text:
Please install macromedia flash plug-in
Edward S.
Curtis and Edward Curtis: Pictorialist and Ethnographic
Course description
Edward Curtis: Pictorialist and Ethnographic Adventurist
Gerald Vizenor
Professor, American Studies, University of California, Berkeley
October, 2000
Edward Curtis presented his photographs, notes and cultural observations as ethnographic. He argues against those detractors who petitioned the government that he was not a trained ethnographer, and that his work was not decisive. Three generations later the native heirs choose his photographic images for reasons other than the politics of the social sciences. Perhaps natives praise the visual analogy. Curtis pictures may, in fact, be the choice of more natives than any other photographer. This association, in my view, is aesthetic, not ethnographic.
Why would natives pose to create a portrait simulation, a pictorialist image not their own, for photographic adventurists who later nominate their pictures as the real, and the ethnographic documents of a vanishing race?
Perhaps for the money and tricky camera stories.
Why, several generations later, would natives embrace these romantic pictures as real moments of their own cultural memories?
Perhaps the images are a sense of presence, a visual analogy. Or, perhaps it is a cult of native remembrance. "In photography, exhibition value begins to displace cult value," wrote Walter Benjamin in Illuminations. "But cult value does not give way without resistance. It retires into an ultimate retrenchment: the human countenance. It is no accident that the portrait was the focal point of early photography. The cult of remembrance of loved ones, absent or dead, offers a last refuge for the cult value of the picture."1
Richard Kearney argues in The Wake of Imagination that the "human ability to 'image' or 'imagine' something has been understood in two main ways throughout the history of Western thought." The first is a " representational faculty which reproduces images" of some reality; the second is a "creative faculty which produces images" that stand alone. "These basic notions of imagination" refer to "everyday experience" and "artistic practices."2
Absence and Presence: Representation of Natives
The modernist constructions of culture, with natives outside of rational, cosmopolitan consciousness, are realities by separation, a sense of native absence over presence in history. The absence of natives was represented by images of traditions, simulations of the other in the past; the presence of natives was tragic, the notions of savagism and the emotive images of a vanishing race. The modernist images of native absence and presence, by creative or representational faculties, are the rational binary structures of the other, an aesthetic, ideological, disanalogy.
The distinctions and discrepancies of pictorial, ethnographic, and detractive visual images of natives are not easily resolved by cultural evidence, censure, or the politics of identity. Crucial to the resolution of these vagaries of photographic esteem is a visual method of interpretation; a choice of metaphors and visual reason that does not separate natives as the other in an eternal academic disanalogy.
Edward Curtis created pictorialist images of natives, but most of the interpretations are ethnographic. The creation of visual images, in other words, is represented by linguistic authority. Pointedly, photographic images are bound by the structure of language. Barbara Stafford argued in Visual Analogy that language is a "godlike agency in western culture," and to free "graphic expression from an unnuanced dominant discourse of consumerism, corruption, deception, and ethical failure is a challenge that cuts across the arts, humanities, and sciences."3
Analogy is an active, aesthetic, creative connection in the visual arts, and in the sense of natives, analogy is a desire to achieve a human union in visual images, rather than a cultural separation in language. Analogy absolves the distance and discrepancies of pictorialist and ethnographic pictures of natives by restoring a sense of visual reason.
Analogy "demands that we take seriously the problem of correlation," wrote Stafford. Analogy "is central both to ancient religions and to a modern anthropology of the senses." Analogy is a creative, visual process, but it was "supplanted by the elevation of atomistic difference: the obsession with unbridgeable imparity and the hieratic insistence on insurmountable distance between the material and spiritual realms." Analogy "has the virtue of making distant peoples, other periods, and even diverse contemporary contexts part of our world." Stafford wants to "recuperate the lost link between visual images and concepts, the intuitive ways in which we think simple by visualizing."4
Science and Ethnology
Consider the learned theories and studied pictures of natives as the "hieratic insistence" on disanalogy. Ethnology, for instance, became a sacred association in the studies of native cultures. William John McGee, the "ethnologist in charge" at the Bureau of American Ethnology in the late nineteenth century outlined the goals of this agency in this way:
"Ethnologists, like other good citizens, are desirous of raising the Indian to the lofty plane of American citizenship; but they prefer to do this constructively rather then destructively, through knowledge rather than ignorance, through sympathy rather than intolerance," wrote McGee. Ethnologists "prefer to pursue in dealing with our immature race the course found successful in dealing with the immature offspring of our own flesh and blood." 5
Curtis announced similar racialists notions that natives were comparable to children. The notion of natives as immature was a common theory of evolution at the time. Many scientists were involved in a harsh debate of monogenism, a single origin, and polygenism, many origins; these notions of creation were used to explain distinctive native cultures, and native resistance to cultural dominance.
Early in the nineteenth century many "critics began to question the monogenetic assumptions, set forth in the Bible, that all mankind shared the same origin," wrote Robert Bieder in Science Encounters the Indian. "Increasingly they began to explain Indians' recalcitrant nature in terms of polygenism. To polygenists Indians were separately created and were an inferior species of man."6
Natives were first simulated as savages in the common cultural binaries of savagism and civilization. Then, by chicanery, federal treaties, and military means natives were removed to reservations and nominated the vanishing race at the end of the nineteenth century.
American civilization was a cultural manifest and a religious covenant over bogus savagism. The "Indian was the remnant of a savage past away from which civilized men had struggled to grow," wrote Roy Harvey Pearce in Savagism and Civilization. "To study him was to study the past. History would thus be the key to the moral worth of cultures." American civilization progressed from "past to present, from east to west, from lower to higher." Pearce pointed out that those "who could not journey to see Indians in person could see them pictured in numerous collections of Indian sketches and portraits."7
Influences on Curtis
Edward Curtis was born in Wisconsin in 1868. Naturally, he grew into the literature of natives. He likely read dime novels, captivity narratives, and the sensational newspaper stories of the evanescence of the transient savages. As a young man he must have seen sketches of natives and reproduction of portraits by George Catlin and Charles Bird King. Curtis was curious, no doubt, and eager to understand the history and literature of his time.
Curtis opened a photographic studio in the early 1890s. It was at the same time that natives lost their land, human rights, a sense of presence, and were pictured as the tragic cultures of a vanishing race. Sitting Bull had been shot by soldiers, and then, two weeks later, hundreds of Ghost Dancers were massacred by Seventh Cavalry soldiers on December 29, 1890, at Wounded Knee. Curtis was a man of nature, a mountaineer and adventurist, but surely he could not have been unaware of newspaper stories about these native miseries. His first pictures must have drawn him into many conversations about natives. Curtis was motivated, after all, to pursue a photographic record of the last natives, and he did so with romantic, pictorial images that ran against the popular notions of the savage.
Many American newspapers created and promoted stories of savagism and the vanishing race. The Civil War, and later the telegraph, changed journalism and the way news was reported. Press associations and "cooperative news gathering" were inspired by the telegraph. War "increased newspaper readership and stimulated new competition between urban newspapers," observed John Coward in The Newspaper Indian. Editors "discovered that they could increase their profits when they published stories about major battles," including, of course, conflicts with natives.8
Journalists, at the time, were too close to the western adventures of the army, and many thought that native cultures "could be easily known and explained by simple observation," noted Coward. "The 'vanishing Indian' theme was especially popular in the nineteenth century, when native cultures did seem to be fading before the westward rush of white settlement." Clearly, "newspapers played a major role in creating and maintaining popular Indian identities in the nineteenth century." The press, however, was not alone in the promotion of the savage. George Catlin and many other artists, hundreds of photographers, politicians, and an entire cultural system created the image and historical idea of the tragic savage at the vanishing point.9
Sitting Bull, the Lakota healer, for instance, was known largely through simulations and "newspaper representations," especially in the sensational stories on the Battle of the Little Bighorn. The New York Times raised a catch question about Sitting Bull: Was he "an extremely savage type, betraying that bloodthirstiness and brutality for which he has so long been notorious?" That savage image of a native humanist was created by strangers. "The Sitting Bull of the papers and the man himself were often worlds apart."10
Curtis created his picture The Vanishing Race, in 1904. The photogravure, published three years later in the first of his mighty twenty volume set, The North American Indian, depicts a column of natives lost in the shadows, a sentimental evanescence.
"The thought that this picture is meant to convey is that the Indians as a race, already shorn of their tribal strength and stripped of their primitive dress, are passing into the darkness of an unknown future," Curtis wrote in the caption to The Vanishing Race. About the same time he wrote in Scribner's Magazine that the "relationship of the Indians and people of this country is that of a child and parent. We will stand convicted for all time as a parent who failed in his duty." He declared that natives were "being ground beneath the wheel of civilization, and though we may be able to justify our claims that advancement and progress demand the extermination of the Indians, we can scarcely justify the method used in this extermination."11 Curtis, of course, would always be the master of the pictures.
Remarkably, this haunting photograph, The Vanishing Race, was created less than a decade after he first aimed a cumbersome view camera at Princess Angeline, the native daughter of Chief Seattle. "I paid the princess a dollar for each picture made," wrote Curtis. "This seemed to please her greatly and with hands and jargon she indicated that she preferred to spend her time having pictures made than in digging clams."12
Curtis as Pictorialist
Curtis paid natives to pose; he selected ornaments, vestments, and he played the natural light, tone, picturesque reflections, and the solitary nature of natives in his pictures. The pictorial images of pensive warriors are simulations of the real; transmuted in visual analogies. The aesthetic poses of natives countered the cruelties of reservations and binaries of savagism and civilization.
"In terms of pictorialist aesthetics, posing contributed positively to the final image," observed Christopher Lyman in The Vanishing Race and Other Illusions. "In terms of ethnography, posing did 'injustice to scientific accuracy.' "13 Curtis paid natives to pose and dance in several simulated ceremonies, but he may not have understood the actual tricky scenes. The Navajo Yebechai Prayer [film by Curtis], for instance, was reversed by native dancers to protect their sense of the sacred. Curtis, however, was never at the actual ceremonies. He staged the dances out of season. "Navajo sensibilities" clearly were not his "primary considerations." Curtis used "not only 'phony' costumes, additions, and poses," observed James Faris in Navajo and Photography, "but indeed, in some cases actual phony Navajo."14
Curtis is lauded as a pictorialist, but not favorably reviewed as an ethnographic photographer. Yet his pictures are rarely mentioned in historical references to the pictorialists, or Photo-Session, at the turn of the twentieth century in New York City. Curtis was not of the salons or societies that established the aesthetic, pictorial arts of photography; his focus was more ideological, a photographic rescue artist. He posed as an ethnographer out to capture the last images of a vanishing race. To do this, of course, he paid for native poses, staged, altered, and manipulated his pictures to create an ethnographic simulation as a pictorialist. Clearly, he was an outsider, too far removed from the photographic salons to court or count on ready shows and reviews that had instituted pictorialist photography. Curtis, moreover, had received a five-year endowment from the financier John Pierpont Morgan to produce twenty volumes of The North American Indian. The project actually lasted more then twenty years.
John Tagg asserted in The Burden of Representation that photography was rather "common as to be unremarkable" in the late nineteenth century. Pictorialists reacted and sought "to reinstate the 'aura' of the image and distinguish their work aesthetically from that of commercial and amateur photographs." He argued that the revolution was not pictorialist, but a new means of political control. "It was no longer a privilege to be pictured but the burden of a new class of the surveilled," wrote Tagg.15
Curtis created simulations of surveillance, the pictorialist pose of ethnographic images. He removed parasols, suspenders, wagons, the actual traces of modernism and material culture in his pictures of natives. Curtis was a pictorialist, but his removal practices were ideological, a disanalogy. He created altered images of the vanishing race at the same time that thousands of native scholars graduated from federal and missions schools. Luther Standing Bear had returned to the reservation as a teacher. Charles Eastman returned as the first native medical doctor on the Pine Ridge Reservation. Curtis may have noticed native survivance, but he was dedicated to pursue pictures of a vanishing race.
"Curtis was concerned about criticism of The North American Indian by professional ethnologists," noted Christopher Lyman. "He explained away their skepticism, however, as a reaction to inflated accounts of his work in popular press." Curtis "was selling images to a popular audience whose perception in 'Indianness' was based on stereotypes."16 He was motivated to remain in the favor of ethnologists.
Curtis created the picture, Oglala War-Party, at a time when natives were starving on reservations. Surely he was not insensitive to the adversities or natives, but his pictures reveal only the simulations of the vanishing race. He paid natives to pose as warriors at a time when their rights were denied, and their treaties were scorned and evaded by the federal government. Curtis was a dedicated pictorialist, but miscarried the ethics of his situation on reservations. Yes, he was indeed answerable for his time with natives, not by historical revisionism, but because he boldly advanced his career in the presence of native torment and worried hearts.
Lyman noted that Curtis, "like that of most people of the period, seemed preoccupied with images of Dakota 'hostility.' The caption for Oglala War-Party explains, 'Here is depicted a group of Sioux warriors as they appeared in the days of intertribal warfare, carefully making their way down a hillside in the vicinity of the enemy's camp.' " Curtis created a simulation of a native absence and an ethnographic presence.
The photogravure In a Piegan Lodge, published in The North American Indian, was retouched by the crude removal of a clock. The original negative pictures the clock in a small box on the ground between two natives. Curtis removed the clock to save a simulation of traditional authority. The picture with the clock has a curious elegance and inspires a visual analogy. The retouched photogravure without the clock is fakery and disanalogy.17
Dino Brugioni outlined "four distinct kinds of faked photographs" in Photo Fakery. The first two are the removal and insertion of details, and the other two are photomontage, and false captions. Curtis was clearly a photographic faker by his removal and insertions of details, and by false captions.
"Photography transcends natural boundaries and verbal language and is probably the most important vehicle for advancing ideas, and ideals, throughout the world," wrote Brugioni. "When a photo is manipulated in any way, truth is compromised; when truth is compromised, distrust begins. Distrust produces a lack of faith in the media," he noted, but photography "has always been manipulated."18
Curtis created the pictorialist scenes of what he believed to be a vanishing race, and yet he understood that the captured images, not the actual natives, were aesthetic simulations.
Benjamin, Walter. Illuminations: Essays and Reflections (New York: Schocken Books, 1969), 225, 226. Benjamin pointed out that "as man withdraws from the photographic image, the exhibition value for the first time shows its superiority to the ritual value."
Kearney, Richard. The Wake of Imagination (Minneapolis: University of Minnesota Press, 1988), 15. "The imminent demise of imagination is clearly a postmodern obsession," wrote Kearney. "Postmodernism undermines the modernist belief in the image as an authentic expression. The typically postmodern image is one which displays its own artificiality, its own pseudostatus, its own representational depthlessness."
Stafford, Barbara Maria. Good Looking: Essays on the Virtue of Images (The MIT Press, 1996), 5. "In most American university curricula, graphicacy remains subordinate to literacy. Even so-called interdisciplinary 'visual culture' programs are governed by the ruling metaphor of reading," wrote Stafford. "Consequently, iconicity is treated as an inferior part of a more general semantics."
Stafford. Visual Analogy, 51, 61.
Hinsley, Curtis M., Jr. Savages and Scientists: The Smithsonian Institution and the Development of American Anthropology, 1846-1910 (Washington, D.C.: Smithsonian Institution Press, 1981), 287.
Bieder, Robert E. Science Encounters the Indian, 1820-1880 (Norman: The University of Oklahoma Press, 1986), 11, 12. "But if the Indian were an inferior species of man, what then was his fate? Would the effect of the environment be the same on the Indian as it had been on European man? Were Indians capable of further progress, or had they reached the limits of their potential?"
Pearce, Roy. Harvey Savagism and Civilization: A Study of the Indian and the American Mind (Berkeley: University of California Press, 1988), 49, 110.
Coward, John M. The Newspaper Indian: Native American Identity in the Press, 1820-90 (Urbana: University of Illinois Press, 1999), 16, 17, 20.
Coward. The Newspaper Indian, 34, 229.
The New York Times. July 10, 1876. Quoted in John M. Coward, The Newspaper Indian, 159, 190.
Lyman, Christopher M. The Vanishing Race and Other Illusions: Photographs of Indians by Edward S. Curtis (New York: Pantheon Books, in association with the Smithsonian Institution Press, 1982), 79. Lyman cited Edward S. Curtis, "Vanishing Indian Types: The Tribes of the Northwest Plains," Scribner's Magazine. June 1906. President Theodore Roosevelt and other government agents expressed similar racialist views about natives. Curtis, it should be remembered, was beholden to Roosevelt for his letter of introduction to John Pierpont Morgan.
Gidley, M. Edward S. Curtis and the North American Indian, Incorporated (Cambridge and New York: Cambridge University Press, 1998), 21. and Edward S.Curtis: Photographer of the North American Indian by Victor Boesen and Florence Curtis Graybill (Dodd, Mead & Company, 1977), 15.
Lyman. The Vanishing Race and Other Illusions, 65.
Faris, James C. Navajo and Photography (Albuquerque: University of New Mexico Press, 1996), 108, 114, 115, 116. "Curtis tells us he staged the Nightway photographs not because he was there at the wrong time of year but because of the resistance to his photography--a rather minor logistical matter," writes Feris. "The type of resistance is never explained in detail, though we can probably assume it came from assimilationist bureaucrats (Navajo and non-Navajo) who resented Curtis's emphasis and manipulation to achieve some representation of 'aboriginality."'
Tagg, John. The Burden of Representation (Amherst: The University of Massachusetts Press, 1988), 56, 58, 59. "What Walter Benjamin called the 'cult' value of the picture was effectively abolished when photographs became so common as to be unremarkable; when they were items of passing interest with no residual value, to be consumed and thrown away," wrote Tagg.
Lyman. The Vanishing Race, 78.
Lyman. The Vanishing Race, 86,106.
Brugioni, Dino A. Photo Fakery: The History and Techniques of Photographic Deception and Manipulation (Dulles, Virginia: Brassey's, 1999), 17, 202. "After the turn of the twentieth century, heavily manipulated photos were produced to create supposed intrinsic and artistic values," wrote Brugioni. "The photomontage was used as an important propaganda weapon both for and against Nazi Germany. Communists and other nations often rewrote history by removing people and events from photos, despite the fact that copies of the original photos were usually available throughout the world."
This essay is based on a presentation at a seminar on Edward Curtis at the Claremont Graduate University, Claremont, California, October 6-7, 2000.


