text:
- Risk key
- Low
Judicial System
While formally independent, Indonesia's judiciary is rife with corruption and is subject to political influence (BTI 2016, ICS 2016). Bribes are taken at all levels of the judiciary, including in court verdicts and appeal courts (BTI 2016). However, less than one in every ten surveyed Indonesians reported paying a bribe to the courts in the past twelve months (GCB 2017). Corruption limits the judicial system's professionalism and objectivity; however, special corruption courts show a high degree of independence and often prosecute and convict Indonesian public officials for corrupt acts (BTI 2016). Dispute settlement mechanisms are inefficient and many laws are open to interpretation by judges; particularly the commercial code is inconsistently applied, due to corruption and training deficiencies for judges, prosecutors, and defense lawyers (ICS 2016). Businesses do not have sufficient confidence in the efficiency of the legal framework regarding dispute settlement and the ability to challenge regulations (GCR 2016-2017). However, only a small percentage of companies identify the courts as a major constraint to their ability to do business (ES 2015). The Supreme Court has opened a whistleblowing portal where demands for bribes or other irregularities in the judiciary may be reported.
In 2013, a Constitutional Court Chief Justice, Akil Mochtar, was charged with accepting a USD 260,000 bribe in exchange for fixing a court ruling. In 2014, Mochtar was found guilty and received a life sentence for corruption (FitW 2016). In January 2017, another Constitutional Court judge was arrested on suspicion of taking a bribe (Reuters, Jan. 2017).
Indonesia is a signatory to the 1958 New York Convention on the Recognition and Enforcement of Foreign Arbitral Awards, it is also a member state to the International Centre for the Settlement of Investment Disputes (ICSID).
The Indonesian police are plagued by corruption, and bribery is widespread, presenting companies with high risks. Police officers solicit bribes on every level, ranging from traffic violations to criminal investigations (HRR 2016). Two out of five people perceive most or all of the police to be corrupt and one in four Indonesians report having paid a bribe to the police services in the past 12 months (GCB 2017). Businesses do not report sufficient trust in the reliability of police services and businesses do attribute some costs to crime and violence (GCR 2016-2017). About one in seven firms identify crime as a major constraint to their ability to do business and over a quarter of firms pay for private security (ES 2015).
In January 2015, President Jokowi nominated Budi Gunawan for the post of head of the national police while he was under investigation for taking bribes, including from lower-ranking police officers looking for a higher post (The Economist, June 2016). The corruption probe was dropped a few months later and Gunawan was installed as deputy head of the national police (The Economist, June 2016).
Public Services
Companies should be aware of a high-risk of corruption when dealing with Indonesia's public administration. Businesses report that bribes and irregular payments made to public officials are common (GCB 2015-2016), and one in five businesses report expecting to give gifts in order to 'get things done' (ES 2015). A quarter of Indonesians report having paid a bribe to obtain ID documents and one in seven report having paid a bribe to the utility services in the past twelve months (GCB 2017). Recruitment of civil servants is often not based on merit; positions are 'sold' to applicants or given to associates and relatives (BTI 2016). The quality of public services in Indonesia remains low; rampant corruption has kept Indonesia's public infrastructure, including electricity generation and provision of clean water, from developing (BTI 2016). Companies cite the inefficiency of government bureaucracy as one of the most problematic factors for doing business in Indonesia (GCR 2016-2017). Regulatory and transparency problems hinder businesses and the process of decentralization has introduced an additional layer of costly red tape for businesses to navigate (ICS 2016). Laws and regulations are often vaguely worded, resulting in uncertainty and rent-seeking opportunities (ICS 2016).
The time it takes to get an electrical connection, as well as the costs involved, are below the regional average (DB 2017). Starting a business takes eleven steps, an average that is significantly higher than the regional one, yet the total time these procedures require is slightly lower compared to other neighboring countries (DB 2017).
Land Administration
Corruption is a high risk within the land management sector in Indonesia. Nearly half of businesses report expecting to give gifts in order to obtain a construction permit (ES 2015). Property rights are inadequately protected due to corruption in the judiciary; courts in land rights cases frequently side with whoever provides the largest bribe to the judges (BTI 2016). A lack of clear land titles is a problem when doing business in Indonesia (ICS 2016); absence of credible maps combined with customary land rights for local people and competing laws and regulations sometimes allow multiple parties to make a legitimate claim to the same lands (HRR 2016).
The government has been accused of appropriating land for private development projects against the owner's wishes without fair compensation (HRR 2016). Central and local government officials have reportedly accepted kickbacks from mining and palm oil companies in exchange for access to lands (HRR 2016). In September 2016, the Jakarta Corruption Court found Ariesman Widjaja, General Director of Agung Podomoro Land, guilty of bribing a legislator in the Jakarta provincial assembly in order to influence two bills concerning two properties his company was developing. Widjaja was sentenced to three years in prison and a fine of IDR 200 million (Indonesia Investments, Sept. 2016).
The time required to register property in Indonesia is only a third of the regional average at 25 days, but the costs involved are twice as high as in other East Asian and Pacific countries (DB 2017).
Tax Administration
Corruption risks in Indonesia's tax administration are high. One in five companies expects to give gifts when meeting with tax officials (ES 2015). Companies regularly encounter corruption during routine interactions with Indonesian public servants, including tax officials (GCR 2015-2016). Over four in ten, Indonesians view most or all tax officials as corrupt (GCB 2017). A recent tax amnesty policy aimed at bringing more assets into the purview of the tax agency unearthed more than USD 360 billion of previously undeclared assets (Asia Times, Mar. 2017), indicative of the scale of tax evasion in Indonesia. Tax regulations and tax rates are frequently cited as problematic factors for doing business (GCR 2016-2017).
President Jokowi's brother has been put under investigation over allegations that he helped put businessman Ramapanicker Rajamohanan Nair in contact with tax officials who subsequently eliminated his tax debt (Jakarta Post, Feb. 2017). Nair paid a tax official named Handang Soekarna a bribe of IDR 1.9 billion in order to eliminate a tax debt of IDR 78 billion (Jakarta Post, Feb. 2017). Nair was found guilty of paying the bribe and got sentenced to three years' imprisonment (Jakarta Post, Apr. 2017).
Customs Administration
Corruption at Indonesia's borders is the most problematic factor for international trade (GETR 2016). High incidence of corruption hampers the efficiency of Indonesia's customs administration and procedures related to importing and exporting goods are highly opaque (GETR 2016). Irregular payments and bribes are commonly demanded by customs agents (GETR 2016). A common way in which bribes are extorted is by imposing arbitrary delays (Norton Rose Fulbright, June 2016). In the same vein, nearly half of companies expect to give gifts when obtaining an import license (ES 2015). The cost of documentary compliance with import regulations is significantly higher than the regional average and takes nearly twice as long (DB 2017).
Public Procurement
The public procurement sector carries high corruption risks for companies. Corruption and favoritism are pervasive (GCR 2016-2017). A third of companies indicate that they expect to give gifts in order to secure a government contract (ES 2015). Likewise, companies report that bribes and irregular payments are common in the awarding of public contracts and licenses (GCB 2015-2016). Companies report frequent diversion of public funds as well as favoritism in the decisions of government officials (GCR 2016-2017). Formally, foreign companies compete with state-owned enterprises (SOEs) under the same terms, but in practice, the government shows a strong preference for SOEs (ICS 2016). A number of companies have been accused of colluding, including manipulating state tender processes (BTI 2016). Corruption in procurement costs Indonesia's government up to USD 4 billion per year (FCPA Blog, June 2014).
A corruption trial implicating a number of senior figures, including Indonesia's Justice Minister, former Interior Minister, and Parliamentary speaker, is currently underway. The defendants are accused of receiving kickbacks amounting to USD 170 million out of funds earmarked for a government project designed to issue new ID cards to the entire Indonesian population (Reuters, Apr. 2017). In another corruption case, the U.S. Department of Justice is investigating allegations that Maxpower Group, a power-plant builder controlled by London-based bank Standard Chartered, has paid bribes to Indonesian energy officials in order to obtain contracts (Wall Street Journal, Sept. 2016).
Natural Resources
Corruption in the natural resources sector is rampant in Indonesia. The lack of law enforcement in Indonesia promotes an enabling environment both for irregular activities and for opaque financial reporting by petroleum and mining companies, fostering corruption in the extractive industries; the 2009 Mining Law eliminated a requirement for mining contracts to be publicly available (NRGI 2017). A variety of governments regulations has made doing business in the natural resources sector difficult; as a result, Indonesia ranks near the bottom (91st out of 109) of the world's mining countries in the Fraser Institute's Mining Policy Perception Index (ICS 2016). An absence of any central authority to issue licenses concerning natural resource development has led to a vast problem with overlapping licenses; at times up to four licenses for the same concession have been granted to palm oil, pulpwood, logging, and coal mining companies (The Guardian, Apr. 2016). Officials, particularly close to election time, have been known to exchange land rights for financial contributions to their campaigns (The Guardian, Apr. 2016).
Indonesia's anti-corruption enforcement agency, the KPK, has been investigating corruption in over 4,000 mines nationwide and has shut down 721 mines so far after instituting a requirement for a so-called 'clean-and-clear' certificate (Greenpeace, Feb. 2016). As of March 2017, 3,203 companies are still operating without such a certificate; although lack of communication between miners and local authorities has also been blamed for this process (Indonesia Investments, Mar. 2017). Part of the problem is the decentralization of government tasks; it led to officials issuing more than 10,000 licenses, possibly motivated by rent-seeking behavior, some of which overlapped (Indonesia Investments, Mar. 2017).
A weak institutional framework and widespread corruption limit the implementation of corruption-related legislation in Indonesia. The Law on Eradication of Criminal Acts of Corruption criminalizes the major acts of corruption, including active and passive bribery, abuse of office and extortion. Giving or accepting a bribe is a criminal act punishable by a fine of up to USD 110,000 and imprisonment of up to 20 years. Private sector bribery is criminalized, but only when the bribe is of 'relatively large value'. Embezzlement, failure to report corrupt activities and gifts to public officials are punishable by Indonesia's Criminal Code; any gifts to public officials must first be approved by the Anti-Corruption Commission (KPK); undisclosed gifts are considered an offense. There is no facilitation payment exception under Indonesia's criminal law, and legislation does not specifically address bribery of foreign public officials. Private sector bribery in certain cases is criminalized under the Anti-Bribery Law in as far as the bribe causes someone to do something or refrain from duties or obligations impacting the public interest. The Law on Money Laundering criminalizes money laundering. Public official asset declarations are required under the Regulation on Asset Declaration. Corporations may face liability for the actions of their employees. Public procurement is addressed by the Presidential Regulation No. 54/2010, which requires competitive bidding and blacklisting of companies for violations. The Law on the Protection of Witnesses and Victims provides protection for public and private employees who report corruption. Various other government agencies have enacted their own whistleblowing systems. The KPK is highly popular and has booked recent successes in prosecuting members of the country's government and business elites (BTI 2016). As per June 2016, the KPK had a hundred percent conviction rate (HRR 2016). There are however frequent attempts by elements in the government, judiciary, and police to undermine the KPK's authority (HRR 2016).
Indonesia has ratified the United Nations Convention Against Corruption (UNCAC). The National Strategy of Corruption Prevention and Eradication 2012-2025 seeks to curb governmental corruption and improve the state's capacity to prevent corrupt practices and successfully implement mechanisms for reporting.
Civil Society
Indonesia's Constitution provides for freedoms of speech and press, but elements within the government seek to limit these rights using defamation and blasphemy laws (HRR 2016). The media environment is open and vibrant in comparison to other countries in the region; media reports on government policy are often highly critical (BTI 2016). Press freedoms are restricted by legal and regulatory provisions (FitW 2016). Treason and blasphemy laws are frequently used to suppress those criticizing the government and security forces (FitW 2016); causing some journalists to self-censor (FotP 2016). The private owners of many media outlets influence the tone of coverage (FotP 2016). Foreign ownership of broadcast media is forbidden, and journalists sometimes experience physical attacks and harassment by the state and non-state actors (FotP 2016). Blasphemy laws have been used against internet users by the government (FotP 2016). The media environment is considered 'partly free' (FotP 2016).
Indonesia has one of the most vibrant civil societies in Asia (BTI 2016). Civil society activism has markedly increased in recent years; most groups openly criticize government policies, protest against corruption, and provided representation for the poor (BTI 2016). Civil society groups comment on policies and are able to exert their influence (FitW 2016). However, organizations with views deemed 'extreme' are subject to government monitoring (FitW 2016).
- World Bank: Doing Business 2017.
- Natural Resource Governance Institute: Indonesia Country 2017.
- Transparency International: Global Corruption Barometer 2017.
- Skala News: "KPK Tahan Atase KBRI Malaysia Dwi Widodo", 21 April 2017.
- Jakarta Times: "Court Hears of Jokowi In-Law's Role in Tax Bribery Case", 18 April 2017.
- Indonesia Expat: "Illegal Gold Mining Sees Steady Rise In Indonesia", 12 April 2017.
- Reuters: "Indonesia's 'Marathon' Probe of Politicians to Test Graft Battle", 7 April 2017.
- Asia Times: "Tax Amnesty Reveals New Depths of Indonesian Corruption", 31 March 2017.
- Indonesia Investments: "Cleaning Up Indonesia's Chaotic Mineral & Coal Mining Sector", 28 March 2017.
- The Jakarta Post: "First Family Hit by Scandal", 17 February 2017.
- Reuters: "Indonesian Anti-Graft Agency Detains Constitutional Court Judge", 26 January 2017.
- Bertelsmann Foundation: Transformation Index 2016.
- Norton Rose Fulbright: Business Ethics and Anti-Corruption Laws: Indonesia 2016.
- World Economic Forum: Global Competitiveness Report 2016-2017.
- World Economic Forum: Global Enabling Trade Report 2016.
- Freedom House: Freedom in the World 2016.
- Freedom House: Freedom of the Press 2016.
- US Department of State: Investment Climate Statement 2016.
- US Department of State: Human Rights Practices Report 2016.
- The Wall Street Journal: "Standard Chartered Faces U.S. Probe Over Indonesian Investment", 27 September 2016.
- Indonesia Investments: "Corruption in Indonesia: Agung Podomoro Land Bribery Case", 9 September 2016.
- The Economist: "Law Enforcement in Indonesia: Time for Tito", 23 June 2016.
- The Guardian: "Greenpeace Reveals Indonesia's Forests at Risk as Multiple Companies Claim Rights to Same Land", 2 April 2016.
- Green Peace Energy Desk: "Comment: How Indonesia is Cracking Down on Coal Mine Corruption", 16 February 2016.
- World Economic Forum: Global Competitiveness Report 2015-2016.
- World Bank: Enterprise Surveys Indonesia 2015.
- FCPA Blog: 'Indonesia loses USD 4 billion annually to procurement fraud, study finds', 5 June 2014.


