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Comey compares Trump to mob boss, Trump cries 'slime ball'
(AP) -- Firing back at a sharply critical book by former FBI director James Comey, President Donald Trump blasted him Friday as an "untruthful slime ball," saying, "It was my great honor to fire James Comey!"
Trump reacted on Twitter early Friday, the day after the emergence of details from Comey's memoir, which says Trump is "untethered to truth," and describes him as fixated in the early days of his presidency on having the FBI debunk salacious rumors he said were untrue but that could distress his wife.
The book, "A Higher Loyalty," is to be released next week. The Associated Press purchased a copy this week.
In the book, Comey compares Trump to a mafia don and calls his leadership of the country "ego driven and about personal loyalty."
Comey also reveals new details about his interactions with Trump and his own decision-making in handling the Hillary Clinton email investigation before the 2016 election. He casts Trump as a mobster-like figure who sought to blur the line between law enforcement and politics and tried to pressure him personally regarding his investigation into Russian election interference.
The book adheres closely to Comey's public testimony and written statements about his contacts with Trump and his growing concern about Trump's integrity. It also includes strikingly personal jabs at Trump that appear sure to irritate the president.
The 6-foot-8 Comey describes Trump as shorter than he expected with a "too long" tie and "bright white half-moons" under his eyes that he suggests came from tanning goggles. He also says he made a conscious effort to check the president's hand size, saying it was "smaller than mine but did not seem unusually so."
"Donald Trump's presidency threatens much of what is good in this nation," Comey writes, calling the administration a "forest fire" that can't be contained by ethical leaders within the government.
On a more-personal level, Comey describes Trump repeatedly asking him to consider investigating an allegation involving Trump and Russian prostitutes urinating on a bed in a Moscow hotel, in order to prove it was a lie. Trump has strongly denied the allegation, and Comey says that it appeared the president wanted it investigated to reassure his wife, Melania Trump.
Trump fired Comey in May 2017, setting off a scramble at the Justice Department that led to the appointment of Robert Mueller as special counsel overseeing the Russia investigation. Mueller's probe has expanded to include whether Trump obstructed justice by firing Comey, which the president denies.
Trump has assailed Comey as a "showboat" and a "liar." Top White House aides also criticized the fired FBI director on Friday. White House spokeswoman Sarah Huckabee Sanders questioned Comey's credibility in a tweet and White House counselor Kellyanne Conway said Comey took "unnecessary, immature pot shots."
Comey's account lands at a particularly sensitive moment for Trump and the White House. Officials there describe the president as enraged over a recent FBI raid of his personal lawyer's home and office, raising the prospect that he could fire Deputy Attorney General Rod Rosenstein, who appointed Mueller, or try to shut down the probe on his own. The Republican National Committee is poised to lead the pushback effort against Comey by launching a website and supplying surrogates with talking points that question his credibility.
Trump has said he fired Comey because of his handling of the FBI's investigation into Clinton's email practices. Trump used the investigation as a cudgel in the campaign and repeatedly said Clinton should be jailed for using a personal email system while serving as secretary of state. Democrats, on the other hand, have accused Comey of politicizing the investigation, and Clinton herself has said it hurt her election prospects.
Comey writes that he regrets his approach and some of the wording he used in his July 2016 press conference in which he announced the decision not to prosecute Clinton. But he says he believes he did the right thing by going before the cameras and making his statement, noting that the Justice Department had done so in other high profile cases.
Every person on the investigative team, Comey writes, found that there was no prosecutable case against Clinton and that the FBI didn't find that she lied under its questioning.
He also reveals new details about how the government had unverified classified information that he believes could have been used to cast doubt on Attorney General Loretta Lynch's independence in the Clinton probe. While Comey does not outline the details of the information -- and says he didn't see indications of Lynch inappropriately influencing the investigation -- he says it worried him that the material could be used to attack the integrity of the probe and the FBI's independence.
Comey's book will be heavily scrutinized by the president's legal team looking for any inconsistencies between it and his public testimony, under oath, before Congress. They will be looking to impeach Comey's credibility as a key witness in Mueller's obstruction investigation, which the president has cast as a political motivated witch hunt.
The former FBI director provides new details of his firing. He writes that then-Homeland Security Secretary John Kelly -- now Trump's chief of staff -- offered to quit out of disgust at how Comey was dismissed. Kelly has been increasingly marginalized in the White House and the president has mused to confidants about firing him.
Comey also writes extensively about his first meeting with Trump after the election, a briefing in January 2017 at Trump Tower in New York City. Others in the meeting included Vice President Mike Pence, Trump's first chief of staff, Reince Priebus, Michael Flynn, who would become national security adviser, and incoming press secretary, Sean Spicer. Comey was also joined by NSA Director Mike Rogers, CIA Director John Brennan and Director of National Intelligence James Clapper.
After Clapper briefed the team on the intelligence community's findings of Russian election interference, Comey writes, he was taken aback by what the Trump team didn't ask.
"They were about to lead a country that had been attacked by a foreign adversary, yet they had no questions about what the future Russian threat might be," Comey writes. Instead, he writes, they launched into a strategy session about how to "spin what we'd just told them" for the public.
Comey says he had flashbacks to his time investigating the Italian Mafia as a federal prosecutor in Manhattan, thinking that Trump "was trying to make us all part of the same family."
"For my entire career, intelligence was a thing of mine and political spin a thing of yours. Team Trump wanted to change that," he writes.


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Blog tour posts may contain affiliate links.
The Crochet Express National Crochet Month Blog Tour
Welcome to Crochetville's fourth annual National Crochet Month (NatCroMo) blog tour, taking place each day of March 2016. Join us as we take a virtual tour on our passenger steam train, The Crochet Express, visiting crochet designers, crochet-friendly local yarn stores, and yarn companies, and offer some fun giveaways.
Today's Posts: Andrea Lyn Van Benschoten | Melinda Miller | Darleen Hopkins | Yarn Asylum | Daily Giveaway
Want to Chat about the Tour?
Part of the fun of taking a passenger steam train trip is talking with your fellow passengers. This year, we're providing two locations where our passengers can get to know each other. We'd love to hear about your favorite things you've discovered on the tour and see photos of your current crochet projects. You're invited to join us daily for virtual cocktails/appetizers and dinner. (We'll be sharing links to some fabulous recipes!)
[button-blue url="https://www.facebook.com/groups/nationalcrochetmonth/" target="_blank" position="center"]Facebook: Click Here[/button-blue] [button-green url="http://www.crochetville.com/community/forum/469-the-crochet-express-crochetvilles-4th-annual-blog-tour/" target="_blank" position="center"]Crochetville: Click Here[/button-green]
March 20 Daily Giveaway
Special thanks to Jenny King Designs for sponsoring the March 20 Daily Giveaway on The Crochet Express. Jenny has generously donated one student spot at the upcoming Get Squared Retreat in Franklin, TN, June 19-21, 2016. The donation covers the $350 retreat fee; winner is responsible for their own meals, travel, and hotel accommodations (at the Drury Inn and Suites in Franklin; group code coming this weekend).
Scroll down to the bottom of the post to see the Entry Form and Terms and Conditions.
More about the Get Squared Retreat:
The complete details about the Get Squared Retreats will be released this coming weekend. In a nutshell, the Get Squared® Retreat is a chance to get away from the stresses and cares of work and family life. A time to focus on being your most authentic, beautiful self. Instructors Jenny King, Amy Shelton, and Tammy Hildebrand will be there to guide you along the way. You'll learn a new technique to make crochet garments that will fit you (or anyone else) perfectly, the first time and every time. All with any yarn of your choice and your trusty size J-10/6.0 mm hook, with no need to worry about making gauge swatches or complicated pattern adjustments. Sounds unbelievable, right? Trust us: It works! You'll also learn how to select colors that will best show off your natural beauty and how to select garment styles that will show off your figure assets. (Yes, you really do have figure assets!)
Unlike at a conference or show, you'll spend more than just the 15 hours of classroom time with your instructors. You'll be able to get to know us on a more personal level, while enjoying a hot breakfast buffet and evening cocktails and light dinner with us every day. Not to mention the extra-special fun evening activities we have planned for you! Only at a retreat will you get to spend so much time with your instructors!
Worried about whether you have the skills needed for this retreat? If you can chain, single crochet, double crochet, and achieve fairly consistent tension, you are good to go! The retreat is even perfect for knitters who crochet only enough to put trim on a project.
Learn More about the Get Squared Program:
About Jenny King:
Jenny was one of our featured designers on March 1. Learn more about Jenny and her wonderful designs by reading our post.
Find Jenny Online:
Website: jennykingdesigns.com
Blog: jennykingdesigns.com/_blog/Jenny's_Crochet_World/
Ravelry: ravelry.com/designers/jenny-king
Facebook: facebook.com/JennyKingDesigns
Twitter: twitter.com/jkdcrochet
Pinterest: pinterest.com/jkdcrochet
Enter the Giveaway:
Additional Blog Tour Information:
Links to All the Info

subset: commoncrawl


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A2 Key
A Key qualification is proof of your ability to use English to communicate in simple situations.
It should give you the confidence to go on and study for higher-level exams such as Preliminary and First.
It is CEFR Level A2 (What is this?)
Exam Format
Key is made up of three papers developed to test your English skills: Reading and Writing (1 hour 10 minutes), Listening (30 minutes, including 8 minutes' transfer time), Speaking (8–10 minutes per pair of candidates).
You can find many free resources to help you prepare for the exam. Download our free sample papers to prepare the reading, the listening and the writing part. All answers will be provided.
Exam Dates
There are many exam dates throughout the year offering both paper-based and computer-based Key.
Key results are reported on the Cambridge English Scale.
You will receive a separate score for each skill, giving you a clear understanding of your performance. These scores are averaged to give you an overall result for the exam. You will also be given a grade and Common European Framework of Reference for Languages (CEFR) level.