text:
Change the boot logo on any MTK Device
Normally, if you flashed your device, maybe the boot logo changed, if you would like change boot logo, may use secret code *#code#, but if you don't know secret code?
Today I will be sharing with you a short tutorial on how to change your boot logo on MTK device.
One of the coolest things about the Android platform is the ability to customize your device to your very taste. Right from the booting up to shutting down.
On every MTK device, there are two images which are : inside Logo.bin & System.img
Logo.bin: this is the first image you see when your device boots up. It contains the first boot image and also all the battery charging icons. This image appears very quickly just about 2 secs.
System.img: this is the second image that appears when your device is booting up. You can find this image in your phone. It's located inside /system/image/bootanimation.zip (bootanimation_01.zip)
bootanimation_01.zip –> image for boot the phone
shutanimation_01.zip –> image for power off the phone
Two files are found inside your backup folder or folder the original Rom, that means you must have an MTK backup of your rom to access this file or download the firmware anywhere, just valid the firmware for your device.
How to change boot logo inside "logo.bin":
1. Download & extract "LogoBuilder_v1.6", open the folder and launch logo builder.
Click on create project.
2. Select the logo.bin inside folder Rom and click open.
3. Select an empty folder or you create a folder where you will like to extract the files and click ok.
4. The logo.bin will be extracted. You will see a copy in the logo builder window.
5. Go to the folder where you extracted the files and edit any of the images rename images. Make sure you use the same resolution and also rename the image you want to use to the same name as the one you want to replace.
6. Once you are through editing the images. Go back to the logo builder and click on make.
7. Open the folder where you extracted and rename the logo.bin to logo_new.bin,
8. Copy the logo_new.bin and paste into folder firmware
9. Use SP_Flash_Tool flashing the logo_new.bin, look at pic:
How to change boot logo inside "system.img":
1. Root the phone
2. Install RootExplorer_v3.3.5.apk, After installation, open it and find the "system/media" folder, and rename file bootanimation.zip
Or, you can edit the system.img on PC OS Linux, but this way difficult.
CONGRATULATIONS!!! You successfully changed your boot logo.
Read more: How To Know and Identify firmware