text:
When you grow up in a group, you learn how to appease others, and to sort of take the backseat. Kandi Burruss, a former member of the hit R&B group Xscape, has taken a journey from the backseat to front and center in recent years. In fact, her journey became a historic one as she was crowned ASCAP's R&B Rhythm & Soul Awards Songwriter of the Year in 2000. Burruss has written for Destiny's Child, TLC, *NSYNC, Mariah Carey, Boyz II Men, Faith Evans, Whitney Houston, Pink, Alicia Keys, amongst others.
Kandi Burruss, also known as Kandi, sat down with Singersroom to discuss her journey from Xscape to becoming an award winning songwriter. In our exclusive interview, Kandi also discusses her wish to return to the stage next year with two projects including the anticipated debut of Peach Candy.
Singersroom: As a songwriter you started out with Xscape, how did you get your start in the journey that led to ASCAP Songwriter of the Year.
Kandi Burruss: As far as the group, we asked Jermaine [Dupri] if we could collaborate a little bit. We did collaborate here and there. Jermaine wrote most of our stuff though. But I always wanted to do more. So when our group broke up, Tiny [Tameka 'Tiny' Cottle] and I were going to do a project together. I was telling her 'we need to write all our songs and put them on a demo so when we present it to the label they'll know that we can write our own stuff so we don't really need any help' … you know.
We did that and "No Scrubs" (TLC) was one of the first songs that we did for ourselves and some kind of way LA Reid heard the record and it got played for TLC. That song opened up the door for me to just write for everybody else.
Singersroom: As far as honing your craft in terms of songwriting do you feel like it came to you naturally or did you kind of craft it while in Xscape working with Jermaine Dupri?
Kandi Burruss: To me it kind of came naturally because I was always good with melodies. I used to link up with different producers that I knew and would try and write for their tracks and get practice like that.
Being around in the studio and watching when people were working with us I would pick up things. As far as melodies I was always good on that. I never really needed help putting together melodies.
For instance, when we were around Jermaine, he would take regular words that we would use and then make a song out of it like 'Just Kickin' It'. That is when I would take things that me and my homegirls were just talking about and make it a song.
Singersroom: Out of all the songs you have written, which one has the funniest story attached to it?
Kandi Burruss: "Scrubs. (TLC's 'No Scrubs') " I used to have this notepad with concepts and titles that I wanted to use and 'scrubs' was one of the words that was in my book.
At first when 'Tiny' and I were going around to meet producers to get tracks, we had heard that track but it had a different song on it when they played it for us. I remember telling him (a producer) "we really like that track and we can write a better song to it" â he looked at me like 'Whatever,' he thought the song he had was the jam and I was like okay well can we just get the track and he said okay but he was kind of hesitant about it.
He gave us both a copy of the track and one day I was lying around with my homegirl and we were kind of 'dogging out' these dudes that we were dating (laughs). I was driving, like I like to do and write, playing the track and freestyling it, talking about the guy I was dating at the time. When I first took it to Tiny I was like you probably aren't going to like it, she was like go ahead and sing it.
When it said "Sit on your broke a**" … I had wrote before that "Sit on your fat a**" and she busted out laughing. She was like 'girl you stupid, ain't nobody going to let you say that on the radio.' I was like 'I don't care I like it' … 'I think it's funny'. She was like no I like it though. So she put her verse on, the second verse, and we brought it to him and he loved it. I never really thought that it was going to be as big of a record as it was, just from me and my homegirls talking trash in the car.
Singersroom: That's wild, as far as writing words for songs like you did with "No Scrubs," are there any words or phrases that you try to avoid or words you definitely keep out of your music at all costs?
Kandi Burruss: I personally hate, for instance on a R&B song, when people say 'baby' too much in the song. Like if that's the title of the song that's cool, and of course I love "Baby, Baby, Baby," [Ashanti] that's hot, but when in a verse you can tell when people ran out of words and they just say "oh baby" (laughs). It just comes out of nowhere and it's just a filler. I hate when people just stick that word in there to fill in a space.
Singersroom: As an artist in your own right, for those who may be unfamiliar, you released a solo album entitled "Hey Kandi" in 2000 featuring the hit "Don't Think I'm Not." Is it hard to juggle being a songwriter and an artist?
Kandi Burruss: Definitely, because a lot of times you record a song and you think it's hot and you think "maybe I can keep this for myself." Every record I write I feel like I can do this myself but you can't because you gotta know your lane.
When it comes to the songwriting, I can write any type of music. I can write country, I can write R&B, I can write Pop or whatever but as an artist you aren't going to be accepted all the time trying to do everything at once. You gotta abide by that audience. For me it's like every hot record you do, you can't keep it for yourself because if you don't give away any hot records why would anybody want to keep using you…especially if you are saving the hot stuff for yourself and giving away mediocre stuff.
Singersroom: That is a good point. As more songwriters and producers continue to take their respective hats off and release their own music like The-Dream, Ryan Leslie and Sean Garrett, do you think them being highlighted so to speak more than before is a good thing for the industry? Especially with the success of projects like "Love/Hate?"
Kandi Burruss: I think it is a good thing. Normally, and I'm not going to say everytime, if a person is a writer, when they're doing their own project, they're going to do things from the heart. They're really going to try to make a creative album and a lot of the records are going to be heartfelt. They might even take it a step further than what they would do for somebody else because you can't be overly edgy when you're writing for other people sometimes. When you're writing for yourself you can go there and just be creative, try new things, do whatever you wanna do. A lot of times if it's a consistent writer, because I would say all writers aren't consistent, but it's obvious like The-Dream is consistent or T-Pain is consistent … 9 times out of 10 he's going to come up with a hot record or at least it will be something you'd want to ride to.
If they do the whole album for themselves then they get to have fun with it, try different stuff that a lot of people will like. Things you normally wouldn't get from anybody else. Like I'll listen to a 'Dream' album or I'll listen to a T-Pain album and it's different. It's not the norm. Even when you go back to Babyface. Babyface as a songwriter/producer he's like the greatest but you also know Babyface – the artist.
Singersroom: Speaking of excellent songwriting, you became the first woman to receive ASCAP's Songwriter of the Year Award. Did that change your perception on your career and life post Xscape?
Kandi Burruss: Definitely. I didn't realize how important it was until I got there and I had been to the ASCAP Awards before for certain awards that we received as Xscape [for songs] that I had collaborated on so I didn't see it as a big deal because it was like one song.
When I got there and got Songwriter of the Year I realized wow, this is something important. You have to have so many top or number one records in that year to be able to even get that award. I was just like 'wow' it's not that easy to get a whole bunch of number ones within one year. For them to tell me that I was the first woman to do it, I was shocked. I couldn't believe that no other woman had done this before me. I was really surprised. That really helped me feel like I really accomplished something outside of my group.
Because you know when you grow up in a group it's all about the group. I really didn't know what I was going to do when the group broke up. I was afraid to be honest. I was like "What am I going to do?…the group broke up, oh lord, how I am I going to take care of myself, I ain't never had a job" (laughs) …. I was thinking about all these things. When I started writing songs for other people I had just as much success if not more as a writer. I really grew up as a woman, realizing I can stand on my own and make things happen for myself.
Singersroom: In terms of songwriting are you currently working on any upcoming projects or any tracks that are currently out on new albums?
Kandi Burruss: I collaborated on the David Banner album that's out. I worked with Pimp C and Bun B. Karina Pasian on Def Jam; I had a song on her album.
I just did a song for Tiffany Evans and also Ciara. I've also been in the studio collaborating with a bunch of different producers like Bryan Cox, we've been doing some hot records which I know somebody's going to end up doing because they are some hot records (laughs). Drummer Boy, Justus League… a lot of people. I've just been busy collaborating with a lot of people.
Singersroom: That's good. It's always good to stay busy. Are you thinking about releasing a new solo album?
Kandi Burruss: It's funny because for a while I was like "oh I'm not going to sing I'm just going to keep writing" and the truth is I really miss being on stage. I didn't really realize how much I missed being on stage until Rasheeda and I started doing our project together and promoting at shows. It was so dope, the response, that I felt from the fans and it was so much fun that I was like 'I'm gonna do a record as well' in addition to the project that she and I are doing. I'm definitely going to put something out, hopefully sometime next year.
Singersroom: At Singersroom we have a motto that reads "I Love R&B," why do you love R&B?
Kandi Burruss: Of course I love listening to R&B. I love people with great vocals. I love just listening to it. It makes you feel good. I love the lyrics. When I'm going through something… to be able to sit and hear a great song where it feels like that person is telling my story… there's nothing like it to me. Like when you're really going through something emotional and you have the record from someone that is basically singing your song as if they knew you. It's nothing like it to me. —— By: Interview By Njai Joszor
Kandi Burruss: The First Lady
When you grow up in a group, you learn how to appease others, and to sort of take the backseat. Kandi Burruss, a former member of the hit R&B group Xscape, has taken a journey from the backseat to front and center in recent years. In fact, her journey became a historic one as she was crowned ASCAP's R&B Rhythm & Soul Awards Songwriter of the Year in 2000. Burruss has written for Destiny's Child, TLC, *NSYNC, Mariah Carey, Boyz II Men, Faith Evans, Whitney Houston, Pink, Alicia Keys, amongst others.