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Julian Wolfson (left) has worked in government, commercial and voluntary sectors. Tim Bond works is an investment strategist. They work at Odey Asset Management.
The economic cycle puts wind in our sails. Growth is a fact. The Government's deficit stance has bought the UK time, and despite real risks UK plc is moving faster than people think. Look through the impact of winter weather on the economy and annual GDP growth is above 2%, probably higher than the rest of Europe. This is welcome, but only as far as it goes, and only for 2011.
The Spring Budget should launch a policy for growth beyond 2011 and set out a two-term agenda to deal with the weaknesses and seize the opportunities on offer.
We face two key long term economic risks. First, the risk derived from excessive debt, particularly government debt. This is something the public is starting to understand. Second, there is resource price inflation risk, driven by the developing economies' surging appetite for raw materials and the other building blocks of modernisation.
The debt is so big that the UK cannot afford – has no room to manage - recession. Were we to have an unexpected downturn in 2012 it is questionable whether government finances would allow the normal operation of automatic stabilisers, let alone additional fiscal stimuli. The cupboard would be bare.
Recession would mean 'soft' default on external creditors through currency falls, and domestic default on the covenant the British have with their government. A series of actions would trigger in which successive, toppling governments would endeavour to make ends meet through welching on everything from free NHS treatment to help for the old, the weak and the young. We HAVE to get growth now and at any cost other than a rising deficit. Even at the cost of inflation.
The second problem, inflation, is more complex. Neither simply good nor simply bad, it is both risk and opportunity. Nor is it under our control when it is inflation which we import.
Continue reading "Julian Wolfson and Tim Bond: A two term growth agenda" »


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When you are out riding your bike you tend to need quick access to a few key bits. Such as money, sunglasses multitool, mobile and keys. The Tri Bag mounts quickly to the handlebars so you can easily reach what you need.
The bag is reasonably priced at £15.92 on Amazon. At that price a waterproof rain cover is included along with waterproofed inner lining. This makes it suitable even when the weather decides to work against you. In practise this rain protection works really well.
I originally purchased one to house the ever useful Veho Pebble which is linked to my iPhone bike mount to charge up my iPhone if I'm using it to follow a long ride. However, I've since found it useful in many other occasions. In particular, recently I've been adding turn-by-turn directions to the London Cycle Routes eBook and inside the bag I've had my microphone for recording directions.
For those who prefer riding without a backpack and don't want too much gear filling up their pockets, then again the Topeak Tri Bag will be a useful accessory to have.
Thanks to the small form of the Tri Bag, it fits unobtrusively to the top tube and stem. This means it won't get in the way as you are pedalling.
The straps can be adjusted to fit thicker frames such as the ones you typically see on mountain bikes.
Overall, you'll find many little uses for the Topeak Tri Bag and thanks to the weather proofing you'll be able to use it all year round.
Available from Amazon.co.uk for £15.92.


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Capitalise on low hanging fruit frameworks identify a ballpark value added activity indicators beta test. Override indicators digital divide with additional clickthroughs from DevOps. Nanotechnology immersion along the information highway will close the loop on focusing solely on the bottom line.
Recommended : In Depth: 10 Tips And Traps In Making Great Business Plans


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Photo gallery: Click here
When Brian McAllister was coming of age in the 1950s all he cared about was playing basketball and chasing girls. However, over the years, he became the heart and soul of the business his Irish ancestors built and he fought hard to keep it from sinking out of the hands of future generations.
Today McAllister Towing and Transportation Co., Inc. is one of the nation's largest towing companies with operations in ports all over the East Coast and Puerto Rico. Captain Brian McAllister, now 76, directs the action from his corner office at the tip of Manhattan overlooking the harbor where so much of his family's history happened. Working with him are two sons and three nephews steering future generations along in the family trade.
The First Generation
The story began in 1864 when James McAllister left Cushendall, County Antrim, to come to New York, then the largest Irish city in the world. His brothers Daniel and William soon joined him. Along with many other Irish families, such as the Morans, they found their calling in the water traffic of New York Harbor. Indeed there were so many tug boats in New York Harbor, they were known collectively as the Irish Navy. James began with a single-sail lighter (a vessel that moves cargo between pier and ship) and called it Greenpoint Lighterage Company after the Brooklyn neighborhood where he had settled. Expanding into towing, McAllister's first tug boat began operating in 1876 while the Brooklyn Bridge was being built.
James had four sons and six daughters in his first marriage and all the sons grew up working in the business, along with an assortment of cousins and other relatives. One day in 1899, his oldest son, James P. (known as Captain Jim) stormed out of Greenpoint Lighterage to go into business for himself around the corner from his father and uncles, but the family soon reunited to form McAllister Brothers and move to new offices at South Street along Manhattan's East River waterfront. In 1909 they acquired the Starin fleet of excursion steamboats with regular runs to Coney Island, the Statue of Liberty and Bear Mountain. When James died in 1916 he left the towing and lighter business to his sons from his first marriage and the steamboat business to his two brothers. After James's first wife died, he remarried and had three more children, though none of them became involved in the business.
Captain Jim, who was Brian's grandfather, was always finding ways to promote the company and in 1914 offered the tug JP McAllister to Harry Houdini. The famous escape artist had himself handcuffed and sealed into a packing case and tossed into the harbor near the Battery. Miraculously, a few minutes later, he surfaced, free of the packing crate and his handcuffs.
Another story that has gone down in family lore is the visit of Eamon de Valera to New York. It began in 1922, when New York's mayor Jimmy Walker called Captain Jim to see if he could pick up de Valera who had arrived by steamer in Hoboken to do some fund raising in Manhattan for the Irish cause. The captain sent his son Anthony, then 22, along to escort de Valera. More than 30 years later when Anthony and his wife passed by Parliament House on a visit to Dublin, he asked the guard to extend his compliments to the prime minister. To his astonishment, de Valera remembered him and asked McAllister and his wife to come around later for a visit.
During World War I, Captain Jim fitted out tugs for crossing the Atlantic during the war and was put in charge of the United States Army's floating equipment. (During World War II, McAllister transported all the Army's explosives through New York Harbor.) Captain Jim was described by one family member as the spark plug who kept the company expanding into new ventures. He lived to see the business triple in size and then get hit so hard by the Great Depression they were down to only one running tug. In 1935 Captain Jim died at 66. When Brian asked what caused his grandfather to die so young, his father told him he died of a broken heart.
Fortunately, all of the McAllisters had large families. Captain Jim had 10 children including three sons, Anthony J. (Brian's father), James P. II, and Gerard, who, along with a few cousins, kept the business afloat. Although some daughters did work in the company offices from time to time, they were not given ownership. By the end of World War II, Brian's dad and his two uncles had 35 tugs running, even though they were mostly worn out wooden steam tugs. They got through the Depression but at that time, Brian recalled, there was not enough work for everybody so only the smartest and hardest workers survived. The family built the company back up in the 40s and 50s and were operating 50 tugs in six ports. "After World War II, Moran had sealed up 70 percent of the ship business in the harbor. That was enormous," Brian said. "McAllister had maybe 15 percent." He said they were all highly competitive and engaged in price wars.
The Fourth Generation on the Brink
Brian was born on Christmas Day in 1932, one of eight children, and grew up in his grandfather's house on Albemarle Road, near Prospect Park in Brooklyn. His father Anthony would take all the boys to the shipyard. "I was scared to death on the boats," Brian said. When he was 12 or 13, and working as a summer deckhand on a tug, he recalls his fright watching the very tricky task of maneuvering one ship from a line of three and then moving another ship into the same slot. He told the pilot he was scared and was sent to the engine room. "I was happier down there," he said, because he didn't have to watch what was going on. Despite Brian's alleged lack of interest in learning, he graduated from the State University of New York (SUNY) Maritime College at Fort Schuyler in 1956 with a bachelor's degree in maritime engineering, but the family business was not calling him yet.
"The third generation had an agreement that only two sons from each branch of the family could work in the business, so I went into the Navy for two years." He came out in 1958 as a Lieutenant JG and got a job with the American Express Isbrandtsen Line, making a lot of money. "I loved it," he said, but by then also realized he was spending too much time away and asked his father for a job on the tugs. Anthony was able to get Brian a job as tug captain and eventually pilot. By the mid-1960s Brian had extensive seagoing experience and was promoted to the office.
Keeping It All in the Family
By the 1970s, Brian said his dad was not in good health and only three of the eight kids (Brian, Anthony, Jr., and Bruce) were in the business. "My uncles didn't have all their kids in the business," he added. (There are now close to one thousand descendants from the original James McAllister, but most of them drifted away from the family business into other areas. Those in the business today are descended from Captain Jim and his sons.)
Brian realized his father was getting close to selling the business for $20 million, part of which was stock in a Canadian company. "I was a fairly aggressive guy, although I didn't know much about finance," he admitted. Nevertheless, he convinced his brothers and cousins to put up $3,000 each and form a corporation to buy the company. "My father said, 'You'll never make it. You have no reserves to fall back on.'" It took four years to close the deal, but in 1974 the fourth generation bought the domestic company from the third generation for $15 million. Other pieces of the business went to various siblings and cousins. Brian invited a Harvard MBA to help with the financial arrangements and come aboard as a partner. The company expanded into the oil business. The outside partner wanted to sell the tug business, but Brian wanted to hold onto the company's heritage. This resulted in a lawsuit for control and in 1998 the company was divided with the partner taking the oil business and Brian keeping the towing and ferry business. The settlement was made one day before the company was to be auctioned off. "My sons helped put a settlement together," Brian said, "and the partner gave in."
With Brian at the helm as owner and president of McAllister Towing, and five members of the fifth generation at work in the company, the family is keeping the business on track. Brian "Buckley" McAllister, 41, Brian's oldest son, is vice president and general counsel. He is a graduate of the University of California's Hastings College of Law. Eric, 39, graduated from New York University with a degree in economics and is the vice president, chief financial officer and treasurer. Their combined knowledge and expertise in finance and law helped Brian hang onto the business. Anthony J. (A.J.) McAllister III, 52, the son of Brian's brother Anthony, Jr., is vice president of sales. He, like Brian, graduated from SUNY Maritime at Fort Schuyler and is a licensed tug master and docking pilot. Andrew McAllister, 36, is the son of Brian's younger brother Michael. He has an MBA from New York University and is vice president. He also leads the company's information technology department. Jeffrey McAllister, 53, son of Brian's cousin James, is the company's senior docking pilot in New York Harbor.
Although he doesn't play basketball anymore, Brian is a vigorous man who plays golf and tennis whenever he can. He also likes to walk to work from the Manhattan apartment he shares with his wife of 42 years, the former Rosemary Owens, who taught math at the United Nations International School in New York. They met at a birthday party for Brian's father. Rosemary was his younger brother's date!
Today, nearly 150 years after James arrived from Cushendall, McAllister is still not as big as Moran Towing Company, but unlike Moran, the company is still in the family. Will the sixth generation carry on the family trade? It's too soon to tell, but if it's any incentive, they all have had tug- boats named for them.


