated mid-term commitments, limiting warming to 2 degrees Celsius simply "won't work."
Last month at the meeting of the Major Economies Forum at La Maddalena, Italy, the United States and other industrialized nations set a nonbinding target to limit global temperature increase caused by human-caused activities to within 2 degrees Celsius.
Most major emitters have pledged an emissions reduction target of between 10 and 20% by 2020, leading to an 80% cut by 2050. And the near term target is "simply not enough," says Macintosh, "if you want to prevent warming of more than 2 degrees."
"It's simply not enough if you want to prevent warming of more than 2 degrees," Macintosh told the Australian Associated Press. "They know this. But what they're trying to tell everybody is no, it's fine, we can go for moderate cuts by 2020 and still stay within the limit. Even if a 20 per cent cut was achieved by 2020, emissions would have to fall by an additional 5 per cent a year in order to reach the next target. That's just extremely unrealistic [unless] we find some magic technology."
Characterizing a scenario of moderate mid-term emissions targets making the 2 degree limit achievable as a "pipe dream." Macintosh says governments are playing "both sides of the fence" in an attempt to "placate everyone."
Over a period of several months, Macintosh ran computer models for 45 different climate change scenarios. His research suggests that the international community needs to either accept that the 2 degree Celsius limit will not be achievable or more drastic near and mid-term emissions cuts, on the order of at least 30% by 2020, will be required.
This report lends itself to our recent posts on the need for the international community to focus more on sustainable agriculture and forestry, especially this December at the COP15 climate conference in Copenhagen where world leaders will hammer out a post-Kyoto climate agreement. Focusing soley on emissions reductions is not enough.
Originally published on Global Warming is Real
Tom is the editor and publisher of GlobalWarmingisReal. He has studied environmental issues, and particularly climate change, for over two decades. He is also an associate editor and lead writer for the popular blog TriplePundit and a contributing writer for the Green Options Network and publishes the HistoryBlogProject.
More contributions
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Comment by Global Changes
13 Aug, 2009 11:08 am
Many scientists are now predicting that these cuts just wont be enough. The New Scientist recently reported that we have already reached the emissions levels likely of a 1.4?C warming.
?Global average temperatures so far have risen by only about 0.8 ?C but there are two reasons why warming three times as great seems inevitable. First, there is a time lag of several decades between when greenhouse gas levels rise and when temperatures follow. The lag means there is another 0.6 ?C of inevitable warming in the pipeline.?
http://www.newscientist.com/article/mg20327174.500-world-starts-to-act-on-climate-change.html
Ecosystem Shift Accelerating From Changing Climate New Research Says
COP15: The Time is Now
New MIT Study: Smaller Cuts, If Taken Now, Can Minimize Climate Risk


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NTU Singapore signs joint agreement to pour $3m into cyber threat research
Singapore's Nanyang Technological University (NTU Singapore) and Israel's Ben-Gurion University of the Negev (BGU) will be teaming up to explore innovative ways to counter cyber threats.
The S$3 million joint research project, named the Bio-Inspired Agile Cyber Security Assurance Framework (BICSAF), will be innovating preventative measures for Advanced Persistent Threats, which are 'stealthy and continuous' hacking processes that are difficult to detect.
"Through this partnership, NTU and Ben-Gurion University of the Negev will be able to develop innovative methods for combating one of the most complicated problems in cyber security – Advanced Persistent Threats (APTs). This project will leverage NTU's strong hardware-based research expertise and BGU's software-based core competences to combat this intractable problem," says Professor Lam Khin Yong.
NTU says it has been heavily investing in its cybersecurity research over the past few years, which included a $2.5 million partnership with BAE to develop security solutions. BGU will be capitalising on its 'deep expertise' in cybersecurity.
"BGU and NTU recognise the grave necessity of stopping Advanced Persistent Threats (APTs), which are some of the hardest cyber attacks to detect, and have allocated significant funding over two years to develop early detection methods," comments Professor Dan Blumberg.
NTU's Cyber Security Research Centre will lead the development, funded by NTU, BGU and the National Research Foundation, Prime Minister's Office, Singapore.
"Singapore has established a holistic national cybersecurity strategy that will support our Smart Nation vision and enhance Singapore's standing as a trusted digital hub," says George Loh, director (programmes) of NRF and co-chair for the National Cybersecurity R&D Programme Committee.
"It is critical for Singapore to develop strong cybersecurity capabilities to protect our critical infrastructures such as our public transport systems, public safety systems, and energy systems, which are interconnected elements contributing to the quality of life for Singaporeans," Loh continues.
"The collaboration between NTU and BGU will explore novel ideas to develop cyber-immune technologies to fight external adversaries that launch cyber-attacks on our critical systems, much like how our biological immune system works," he concludes.
How are industrial enterprises faring with the rise of cyber threats?
Evolving threat landscape top priority for security and risk leaders
Cyber Threats NTU Singapore


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Write to Your State Representatives to Support A4743/S3229 to Expand Access to Drivers Licenses in NJ!
A driver's license is a necessity in the Garden State. Tell your state representatives to sponsor A4743/S3229 and urge legislative leadership to move bills through committees expand access to drivers licenses now!
As New Jersey get ready to implement REAL ID Act state IDs more and more residents could potentially face barriers to accessing a drivers license. Right now more than 500,000 New Jersey residents are not able to get a driver's license. Vulnerable populations like seniors, undocumented immigrants, survivors of violence, and transgender individuals aren't able to get a license to drive.
Allowing more residents, regardless of status, to be tested, licensed and insured would create a safer New Jersey and allow its residents to engage more in the economic, social and cultural life of the state.
Use this form to send your state representatives a clear message: 2018 is the year to expand access to drivers licenses! 500,00 New Jerseyans need drivers licenses now!


Minneapolis, Dec. 31. -- One side of Main street, in Excelsior, Lake Minatonka, is a mass of smoking ruins. The loss is $30,000 with insurance of one-half. The fire broke out this morning at 2 o'clock on the west side of Broadway in Favrow's grocery, and spread rapidly through the entire block.