subset: commoncrawl


text:
|Industry Sector
|Process Control
|Product Range / Services
|Data Acquisition Systems, Controllers, Process Control Systems
|End User Segment
|General Manufacturing
|Geographic Focus
|South East Asia, Africa, Middle East
|Company Profile at Investment Stage
|Small regional player
|Company Profile at Exit Stage
|Niche player with #1 or #2 position in several product categories and end user segments
|UNIDEL Value Add
|M&A, operational improvements, scaling
Eurotherm Del India Ltd.
In 1993 UNIDEL expanded with the formation of a technology transfer agreement with Eurotherm plc UK. In 1996, UNIDEL simultaneously acquired Turnbull Controls Chennai and formed a 50:50 joint venture company in partnership with Eurotherm plc UK (since a part of Invensys plc). An integrated company, Eurotherm DEL India Ltd was created to manufacture and market a range of process and automation solutions. Eurotherm DEL has since become a national leader in the process control business with a number one position in several end user markets. In late 2006, UNIDEL sold its shareholding in Eurotherm DEL to Invensys plc UK.
When Eurotherm entered the Indian market in 1996, it was a well-known brand in Europe but was selectively known to Indian industry who were using Eurotherm products which came pre-fitted along with capital equipment imported from Europe. The UNIDEL group was the hand-picked by Eurotherm to form a joint venture; it was the able management of UNIDEL which gave Eurotherm its Indian market penetration covering a wide spectrum of industries through its established regional offices and network of professionals. UNIDEL also provided the marketing platform to Eurotherm and uplifted its image in the Indian market to bring it at par with other known global automation brands.
Through his vision, laser sharp focus and commitment to grow the Eurotherm business in India, Sunil Dalal, the Managing Director of UNIDEL group formed a team of professionals and prepared them to build a sustainable, profitable and growth oriented business model. The business grew manifold in ten years. Thanks to UNIDEL for bringing the business to its current, mature and autopilot state."
Kalpesh Desai,
Sales Director,
Invensys India


text:
Featured Artist:
Tony White
Sydney-based jewelry designer, Tony White, has been creating one-of-kind jewelry over four decades. No one else in the country has matched his unique vision, the versatility of his style, nor his success, with his designs located in the world of fine art, rather than that of craft and commerce. In fact, a selection of his unusual and striking creations is held in private and public collections around the world.
White was born in Sydney, Australia, where he graduated from the University of Sydney, and although he earned a degree in architecture, his heart was in jewelry design.
There are no solitary diamonds in a Tony White Collection. No strand of perfectly matched pearls. White believes colored stones, unusually carved, massive and exotic shaped pearls, and designs of unique style with a sense of distinction are more interesting than formal jewels. His work is sculptural and wearable and combines the beauty of the past with timeless style. Each piece he creates is individual and unique, never to be recreated or repeated.
If there is one word to describe his art, it's "bold." Boldness in color, design, materials, and vision set with the highest quality. White's jewelry ranges from necklaces featuring a spectacular gem or curio with rows of ruby or emerald beads to whimsical designs of natural Keshi pearls fashioned into tiny birds or the buds of a flower.
For many years White traveled extensively for inspiration, buying selected stones and having private showings all over the world, the most notable of which was in 1986 for the royal family of Brunei, where his entire collection was bought intact. His works have become world-renowned with some notable collectors among his fans including the Duchess of Westminster and Lauren Bacall.


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4 Days To Save Sale!!
Don't miss this 4 day sale starting January 25th discounting 904 patterns! Want a wood look floor, but don't know if it should be real wood, laminate, ceramic or vinyl? Visit one of Century Tile's 10 locations and let our expert sale team help you decide! Can't wait to see you!


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This client tutorial is a continuation on the quickstart "city" example. In this section we illustrate how to send transactions to and retrieve information from a blockchain node running Rell.
Try the example code¶
First of all, we need to add a query to Rell source file:
query is_city_registered(city_name: text): boolean {
return (city @? { city_name }) != null;
Clicking 'Start node' will start a Postchain node in a single-node mode which is convenient for testing. The node builds blocks when there are transactions, or at least once every 30 seconds. It also has REST API we can interact with to submit transactions and retrieve information.
The client code is written in JavaScript, this example uses the NodeJS environment.
postchain-client-example_ can be downloaded using git:
git clone https://bitbucket.org/chromawallet/postchain-client-example.git
To run it, execute:
npm install
node index.js
This will create a transaction, sign it, submit to a node. And once transaction is added to a block, client will perform a query.
Now let's see how this client code can be implemented:
Install the client¶
We assume you have
nodejs installed. The client library is called
postchain-client_ and can be installed from npm.
Create an new directory for your test. Open a terminal in the new directory, initialize npm and install the client.
npm init -y
npm install postchain-client --save
Connect to the node¶
To connect to a Postchain node we need to know its REST API URL and blockchain identifier. DevPreview bundle comes with following defaults:
const pcl = require('postchain-client');
const node_api_url = "http://localhost:7740"; // using default postchain node REST API port
// default blockchain identifier used for testing
const blockchainRID = "78967baa4768cbcef11c508326ffb13a956689fcb6dc3ba17f4b895cbb1577a3";
const rest = pcl.restClient.createRestClient((node_api_url, blockchainRID, 5);
Once we set up the information about the the REST Client connection, we can create the gtxClient connection. This in particular, needs to receive the previous REST connection, the blockchainRID in Buffer format and an array the names of the operations that you want call (at the moment this can be left empty):
const gtx = pcl.gtxClient.createClient(
Buffer.from(blockchainRID, 'hex'),
Now that the connection is set, you can start to create transactions and queries.
Make a transaction (with operations inside)¶
You need to create the transaction client side, sign it with one or more keypairs, send it to the node and wait for it to be included into a block.
First, let's create the transaction and specify the public key of the person(s) that will sign it.
To create a random user keypair on the go you can use
makeKeyPair() function.
const user = pcl.util.makeKeyPair();
const tx = gtx.newTransaction([user.pubKey]);
Once it is created is possible call as many operations as you want.
tx.addOperation('insert_city', "Tel Aviv");
tx.addOperation('insert_city', "Stockholm");
/* etc */
Now, all is left is to sign and post the transaction
tx.sign(user.privKey, user.pubKey);
tx.postAndWaitConfirmation() returns a promise, and thus can be
Queries also make use of
gtx client.
gtx.query accepts as first parameter the name of the query as specified in the module and
then an object with as parameter name the variable name as specified in the query module.
function is_city_registered(city_name) {
return gtx.query("is_city_registered", {city_name: city_name});
will work with query specified in the Rell file:
query is_city_registered(city_name: text): boolean {
return (city @? { city_name }) != null;
gtx.query(queryName, queryObject) also returns a promise.