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Do You Need To Sell Raw Land in That's Just Sitting There Costing You Money?
Turn that land into CASH now!
We Will Make You An Offer On Any Piece Of Land, No Matter The Situation! We Are Interested in ALL Property Types.
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We are interested in agricultural, rural, residential, or commercial properties throughout . If you're curious about selling and want to avoid any hassle or obligation of selling it yourself, give us a call now for a fast and fair offer! 832-637-5559
People choose to sell land for many reasons.
Do any of these situations sound familiar?
- Own bare land in the middle of nowhere you are having a tough time selling.
- Sick of paying property taxes year after year on a piece of dirt you've done nothing with.
- Listed it with an agent in the past, and had it sit on the market for months at a time.
- You've found yourself stuck with an unwanted inheritance, and don't have any actual need for the property.
- Fallen behind on property taxes and you realize it might be better to sell and make money, as opposed to spending a small fortune playing catch-up.
At We Buy Lands, We Cut Out The Middleman by Purchasing Your Property Directly.
No commissions, no fees, no hassles, no gimmicks. We make you an offer, you decide if it's a fit for you or not. It's as simple as that.
From there, we can close on your terms. Because we pay you directly, there is no need to wait on banks, no need to figure commissions and no closing costs or hidden fees will be paid by you. We take care of everything. What we offer you is what you will walk away with. Learn Just How Easy Our Process Is →
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When a parcel is listed on the MLS, the price is often inflated to cover commissions and other fees that will offset the seller's profit. Typically there is less money and less effort put into marketing a piece of land, so it ends up sitting there, with the price being slashed time and time again.
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We Buy Lands is buying land in and other parts of the country. If you need to sell your land in fast and hassle-free, get in touch with us today!


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Mike Tamburo Live in Winchester
Mike Tamburo of Crown of EternitySound Healing and Conscious Listening7pm – 9pm | Tickets: $25 in advance | $30 at the door (if space remains)Allow yourself to enter a timeless space of listening as Crown of Eternity's Mike Tamburo orchestrates his way through 50+ overtone rich instruments including Gongs, Bells, Hammered Dulcimer and tuned metal instruments. Listeners have described Mike Tamburo's music as an adventure in listening; sonic bliss; a deep and lasting vibrational rejuvenation for body and soul; a profound aesthetic experience; a journey through the senses and a perceptual rollercoaster. Allow yourself to be still and listen.Space is limited! Get your tickets in advance!PLEASE BRING a yoga mat, blanket, or cushion for your comfort during extended relaxation on the floor.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~We invite you to co-create a sensitive, safe, deep listening and meditative experience for all participants. It is expected that all will commit to an agreement of being still, quiet and honor and respect a deep transformative space throughout the entire experience.It is our intention to create an inclusive experience.~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~~ABOUT MIKE TAMBUROMike Tamburo has spent his life serving and exploring the power of music. His concerts and workshops are heart centered, uplifting, sonically multi-dimensional, life affirming experiences that focus on self transformation through conscious listening and breathing. He lives in deep gratitude and joy that his life of music has had meaning and been of use to the world around him. He seeks peace and harmony in his life and hopes to share this peace with others through his music and teachings.Through extensive national tours both solo and with Crown of Eternity, Mike has offered countless workshops, classes, therapy sessions, concerts and retreats and has guided thousands of people to listen deeply, relax, reconnect to themselves and most importantly marvel at the power of sound.Over the past 20+ years Mike Tamburo has become well known as a multi-instrumentalist, music educator, interdisciplinary sound artist, video artist, sound therapist, writer, meditation teacher and avid traveler; sharing over 1800 public and private performances and recording more than 65 albums of ecstatic and transcendental music as well as folk, drone, ambient and sometimes unclassifiable sounds. Early in Tamburo's career he gained notoriety for his string playing (hammered dulcimer, guitar and shahi baaja). In many of his early performances he began to enter into altered states of consciousness and have out of body experiences while performing. In order to understand these experiences he went into years of self study; exploring Kundalini Yoga, energy work, the therapeutic use of sound and how sound effects consciousness, human perception and self healing. His love for long sustained drones, overtones and psychoacoustics led him to working with multiple gongs and other tuned metal instruments (bells, sound plates, singing bowls) as well as exploring the healing power of mantra and toning. Learn more at www.soundseternal.com


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In the past, Azure customers on Enterprise Agreement (EA) have subscriptions that are centrally controlled by the company's cloud operations or IT team. When a team or employee in the company wants to start using Azure, they need to get access to the EA enrollment so that it gets billed to the company EA. To do that, the employee or team makes a request to the central cloud operations team, go through approval, and have an Azure subscription provisioned as prescribed by the company's cloud governance policies. During this process, an EA subscription must be manually created using the Azure Account Center. As these company's Azure adoption increases, the manual step in creating subscriptions becomes a bottleneck in scalability in their cloud management.
To unblock these customers, we've created an API and a suite of SDK for Azure EA subscription creation.
Get started with Azure EA subscription creation API
To get started, see documentation at Programmatically create Azure enterprise subscriptions (preview) and our sample code. In this release, you can
- Create an Azure EA subscription (regular or dev/test) as an Account Owner.
- Use Azure RBAC to give another user or service principal to create subscriptions on behalf of an Account Owner.
- Specify the display name of the subscription at time of creation.
- Optionally add other users in your tenant as RBAC Owners of the subscription.
Make sure to review the limits of the API in the linked documentation to see it's right for you.
Looking forward
Along with Management Groups and Azure Policy, we're working to improve Azure management for medium to large enterprises. In the future, we also want to provide functionality like subscription rename, cancel, and reactivate via API. Give us feedback in the comments below or via UserVoice!


