Rolling out the Red Carpet
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THE AUTOMATION ADVANTAGE How Australia Can Seize a $2 Trillion Opportunity from Automation and Create Millions of Safer, More Meaningful and More Valuable Jobs
THE AUTOMATION ADVANTAGE How Australia can seize a $2 trillion opportunity from automation and create millions of safer, more meaningful and more valuable jobs. This report was commissioned by Google and prepared by AlphaBeta. The information contained in the report has been obtained from third-party sources and proprietary research. All monetary figures reported are in 2015 real Australian dollar terms, unless otherwise indicated. AlphaBeta is a strategy and economic advisory business serving clients across Australia and Asia from offices in Singapore and Sydney. Sydney Singapore Level 7, 4 Martin Place Level 4, 1 Upper Circular Road Sydney, NSW, 2000, Australia Singapore, 058400 Tel: +61 2 9221 5612 Tel: +65 6443 6480 [email protected] [email protected] 2 Automation is changing the way we work Machines will of the most tedious unburden the and manual work a week average Australian of 2 HOURS over the next 15 years Automation could deliver a boost to Australia’s national income between 2015 and $2.2 2030 from productivity gains TRILLION $1 $1.2 TRILLION TRILLION from accelerating the from transitioning the rate of automation workforce As automation reduces routine and manual work, our jobs will become... SAFER MORE MORE SATISFYING VALUABLE Workplace injuries 62% of low-skilled Wages for non- will fall by 11% as workers will automatable work are dangerous manual experience improved 20% higher than for tasks are automated satisfaction automatable work Australia currently lags global leaders in Automation 50% fewer Australian firms -
Israel Resource Cards (Digital Use)
WESTERN WALL ַה ּכֹו ֶתל ַה ַּמ ַעָר ִבי The Western Wall, known as the Kotel, is revered as the holiest site for the Jewish people. A part of the outer retaining wall of the Second Temple that was destroyed by the Romans in 70 CE, it is the place closest to the ancient Holy of Holies, where only the Kohanim— —Jewish priests were allowed access. When Israel gained independence in 1948, Jordan controlled the Western Wall and all of the Old City of Jerusalem; the city was reunified in the 1967 Six-Day War. The Western Wall is considered an Orthodox synagogue by Israeli authorities, with separate prayer spaces for men and women. A mixed egalitarian prayer area operates along a nearby section of the Temple’s retaining wall, raising to the forefront contemporary ideas of religious expression—a prime example of how Israel navigates between past and present. SITES AND INSIGHTS theicenter.org SHUK ׁשוּק Every Israeli city has an open-air market, or shuk, where vendors sell everything from fresh fruits and vegetables to clothing, appliances, and souvenirs. There’s no other place that feels more authentically Israeli than a shuk on Friday afternoon, as seemingly everyone shops for Shabbat. Drawn by the freshness and variety of produce, Israelis and tourists alike flock to the shuk, turning it into a microcosm of the country. Shuks in smaller cities and towns operate just one day per week, while larger markets often play a key role in the city’s cultural life. At night, after the vendors go home, Machaneh Yehuda— —Jerusalem’s shuk, turns into the city’s nightlife hub. -
Quick Guide to the Eurovision Song Contest 2018
The 100% Unofficial Quick Guide to the Eurovision Song Contest 2018 O Guia Rápido 100% Não-Oficial do Eurovision Song Contest 2018 for Commentators Broadcasters Media & Fans Compiled by Lisa-Jayne Lewis & Samantha Ross Compilado por Lisa-Jayne Lewis e Samantha Ross with Eleanor Chalkley & Rachel Humphrey 2018 Host City: Lisbon Since the Neolithic period, people have been making their homes where the Tagus meets the Atlantic. The sheltered harbour conditions have made Lisbon a major port for two millennia, and as a result of the maritime exploits of the Age of Discoveries Lisbon became the centre of an imperial Portugal. Modern Lisbon is a diverse, exciting, creative city where the ancient and modern mix, and adventure hides around every corner. 