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In the Guardian V. S. Naipaul looks back on his evolution as a writer.
I had no great love for [Trinidad], no love for its colonial smallness. I saw myself as a castaway from the world's old civilisations, and I wished to be part of that bigger world as soon as possible. An academic scholarship in 1950, when I was 18, enabled me to leave. I went to England to do a university course with the ambition afterwards of being a writer. I never in any real sense went back.
So my world as a writer was full of flight and unfinished experience, full of the odds and ends of cultures and migrations, from India to the New World in 1880-1900, from the New World to Europe in 1950, things that didn't make a whole. There was nothing like the stability of the rooted societies that had produced the great fictions of the 19th century, in which, for example, even a paragraph of a fairytale or parable by Tolstoy could suggest a whole real world. And soon I saw myself at the end of the scattered island material I carried with me.
But writing was my vocation; I had never wished to be anything but a writer. My practice as a writer had deepened the fascination with people and narrative that I had always had, and increasingly now, in the larger world I had wanted to join, that fascination was turning into a wish to understand the currents of history that had created the fluidity of which I found myself a part. It was necessary for me as a writer to engage with the larger world. I didn't know how to set about it; there was no example I could follow.
The practice of fiction couldn't help me. Fiction is best done from within and out of great knowledge. In the larger world I was an outsider; I didn't know enough and would never know enough. After much hesitation and uncertainty I saw that I had to deal with this world in the most direct way. I had to go against my practice as a fiction writer. To record my experience as truthfully as possible I had to use the tools I had developed. So there came this divide in my writing: free-ranging fiction and scrupulous non-fiction, one supporting and feeding the other, complementary aspects of my wish to get to grips with my world. And though I had started with the idea of the nobility of the writer of the imagination, I do not now rate one way above the other.
When I finished high school I wanted to be a writer, and I studied journalism when I first started college (before dropping out). But I had already discovered that I couldn't write very convincing dialogue, and my journalism professor told me I wrote in a very "scientific" style. So I ended up writing analytical essays, academic arguments, and—much later—travelogues. My youngest brother is the fiction-writer in the family, as was our maternal grandmother, who alternated between school-teaching and (mostly religious) writing.


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Henschel Hs 126
The Henschel Hs 126 was a German two-seat reconnaissance and observation aircraft of World War II that was derived from the Henschel Hs 122. The pilot was seated in a protected cockpit under the parasol wing and the gunner in an open rear cockpit. The prototype aircraft frame was that of a Hs 122A fitted with a Junkers engine. The Hs 126 was well received for its good short takeoff and low-speed characteristics which were needed at the time. It was put into service for a few years, but was soon superseded by the general-purpose, STOL Fieseler Fi 156 Storch and the medium-range Focke-Wulf Fw 189 "flying eye".
|Henschel Hs 126
|Henschel, AGO
|First flight
|August 1936
|Primary users
The first prototype was not entirely up to Luftwaffe standards; it was followed by two more development planes equipped with different engines. Following the third prototype, ten pre-production planes were built in 1937. The Hs 126 entered service in 1938 after operational evaluation with the Legion Condor contingent to the Spanish Civil War.
Operational history
By the time the Hs 126 A-1 joined the Luftwaffe, the re-equipping of reconnaissance formations was already well advanced, and by the start of World War II in September 1939, Germany already had several good short range observation and long range recon aircraft. Late in the war, it was used in glider tug and night ground attack roles, but production of the Hs 126 ended in 1941 and the type was retired from the front line in 1942.[1] On 12 September 1943 Henschel 126s were used to tow 10 DFS 230 attack gliders from Pratica Di Mare airfield near Rome to the Gran Sasso on a raid to rescue Benito Mussolini. Mussolini had been imprisoned there after being deposed by the Grand Council of Fascism, followed by a decree from the King of Italy. The Henschel was a smaller tow plane compared the usual Junkers Ju 52 three-engine tow plane and struggled to gain altitude to clear the mountains on the way. This led to confusion when the lead Kette of three gliders turned to gain altitude allowing Otto Skorzeny's group of three gliders to assume the lead.[2]
At the outbreak of Greco-Italian War, the Royal Hellenic Air Force (Ellinikí Vasilikí Aeroporía, RHAF) had in service 16 Henschels, with 3 Observation Mira, under III Corps, based in Thessaloniki and Veria. Two days after the start of the war, on 30 October, there was the first air battle between Italian Regia Aeronautica and the RHAF when some Henschel Hs 126 of 3/2 Flight from 3 Observation Mira took off to locate Italian Army columns. But they were intercepted and attacked by Fiat CR.42s of 393a Squadriglia. A first Henschel was hit and crashed, killing its observer, Pilot Officer Evanghelos Giannaris, the first Greek aviator to die in the war. A second Hs 126 was downed over Mount Smolikas, killing Pilot Officer Lazaros Papamichail and Sergeant Constantine Yemenetzis.[3]
Specifications (Hs 126 B-1)
General characteristics
- Crew: Two (pilot and observer/gunner)
- Length: 10.9 m (35 ft 7 in)
- Wingspan: 14.5 m (47 ft 7 in)
- Height: 3.8 m (12 ft 4 in)
- Wing area: 31.6 m2 (340 ft2)
- Empty weight: 2,030 kg (4,480 lb)
- Loaded weight: 3,090 kg (6,820 lb)
- Powerplant: 1× Bramo 323 9-cylinder radial engine, 625 kW (850 PS)
- Maximum speed: 356 km/h at 3,000 m (221 mph at 9,850 ft)
- Range: 998 km (620 mi)
- Service ceiling: 8,530 m (28,000 ft)
- Rate of climb: 550 m/min (1,800 ft/min)
- Wing loading: 97.8 kg/m2 (20.1 lb/ft2)
- Power/mass: 0.21 kW/kg (0.13 hp/lb)
- 1 × forward-firing 7.92 mm (.312 in) MG 17 machine gun
- 1 × flexible 7.92 mm (.312 in) MG 15 machine gun in the observer/gunner
- Up to 150 kg (330 lb) of bombs
See also
Aircraft of comparable role, configuration and era
- ANF Les Mureaux 113
- LWS-3 Mewa
- Westland Lysander
- Mitsubishi Ki-15
- Stinson L-1 Vigilant
- Stinson L-5 Sentinel
- Polikarpov Po-2
- Aeronca L-3 Grasshopper
Related lists
|Wikimedia Commons has media related to Henschel Hs 126.
- Simkin, John. "Henschel Hs 126B." Archived 2012-12-03 at the Wayback Machine Spartacus Educational. Retrieved: 12 September 2012.
- Raid: Rescuing Mussolini, Robert Forczyk- Osprey Publishing, April 2010; 64 pages; ISBN 9781846034626
- Carr 2012, p. 4-17
- Carr, John, On Spartan Wings, Barnsley, SY: Pens & Sword Military, 2012. ISBN 978-1-84884-798-9.
- Green, William. Warplanes of the Third Reich. London: Macdonald and Jane's Publishers Ltd., 1970 (fourth impression 1979). ISBN 0-356-02382-6.
- Luranc, Zbigniew. Henschel Hs 126 - Skrzydła w Miniaturze (in Polish). Gdańsk, Poland: Wydawnictwo Avia-Press, 1995. ISBN 83-902964-0-3.
- Nowarra, Heinz J. Nahaufklärer, 1910-1945: Die Augen des Heeres (in German). Stuttgart, Germany: Motorbuch Verlag, 1981. ISBN 3-87943-808-0.
- Pęczkowski, Robert and Robert Panek. Henschel Hs 126. Sandomierz, Poland/Redbourn, UK: Mushroom Model Publications, 2008. ISBN 83-89450-40-2.
- Smith, J. Richard and Anthony Kay. German Aircraft of the Second World War. London: Putnam & Company Ltd., 1972 (third impression 1978). ISBN 0-370-00024-2.
- Wood, Tony and Bill Gunston. Hitler's Luftwaffe: A Pictorial History and Technical Encyclopedia of Hitler's Air Power in World War II. London: Salamander Books Ltd., 1977. ISBN 0-86101-005-1.


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From the idyllic, wide valley floor to the eternal ice of the Hintertux Glacier – in summer or winter, Zillertal offers unforgettable highlights for everyone. There are a number of excursions on offer – ranging from educational tours of mines, alpine dairies etc. or museums full of history, to various open air attractions.
Welcome to Zillertal! Where sun, snow and well-being become the meaning of life and where great freedom tempts you to let go.
Award-winning traditional inn, toque-holding restaurants, romantic lodges and stylish mountain restaurants guarantee unique taste experiences.
Find the right accommodation for your perfect winter holiday in Zillertal – from cosy private rooms to luxury five-star hotels.
Zillertal is located in the west of Austria and is the widest of the side valleys on the south side of the Inntal Valley. Get to Zillertal safely and comfortably.


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Three individuals were recognized for their excellence in pork production and contributions to the pork industry. Those chosen for these honors are nominated by their peers and selected by the MPPA Board of Directors.
The Distinguished Service Award, Michigan Pork Producers Association's highest honor, is bestowed on those individuals who have made a significant lifetime contribution to the pork industry at both the state and national levels. Receiving the award this year is Brant Graham.
Brant serves as the Territory Manager for United Animal Health, based in Holland, MI. He has been helping producers improve efficiency in their operations for many years and has proved his dedication to the industry.
The Contract Grower Award is presented to an individual for their excellence in production at a contract farm operation. This year's award was presented to Brad Blonde of Precision Pork in Litchfield, MI.
The Swine Herd Manager Award is given annually to an individual who exemplifies superior commitment, knowledge and leadership in their role as a manager of a pork production operation. MPPA awarded the Swine Herd Manager Award to John Guikema with Snider Farm in Hart, MI.