subset: commoncrawl


text:
Mr. Putin Makes an Audacious Offer
Prime Minister Vladimir Putin of Russia visited Germany in the end of November. Before arriving there, he published an op-ed in the German newspaper, Süddeutsche Zeitung, which commented on this interview under the headline, "Putin hugs Europe."
The contents of the op-ed were quite remarkable. Putin said that the lesson to be drawn from the severest economic crisis of the world economy in eight decades was the need for Russia to work more closely with the European Union. "We propose the creation of a harmonious economic community stretching from Lisbon to Vladivostok." He said that "in the future, we could even consider a free trade zone or even more advanced forms of integration." He suggested that such a continental market would be worth trillions of Euros.
Putin suggested that the EU and Russia needed to work closer together in the fields of industry and energy. He said that they should consider "what we can do to enable a new wave of industrialization on the European continent." He mentioned such fields as shipbuilding, the airplane and automobile industries, environmental technologies, pharmaceuticals, nuclear energy, and logistics. He called for common undertakings by European and Russian entrepreneurs.
In the field of energy supplies, Putin called for "active exchanges." It was necessary, he said, to work together at "all phases of the technological value creation chain – from the uncovering of demand for energy resources up to the delivery to the consumer." Thereupon, Russia and the EU can move forward to the elimination of visas which would manifest "not the end but the beginning of a true integration of Russia and the EU."
When Putin arrived in Germany he got a warm reception from some leading German bankers and industrialists. He spoke to them as his "friends," and in return the CEO of Siemens said, "We are at home in Russia." He said that "Russia was a clear example of how the emerging nations are giving an impulse to growth in the world economy."
Putin continued his "charm offensive" with the German economic elite. He suggested they stood together on currency questions. "We need a new multipolarity in the currency system. We must break the excessive dollar monopoly." He spoke of the example of the Roman Empire, whose policies led to a 500-year-long economic stagnation. He then gave a strong endorsement to the euro, which he called an important balance to the dollar in the world economy. He suggested the possibility of trade being denominated in rubles and Euros, and not in dollars.
Chancellor Angela Merkel's response to these proposals was cautious but not negative. Germany's Foreign Minister, Guido Weterwelle, said that Putin's proposals show "how close we are in terms of our strategic goals." The strongest endorsement came from some of Germany's leading economic managers. Press response in Germany was mixed.
In France, Le Monde noted: "This appeal to economic opening by someone more noted for his nationalist character than his commitment to ideas of free trade is truly innovative. This is all the more the case since the development of industrial cooperation between the two sides has been repeatedly held back for political reasons."
It should be observed that Putin was not offering a deal to the "West" but rather to "Europe." It seems a quite specific attempt to encourage a strengthening of ties with Europe at the expense of the United States. While this is not entirely new in terms of Russia's geopolitical stance, it has up to now not been stated so publicly and so boldly. It should be noted too that Putin has given a strong endorsement to the euro at a time when the euro is in need of some political reinforcement. Note too that Putin is not talking of remaining merely or even principally an energy-exporter to Europe. Putin is talking of a new wave of industrialization in which Russia will participate fully.
This open diplomacy by Putin should probably worry U.S. leaders more than the modest revelations of Wikileaks.
Copyright by Immanuel Wallerstein, distributed by Agence Global. For rights and permissions, including translations and posting to non-commercial sites, and contact: rights[at]agenceglobal.com, 1.336.686.9002 or 1.336.286.6606. Permission is granted to download, forward electronically, or e-mail to others, provided the essay remains intact and the copyright note is displayed. To contact author, write: immanuel.wallerstein[at]yale.edu.


text:
What group is so enamored with feces that it has become an obsession?
Jew Inc.
It's Jew controlled Hollywood that is always giving us movies that have scenes with the actors dealing with feces that is supposed to be funny, but most people just wince, since it's not funny, but repulsive, but being trained all our lives to worship our Jew Overlords doesn't make it easy to complain about such 'shitty' movies, we just sit back and try to blend in to the scenery.
It's Jew controlled entertainment business that has given us endless stand-up Jew comics that always get around to making jokes about feces, then laugh, signalling to their GOY that they too are supposed to laugh, and we do, even though it's a nervous, unsure laugh.
And now it's most likely some Jew Inc faction in Columbia, MO that is jumping onto the black MU student bandwagon, trying to get some pity for their 'Eternal Victim' status that we GOY are obliged to never forget and never stop paying tribute to.
I detect the hidden hand of Jew Inc slipping into this situation, to get some pity for their decades long con game, the Holocaust ®™.
Maybe that new Common Core math can find those alleged six million Jew victims of gassings during WWII, because even their own records show that the Holocaust ®™ didn't happen, but that doesn't stop Jew Inc from always playing the pity card, always reminding its GOY sheeple who to perpetually feel sorry for and whom to perpetually pay reparations to.
What kind of fool or maniac would play with human feces, then use that to draw a swastika on a dorm wall? You can damn well bet it wasn't those good-ol' Boone County boys that are a bit racist by getting out of hand with their comments to blacks. Even Yale, a supposed bastion of Ivy League etiquette, saw swastikas scribbled across its campus. KKK types at Yale? Highly unlikely, but Yale does have an abundance of Jews.
Now MU's black football players are on strike, pledging to not play anymore until the school's president steps down.
This movement against racism supposedly started last year after a St. Louis County grand jury refused to indict that cop that shot Michael Brown. Which of course meant that blacks would protest by burning down part of Ferguson, the city where many live.
If they want to make a real statement and get results, they should of burned down the wealthy enclaves of Creve Couer or Clayton. I guarantee that they would of gotten results quickly, most likely automatic weapons fire from troops protecting the Jews in those suburbs.
This past September, some drunk walked by some black students and shouted the 'N' word. Again, no one knows if the drunk was a student or not, but let's not take time to figure this out, it's time to raise hell and get some goodies that won't be offered to white students.
Now the MU student president, who is black, claims that some people drove past him in a pick-up, screaming the 'N' word. Probably did happen, but no one can prove it was students. Besides, if MU is so racist, how did they come to elect a black student body president?
And if black MU students are going to pick on Founding Father Thomas Jefferson, demanding his statue be removed from campus, maybe they should of paid attention in history class when it was taught that Jefferson helped ban slave importation into Virginia back in 1778, way before the Civil War or the Civil Rights movement.
Maybe if they would study 'white' history, they'd know that "in 1779, as a practical solution to end slavery Jefferson supported gradual emancipation, training, and colonization of African-American slaves rather than unconditional manumission, believing that releasing unprepared slaves with no place to go and no means to support themselves would only bring them misfortune."
You'll notice I used a word the protestors probably consider racist, black. While they prefer to be known as African-Americans. I'm part Italian and English, yet I don't go around telling people I'm Anglo-American or Italian-American, I'm just an American, period.
And maybe the African-Americans should start taking that attitude also, if they want to truly become part of this nation.
I lived in Columbia/Boone County for many years. I went to MU for several years and can say my experiences with racism in Columbia are negligible, having only witnessed people cracking off-color jokes.
Maybe the students ought to protest the surge in black violence in Columbia, with nightly shootings becoming a staple instead of the oddity. But that wouldn't get much press and would also draw attention to the fact that black on black violence is the leading cause of black men getting killed.
Some more stats on black violence:
A 2012 study by the Department of Justice's Office of Juvenile Justice and Delinquency Prevention revealed that in 2010 black youths committed six times more murders, three times more rapes, 10 times more robberies and three times more assaults than did their white counterparts.
To that we can add this, from Philadelphia's black Mayor Michael Nutter.
"You have damaged your own race," he said. "Take those damned hoodies down. Pull your pants up and buy a belt because no one wants to see your underwear or the crack of your butt."
Want to protest something?
Protest your own violence against your own race and against others.


text:
Sitemap |
Contact Us
Tainan, Taiwan—Every half hour or so, someone offers you something.
As the rescue teams continue their efforts looking for survivors under the rubble of the Wei Guan complex in Tainan, southern Taiwan, a small community has sprung up around the edges beyond the cordon tape.
Groups of volunteers appear, handing out hot food and drinks to rescuers, media and local people, still trying to come to terms with Saturday morning`s quake.
On Saturday night, as darkness fell and the temperature plummeted—making conditions tougher for rescuers and more hazardous for those awaiting rescue—a soldier manning the perimeter handed me one of his small hand warming bags that he had just been issued with.
The arrival of Chinese Lunar New Year has been overshadowed by this tragedy, but it has probably contributed to the spirit of communal effort here.
It is at times like this that Taiwan`s plucky can-do streak manifests itself.
The idea that everyone here is embarked on a common goal. And with people trapped below the rubble, this particular challenge is literally a matter of life and death.
There is also a fiery, quick-tempered side to the Taiwanese character that you see when people talk about the builder of this complex.
Why did it collapse so quickly, they say in disbelief, when others are still standing?
It is called in the local Mandarin language a Tofu Building, named after the soft jelly-like bean curd dish. Like tofu, when the ground shook, this building simply toppled over with disastrous consequences.
Many tough questions will be asked of the contractor responsible, and of the authorities who oversee construction standards in this earthquake prone zone.
For the moment, it`s the generosity of spirit and selflessness that you see most in evidence as another change of crews move past our position at the edge of the site.
Sunday is Lunar New Year`s eve.
Families all over Taiwan are busy preparing their homes to welcome in the New Year with large family dinners.
Not the people here.
Their focus is the blocks that used to be home to the residents of Wei Guan, and trying to determine what has become to more than 100 of them still unaccounted for.
Original article
Photo: Rescue personnel raced to find survivors after a 17-storey building collapsed after an earthquake hit Tainan. Source: Tyrone Siu/Reuters.


