text:
We can provide solution services such as FEM analysis, weather tolerance evaluations, and technical support for stainless steel utilization and so on.
This type of analysis is useful for reducing the period of time required and the costs incurred to determine the optimum forming conditions.
We can make and offer proposals regarding the establishment of conditions for performing actual corrosion tests based on the actual environmental corrosion data results accumulated by NSSC.
We are proceeding high level research and development activities as a top manufacturer based on the R&D results and methods of accumulated by Nippon Steel Corporation and Sumitomo Metal Industries, Limited.


text:
A shipping charge will be the cost a person must pay to send a package or letter to another one destination. A typical delivery charge is actually a set payment to send a product by way of a country's mail service. Costs can vary in accordance with the weight or scale of a package, but the exact fees can be determined before the package is actually sent. Post offices will usually provide printed or online charts indicating the conventional postage charge for every form of item being mailed.
USPS International Rates
Shipping And Managing Charges. A person or business can include factors including the price of postage, packing materials in addition to gas and time necessary to deliver a package to the post office. These are called handling fees. A shipping and dealing fee could be reflected being a set service charge or it could vary dependent upon the above factors.
Mailing Rates – A sending charge often includes not only the particular price of the postage needed to send an item, but additionally packing materials as well as other expenses such as gas to offer a package. Most post offices worldwide have standard posting charges depending on the size and kind of package being mailed. A global delivery cost will be the cost related to sending a package to a new country. Fees vary greatly in accordance with the specific region around the world where you will end up sending your item and the type of system you choose.
USPS Shipping and delivery Rates. The American sending services is referred to as the United States Postal Services or USPS. It is possible to determine a USPS shipping and delivery cost by contacting the business directly or by going to their internet site at http://www.usps.com. US Postal Costs. A US postal cost will be the cost to send out an item from the United States to a different area of the country or internationally. The fee is determined by the weight and scale of the package along with the form of system chosen.
Do you fully grasp other cultures or country's holidays? When – exactly where – why – how – holidays are recognized allows you to understand people around the globe. Prior to buying photo calendars with only USA holidays, get Planet Holiday Wall calendars with all holiday seasons all over the world and religious observances. Mikhael Ross is a travel specialist who posts content articles about world travel. His articles help connection cross-cultural and community communications between international businesses along with their around the world clients.
It is important to consider some of what USPS has laid down concerning its services. You may have to remember that not all mails could be delivered through this. Solely those weighing less than 70 pounds are permitted to be shipped under its class.
UPS Shipping Cost
Combined with top class mail which is placed beneath the lower class can be considered for priority mail delivery. Because of this, its delivery may be quicker. However, enough time of shipping depends largely in the closeness from the starting place as well as the destination place. Thus it will not necessarily follows that every mails are delivered quicker compared to the other. The USPS has not omitted the shipping of the mail during Saturdays. You can still expect your packages to reach with this day.
At the moment, the cost of this mail starts at $4.80. This rates are just for packages weighing under or equal to one pound or 16 ounces. The rate hikes as much as $32.45 or higher for packages with 70 pounds weight. You have to be aware that these particular are certainly not the exact as well as over-all price since there are still other applicable fees dependent upon the package's delivery destination. It would be wise to get the total price through the USPS official website or straight from the post office.
There are several aspects that this mail proposes to the consumers. For one thing, the United States Mailing System has established a no-payment shipping supplies for boxes or tubes in varying sizes where you will put your item and send them under the group of priority mail. Everyone can absolutely purchase these priority boxes and tubes which can be delivered straight to your door without any cost. The consumer and the United States Postal System management can gain reap the benefits of this method.
Should you ship to residential customers the USPS Priority mail offers you an enormous advantage. The post office does not have a residential delivery cost. That is certainly an automated two dollar savings per shipment. The post office has fewer additional costs than each of the competitors. Your clients could also dictate which methods are ideal for your business.
UPS Price
Priority mail reaches over 90% from the United States within 2 days. This provides you with the confidence that your product will be delivered on time. If your product has to be delivered quickly without having to spend an arm and a leg USPS priority mail might be your ideal match.
You might be worried which is will melt. If you ship having a regular ground service it could take as much as 5 or 6 days to reach the destination. How fresh will the chocolate be after 5 days inside the mcyzoy truck? It is actually not as likely to melt and will also be fresher whenever you can deliver it faster. A two day service from your other parcel delivery company will never compare with the cost you will get using USPS discounts. Chocolate can be quite a sensitive product to ship.

subset: commoncrawl


text: I saw this recent post on the Silver Peak WANSpeak™ site asking the question "Can SD-WANs help overcome IT skill shortages?". This blog included some data that revealed that data center IT skill shortages will intensify as operators continue to struggle with staffing issues. The reality […] SD-WAN An SD-WAN Paves a Path to Re-Skilling IT


text:
The U.S. Department of Homeland Security (DHS) is accepting proposals for upgrades to the remote video surveillance systems along the Southwest Border of the United States.
DSH's solicitation—Remote Video Surveillance System (RVSS) Upgrade—is for "fully integrated, non-developmental RVSS upgrades" that would be used by U.S. Border Patrol agents, and the deadline for filing bids is April 9, 2012 at 4:30 p.m. EST.
The current RVSS along the Southwest Border "utilizes multiple color cameras and thermal infrared detection video cameras and ancillary equipment, which are integrated into a remotely controlled system that can monitor and record activity within an area of responsibility (AoR) during both daytime and nighttime operations," DHS says. "The RVSS sensor images are transmitted via a dedicated communications sub-system to a Border Patrol Station where the information is processed, displayed, and where the USBP agent can monitor and control the system."
The upgrade to the RVSS needs to consist of two parallel activities, DHS says. Those activities are:
Upgrading selected RVSS sites with newer capability.
Installing upgraded technology at new sites.
DHS' Customs and Border Protection (CBP) intends to award a firm fixed price single award contract. The contract will be awarded for an initial site upgrade in Arizona and upon completion and government acceptance of the initial site installation, the vendor might be contracted for additional station AoR installations within Arizona and Texas, DHS says. Operation and maintenance of all the sites will also be contemplated under the contract with the period of performance anticipated to be 10 years the date the contract is awarded, according to DHS.
To help potential bidders with any questions, DHS plans to issue a document on March 19, 2012, that will contain answers to additional questions.


text:
More Information on Headers:
More Information on Headers:
What is a full header and why is it useful?
Email headers allow one to track where on the Internet an email originated.
Because it is easy to forge an email address, it is important to use headers
to determine the "true" point of origination of an email.
What does a full header look like?
-----------------Example Header----------------- Return-path: <firstname.lastname@example.com> Envelope-to: email@example.com Delivery-date: Fri, 23 May 1997 20:55:53 +0100 Received: from puccini.ucc.hull.ac.uk [126.96.36.199] by adelphi.ucc.hull.ac.uk with esmtp (Exim 1.60 #1) id 0wV0RN-0006W3-00; Fri, 23 May 1997 20:55:53 +0100 Received: from mail.net1plus.com (actually host MAIL.CMSCOMMUNICATION.COM) by puccini.ucc.hull.ac.uk with ESMTP; Fri, 23 May 1997 20:55:47 +0100 Received: from [126.96.36.199] ([184.108.40.206]) by mail.net1plus.com (Post.Office MTA v3.0 release 0122 ID# 0-34465U2500L250S0) with SMTP id ADL167; Fri, 23 May 1997 12:23:39 -0400 Received: from firstname.lastname@example.com by email@example.com (8.8.5/8.6.5) with SMTP id RAA09362 for <email@example.com>; Fri, 23 May 1997 08:53:48 -0600 (EST) To: firstname.lastname@example.com Message-ID: <firstname.lastname@example.com> Date: Fri, 23 May 97 08:53:48 EST From: email@example.com Subject: NEW! 600K Hot List... No AOL Reply-To: email@example.com Comments: Authenticated sender is <firstname.lastname@example.com> ---------------End Example Header---------------
------------Example Incomplete Header------------ Date: Fri, 23 May 97 08:53:48 EST From: firstname.lastname@example.com Subject: NEW! 600K Hot List... No AOL Reply-To: firstname.lastname@example.com ----------End Example Incomplete Header----------
How to display the full headers in various email programs:
Netscape 4.x for PC / MAC:
enable-full-header-cmd, and type 'x' until you see
an 'X' in the checkbox.