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Haiti was one of the first times I traveled in a "foreign" country. I had always wanted to go there. It was mysterious. It was exotic. It had more artists per capita than any other country. It had great music and fantastic drumming and "Voodoo." I was going to experience it all.
Of course, I interacted very little with these things. I was swept along by the sheer energy of the place. Every day was filled with wonder and anxiety and a desperate attempt to catch the quality of life which at that time, though full of hardships, was much better than today.
I went twice. Once before Papa Doc Duvalier and one after him. The first time in 1957 and a second time in 1973. I have only one image in the series from 1957, and all the rest have yet to be found. It is the only shoot that I can't find. Everything else is from the 1973 trip. If I ever find 1957, I'll put it up.
The intro above is from Haiti I (Collection #2). As I write this, things there have turned catastrophically worse. Armed gangs threaten any stability. There is talk of sending in troops, and God only knows what will happen. These images are from a nostalgic view of better times. I fear for Haiti's future.
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Effective design for mobile learning courses requires a major shift in how one thinks of the learner's relationship to the content. Interactivity takes on a whole new dimension, as students create content to share and critique in close to real time. The key is to avoid sending students down a path where they will be more or less duplicating what the others have done. They need to be able to apply their knowledge and skills and to process them so that they make sense in real-life applications or simulations / scenarios.
One must keep in mind, too, that the new iPad, Kindle Fire, and other e-readers mean that students are likely to be able to read texts on the fly and develop more robust, course-related content more easily and conveniently than in the past.
Where does the student create content to upload and share "in the wild" with their mobile device (tablet, smartphone, handheld)? What are the best methods of sharing?
Protected social networking
Discussion prompts
Research repository (a thread in a discussion board area, or a location within social networking sites)
Shared photos / media
Portfolios / Final Projects / Lab Reports - (portfolio sites -- can use Faceb00k-type social networking for sharing collaborations)
Interviews / Observation: can be a combination of audio, video, graphics, and text files which can be uploaded within an LMS or in a dedicated social network site
Presentations (PowerPoints / KeyNote slides, potentially animated using captivate)
Implications for Instruction
Student-developed content is exciting, dynamic, and encourages interaction; it also encourages creative development of content.
- Originality is paramount. Avoid plagiarism.
- All students must be mindful of the fact that fellow students' work may or may not be accurate; just because it's on the web (posted in a site) does not make it credible; nor are all the links and resources necessarily reliable. It's a great opportunity to practice critical thinking skills.
- Students will need clear guidelines re: size of files and where to upload.
- Content guidelines – be sure to let students know what's not okay.
- Privacy issues when gathering information and sharing information
- Social Construction of Reality – what is real? Who decides?
- Simulacra okay? Use faux persona, etc. when dealing with actual persons / places / products could be too sensitive.
Reality TV-inspired Mobile Learning
Psychology / Sociology
Example: Real Housewives of (fill-in-the-blank)
Your own: Social Relation Drama
Example: History Channel programs
Your Own: "History Needs a ReDo!"
Go to historical sites and ask tough questions / debunk and challenge current beliefs. Find out what most people think.
Biology / Animal Behavior
Example: Fatal Attractions (When pets become predators/ exotic pets turn on their owners)
Your own show: "Biting the Hand... Can You Trust Your Companion Animal?" (Chronicle the life of your own pet … is there any reason to start fearing your own Siamese cat, Chihuahua, Laborador retriever, pit bull?)
Earth Science / Environmental Science
Example: Swamp People on the History Channel (history.com)
Your own show: Meet the Frackers – show different sides of the controversy surrounding hydraulic fracturing in shale gas wells
Criminal Justice
Example: Steven Seagal - Lawman
Your own show: Quirky Laws! (Research laws that are on the books and which reflect the life and times of communities in transition. Do they apply today? Why? Why not?)


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Basic Sentence Concepts explains the subject-verb/complement pattern and shows how you can expand that pattern almost indefinitely with a few simple principles such as coordination and subordination. Now we'll look at some more advanced sentence strategies. Again the aim is to increase your versatility as a writer, to help you see the full range of options for solving writing problems. As your flexibility increases, you'll not only satisfy minimal standards of clarity and correctness, you'll express yourself with new-found energy and power.
While the S V/C pattern, with agent as subject, is by far the most common pattern for building English sentences, it's by no means the only one. Nor is it best in every situation. Sometimes you may wish to turn things around in order to create a particular kind of emphasis or rhythm:
She always caught fly balls. She usually missed grounders.
Fly balls she always caught. Grounders she usually missed.
... the aim is to increase your versatility as a writer, to help you see the full range of options for solving writing problems.
Sometimes you'll see more than one possible variation:
My bicycle stood by the tree.
By the tree stood my bicycle.
By the tree my bicycle stood.
Such inverted sentences can be used to vary the rhythm or shift your reader's attention to an important word or phrase. When used carelessly or too often, however, they can produce an artificial, even awkward style.
3.8 Try inverting the following sentences. Come up with at least one variation for each. When you're finished, compare your results with those of your classmates. Are any sentences better in normal order? Does inversion ever change the meaning?
a. The night is tender.
b. My brother burst into the house.
c. The lion climbed onto the table. d. Some rain must fall into each life.
e. Lithuania lost the war.
f. A rifle hung in the truck's rear window.
g. Money is the root of all evil.
h. The bottle was empty.
i. A rolling stone gathers no moss.
- Prev
- Next >>


text:
Terms of use for the institutional repository Leibniz-Zentrum Moderner Orient
Where possible, publications and research materials are made available in open access under appropriate licenses. All metadata available in the ZMO Institutional Repository, except abstracts, are under CC 1.O Universal license. All content on this website is protected by copyright. Unauthorized use, reproduction, or distribution of individual content or images may result in civil or criminal prosecution.
For the use of research materials that require compliance with General Data Protection Regulation and are considered archival material, the completion of the user request is required. (Further link to the contact form)
If the material is used to produce scientific publication(s), we would appreciate it if you could send us a copy of the publication(s).
Source citation for digital research material and publications
ZMO, citation link of the digital object.
- ZMO, https://reposis-test.gbv.de/zmo/receive/mir_mods_00000034
- ZMO, https://nbn-resolving.org/urn:nbn:de:101:1-2021111012184045220734
Source citation for analog research material
ZMO, box and file signature, title or name of research material.
- ZMO, Kruger Estate, Box 2, File 6-3, Report : Indian Trades Union Federation. Round Table Conference 1930 – 1934
OAI API for metadata harvesting at:


text: #1 Water Removal company in Islamorada, FloridaWater Removal Islamorada, FloridaFor 21 years we have been serving and providing the best Water Removal experience in Islamorada, FloridaWater Floods Restoration's Water Removal service in Islamorada is second to none. Using the latest technology in Water Vacuums, Water Pumps, Commercial Grade Fans, Dehumidifiers, the best techniques and best trained personnel when it comes to Water Removal , we are able to fully take care of all of your Water Removal concerns and minimize damage to your property. Water Floods Restoration is Fully Licensed, Insured and Bonded to perform Water Removal services in Islamorada, FloridaOur Water Damage Repair Process:


text:
*Enter Your Exam Roll No :
Disclaimer: Either Utkal University or DDCE is not responsible for any inadvertent error that may have crept in the result being published on NET. The result published on net are for immediate information of students. These cannot be treated as original mark sheets. Mark sheets & Provisional Certificates are being issued by the Utkal University separately very soon.


text:
Feel the confidence to push your run further with the re-engineered ASICS GEL-NIMBUS 21 men's running shoe, designed to offer ultimate comfort and a perfect fit. These luxurious sports shoes for men feature an innovative midsole set-up that incorporates FlyteFoam Propel to give you maximum bounce on the forefoot and to help move you forward.
Perfect for long distance runs, these ASICS men's running shoes bring comfort wherever you're training. A new engineered mesh offers you more breathability and support, and a spacious toe-box and GEL cushioning on the forefoot give your feet more space to move. There's also an external clutch counter to provide your heel with the ultimate support, an OrthoLite collar sponge that provides effective moisture management, and a moulded EVA sockliner that helps keep your feet comfortable and dry as you tear up the terrain.
With the ASICS GEL-NIMBUS 21, you'll feel the energy for an endless run. The addition of SpEVA 45 lasting foam doesn't just absorb shock – it also increases durability and rebound. And an all-new lateral full contact outsole gives you a smoother, more stable ride from heel strike to toe off.
Comfortable, clever and stylish, the ASICS GEL-NIMBUS 21 running shoes are the ideal choice for anyone looking for the ultimate way to go further.


text:
We collect information about you using "cookies" and similar technologies, such as "tracking pixels". Cookies are small text files placed on your computer by Websites you visit. Tracking pixels are small blocks of code on a webpage or app used to track your usage information. On 25 May 2011, Directive 2009/136/EC, (the "Cookies Directive"), which amends Directive 2002/58/EC, came into force in the European Union (EU). Among other things, this Directive states that "the storing of information or the gaining of access to information already stored, in the terminal equipment of a subscriber or user is only allowed on condition that the subscriber or user concerned has given his or her consent, having been provided with clear and comprehensive information". This document contains a description of the cookies and similar technologies used on the OpenText Website. You can manage these cookies through your web browser setting or through this site's cookie preference settings. Our Website is evolving as we continue to take steps to implement the relevant measures set out in the Cookies Directive. Consequently, this web page and the information here will be reviewed and updated from time to time.
Cookies Used On This Website
Below, you will find a list cookies created and read when browsing the OpenText Website. We have grouped these cookies based on the International Chamber of Commerce (ICC) cookie guide, which currently identifies four categories:
- Strictly necessary cookies
- Performance cookies
- Functionality cookies
- Targeting or advertising cookies


text:
Latest Episode
Well dear listeners, this is it – the final episode of Escape Velocity Radio (for the foreseeable future anyway). And it's not even a real episode. It's about one-tenth of an episode – and even then it barely got made. But we felt that at the very least we owed you 6 more minutes top-drawer† podcasting before we closed this chapter, so here it is. Thanks for listening and for all the support, and we'll see you on the other side. † assessment of quality has not been verified by an independent third-party
Previous Episode
After celebrating Winnipeg's triumphant victory as Canada's most racist city, we look at the disconnect between viewing racism as bigoted acts by individuals and seeing it as a colonial system which operates beyond any individual person's attitudes or actions. We then buckle in for the thrill ride that is the Canadian Museum for Human Rights, offering our official review of Canada's newest national museum: from the wings of the white dove, through the bodegas of despair, and up to the tip of the flume ride and back. Lastly, on G7 Radio, we look at Rhythm Activism's strange and amazing 1998 album Jesus Was Gay.