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The upside to lockdown for us was time. We used the time to be more resourceful, more experimental, and a bit more considerate with what we had and how we used things. I remember the one small container of glue we treated as if it was gold, knowing I could get more, but not as easily as I normally would, and being that bit more careful while using it. And in the case of this craft, being very purposeful with everything we used, drops of glue or dried flower heads.
But this DIY floral monogram craft is both beautiful and incredibly economincal. A perfect addition to a bedroom, from a nursery of a newborn to a grandparents room. I have often admired floral monograms, but have never made my own. But it is fairly straightforward, although a bit time consuming (call it a labour of love). We used some pressed flowers we had from a previous craft (more on that soon!) and I worked on this with my seven and four year old each day for an hour or two while the baby napped.
The outcome — we captured the beauty of a season from walks in the countryside, and fields of wildflowers happily blowing in the sunshine. With these flowers we created a special monogram letter for our lovely fifteen year old goddaughter. A little special gift during a season of unusual lockdown birthdays. See, very resourceful indeed.
Materials needed:
How to make your floral monogram :
And if you love this floral craft, here are a few other nature inspired posts to make summer special. Floral luminaries, solar prints, seashell mobiles, and even these seashell necklaces so your mermaids can enjoy their summer in style! Enjoy.


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"My philosophy in the studio or mixing comes from many years of being around producers, engineers and mixers whom I have respected. It's always different from artist to artist and session to session. I'm usually full of options when I'm engineering and try not to get locked into anything. Also having a positive attitude helps and being able to work around things, when technical situations come up and they often do. It helps to have the ability to build trust when you're working with an artist for the first time. For me, I must feel the mixes before presenting it. You are creating your version of what the artist had in mind when they wrote their song. Songs are sometimes personal and to be able to capture it is an art and a thrill."
Chaka Khan
Steve Vai
Ike Turner
Dweezil Zappa
Ozzy Osbourne
Patti Laballe
Jimmy Jam & Terry Lewis
Peter Frampton


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As nationally recognized experts on adoption law, we share our in-depth knowledge with birth mothers, adoptive parents and others. Because the more information you have, the smarter your decisions will be. View some of our most popular blog entries below.
- Birth Mothers! Do you wonder what your grown child will think?
- What is the difference between Open and Closed Adoptions?
- Adoption Agency vs. Adoption Attorney – a birth mother perspective
- Overview of an Adoption Plan
- Adult Adoptions: A Growing Trend in Florida
- Adoptive Parents: Separate Expectations From Reality
- What is a Board Certified Adoption Attorney in the state of Florida?


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They are the big stars of Hindi films. Each of them is capable of carrying the film on their own shoulders. Indian people love them. They are from the top 10 famous actors in Bollywood. Amir Khan, Salman Khan and Shahruk Khan. You can be described as the ultimate classic character in Hindi cinema.
Image Source: Google
Aamir Khan is a perfectionist among the three. He only makes one film at a time and is very careful with extensive research to fit his roles. In every procedure, he has many procedure commands. He has the fewest films compared to the other two.
Salman Khan is the most passionate and unexpected of the three. So far, Salman has made more than a hundred films without a producer and director inclination – a maximum of three inns.
She debuted as a romantic character in Maine Pyar Kiya (I'm in love), the biggest hit of 1989 and one of the biggest hits of the 1980s. For this film he won the Filmfare Award for Best Male Debut. Salman won two other Filmfare Awards in his career.
Shahruk Khan is the most excited, most restless and energetic of the three khan. As a neighbor's boy, he immediately made contact with the audience, first in his television series in the late 1980s. Unlike the other two, he doesn't belong to any film family.
Soon to fame for his great work on the series and signed in Shahrukh making his debut as a romantic character in Deewana. He won fourteen Filmfare Awards, eight for best actor, a record. He's an expert in all genres – romance, comedy, and action, and his staccato dialogue style is always sought after by fans.


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I've done a lot of writing this week, it's been really productive and I'm very pleased as I was really struggling, but I started a new project and I've been really inspired with it so Yay!
Today I'm volunteering at a charity football match all day, with ex-players from my favourite club so I'm not going to be star struck or ogling or acting like a child at all..nope, not me!
I also hit a huge weight loss target this week, I've now managed to lose 34kgs/6st since I started this journey in November 2015! It's been a long journey and so hard at times! I've also found out this week I've been shortlisted to be an Ambassador for This Girl Can in Bristol, which is really cool.
Right, here is my bookish update for this week…I'm gonna toddle off and find me some football players!
Currently Reading
What I've Read
New Books
Bought / Freebies
Book Post
My most recent reviews are: Ranger Heat Series, Blackwing, Made in the Image of the Goddess and Cocktails and Dreams
Other Posts
This week I was on the book blitz for Simple Man where I shared the authors playlist, book blitzes for Sins of the Heart and Not his Werewolf, the blog tour for Second Snowfall where I interviewed author Sarah Fischer. On The Bookshelf this week was author C H Clepitt.


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Quantifying elemental carbon (EC) content in geological samples is normally challenging
July 30, 2017
Quantifying elemental carbon (EC) content in geological samples is normally challenging because of interferences of crustal, sodium, and organic material. expanded heating situations (STN120) showed the best ECT/ECR proportion (0.86) while a low-temperature process (IMPROVE-550), with heating system period adjusted for test loading, showed the cheapest (0.53). STN ECT was greater than IMPROVE ECT, as opposed Selumetinib to outcomes from aerosol examples. A higher top inert-mode heat range and extended heating system situations can elevate ECT/ECR ratios Selumetinib for pretreated geological samples by advertising pyrolyzed organic carbon (PyOC) removal over EC under trace levels of oxygen. Considering that PyOC within filter raises ECR while decreases ECT from your actual EC levels, simultaneous Selumetinib ECR and ECT measurements would constrain the range of EC loading and provide info on method overall performance. Further assessment with standard reference point components of common environmental matrices facilitates the results. Char and soot fractions of EC could be additional separated using the IMPROVE process. The char/soot proportion was low in road dusts (2.2 typically) than in soils (5.2 typically), probably reflecting automobile emissions. The soot concentrations decided with EC from CTO-375, a 100 % pure thermal method. Launch Elemental carbon (EC, known as dark carbon frequently, BC, in earth and sediment analysis) is normally produced from imperfect combustion of biomass or fossil gasoline [1,2,3]. EC isn't a well-defined materials; rather it comprises a spectral range of carbonaceous components that may be seen as a continuum from char, we.e., partially-combusted solid residues, to graphitized soot highly ? clusters of carbon contaminants produced via gas-phase procedures [1,2,4]. EC has a significant function in the global carbon routine [2], the Earths radiative stability [5], and individual health [6]. Furthermore, biochar, an constructed BC from pyrolysis of biomass that's utilized as pre-dry biomass feedstock and charcoal briquettes frequently, plays a part in environmental benefits such as for example mitigation of environment transformation, improvement of soils, and reduced amount of environmental air pollution in both agricultural and organic ecosystems [7,8]. There is absolutely no universally accepted way for EC quantification still. Evaluations of different options for calculating EC have already been conducted within the last 10 years for geological components [9,10,11] as well as for aerosol examples [12,13,14,15]. Different strategies were proven to report an array of EC focus (e.g. variations of up to 571 instances for soils and sediments [11] and up to a factor of 7 for a given aerosol samples [12]). This has been attributed to two factors: 1) the incorrect identification of non-EC as EC and vice versa and 2) large variations in selectivity of the various techniques across the EC continuum [10]. For both geological and aerosol samples, matrix effects contribute to the inconsistencies among methods; indeed some methods have shown higher EC for one set of samples but lower EC for the others relative to a common benchmark Rabbit Polyclonal to KITH_VZV7. [12]. Thermal/optical methods are the most widely used and accepted approach for aerosol EC analysis [12,16]. A variety of modifications to these methods such as the IMPROVE (Interagency Monitoring of Protected Visual Environments) [17,18], NIOSH (National Institute of Occupational Safety and Health) [19], STN (Speciation Trends Network, a modification of NIOSH) [20] and EUSAAR (European Supersites for Atmospheric Aerosol Research) [21] protocols, have been developed in the last three decades. The methods are based on that low-volatility EC is not liberated in an inert atmosphere under temperatures >350C; this allows the more volatile organic carbon (OC) to be separated from EC. Typically two phases of heating are implemented on aerosol particles collected on filters. First, OC evolves in inert atmosphere, where pyrolysis may occur. Since pyrolyzed organic carbon (PyOC) is artificial EC created in the measurement process, a laser is used to monitor the PyOC formation through the decrease of filter reflectance or transmittance to perform an optical correction. The second phase involves heating in an oxidizing atmosphere in which both EC and PyOC are combusted. An organic pyrolysis (OP) fraction is defined as the carbon.


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The stock market is a mystery. Sometimes it makes sense and it seems rational, such as when stock prices rise with expanding earnings growth and general business conditions. And conversely when stock prices typically fall with declining earnings and sales growth. At other times the stock market does not make sense when the news and business conditions are out of whack with the trend of prices. The stock market precedes the business cycle. The four primary phases of stock markets are Accumulation, Mark up, Distribution & Mark down.
Holding the Ice
Price behave differently when trend begins each bar tell us the story. On Dec 28th market made a high and then price started falling with high volatility at that point our bias was bullish. On 11th of Dec Market started again a rally where bears got trapped and broken all time high with marginal amount. Almost 2 weeks market has sustained at all time high where composite operators had enough time to dilute their portfolio for short term. Then again volatility/momentum started with gap up & gap down, which is unnerving the investors most of the retail investors stop loss started hitting.
Now the price at crucial juncture. Market should move above the SCLX & sustain then I would consider as bullish bias , if not then we can conclude this as distribution pattern with subsequent target as 30,300 & 29,500.
ICICI Bank Flattens :- Demand is drying up and the price rally is struggling… any push downside with high volume could easily attain our targets.
Flat & Sloping downward formation, it can potentially have lower lows with spring being lower point of TR. Leading stocks shows sometimes weakness one strength bar can take the price up.
Coronavirus can be as negative to the stock market. However, some companies saw this as an opportunity, one of the company is 3M which produced face mask.. my expectation the stock can reach to 40k within short span of time.