text:
Step 2: Adding a Funding Source
After creating our receive-only User, the next step is to attach a bank funding source. This will be the funding source where they will receive funds.
Bank Addition and Verification methods
Within Dwolla, the sending party must always verify their bank account in order to be eligible to create a transfer. Although it's recommended, the party that is receiving the funds does not need to undergo bank verification.
There are three ways of adding a bank to a Customer with the Dwolla API. A simplified table below outlines the similarities and differences of each method.
|Bank Addition Method
|Will the bank be
|Required Information
|API - Account/Routing Number
|Optional - With Microdeposits
|Bank Account and Routing Number
|Dwolla.js - Instant Account Verification (IAV)
|Online bank credentials
|Third Party - Plaid
|Online bank credentials
For an in-depth look at these methods and the features and benefits of each, take a look at our developer resource article.
Step 2A: Adding a Bank to the Receive-only User
In this step, we will be adding a bank account to our receive-only user by collecting their bank details within a form on our application. After initial validation of the form fields, the user's bank details will be submitted to our back-end server where the API request is made to Dwolla to add a bank account.
- For more information on securely submitting a user's bank details directly to Dwolla from the client-side of your application, reference our helper library dwolla.js.
Request Parameters - Create a Funding Source
|The bank routing number
|The bank account number
|Type of bank account:
checking or
|Arbitrary nickname for the funding source. Must be 50 characters or less
POST https://api.dwolla.com/customers/c7f300c0-f1ef-4151-9bbe-005005aa3747/funding-sources
Content-Type: application/vnd.dwolla.v1.hal+json
Accept: application/vnd.dwolla.v1.hal+json
Authorization: Bearer 0Sn0W6kzNicvoWhDbQcVSKLRUpGjIdlPSEYyrHqrDDoRnQwE7Q
"routingNumber": "222222226",
"accountNumber": "123456789",
"bankAccountType": "checking",
"name": "Jane Merchant - Checking 6789"
HTTP/1.1 201 Created
Location: https://api-sandbox.dwolla.com/funding-sources/375c6781-2a17-476c-84f7-db7d2f6ffb31
customer_url = 'https://api-sandbox.dwolla.com/customers/c7f300c0-f1ef-4151-9bbe-005005aa3747'
request_body = {
routingNumber: '222222226',
accountNumber: '123456789',
bankAccountType: 'checking',
name: 'Jane Merchant - Checking 6789'
# Using DwollaV2 - https://github.com/Dwolla/dwolla-v2-ruby (Recommended)
funding_source = app_token.post "#{customer_url}/funding-sources", request_body
funding_source.response_headers[:location] # => "https://api-sandbox.dwolla.com/funding-sources/375c6781-2a17-476c-84f7-db7d2f6ffb31"
var customerUrl = 'https://api-sandbox.dwolla.com/customers/c7f300c0-f1ef-4151-9bbe-005005aa3747';
var requestBody = {
'routingNumber': '222222226',
'accountNumber': '123456789',
'bankAccountType': 'checking',
'name': 'Jane Merchant - Checking 6789'
.post(`${customerUrl}/funding-sources`, requestBody)
.then(function(res) {
res.headers.get('location'); // => 'https://api-sandbox.dwolla.com/funding-sources/375c6781-2a17-476c-84f7-db7d2f6ffb31'
customer_url = 'https://api-sandbox.dwolla.com/customers/c7f300c0-f1ef-4151-9bbe-005005aa3747'
request_body = {
'routingNumber': '222222226',
'accountNumber': '123456789',
'bankAccountType': 'checking',
'name': 'Jane Merchant - Checking 6789'
# Using dwollav2 - https://github.com/Dwolla/dwolla-v2-python (Recommended)
customer = app_token.post('%s/funding-sources' % customer_url, request_body)
customer.headers['location'] # => 'https://api-sandbox.dwolla.com/funding-sources/375c6781-2a17-476c-84f7-db7d2f6ffb31'
$fundingApi = new DwollaSwagger\FundingsourcesApi($apiClient);
$new_fs = $fundingApi->createCustomerFundingSource([
"routingNumber" => "222222226",
"accountNumber" => "123456789",
"bankAccountType" => "checking",
"name" => "Jane Merchant - Checking 6789"
], "https://api-sandbox.dwolla.com/customers/c7f300c0-f1ef-4151-9bbe-005005aa3747"
print($new_fs); # => https://api-sandbox.dwolla.com/funding-sources/375c6781-2a17-476c-84f7-db7d2f6ffb31
When the funding source is created, you will receive a
201 HTTP response with an empty response body. You can refer to the Location header to retrieve a link to the created funding source resource. We recommend storing the full URL for future use as it will be referenced when creating the transfer to this user's bank account.
Step 2B: Handle Webhooks
If you have an active webhook subscription (required in production & optional in Sandbox), you will receive the
customer_funding_source_created webhook immediately after the resource has been created.
StatusProduction: Operational
Financial institutions play an important role in the Dwolla network.
Dwolla, Inc. is an agent of Veridian Credit Union and all funds associated with your account in our network are held in one or more pooled accounts at Veridian Credit Union. These funds may not be eligible for share insurance by the National Credit Union Share Insurance Fund. Dwolla, Inc. is the operator of a software platform that communicates user instructions for funds transfers to Veridian Credit Union.


text:
Big Bad Wolf
Big Bad Wolf
|Company Details
|Company Name
|Big Bad Wolf
Video Games developed by Big Bad Wolf
The CouncilTHE COUNCIL is a new twist on the episodic Narrative Adventure genre by studio Big Bad Wolf. Take hard-hitting decisions, develop an array of skills and directly impact how the story unfolds. With permanent, long-lasting consequences, there is no goi..
March 13, 2018


text:
Hey all, Tommy here!
In the run-up to our first ever festival, we've been doing a little brewing of our own. Given our background in homebrewing, we just couldn't help ourselves!
Our first cask was brewed to be a seriously juicy, balls-to-the-wall New England IPA, with all the full body and characteristic Haze that signifies the style.
So once settled on the style we wanted to create, how do we go about designing a recipe for such a beer? How do the choices we make in the ingredient selection and process, help us to get to the murky juice-bomb we're after?
Malt: We've used a base of Maris Otter, the traditional British ale base-malt, known for its warm, bready flavour. We've gone for standard MO instead of the low-colour variant often used for this style, in the hopes of getting a more golden orange-juice like colour. In addition, we've used a hefty portion of wheat and oat malt, to help contribute body, and round out the flavour.
Hops: Citra and El Dorado are a hop combination I've played with in my adventures in homebrewing. Citra, bringing all that over-ripe tropical fruit and citrus, and El Dorado, with its watermelon and boiled-sweet like aromas. Together, I find the combination to produce an insanely full and sweet-smelling tropical nose, exactly what we're after.
Process: For this style, we want very little bitterness, and a massive hit of aroma. We used no bittering addition and chucked an absolute truckload of hops at this thing at the end of the boil, including a hefty 'whirlpool' addition at 80C after the boil. Adding hops in this way means little conversion into the compounds responsible for bitter flavours, and more retention of the heady, volatile aromatics responsible for big aroma.
Yeast: for this beer, we used a combination of yeasts: a medium-low attenuating English ale strain known for producing some fruity esters, paired with a small amount of German Hefeweizen yeast known for producing banana and clove aromas as well as permanent haze. We also dry-hopped the beer during active fermentation. This causes a reaction between the active yeast and some of the hop oils called 'bio-transformation' which is thought to contribute even fuller hop flavour, and a permanent haze.
We can talk until the cows come home on all the other things we think about when designing a beer recipe, but as with all these things, the proof is in the pudding. We hope you'll the chance to come down to our first Modern Cask Fest and try it for yourself!
See you there!


text:
About NATRA Blog
This page is meant for folks to post their thoughts on the Saturday group run. I (Neil) will post a blurb about who showed up and where it was held. From there, I hope that other runners will share their thoughts since we often have different experiences on the same run. Enjoy!
Saturday, July 7, 2012
Epic Brookbank Trail Run
Watch more videos on Flotrail
After a busy month of trail races in Flagstaff, 16 Northern Arizona Trail Runners took on the climbs of the Dry Lake Hills trail system including Brookbank, Upper Brookbank, Sunset and returning down Upper Oldham. Flagstaff Trail running icons Ian Torrence and Sara Wagner led the way with several newbies joining in the on the fun. The run was complete with fresh bear track sightings, 6 miles with1500 feet of vertical climbing and an amazing wipeout that left blood oozing from legs and arms of one tough nameless runner! We all returned to the kickstand to savor the beautiful run
Posted by NATRA blog at 12:29 PM No comments:
Sunday, July 1, 2012
Hearts 911 Mount Elden Ultimate Challenge
Watch more videos on Flotrail
The Inaugural Hearts 911 Mount Elden Ultimate Challenge and 10K was a smashing success. This benefit run for first responders heart screening tests was a challenging 10.3 mile run up and over Mount Elden, descending on the Heart Trail to Sandy Seep. The race also include a 10K out and back on Elden Lookout Road.
Gina Slaby of Tucson wins overall 10K in 44.01 with Harry Singer from Phoenix winning the men's race in 49.11. In the Ultimate Challenge, Art Keith's 1:16.28 and Leslie Grabel's 1:45.28 (both of Flagstaff) took top honors. Full results posted at http://www.virtualroster.com/index.cfm?action=dspClientHome&clientid=123&showBanner=1
With its great support team of first responders, hi-tech shirts, post-race party, and especially since it is a perfect tune-up for the Imogene Pass Run, it will sell out early next year, so don't miss out!
Posted by NATRA blog at 6:39 AM No comments:
Subscribe to: Posts (Atom)


text:
Hi there!
Going to Japan after middle of March and hoping to see a little bit of the beginning of Sakura/Cherry Blossom.
We are flying into Tokyo(arriving 7 am). Should we stay in Tokyo for a day or just start the trip and leave Tokyo untill the end?
Have just ordered the 7 day JR pass.
Any suggestions where we should start our trip ?
I mentioned Fukuoka since Sakura officially starts there on the 22nd of March.Not sure where in Fukuoka Prefecture we shouls visit..
I will be staying 2/3 nights in the end of our trip in Tokyo since we are departing from Narita Airport.
Thank you so much!
Any suggestions greatly appreciated


text:
Rating: NNNNN
the terrorist attacks on new York and Washington revealed just how stretched the U.S. intelligence community is. But north of the border, Canada's security services are also coming to grips with their own intelligence deficit. Their problems were recently highlighted by the case of the alleged terrorist who was caught in December 1999 attempting to cross the Canadian border into the United States with a bomb. He lived undetected in Montreal for five years and even travelled to one of Osama bin Laden's terrorist training camps. An embarassing little affair for our spooks.
So is our intelligence apparatus just incompetent? Dangerously underfunded and overworked? Or simply misguided? Probably all of the above.
But given the scope of the terrorist threat, you have to wonder about some of the dubious security campaigns our tax dollars have been bankrolling. Like the Royal Canadian Mounted Police shadowing a noisy Toronto tenant activist and, would you believe it, Matthew Behrens, Canada's best-known guru of non-violent protest.
And consider the fervour with which the RCMP and the Canadian Security Intelligence Service have investigated lawful dissent in recent years.
Prior to the ill-fated 1997 APEC Summit in Vancouver, something called a "threat assessment joint intelligence group," made up of the local police, RCMP and possibly CSIS, assembled detailed dossiers on protestors and supporters. Mug shots of activists included then Green party leader Joan Russow. Police even went so far as to put together threat assessments on Greenpeace and Amnesty International.
But most ominously, on the eve of the B.C. Summit, demonstrator Jaggi Singh was literally picked up off the street and arrested by police on dubious charges. It turned out that they had been tailing Singh for months. Later, it was reported that CSIS had informed the Canadian government that there was no terrorist threat at the APEC Summit, just a likelihood of anti-Indonesian demonstrations.
Fast-forward to the Summit of the Americas in Quebec City this year. Prior to the event, the RCMP said they were bracing for terrorist attacks. Not to be denied, just prior to the Summit police cracked down on stone-throwers and smoke-bomb artists.
Of course, no summit security operation would be complete without bagging Jaggi Singh, who was again nabbed -- this time with teddy bears.
In their report to Parliament earlier this year, CSIS identified growing anti-globalization protests as a concern. But the horror of last week's attacks in the U.S. kind of puts the anti-globalizers into perspective, doesn't it?