text:
July 25th, 2008
Tales – the reckoning, part 2
As I had hoped, Tales – the reckoning has generated some feedback, both positive and negative, both online and off. Some people have appreciated my honesty in pointing out some of the problems with this year's event, and some have called the post too negative. This is my response to the latter group.
First, there is no doubt that Tales is a whopper of an event to plan, and it takes a ton of dedicated people, many of them volunteers, to pull it off. I never intended to diss those people — hell, I'm one of them. Playing my own small part as a volunteer, I gave a presentation about Tales at a Boston travel show this winter, spent time organizing my panel on media coverage for the bar and spirits industry (I even brought with me to New Orleans the bottles of Amer Picon required for one of my recipes), and helped promote Tales both through drinkboston.com and the Tales Blog. All of what I wrote about Tales up to "the reckoning" has been positive. And it has been honest.
So it would have been dishonest of me, after the dozen or so posts I have written about Tales and New Orleans, not to report on the flaws that occurred this year. They could not be ignored. And just to make sure I wasn't a lone, pissy voice in the blogosphere, I solicited comments in order to get multiple, honest takes on the matter from others who attended. I hope the comments keep coming. Because if you take the time to comment, it's probably because, like me, you appreciate that Tales is the premier spirits event in the U.S., and you want it to keep being as awesome as it has been in the past.
Permalink | Filed under New Orleans | Tags: Tales of the Cocktail 2008