What Is the Meaning of Selling As Is? What Is the Meaning of Selling As Is?
Home » Latest News & Blog » Uncategorized » What Is the Meaning of Selling As Is?
The traditional method for selling a property requires doing whatever it takes to make it as appealing as possible to prospective buyers. Typically, the owner must make improvements and upgrades such as painting, remodeling the bathroom or replacing an aging garage door, as well as performing those long-postponed repair jobs. An alternative to the conventional selling method that works well for many property owners is to put their real estate on the market in "as is" condition.
What Does It Mean When a Property Is Sold As Is?
The term "as is" pretty much means as it sounds — as the seller, you put your property on the market in its current state, whether it's in immaculate condition, or in need of repairs, or it's something in between. You make no repairs or renovations — you're essentially looking to sell the real estate for the price a buyer is willing to pay in the current market.
Can a Home Be Sold As Is?
Absolutely! It's completely legal to sell a property as is. However, this does not relieve you of your obligations to prospective purchasers. You and the buyer must reach an understanding — and put it in writing — that the buyer will inherit any situations with the home and that you will make no additional repairs or improvements while the transaction occurs. As the seller, you must disclose what you know about he property and provide truthful answers to the buyer's questions regarding the condition of the property.
What Are the Pros and Cons of Selling a Home As Is?
Saving money on upgrades: Selling real estate as is can make sense if you don't have the funds to make repairs or renovations. In this case, you may have no better option.
Relieving financial stress: If you're having a tough time financially — maybe you've fallen behind on your mortgage payments — selling your property as is can provide a fast solution. Many real estate investment companies will pay cash for your property, and you may be able to make an immediate sale.
Avoiding a drawn-out sales process: If you're seriously ill or simply have other priorities, selling a property as is can keep you from having to deal with all the details of a complicated real estate transaction.
Some of the disadvantages of selling a home 'as-is' is that some buyers will be less likely to purchase a property that needs major repairs or is in poor condition. The seasoned auction professionals at Cates Auction leverage aggressive, saturation marketing to drive up demand, saturate the market, and get you the true market value for your property.
An auction is often the best method for selling a house as is quickly — and for its true market value. At Cates Auction & Realty Company, we offer a proven auction process that will provide a fast, hassle-free alternative to the traditional listing procedure. Contact us to learn more today.
From the very first contact we had with your company, to the day of the sale, your entire staff was honest, caring, and very professional.
I have used Cates Auction & Realty for the sale of 5 properties which all sold pre-auction and at above expected price.