text: Been installing this drum to disc (ssbc 126-5) tonight on my 2000 limited and it says to modify the distribution block (abs pump by taking the spring out and a rubber seal off underneath the nut with the rubber top on it. Anyone else done this swap and have any info? The directions are quite confusing.


text:
25 Jun Underdog: Woman With Bleeding Issue Healed. Once Without Hope, Now Healed
TEXT: Mark 5:21-34; 2 Corinthians 12:8-9
- How has illness or disease affected either you personally or those close to you?
- What has been your response during these times?
- How has your view of God been altered or strengthened in the midst of physical need and suffering?
- In our passage, this woman had a bleeding issue (which was probably female in nature) for 12 years…….12 years! How would you respond if you were suffering for such a long period of time with no relief and seemingly no answer from God?
- The Apostle Paul prayed for healing from God yet never received it (2 Corinthians 12:8-9). Instead, God told Paul that His grace was enough. Is God's grace enough for you in the midst of your physical trials?
- We know that all healing comes from God and that He often uses others as His means of healing. How can you fully trust God as your healer yet still seek out medical treatment from those who can give you certain medical aid?
- As a group, this week especially, take time to pray with and for each other if there are specific medical needs, voicing your trust and confidence in God as your Healer. Use the "ACTS" guide (Adoration, Confession, Thanksgiving, and Supplication) guide for your prayer time.
Daily Bible Readings for the week of 6/28/2015:
Day 1: 2 Corinthians 12:5-10
Day 2: Luke 8:43-48
Day 3: Psalm 107:10-21
Day 4: 1 John 5:11-15
Day 5: Psalm 121
Day 6: Matthew 8:5-13
Day 7: Revelation 21:1-4


text:
Sign up for an Award
Participate with your entry in one of our professional or student awards.Sign up for an award
Learn more:
Unsupported browser
You are using an outdated browser. Please upgrade your browser to improve your experience.
HALFMOON is a whistle for kitchen, as boiling water indicator. Just put it between pot and lid. Made out of silicon. One size for different pots and lids.
The Ural State Academy
of Architecture and Arts
Yekaterinburg, Russia


text:
Finding a Printing WorkflowFebruary 21, 2018
In the first few months after buying the Canon PRO-1000, I spent a lot of time figuring out a good and efficient printing workflow. This article describes the steps I now take for preparing an image for print and sending it to the printer, with the hope to help other beginners like me finding their own workflow. The earlier parts of the described workflow are independent from the printer make and model, but some parts of the actual printing will be relevant only to owners of Canon printers. Suggestions, comments or questions are very welcome, feel free to contact me anytime.
The Basic Workflow
The basic steps from the raw file to the printed image are:
- Noise Reduction
- Sharpening (moderate)
- Image editing
- Soft proofing
- Scale image to print resolution
- Output sharpening
- Print
In the following sections I will first cover the software I use, my recommendation on working color space and color depth and then describe my approach for each of these steps. For the last three steps I'll outline two different approaches, a simple, Lightroom-based workflow for smaller prints and an advanced workflow for larger prints that require more control over the scaling and output sharpening.
For further reading I can recommend the (German) Fine Art Printer magazine. You can order back issues in print or as PDF via their online shop. In issue 2/2016 they had an article on printing workflow, which partly inspired my own workflow. They also sell their own Photoshop actions for various steps of the printing workflow, however those work only in German-language Photoshop.
The Software
The core elements of my image editing and printing workflow are the latest versions of Adobe Lightroom Classic CC and Photoshop.
Another important part of my workflow are the different plugins that make up the NIK Collection, a software with a quite eventful history. First it was developed by NIK Software and sold commercially. Then Google bought NIK Software and distributed the software for free, but at some point stopped the development. In 2017 DXO bought the software from Google and in June 2018 started selling a first update commercially. That version contains only marginal update, so for now the free Google version will most likely do the job for you, and you can still find it on some download sites.
I use the Photoshop version of the NIK plugins, since in Photoshop they can be used as Smart Filters. That allows the user to later go back and change the plugin parameters. Using the Lightroom plugins is destructive, once the edits are applied it is not possible to go back and make changes.
For printing in some cases I use Canon Print Studio Pro, which comes with PRO-1000.
Color Space and Color Depth
An often discussed question is the working color space and color depth.
Raw images do not have a color space and Lightroom always works with Melissa RGB in the development module, which is a variant of ProPhoto RGB. So up to this point, there are no choices to make. However in image editing software like Photoshop, the user chooses the color space and color depth to work in. My recommendation is to use ProPhoto RGB as working color space and a color depth of 16 bit.
And here are the reasons why:
Update Apr 8, 2019: in the meantime I have written a separate and more detailed article on the topic of ProPhoto RGB: Why ProPhoto RGB as Working Color Space?
Regarding the color depth of 16 bit: especially when working with larger color spaces like ProPhoto RGB, the choice of 16 bit will allow you to retain smooth gradients during all kinds of image manipulations and when printing. Similar to the color space this choice allows you to go through your workflow with the least loss of information possible. To send images to the PRO-1000 in 16 bit you need to use the XPS driver instead of the standard driver. When you install the XPS driver, it will show up as a separate printer in Windows, which you then can choose in the printer dialogue of Lightroom.
For further reading on color spaces I recommend the following two articles:
- Color Management Guide - Which Color Spaces: sRGB, Adobe RGB or ProPhoto RGB
- Luminous Landscape - Understanding ProPhoto RGB (subscription necessary)
Noise Reduction and Sharpening
In most cases I use the noise reduction and sharpening of Lightroom. For difficult cases (e.g. photos that will end up in larger prints) or where selective noise reduction or sharpening is required, I use Dfine and the RAW Presharpener element of Sharpener Pro from the NIK Collection.
Compared to Lightroom, the NIK plugins allows you to apply different amounts of sharpening and noise reduction to different areas of the image. Also their algorithms analyze the image automatically and take its content into account when applying noise reduction and sharpening. The sliders NIK offers to influence their algorithms are for me more intuitive and result-oriented than those of Lightroom.
Since we will apply output sharpening later, the sharpening at this stage should be applied only moderately.
Image Editing
My image editing is done mostly in Lightroom for basic and local adjustments. Sometimes I use Photoshop for some advanced adjustment, for example the selective application of curves. For black and white conversion I solely rely on Silver Efex Pro from the NIK Collection. It comes with a nice set of presets, which can then be fine tuned. For me, Silver Efex Pro provides a smoother, more natural approach to black and white conversion than other tools. It also has some unique editing tools, like the soft contrast, which applies a less local and more global contrast adjustment over an image.
Soft Proofing
At this point I use Lightroom's or Photoshop's soft proof function to get an impression how the image will look in print, and make adjustments if required.
A prerequisite for this is having a calibrated and profiled monitor. Profiling will ensure that colors are displayed correctly on the monitor, calibration allows you to adjust the brightness and color temperature of the monitor. Any monitor can be profiled using display calibration solutions like the popular Spyder series, the profile is then applied via software-based color management. Only specialized monitors support the profile to be loaded into the monitor, and the calibration of brightness, color temperature and other parameters.
Both is important to get a good match between screen and print. The color temperature of typical ambient light under which prints are displayed (5,000-5,500 Kelvin) is less than that most monitors used a default (6,500 K). Also a lower brightness than the default often helps to get the screen closer to the print. I use an Eizo CG277 profiled and calibrated with its internal calibration sensor to 5,500 K and a brightness of 80 cd/sqm, and was actually quite amazed with how close the prints look to what the soft proof shows on screen. If your monitor has limited capabilities here, I'd recommend at least a software-based calibration and a manual reduction of the brightness of the screen.
Simple Workflow for Printing Smaller Prints from Lightroom (<= A3)
For smaller prints, I use the Lightroom print module for scaling, output sharpening and printing. Scaling is done by checking Print Resolution under Print Job and setting the desired PPI. Sharpening by checking Print Sharpening and choosing a strength and Media Type. Lightroom only offers matte and glossy as type but none for luster paper. For me the glossy setting with setting Low produces good results on luster paper.
For color management I use Lightroom and test for each individual image in the soft proof which rendering intent works best. Don't forget to disable color management in the printer driver and make any other settings required for the paper. In my case I use the recommendation that Hahnemühle provides in an PDF when downloading ICC profiles for paper/printer combination from their website. For their heavier fine art papers (> 300 gsm), I would additionally recommend to increase the print head height (see screenshot below), since with the standard setting I regularly had issues with the print head hitting the paper and roughing up its edges.
I created custom media types for all my Hahnemühle paper using Canon's Media Configuration Tool. This allows you to set certain parameters like print head height depending on your paper weight and helps identifying the paper in the Canon Accounting Manager. Also when using Canon Print Studio Pro (more on that below) some settings are only available via custom media types. More on custom media types in this article.
To save you work on repeated prints, Lightroom allows you to create templates. I create templates for paper and size combinations, for example one template for Hahnemühle Photo Rag Pearl in A4. Further, if you plan to produce the same print often you can create saved prints, which save all settings and the concrete photo you printed.
Advanced Workflow for Larger Prints (> A3)
For larger prints I have adopted a workflow that allows more control of the scaling and sharpening applied.
Advanced Workflow - Scaling Image to Print Resolution
For scaling I use Photoshop. In the Image menu choose Image Resize, enter the size and resolution, check Resample and choose an algorithm. Preserve Details and Preserve Details 2.0 usually work best for me. The two version of the algorithm give slightly different results and I decide individually for each image which works best.
Advanced Workflow - Output Sharpening
For sharpening I use the Output Sharpener that comes as part of NIK's Sharpener Pro. Compared to the print module of Lightroom, the Output Sharpener allows much more detailed control. Lightroom only differs between matte and glossy paper and for each offers three different amounts of sharpening. NIK's Output Sharpener distinguishes six paper types (e.g. also canvas or luster), viewing distance (more sharpening can be applied if looking at an image from further away) and the printer's resolution. It also offers much finer control over the amount of sharpening and sharpening can be applied selectively to different areas of the image. Another big advantage is that with the Output Sharpener you can preview the results, which is not possible with Lightroom. The Output Sharpener can be applied as Smart Filter, so you can later go back and change its settings.
If your raw image is noisy or not perfectly sharp, there is one last step which can help to improve the perceived sharpness and quality of an image: add some grain. For that I use the Blur Gallery filter of Photoshop. Check out this video for step-by-step instructions on how to do that.
Below you can find screenshots of the tools and methods described above:
Advanced Workflow - Print
For printing the final image, I use Canon's Print Studio Pro (PSP). Images edited with this advanced workflow usually get printed with the size predetermined through the scaling applied, one image centered per sheet. Achieving this simple layout is easier with PSP than with the layout module of Lightroom. Printing from Photoshop would also be an option, but Photoshop does not allow you to save and reuse settings, as PSP does.
PSP works as plugin for Photoshop, Lightroom and also Canon's own raw converter Digital Photo Professional. It provides an easy-to-use interface to all print settings and has a simple but effective layout module. It provides only a limited scaling mechanism (there is no documentation on what it does) and a very limited sharpening function (labeled "use contrast reproduction"), the latter only working for certain Canon printers and Canon media types. For these reasons Lightroom is for me the better choice for the simple workflow for smaller prints. But in the advanced workflow, where scaling and sharpening is applied in advance, PSP works well. Images edited with this advanced workflow usually get printed with the
size predetermined through the scaling applied, one image centered per
sheet. Achieving this simple layout is easier with PSP than
with the layout module of Lightroom. Printing from Photoshop would also
be an option, but Photoshop does not allow you to save and reuse
settings, as PSP does.
There is two topics regarding PSP I'd like to get into a bit further:
First, when using PSP you will not have any direct access to printer driver settings and the PSP user interface does not make all those settings available to you. One instance is the print height setting, which I already talked about described in the Lightroom workflow. To get control of the print head height in PSP you need to either choose one of the standard media types with higher print head, or if none is available, create your own custom media types. I choose to create custom media types for all papers I use. More on custom media types in this article.
Second, officially PSP does not support ProPhoto RGB, the working color space I have recommended earlier in this article. The PSP manual mentions only sRGB and Adobe RGB, and Canon's support confirmed this to me. When asking what PSP does when a ProPhoto file is opened, they told me that the internal workings of the software are a trade secret and cannot be shared with users (I am not making this up). However running some tests showed a different picture:
- Lightroom: it is true that when used from Lightroom, PSP does not support ProPhoto RGB. In the registration of the plugin, Lightroom is instructed to convert data to AdobeRGB before sending it to PSP. This can be easily confirmed, since in the Image Information panel on the left side PSP shows the color space of the image it receives.
- Photoshop: here Canon seems to not know the true capabilities of their software. When opening ProPhoto RGB images from Photoshop, the Image Information panel in PSP will show ProPhoto RGB. Printing test charts of color gradients in ProPhoto RGB from PSP and from Photoshop itself in comparison show that the results are identically, and thus it seems that PSP truly supports ProPhoto here.
Since the advanced workflow outlined above is already based on Photoshop, I would therefore also recommend to use Photoshop to send your image to PSP if you use ProPhoto as working color space. Since PSP itself has the capability, I hope that Canon at some point will officially support ProPhoto and change the way they register the plugin in Lightroom.
Final Words
I hope you'll find this article useful and can use it as an inspiration for your own printing workflow. Any questions, comments or suggestions are very welcome, please feel free to contact me.
All the best, Robert