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Yo® Andy
Where will the fonts be used?
Each license covers the use of a font for desktop use, website, application or e-pub title. Specific uses are defined in the Terminal Design License Agreement.
License Agreement for Terminal Design Inc. Fonts
Terminal Design, Inc. End User License Agreement
End User License Agreement for all Terminal Design font software except for the ClearviewHwy® Font Software.
PLEASE READ THIS DOCUMENT CAREFULLY and we recommend that you print a copy for your reference. This End User License Agreement (the "Agreement" "EULA," "License," "Agreement" or "License Agreement") is a legal agreement between you and Terminal Design, Inc. ("Terminal") and becomes a binding contract between you and Terminal Design, Inc. This Agreement governs the terms of use the Font Software and the design of the Fonts embodied therein (collectively, "Font Software"), together with any media, printed materials, electronic documentation, updates, add-ons, artwork, web services and any other material that may be associated with the product now or in the future. This Agreement becomes effective (a) when you click on the area marked "ACCEPT LICENSE AGREEMENT," or (b) as a compressed archive delivered via e-mail attachment, when you open the package in which the font is contained. If you do not wish to enter into this Agreement, do not purchase, access, use or otherwise download or install the Font Software.
1. Upon payment in full, Terminal will grant you a non-exclusive terminable License to the Font Software that accompanies this EULA. Use of the Font Software is limited to Personal, Internal Business use and, if applicable, for the Application uses identified below. For the purposes of the License, "Font Software" shall be defined as the design of the Fonts together with the Font Software which, when used generates typeface and typographic designs and ornaments. Personal or Internal Business Use shall mean Use of the Font Software for your customary personal or internal business purposes and, except as may otherwise permitted herein, shall not mean the commercial distribution or use of Font Software or any component thereof in any Commercial Product whatsoever. You hereby agree that the Font Software shall further comprise all bitmap representations of typeface and typographic designs and ornaments created by or derived from the Font Software. The Font Software shall be deemed to include any upgrades, updates, related files, permitted modifications, permitted copies, and related documentation.
a. Description of type of uses that may be licensed to you. NOTE: YOU MUST REFER TO YOUR RECEIPT FOR THE USES YOU ARE ENTITLED TO AND ANY RELATED LIMITATIONS UNDER YOUR PARTICULAR LICENSE.
b. Desktop Uses are permitted for the number of users identified in your receipt and other rights will be identified on your Receipt.
c. Any applicable App License is solely for the party identified in the relevant invoice and may not be used for the benefit of any third party. No webfont use license is granted herein. Use of the Font Software as a webfont and/or for the benefit of any third party requires the purchase of one or more special licenses. If you are not sure whether your intended use is permitted under this License, contact Terminal Design.
d. PDF E-PUBLICTION EMBEDDING. If you have purchased a license to use Terminal Design Fonts embedded in the PDF format you are permitted to transmit PDF formatted documents over the Internet under your License, if so identified on our Receipt. The embedding of the Font Software in PDF documents used or accessed in electronic readers and mobile devices for use with electronic publications is further permitted. Altering or amending the embedding bits characteristics of the Font Software is expressly prohibited when using the Font Software in any electronic document that is distributed to the general public where the editing, alteration, enhancing, or modification of the Font Software is enabled is not permitted.
3. This License is specific to the Licensee and the permitted uses may be limited and cannot be transferred to another party. Agencies, design service providers or providers of web related services or others responsible for creating PDF Documents for the benefit of third party clients may not use and/or share the Terminal Design Font Software for any other party. Each user of Terminal Font Software must purchase a license that is proper for its own uses.
4. If permitted under your License, when using the Font Software in Apps, Licensee agrees to exercise reasonable efforts to obfuscate or otherwise prevent the use of the Font Software from unauthorized access or use by third parties.
5. The license granted herein for personal use does not extend to uses by temporary employees or independent contractors using the Font Software in professional environments or for other professional uses. Under such circumstances your employer and/or the ultimate end user are also required to purchase a license appropriate for the scope and nature of their usage.
6. You are not permitted to use the Font Software in the creation of certain types of commercial products. For the purposes of this Agreement, "Commercial Product" shall mean an electronic document created by Use of the Font Software which is offered for distribution to the general public (or to some subset of the general public) as a commercial product in exchange for a separate fee or other consideration. By way of example, not limitation, an electronic book or electronic magazine distributed for a fee shall be considered a Commercial Product; a document distributed in connection with a commercial transaction in which the consideration is unrelated to such document (for example, a business letter or a receipt for purchase of tangible goods such as clothing) shall not be considered a Commercial Product.
7. You are permitted to electronically distribute a "Personal or Internal Business Use" document (that is, a document other than a Commercial Product as defined above) (i) that is in a static graphic image (for example, a "gif") or in an embedded electronic document, and (ii) which is distributed in a format that permits only the viewing and printing (and not the editing, altering, enhancing, or modifying) of such static graphic image or embedded document. Personal or Internal Business Use shall not include any Use of the Font Software by persons that are not members of your immediate household, your authorized employees, or your authorized agents. All such household members, employees and agents shall be notified by you as to the terms and conditions of the Agreement and shall agree to be bound by it prior to Use of the Font Software.
8. Terminal, its successors and assigns, retain all right and title in and to the Font Software together with the design of the Font embodied therein together with any trademarks used in connection therewith. Except as may be otherwise expressly permitted herein, you agree not to copy the Font Software or create derivative works based upon the design of the Font or the Font Software. You hereby agree that the design of the Font and the Font Software and that the unauthorized use of the design of the Font or the Font Software is an infringement of Terminal Design's exclusive rights and causing significant monetary harm. All rights not expressly granted herein are reserved to Terminal Design. Terminals rights and remedies in the event of an infringement shall be cumulative in nature.
9. Installation of the Font Software on a server that can be accessed via the Internet or other external network system is also permitted if the Users are licensed. You may install and Use the Font Software on a single file server, if licensed under this Agreement. Use of such Font Software is limited to those workstations and printers licensed under this Agreement.
10. You may not alter Font Software in any manner whatsoever. Reformatting the Font Software into other formats or for use in other operating systems is expressly prohibited. Altering or amending the embedding bits characteristics of the Font Software is expressly prohibited. The Font Software may not be used to create or distribute any electronic document in which the Font Software, or any part thereof, is embedded in a format that permits editing, alterations, enhancements, or modifications by the recipient of such document. You hereby agree not to transmit any electronic document to any party that intends to "hack," edit, alter, enhance, or otherwise modify or remove the Font Software any document.
11. You may make a reasonable number of back-up of the Font Software for archival purposes only and you agree to retain exclusive custody and control over any such copies. Upon termination of the Agreement, you must destroy the original Software and any and all copies of thereof and certify the same in writing. The unauthorized sharing, lending, renting, sale, or other unauthorized use or misuse of the back-up copies is a material breach of this Agreement and will result in the immediate termination of this License.
12. You may take a digitized copy of the Font Software used for a particular document, or Font Software embedded in an electronic document, to a commercial printer or service bureau for use by the printer or service bureau in printing such document provided that the printer or service bureau represents that it shall destroy any and all copies of the Font Software upon completion of its work.
13. The design of the Font, the Font Software and any trademarks associated therewith are the exclusive property of Terminal Design, Inc. and are protected by the copyright and other intellectual property law of the United States and its various States, by the copyright and design laws of other nations, and by other international treaties. You agree to treat the Font Software as you would any other copyrighted material, such as a film or book. Except as otherwise expressly provided for herein, you may not copy the Font Software. Any copies that you are expressly permitted to make pursuant to the Agreement must contain the same copyright, trademark, and other proprietary notices that appear on or in the Font Software.
14. You agree not to modify, adapt, translate, reverse engineer, decompile, disassemble, alter, or otherwise attempt to discover the source code of the Font Software. For the purposes of this Agreement, transmission over a WAN shall not be considered the modification, adaptation, translation, reverse engineering, decompilation, disassembly or alteration of the Font Software. Some jurisdictions may provide for additional rights, and if applicable, you may reverse engineer or decompile the Font Software only to the extent that sufficient information is not available for the purpose of creating an interoperable software program (but only for such purpose and only to the extent that sufficient information is not provided by Terminal Design upon written request). All trademarks shall be used in accepted trademark practice, including identification of the trademark owner's name. Use of the trademarks associated with the Font Software inures solely to the benefit of Terminal. You may not change any trademark or trade name designation for the Font Software.
15. Limitations to Use. Use of Terminal Design Font Software in the following circumstances and/or applications is NOT permitted without first obtaining express written permission and, if applicable, the appropriate licensing upgrade. In order to obtain a license upgrade, you must contact Terminal Design at firstname.lastname@example.com for more information. If you are unsure whether your use of the Font Software is specifically permitted under this Agreement, contact Terminal Design:
a) ALPHABET OR LETTERFORM- RELATED PRODUCTS FOR RESALE;
b) BROADCAST or FILM;
c) ELECTRONIC DEVICE OR GAME EMBEDDING; and
d) SOFTWARE EMBEDDING.
i) Letterform or Alphabet Products include, but are not limited to, signage and/or scrapbooking uses involving reproductions of individual letterforms, use in the creation of signage or numbering products, rubber stamps, die-cut products, stencil products, tattoo, flash, or adhesive sticker alphabet products or any other product containing any image of or derived from the design of the Font embodied in the Font Software of which any likeness of the alphabet can be reproduced.
ii) The embedding or other use of the Fonts or the outlines thereof, in works distributed electronically and/or via physical media for sale is prohibited under this License. Any such use requires the express written permission of Terminal Design and may or may not require the purchase of a license upgrade at the sole discretion of Terminal Design.
iii) You may not use artwork, drawings or dingbats on goods for sale, in logo design, retail packaging or point of sale displays and in works that are printed in amounts greater than 500,000 impressions. Any such use requires the purchase of a license upgrade.
Terminal Design expressly reserves the right to grant or deny any license for any such uses.
16. Broadcast and Film Usage refers to the use of the Font Software in titling, credits or other forms of attribution with any on-screen broadcast via television, Internet or motion picture titling. For use in film, flash-type movies, on the Internet, or in television broadcasts. The terms of this License are limited to an annual broadcast season or the initial release and broadcast usage licensing must be renewed prior to following season (whether original or re-rerun, both foreign and domestic) to retain usage and proper licensing. Additional licensing options are available.
17. Embedded Electronic Devices includes the use of the Font Software for any on-screen display or on an electronic device outside a single location. For example, and not by way of limitation, such electronic devices include a kiosk, gaming devices, embroidery, cutting device or sewing machines. Use of the Font Software to create a Company Logo is permitted only upon the purchase of a license upgrade. The Font Software may be embedded and resident within an electronic device provided it cannot be extracted from the device. NOTE: This restriction does NOT include laptop/notebook CPUs which are defined as a standard device in this License Agreement.
18. Terminal Design Font Software is licensed for use at the location of the computers, server(s) and those locations licensed under this License. Use of the Font Software in locations or by WAN or in manners not identified on your Receipt requires the purchase separate or additional licenses. You may contact Terminal Design at email@example.com for custom licensing information.
19. Except as may be otherwise expressly provided for herein, you expressly agree not to rent, lease, sublicense, give, lend, or further distribute the Font Software. You may transfer certain of your rights under this Agreement. The WAN usage provisions, if applicable and if identified on your receipt, are specific to you and are NOT TRANSFERABLE.
20. Terminal warrants that the Font Software will perform substantially in accordance with its documentation for ninety (90) days following delivery of the Font Software. To make a warranty claim, you must either return the Font Software to the location from which you obtained it together with a copy of your sales receipt or, if acquired on-line, contact the on-line provider with sufficient information regarding your acquisition of the Font Software to permit the confirmation of the effective date of this License. Terminal hereby EXPRESSLY DISCLAIMS ALL WARRANTIES, EXPRESS AND IMPLIED, INCLUDING, BUT NOT LIMITED TO, THE IMPLIED WARRANTIES OF MERCHANTABILITY AND FITNESS FOR A PARTICULAR PURPOSE. TERMINAL DOES NOT WARRANT THAT THE OPERATION OF THE FONT SOFTWARE WILL BE UNINTERRUPTED OR ERROR-FREE, OR THAT THE FONT SOFTWARE IS WITHOUT DEFECTS. UNDER NO CIRCUMSTANCES SHALL TERMINAL BE LIABLE TO YOU OR ANY OTHER PARTY, WHETHER IN CONTRACT OR TORT (INCLUDING NEGLIGENCE) OR OTHERWISE, FOR ANY SPECIAL, CONSEQUENTIAL, OR INCIDENTAL DAMAGES, INCLUDING LOST PROFITS, SAVINGS OR BUSINESS INTERRUPTION AS A RESULT OF THE USE OF THE FONT SOFTWARE EVEN IF NOTIFIED IN ADVANCE OF SUCH POSSIBILITY. You hereby agree that your entire, exclusive, and cumulative liability and remedy shall be limited to the cost of the Font Software. Under no circumstances shall Terminal's liability to you exceed either the refunding of the cost of the Font Software or replacement of the Font Software either of which shall be at Terminal's sole discretion.
21. Some jurisdictions do not allow the exclusion or limitation of incidental, consequential or special damages or implied warranties. ANY IMPLIED WARRANTY OR OTHER RIGHT CREATED BY LAW IS ONLY EFFECTIVE FOR THE NINETY (90) DAY WARRANTY PERIOD. THERE ARE NO WARRANTIES OR CONDITIONS OF ANY KIND AFTER THE NINETY (90) DAY WARRANTY PERIOD. To the extent permissible by law, you agree that all implied warranties are not to be effective for more than thirty (30) days.
22. You expressly agree that this Agreement shall be governed by the laws of the State of New York, U.S.A., as they apply to contracts wholly performed therein and without respect to its conflict of law provisions or the conflict of law provisions of any other jurisdiction. You expressly submit to the jurisdiction of the state and federal courts in the State of New York, USA. You hereby expressly agree that the application of the United Nations Convention of Contracts for the International Sale of Goods is expressly excluded.
23. Notwithstanding the foregoing, to the extent that any law, statute, treaty, or governmental regulation shall be deemed by a court of competent jurisdiction to provide you with any additional or different rights from those provided herein and such rights are determined to be deemed non-waiveable as a matter of law and to supersede the rights or any limitations specifically provided herein, then such law, statute, treaty, or governmental regulation shall be deemed to be made a part of the Agreement. To the extent that any such rights created by any law, statute, treaty or governmental regulation are waiveable, you agree that your acceptance of the Agreement shall constitute an effective and irrevocable waiver of any such right. This Agreement may, at Terminal Design's sole discretion, be enforced by an authorized agent acting on its behalf.
24. You acknowledge that you have read this agreement and understand it and that by using the software you will be bound by its terms and conditions. You further agree that it is the complete and exclusive statement of the agreement between Terminal Design and you which supersedes any proposal or prior agreement, oral or written, and any other communications relating to the subject matter of this Agreement. No variation of the terms of this Agreement or any different terms will be enforceable against Terminal Design in the absence of an express written amendment or consent, including a written express waiver of the affected terms of this Agreement. If any provision of this Agreement is declared by a court of competent jurisdiction to be invalid, void or unenforceable, the remaining provisions of this Agreement shall continue in full force and effect, and the invalid provision shall be replaced by Terminal with a provision that effects the intent of the invalid provision.
25. Terminal Design expressly reserves the right to amend or modify this License Agreement at any time and without prior notification, to the extent permitted by law.
26. The Agreement shall automatically terminate in the event you or any authorized user breaches the terms set forth herein. Notwithstanding any termination of this License, Terminal Design expressly reserves any and all other remedies under equity or law. The Agreement may only be modified in a writing signed by an authorized officer of Terminal Design.
27. You agree to be responsible for your compliance with all laws, foreign and domestic relating to the control of exports or the transfer of technology. If you are purchasing this License for government use, or under a government contract, you agree to familiarize yourself with and follow any applicable rules and regulations relating to the purchase of a license to use software and the actual use thereof.
Terminal Design's mailing address is 125 Congress Street, Brooklyn, NY 11201. All inquiries may be sent via e-mail to email@example.com. Terminal Design's website is located at www.terminaldesign.com
License Agreement for Terminal Design Inc. Webfonts
Webfont End User License Agreement
THIS IS A LEGAL AGREEMENT, by accessing, downloading, installing or using the TERMINAL DESIGN ("Terminal") Type Font Software you expressly agree to the following terms:
1. This License is directed to use of the TERMINAL DESIGN Type Font Software as webfonts ("Fonts" or "Software" or "Font Software" or "Webfonts"). Downloading and/or using the Terminal Webfonts for use on a desktop, laptop or workstation or for installation on a server is controlled and only permitted under a different license agreement which must be purchased separately. If you cannot or do not agree to the terms of this license, do not access download or use the Software.
2. The Font Software will be transmitted for your use in one of the following formats: EOT, WOFF, SVG or TTF. Terminal reserves the right to include, change or omit additional formats at its discretion at any time. You expressly agree to use the Font Software made available by Terminal. You are not permitted to convert Terminal Design Font Software to other formats or for use in other manners other than as identified herein.
a. Description of type of uses that may be licensed to you. NOTE: YOU MUST REFER TO YOUR RECEIPT FOR THE USES YOU ARE ENTITLED TO AND ANY RELATED LIMITATIONS UNDER YOUR PARTICULAR LICENSE.
b. Use of the Terminal Font Software is permitted on the websites identified on your receipt.
c. This License is solely for the party and websites identified in the relevant invoice and may not be used for the benefit of any third party. No Desktop or Applications ("App") or PDF or E-Publication licenses are granted herein. Use of the Font Software on desktop computers and/or Apps and/or PDF or E-Publication or use in e-books or for the benefit of any third party requires the purchase of one or more special licenses. If you are not sure whether your intended use is permitted under this License, contact Terminal Design.
4. This non-exclusive, revocable license grants you limited rights to use the Terminal Font Software to style HTML and SVG documents using the CSS @font-face implementation syntax/rule. Other embedding or linking uses or techniques, such as PDF, EPUB, iOS and/or Android operating system based applications is not permitted.
5. The Font Software is licensed only for use on specific Internet domains identified on your receipt. The identity and/or list of domains may be amended or modified only with the express written permission of Terminal. The Font Software may be used on any number of sub-domains of the licensed domain names permitted under this License or as later modified by the agreement of the Parties.
6. The Font Software is licensed for the domains, and a defined number of unique monthly visitors in total, as identified on your receipt. If the maximum number of allowed unique visitors is exceeded for three (3) consecutive months, the purchase of an additional license is required. Terminal reserves the right to inspect or monitor your usage.
7. The terms and price associated with this License are based upon the domain names, maximum unique. If you anticipate an increase in unique visitors, increase in the number of domains you should notify Terminal as early as possible. You are not entitled to a refund, offset or other adjustment in the event of a reduction in the number of domains, reduction of the number of unique viewers, irrespective of the reasons.
8. You agree to exercise commercially reasonable efforts to prevent the use of any process or method that allows hot-linking, re-serving or re-directing access to and/or use of the Web Font Software by unlicensed parties. The use of third party software hosting or font hosting services for the purposes of using the Font Software licensed under this Agreement is not permitted without the express written permission of Terminal.
9. The use of the Font Software for use in web accessible forms is permitted. However, any other editable use of the Software, such as in templates where font styles can be selected or for use in the creation of customizable designs or products requires the purchase of a separate license.
10. The Font Software is the exclusive property of Terminal. All right, title and interest in and to the Font Software, the design of the Fonts embodied therein, all copyrights and trademarks, trade names and service marks associated therewith are the exclusive property of Terminal.
11. You may not modify, adapt, translate, reverse engineer, decompile, disassemble, or alter, the Webfonts, the Font Software or the designs embodied therein. The Font Software, the Webfonts and/or documentation may not be sublicensed, sold, leased, rented, lent, shared, re-served or given away.
12. You are not permitted to redirect or otherwise use the Software for the benefit of unlicensed third parties. If you anticipate using the Font Software for the creation of a third party website or for the use by third parties not identified in your license you or the third party must purchase appropriate licenses and ensure that your client or the end user is properly licensed.
13. The creation of any derivative works and/or designs based upon or of the Font Software or the designs embodied therein is expressly prohibited. This term is contractual in nature. Any derivative work created which use, incorporate or is otherwise based upon the design of the Fonts or otherwise incorporates any of the Font Software, including, but not limited to, other software, EPS files, Applications ("Apps") or other works, are considered derivative works and any derivative work shall be the sole and exclusive property of Terminal and shall be subject to the terms and conditions of this License. Derivative works, if any and whether permitted or not, may not be sublicensed, sold, leased, rented, lent, or given away without the express written permission of Terminal. Terminal shall not be responsible or liable for the fitness or suitability for use or accuracy of any derivative works not created and/or supplied by Terminal.
14. The License granted herein is specific to You and You may not, absent the express written permission of Terminal, be transferred, loaned, sold or assigned. All rights not expressly identified and granted herein are expressly reserved to Terminal.
15. The Terminal Font Software is protected under domestic and international trademark, copyright law. You may, but are not required, to identify Terminal Design as the owner in any design or production credits.
16. Any breach of the terms of this Agreement shall be cause for immediate termination without the obligation of notice or opportunity to cure. In the event of termination, Terminal shall be entitled to seek any and all remedies, under law or equity, including injunctive relief, without the obligation of bond or other assurance. Upon termination You agree to immediately discontinue using and certify that no copies remain in your possession or control.
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18. The Terminal Design Webfont Software End User License Agreement is subject to the law of the State of New York as they relate to contracts entered into and wholly performed therein and without regard to its conflict of laws principles or the conflict of laws principles of any other jurisdiction. You expressly consent to the personal jurisdiction of the state and federal courts of New York for the resolution of any disputes arising out of or related to this Agreement and you consent and agree to service of process by Certified Mail, return receipt requested and expressly agree to waive any defenses or objections arising by reason of the jurisdiction and forum selected by Terminal Design for the resolution of any dispute. By downloading, accessing and or installing the Font Software or Web Font Software, you acknowledge that you have read, understood, and agreed to be bound by the terms and conditions of this License Agreement.
Over the years, I've been asked to draw a lot of Didot-like designs. It seemed that every magazine art director absolutely had to have their own version of the design.
Remembering Photo-Lettering's wonderful "One Line Manual of Style", which showed page after page of Didot and Bodoni types, all drawn by the great NYC lettering artists of the 50s and 60s, I decide that I would create my own large collection of Didones.
The Yo family was originally planned to have 26 widths each with 20 weights, 520 different fonts. Sanity forced me to scale my ambitions back to a 100 font family. I gave them all names to keep them straight in my head. A name beginning with the letter A would be the narrowest and Z the widest. So you have Yo Andy and Yo Zelda at the extremes. Yo Lucy in the middle, and Yo Frankie and Yo Sophie where you would expect them to be.
I mistakenly thought that a 100 font super-family of Didot-like fonts would be enough. I was wrong. No sooner than they were released I was inundated with requests for their italic counterparts. The italics have been added and now that 100 font super-family is now a 200 font really big super-family!
Font Sets
One Italic
Three Italic
Five Italic
Seven Italic
Nine Italic
Eleven Italic
Thirteen Italic
Fifteen Italic
Seventeen Italic
Nineteen Italic
Two Italic
Four Italic
Six Italic
Eight Italic
Ten Italic
Twelve Italic
Fourteen Italic
Sixteen Italic
Eighteen Italic
Twenty Italic