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MAD ABOUT MUSICALS: THE HISTORY OF THE HOLLYWOOD MUSICALS
By Dr. Vanessa Theme Ament,
June 14, 2018 in MAD ABOUT MUSICALS: THE HISTORY OF THE HOLLYWOOD MUSICALS
I watched Cabin in the Sky (1943) the other day and am so glad I did. What a beauty Ethel Waters is! She just radiates personality in general and sings with such love to Joe that I can only assume she is a terrific actress. In comparison, Lean Horne, with whom I was previously familiar, lacked connection with the camera, in my opinion. Of course, that could have been the self-centeredness of her character, I'll admit.
What immediately struck me about this film is that African Americans are performing for themselves. In so many films, African Americans are performing "on demand" and for a white gaze. Here, they are not trying to please a white audience and not submitting to racist expectations (i.e., the slow-talking stupid guy, or the eye-bulging coward.) Character speech styles range the gamut from heavy dialect to tough guy slang to standard English which adds to a realistic depiction of African American community- individuals who are not all cut from the same cloth and thus defy stereotyping.
World War II made it important to have national unity. It was sort of unspoken that race issues were kept to side for the duration as ALL Americans came together to serve. However, if movies are going to work both for escape and for subtle propaganda, a person needs to feel part of that national group, and how can that be possible if they never see a familiar and realistic depiction of themselves on the big screen? Enough with the butlers, the waiters, the Pullman porters, who were the black community as seen through the white lens. Cabin in the Sky shows a beautiful wife and respected member of the community who is very powerful in her own way and with her own special skills (her faith and love.) Kudos to Minnelli or whoever put this quote at the beginning which aims for an inclusivity of common "American values" : "The folklore of America has origins in all lands, all races, all colors. This story of faith and devotion springs from that source and seeks to capture those values."
SHOGIPIE
just watch Cabin in the Sky clip and l could tell how much she loved Joe and if she had sang that song to a child she would have given an entirely different showing of feeling on the screen than she shown. l thought the movie was pretty good l have not watch to many all black movies. But he ones l have seen l have really enjoyed.
Walter3rd
Daily Dose #8
1. What do you notice about the way the scene is directed as Petunia goes to Joe's bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship and the connection to the song?
I think the cut reflected the passage of time, especially when the scene includes Joe sitting in the wheelchair. The scene starts with relief, moves to things getting back to normal. She is happy that Joe is getting better and better. I also like how Gabriel is shown at the foot of the bed and fading away. Joe is back on earth and away from the angels and devils...for now.
2. How would the song change if it was a woman singing about her child? Does the cultural meaning change? How?
I may in the minority, but the only thing I would change if it was being sung to a child would be the direction at the end of the song - I would have little Joe out of the wheelchair and walking towards his mother, with the music swelling at the end as they hugged. In that light, I don't believe the cultural meaning would change all that much.
3. What other thoughts do you have about this film, the issues of black Americans during WWII, and this film's importance in this era?
Also, the fact that a major studio was willing to produce a film with an all-black cast was a bold move on MGM's part.
Edited June 14, 2018 by Walter3rd
spelling mistakes
fongovea715
How would the song change if it was a woman singing about her child? Does the cultural meaning change? How?
I had not considered this as a potential interpretation of the song until seeing this question, but especially after looking at the lyrics, it is completely possibly to interpret the song this way. Context is everything. Even the scene that appears in the film could easily have been transferred from a husband to a child, given the characterization of Petunia as a matronly caregiver vs. a sensual lover. A child could easily have been in the bed and later staring adoringly at Petunia taking down the laundry.
joannem
Ethel Waters! Big talent, wonderful talent-she fills the entire screen! Mesmerizing!
Why sing it to her man instead of a child? Made in 1943, peak of WW2- keeping in mind how Professor Ament has pointed out the themes of the WW2 muscials, it communicates strength, comfort and that women at home have "got the back" of our soldiers.
Petunia is a strong woman holding it together on the home front with courage and strength. She can take care of it! That's how I see it.
Miss Jennifer
1. Minnelli films this scene with the utmost intimacy and devotion. He uses closeups with the camera between Petunia at Joe's bedside and Joe's fluttering eyelids when he hears the sound of her voice. We also see the Angel nodding in agreement of Petunia's thankfulness to God and to singing of her undying love. She is filled with joy at his recovery and is excited and exuberant in taking care of Joe and the household chores. She feels she has been given a second chance to make him happy and comfortable.
2. I think if she was singing to her child instead of her husband the scene would be shot very similarly. Maybe she would be hugging the child more with tears streaming down her face and picking the child up while she sang and rejoiced in God's name.
3. I am glad to know about this movie and the wonderfully talented African American actors and performers of the era shown in an uplifting, devotional and patriotic film. This film brings unity and respect to these people who were also sacrificing their lives for their country during post war America.
AGMovieLove
1. What do you notice about the way the scene is directed as Petunia goes to Joe's bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song?
When Petunia sings her song at Joe's bedside, she is focused solely on him. It is lit lovingly and filmed in such a way that the viewer knows her devotion to Joe is front of mind for Petunia. As the scene moves outside while she is doing laundry, the focus becomes more general. It becomes clear that Petunia's devotion to Joe is somehow her mission in life. She is almost singing the song to herself at this point, like a hymn of love and devotion.
I imagine that if she were singing to her child, it would be solely directed towards that child and not the devotional hymn of love that we see during the second half of the song.
As an African-American, it is always gratifying to see performers who look and sound like me up there on the big screen. Everyone wants to occasionally see themselves reflected on the screen (TV and/or movies), in books, etc. I can imagine that for African-American audiences in the early 1940's, this must have been a rare and almost astounding treat - especially since there were no whites on screen at all in this film. And the talent exhibited here! Besides the luminous, wonderfully talented Ethel Waters, we also get Louis Armstrong, Lena Horne, Bill Bailey, Rex Ingram, Eddie "Rochester" Anderson, Butterfly McQueen, Oscar Polk - the list goes on and on. At this time in our history, when African-Americans fought in the war but faced pervasive discrimination at home, seeing ourselves onscreen must have felt so affirming. For me, the stereotypes in the film are difficult to watch at times. I imagine even African-Americans in the 1940's cringed somewhat while watching the film. But the film isn't mean-spirited or demeaning, and the picture respectfully highlights these amazing talents thanks to Vincent Minnelli's loving care - he is generous with these performers, he basically gets out of the way and lets them do their thing. He seems to love their talent and skill. He presents them in the best possible way despite the story line, stereotypes, etc.
CHambyClassicFilm
For Ethel Waters' song to Eddie "Rochester" Anderson in "Cabin in the Sky" (1943), I noticed that Ethel's characterization of Petunia to Eddie's characterization of Joe ("Little Joe") in the number was that she was relieved that Joe would make it through. The same would apply in the fade-in to the outdoor sequence of the musical number; almost in a carefree manner. I'm not sure if the song would be different if Ethel's character of Petunia were singing to a child. Some of the lyrics might have been changed if there was a child in place of Eddie's character of Joe.
Fifbettie
I think it reflects the fact that as long as she has the love of her life that she is satisfied and happy with life. Even when doing something as tedious as laundry that there is a sense of love for having someone to take care of and specifically when you almost lost them.
I don't think there would be much difference if it had been a child. Only maybe she would not have left the child's side. But not knowing the scene before this one, who knows what pulled her away.
Gutto Gomide
1. What do you notice about the way the scene is directed while Petunia goes to Joe's bed and when we cut her off outside the laundry? What does this tell us about your relationship and the connection to music?
It seems to me that this happiness that Joe has in her life brings into her life even when she is doing household chores or when she is away from him. As if that love and devotion made her a fulfilled person.
2. How would music change if it were a woman singing about her son? Does the cultural meaning change? As?
I think love and devotion would continue however differently. A mother's love for a child involves the will to protect and the worry when the child is away. The relationship with the husband should be of mutual support and mutual devotion, one supporting the other and growing together.
3. What other thoughts do you have about this movie, about the problems of black Americans during World War II, and about the importance of this movie at that time?
American blacks at this time suffered segregation, but the country needed them to fight in the war. The way this movie tries to win over these people and convince them that the country needs their love and devotion is visible. A great advertisement exercise.
Fred & Ginger
You can definitely see the love and the intimacy between Petunia and Little Joe when she sings this number. The focus is entirely on them. I love how her hand is gently resting right below Little Joe's chin throughout the first part of the number and how eventually his hand comes up to meet hers. There is a change in how Ethel Waters handles the number. In the first part her love and devotion to Little Joe is on full display along with her gratitude that he is okay. Then when the shot switches to her folding laundry it seems more lighthearted and carefree. She seems more relaxed and happy. But, her love for Joe is evident throughout. To me, that's the most important part of the number.
If this number were sung to a child I think it would have a completely different feel to it. It would be very gentle and the focus would always be on the child, everything would be on the child's level. I don't think the first part of the number would have had that serious quality to it, as the child would have been shielded from that.
This film was astoundingly important to this era, as it was one of the very few depicting an all African-American cast that was shown in those days. It give many African-Americans a chance to see themselves reflected onscreen, something that was a rarity unless it was a stereotyped role or a bit part. Unfortunately, especially in those days, stereotypes were still thrown around which are in this film.
As an aside, Ethel Waters is absolutely beautiful in this clip and her voice is just so authentic.
Brittany Ashley
18 hours ago, Dr. Vanessa Theme Ament said:
What do you notice about the way the scene is directed as Petunia goes to Joe's bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song?
What other thoughts do you have about this film, the issues of black Americans during WWII, and this film's importance in this era?
1. Petunia is a woman whose primary priority is her husband and taking care of her home-tending to the laundry. She sings the same love song about Joe by the bedside as she does outside. Her home is her domain and she she keeps it up for Joe by washing his clothes (I like the part where she wraps his shirt around her neck and imagines he is embracing her). She doesn't really seem submissive or subservient. She seems to genuinely care about her husband and tending to him and their home. Its picture perfect domesticity and she is the core of that household. Her love for Joe's keeps their marriage together while her housework and completion of domestic chores keeps their home stable.
2. The only real change would be in the lyrics. Lyrics about motherhood. It wouldn't really be appropriate to say "he kiss me and its Christmas everywhere" for example. That speaks to adult romance and spousal love and devotion, not a mother loving her children. That said, the message of devotion and love of her children and the celebration of being a mother/parent would still fall squarely into the gender roles of the era that this song reinforces. The cultural message of loyalty and love to ones husband,reinforced by the woman doing housework, was just as much of a strong 1940s message as loyalty to children and home and family was. There is the obvious connection between husband-wife/father-mother and their children and their home.
3. I've often called Cabin in the Sky "the MGMiest MGM movie". The studio was known as the most conservative and those values were clearly emphasized in MGM movies moreso (it seems to me)than the other studios. This is due to Louis B Mayer's strong beliefs in traditional values and imagery. Its natural, those values would be particularly clear cut in their films during wartime. In CITS these messages are ramped up. Religion,faith and good vs evil morality tales have been a factor in MGM movies in the past like San Francisco. Religion is very strong here and the plot is very strongly about the good vs evil conflict in a human being.
So when thinking about race its interesting that MGM would use an allblack cast to portray this story. It seems to be normalizing black Americans and culture to a larger, most likely unfamiliar white audience. The deep religiosity of Petunia and the presence of supernatural characters can feel a little thick but the idea seems to be that black people can be and are faithful, good church going Christians like anyone else. They may have flaws and faults but they work to become better people and despite their flaws, they are sincerely good people underneath just like anyone else. It presents a more complete (not totally perfect image in terms of retrospective criticism)picture of the types of black people that exist in life. Some are religious (Petunia), some are sexual (Lena Horne's Georgia Brown),some get into trouble (Joe), some go to church (Butterfly McQueen's character), and some like having fun and celebrate life (the dancers in the cafe). Some say the religious nature of some of the characters is stereotypical,but religion and the Christian faith has historically been important to African American culture and of course to individual believers.
CherylJK