text:
CISI Training in Dubai, Abu Dhabi, Oman, Kuwait & Qatar
CISI qualifications offer practitioners the opportunity to achieve competence and foster strong careers in all areas of financial services.
We cover all markets, from securities, derivatives, bonds, fund management, to stock trading and investing.
Financial Statement Analysis, Valuation, Debt and Equity, Mergers, Acquisitions and Disposals, Regulations, Governance and Ethics.
Our Wealth Management courses provide specialist knowledge to advise clients in local as well as global jurisdictions.
Financial compliance, financial crime, governance and risk management, regulation and compliance.
Structure and operation of the major foreign exchange and money markets as well as their core products: cash, forwards and derivatives.
Our programmes cover Islamic Banking, Islamic Investing, and Islamic Insurance from both a technical and Sharia'a perspective.
We will help you define what you require, and then tailor a specific innovative solution that truly fits your needs.
Privately-held in-house CISI training, typically delivered across three to five days. Options available: face-to-face or live online.
Tadawul offers 100% ROI to L&D managers. This means you no longer need to justify paying for candidates who fail!
Tadawul is the official CISI training partner for retail and commercial banks, stock exchanges and brokerages, capital market regulators and financial advisors.
CISI qualifications are now a regulatory requirement for job applicants in the financial services industry.
Give your students the edge they need by combining your degrees with CISI qualifications.
Tadawul partners with universities across the GCC to deliver CISI programmes to their students and clients.
Classic. Distraction-free. Face-to-face training fosters discussion and comradery among participants. Still most popular method in the region.
Zero business disruption. Virtual learning is proving to be just as powerful as classroom learning, but more convenient and flexible.
The most effective method of learning, the blended method combines the effectiveness of classrooms with the flexibility of online learning.


text:
A Day in the Life of a XuKeeper: Andrew
Meet Andrew Dudevoir aka "The Dude," a 2 1/2 year veteran of the Xu and an Account Executive in our Boston office. Keep reading to find out who Andrew would have coffee with, if given the opportunity!
Explain your role at DataXu. What do you do?
I sell DataXu products and services to new and existing clients.
How did you land at DataXu?
After 10+ successful years working with marketers of all sizes at companies like Nielsen, CBS, and WGBH (PBS) I decided to explore making a move to digital. When I saw the growth and opportunity in this space, contacting DataXu was a no brainer!
What's exciting you the most about DataXu's future?
Capitalizing on the promise of providing a single source for marketers to visualize, strategize, and activate off of their most vital data signals.
DataXu's core values are: Excellence, Collaboration, Innovation, Trust and Customer Obsession… the value that resonates with you most is…
Collaboration – what we do requires a constant stream of communication both internally and externally. We do an impressive job here at DataXu of pulling the right people together to solve problems.
Word Association Time!
- I say programmatic, you say….
- Automated
- Most exciting aspect of AdTech….
- Constant Change
- What is your spirit animal…
- Wolf
- If you could have coffee with anyone from the industry, who would it be?
- Mark Cuban
- I say DataXu, you say…
- Innovation
- Favorite industry buzz word…
- Optimization
- How do you relax?….
- Listening to music or walking my dog
- Favorite snack in the DataXu kitchen…
- Core Power (chocolate)
- Fun fact…
- I've driven cross-country 2x (two stops at the Grand Canyon)
- Life advice…
- "Learn something from everyone"


text:
Designed for your active lifestyle.
Verena at the Reserve is a sophisticated active-lifestyle retirement community in historic Williamsburg, Virginia. We combine first-class amenities with upscale senior apartment living, all with no large upfront entrance fee. Verena at the Reserve features architecture inspired by colonial homes, ensuring you'll make the most of your retirement years in the beautiful Williamsburg area you already love. Members feel right at home in an apartment they can customize to fit their needs.
Take advantage of our various amenities and services, including exercise classes, fitness programs, a theater, business center, beauty salon, art classes and more. Verena at the Reserve is a pet-friendly senior living community, and offers outdoor amenities such as walking paths, patios and picnic areas. Members enjoy diverse dining options, chef-prepared with locally sourced ingredients. Our caring staff recognizes your aspirations and values, and takes pride in providing first-class independent living, all while respecting your budget.
Live Inspired.
You've worked hard. Now it's time to relish your retirement with the company of like-minded peers within an active, fun senior living community.Lifestyle
Stay Fit.
Here, wellness isn't a program, it's a philosophy that engages your body, mind and spirit. There's also a fitness center and monthly exercise classes.Wellness Philosophy
Design Your Space.
Choose from one-bedroom and two-bedroom floor plans that flow effortlessly; some offering den, balcony or patio options for your ideal space.Floor Plans
Keep Control.
Annual leases with no large upfront entrance fee. Manage your hard-earned finances, enjoy numerous amenities and conveniences and live life your way.Value & Pricing


text:
Publicações científicas
Cochlear implants in post-lingual persons: results during the first five years of the clinical course
Manrique MJ, Espinosa JM, Huarte A, Molina M, García-Tapia R, Artieda J.
Departamento de ORL, Clínica Universitaria de Navarra, Pamplona.
Revisão:Acta Otorrinoralingológica Española
Data: 1/Dez/1996Neurofisiologia [ES] Departamento de Otorrinolaringología [ES]
Abundant literature is available on the results of cochlear implants in postlingual persons. Nevertheless, there are few long-term studies with a follow-up of more than 1 year. We present the outcomes of 37 postlingual patients with a 5-year follow-up period. We examined the modifications that occurred with changes in coding strategy (MPEAK-SPEAK). After activation, the coding strategy was SPEAK in 10 patients. MPEAK in 20: 7 other SPEAK had changed from MPEAK. Significant improvement (p < 0.01) was observed in all the tests in the first 6 months.
Subsequent assessments revealed a constant improvement in all tests. The results were statistically significant (p < 0.05) for vowels, consonants and bisyllables. Performance with the SPEAK strategy was better than with MPEAK. These results were statistically significant for consonants (p < 0.05), monosyllables (p < 0.05) and bisyllables (p < 0.01).
We concluded that the results of postlingual patients after cochlear implantation showed clear benefits of these devices in profound bilateral deafness, better results with the SPEAK coding strategy than with MPEAK and constant improvement in results, even after the first year of surgery.
CITAÇÃO DO ARTIGO Acta Otorrinolaringol Esp. 1998 Jan-Feb;49(1):19-24
talvezlhe interesse
A Clínica é o hospital privado com maiores recursos tecnológicos de Espanha, tudo num único centro.
Os profissionais da Clínica realizam um trabalho contínuo de investigação e formação, sempre em benefício do paciente.
Conheça porque é que somos diferentes em relação a outros centros sanitários. Qualidade, rapidez, comodidade e resultados.