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By Valorx
$40 USD per user per month
Discounts available for nonprofits
Latest Release
Bring Microsoft Excel to the forefront of your Salesforce allowing users to manage every single Salesforce interaction.####If you interact with any Salesforce data, try Valorx ultimate Excel connector – a mix of speed, amazing UI and bulk data processing
We show Salesforce accounts that are linked to Trailblazer.me and have the Manage Billing permission. If your account is missing, check that you connected the account to your Trailblazer.me profile. Then verify that you've been assigned the Manage Billing permission in the related org.


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Welcome to the Digital Meltd0wn Music Blog. The aim of this blog is to introduce the readers to music that is out of print, commercially unavailable, released under a creative commons license, or with approval by the featured artist. The majority of the music posted here would be considered underground. Don't let that fool you into thinking that the music featured here might be any less enjoyable than that of the mainstream artists you hear on the radio, as this couldn't be further from the truth. Please keep in mind that the majority of the artists that appear on this blog, along with their respective record labels, are not wealthy and need your support. If you enjoy the material that you find here, please support the artists/labels by purchasing their material afterwards. If you are an artist/label that would prefer to have your material removed from this blog, simply leave me a comment, and I would be more than happy to promptly remove the offending post. In addition to running this blog, I also work on a few other projects during my spare time. You can find links to those, as well as a few other important links associated with Digital Meltd0wn in the menu bar above.
Wednesday, September 27, 2006
Buckethead - Giant Robot
This is my favorite album by the guitar god who wears a white mask and a KFC chicken bucket on his head. Buckethead also happens to be my favorite guitar player currently alive, and one of the most original artists out there. I have listened to the majority of his albums and I feel that this one best displays Buckethead's musical range. Most of the songs on the album are primarily instrumental, and it is dotted with songs containing lyrics that are both fun and morbid at the same time. Some of the songs on this album are hit and miss for me. There are those that I don't care for too much, but there are those that stand out which I absolutely love. My favorite songs on the album are the instrumentals, Welcome to Bucketheadland and Binge & Grab, which are both straight forward rock and roll with blistering solos. I Come In Peace is another great song with crazy lyrics and incredible music. Any Star Wars fan will love his rendition of the various songs from the movie. I Love My Parents is perhaps one of the most beautiful songs I've ever heard and a complete change of pace from the rest of the songs on the album. This album comes highly recommended for those of you who like experimental music or just fantastic guitar players, and would be a great starting point for anyone who's not familiar with Buckethead.
Track List
1. Doomride
2. Welcome To Bucketheadland
3. I Come In Peace
4. Buckethead's Toy Store
5. Want Some Slaw?
6. Warweb
7. Aquabot
8. Binge And Grab (Instrumental Version)
9. Pure Imagination
10. Buckethead's Chamber Of Horrors
11. Onions Unleashed
12. Chicken
13. I Love My Parents
14. Buckethead's TV Show
15. Robot Transmission
16. Pirate's Life For Me
17. Post Office Buddy
18. Star Wars
19. Last Train To Bucketheadland
Download: Buckethead - Giant Robot (100.8MB)
Labels: Experimental, Instrumental, Metal
1 comments:
- Anonymous said...
Awesome man, thanks for uplaoding such beautiful tunes
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First time DMT – what to expect and a little advice
DISCLAIMER: I am not recommending anyone take illegal substances, but many people who are interested in exploring different states of consciousness through yogic practices and mediation and so on are often interested in how some psychadelics can serve as a sort of 'shortcut' to similar states. In the interests of education and allowing grown adults to make up their own minds in the most informed way possible, I am writing about my own personal introduction to DMT.
I am a relatively experienced 'consciousness explorer' and have been interested in the ayahuasca ceremony and DMT for about 5 years now. Well, I just tried DMT for the second time and it blew my mind, for the second time. Having read about other people's experiences, I have noticed a couple of differences between other trips and my trips: Firstly, most people go on about seeing so much: I had some visuals, but they were secondary to physical sensations and crazy states of awareness. Secondly, people seem to experience time slowing down and 10 minutes feeling like hours, whereas I found that around 12 minutes turned out to be what I would have estimated to be 2 to 3 minutes. The DMT trip is so fast!
First the visual rush of patterns was there, fractal forms growing out of every detail (like my friends freckles!). I closed my eyes and some of the detail was lost, but patterns flashed across my 'screen'. This culminated in very bright lights, as though someone had just turned on a lot of moving strobe lights right in front of my face – I still had my eyes closed. The sound was very particular, similar to something I have read somewhere, it was somewhere between 'cellophane being ripped apart' and 'the fabric of the universe being torn asunder'. I felt a brief glimmer of a presence, a presence which had been there the first time but which I only recognised as a presence in that moment of the second trip. Visually I barely detected something like and Aztec mask with a grin, masked in colours and movement. And the presence did indeed seem to encourage me to let go and pass through to the other dimension.
My body literally melted to nothingness, seemingly dripping away in globs. I felt like I was in some way experiencing the first time and the second time simultaneaously, in fact I was experiencing all times simultaneaously because I was connected to all times and all spaces. I passed through a type of plastic film which seemed to separate my normal reality from the other reality. I appeared to be there on the other side, almost as though I were only a few meters away. But in reality I was gone. I was no longer. My body was not. The visuals were secondary to this. It was pure sensation, physical and emotional.
And I just kind existed in another plane, incredulous that I could possibly feel something so far removed from reality. I remember muttering a few words, 'holy shit…. oh my fucking god… oh wow' and I noticed the music again, but far in the distance, tinny. Normality was starting to return. I even felt that I had moved closer to the plastic film which separated reality from the dreamspace. I was about to be unborn and return to my old body. As I returned to my body, I started to notice I actually had a body, and I found myself saying 'oh, hello body. There you are!'
I remained closed eyes and in awe for a few more minutes. Within 20 minutes of taking it, I was discussing the experience with friends and feeling incredibly normal.
This is one of the most amazing things about DMT: you become SO SO far removed from reality that when you find yourself back and feeling normal it almost feels like you couldn't have really experienced that. With acid, you feel weird the next day and have moments of weirdness over the next week or so.
I also felt a clarity of thought after the experience, but I have a feeling this was relative to the complete lack of clarity a few moments before. An appropriate comparison would be to say that after an earthquake, I'm sure the floor feels more stable than normal.
Now, I have always been very aware of all physical sensations in my body, for example: I like to lie bed before I sleep and feel the blood pumping in my toes, and my legs, or anywhere. I like to hear rythms and beats and music in ambient sounds (like traffic or washing machines). So I think that this aspect of my attention in general affected my trip. I think this is an indication of how much your own personal habits of thought and attention and mood patterns will affect thr DMT trip. I am generally a very calm person who is very interested in learning positively from experiences.
For anyone thinking of doing it, I would say, do your homework. Read the following article carefully
It has some really excellent advice (except for the weird diet stuff, but each to their own). Be ready to leave reality behind. It's likely that you will have moments where you feel SO far removed from reality, from yourself, that you will doubt that it will be possible to return. But know that you will.
You will be so far gone that you should try it in a safe, relaxing place where you feel comfortable. And with a friend or two who will respect your trip and not make any noise. You don't want to be worrying about people coming into the room unexpectedly.
Think about your own habits of thought and attention. If you suffer from anxiety, you should think carefully about whether you can handle completely giving yourself over to another state of existence for a short time. You will lose the ability to control your environment and your thoughts. Be positive. If you feel that a bad trip is likely for you, don't do it now. Read more experiences. Learn more about it. If you are unfortunate enough to have a bad sensation when you do try it, just remember, IT WILL END and you WILL feel normal within an hour or so. Probably emotionally affected (hopefully euphoric), but physically and cognitively normal. Just don't panic. If you are generally a happy person who is happy to go with the flow, chances are you will feel sad that it ended so quickly.
This is both the good and bad thing about DMT: it is so intense, unreal and disconnected, you probably want it to be short. But it is also so intense, astounding and rich, you will feel that there wasn't enough time to fully appreciate it.
Anyway, I just wanted to share my experience with you guys and hopefully help someone make the right decision about whether or not to try this incredibly intense other-worldly experience.
For the record, as much as I like many of the descriptions of trips out there, I do not think this is a drug which necessarily gives us much insight into reality and other dimensions and the possibility of life after death. It is a way of changing your brain chemistry and having a really fucking intense and short trip at lightspeed through another reality (purely in your mind), a trip where you travel so fast you barely have time to notice half of what is there. This is an incredible demostration that your reality is decided by your brain, and your brain is capable of transforming your experience of reality in unimaginable ways which cannot be done justice in human language. Well, at least not by me.
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I highly recommend smoking DMT at the peak of a mushroom trip. The two compliment each other quite well.
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One of the most exciting things about PBS's time at the Television Critics Association press tour is that, over the course of two days, critics get exposed to programming that covers an incredibly diverse range of subjects, from deep space exploration to nature to great poets to world-changing wars. But this summer, many of the panels took at least a moment to acknowledge the currently precarious state of public television programming in the United States, due to a proposed federal budget that would eliminate funding for PBS.
As reported on Sunday, PBS president and CEO Paula Kerger explained to critics that should the proposed budget go through, PBS had "no Plan B" for what would happen next. Many of the other speakers who appeared over the following two days had plenty to say about what effect this would have on the kind of programming they create, should this budget pass.
Below is a round-up of their comments, edited for clarity but otherwise presenting a sobering, if not tragic picture of how important widely and freely available public television is to America.
Ken Burns, director/producer, "The Vietnam War"
You won't be shocked to know that Burns, an icon of the documentary world whose legacy goes back decades, is more than passionate about the importance of public funding for the arts and humanities:
"I've been up and testified on the Senate and House side many times, appropriations or authorization for [the National Endowment for the Arts, the National Endowment for the Humanities, and the Corporation for Public Broadcasting]. And I think they're hugely important and no more important than they are right now. Having a free press and having an independent press, having free history, an independent history, is incredibly important, particularly as we begin to feel the sort of quicksand of those who are willing to manipulate the truth and have alternative or false facts and things like that…
"These minuscule budgets, you know, .02 percent of the federal budget. They mean really nothing. They're just ideological footballs, and yet almost every state in the union, [Kerger] describes this system of more than 350 stations, that people assume that we're there for Nob Hill and Beacon Hill, when, in fact, some of our best ratings are in Alaska and Arkansas, or West Virginia or Oklahoma. This is really who we're talking to.
"And we're trying so hard as a network to reach out to all Americans with a brand that they can feel comfortable with. While we count on the marketplace to do lots of things in our lives, and it's a wonderful, positive element in our lives, the marketplace doesn't come to your house at 3:00 a.m. when it's on fire. The marketplace does not have boots on the ground in Afghanistan at this moment. And while I wouldn't ever suggest that public broadcasting has anything to do with the defense of the country, I think with every fiber of my being that it makes our country worth defending by what it has added to our national conversation."
Robert Costa, host, "Washington Week" and Jeff Bieber, executive producer, "Washington Week"
When asked about whether he thought the Trump administration's budget guidelines had a chance at success, the host of the political panel show said:
"I think the federal budget Republicans have often had a complicated relationship with public media, but I think if you look at where this Trump administration is going on culture, on arts funding, it's hard to predict. We haven't gotten a clear signal about where they're going with their appointees on a lot of these different fronts with the arts. So, as a reporter, I'm still in the wait-and-see mode when it comes to where this all goes with public television and public media. It's hard to say, because the President has not just given many talks or public comments about his vision for all of this."
Bieber followed with an optimistic note, saying:
"And I have to say, when you look at the letters and emails that we get from viewers and users online around the country when we did the health care show, we were inundated with thousands and thousands of viewers, hungry for information about health care, hungry for information about what's going on in the country. So, as it's been stated, public media, with all of its many stations around the country, need the support of the public money to survive. 'Washington Week' is doing quite well with corporate funding, foundation funding, and funding through public media through the government."
Rebecca Eaton, producer, Masterpiece
The woman who brings American audiences series like "Downton Abbey" and "Victoria" also attempted to put a positive spin on things, making note that PBS was not the program's sole budget source:
"I have to say that, for Masterpiece, our primary funder, of course, is PBS, but I can't let it go without saying the other things that make PBS tick, in particular that make Masterpiece tick, which is the underwriting we get from Viking River Cruises, and this is not just knee jerk thanking them. This is sincere. These guys have been with us for a number of years now, and they intend to be with us next year, and we are hugely grateful for that and completely dependent on them, as well as PBS, as well as the extremely generous people who donate to the Masterpiece Trust. These are individuals who give us money, not to an endowment, but to spend down money to buy these programs. So I want to go on record with you telling you that."
Linda Simensky, Vice President, Children's Programming, PBS
In discussing "The Ruff Ruffman Show," an upcoming spin-off of the long-running "Fetch! with Ruff Ruffman," Simensky noted why children's programming like the science-focused animated series was important for Washington to fund:
"We are up here because we all think it's important, but I think that the real issue is, and I say this mostly as a parent, when you are sitting down in front of the television or whatever device with your kids and you are about to watch something, as a parent, you hope that your kids will get something out of it. And if you are a kid, you are really just looking for good character, a good story. And so if you can have something that has a good character, a good story, and some substance, I think that's really the best thing of all for kids.
"So that's what we aim to do at PBS, is offer great characters and great stories but also have some substance there, because I think what we are really imagining is that kids will be watching content, and it will be role modeling for them all sorts of things. I mean, they always say, 'You learn something from everything you watch.' It's not always something good. And I think, from our shows, what you might be getting is that there are these topics that are really interesting, and you will be watching characters who are passionate about them. And as a viewer, you might be thinking, 'I'm really interested in that,' or you might be thinking, 'Oh, I can think of other things I'm interested in, too.' So I think it's more than just teaching. It's role modeling enthusiasm for topics. And, yes, I think all of PBS, we think that's incredibly important for kids, and fun."
Jonathan Groff, performer, and Andrew Wilk, producer, "Live from Lincoln Center"
After an incredible live performance from the Tony-nominated actor on Monday evening (including a Sondheim tribute and a "Hamilton"/Beyonce mash-up), Groff and Wilk sat down for a Q&A that addressed the question of what it would mean, should federal funding to the arts be cut.
Wilk noted the importance of donors to "Live From Lincoln Center," but also acknowledged the impact that losing their baseline funding would have:
"I think that Lincoln Center would survive — I think the more cataclysmic affect is the ripple effect. Because while for every dollar of funding that we get from the NEA we get another nine dollars, it's the knock-on effect of losing that grounding funding. I do speaking engagements all over the northeast and the one comment I get consistently, that is universal, is you're providing me with something that I can't either afford to get to or I'm not able to get to. PBS is bringing you programming that you just otherwise would not have. We couldn't do it without public broadcasting."
During the session, Groff had previously spoken passionately about the impact that, as a young man growing up in rural Pennsylvania, getting to see and hear performances like Patti LuPone singing "Being Alive" from Stephen Sondheim's "Company" had on him. So when asked what he thought about the potential for arts funding being cut, Groff added:
"The institutions in New York and LA, the big cities, they've got a lot of donors and they can find ways to modify and survive. But the heartbreaking thing would be the cuts to the people all over the country, where the arts… Giving the opportunity for kids to express themselves artistically is just… vitalist is the word that comes to mind, and impossible to miss. It's everything. When I go back to my high school or work with the kids in New York, I see the way that music and the arts opens up people's minds and brains and lives.
"The ripple effect of having the arts in the country is so essential and major and unmissable."
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Wu Lyf were watched by Johnny Marr as they played in a tunnel as part of the Manchester International Festival last night (July 16).
The former guitarist with The Smiths and The Cribs was spotted among the crowd at the specially-constructed venue on Great Bridgewater Street.
It was the secretive band's only UK festival show of 2011 – and their first of the year in their adoptive hometown.
The four-piece performed tracks from their recently released debut album 'Go Tell Fire To The Mountain', along with a new untitled song which had a garage-rock feel.
Kicking off with 'L Y F', the band continued with the aptly-titled 'Cave Song' and also played recent single 'Dirt'.
They later played two encores, the first consisting of 'Heavy Pop' and 'We Bros' and the latter seeing them debut their new song.
Wu Lyf played:
'Cave Song'
'Such A Sad Puppy Dog'
'Summas Bliss'
'Spitting Blood'
'Concrete Gold'
'14 Crowns For Me & Your Friends'
'We Bros'
'Heavy Pop'
'Untitled New Song'
Wu Lyf are due to head to the US later this month to play dates in New York and Los Angeles before moving on to festival slots in Japan, Sweden, Norway, Belgium and France.
Manchester International Festival closes today (17) – see MIF.co.uk for more details.