text:
adv-7ture5 i modern r n ~ l s i c k
charts, quotes, opihion--- -
Gavin Bryarsys jukebox
Bill Nelson,W"G%q:?r v.&*-, . &++%:zx
Peter Blegvad
It mad, ,madworld
3 O O n MULTIM:EDIA NEWS r E E OFFERS QVEk ZO PAGES Or REVIEWS
You have no current subscriptions in your account.
Would you like to explore the titles in our collection?


text:
Ingredient X star Lesley Sharp talks to Matthew Amer about a whirlwind couple of years on the stage and the importance of good new writing.
Rehearsals, like a sprinter with poor spatial awareness, often overrun. There is more chance of me using a legitimate metaphor than a rehearsal ending on time. Having spent eight years interviewing performers, directors and writers in rehearsal breaks, it is now no surprise to me that the process involves a little waiting around. I tend to carry a book or an iPod. Today I have forgotten both.
I sit in a small concrete bunker at the rear of the Royal Court's bar/restaurant, waiting for one of the most talented stage and screen actors of her generation, Lesley Sharp, who is currently preparing to return to the Royal Court's stage in Nick Grosso's new tale of addiction, Ingredient X.
The hands of my watch tick slowly onwards. In the main bar area grey supporting columns mingle with a handful of lunchtime diners. Knives sparkle expectantly in the unnatural light. I lose myself in the nondescript hum of cutlery striking plate, mealtime chatter, one-sided telephone conversations and background music. Time ticks past; 20 minutes, 25 minutes, 30 minutes. The bar's spotlights stare at me, wondering why I am sitting alone in a corner, scribbling notes. They don't blink. They never blink.
The grey monotony is broken 40 minutes later by a bright pink jacket sitting comfortably on Sharp's shoulders. The wait has been worthwhile.
My small experience is something of a metaphor for the theatre world, which Sharp left behind in 1996 following a production of Mother Courage at the National Theatre. At the time she had young children and felt she could not happily balance the conflicting requirements of her home life and live performance: "I didn't feel I was being a good mother at home and I didn't feel like I was cutting the mustard on stage," she tells me.
"It was about the writing and showcasing new writing. That's what was important"
A decade later, with her children roughly 10 years older, she tested the theatrical waters once more, returning to live performance in The God Of Hell at the Donmar Warehouse, directed by her friend Kathy Burke. Following encouragement from playwright Mark Ravenhill, who convinced Sharp she had lost nothing of her talent during her 10 years of theatrical exile working only on screen, and the arrival of the script for Simon Stephen's Harper Regan on her doorstep, she has fallen back in love with theatre. To claim the decade without her was theatrical drudgery would be an overstatement, but like her pink jacket's appearance at the Royal Court bar, she has certainly brightened up London theatre since her return. It seems like she has been ever-present in Theatreland for the last two years, following her Olivier-nominated Harper Regan performance with The Rise And Fall Of Little Voice, Ghosts and now Ingredient X.
"It's an amazing piece of writing," she says of Nick Grosso's new play as she sits opposite me, arms tucked away behind the table that separates us. "It's very fast, very quick thinking, very deft, very technically accomplished, but it's also very from the heart. It's about the nature of addiction, which is not what one would expect to be the most comedic of subjects, but he's managed to create a play which is very funny but very uncomfortable and very moving."
Sharp is demonstrably excited about the project, singing the praises of fellow cast members Indira Varma, James Lance and Lisa Palfrey, as well as director Deborah Bruce, who she cites as one of the reasons she was eager to be part of the project.
We chat as the cast is coming towards the end of its time in the rehearsal room. This transitional period evokes mixed feelings in Sharp, especially on this production, which has seen a team of six – the four actors, director Bruce and the stage manager – working closely as part of a very small team. "Part of you really mourns the delightful intimacy that the six of you have while you've been burrowed away working for four weeks, there's part of me that doesn't want to relinquish that, but you've got to get up there and you've got to do it."
The Royal Court is, Sharp says, "very buoyant, very positive" at the moment. So it should be; last season saw two of its shows, Enron and Jerusalem, share a host of awards between them and transfer to the West End, where they recreated their Royal Court success. This season has also started well, with great reviews for current show Posh. While she giggles about feeling the pressure of following that success, it doesn't seem like much of a worry. "You just have to be really positive about what it is you're engaged in," she says, "and that is new writing."
"If the writing is not good then actually, as a performer, you're at a loss"
The Royal Court is important to Sharp. She first worked at the Sloane Square venue in 1985 as part of its young writers' festival, then went on to star in productions including Jim Cartwright's Road and Andrea Dunbar's Shirley. At that time, the venue was run by Max Stafford-Clark, now the Artistic Director of Out of Joint. "The imperative that he always passed on was that everybody's job was to support the writer; it was about the writing and showcasing new writing. That's what was important," Sharp explains.
The impact of that advice can be seen in Sharp's career choices since, both on stage and screen. It is not just that she is working with Grosso now or that her return to the stage was cemented by the premiere of Stephens's Harper Regan, but on television she has regularly worked with Russell T Davies, starred in Paul Abbott's Clocking Off and has collaborated with Mike Leigh on film.
"One learns very quickly," she explains, "that if the writing is not good then actually, as a performer, you're at a loss. You can sort of make things look better, but actually it's really difficult. If you're in a play that doesn't hold up, it's really difficult doing a run. You can make it work for a few performances, but after that you're in a bit of trouble."
"As I've got older," she continues, "as a woman that becomes less and less easy to find, because what happens is that the women become appendages to men in terms of the structure, so you play somebody's wife, somebody's mother, somebody's teacher, somebody's social worker. Actually finding really exciting women characters… when you can, you jump at them."
This is part of the reason Sharp has been seen on the stage so much recently; that is where the good parts have been. In the last eight months alone, she has been able to play the hideously selfish alcoholic mother of an incredibly talented daughter in The Rise And Fall Of Little Voice, and the struggling mother of a son dying from syphilis in Ibsen's Ghosts, both in the West End.
"I think probably I should take a bit of a pause. People will get sick of the sound of me"
It came as a surprise to me to discover that Little Voice marked Sharp's commercial West End debut, the actress having previously worked exclusively in subsidised and regional theatres. She describes the experience as an "eye-opener", having previously thought complaints about the tiredness caused by performing eight shows a week in a long run were over-exaggerated. By the end of her run, when she was rehearsing Ghosts during the day and performing at night, she fully understood the complaint. She wouldn't, however, change a thing: "It was a ball. It was an absolute gas getting up every night and doing that. Chances like that don't come around very often, so when they do come you just have to go for it."
Sharp's co-star, filling the role made famous by Jane Horrocks in the show's original production and film adaptation, was X-Factor contestant Diana Vickers. When the teenager with no professional acting experience was revealed as the performer on whom the revival was being hung, many, both privately and publicly, questioned the decision. Sharp, having watched her performances on the TV talent show, thought her casting was "really interesting. If [director] Terry Johnson, [producer] Nica Burns and [playwright] Jim Cartwright think that Diana Vickers can do it," Sharp thought to herself, "who am I to [question them]?"
"She was very focused. She was very disciplined. She was an absolute delight to work with. It was brilliant, she put all of that negativity and criticism to flight because she did it, she pulled it off. She was fantastic. I've got nothing but admiration for her because she was only just turned 18 when we started rehearsing. I think for any person of 18 it was a big ask. She didn't miss one show. I was off; my voice gave out. I got into serious vocal problems with [her character] Mari and had to reconfigure what I was doing. Diana didn't. Diana came out of the show saying she felt her whole vocal range had increased because of the work that she'd done, that she felt much stronger as a singer. That's all down to the work that she did. I've got nothing but admiration for her."
Sharp's busy couple of years look set to become a little more relaxing once Ingredient X finishes its limited run at the Royal Court. After Harper Regan, The Rise And Fall Of Little Voice, Ghosts and Ingredient X she has a "small commitment" to a BBC series, but intends to spend the summer recharging her batteries. "I think probably I should take a bit of a pause," she laughs. "People will get sick of the sound of me."
I think that is probably unlikely. In fact, her talk of a possible new collaboration with old friend and Ghosts colleague Iain Glen, about which she is very tight-lipped for fear of jinxing the project, already has me intrigued about what her next stage outing might be; and Ingredient X hasn't even opened yet. "It looks like it might be coming together for the new year," is all she will say on the subject. It looks like another 10 year break from the stage is definitely not on the cards, which is good news for everyone.