It opens that it is evening as she walks to his bedside. As she sings about Joe, we view a tight shot of just the two of them. She sings lovingly, almost prayer like because she is relieved that her Joe is going to be alright. Cutting to outside as she takes the laundry down there is a pep in her voice and step as she sings to Joe. Her love and caring shows as she moves him out of the sun, then she sings dreamily.
The song would change if a woman were singing about her child. As for as the lyrics, a woman would not be wondering if her child "loves her good that all I needs to know." A mother loves her child unconditionally and the child loves back unconditionally.
marlene1monroe
WHILE ETHEL WATERS SINGING THE SONG TO JOE SHOW EVEN KNOWING HIS FAULTS SHE LOVES HIM FOR BEING WITH HIM MAKES HER HAPPY. THIS IS LOYAL WHICH IS THE LOYAL AND PATRIOTIC OF OUR COUNTRY SHOULD BE. IF IT WAS A CHILD BELIEVE IT WOULD NOT BE ANY DIFFERENCE FOR LOVE OF A CHILD IS THE SAME. BEING THE FIRST ALL BLACK FILM FOR THE BLACK CITIZENS WANTED MORE MOVIES AFTER HALL SHOWS THE UNITY OF ALL MINORITIES THAT SERVE IN OUR SERVICE AT THE TIME.
LexieM
Even in times of joy or sadness, the work has to continue. Petunia is happy the love of her life is alive but she can't be beside him all day.
Just finished watching this and I'm not getting at all any reference to patriotism and WWII. African Americans served in mostly segregated units in non-combat support roles. To pretend otherwise is odd. And this film was not shown in most of the South due to Jim Crow laws. It is not clear to me whether white audiences embraced this film or the talent involved. It took many years for white Americans to acknowledge black culture. This film was not available until 2006. I wonder why.
I loved the energy of the dance numbers and the naturalistic behavior of the cast, and that Ethel and Eddie were ordinary-looking people, not unrealistically glamorous.
Note also the non-ironic portrayal of religion as part of peoples' lives.
dlower
In the beginning you she Ethel Waters rushing into the bedroom to find Joe is alive and she starts to sing about how it makes her feel that he is alive.Then the scene changes and goes outside to her still singing but taking the laundry off the clothes line. Then her goes over to Joe and pushes him out of the way but is still happen that he is well.
I think that it would change the way the song was presented because it would be showing the love of a mother for her child, rather than the love of a husband and wife.
This movie shows that the black community in films could be addressed and that they had a rightful place in the film industry.
starryeyzze
Petunia's focus is solely on Joe and the scene allows us to observe as she prays for Joe, cares for Joe and does house work for Joe. Petunia's devotion is so strong that we see the angelic force disappear because he realizes that with Petunia watchful eyes, Joe will be fine. The song is Petunia's declaration of her undying love for Joe, which she demonstrates in the film. When I look back from a historical perspective, I have to assume that Petunia was in her own little world, because her everyday life was probably hard. This devotion to Joe is a bit too much for my personal taste.
If this song was about Petunia's unconditional love for her child, it would be more palatable to me. Culturally, it is almost universally acceptable and understandable for a mother to fiercely love and support a child. Also, if this song were about a child, the lyrics about " as long as he loves me" would be inappropriate. In the 1940's women were called on to support their husbands and the troops. It was seen as noble if women had to sacrifice for her husband / family. However, today it is not culturally acceptable for a woman to allow a philandering / "bad husband" to be the center of her life. Today' culture encourages women to take time for themselves, in the 40's a "good" woman was selfless, she put her husband and family before her own needs.
During WWII, the military was still segregated. Black soldiers faced hardships, and in rural America (esp., the south) life was hard for black Americans due to Jim Crow and racism. Many African Americans dreamed and hoped that postwar America would be nicer and kinder and would allow the same freedom that they fought for in Europe. After all, they were also sacrificing, leaving home to fight and die for America. It must have been nice to see a character like Petunia whose only problem seems to be keeping her wayward husband in line or how wonderful to see a glamorous, beautifully dressed black woman like Lena Horne. This movie serves up a fantasy, hope and perhaps an escape to black audiences of the day, because in real life, things were a lot more difficult. Sadly, America would not release its grip of oppression on African Americans for another two decades.
The beginning is sheer joy because Joe is alive. I've never seen Petunia being long suffering. She is full of love of God, love of her man. At the clothesline she embraces the sheets, her apron, possibly Joe's shirt. Her household is an extension of her love of family. She sweetly moves her husband in the wheelchair almost the same as she lowers the the fresh laundry to the basket. Joe is her happiness in this world. She also does not put up with his bleep either.
No, because Joe is in a way her child. They are a childless couple. Any emotional energy that she would put into a child she has settled on Joe. I'm not sure about cultural meaning. I've seen Judy Garland sing this to and about her son and emotionally it seems to be charged the same.
I love Ernie Anderson. I think Lena Horne is smooth and deadly. There is very little dead air. I know it's an all black cast but I get so lost in the story and songs I don't see the black or white of it.
We idealized WW2 but it wasn't all flag waving. It also was a time that minorities were struggling for equal footing in this country. At the beginning of the war the service was not integrated...very little of the opportunities that whites were offered were open to blacks, Hispanics. There were internment camps for the Japanese. It must have been an encouraging film for many people. It was sent overseas for our services. My father, who was a very bigoted man, did not look at Lena Horne as being a black woman..he thought she was hot. Among both white and black troops her photo was one of the most displayed. I think she contributed a great deal to blending and blurring the color line of that era.
Linjo
What do you notice about the way the scene is directed as Petunia goes to Joe's bedside and as we cut to her outside hanging laundry? What does this tell us about her relationship, and the connection to the song?
The focus is totally on Waters and the emotional and genuine feeling she is infusing into the lyrics of the song. This man means everything to her and her life is content as long as he loves her. I think the cut to her hanging clothes while Joe watches her from his wheelchair shows time has passed in his recuperation and also that simple ordinary acts like taking down the laundry is a joy to this woman if it is for her man and her home. The cut to the General (good force) shows that the almighty totally blesses this woman's feelings about her man and home. Likewise, at the end, the evil tem enters like storm clouds threatening her wash and her joy. It's a touching sequence.
Could be very similar except some modifications to the song's lyrics. Mother love is as strong - maybe stronger - than love between a man and woman.
What other thoughts do you have about this film, the issues of black Americans during WWII, and this film's importance in this era?
I enjoyed the film even though it is packed with stereotypes people believed about black Americans at that time (right until the present sad to say). It's good some in Hollywood were trying to be more inclusive but I don't think it changed much for black Americans. Still - it is a very enjoyable film and I totally appreciated the talents of Ethel Waters.
Reedevits
I just had the opportunity to watch this film last night and truly enjoyed it! The love and tenderness Petunia shows for Joe is a credit to Miss Waters and Mr. Vidor. She smiles through the daily tasks when he is up and around simply because he is there with her. Little Joe loves her deeply, despite his flaws. She never shows any disdain or judgement about his ways and simply points him toward God.
If the song had been a mother singing to her child, I think it still would have held the same amount of tenderness, but a different take on the love. It's apparent that Petunia is attracted to Little Joe and shows it in her glances and smiles. The direction toward a child would have been less of a "chemical" attraction and more maternal in nature.
As far as the thoughts on Black America post war? It seems as if the film is catering to the stereotypes more so than truly telling the good vs evil story. I would have like to have seen a more fleshed out sense of the characters, rather than thin portrayals.
That being said? I did truly enjoy the file\m! I teared up several times, laughed out loud once or twice and was rooting for Little Joe in the end!
BlueMoods
This movie could have been the inspiration for Waylon Jennings' "Good-Hearted Woman." (Good-hearted woman in love with a good-timing man.) It's obvious Petunia loves Joe unconditionally, but in what manner? I think it's a combination of man-woman love and the indulgent love one might have for a mischievous but lovable child. She's his partner in life but she's also his caretaker. These days some would call it enabling, but to her it's just total devotion to the man she loves. You can see her "romantic" love in the way she is laying by his side singing sweetly to him. The other aspect of her love, the love that motivates her to "work her fingers to the bone" as Joe says, the role of caretaker. She watches after him and cleans and cooks for him while he does little to show his appreciation, at least in the beginning. She is not glamorous by any means, and this makes it easy for him to forget this wonderful at home and turn to the charming and seductive Georgia Brown. And all the while Petunia is waiting patiently for her man to come home to her, as he always will eventually.
If Joe were a child instead of a "man-child", the story would be just as emotional following the death or near-death of someone she loves dearly, but may not be as endearing. For one thing, mothers are seen as indulgent caregivers and nuturers of their children, but the end goal is to raise them to eventually grow up and go out on their own. This is not the case with her relationship with Joe, obviously. The aim with Joe is to have him in her life until they are separated by death.
I think it's significant that there are no white actors in the movie, even in roles like landlords or law enforcement. You also notice the duality of the nature of the characters as God-fearing Christians and fun-loving party animals with a strong sex drive. Some have more of one than the other, but not even Petunia is completely immune from having a more "seamy" side as evidenced in her singing "Taking a Chance on Love" and near the end getting carried away and going into a swing style and gravely voice, to the point where Joe seems shocked and says "Petunia!" as if to say "Remember yourself!", which brings her back down to earth with a slight show of embarrassment.
The scene shows the intensity of the relationship between the couple as she goes from frantic at the beginning to more tenderness, forgiveness, and thankfulness toward the end. She goes about her daily chores, but her mind is always on her man.
If this were a parent/child relationship she would probably not leave the bedside and would exhibit more protectiveness, worry.
This movie captures more of real life people of color rather than racial stereotypes. As the war went on, and more black Americans were sent "over there", films had to do a little catch-up culturally. For the first time, people of diverse backgrounds could identify with each other.
LocationChicago Area, Illinois
The first shot with Ethel Waters and Butterfly McQueen is shot with almost a noir quality to illustrate Petunia's fear that she may lose her husband; these deep shadows mimic the scene when the devil, or evil, is present. Even her dress is comprised of dark patterns. Inside the bedroom, there are still shadows, but not as severe, most likely from the presence of the angel. Just before she starts singing, you can see a bright light reflected on her arm, coming from the direction of the angel. As she sings, her face is lit and gets brighter as the song progresses. The entire section by Joe's bedside is a tight two-shot and she leans in to simulate that they are in bed together in a loving relationship.
Outside, the scene is shot in a more natural, bright lighting to show that her happiness not only comes from within but also within her world as she goes about her normal activities (something that she probably couldn't have done while Joe was in danger). She still wears a patterned dress, but it is lighter than in the previous scene with stark white collar and cuffs which heighten the brightness of the scene. The scene ends with her taking his shirt off the line and wrapping it around her as she would his arms. At this point in the film, we know that Petunia is "good" and enjoys even these little activities and taking care of her husband. Joe, on the other hand, is an observer in the scene – sitting in a wheelchair on the sidelines. This illustrates how, with his six-month reprieve, needs to really look at his relationship with his wife.
An interesting idea. Petunia, as a mother, would be just as self-sacrificing for her child as for a husband she loves and prays for and she would receive the same joy for a child smiling on her. But, simultaneously, a religious woman might also expect a child to obey her and might not be as forgiving for the transgressions of a child as she would for her husband.
Despite the fact that the armed forces in WW2 remained segregated, this film provide an opportunity for African-American actors to portray leading fully developed, three-dimensional characters as opposed to playing stereotypical roles as secondary (or even tertiary) characters that were often inserted purely for comic relief. There are still some stereotypical things about this film (e.g., the characters' dialect), but it is definitely a large step forward.
Before this film, there were African-American films created by and for African-American audiences. But this film was more mainstream, much of the production staff were Caucasian A-listers at MGM - director Vincente Minnelli, producer Arthur Freed, art director Cedric Gibbons, set decorator Edwin B. Willis, and costumer Irene – meaning that a great deal of money and effort was put into this film. I believe it was a huge step forward.
Ptamom
The treatment of black Americans during WWII in the entertainment industry gives a unique and yet, real insight to the treatment of blacks in this nation. The movies had in some ways a dual goal: one, have the African American community do what ever it was necessary to fight the enemy because it was good versus evil and two, give the perception to the black community was not that different from the white community in their struggles and beliefs. In reality however, just as in the military, that was simply not the case. The black regiments were not only segregated but treated differently as their white counterparts as was the entertainment industry where the black entertainers were not only treated differently in terms of respect and pay but were also segregated. The talented of the African American entertainers were also largely overlooked by the white community for the simple fact that they would go see movies with white actors but white actors would rarely see moves completely geared towards black actors.