2018 Venue: The Altice Arena Sitting like a beautiful UFO on the banks of the River Tagus, the Altice Arena has hosted events as diverse as technology forum Web Summit, the 2002 World Fencing Championships and Kylie Minogue’s Portuguese debut concert. With a maximum capacity of 20000 people and an innovative wooden internal structure intended to invoke the form of Portuguese carrack, the arena was constructed specially for Expo ‘98 and very well served by the Lisbon public transport system. 2018 Hosts: Sílvia Alberto, Filomena Cautela, Catarina Furtado, Daniela Ruah Sílvia Alberto is a graduate of both Lisbon Film and Theatre School and RTP’s Clube Disney. She has hosted Portugal’s edition of Dancing With The Stars and since 2008 has been the face of Festival da Cançao. Filomena Cautela is the funniest person on Portuguese TV. -
Reflections 3 Reflections
3 Refl ections DAS MAGAZIN DES ÖSTERREICHISCHEN Refl ections SONG CONTEST CLUBS AUSGABE 2019/2020 AUSGABE | TAUSEND FENSTER Der tschechische Sänger Karel Gott („Und samkeit in der großen Stadt beim Eurovision diese Biene, die ich meine, die heißt Maja …“) Song Contest 1968 in der Royal Albert Hall wurde vor allem durch seine vom böhmischen mit nur 2 Punkten den bescheidenen drei- SONG CONTEST CLUBS Timbre gekennzeichneten, deutschsprachigen zehnten Platz, fi ndet aber bis heute großen Schlager in den 1970er und 1980er Jahren zum Anklang innerhalb der ESC-Fangemeinde. Liebling der Freunde eingängiger U-Musik. Neben der deutschen Version, nahm Karel Copyright: Martin Krachler Ganz zu Beginn seiner Karriere wurde er Gott noch eine tschechische Version und zwei ÖSTERREICHISCHEN vom Österreichischen Rundfunk eingela- englische Versionen auf. den, die Alpenrepublik mit der Udo Jürgens- Hier seht ihr die spanische Ausgabe von „Tau- DUNCAN LAURENCE Komposition „Tausend Fenster“ zu vertreten. send Fenster“, das dort auf Deutsch veröff ent- Zwar erreichte der Schlager über die Ein- licht wurde. MAGAZINDAS DES Der fünfte Sieg für die Niederlande DIE LETZTE SEITE | ections Refl AUSGABE 2019/2020 2 Refl ections 4 Refl ections 99 Refl ections 6 Refl ections IMPRESSUM MARKUS TRITREMMEL MICHAEL STANGL Clubleitung, Generalversammlung, Organisation Clubtreff en, Newsletter, Vorstandssitzung, Newsletter, Tickets Eurovision Song Contest Inlandskorrespondenz, Audioarchiv [email protected] Fichtestraße 77/18 | 8020 Graz MARTIN HUBER [email protected] -
Zug (8Th) and Basel (10Th) Rank Far Ahead of Lausanne (36Th), Bern (38Th), Zurich (41St), Lugano (53Rd), and Geneva (69Th) in the Expat City Ranking 2019
• Zug (8th) and Basel (10th) rank far ahead of Lausanne (36th), Bern (38th), Zurich (41st), Lugano (53rd), and Geneva (69th) in the Expat City Ranking 2019. • Based on the ranking, Taipei, Kuala Lumpur, Ho Chi Minh City, Singapore, Montréal, Lisbon, Barcelona, Zug, The Hague, and Basel are the best cities to move to in 2020. • Kuwait City (82nd), Rome, Milan, Lagos (Nigeria), Paris, San Francisco, Los Angeles, Lima, New York City, and Yangon (73rd) are the world’s worst cities. Munich, 3 December 2019 — Seven Swiss cities are featured in the Expat City Ranking 2019 by InterNations, the world’s largest expat community with more than 3.5 million members. They all rank among the top 20 in the world for the quality of life, receiving mostly high marks for safety, local transportation, and the environment. On the other hand, expats struggle to get settled, with Zurich and Bern even ranking among the world’s worst cities in this regard. While the local cost of living is rated negatively across the board, the performance of the Swiss cities varies more in the Finance & Housing and Urban Work Life Indices. The Expat City Ranking is based on the annual Expat Insider survey by InterNations, which is with more than 20,000 respondents in 2019 one of the most extensive surveys about living and working abroad. In 2019, 82 cities around the globe are analyzed in the survey, offering in-depth information about five areas of expat life: Quality of Urban Living, Getting Settled, Urban Work Life, Finance & Housing, and Local Cost of Living. -
Aeronautical Engineering