text:
So, That Guy here. Lately, I've had a lot of Les Misérables going through my head. Songs. Thoughts. Ideas. Characters. Concepts. Plots. All of it. I've come up with a few theories that, in my opinion, make a lot of sense, especially based on what we know about the film and life. Read on if you wish to know the thoughts of a mad-man, on the thoughts of a number of entertainment genii.
Let's start with the beginning shall we? Valjean's crime.
We get told a number of times that his crime was to steal some bread for his sister and her child, who were starving. Sounds like a noble cause, especially when you take into account he ended up serving 19 years as a slave for it, plus running another 17 after that…
But to me, it doesn't add up. People have a habit of glorifying themselves in these situations, and 19 years is a long time to convince yourself you were doing the right thing.
No, I think Valjean stole something more than just some bread, if he didn't do a much more violent and dangerous crime, such as murder. Javert does call him dangerous a fair few times, remember. So, assume that he's guilty of something like murder, and now, who's over-reacting? No-one. He's a criminal and it is Javert's duty to find him, capture him and maybe even execute him, especially when he's been on the run so long. Rehabilitated or not, Valjean is a criminal and fully deserves the punishment Javert wants to dish out.
Okay, so enough about Valjean. Now, for Javert.
He loved the thrill of the chase. Look at the evidence. He single-handedly confronts Valjean EVERY SINGLE TIME they come across one another. Why? He had the command of the best forces in Paris behind him, as he so rightly states, and yet he goes for him with a sword. Not even a gun! Just a sword!
And yet, he also lets him slip by him a few times. He could have dived after him after Fantine's death, and he could have shot him just after the sewers, but both times, he lets him get away. Javert loves the thrill of the chase and refuses to give it up. He's been doing it so long he doesn't know what else to do. So what does he do when he realizes it? Kills himself. A bit of an over-reaction really.
Okay, now, for both of them…
They were famous. Javert, we know, was feared because of his place in the police, whilst Valjean was probably the longest-running parole-breaker of all time. What makes me think that?
"Well of course he now denies it,
You expect that of a con,
But he couldn't run forever,
No, not even Jean Valjean"
What does that tell us? Valjean was a famous convict, who became a symbol of hope for slaves and convicts across France, if not even further. He was the man that showed that the law could be mocked, indeed, had been made a mockery of. He showed that they weren't as great and powerful as they wanted the people to think, and so, there was an added need to get him and put him down, just so that the people knew they couldn't fuck with the government.
And don't say it doesn't happen, because it does. The rioters that Dean wrote about last year, were made examples of, because it showed that the police weren't as powerful as they should be believed to be. Just a tie-in with reality there for you.
Now, back to Valjean himself, and linking in the point of his from before…
He never intended to give himself up. Now, that sounds obvious, right? Wrong. Just before the final battle, Valjean tells Javert that he will find him at such-and-such a place after the battle takes place, if he survives. Javert then gives his medal to the kid who died and waits at what appears to be the only sewer exit in Paris, so that he can ambush the con. Javert lets him go (loves the chase!) and then kills himself.
Did Valjean find out about Javert's suicide. Well, we see all sorts of things that WE'VE seen, that the other characters don't know, so we can't assume that because we know it, they do, and because we don't see it happen, we have to assume Valjean didn't know. So, he's expecting Javert to come and get him, especially now he's no longer running.
But does he stop running? No! Now, admittedly, we don't know the time-frame in these few scenes, but we do know the order and that Valjean chose to go ahead and run to the convent so he could die. He wasn't going to go back to slavery – it was death or freedom and in the end, he'd chosen both.
And my final theory, because everything that will follow this, is just observations I have made.
The Bishop, the one from right near the start, is, in fact, God.
Bear with me. Holy Man, helps the convict redeem himself, tests his will and gives him unconditional freedom, and then, 17 years later, happens to be standing in the convent where Valjean is, AFTER he's died. They share a look, so we know the Bishop is as dead as Fantine and Valjean. But he's religious and the good guys are always symbolic. Thus, the bishop is God.
Okay – now for my observations.
1) The barricade features two coffins and a sign which says "mort", French for death, foreshadowing the upcoming deaths of almost all those who defend it. The word mort is seen just before Eponine dies, for crying out loud – next to her body, just behind her.
2) The music in the songs is used in multiple places, with themes being played over various sections. For example:
- Lovely Ladies has a particularly recognizable tune, and is used not only in the prostitute song, but also as the woman cleans the blood from the streets. This is a use of irony, or something like that, as those very women could have saved the lives of the men whose blood they clean, but chose to protect themselves from harm. Not very lovely ladies to me. Since it was originally used with the hookers who were particularly un-lovely, you could argue it's origin is for ironic purposes.
- The Thernadier theme, as I like to call it, played when they try to extort money from people – Valjean in the Inn and the town square, as well as from Marius in the celebration at the end.
- The basic tune and rhythm for Javert's suicide was taken from Valjean's monologue, as we decides to start his life afresh – even some of the lines are the same. The had the same options and chose the opposite ones.
- One Day More has parts of it repeated in various places, I think as transition, but potentially as a concept theme, but I haven't quite worked out what yet.
3) There are no villians, depending on how you look at the story.
- Valjean WAS a villain, but has turned good,
- Javert is just doing what he is duty-bound to do – policing the people of France,
- The Thernadiers are just trying to survive in a world of greed and corruption,
- The Rebels are trying to save their land which they so desperately love,
- The government is trying to rule a country that is still reeling from their last revolution.
Everyone's a victim in some way, and, if I had to choose a villain, it'd be either the bitch from the factory who takes the note, or Valjean, depending on what his real crime was.
Now, that's a fair few ideas and realizations, but they're all probably wrong, but in the off-chance they're not, well… Just watch the film with these in mind. And if you have any, or if I have any more, we should comment on the post, AND, if you have an opinion on any of these, again, go ahead and comment. You never know. We might prove one of these to be correct, if not more.
That Guy


text:
Why Lead Generation Funnels
A funnel is a process that moves prospects further towards being paying customers. The great thing about our world today is that there are many ways to attract new prospects to your business. As you can imagine, there are many different lead generation funnels depending upon your sales process. Here are the two most commonly used:
Marketing and Sales Funnels
A marketing funnel involves the early interaction between prospects and a business. In the marketing stage, the prospect is usually not ready to become a client yet. The relationship needs to be nurtured for a longer period, so there are more steps needed in the funnel. A sales funnel involves a prospect that is willing to make a purchase right away. Not as many steps take place before the transaction occurs.
Funnels Offer Opportunities
Within marketing and sales funnels are specific types of funnels. For example, a marketing funnel can include social media or content marketing. A sales funnel can be a pay-per-click campaign focused on keywords with buyer intent, like someone searching for "buy car insurance" on Google. Another one might be for someone looking for the best dentist on an online directory.
Both marketing and sales funnels offer opportunity. Just because someone isn't ready to buy right now doesn't mean that you don't want to get their attention, earn their trust and build a relationship so that when they are interested in what you offer you're already top of mind. The trick is managing all these different funnels.
Lead Generation Funnel Strategy
Every business is different. The key to success with lead generation funnels is identifying which ones are right for your business. Mann & Co. can do so by analyzing your business and your customers. From there, we'll identify the right lead generation funnels and implement them for you.