Don't ignore customer complaints — especially on social media. When a customer comes to your business with a legitimate concern and no one replies, it indicates no one cares. Answer every complaint. Even if you don't have a resolution or the problem itself is out of your hands, talk to the customer and help to the best of your ability. The faster you respond, the better the conversation will go. People have begun to expect not to hear back from companies regarding their complaints. Consumers often feel a company doesn't care about their experiences, which gives you an opportunity to show how your business is different. When a company responds quickly and with genuine concern to make things right, the situation can be turned around. What started off as a public shaming of your company can end as public record of your commitment to your customers.
One customer complaint to take over the internet was the alleged firing of Brad's wife. For those who are unfamiliar with the case, I will give a little background. Brad's wife worked at Cracker Barrel for eleven years and, according to Brad, was fired. He posted on Facebook asking why they fired his wife. There is undoubtedly a myriad of legitimate reasons why the company didn't respond (legal, the corporation has no idea what happens in individual restaurants, etc.), but the fact that no one responded prompted the internet to take action. On Facebook, Twitter and Instagram the company received thousands of comments demanding answers for Brad's wife. Hashtags trended and memes were created. Several restaurants and companies have offered Brad's wife a job. There is even a petition demanding answers for Brad that has more than 25,000 signatures and the story hasn't stopped there. The Washington Post, Fox News and even the Mirror in the UK have all done articles about the firing of Brad's wife.
The internet is also filled with great tales of companies who go above and beyond for their customers. Like Opryland hotel giving a customer one of its alarm clocks after finding out she had been searching for one like it for years (even though they weren't available to the public) or Trader Joe's who delivered food to an elderly man before a snowstorm even though it doesn't usually offer delivery and several other grocery stores had already said no.
Obviously, the case of Brad's wife is an extreme example. No one could have predicted the story would take off in quite this spectacular of a fashion. However, had Cracker Barrel responded rather than ignoring the inquiry the situation probably wouldn't have escalated in such a spectacular fashion. Every customer interaction isn't going to end up as a viral heartfelt encounter. Though, every conversation should be treated like it will. Not because other people might be watching, but because customers matter. They are the lifeblood of a company and making that extra push to show the your company cares is never a bad decision.