AERONAUTICAL ENGINEERING A SPECIAL BIBLIOGRAPH WITH INDEXES Supplement 42 MARCH 1974 (NASA-SP-7037 (42)) AERONAUTICAL N74-28471 ENGINEERING: A SPECIAL BIBLIOGRAPHY WITH INDEXES, SUPPLi8ENT 42, iARCH 1974 (NASA) p H-C CSCL 01A Unclas 00/01 42938 ACCESSION NUMBER RANGES Accession numbers cited in this Supplement fall within the following ranges: IAA (A-10000 Series) A74-12971--A74-16355 STAR (N-10000 Series) N74-1 1804-N74-13699 This bibliography was prepared by the NASA Scientific and Technical Information Facility operated for the National Aeronautics and Space Administration by Informatics Tisco, Inc. The Administrator of the National Aeronautics and Space Administration has determined that the publication of this periodical is necessary in the transaction of the public business required by law of this Agency. Use of funds for printing this periodical has been approved by the Director of the Office of Management and Budget through July 1, 1974. I 1. Report No. 2. Govrnment Accession No. 3. Recipient's Catalog No. NASA SP-7037 4. Titleand Subtitle 5. Report Date AERONAUTICAL ENGINEERING March 1974 A Special Bibliography (Supplement 42) 6. Performing OrgeniationCode 7. Author(s) 8. Performing Orgnization Report No. 10. Work Unit No. 9. Performing Organization me and Address National Aeronautics and Space Administration Washington, D.C. 20546 11. CotrmcorGrant No. 13. Type of Report and Period Covered 12. Sponsoring Agency Nam and Address 14. Sponsoring Agency Code 15. Supplementary Notes 16. Abstract This special bibliography lists 338 reports, articles, and-other documents introduced into the NASA scientific and technical information system in February 1974. 17, Key Words (Suggested by Author(s)) 18. -
Dear All, Dear Friends of the OGAE International
Dear all, dear friends of the OGAE International, Hopefully well known in the community of OGAE during the last years I would like to offer you my candidacy as the treasurer for OGAE International. The information below should help in the discussion if my knowledge and support could help in organize and strengthen a powerful and successful OGAE International. By profession I’m an accountant and tax adviser assistant for more than 20 years working as Head of Finance and Accounting Germany for an US Company (www.crawfordandcompany.de). My area of responsibility includes the monthly closings, the preparation of annual balance sheets, tax declarations, financial statements, liquidity plans (Both by German law and International Accounting Standards) and leading the german finance team. For 15 years I’m a member of the Eurovision Club Germany e.V. and six years ago I was elected as the treasurer of our non-profit association with actually more than 1000 members. My job is for example the daily financial management as well as the bookkeeping, the closing and the planning of an efficient disposition of funds. As a member of the board of the Eurovision Club Germany e.V. I was involved in preparing all fan activities during the Eurovision Song Contest 2011, too. Together with the other 4 board members Dr. Michael Sonneck, Anke Jonschker, Elvira Greiss and Erwin Wiesen we were responsible organizers for example of the fan-desk at the EuroCafe and the press centre and the fan-party with 24 competitors of this year’s Contest on stage at the EuroClub. -
Brand Guidelines Version 5-2017/2018
BRAND GUIDELINES VERSION 5-2017/2018 OPERATED BY EBU THE EUROVISION SONG CONTEST - “ A SIMPLE IDEA THAT HAS SUCCEEDED. “MARCEL BEZENÇON DIRECTOR OF THE EBU (1950-1970) AND INITIATOR OF THE EUROVISION SONG CONTEST — 2 THE NAME The name of the event in public communication is always Eurovision Song Contest. For headlines and on social media, but only when practical limitations such as character limits apply, the event can be referred to as Eurovision. The abbreviation ESC may only be used for internal communications, as it is largely unknown to the public. In some countries, the Eurovision Song Contest has a translated name, such as Eurovisie Songfestival (Dutch) or Grand Prix Eurovision de la Chanson (French). These names may be used, but only in national communication. EUROVISION SONG CONTEST BRAND GUIDELINES — 3 THE LOGO Until the 2003 Eurovision Song Contest, each Host Broadcaster designed its own logo for the contest. In 2004, the EBU introduced a generic logo, to be accompanied by a theme and supporting artwork on a year-by-year basis. The logo was designed by London-based agency JM Enternational. In 2014, the EBU introduced a