text:
I did not get instructions on how the install dMaintenance.
1. I would like to install it using a USB Flash Memory stick.
2. When dMaintenance has completed running I would like to print a report of its results.
3. Where can I go to get complete instructions or user manual to become knowledgeable on all its features?


text:
Carleton Rode Baptist Church
Chapel Road, Carleton Rode, Norfolk
Timber Frame Repair
We need your help to continue our work and witness in South Norfolk!
You may have visited our church here in Carleton Rode. You will find us – sometimes with difficulty! – in rural South Norfolk, standing between the villages of Carleton Rode and Bunwell, which have a total combined population of approximately 1500. There are very few local facilities, – just one local shop cum / post office, no pubs, and virtually no public transport. There are two small village schools, one in each village, and two community halls, both used for a variety of clubs, playgroups and other activities.
The nearest town is Attleborough, which is 5 miles away, whilst Norwich is 13 miles away.
On our website, we are described as a 'Church in the heart of the countryside, with the country community at heart!' an apt description for our mission here.
Our church building is very important to us, representing as it does over 200 years of local worship and witness in this rural community. It is a recognised, familiar and well loved landmark, built between two villages and serving both. Even more important to us, however, is the space our building provides for local people to come together and meet here, sharing their experiences, hopes and fears, and finding encouragement for their everyday lives.
Our building
Our building is Grade II listed and was built in 1811, but has been extended at various times over the years. A schoolroom was built above the existing stable block in 1904. Following a fire in 2009 the stable block was converted into a coffee shop with a new kitchen and a toilet block. The main sanctuary area has a balcony along 3 sides, supported on metal pillars embossed with flowers and vines, and a raised pulpit area at the front. There is a baptistry beneath the floor in front of the pulpit. The old pine pews were removed in 2012 and replaced with chairs.
The problem and the cost
The original main church building has a timber frame which over years has badly deteriorated and is in need of extensive repair. This is endangering the safety of the hipped roof. Investigative works have identified the extent of the problem, which involves replacing much of the oak sole plate, and a significant amount of timbers, followed by making good the interior walls, and redecorating. The works are expected to cost in the region of £90,000. A vast sum for a modest rural church to find.
About us
Although placed in a rural setting, we are not a rustic fellowship! We have a membership of 42 with a regular Sunday morning congregation of around 55. A smaller group meet for evening worship. We run a full programme of activities including regular Bible studies, two Ladies' meetings, and a young people's group, 'The Loft' for around 25 children aged 8 – 14years.
In addition to our regular services and activities, we try to show God's love in word and deed through our Coffee Shop, open three times a week, and a Community Meal in the main church each month – these are supported by between 60 to 100 local residents and provide a regular meeting place in an area of rural deprivation. Many visitors comment on the warmth of the welcome they receive, and often refer to the church as being 'a very special place, peaceful and welcoming.'
The local Scrabble Club meet in our schoolroom, and Wymondham College students use our field and buildings as a base for their Duke of Edinburgh activities. The Local primary school brings a small group of pupils each half term to the Coffee Shop to celebrate special achievement.
Our church is a collection point for the Norwich Food Bank, and from time to time other local groups use the field or buildings for a variety of activities. The church is licensed for marriages, and we have a graveyard adjacent to the church, which is used for members and their families and some local residents and also a large field used for games, barbecues, special events and additional parking.
Our fundraising
We began to raise funds for this project in September 2017. The church has already contributed £7,000 for investigative and planning works, as a sign of our commitment to this repair project. In addition, we have agreed to release a further £15,000 from our general funds as the base for our Repair Fund. (£11,000 from legacies, £4000 from general funds) We should be able to reclaim VAT on a significant portion of the works through the LBPoW scheme.
Our local community, friends and church members are very supportive of our work here, and have been making regular donations. Since we began our fundraising, we have received on average £1000 each month in a variety of donations, and our Anniversary & Gift Weekend in April raised a magnificent £8,000 – an amazing answer to prayer! To date, we have £39,000 in our building fund, with a promise of a further £20,000 from a range of grant providers and other sources.
So, this leaves us with a shortfall of around £30,000. Some grant applications are still outstanding. We are trusting God to answer the need, as we believe we are meant to be working in this community supporting and sharing with the folk here.
Can you help us reach our total? Please pray for us as we face this mountain….. and if you feel you can contribute in any way, however small, may God bless you for your generosity.
Thank you,
The trustees, members and friends of Carleton Rode Baptist Church
A note from the Eastern Baptist Association
The council fully support Carleton Rode Baptist Church in the efforts to fundraise to repair their building. If you wish to support this project financially please send any gifts direct to the church.
Cheques made payable to Carleton Rode Baptist Church and sent to
Beryl Dawson
Treasurer Carleton Rode Baptist Church
Hargham Road
Southern Sector
Southern Sector
Northern Sector
Central Sector
Northern Sector
Central Sector


text:
Tonight Joy and I attended the graduation ceremony for our sister-in-law, Ariana, who received her Master's degree. She earned her degree by taking classes in the evenings while working full time, which means she has been very busy during the past couple of years. I can't imagine doing that since work is frequently plenty to keep me very busy all by itself.
My brother arranged for her parents to fly down from Chicago, but he kept it a secret so she didn't know until she saw them up in the stands during the ceremony. After the ceremony, we all went out to eat and had a great time chatting together and celebrating Ariana's achievement.
Congratulations, Ariana!


text:
Registration now open for our 11th Annual San Diego SOSL Day! Come join us on Saturday, April 7th at the Rock Church. This year our theme is "Hope Springs: Planting Seeds of Hope".
Come together to find community, connection, hope and healing with other survivors who understand your journey.
This event gives us a unique opportunity for survivors of suicide loss to meet with other survivors sharing a similar loss. Also, our theme this year is "Hope Springs: Healing Planting Seeds of Hope". Our message is that we have all experienced tragic loss, but we can find hope again. We learn to make sense of our losses and to live with hope once again.
Once again we are grateful to our generous sponsors of this event: Sharp Mesa Vista Hospital, Infrastructure Engineering, Aftershock Suicide Loss Ministry, and Union Bank.
Comments are closed.
We invite you to include a message and/or photo of your loved one who has died by suicide. Click for memorial quilt donation form .
to receive SOSL news & updates