text:
|Forum Home > Non-Seiko 7Axx Discussion Area (Re-branded mvmt's) > My newest incoming Yema Spationaute III .... and strap changes !
Site Owner
Posts: 12494
Believe it or not, it's almost the end of January already and I hadn't yet added another single Seiko 7A38, per se, to my collection.
However, in December, I gave in to an impulse buy on Yahoo Japan Auctions and bought myself yet another Yema Spationaute III (the 43mm full size version). It's a very late production model, which I believe was manufactured in 1994. There were a few subtly different versions of the Spationaute III, which I intend to document in another blog article in due course. Here's the Yahoo Japan listing photos:
It was in nice, lightly used condition, but came on a non-original patent croco strap.
Due to the long Christmas holiday break, and ParcelFarce's seasonal inefficiency, although shipped from Japan on 22nd December by EMS, it didn't arrive until 6th January - after I'd paid their invoice for 'Priority' (joke) Customs clearance and the obligatory 20% VAT.
But I'd decided, long before it had arrived that the patent croco strap had to go. Despite being fitted with a Yema signed buckle, it clearly wasn't original to the watch. As it happened, I already had a Graf 22mm Navy Blue Shark strap in stock, ready and waiting.
It's not a bad match, and fairly close in appearance to an original Yema strap, but I thought I might try a couple of other alternatives.
Site Owner
Posts: 12494
It seems to have been 'de riguer' to wear a blue-faced Yema Spationaute III on a matching dark Blue calf or Navy Shark leather strap. That's certainly how most of the Spationaute III production appears to have left the Yema / C.G.H. Besançon factory. But apparently 'certain people in high places' have used other means of wrist attachment. Here's one on Yellow Kevlar, with Velcro fixing:
French astronaut Jean-Loup Chrétien followed what had become 'astral wristwear convention', the precedent having been set 20 years earlier by the Apollo crews, and for the 'Aragatz' Soyuz TM-7 mission wore his Yema Spationaute III on a nylon / velcro strap similar to this:
More ramblings on the original Yema Spationaute III worn on the Aragatz mission, to follow in this newly created thread:
Site Owner
Posts: 12494
Although, as I said, it was a fairly reasonable match, I wasn't entirely satisfied with the Graf Navy Shark strap, so I started casting around for alternatives. As I've written before, I'm not averse to plagiarism, particularly if I think something looks 'right', and having seen Derek's 7A38-7080 on a 'GasGasBones' nylon / velcro strap, I did consider ordering something similar in RAF blue, from Carl. But NATO straps and their ilk really aren't my style.
I was quite taken by the bright Yellow Kevlar / Velcro, but again, wanted something a little more conventional, but still in a 'high tech' material. I did find a couple of allegedly 'Kevlar' straps in Yellow on eBay, which I breifly considered, but as in a few instances before, when I've been struggling to find a strap solution, it was the good Frauleins of Orianenberg who provided the answer.
Are you ready for this ? Not sure that I was. How about a bright yellow Gommatex strap with dark blue edging.
Here's a close-up shot that better shows the matching dark blue edging:
But it was the underside / lining of the strap, one of the reasons I chose to buy it, which proved to be the 'Pièce de Résistance'.
It is a French-made watch after all:
Vive La Différence - Vive La France !
Site Owner
Posts: 12494
Should anyone else own a Spationaute III, and be feeling so bold, the strap is a Morellato 'Kajak' (available in both 20mm and 22mm):
Also available in French Bleu (but still with the 'Tricoleur' lining), naturellement.
Posts: 34
Beautiful watch.
I prefer the Yema Seaspider Diver's Watch, Seiko 4s15 movement.
Posts: 7
I love the strap! If you hadn't admitted otherwise, I'd have believed it was the original kit. I think it's a nearly perfect fit.
Site Owner
Posts: 12494
It may appear a 'perfect fit' in those photos, but I'm still ambivalent about how it actually looks 'on the wrist', in the harsh light of day ....
Site Owner
Posts: 12494
With apologies for the belated bump to this thread, I am literally months behind in writing up this topic.
I'll have to admit that yellow Morellato 'Kajak' strap was something of an experiment, and although it may have worked 'on paper' ....
as you can see from the above wrist shot, it takes a brave man to wear something like that outdoors in public - a braver man than I.
I think I knew all along what I really wanted to wear it on was a traditional navy blue shark strap, something close to the original Yema.
I wasn't 100% happy with the Graf 22mm navy shark strap I already had in stock, so in February I decided to find something better.
Probably the best quality 'French' hand-made shark straps you can buy are those manufactured by Fleurus: http://www.fleurus.fr
Their heavily padded construction and stitching patterns fairly closely resemble the original fitment Yema straps. I'd used the 20mm versions of their shark strap on two of my 38mm 'reduced' Yema Spationaute III's, in navy blue and black. They weren't cheap.
I'd previously bought a couple from Philippe Boyer http://www.chronographe.fr and winced at the 55 Euros apiece he charged.
So I went googling for a cheaper alternative supplier. Somehow I stumbled across Henrik de Keizer's Horlogebanden.com website.
He stocked some Fleurus Shark straps: http://www.horlogebanden.com/home.php?cat=268&sort=price&sort_direction=0&page=3
but unfortunately not in the style or colour I wanted. So I phoned him (like most Dutch business people, he spoke perfect English), and asked if he'd order me a 22mm Navy shark strap from Fleurus. Not a problem - he said he'd charge the same lower price of 45 Euros.
I followed it up with an email, confirming exactly what I wanted: Style 13607 in 22mm Navy Blue (adding the french word Marine).
A couple of weeks later, I received a PayPal invoice and the strap was despatched. I was mildly annoyed when it arrived because it
was distinctly blue, rather than navy. Here's a photo I took of the strap, at the time, compared with that on my 38mm Spationaute III:
As you can see, the Fleurus advice note included with it clearly stated 'blue' too. There had obviously been a screw-up somewhere.
I phoned Henrik, and told him of the problem. He apologised, and I hastily mailed the strap back to Holland the same day, asking them to order me a replacement strap - in the correct colour that I had specified. You know that old saying: 'act in haste repent at leisure' ?
Well, as I walked back from the post office, I was thinking to myself that perhaps I'd been a little hasty. You see, I'd offered that blue strap up to the watch, and although it was 'wrong' in my book, it actually 'worked' quite well - being a good match for the dial colour.
So I emailed Henrik, explaining my change of heart, asking him to return the blue strap to me, besides ordering me a navy one as well.
A couple of weeks later I had two Fleurus 22mm shark straps. The Navy blue one was a LOT darker than the 20mm supplied before:
Unfortunately there was nothing that could be done, because in the event of any complaint, all strap manufacturers will automatically cite colour / grain variations in natural material - and this had been a 'special order' too. Note 'Marine' on the second advice note.
Site Owner
Posts: 12494
So, after all that, the two straps have ended up sitting in my strap drawer for a couple of months.
Part of the problem was that I didn't want to fit either of them until I could find some stainless steel tubing to sleeve their ends with.
The Yema Spationaute III's (both sizes) and the Yema N8 Flygraf use pin and crimped tube for strap fixing. I've written about it here:
Rather than keep pushing the original Yema tubes out of the straps, as I swapped them about, I wanted to make up a few more pairs.
Pins weren't an issue, but finding exactly the right 1.8mm O.D. x 1.4mm I.D. tubing to get a tight interference fit wasn't quite so easy.
Previously, I'd visited a couple of tattoo parlours, in town, scrounging a few piercing needles. They were in American needle gauge sizes, and either too loose or too tight. I even cadged some samples from a UK micro-bore stainless tubing manufacturer to no avail.
Eventually I found a simple cheap solution - I ordered a pack of 28mm x 1.8mm spring bars from Cousins, and cut the ends off them !
So today, after I'd ground 2 pairs of tubes to a perfect 21.90mm length, with my Dremel, I finally trial fitted both straps this afternoon:
Site Owner
Posts: 12494
Now, whereas the dark navy strap is probably how Yema intended the Spationaute III to look, back in the day ....
I think I'm actually beginning to prefer the (much lighter) mid blue. I'm glad I kept it now. Here's a slight variation on today's wrist shot:
Site Owner
Posts: 12494
I've never really been a fan of the aged lume that you frequently see on 'vintage' watches - where it has turned yellow.
You'll sometimes see it on Yema Spationaute III's - particularly in the 'bullets' on the dial, and sometimes the bezel markers.
I presume it's down to natural ageing and / or exposure to sunlight - possibly from being left on display in a shop window for years.
Something else I'd noticed is that other Yema Spationate III's seem to be almost totally devoid of lume on their dial bullet markers.
Back in June 2010, I'd bought a NOS Yema Spationaute III on eBay Italy - relatively cheaply. This is one of the seller's photos:
Notice that the bezel lume has yellowed, yet the dial bullets are still white - indeed, in close-up, they look almost totally devoid of lume.
Site Owner
Posts: 12494
Normally I'd avoid buying any Spationaute III with yellowed lume, particularly on the dial, because it's potentially expensive to restore.
Here's another example a NOS Yema Spationaute III with aged dial lume, which I remember seeing advertised on Chronomania.net:
Apparently it did sell for the 500 Euros asking price (back in May 2010).
Note that although the bezel and dial lume have both yellowed (almost evenly) with age, the hands lume is still almost pristine white.
Like I said - normally I'd avoid buying a Yema Spationaute III with yellowed lume, but then another NOS example came up on eBay in the States a couple of weeks ago, and it was much more reasonably priced with an opening bid of $250.
Here's a couple of the seller's rather small photos from the eBay listing:
As you can see, the dial lume is quite badly yellowed, almost matching the minute markers - yet the bezel's lume is still white.
The seller had actually written in his description: has a round recessed analog blue dial with high contrast yellow markers ....
Which of course, they're not really supposed to be.
But I bought it (or should I say a friend in the States bought it, on my behalf), with a particular purpose in mind.
The mis-match of the bezel and dial lume colours on my first NOS Yema Spationaute III had always bugged me slightly:
It's not difficult to repaint them - I've done it before on my original 'beater / bitza' Spationaute III, using Humbrol enamel paint.
Incidentally, that original 'bitza' Spationaute III of mine is fitted with a long-since obsolete German-made Colditz Pazifik shark strap.
But, as I wrote, I had a plan in mind. This morning, I swapped over the dial / movements between the two NOS Yema Spationaute III's.
Resulting, first of all, in this, which is the new incoming NOS Spationaute III, fitted with the dial / movement from my previous NOS one:
As Michael Barrymore would say - Aw-Wight ?
Site Owner
Posts: 12494
I then turned my attention to re-assembling the other one, which would comprise the case and bezel and dial with yellowed lume.
There were at least 3 different factory variations of dial (printing and hands) and strap used during the Yema Spationaute III's 5 year production span. Of course, these two were both early production versions, with the full YEMA PARIS QUARTZ 100M dial and both still fitted with their original Yema plain dark navy blue ribbed leather straps (as opposed to shark). So apart from the yellowed lume, they would have been almost identical. To make them a bit different, my original plan had been to fit the 'yellowed' watch with the Fleurus dark navy blue shark strap, which was still lying around unused. I did offer it up to the watch head, but then decided not to fit it.
Instead, I remembered my earlier experiment with the yellow Morellato Kajak strap .... and decided to give it another try.
'Old Yeller' is back ....
Not the dog, nor the movie ....
Nor the car ....
.... but the watch.
Better match than before, with rather more yellow on the watch head ?
It may appear a 'perfect fit' in those photos, but I'm still ambivalent about how it actually looks 'on the wrist', in the harsh light of day ....
Site Owner
Posts: 12494
Here's another N.O.S. Yema Spationaute III which arrived last week, courtesy of my friendly 'shipping agent' in the States.
This example is on the original Yema navy shark strap, my first of such - and it's my intention to keep it that way .... almost 'stock'.
However, I've decided to give it a very minor mod and fitted the alternate 'wire loop' style Yema buckle to it. N.O.S., naturellement.
Site Owner
Posts: 12494
At the risk of repeating myself ....
This week I've been doing some analyses of the incoming google searches I see on the forum's control panel statistics package.
I try to ensure that all visitors to the site find the exact answers they're looking for - so we become the ultimate point of reference.
Which is why you'll sometimes see me apparently unnecessarily repeating keywords and particularly model numbers - it's intentional.
So, when I spotted this French visitor earlier this week, I had to have a self-satisfied little smile to myself. Ironic he came here, eh ?
Site Owner
Posts: 12494
It also reminded me that I needed to add a little footnote to this thread.
Whereas I'm quite happy with the variety of non-original straps that I've sourced and fitted to my various Yema Spationaute III's ....
I never tire of experimenting with different strap combinations. That said; I don't always get it quite right first (nor last) time, either:
See: http://www.seiko7a38.com/apps/forums/topics/show/8066282-failed-strap-experiment-99
I could have added this post onto that thread, but as it's relevant to the Yema Spationaute III, I thought it best mentioned here.
As you'll already probably be aware, where practicable, I sometimes like to try matching straps to watch dial colours.
Last month, I had to order something else from watchbandcenter and my inquisitive nature got the better of me ....
'Lorica' is described as a 'high tech' material and this strap was available in 22mm; dark blue with yellow stitching:
Watch strap "Sail" 22mm dark blue Lorica matt by BROS (width of buckle 20 mm)
So I tacked one onto my order, to see if it might 'work' on a Spationaute III. It most certainly didn't !
Not only was the dark blue even more purpley than it appeared in the above photo, the texture looked like poor imitation leather ....
But the example I was sent was also badly finished, with the edges not properly glued down in a couple of places. Needless to say,
after briefly offering it up (but not trial fitting it between the lugs), it was on it's way back to the Frauleins of Oranienburg for credit !
Site Owner
Posts: 12494
If you're looking for a similar appearing replacement (for an original Yema shark strap), there are plenty of online retailers offering Navy or Dark Blue shark straps - of varying prices and degrees of quality. Although expensive, I'd recommend the French Fleurus.
If you fancy trying an alternative matching blue with yellow stitching strap, here's a couple I've come across possibly worth considering:
From US strap manufacturer Brady Straps - not actually 'Kevlar', but 'sailcloth' pattern embossed leather @ $34.95:
Then there's this comparatively cheap offering (which appears to be very popular, from the 477 sold) on eBay / Watchgecko @ £9.95:
Genuine Leather Watch Strap in Black/Red or Blue/Yellow - Grand Prix Design
Strap choice is very much a personal taste. One thing I dislike are straps which taper excessively. Both these are O.K. in that respect.
However, I also dislike slotted holes and square buckle tangs - preferring normal small punched round holes. So not for me, I'm afraid.
Site Owner
Posts: 12494
A somewhat belated postscript to this thread. Way back in June 2012, I'd purchased a Navy 22mm Fleurus shark strap. I'd originally intended to use it on the Yema Spationaute III that started off this thread, which I'd bought on Yahoo Japan back in December 2011.
The strap supplied was much darker than I'd expected and as you can see from the foregoing posts I fitted the mid-blue one instead.
That very dark navy Fleurus strap has lain neglected, unused (but certainly not forgotten) in my strap drawer ever since.
At the weekend I almost finished restoring another 'Mission Flags' dialed Yema Spationaute III. All it really needed was a strap.
Typical Bank Holiday weather on Sunday - thunderstorms around midday even.
I managed to grab a quick photo during a brief period of sunshine. Please excuse the little bug who decided to crawl into shot.
Site Owner
Posts: 12494
I'm not sure why, but this strap seems to work so much better with this dial.
Just a couple of words of warning to anybody who may be considering buying one of these Fleurus straps ....
Remember that Shark leather is a natural material and that dye colour and grain can vary considerably (as I learned).
Secondly, although they look the part, these straps are nothing like as soft or comfortable as the original Yema straps.
Their rubber internal padding / reinforcement is nowhere near as flexible and will take some considerable time to break in.
Site Owner
Posts: 12494
An email from a forum member earlier this morning, asking a fairly basic question about straps for Yema Spationaute III's, reminded me I was delinquent in adding another update to this thread. One style of strap I hadn't mentioned previously was the 'Double Jonc' style favoured by many French owners. If you scroll throug the Yema N7s and N8s spotted on eBay, LeBonCoin and Yahoo.jp thread you'll find a number of images saved from eBay and LeBonCoin listings showing this style of strap, with their distinctive double ribs. Indeed, I've purchased a couple of Spationaute III's (both 43mm and 38mm 'reduced') which came with them fitted, but they were too worn out and dirty to ever consider re-using.
I've always assumed that the original Yema straps were supplied by Fleurus. Apart from being a French watch strap manufacturer, their current designs and construction are similar to the originals. They also produce a 'double jonc' version of their shark straps. But I try to keep an open mind about these things - and remembering what I've seen over the years, I wouldn't mind betting that Yema used another major French watch strap manufacturer - ZRC ( Zuccolo, Rochet et Cie) as a second source. The reason I say that is that certainly the earlier 'Fleurus' style straps carry only Yema branding, whereas straps which I believe were manufactured for them by ZRC have no markings - neither on the underside nor on their buckles. This shrivelled up thing in came fitted to my very first Yema Spationaute III - a 'parts watch' (nearly 5 years ago). I kept it for a good reason: future reference; the seller told me it was the original strap. Buckle is a clearly a ZRC, but without their logo.
But I digress.
Getting back to 'Double Jonc' style straps. I'd used them myself on other Yema N8's before, but never tried one on a Spationaute III.
At the risk of repeating myself (again) ....
As I've written before, I'm not averse to plagiarism, particularly if I think something looks 'right' .... (even if it's 'technically' wrong).
Back in October last year (on page 6 of the above linked thread), I'd written about a Spationaute III listed on eBay by a UK seller.
It was fitted with a dark blue ZRC 'double jonc' leather strap. Here's a partial copy and paste of my post dated October 15, 2013:
Although it's fitted with the correct style 'wire loop' Yema branded buckle, the dark blue 'double jonc' strap isn't original to the watch.
I had previously seen this same strap retro-fitted by French Yema Spationaute III owners. So I asked the seller a question. He replied:
The strap is a quality leather 22mm ZRC French strap. Seems to do the watch justice. £20 retail. Hope this helps. (He stocks ZRC straps.)
In fact there's more information about these ZRC straps in my two subsequent posts, but I'm not going to bother copying them over.
To cut what is becoming a long story short, I'd recently refurbished yet another Yema Spationaute III (apart from polishing an annoying little scratch on the crystal, which can wait till I'm in the right frame of mind). I needed a strap for it. I still have that Graf 22mm navy blue shark strap (mentioned in my first post) in my spare strap drawer, but as I wan't that enamoured with it first time around, I wanted to try something different. My first thought was the blue version of that Morellato 'Kajak' gommatex strap (with the lovely tricoleur lining). Knowing how bright the yellow one was, I googled (more) images of it first, before ordering one - and bottled out. Then I was recently reminded by Jean-Christophe (a.k.a. 'Jecko' of FAM) listing his Spationaute III fitted with one of the same ZRC straps on LeBonCoin.
'Imitation being the sincerest form of flattery' and all that, I decided to try one for myself. However - a word of warning.
Just as I'd discovered earlier, with Fleurus, there appears to be some confusion between ZRC's Blue and Navy Blue !
First there's the obvious transposition error (illustrations '6' and '12') on the ZRC website's current catalogue .pdf ....
Compounded by a part number error on Antique Watch Co.'s website: http://www.antiquewatchcouk.com/leatherstraps.htm
So before I ordered a 'dark blue' ZRC leather strap from AWC, I got them to email me a photo of what I was purchasing first.
As AWC had done with the Yema Spationaute III they sold on eBay in October last year, I fitted an original Yema wire loop buckle:
Hence this morning's WRUW thread wrist shot:


text:
Sometimes you go to see a film because of the actor. Sometimes because of the director. Sometimes, it's because of the poster (thanks to the marketing people behind Top Gun). And sometimes, the title itself gets you in the seat.
Contagion is a big word. An important word. Contagion just sounds sinister. It's a word with manifold interpretation, evoking the "viral" phenomena of pop culture (check out Malcolm Gladwell's book The Tipping Point for a real flagship study of the birth of our contagious culture), and, of course, it's a word that conjures images of disease, thoughts of sickness, and the threat of catching something a lot worse than a chicken soup cold.
Just say it: "Contagion." It chills the blood. It almost makes you cough.
That's what Gwenyth Paltrow is doing at the beginning of the movie – she's coughing. She's sick, sick with something bad, and she's the sort of "ground zero" of the whole epidemic.
From here the movie unspools in an almost stream-of-consciousness manner, weaving together the character threads a la Babel, or Traffic. Only unlike those two films, there is something very understated about Contagion. Moments where you think it might take a leap to the next level, where chaos reigns and your senses are truly blown don't really occur. Instead, the story remains within it's own biohazard suit. While you may be rapt with attention for the first half hour or so, once the style fully presents itself, and once you sense the parameters, the limitations of the film, your mind may began to wander.
Films have limits. They don't have to, though. You can make a film on your own dime which goes as far as you want to take it – as fantastical, as gruesome, as dirty, majestic, or obscure as you can muster. You can make a movie about a man sleeping. You can make a movie about some crazy lady who lives in your radiator. And if anybody watches what you've made, either they're under duress (read: learning film "theory" at school) or, you've gotten incredibly lucky.
Films have limits because films cost money. Most people don't have the money to make a big film, so they ask other people. Those other people say, "Okay, but I want my money back. And I'd like to make some money too." This is called a "return." The filmmakers, then, are beholden to the investors. The more the film is shown, the more money the investors make. Storytelling, then, becomes a sort of risk-assessment. At least, that aspect can't really be separated from any media looking to lend itself to commerce. And that's fine.
The problem is, the medium itself – this incredible concert of sight and sound, this ability to express ideas in a highly suggestible way, to put people into a darkened room and overwhelm them with a giant picture and booming audition that basically hypnotizes them, well, that's just freaking incredible. It's powerful. It can be seen as photography and music and painting and writing and sculpting and architecture and hair-dressing all rolled into one. Everything. Even if it's a film made by a few guys and gals running around with back-packs and cargo pants, a movie is an incredible enterprise.
As such, when I watch a film like, say, Avatar, and all the stops are pulled – I mean, all the stops (the best CGI, the grandest world, the scope of the saga) – I get pulled in. We all do, or most of us do.
But then I want something else to happen. I want to be surprised. When the blue cat people are there in that stupefying, iridescent forest, I want to just live there. I want the story to take a turn. But, no. What happens is what always happens. After the main character we've come to know and root for has overcome numerous obstacles and successfully wooed the one he pines for and they consummate with physical affection, that's the apex of the arc. That's when the bulldozers come cracking through the trees. When the bad guy bursts through the door. When "the tables turn" and now we start descending towards act III.
This is where I want something new. This is where I want to pick up a whole new road, and start to follow it. This is where I want to be surprised.
See, I don't want there to be a cure for the disease. I don't want the tables to be turned. I'd rather live there in that world, to see something more about it, to go over here and check this thing out, this thing just off in the distance. I don't want to go down this same old road I've been down, accepting it just because this version has different actors and story details. I've been there before.
Give me fuel, give me fire, give me that which I desire, as the Metallica blokes say. Caress the divine details, as Nabokov puts it. Take me into the story and then do a freaking number on me.
Contagion, alas, doesn't do it. Maybe this was why I was a bit surprised by seeing Stephen Soderberg's name at the end of it. From the director of Solaris, and even Ocean's Eleven, Contagion rolls out like the standard yarn does, supplying you just enough reasons to like your characters, giving you the modicum of grit and realism pertinent to a story like this, but it never reaches any higher. It never moves into what transcends the medium
Soderberg is retiring, says the grapevine, anyway. And my desires for great films are mostly unrealistic. They're out there, and they do come along. Contagion just wasn't one of them. If you're looking to check-out of life for a hundred minutes, and be sufficiently entertained, buy the ticket. If you're hoping for a sprawling disaster movie that surprises and shakes you, wait for DVD or skip it. While I admit I was using my shirt sleeve to touch any doorknobs for a few hours afterwards, I don't think this particular movie will be very contagious at the box office.


text:
No matches found.
South Burlington, VT
Ballet Vermont is your local ballet company. We produce Vermont's beloved summer tradition: The Farm to Ballet Project, and have been featured on Mister Chris & Friends on VermontPBS. In addition to producing other ballets, we also run kids break camps and summer performance camps! Campers get to learn ballet…(more)


text:
We strive to maintain the original intentions of the Australian Shepherd. They are intelligent, primarily a working dog of strong herding and guardian instincts, an exceptional companion, and easily trained. While versatile, the Australian Shepherd is reserved with strangers, does not exhibit shyness and performs tasks with style and enthusiasm.
While this is a wonderful breed, they are not a good fit for everyone! If not used for their original intentions, their intelligence and high energy will get them into trouble. We highly encourage obedience training, agility classes, and other athletic outlets for them express their energy. They will learn quickly and are more biddable companions with structure and routine.
When looking for an Aussie, please ask questions and don't be afraid to continue your search if you don't get answers that satisfy you.