text:
Q: IAX registration procedure in C++ I need to verify an IAX account in my C++ client and run third-party softphone if account's credentials are valid (or close an application if not).
So, the client's socket connects to Asterisk host via UDP (port 4569) and... What is the algorithm? The specification does not contains any examples and I can't understand the structure of registration procedure (headers, data order etc.)
Could somebody explain me the order and the structure of messages to perform IAX user authentication?

A: In the document you have pointed, you can see the procedure of registration in chapter 6.1
                     ________________
                    |                |
                    |  Unregistered  |<--------------------------\
                    |________________|                           |
                            |                                    |
              /Init         |                                    |
              ------------  |                                    |
              snd REGREQ    |    +--------+                      |
                            |    |        | rec REGAUTH          |
                     _______V____V___     | -----------          |
                    |                |    | snd REGREQ           |
                    |   Reg Sent     +----+                      |
                    |________________+----------+                |
                            |    ^              | rec REGAUTH    |
               rec REGACK   |    |              | /No Credentials|
              ------------  |    | REG timeout  | -------------- |
               snd ack      |    | -------      | snd ack        |
                            |    | REGREQ     __V___             |
                     _______V____|___        |      |            |
                    |                |       |  No  |            |
                    |   Registered   |       | Auth |            |
                    |________________|       |______|            |
                            |                   ^                |
                            |                   | rec REGAUTH    |
                            | release           | /No Credentials|
                            | -------           | -------------- |
              +-------+     | snd REGREL        | snd ack        |
 rec REGAUTH  |       |     |                   |                |
 -----------  |      _V_____V________           |                |
 snd REGREL   |     |                |----------+                |
              +-----+   Releasing    |---------------------------+
                    |________________|      rec ACK
                                            -------
                                               x