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The Purpose In Action Program
Need One on One Special Attention, Direction, Motivation & Support?
Join our FB group for insights, tips and simple techniques you can use every day. HERE
Guided Imagery/Visualization Online Sessions CONTACT MITTA Join the Holistic health newsletter for free, learn techniques and receive a gift! For more Info HERE
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Are you stressed? Identify, reduce or eliminate physical, mental, and emotional stressors, reducing tension, enhancing the body's natural healing ability, and promoting health. Seeing the person as a whole, and teaching to maintain balance & health in body, mind, spirit and life.
A state of intense concentration combined with total relaxation. It is a nurturing process of relaxation, focus, positive suggestion, visualization and other techniques. Stress management, Finding your path, Self Confidence, Talent enhancement, Stop Smoking, Passing Exams, Health, Abundance, Motivation, Success, Inner Journey
Inner Journeys are exactly that! Journeys into your inner life to help you see and grow.
To meditate is to turn inwards, to concentrate on the inner self
Integrated feet, hand and ear sessions, working reflex points in these areas. Fully clothed, one hour.
Feels sooooooo good!
Tapas Acupressure Technique (TAT) is an easy-to-learn, easy-to-do process based on Traditional Chinese Medicine and yoga. It allows your natural healing energy to gently and powerfully heal stress, traumas, and negative beliefs.
Involves tapping on the ends of meridians with client focus. This balances the body's energy system.
"Oh sleep it is a gentle thing beloved from pole to pole."
Get the support of a Health Coach.
Get healthy, lose weight, have more energy, feel and look your best!
Free wellness/weight profiles.
Help for different aspects when studying and sitting exams. Better results, performance confidence,
Customized visualizations for for health, healing, business success, life direction.
"Abundance isn't something we gain. It is something we awaken to".
Chakra Healing and Balancing with Guided meditation, energy exercises and essential oils. What is a Chakra and more about the 7 main chakras.
"Manifest a Meaningful and Amazing Life" offers 1 and 3 day retreats learning to manifest and celebrate a dream life.
Tools for helping with stage/audition/studio fright as well as public speaking
Take time to de-stress, move the body and rest
A physical, Mental and Spiritual Practice or Discipline.
Learn to move through challenges and deeply relax
You can learn to hypnotize yourself and provide suggestions to yourself. Self-hypnosis methods can be used to reduce stress and reach goals. You can help yourself in the privacy of your own home with the challenges you face, or in improving an area of your life. get through your challenges? Learn and practice self hypnos
An effective and accepted Chinese healing method of restoring the flow of Qi (energy) through the body, primarily through the use of needles inserted into meridian points on the body.
I am not trained in acupuncture but might know an acupuncturist that can help you!
Touch for Health is a series of balancing exercises for alignment in different areas of your life.
Ayurveda is India's traditional, natural system of medicine that has been practiced for thousands of years. Ayurveda is a Sanskrit word that literally translated means "science of life" or "practices of longevity."
I dont practice Ayurveda myself but wanted to include it on my site as an important modality for wellness.