text:
"Sometimes when I was starting a new story and I could not get it going," Ernest Hemingway once wrote, "I would stand and look out over the roofs of Paris and think, 'Do not worry. You have always written before and you will write now. All you have to do is write one true sentence. Write the truest sentence that you know.'"blank">The Old Man and the Sea, man can be destroyed, but never defeated. More than forty years after his death, Hemingway's work lives on in his own bibliography and in the countless authors he inspired.
Ernest Miller Hemingway was born on 21 July 1899 in Oak Park, Illinois, a comfortable suburb located just west of Chicago. He was the second child born to Clarence Edmonds Hemingway, a local doctor whom patients called "Doc Ed," and Grace Hall Hemingway, a once-aspiring opera singer who taught music and voice lessons in Oak Park. The family eventually grew to a total of two sons and four daughters. Decades later, it became clear that the Hemingway family shared a tendency toward depression and suicide. Ernest eventually took his own life, as did his father, his brother, and two of his four sisters.
The tragic side of the family wasn't yet apparent during their days at Oak Park, an attractive, well-to-do enclave that Ernest would describe years later as a place of "wide lawns and narrow minds." Grace Hall was a strictly religious woman with a melodramatic and mercurial temperament. Not long after Ernest's birth she developed an odd fondness for dressing him and his older sister Marcelline as "twins"—sometimes as boys, with short hair and overalls, and sometimes as girls, with flowery dresses and long hair. This game of dress-up occurred frequently enough that three-year-old Ernest worried at Christmas that Santa Claus wouldn't know he was a boy. Ernest was six when Grace finally allowed him to cut off his long locks for good.
Hemingway then spent the rest of his life proving his masculinity to himself and everyone else in his orbit. His friend, the writer John dos Passos, said later that Hemingway was the only man he ever knew who truly hated his mother. His bitterness toward his mother over his upbringing spilled out in the way he treated female characters in his fiction—and in the way he treated his four wives. "Deep in Ernest, due to his mother, going back to the indestructible first memories of childhood, was mistrust and fear of women," wrote Martha Gellhorn, Hemingway's third wife and a prominent journalist in her own right, in a 1969 letter to her son from another relationship. "Which he suffered from always, and made women suffer; and which shows in his writing." As much as he enjoyed his newspaper work, Hemingway quit in April 1918 after only six months on the job. There was a war going on, and he had bigger adventures in mind.
For young people of Hemingway's generation, World War I was supposed to be the adventure of a lifetime. You simply had to be there. Many of those who did not engage in overseas combat because of age or other circumstances (like Hemingway's colleague F. Scott Fitzgerald) deeply regretted missing their chance. "Not for anything would I have missed the opportunity for a ringside view of the greatest spectacle to unfold in our time," wrote Henry Villard, a journalist and businessman who knew Hemingway during the war. "To many of us the war in Europe resembled a gigantic stage on which the most exciting drama ever produced was being played out."blank">A Farewell to Arms.
Through friends he met Hadley Richardson, a St. Louis native eight years his senior. They married in September 1921 and settled in Chicago—briefly. Hemingway's friend and fellow writer Sherwood Anderson had told him that he really needed to check out Paris. It was cheap (the exchange rate favored the dollar over the franc), the bars were great, and all the really good writers were going there. Hemingway was convinced. In December 1921 the newlywed couple set sail for Paris to become part of one of the greatest literary gatherings of the twentieth century.
Anderson was correct that all the good writers were in Paris. Among the authors and artists who established themselves there in the years after World War I were Gertrude Stein, James Joyce, Ezra Pound, F. Scott Fitzgerald and Anderson himself. It was a cohort of young people whom Gertrude Stein nicknamed the Lost Generation—those who caught only the tail end of the excitement and drama of World War I and then faced the great letdown of the war's aftermath. Some expatriates in Paris at the time drank their days away in the cafes. Hemingway did plenty of drinking (for the rest of his life, he bore a scar on his forehead from a drunken collision with a Paris skylight) but was also a disciplined writer. He traveled around Europe writing pieces for the Toronto Star, using his immense powers of observation to record life for the newspaper. One of his editors, Charles Scribner Jr., called Hemingway "one of the most perceptive travelers in the history of literature."blank">The Sun Also Rises) or had no veil at all (A Moveable Feast).
In Paris the Hemingways befriended a woman named Pauline Pfeiffer, a fashion reporter who sometimes traveled with the couple. She and Ernest began an affair. Hadley divorced him in 1927, and a few months later he and Pauline married. In his memoir, Hemingway blamed Pauline for seducing him, saying that a the ploy of befriending a woman in order to steal her husband was "the oldest trick there is." It might have been an old trick, but it was one that Hemingway fell for more than once in his lifetime.
In 1928 the new Mr. and Mrs. Hemingway moved to Key West, Florida. It was a big year personally for Hemingway. In June his second son Patrick was born. Then in December, in a tragic foreshadowing of Ernest's own suicide, his father Clarence shot himself after struggling for years with health problems. Hemingway took his father's death hard and returned to Oak Park to arrange the funeral. The following year he published A Farewell to Arms, which he wrote mostly at his in-laws' house in Arkansas. The novel is set in World War I and follows the doomed relationship between a young, stoic American ambulance driver serving on the Italian front and a British nurse. Sound familiar? Like much of Hemingway's early fiction, it drew heavily on his personal experiences. The narrator also embodies many of the key characteristics of the "Hemingway male": stoic, courageous, impervious to flattery or praise, happy in pursuit of drink, women and other manly objectives. The novel was critically and commercially successful, enough so that Hemingway could pay the bills and not have to worry about his next paycheck.
After years of studious devotion to his fiction, Hemingway spent the decade after the publication of A Farewell to Arms taking a bit of a breather. He, Pauline and their children (his third and final child, Gregory, was born in 1931) settled in a house in Key West. He was able to travel and delve deeper into his various passions. In 1932 he went to Spain to research bullfighting for Death in the Afternoon, his definitive book on the subject. The following year, he and Pauline went on a ten-day safari to Kenya, where Hemingway developed an obsession with big game hunting. He returned several times to Africa. The landscape of African hills and safari camps appeared often in his fiction (including "The Snows of Kilimanjaro" and "The Short Happy Life of Francis Macomber," two of Hemingway's classic short stories) and nonfiction (The Green Hills of Africa). In 1936 he traveled to Spain to cover the Spanish Civil War as a correspondent for the North American Newspaper Alliance. The country had long gripped Hemingway's imagination—he was an outspoken supporter of the Republic, which Generalissimo Francisco Franco and his Fascists were attempting to overthrow—and his experiences there during the war served as the inspiration for his 1940 novel For Whom the Bell Tolls.
By the late 1930s, another intelligent, attractive female writer friend was spending a lot of time around the Hemingway household. She was Martha Gellhorn, an accomplished war correspondent, who joined Hemingway covering the war in Spain. They married in 1940, as soon as his divorce from Pauline was final, and set up house at an estate in Cuba called Finca Vigia. There, Hemingway drank, fished, boxed, grew his famous beard and generally spent more time cultivating his image of a burly macho man than writing any fiction. When the United States joined World War II in 1941, he trawled the waters in his fishing boat Pilar looking for German submarines (and was later awarded the Bronze Star for his efforts). The couple traveled together to China for Martha's work (Ernest filed a few stories too), and she recorded Hemingway's famous powers of conversation, observation and alcohol consumption. "He was able to sit with a bunch of men for most of a day or most of a night, or most of both day and night though perhaps with different men, wherever he happened to have started sitting, all of them fortified by a continuous supply of drink, the while he roared with laughter at reminiscences and anecdotes," she wrote. "Aside from being his form of amusement, he learned about a place and people through the eyes and experiences of those who lived there."
In 1944 Hemingway traveled to Europe (where Martha was already working as a war correspondent) to cover the war in France and Germany for Collier's magazine. Their marriage was faltering. Almost immediately he met a journalist named Mary Welsh and—well, you know the rest. Ernest and Mary were married on 14 March 1946 in Cuba.
The last decade of Ernest Hemingway's life was marked by professional accomplishment and personal disaster. By his fifties, a life of hard living and hard drinking began to catch up with him. His ailments included liver problems, diabetes, depression and the lingering physical damage related to his many injuries. Hemingway had endured a lifelong streak of freak accidents, from that skylight accident in Paris to the time his infant son stuck his finger in his eye and tore his cornea. In 1954, while on safari with Mary in Africa, the couple was seriously injured in two successive plane crashes (the plane that came to rescue them after the first crash crashed as well). He was recovering from those injuries at the same time that his literary career and personal fame reached its peak.
In September 1952, Life magazine published Hemingway's novella The Old Man and the Sea. The book focuses on Santiago, a weathered, quiet, long-suffering Cuban fisherman who spends days at sea wrestling with a marlin, only to see the fish eaten by sharks on the way back to port. Hemingway's literary reputation had dwindled in recent years, thanks largely to his 1950 novel Across the River and Into the Trees, which was regarded as about as bad a book as Ernest Hemingway was capable of writing. The story of Santiago and the elegant telling of his epic, Christ-like suffering was wildly popular among critics and readers. Writers flocked to Hemingway's home to do profiles of Papa, the fishing, hunting writer of near-mythical status. Even Hemingway, his own harshest critic, was pleased with the book, calling it the "best I can write ever for all of my life."
Father: Clarence Hemingway (1871-1928)
Mother: Grace Hall Hemingway (1872-1951)
Sister: Marcelline Hemingway (1898-1963)
Sister: Ursula Hemingway (1902-1966)
Sister: Carol Hemingway (1911-2002)
Brother: Leicester Hemingway (1915-1982)
Wife 1: Elizabeth Hadley Richardson (1891-1979), married 1921, divorced 1927
Son: John Hadley Nicanor "Jack" Hemingway (1923-2000)
Granddaughter: Joan Hemingway (b. 1950)
Granddaughter: Margaux Hemingway (1954-1996)
Granddaughter: Mariel Hemingway (b. 1961)
Wife 2: Pauline Pfeiffer (1895-1951), married 1927, divorced 1940
Son: Patrick Hemingway (b. 1928)
Granddaughter: Mina Hemingway
Son: Gregory Hemingway (1931-2001)
Grandson: Patrick Hemingway
Grandson: Edward Hemingway
Grandson: Sean Hemingway
Grandson: Brendan Hemingway
Granddaughter: Vanessa Hemingway
Granddaughter: Maria Hemingway
Grandson: John Hemingway (b. 1960)
Granddaughter: Lorian Hemingway (b. 1951)
Wife 3: Martha Gellhorn (1908-1998), married 1940, divorced 1945
Wife 4: Mary Welsh (1908-1986) married 1946
Oak Park and River Forest High School, 1913-1917
Reporter, Kansas City Star (1917-1918)
Ambulance driver, Red Cross Volunteer Corps (1918)
Editor, Cooperative Society of America newsletter (c. 1918)
Reporter, Toronto Star (1920-1924)
War correspondent, North American Newspaper Alliance (c. 1936)
Military Irregular, United States Armed Forces (World War II)
War correspondent, Collier's magazine (1944)
Three Stories & Ten Poems (1923)
In Our Time (1924 Paris, 1925 U.S.)
Men Without Women (1927)
Winner Take Nothing (1933)
The Fifth Column and the First Forty-Nine Stories (1938)
The Snows of Kilimanjaro and Other Stories (1961)
The Short Happy Life of Francis Macomber and Other Stories (1963)
Hemingway's African Stories: the Stories, Their Sources, Their Critics, ed. John M. Howell (1969)
The Nick Adams Stories (1972)
The Complete Short Stories of Ernest Hemingway (1987)
The Torrents of Spring (1926)
The Sun Also Rises (1926)
A Farewell to Arms (1929)
To Have and Have Not (1937)
For Whom the Bell Tolls (1940)
Across the River and Into the Trees (1950)
The Old Man and the Sea (1952)
Islands in the Stream (1970)
The Garden of Eden (1986)
True at First Light: A Fictional Memoir, ed. Patrick Hemingway (1999)
Death in the Afternoon (1932)
Green Hills of Africa (1935)
The Spanish Earth (1938)
A Moveable Feast (1964)
The Dangerous Summer (1988)
The Collected Poems of Ernest Hemingway (1970)
Eighty-Eight Poems, ed. Nicholas Gerogiannis (1979)
Silver Medal of Military Valor, Italian Armed Forces (c. WWI)
Bronze Star, United States Armed Forces (1947)
Pulitzer Prize, The Old Man and the Sea (1953)
American Academy of Arts and Letters Award of Merit (1954)
Nobel Prize for Literature (1954)
Top Reporter of the Last Hundred Years, Kansas City Star (1999)


text:
Last week we had a great time planting rose bushes and black current bushes in the garden. This week we will perform in the Hispanic Heritage Month Assembly. Please make sure that your child wears the color of their flag on the 12th. They should be able to tell you what country they are representing. If you have any questions please email Señor Walters.
This week we will…
Reading Workshop: We will continue our Folktale study, reading books from different parts of the world and discussing the characteristics of folktales. We will also discuss author's purpose and notice author's craft in our own independent reading.
Writing Workshop: We are finishing our first draft of our personal narratives and then will start a second one later on in the week. We look deeper into our mentor texts and study literary language.
Math: We are doing a lot of work with money and will work on lessons 2.3-2.5 this week. At home please give your child opportunities to count money for practical application.
Science: Last week we studied the properties of liquids. We will continue to investigate the differences between different liquids.
Social Studies: We will continue looking at what makes communities strong and finish our kente cloth patterns that we were painting. Many of the folktales we have read have come from the Ashanti people in Ghana and we decided it would be fun to look a little deeper into the meaning of kente cloth.