                 __________
rec  REGREJ     |          |
----------   *->| Rejected |
snd   ack       |__________|

Messages REGAUTH, REGREQ, etc. are specified in paragraphs 6.1.2 to 6.1.5 as messasges containing Information elements.
Information elements are included in full frames that are specified in paragraph 8.1.1
                    1                   2                   3
 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1 2 3 4 5 6 7 8 9 0 1
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
|F|     Source Call Number      |R|   Destination Call Number   |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
|                            time-stamp                         |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
|    OSeqno     |    ISeqno     |   Frame Type  |C|  Subclass   |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+
|                                                               |
:                             Data                              :
|                                                               |
+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+-+

                Figure 5: Full Frame Binary Format

Frame type for REGREQ, etc. is IAX (8.2.6) and the classes of IAX frames, including registration messages are in 8.4
Information elements for registration are enumerated in 6.1.x and described in 8.6.x
Anyway, you can use wireshark if you want to see a dialog message to message

redpajama_set_name: RedPajamaStackExchange


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text:
var request = require('request'),
    argv = require('optimist').argv,
    net = require('net'),
    split = require('split'),
    async = require('async'),
    qs = require('querystring'),
    url = require('url');

if (!argv.es) {
  return console.log('USAGE: node rating3.js --es="http://host:port/npmsearch" [--interval=30]');
}

var releaseTime = 0;
// Phase 1: Collect metrics
// collect: releaseFrequency, stars, tests, and linkage
var metrics;
var globalMetrics;
var linkage;

var MIN_RELEASE_TIME = 1000*60*60;
var totalProjects = 0, recomputePageLimit = 100;
function recompute() {
  linkage = {};
  metrics = {};

  globalMetrics = {
    dependents  : {
      max: 0,
      sum: 0,
      weight: 5,
      contributing: 0
    },
    users  : {
      max: 0,
      sum: 0,
      weight: 1,
      contributing: 0
    },
    releaseFrequency  : {
      min: Infinity,
      max: 0,
      sum: 0,
      weight: 1,
      contributing: 0
    },
    tests  : {
      sum: 0,
      weight: 2,
      contributing: 0
    },
    readme : {
      sum: 0,
      weight: 1,
      contributing: 0
    }
  };

  request.get({
    url: argv.es + '/_search?size=100&scroll=5m&search_type=scan',
    json: { query : { match_all : {} } },
  }, function(e, r, o) {
    if (e || !o) {
      throw new Error('could not connect to elasticsearch');
    }
    var end = false;
    async.whilst(function() {
      return !end;
    }, function(fn) {
      var parsed = url.parse(argv.es)
      var scrollBase = url.format({
        host: parsed.host,
        protocol: parsed.protocol
      });

      request.get({
        url: url.resolve(scrollBase, '/_search/scroll?scroll=5m'),
        body: o._scroll_id,
        json: true
      }, function(e, r, o) {
        if (o.hits.hits.length) {
          o.hits.hits.forEach(function(p) {
            process.stdout.write('.');
            collect(p._source);
          });
        } else {
          end = true;
        }
        fn(e);
      })
    }, dependence)
  });

  totalProjects = 0;
  console.log('Begin rating compute', new Date());

}

recompute();

function collect(project) {

  if (!project || project.error) {
    console.log('FAIL', project.name);
    return;
  }

  totalProjects++;

  // Dependence
  if (project.dependencies) {
    project.dependencies.forEach(function(dep) {
      if (!linkage[dep]) {
        linkage[dep] = []
      }
      linkage[dep].push(project.name);
    });
  }

  if (project.devDependencies) {
    project.devDependencies.forEach(function(dep) {
      if (!linkage[dep]) {
        linkage[dep] = []
      }
      linkage[dep].push(project.name);
    });
  }

  // Metrics
  metrics[project.name] = {};

  // Metrics: users
  if (project.users) {
    var count = Object.keys(project.users).length;
    metrics[project.name].users = count;

    var usersMetric = globalMetrics.users;
    count > 0 && usersMetric.contributing++;

    if (usersMetric.max < count) {
      usersMetric.max = count;
    }

    usersMetric.sum += count;
  } else {
    metrics[project.name].users = 0;
  }

  // Metrics: releaseFrequency
  if (project.times) {

    var times = project.times;
    var created = +(new Date(project.created));
    var last = +(new Date(project.modified));
    var distance = last - created;
    delete times.created;
    delete times.modified;