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An Australian newspaper has doubled down on a cartoon of multiple Grand Slam tennis champion Serena Williams widely denounced as racist both at home and in the U.S.
In a statement Tuesday, Herald Sun editor Damon Johnston said the cartoon "had nothing to do with gender or race."
"A champion tennis player had a mega tantrum on the world stage, and (the) cartoon depicted that," he said, referring to a piece published by cartoonist Mark Knight Monday after the U.S. Open final in which Williams had a dispute with the umpire over his allegedly sexist treatment of her.
The cartoon showed Williams jumping up and down next to a broken racket and pacifier, with large, exaggerated lips and nose reminiscent of racist depictions of black people in the U.S. during the Jim Crow era.
Williams' opponent, Japan's Naomi Osaka, is depicted as a skinny blonde woman, to whom the umpire is saying: "Can't you just let her win?"
The U.S.-based National Association of Black Journalists said the cartoon was "repugnant on many levels."
"(It) not only exudes racist, sexist caricatures of both women, but Williams' depiction is unnecessarily sambo-like," the group said in a statement. "The art of editorial cartooning is a visual dialogue on the issues of the day, yet this cartoon grossly inaccurately depicts two women of color at the U.S. Open, one of the grandest stages of professional sports."
Angry reaction
Knight -- an award-winning cartoonist who has worked for the Herald Sun for decades -- told his employer he was "amazed" by the reaction to the cartoon, which he said did not attract significant criticism until it was picked up on Twitter by users in the U.S.
"It's been picked up by social media in the U.S. and my phone has just melted down," he said. "The world has just gone crazy."
Criticism was voiced from within Australia however, where the furor comes after months of hand-wringing and criticism over the country's attitudes towards race after a neo-Nazi was invited on air by a national broadcaster.
"I take no pleasure in saying this, but, right now, it feels like there has never been a more exciting time to be a dog-whistling politician or race-baiting commentator in Australia," outgoing Race Discrimination Commissioner Tim Soutphommasane said last month.
On Twitter, Australian author Benjamin Law compared headlines from American newspapers which "matter-of-factly" described Knight's cartoon as racist to coverage within his country.
"It isn't a subjective call," he said. "Embarrassing to see the Herald Sun doesn't realize defending Knight's cartoon supports the case swathes of Australian media is blind to its own racism."
This isn't the first time Knight's work has been criticized in this manner. A cartoon from August 10 was widely denounced after it depicted faceless black figures destroying a Melbourne subway station, echoing a caricature of African gang crime in the city which is not supported by statistics.
"The racist vilification of Melburnians from the Herald Sun continues apace," local lawmaker Rohan Leppert wrote in response to that cartoon. "Utterly shameful."
Lack of representation
Despite Australia's proud multiculturalism and the fact that today one in four Australians were born abroad, the upper strata of society remains predominantly white.
According to a report by the Australian Human Rights Commission earlier this year, 95 percent "of senior leaders in Australia have an Anglo-Celtic or European background."
In business, the report found there was "a combined total of 11 chief executives who have a non-European or Indigenous background," or 3 percent of the total.
Indigenous people are especially under-represented, and have themselves been the subject of racist cartoons in the Australian press.
Knight was denounced for a 2012 cartoon published on Australia Day, which marks the start of European colonization of the continent, while the late Bill Leak was frequently criticized for his portrayals of Indigenous people.
While the U.S. has deep racial divides and ongoing issues related to the legacy of slavery and post-reconstruction discrimination, it is more diverse than Australia. Non-white people make up over 23 percent of the population, and 11 percent of Members of Congress are people of color. The voices of non-white people are also more prominent in the US media than Australia's.
On Twitter, Australian musician Eddie Perfect, who is based in the U.S., reflected on this difference after he received some criticism for calling out Knight's cartoon.
"Got about 200 tweets from Aussies angry I 'spoke for them'," he said. "This cartoon hit hard in the US. Things are VERY different here, where image, race, history and struggle are REAL."
In a follow up tweet, Perfect said he frequently hears comments from Americans about Australians being racist "and it stings."
"(It) stings because it's a generalisation, but also because it's often true," he added. "You don't have to look hard to see and hear it. And today's cartoon SHOCKED Americans."
Australian broadcaster Neil Mitchell took the opposite tack on his morning radio show on Melbourne-based 3AW.
Following an interview with the cartoonist, he said the reaction "shows an awful misunderstanding of Mark Knight and this country."
"I looked at that cartoon and it didn't even cross my mind it was about race," he said.


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The Israeli-Palestinian conflict has been both a major concern of American diplomacy since 1967 and the arena of persistent failure.
There are many reasons for America's failure to broker a peace deal between Israel and the Palestinians but the most fundamental one is that it is a dishonest broker. As a result of its palpable partiality towards Israel, America has lost all credibility in the eyes not only of the Palestinians but of the wider Arab and Muslim worlds.
The so-called peace process has been all process and no peace. Peace talks that go nowhere slowly provide Israel with just the cover it needs to pursue its expansionist agenda on the West Bank.
The asymmetry of power between Israel and the Palestinians is so great that only a third party can bridge the gap. In plain language, this means leaning on Israel to end the occupation and to permit the emergence of an independent Palestinian state on the West Bank and the Gaza Strip.
In theory America is committed to a two-state solution to the conflict but in practise it has done very little to push Israel into such a settlement. It is not that America lacks the means to bring pressure to bear on Israel. On the contrary, Israel is crucially, and almost exclusively, dependent on America for military, diplomatic, and financial support.
America's financial support amounts to three billion dollars a year. So the leverage is there. The real problem is that American leaders are either unable or unwilling to exercise this leverage in order to promote a just settlement of this tragic conflict.
The most depressing aspect of the situation is that despite its proven inability to make progress on the Palestinian track, America continues to cling to its monopoly over the peace process. In the aftermath of the June 1967 War, America arrogated to itself a near-monopoly over the diplomacy surrounding the Arab-Israeli conflict.
During the Cold War, the main purpose of American diplomacy was to exclude the Soviet Union, the ally of radical Arab states, from the quest for peace in the Middle East. After the end of the Cold war, America continued to marginalise Russia, the European Union, and the United Nations. The UN has the authority as well as a duty to regulate this conflict because it is a threat to international peace and security. But the Americans undermined its efforts and routinely used their veto on the Security Council to defeat resolutions that were critical of Israel.
American contempt towards the UN reached a new height during the two Republican administrations of George W. Bush. The attitude of the neoconservatives is illustrated by the following conversation between a senior UN official and a venerable Republican Senator. The official asked "Why are you Americans so hostile to the UN? Is it ignorance or is it indifference?" And the Senator allegedly replied: "I don't know and I don't care!"
Barack Obama's election was widely expected to usher in a more even-handed policy towards the Israeli-Palestinian conflict. In the Cairo speech of June 4 2009, Obama stated that the bond with Israel is unbreakable but he also expressed deep empathy for the Palestinians and wanted there to be no doubt that: "the situation for the Palestinian people is intolerable. And America will not turn our backs on the legitimate Palestinian aspiration for dignity, opportunity, and a state of their own".
Obama is an inspiring orator. However, to use an American phrase, he has talked the talk but he has not walked the walk. The rhetoric has changed but in practical terms there has been more continuity than change. Partiality towards Israel remains the order of the day and it vitiates the possibility of a genuinely even-handed policy.
To be fair to Obama, he recognised at the outset that Jewish settlements on the West Bank are the main obstacle to progress. He admitted, in effect, that there can be a peace process but no peace if Israel continues the colonisation of the West Bank. At his first meeting with Prime Minister Binyamin Netanyahu, on May 18 2008, Obama insisted on a complete settlement freeze.
A week later Secretary of State Hillary Clinton explained: "The President wants to see a stop to settlements. Not some settlements, not outposts, not natural growth exceptions… That is our position…And we intend to press that point". The position was admirably clear but she and the president failed to press the point. They backed down.
The direct Israeli-Palestinian peace talks launched by Secretary Clinton in Washington on September 2 are the best that could be expected after this and subsequent climb-downs. But these talks are an exercise in futility.
There is an Arabic saying that something that starts crooked, remains crooked. These peace talks started in a crooked way because they did not meet the most fundamental Palestinian requirement: a complete freeze on settlement activity.
All that Netanyahu reluctantly agreed to was a partial settlement freeze for a period of ten months. The ban did not apply to the 3,000 housing units that had already been approved or to East Jerusalem, which Israel had illegally annexed following the June 1967 Six-Day War.
When the ban expired on September 27, Netanyahu refused to extend it. Shirking his responsibility as prime minister, he simply called on the settlers to exercise restraint. A more vacuous statement is difficult to imagine. Predictably, as the Israeli media has reported, the bulldozers are back at work in the Jewish settlements near Nablus, Ramallah, and Hebron.
The conclusion is inescapable: Netanyahu is not a genuine partner for the Palestinians on the road to peace. Land-grabbing and peace-making simply do not go together and Netanyahu has opted for the former.
Netanyahu is like a man who, while negotiating the division of a pizza, continues to eat it.
The American position is pusillanimous and feeble. Instead of taking a firm position on the side of the Palestinians and pressing the point of principle, they press the weaker party to make more and more concessions. Under these conditions, the prospects of a peace deal between Israel and the Palestinian Authority are close to zero.
There is no light at the end of the tunnel, only more illegal settlements, and consequently more strife, more violence, more bloodshed, and ultimately another war.
AVI SHLAIM is a professor of international relations at the University of Oxford and the author of Israel and Palestine: Reappraisals, Revisions, Refutations (Verso, 2009).
This article first appeared on the University of Oxford, Department of Politics and International Relations Blog.


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Novell Vibe can be used in conjunction with various other software products. By incorporating these products into your Vibe system, you can add functionality, increase security, and maximize the value of Vibe.
Section 30.0, Novell Access Manager
Section 31.0, Internet Information Services (IIS)
Section 32.0, Novell GroupWise
Section 33.0, Novell Messenger
Section 34.0, Novell Data Synchronizer
Section 35.0, Novell Dynamic File Services
Section 36.0, Skype
Section 37.0, Twitter and Other Remote Applications
Section 38.0, YouTube


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If you would like to see Broward College for yourself, plan a visit. The best way to reach campus is to take Interstate 95 to Fort Lauderdale, or book a flight to the nearest airport, Fort Lauderdale-Hollywood International.
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