text:
BY yveet On May 17, 2018 Template
Letter of purchase request image to sample requestletter requesting. Letter of purchase request image loan statement format fresh proposal template toehicle. 19 elegant agreement request letter pictures complete template of to purchase vehicleletter.
Letter ofase request image form excel template choice templates to vehicleletter. Letter of purchase request image travelotation template price format examples forote to. Letter ofe request 10 form template word image sample requestletter to.
Letter ofchase request image template tender authorization to vehicle. Letterf purchase request image template word form sample to requesting businessletter. Purchase request letter fiveoutsiders com of sample requestletter to requesting a slave. Template customer request form sample letter ofo purchase requesting businessletter.
98/100. User Ratings (490 Votes)
214 Facebook Shares
109 Twitter Tweets
324 Pinterest Pins
196 G+ Shares
114 Thumblr Shares
140 Lkdln Shares
yveet is the social media editor. When she's not writing about the latest viral trend, she's probably out shoe shopping, eating dessert before dinner, or surrounded by puppies (sometimes all 3 at once)
Static Pages
Recent Posts
Intellectual Property Policy and Infringement Claims - Privacy Policy - Terms of Use
© 1999-2019 Tientas.com. All rights reserved.


text:
DC & Marvel's Neverending Battle Against Superhero Marriage
With "Batwoman" making wedded heroes a hot-button issue again, CBR examines the dissolution of superhero marriages at the hands of cosmic forces, magic, divorce and outright retcons.
X-POSITION: Remender Grows "Uncanny Avengers"
"Uncanny Avengers" writer Rick Remender joins X-Position to discuss the team's growing roster, the major villain reveal at the end of his first arc, the 50th anniversaries of both franchises and more!
Remender Plans an Apocalyptic Future for the "Uncanny Avengers"
Rick Remender brought the first arc of "Uncanny Avengers" to a close in #4, giving readers a glimpse at the dangerous future world that awaits his cast. CBR spoke with him about what lies ahead for Havok's team.
McKeever Unleashes an "Onslaught" on the Marvel U
This February, Sean McKeever and Filipe Andrade kick off the four issue "Onslaught Unleashed." We spoke with McKeever about pitting the titular villain against both the Young Allies and the Secret Avengers.
Liefeld Covers "Onslaught Unleashed"
Marvel has released Rob Liefeld's variants for "Onslaught Unleashed" #1. The series, written by Sean McKeever with art by Filipe Andrade and covers by Humberto Ramos and Liefeld, slams into stores in February 2011.
LBCC: Lobdell Announces "The Butler" at Image
During his Long Beach Comic Con panel, industry veteran Scott Lobdell discussed the origins of Onslaught, his upcoming "Fathom" run and his new Image title with artist Dan Duncan, "The Butler."
Marvel Unleashes Onslaught in February
Marvel has released a teaser image featuring Humberto Ramos' cover for "Onslaught Unleashed." The series, written by Sean McKeever with art by Filipe Andrade with variant cover by Rob Liefeld, hits in February.


text:
Slipknot's Sid Wilson has premiered a new video for his new song "†He©U®e." This track is from his new album "∫∑x©∆p∆D∑∫ øƒ †h3 høP∑£3∫∫ ®øbø†¡¢," which will be released on August 17.
Wilson said the following about the song:
"'†He©U®e' represents our hero SID's final straw with the human race. He has tried countless times to share what he calls '†He©U®e' with every being he has come into contact with and cared for. With zero success rate he is now seeing his bleak lonely future thru a series of time travels and quantum jumps using directional elements in their eco-system on an planet the hUM∆N∫ call 'Earth.' Seeing how addictions play out within the hUM∆N∫, he soon realizes that he can't keep injecting this '©U®e' due to the adaptations that have occurred thru out their evolution's, and a tolerance to '†He©U®e' has began to develop deep inside the DNA of the hUM∆N∫. Will he find salvation else where, or should he of stayed amongst the hUM∆N∫?"
A description of the album was also provided:
"'∫∑x©∆p∆D∑∫ øƒ †h3 høP∑£3∫∫ ®øbø†¡¢' is a metaphoric creative representation of the heart and mind inside a body of work known as the artist "SID" (tHe aLieN kiNg). The cover art can be translated as this… SID is an alien without a home planet traveling thru dark space being assimilated by a cold robotic force known as "tHe feMALe", and is attempting to save the last part of him that remains human, his heart. Will he conquer love or be consumed by the robotic force sweeping the Universe?"
"∫∑x©∆p∆D∑∫ øƒ †h3 høP∑£3∫∫ ®øbø†¡¢" Track Listing:
02. "hØp∑∫∫ øßø¡"
03. "h∑ ø√∑ ¡N∫¡D∑"
04. "wH∑N ∫h∑ w∆k"
05. "ƒ∑Nh ß∑N∑ƒ¡∫"
06. "N∑∑D Ø ∫øP"
08. "ßøD ƒ∆D∑∫"
09. "µƒƒ ø√∑"
10. "gHØ∫ ßµ∫∑R"
11. "¡ ß∑ w∆¡¡Ng"
13. "gµN pØwD∑r"
14. "k¡Ng"
15. "∂R¡ƒ¡N"
16. "p∆N∫ ؃ƒ ¡N m µß∑"
17. "øµ w¡∫H"
18. "∫∑x R∆P"
19. "HeUe"


text:
Polymer & Chemistry Industry
- Last Updated: Monday, 07 October 2019 05:24
As the second holder of big gas storages in the world, Islamic Republic of Iran has relatively several advantages. Upon running the petrochemical complexes, need to low level petrochemical industries, complete its production chain with added value, Giti Pasand Industrial Group has defined its mission as running the polymeric production units in different grades and supplying about 300 producing factories in the country with raw materials. A part of industries using the Group produced materials includes: car industry, print and publication, cable manufacturing, packing, hygienic and cellulose devices, agriculture, etc.
Nike EPIC React Flyknit
- Category: Polymer and chemical industry


text:
Focused on securing a historic landslide victory in November, New Jersey Governor Chris Christie is keeping distance between himself and GOP Senate candidate Steve Lonegan. Allies of the Governor say they expect he will formally endorse Lonegan for the October special election, but won't campaign or fundraise with him. This year, Christie is all about Christie.
To say Christie is a heavy favorite for reelection is a gross understatement. He leads his Democrat rival by 25 points in the latest poll. He is easily the most popular Republican the Garden State has seen in years. His goal this year isn't just to win reelection, but to win by such a convincing margin he can pitch Republicans across the country that he can expand the electoral map in 2016. His reelection campaign is really his "demo tape" for the 2016 nomination.
He is so focused on running up the score in his reelection that he scheduled the special election to replace deceased Sen. Frank Lautenberg a few weeks before the general election in November. A strict reading of the law would have suggested a special election this November or sometime next year. Christie, however, didn't want to risk a higher minority turnout driven by Democrat Senate candidate Cory Booker.
An October special election, though, gives the GOP a chance to capture the Senate seat. Turnout is expected to be very low, which itself favors Republicans. Booker is currently embroiled in questions surrounding his tech start-up WayWire. Although the potential scandal came to light too late to impact the primary, it could do serious damage to Booker in the general.
Christie has a lot of political capital in New Jersey. His public embrace of President Obama during Hurricane Sandy relief efforts engendered a lot of good will with Democrats and Democrat-leaning Independents. Lending aid to Lonegan would boost the GOP candidate's chances in the October special election. Even if such support shaved a couple points over his reelection margin, it would give the GOP a chance to pick up a critical Senate seat.
Christie's reluctance to help Lonegan may be personal. They fought a bitter primary in 2009 to secure the GOP nomination for Governor. Lonegan was especially sharp in his campaign rhetoric. He accused Christie of "vapid double-talk" and called his budget-cutting plans "irresponsible." Christie may simply be reluctant to help a former rival.
Leaders, though, are supposed to rise above such things. In the wake of his almost-certain reelection, Christie will begin courting Republican voters in Iowa, New Hampshire, and other early voting states in advance of the 2016 primaries. His opponents for the nomination will be sure to remind these same voters that Christie declined to come to the aid of his party at a time when it might have made a difference.


text:
Then please also fill in these:
Fed up with the same old faces, same scene! TRY 2CONNECT CORK Speed Dating a try. It`s a brilliant way to meet new people!
This speed dating event is strictly for the 26-38 only crowd.
What happens at an event
On arrival our host will register you & give you a dating card, a name badge and a pen, then invite you to have a drink at the bar. Next the host will explain how it works.
Now the dating begins. Usually women will stay seated while men will rotate every 3 to 5 minutes when the bell rings. After each date the daters mark their card whether they would like to see that person again.
After the event
At the end of the evening hand us your card! The next day we will email you a link to your account where you can view your matches. If you get a match, don`t delay & send the person an email.
"What a fun night!, came a bit nervous, but had lots of laughs and met a few lovely lads! May not see you again :) Gina, Costigans, July 2017
Speed Dating Night
Please arrive by 19:30
Signing in at 19:45
Event starts at 20:00
Speed Dating
CORK Pre-Valentines Speed Dating Night
Counihans Bar
Date : Thu 13th Feb 2020
City : Cork
Ages : 26-38
Male Places:
Female Places:
Copyright © 2019 2connect.ie
Registered address: Pod 27, Castleyard, 20 St Patricks Road, Dalkey, Co Dublin Company no: 426788
Speed Dating is a quick way to meet 20 or more single people in ireland who are also looking for a single partner. Speed Dating is a risk free way of getting out there and meeting in a
safe upmarket venue. If you're fed up of not meeting the right single people in bars and clubs, blind dates that don't work and just lets say that meeting single people from the office
is just bad news. Then speed dating will definatly be right up your ally. speed dating is Ireland's leading speed dating company and runs speed dating dublin events in Dublin, Galway,
Cork and Belfast. all you do is meet twenty or so single people and tick the single people you like most online, If they tick you back then its an online match, you can then start chatting
to the other single person online, no details are ever given out. Safe and simple Irish speeddating dating. We also run dinner dating, Lock & Key dating and other singles parties and
Themed speed dating events. We are starting Online Dating soon.