    // TODO: does this relate to anything?
    // TODO: consider the age of the last release

    var totalReleases = Object.keys(times).length;
    if (totalReleases > 1 && distance > MIN_RELEASE_TIME) {
      var average = distance/totalReleases;

      if (totalReleases <= 2) {
        average = distance;
      }

      metrics[project.name].releaseFrequency = average;
      globalMetrics.releaseFrequency.sum += average;

      if (globalMetrics.releaseFrequency.min > average) {
        globalMetrics.releaseFrequency.min = average;
      } else if (globalMetrics.releaseFrequency.max < average) {
        globalMetrics.releaseFrequency.max = average;
      }

      globalMetrics.releaseFrequency.contributing++;
    }
  }

  // Metrics: tests
  // TODO: actually determine if tests are runnable
  // TODO: actually determine if tests are passing
  // TODO: actually determine test coverage?
  if (project.scripts && project.scripts.test) {
    if (project.scripts.test.join) {
      project.scripts.test = project.scripts.test.join(',');
    }
    metrics[project.name].tests = project.scripts.test.toLowerCase().indexOf('error') === -1;
    if (metrics[project.name].tests) {
      globalMetrics.tests.sum++;
    }
    globalMetrics.tests.contributing++;
  }

  // Metrics: Readme
  if (project.readme) {
    if (!project.readme ||
        project.readme === "ERROR: No README.md file found!" ||
        project.readme.length < 300)
    {
      metrics[project.name].readme = false;
    } else {
      metrics[project.name].readme = true;
      globalMetrics.readme.sum++;
      globalMetrics.readme.contributing++;
    }
  }
}

// Phase 2: dependence
// collect: dependents
function dependence() {
  console.log('collected', totalProjects, 'projects');
  Object.keys(linkage).forEach(function(projectName) {
    var dependents = linkage[projectName].length;
    if (! metrics[projectName]) {
      return;
    }
    metrics[projectName].dependents = dependents;

    if (dependents) {
      globalMetrics.dependents.sum += dependents;

      if (globalMetrics.dependents.max < dependents) {
        globalMetrics.dependents.max = dependents;
     }

     globalMetrics.dependents.contributing++;
    }
  });

  stats();
}

// Phase 3: statistical analysis
function stats() {
  var statsArray = [];

  Object.keys(metrics).forEach(function(projectName) {
    var obj = {
      id : projectName
    };

    var userMean = globalMetrics.users.sum/globalMetrics.users.contributing,
        depMean  = globalMetrics.dependents.sum/globalMetrics.dependents.contributing,
        relMean  = globalMetrics.releaseFrequency.sum/globalMetrics.releaseFrequency.contributing,

        projectUsers  = metrics[projectName].users || 0,
        projectDep    = metrics[projectName].dependents || 0,
        projectTests  = metrics[projectName].tests || 0,
        projectReadme = metrics[projectName].readme || 0,
        projectRel    = metrics[projectName].releaseFrequency || 0,

        glblUsers = globalMetrics.users,
        glblDep   = globalMetrics.dependents,
        glblRel   = globalMetrics.releaseFrequency,

        projectWeight = 0,
        userWeight = 0,
        depWeight = 0,
        testWeight = 0,
        readmeWeight = 0,
        relWeight = 0;

        userCeiling = userMean*2;
        depCeiling = depMean*2;

    // users
    if (projectUsers <= userMean) {
      userWeight = (projectUsers/(userMean/50))/100*glblUsers.weight;
    } else if (projectUsers > userMean) {
      userWeight = (((projectUsers-userMean)/((userCeiling-userMean)/50))/100+.5)*glblUsers.weight;
    }

    // dependents
    if (projectDep <= depMean) {
      depWeight = (projectDep/(depMean/50))/100*glblDep.weight;
    } else if (projectDep > depMean) {
      depWeight = (((projectDep-depMean)/((depCeiling-depMean)/50))/100+.5)*glblDep.weight;
    }

    // release frequency
    if (projectRel <= relMean && projectRel > 0) {
      relWeight = (((relMean-projectRel)/((relMean-glblRel.min)/50))+50)/100*glblRel.weight;
    } else if (projectRel > relMean) {
      relWeight = (50-((projectRel-relMean)/((glblRel.max-relMean)/50)))/100*glblRel.weight;
    } else {
      relWeight = 0;
    }

    // relate release frequency to dependents
    if (projectDep > depCeiling) {
      relWeight = glblRel.weight;
    }

    // tests
    if (projectTests) {
      testWeight = globalMetrics.tests.weight;
    } else {
      testWeight = 0;
    }

    // readme
    if (projectReadme) {
      readmeWeight = globalMetrics.readme.weight;
    } else {
      readmeWeight = 0;
    }

    // clamp values at max weight
    userWeight = clampWeight(userWeight, 'users');
    depWeight  = clampWeight(depWeight, 'dependents');
    relWeight  = clampWeight(relWeight, 'releaseFrequency');

    // assimilate weights
    projectWeight = userWeight + depWeight + testWeight + relWeight + readmeWeight;
    // clamp overall weight
    if (projectWeight > 10) {
      projectWeight = 10;
    } else if (projectWeight < 0) {
      projectWeight = 0;
    }

    obj.rating = projectWeight;
    statsArray.push(obj);
  });

  store(statsArray);
}

// Phase 4: store in es
function store(array) {
  console.log(globalMetrics);
  // TODO: use the bulk update api
  async.eachSeries(array, function(update, fn) {
    request.post({
      url: argv.es + "/package/" + update.id + '/_update',
      json : {
        doc : {
          rating : update.rating
        }
      }
    }, function(e, r, o) {
      fn(e);
    })

  }, function(e) {
    console.log('done!');
    setTimeout(recompute, (argv.interval || 30)*1000*60);
  });
}

// clamps weights at there max value
function clampWeight (weight, metric) {
  if (weight > globalMetrics[metric].weight) {
    weight = globalMetrics[metric].weight;
  }

  return weight;
}