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I just finished uploading this House for sale, 3025 2ND Ave, Vancouver West, British Columbia
A seaside character delight! Only 1 blk from the beach. A fantastic family home on a large 40x120 VIEW lot with a spacious garden level 2 bedroom suite. Home has been completely restored with numerous upgrades including new plumbing, wiring and sprinklers. Enjoy original features with modern upgrades. Stunning views of the North Shore Mountains and city lights. Suite has been city approved for separate strata title and can be easily subdivided as its own address.


text: I am so ready for the spring! While the weather is still cold here in Ontario, last week I found myself looking for some spring inspiration. I started packing away my thick sweaters, bought some tulips and opened a pretty bottle of Rosé. The Domaine des Nugues Beaujolais-Villages Rosé stood out to me at the wine store, as I don't often see Beaujolais Rosés. And it did not disappoint in bringing me a little taste of spring! This is a bright, light and refreshing Rosé bursting with spring flavours. Made using 100% Gamay grapes, this dry Rosé has lovely flavours of floral, citrus and red berries with soft hint of herbs. The perfect spring combination! The Domaine des Nugues Beaujolais-Villages Rosé is available in the LCBO Vintages for $17.95. This wine of the week will give you that taste of spring you're looking for!


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More Last Minute Sweets and Free Whoopie Pie Alert
If waiting in line at Lily O'Briens doesn't appeal to you for last minute V-Day treats there is also the Sweetery Truck. They'll be parked on 59th and 9th from 4-7:30pm tonight, and you can get a free whoopie pie using this deal from Tenka.
Posted by Zach Brooks at 2:45 pm, February 14th, 2011 under Asides, Free Stuff, Street Sweets.
0 Comments | RSS comments feed for this post


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Apple's iOS 8, the so-far-theoretical major upgrade to Apple's iOS 7 mobile operating system, ought to show more diagnostics information and maybe take a lesson from iOS 6 in visual style, say iOS application builders looking at the future of Apple's popular platform.
Developers have very strong feelings about where Apple should take the OS. The company released iOS 7 for its iPhone smartphone and iPad tablet in September, and it was considered a departure from previous versions, with a different look, but its HTML5 capabilities were buggy.
With iOS 8, Apple could look at "little things," such as spatial awareness capabilities, says Peter Nowell, a designer at Peter Nowell Design. "When people opened up an iOS 6 app, they were able to pretty quickly understand what they were looking at and where things were. Often in iOS 7, it takes five or 10 more seconds. That's unnecessary, and it might just be an indication that the visual style won't hold up over time."
Apple should consider offering diagnostic information, stresses Alex Doub, a software enginer at Web and mobile apps builder Rocketmade. "It would be cool if there was some way to see information about running apps, like how much CPU time or power is being used for this app. Apple added that to [OS X] Mavericks -- in Activity Monitor, you can see energy usage by application." Doub also suggests improvements in navigation and archiving for messages and a quick way to kill all apps. "When you're switching apps, there's a ton of free space on the top or bottom for something like this. Or even a button that you can tap that will show you the CPU and power usage for that particular app, so you can kill apps that are killing your battery."
Better privacy controls are needed on iOS, says developer Brandon Roth, also a software engineer at Rocketmade. "For example, apps use analytics to send all kinds of data, and I have no idea what they are doing, and I feel sort of helpless that I don't know nor can I control this," he says. "Apple took a big step on their crackdown of using unique devices identifiers in iOS 7, and I'd like them to go further in iOS 8." It would also help if Apple allowed different user accounts on the same device, he adds.