text:
Demonising Justin Gatlin
13th September 2015
"I think WADA are in a crisis". That's the message from British Paralympic powerlifter, Ali Jawad, who has come up with The Alternative, a series of recommendations to improve governance at the World Anti-Doping Agency (WADA). Jawad is keen to emphasise that athletes signing up to support his plan just want WADA to listen to them. However he is also focussing on turning The Alternative into The Reality.
"Right now, confidence in WADA is lower than it's ever been", he explains. "Athletes can see that WADA are in a crisis, and they genuinely want to help. We are not about criticising anybody. We just want a strong WADA. We do not want an alternative WADA. We want WADA to function, and we want it to be the best it can be.
"We are not trying to oust WADA at all. We want a strong, independent WADA that is athlete centred. We want to feel confident in that system. That's why we are speaking out. I have seen the criticism we have been getting in the media for voicing our opinion. That we're misinformed, politically motivated, and that's been quite hurtful to see."
Jawad is referring to suggestions that The Alternative was put together by others with ulterior motives, and emphasised that this is not the case. "No. This had to be athlete led. This had to come from us. We had to own it. We felt that would be more powerful, we felt that it had to be our views, and we wanted to be independent of any sort of organisation. The Alternative contains the points that we concluded WADA could look like in an ideal world. We still haven't received an answer as to why it can't look like that, but we're going to keep pushing for it."
Tomorrow, the Foundation Board of the World Anti-Doping Agency (WADA) will meet in Baku, Azerbaijan, where it will hear recommendations from its Governance Working Group on how to strengthen WADA's governance structure and ensure its independence. The Committee was proposed at WADA's Foundation Board meeting in 2016, and is understood to have begun work earlier this year.
Both Jawad and the Working Group agree that the WADA President and Vice President should be more independent. The Working Group has yet to define the level of independence it is advocating, but The Alternative is clear. 'Someone that does not have a material or pecuniary relationship with the sport movement (not holding any elected, appointed or paid position in sport) or governments (either at minister, parliament member or any other related bureaucratic position); and that is not connected to any related persons in those functions; and is free from outside control; and is not depending on another's authority within the last 6 months before being elected', it reads (PDF below). 'No member qualifies as 'independent' unless the WADA Foundation Board affirmatively determines that the member has 'no material relationship' with the organization, either directly or as a partner, through the sport movement, government or as an officer of an organization that has a relationship with WADA'.
However where the Working Group falls short is gaining more athlete representation on WADA's Executive Committee and Foundation Board, argues Jawad. "I think that we have similar views on the independence of the President and the Vice President, but the other points we make, they've not really considered at all", he argues. "These are more athlete representation; increasing the athlete voice; basically an athlete having a vote at the table.
"As athletes, we are the biggest stakeholders in WADA. But at the same time, we get no power over anything, really. That's what we want changed."
The Working Group did consider this question at an October meeting. 'As regards additional athlete representation on the Executive Committee, the Working Group could not reach a consensus', read a statement. 'Its members did agree, however, that the voice of the athletes should be strengthened beyond the existing means when there is a mechanism of sufficient representation. Once the athletes are able to confirm exactly how and by what means they are represented as well as how their representatives are selected, then an open discussion should be held to determine at which existing and/or new levels within WADA, athlete representation could be strengthened.'
'The Alternative is the culmination of a series of ideas and proposals made and considered over the past couple of years by members of the global athlete community', reads the document. It is therefore not hard to see how a suspicious, paranoid mind might conclude that it is part of some sort of political plot. Jawad laughs at this suggestion, but offers a serious response.
"We talk to each other quite a lot, at competitions and events, and a lot of athletes feel the same way", he said. "So we wanted to put it all into one document, so that everyone can see it. I wanted to present it to WADA in a way that was constructive, rather than criticism. Hopefully, it's a solution-based Paper."
So have WADA listed to the athletes and engaged with their proposals? "We didn't receive an official response from them", said Jawad. "We did see a tweet from WADA saying that they'd consider it. But there has been no official public response to it. They did contact me directly to talk about it. I'm glad that they did reach out, and we had a conversation about it. I'll just have to keep pushing from my side.
"These are the things that we believe in. these are the things that we think will make athletes confident in the system again."
Jawad says that athletes began to discuss how they could make their voice heard due to widespread anger over how WADA and sport handled the situation regarding the Russian doping scandal. He argues that firstly, athletes were angry about the fact that Russia had overseen a systemic doping programme for a number of years but, secondly, at sport's response to it.
WADA suspended the Russian Anti-Doping Agency (RUSADA) in November 2015. This was over a year after the Mail on Sunday told the International Olympic Committee (IOC) about what was going on in Russia; and almost a year after Hajo Seppelt and his team brought the allegations to a wider audience.
Paradoxically, WADA's suspension of RUSADA meant that no athletes in Russia could be tested, and the Rio Olympics was nine months away. Faced with this conundrum, the IOC argued that to ban Russia from competing in Rio would be unfair on 'clean' Russian athletes. With less than two weeks to go, the IOC decided to place the burden on international federations for deciding whether Russian athletes were 'clean' enough to go to the Olympics.
This created chaos, including a situation where a volleyball player from the US was allowed to compete in Rio and another from Russia was not, despite both having been given the same prohibited substance, meldonium, by their team coach at the same time. Understandably, this situation did not create a good impression amongst athletes.
"When this whole thing came out, we were really angry", explains Jawad. "We didn't think that WADA was quick to react. We didn't think that they protected whistleblowers very well. The fact that Russia was still allowed to potentially compete at the Olympics – apart from in athletics and the Paralympics – made athletes really angry.
"We thought that we needed to do something to make our voices heard somehow. Because right now, we're not being listened to, and we feel like there's a massive disconnect between the athletes and WADA. They don't seem to take our opinions seriously. We wanted dialogue. We wanted them to hear us out, and hopefully take our views on board.
"We thought that the Paper would be the best way to do this rather than criticising them through social media. If we want things done, we want to do it in a constructive way where both sides can sit down and raise their concerns."
On 20 September this year, at its meeting in The Seychelles, WADA's Executive Committee decided to reinstate RUSADA. The two remaining conditions on its Roadmap To Compliance that Russia had failed to fulfil were as follows:
• The responsible authorities for anti-doping in Russia must publicly accept the reported outcomes of the McLaren Investigation (aka Independent Person Investigation). This includes: RUSADA, the Ministry of Sport and the National Olympic Committee.
• The Russian Government must provide access for appropriate entities to the stored urine samples in the Moscow Laboratory that are sealed off due to a Federal investigation.
WADA's Compliance Review Committee (CRC) recommended (PDF below) that the first condition be deemed satisfied 'if the Russian authorities acknowledged the findings of the Schmid Commission, including in particular the finding that "a number of individuals within the Ministry of Sport and its subordinated entities" were involved in the "manipulations" of the anti-doping system in Russia'.
It also recommended that 'if the Russian authorities committed unconditionally to provide WADA by a specific date in 2018 the access to the data and samples sought by WADA Intelligence & Investigations Department, i.e., (i) an authentic copy of the analytical data stored on the hard drives of the laboratory instruments that generated the LIMS data; and (ii) (where review of that analytical data indicates that re-testing should be undertaken) access to the samples stored at the Moscow laboratory for re-testing purposes'.
As outlined in the above document, Russia's Minister of Sport, Pavel Kolobkov, left it until 13 September to reply to a 22 June letter from WADA's President Sir Craig Reedie, outlining WADA's amended requirements. As previously reported, it is subject to debate as to whether Russia met WADA's amended requirements.
'To move forward to reinstate the compliance of RUSADA, I agree to accept the two remaining conditions in the Roadmap that were referred to in your letter of June 22, 2018, and subsequent discussions', reads Kolobkov's 13 September letter. 'The Russian Federation fully accepted the decision of the IOC Executive Board of December 5, 2017 that was made based on the findings of the Schmid Report'.
However, Kolobkov had not done what Reedie asked in his 22 June letter. This was that he 'confirm in writing the acceptance by Russia of the conclusion from the Schmid report that a number of individuals within the Ministry of Sport and its subordinated entities were involved in the scheme […] If provided in writing, this statement would be regarded by WADA as satisfying the first of the two unresolved conditions.'
It is also debatable as to whether Kolobkov agreed to what Reedie asked with regards to access to the Moscow Laboratory Information Management System (LIMS) and the samples stored there. His letter outlines that:
1. Access to both the samples and the LIMS database depends on the 'consent' of the Investigative Commission of the Russian Federation (SKR or Sledcom).
2. The Russian Ministry of Sport will be providing the independent expert used to analyse the LIMS data and samples, which WADA will be required to approve or reject.
3. The independent expert will only be provided with access to analytical equipment to retrieve the LIMS data and urine samples – not access to the data and samples themselves, and not the full access to both, as originally sought by WADA.
4. The independent expert's access to the analytical equipment must be supervised by the SKR.
Jawad is prepared to see this from WADA's perspective. "From WADA's point of view, Russia weren't doing anything", he points out. "As a regulator, they wanted to help them towards reinstatement. Part of that deal was, why not get access to the Laboratory, to the data, so that we can prosecute more athletes, so that clean athletes will get the medals that they deserve.
"You can see it from that point of view. However, from an athlete point of view, you cannot let a country that has committed the biggest doping scandal in history get away with relaxed criteria because you're after some data. That is not the message that we want. We want WADA to be strong, and say 'look, if you're not going to do anything, we will wait as long as possible. You committed the crime, not us'."
Jawad argues that for athletes, the question over whether Russian athletes should be competing comes down to whether an athlete can be certain that a Russian competitor is clean. However, he argues that it is also worth considering that Russian athletes who were competing at international level may have been aware of the systemic doping that was taking place in their country, even if they were not doping themselves.
"For me, the argument about the clean athletes comes back to the McLaren Report. It was quite clear. If you are on the national programme and compete for Russia on the world stage, you've been exposed to that sort of environment. I'm not saying that there aren't any clean Russian athletes out there, but I feel that the majority that you are competing against might not be.
"By letting Russia back in without achieving the Roadmap, you are actually putting clean Russian athletes under more risk. But I'm not WADA and I don't make those choices."
At WADA's recent Media Symposium, Reedie attempted to argue that WADA's alterations to the Roadmap were public knowledge. He said that internally, suggestions had been made about changing its Roadmap to Compliance in June. "Nobody said anything", he added. He also said that when Kolobkov sent his letter of reply to him in September accepting the amended conditions, "nobody said anything", adding that a "firestorm" only began when the letters were leaked to the media, who were previously not aware of the amended conditions.
WADA's internet site lists a meeting of the Compliance Review Committee on 14 June, however no media release was issued explaining the outcome of that meeting. Also, the above letter from the Compliance Review Committee says that it met on 19 June, not 14 June as WADA's internet site claims. Kolobkov's 13 September letter was leaked to the media, after which WADA issued a 15 September statement detailing a series of letters between Reedie and Kolobkov.
Although WADA could have perhaps responded sooner, it had only received Kolobkov's letter two days earlier. However, the fact that it had been negotiating with Kolobkov about how RUSADA could be declared compliant, as well as the way in which it backed out of its original requirements, did not go down well with athletes for the reasons already explained by Jawad. As previously reported, WADA's climbdown also puts the International Association of Athletics Federations (IAAF) in a very difficult position.
In addition, further sequences of unfortunate events have led to further speculation that WADA is not being as transparent as it could be. "Obviously, we don't know everything that goes on, but a bit of transparency as to how WADA makes decisions would be good", explains Jawad. "Right now, they still haven't been that transparent. It looks like there have been secret deals going on, and that has made athletes even more angry."
Jawad is referring to a proposal that WADA Presidential candidates are over 45 years of age and hold a Masters Degree, which was recently condemned by Athletes for Clean Sport. The proposal would exclude both Linda Helleland and Witold Bańka, who are both considering standing to replace Reedie as WADA President in 2019.
"I thought it was outrageous", says Jawad, echoing the sentiments of many. "I contacted WADA about it, and asked whether this had come from them because if so, then they would be shooting themselves in the foot. They were adamant that they would not entertain it. Yes, perhaps privately they won't entertain it, but they didn't publicly condone it, which allowed athletes to feel that this was tolerated.
"Even though it's not going to happen, WADA needed to dismiss it straight away and they didn't. And that was concerning for us."
Shortly after the proposal became public knowledge, Bańka reportedly called for Helleland to stand down as a potential Presidential candidate. He also attacked the proposals put forward by Athletes for Clean Sport as 'highly political', an accusation Jawad has already described as "hurtful".
Bańka is Poland's Minister for Sport. Next year, the Polish city of Katowice will hold WADA's fifth World Conference on Doping in Sport, which will discuss the 2021 World Anti-Doping Code.
WADA has argued that the proposal was put forward by the public authorities representative for the Africa region, and is not on the agenda for discussion at Baku. The BBC has since reported that Sergey Khrychikov, the Head of the Sports Conventions Division of the Council of Europe, helped draft the proposal in order to identify a single Presidential candidate to be put forward by the public authorities. He is also a member of the Supervisory Board of RUSADA.
On Halloween, WADA received another scare , when the White House Office of National Drug Control Policy (ONDCP) and the United States Anti-Doping Agency (USADA) held a meeting to discuss WADA reforms. The Washington Declaration followed, which called for five key reforms to WADA. This was supported by many more NADOs than the 18 which had called for WADA reform a few days earlier.
Jawad could not attend the Washington meeting, and WADA claims that it was not invited. "If my maths are correct, 178 countries were not in Washington yesterday", said WADA's Director General, Olivier Niggli a day later.
"I couldn't believe the turn out", said Jawad. "There were many athletes there, NADOs, government officials…that, to me, was proof that people wanted change. If that wasn't the biggest indicator that it wasn't just America, it wasn't just Canada. We are talking about 37 NADOs wanting change.
"I guess from WADA's point of view, the meeting was one sided, but at the same time, anti-doping has for a long time been one-sided in favour of WADA. We need to do something to send out a message to say that we've had enough now. WADA needs to listen to its biggest stakeholder.
"Washington showed the unity that people have. They want things to change."
At WADA's Media Symposium, its management argued that proposals for change were being put to the wrong people. Athletes and NADOs should be talking to their partners about reform, rather than publicly attacking "the driver of the car", said Niggli.
"To an extent, I agree with him", says Jawad. "Because the funders put the money in, they want things done in a certain way. WADA probably have their hands tied behind their back, but at the same time, they could have shown more leadership. They could have been stronger and perhaps resisted…they have put politics over athletes. From the outside point of view, it looked like they were a little bit weak and conformed too easily."
WADA is 50% funded by governments and 50% by the sports movement, but it must approach governments for funding increases, which are then matched by the IOC. "My main issue is how quiet the IOC have been throughout this", explains Jawad. "They fund half of WADA's budget. I think that they have maybe contributed to the decisions taken by WADA.
"I think that WADA want to help – I genuinely do. I think that they want to implement some of the stuff in The Alternative. I do believe that WADA are there for clean athletes. But unfortunately, they've not showed leadership and they've not been that strong. I think they've let their stakeholders dictate things a little more than they should have.
"We need to talk to the stakeholders. Let's talk to the IOC and the governments. We need to ask what they think about the proposals as well, because they fund WADA."
For Jawad, garnering athlete support for The Alternative has become a vocation. "I actually don't want to do this!", he says. "I'm an athlete trying to be the best that I can be, and this is a huge distraction for me. But, I believe in anti-doping. As a clean athlete who is following the World Anti-Doping Code, I need to do something. They've let a lot of clean athletes down, and it's athletes they claim to represent.
"My view is that even though I don't want to do it, it has to be done. The future of clean sport is at stake, and if we don't do this now, I think that we'll see a huge backlash, which is already happening, and we don't want that.
"There are so many athletes making statements saying pretty much the same thing. Independence, transparency, an athlete centred WADA. And that's what The Alternative focuses on. We've got a lot of support and there's a consensus that these points should at least be considered."
At present, five athletes other than Jawad have signed up to support The Alternative. These are:
• Matthew Glaetzer;
• Sebastian Samuelsson;
• Callum Skinner;
• Jared Tallent; and
• Katie Uhlaender.
"My job now is to try and get as many athletes on board", explains Jawad. "We need athletes on a much bigger scale – we need more public backing. If we can get many athletes to publicly declare support for it, then we can go to WADA and say that it's not just a few athletes, countries or NADOs. This is a global movement of international athletes that want change. This is our way of saying will you please sit down, round the table, and talk this out."
Whether WADA will do that remains to be seen. Perhaps at tomorrow's Foundation Board meeting, it will decide to engage with suggested reforms, rather than fighting against them. If not and Jawad is successful in promoting The Alternative, then eventually it may have no choice.
The Sports Integrity Global Alliance (SIGA) will ask sport's stakeholders to contribute a percentage of...
Mo Farah denied receiving L-Carnitine injections in a four hour interview with investigators from the...
The Court of Arbitration for Sport's (CAS) Panel Arbitral Award following the World Anti-Doping Agency's...