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I tend to think of the market in four time frames. The longest time frame I think in is secular, which is a multi year time frame. I believe we are in a secular bear market which means we are likely in a wide trading range or worse. Please note that the market can go up by 20% from here and we would still be in a large trading range. This time frame has little effect on my trading except that I err on the side of caution with my long trades and don't try to catch every last dollar. This also leads me to be more patient in buying.
The second time frame I think in is the intermediate term which is generally a six week period but can be anywhere from four weeks to a few months. I believe that an intermediate term rise that started in early July and lasted five weeks ended last week and we have just begun an intermediate term decline. Because I believe we are in an intermediate term decline that has just begun I am even more careful than usual in going long.
The third time frame I think in is the short term, which is generally about two weeks. If the market were to decline through this week and and was followed by post expiration weakness than we would be maximum oversold in the short term . That would set us up a nice risk/reward trade for a very playable multi-day rally, still likely within an intermediate term decline. This short term time frame combined with the intermediate term has the largest effect on my trading.
The fourth time frame is a "very short term" time frame, or day to day. For instance even if the market becomes maximum oversold by next week as I laid out above it is very unlikely that we will go straight down and we will probably see a relief rally at some point this week. We did go straight down into the early July low but that decline was fairly uncommon. My current very short term view is that if we have a down day today we should rally tomorrow. This is the time frame I trade least on and keep those trades small.


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But wait, non-MWR content on a MWR site? That's right, while the information found on this page and on the links below might not be as in-depth as that found under the MWR heading we hope to provide you with a little bit of information that you will find useful during your time here on the "Enchanted Island."
External Link Disclaimer
RBH & UPH Housing
DC Shop
Community Links
Health Care
Puerto Rico
Hurricane Preparation
[expand title="Ombudsmen"]
The Coast Guard Ombudsman Program is a Coast Guard wide program established to serve as a link between commands and families that help to ensure Coast Guard families have the information necessary to meet the challenges of a military lifestyle. The ombudsman program assists commanding officers/officers-in-charge (CO/OIC) to have a better understanding of the welfare of the command/unit's families and better prepare families to meet emergency situations.
Please check with the member's command to obtain names and contact information for the current Ombudsmen.[/expand]
[expand title="Community-Run Classes" id="commfit"]
These programs will change from time to time as people come and go, such is the nature of military. Currently a community member is offering an adult fitness program (12yo+) and a kid's fitness program.
[expandsub1 title="Outdoor Fitness Program" id="ofp" tag="h2″]
UPDATE: Unfortunately the community member running these classes is departing. The final Outdoor Fitness Program will be April 8th. He will continue the Kid's Class until the end of the school year.
From all of us at MWR and on behalf of the community as a whole a very big "Thank You."
Tuesday & Friday from 07:15 – 08:15
Monday & Thursday from 17:00 – 18:00
Kid's Program on Tuesday at 08:30
Here is some information provided by the trainer himself…
Classes are FREE and you don't have to commit to attending a certain number – come whenever you'd like!!
It's typically warm out there!!! Please pay attention to your hydration. If you sweat heavily, consider a sports drink with electrolytes. Remember – sweat is more than just water.
As for weather, I'll send out updates in case of heavy rains. If there is a little drizzle, that's ok, but in case of heavy rain or recent heavy rain, we'll postpone class to minimize the chance of injuries and to protect the fields from damage. Also, I plan on adhering to the NATA (National Athletic Trainers Association) and NCAA (National Collegiate Athletics Association) guidelines for lightning safety. If there's thunder, class will be cancelled. Lightning strikes are a rare but real danger, and if thunder can be heard, the storm is close enough to pose a danger.
[expandsub2 title="FAQ" tag="h3″]
What will this class be like?
In this class, we'll address many different aspects of fitness and conditioning such as strength, flexibility, agility, endurance, and (the new buzz word) metabolic systems development. Here is how the class will be structured:
- Warm-up
- Dynamic flexibility
- Movement drills
- Core exercises
- Strength exercises
- Cardiovascular drills
- Cool-down/static flexibility
I've never done anything like this. Is this class for me?
Absolutely!! This class is ideal for all levels and abilities. Most of the exercises will be based on time, not repetitions – you can work at your own level.
Can kids attend?
This class would be most appropriate for children over 12 years of age. The exercises aren't all that difficult, but the organization of the class may be a bit too complex for some kids to follow. If you'd like to bring your kids, I'd ask that you participate with them. I often pair up children with parents. Please ensure that they have athletic footwear – no Crocs, Keens, sandals, etc. Also note that I teach a Kid's Fitness Class Tuesday mornings at 8:30.
I have an injury or have problems with my (fill in the blank), can I still participate?
By all means. However, before you start your first class, please see me to discuss substitutions/modifications to specific exercises.
What do I need to bring?
Here are some things to make class more enjoyable and comfortable:
- Full water bottle
- Clothes you don't mind getting dirty
- Hat
- Athletic-type shoes (cross-trainers are ideal – they offer more lateral support than running shoes)
- Beach-type towel or yoga mat. We will be doing core and other strength exercises on the ground. A towel will make things more comfortable
- Hand towel to wipe sweat and to serve as a pad for doing ground-based exercises
- Bug spray/sunscreen
If you have questions, please check out the CGPR Community Facebook page where community members can assist.
[expand title="Water Delivery"]
Tap water in RBH meets U.S. water quality standards and therefore is safe to drink; however, some residents prefer to use bottled water delivery service (5 gallon bottles) is available for RBH. One of the residents has been kind enough to place weekly orders on behalf of everyone. Orders are requested every Thursday and delivery occurs the next day. Please check in with Housing or MWR to obtain their contact information.
New Bottles: 12.00
Refills: 3.50[/expand]


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Marketing automation is creating new opportunities to grow revenues, improve partner profitability and create impact for your brand. Inbound marketing tools, either vendor initiated or partner-led using through-partner marketing automation (TPMA), are adapting quickly to the new realities of the customer-driven demand cycle.
Reportedly, ninety percent of the Technology Vendor that applied for CRN's (now The Channel Company) 2013 Partner Program Guide (PPG) said they generate leads and turn them over to partners; eighty-six percent said they generate sales leads and initiate sales, which are turned over to partners and ninety-three percent said they work cooperatively with partners to drive demand directly to them through market development funds and other marketing programs. Ninety percent also reported that they provide tools on their partner portals for partners to drive their own demand. Eighty-two percent offer this benefit to all of their solution provider partners while 5 percent provide the tools only to their top-level partners.
Yet how effectively are these programs and tools working when a 2013 CompTIA Channel Trends Study reports that only 57% of Channel Partners and merely 21% of IT Vendors report being Satisfied or Very Satisfied with the leads received or provided?
If you're an Alliance Manager, how much more challenging is it for you to get the right content to the right partners at the right time when the content is comprised of multi-branded solutions and the partners need to tap the portals of each vendor? '
We can help you identify and bridge the gap between customer demand that create the need for multi-branded solution platforms and the inter-organizational challenges that can get in the way of the Alliance's ability to identify, attract, enable, engage and motivate the best partners through programmatic solutions.
Channel Matters can help with Partner Marketing program strategy and work with your roster of partner marketing service providers or help you identify, assess and onboard new providers that align best with your channel strategy.
- Partner Marketing
- Through-Partner Marketing Automation
- Market Development Funds
- PRM, Social and Mobile Adoption


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Champaign among nation's faster-growing cities
The Associated Press
CHAMPAIGN — The U.S. Census Bureau reports that Champaign is among the nation's faster-growing cities.
The (Champaign) News-Gazette reports that the city is the only one in Illinois to reach that distinction. Of the others, 74 are in California, 47 are in Texas, and 17 are in the Carolinas.
From July 2014 to July 2015, the Census found Champaign grew by 1.5 percent, to just over 86,900. It's now the 380th-largest city nationally and No. 10 in Illinois.
Champaign's sister city, Urbana, grew by 140 people, pushing its population to just over 42,300.


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The first mention of the Olkusz church dates back to 1317. However, the oldest part of the church, which is now the chancel, was built in the late romanesque style in the 13th century. The church was expanded in the Gothic style during the reign of king Casimir the Great in the fourteenth century. At that time, three aisles of equal height were erected, supported by huge octagonal pillars. In the first half of the fifteenth century, a St. Anne chapel, sacristy and treasury were built next to the chancel. In 1620, a renaissance chapel of Loreto was built, modeled on the Sigismund Chapel in Wawel, and a large and small porches were added. At the end of the 18th century, next to the church, a chapel of St. John Kanty, and in 1913 a neo-Gothic free-standing belfry were erected.
The church from the 14th century was a hall and three-aisle structure with a rectangular chancel on the eastern side. During the late Middle Ages, it expanded at the presbytery with a three-bay chapel of St. Anne from the south and also sacristy and treasury from the north. Outside, the church was reinforced with buttresses, between which large and narrow ogival windows with tracery were placed. The chancel and the corpus were covered with steep gable roofs, finished with brick stepped gables with pinnacles and blendes.
Four Gothic portals have survived, of which the most interesting is from the presbytery to the sacristy and it is closed by a cinquefoil arch, the others are ogival portals. Inside, the central nave is open to the side aisles with ogival arcades, supported on octagonal pillars. The presbytery is also open to the chapel of St. Anna with two bays of ogival arcades. The nave, chancel and the chapel of St. Anna were covered with rib vaults.
The most valuable monument of the temple is Polyptych Olkuski, a 15th century Gothic altar, made by Cracovian guild painters Jan the Great and Stanisław the Old. In the presbytery there are sixteenth-century timber stalls, that is decorative timber benches, in which clerics sat. Gothic polychromy on the side walls dates from around 1370-1380.
Krasnowolski B., Leksykon zabytków architektury Małopolski, Warszawa 2013.
Website zabytkowekoscioly.net, Olkusz, kościół św. Andrzeja.


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The Wanderers are hosts to one of the Women's Rugby clusters in the Scarlets Region. This is a very important development for both the Club and Women's rugby in Wales. The Sospans season starts this month.
Click below to link to the Stradey Sospans Cluster website and find out more details of fixtures, players, venues. etc.:
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