text:
Arizona Senator Jon "click your mouse and lose your house" Kyl has rarely let facts interrupt a good anti-gambling rant on the Senate floor. After all, this is the same Jon Kyl who claims that gambling invariably leads to "bankruptcy, crime and suicide" and recently held up President Obama's treasury appointments (despite the country being mired in its worst financial crisis in 80 years) because he was pissed at not seeing his beloved UIGEA being enforced with sufficiently draconian zeal. But gambling isn't the only thing that makes Kyl hot under the collar.
On Monday, Kyl worked hard to ensure that there will be no compassionate 30-day extension for the 200,000 Americans whose unemployment insurance benefits are set to run out this week. In justifying his 'let them eat cake' stance, Kyl claimed that unemployment benefits don't create jobs. In response, Senate colleague Max Baucus alerted Kyl to a Congressional Budget Office analysis that says GDP grows $1.90 for every unemployment insurance dollar the federal government pays out. Not surprisingly, Kyl stuck his fingers in his ears and refused to back off his claim. What's more, Kyl then had the balls to ask Baucus to back up his statement with proof, even though that's kinda what Baucus had just done.
So remember, kids: Jon Kyl's position as US Senator not only entitles him to a lavish pension and premium health care coverage for life for himself and his family, it also allows him to never let anything as inconsequential as truth get in the way of dogmatic rigidity. Read more.


text:
CARA Cat Candy Wants You To Take Her Home This Christmas! Posted on Monday, 4 December 2017
Adoptable of the week: Candy!
It's the first week of December and look what our Candy is up to! Candy is super friendly and loves to wait and eat her food. Please visit this link for more information regarding our adoption process and for a copy of our adoption form.
Reposted by Angelina Fajardo
Want to help?
For inspiring pet stories, click here.
Want to share your own pet story? Email it to firstname.lastname@example.com
Tags: #AdoptDontShop, adopt a cat, Animal Advocacy in the Philippines, CARA cat Candy, CARA Welfare Philippines