revamp, the current version of the logo. It was revamped by Storytegic and implemented in collaboration with Scrn. Eurovision is set in custom typograpy Song Contest is set in Gotham Bold with +25% letter spacing and +25% word spacing EUROVISION SONG CONTEST BRAND GUIDELINES — 4 THE ECO-SYSTEM The Eurovision Song Contest generic identity consists of an eco-system with four different applications, shown below. Some basic guidelines: Ÿ The generic logo can only be used by EBU and its partners; Ÿ The event logo can only be used for a particular event by the EBU, Host Broadcaster, Participating Broadcasters and Event Partners (sponsors); Ÿ A national logo can only be used by the EBU, its partners and each respective Participating Broadcaster; Ÿ The flag heart can only be used for illustrative purposes (e.g. -
L'italia E L'eurovision Song Contest Un Rinnovato
La musica unisce l'Europa… e non solo C'è chi la definisce "La Champions League" della musica e in fondo non sbaglia. L'Eurovision è una grande festa, ma soprattutto è un concorso in cui i Paesi d'Europa si sfidano a colpi di note. Tecnicamente, è un concorso fra televisioni, visto che ad organizzarlo è l'EBU (European Broadcasting Union), l'ente che riunisce le tv pubbliche d'Europa e del bacino del Mediterraneo. Noi italiani l'abbiamo a lungo chiamato Eurofestival, i francesi sciovinisti lo chiamano Concours Eurovision de la Chanson, l'abbreviazione per tutti è Eurovision. Oggi più che mai una rassegna globale, che vede protagonisti nel 2016 43 paesi: 42 aderenti all'ente organizzatore più l'Australia, che dell'EBU è solo membro associato, essendo fuori dall'area (l’anno scorso fu invitata dall’EBU per festeggiare i 60 anni del concorso per via dei grandi ascolti che la rassegna fa in quel paese e che quest’anno è stata nuovamente invitata dall’organizzazione). L'ideatore della rassegna fu un italiano: Sergio Pugliese, nel 1956 direttore della RAI, che ispirandosi a Sanremo volle creare una rassegna musicale europea. La propose a Marcel Bezençon, il franco-svizzero allora direttore generale del neonato consorzio eurovisione, che mise il sigillo sull'idea: ecco così nascere un concorso di musica con lo scopo nobile di promuovere la collaborazione e l'amicizia tra i popoli europei, la ricostituzione di un continente dilaniato dalla guerra attraverso lo spettacolo e la tv. E oltre a questo, molto più prosaicamente, anche sperimentare una diretta in simultanea in più Paesi e promuovere il mezzo televisivo nel vecchio continente. -
1 Lahiton [email protected]
Lahiton [email protected] 1 Lahiton magazine was founded in 1969 by two partners, Uri Aloni and David Paz, and was funded by an investment from Avraham Alon, a Ramlah nightclub owner and promoter. Uri Aloni was a pop culture writer and rabid music fan while David Paz, another popular music enthusiast, was an editor who knew his way around the technical side of print production. The name “Lahiton,” reportedly invented by entertainers Rivka Michaeli and Ehud Manor, combines the Hebrew words for hit, “lahit” and newspaper, “iton.” Lahiton [email protected] 2 Uri Aloni cites the British fan magazines Melody Maker and New Music Express as influences; (Eshed 2008) while living in London and writing for the pop music columns of Yediot Ahronot and La-Isha, he would lift editorial content and photos from the latest British pop magazines, write articles, then find an Israel-bound traveler at the London airport to transport the articles into the hands of his editors. In Lahiton’s early days, Aloni and Paz continued this practice (Edut 2014). Eventually, however Lahiton’s flavor became uniquely secular Israeli. Although in 1965 the Beatles were famously denied permission to perform in Israel (Singer 2015), by the time Lahiton got started in 1969 there was no stemming the tide; the international pop music scene had permeated Israel’s insular and conservative culture. At the time there were no other Hebrew publications that covered what was going on both at home and in America and Europe. Lahiton began as a bimonthly publication, but within the first year, when press runs of 5000 copies sold out on a regular basis, Paz and Aloni turned it into a weekly. -
Alletiders Melodi Grand Prix
Spillesteder Bredsten Håndværkerhus 1.november 2019 kl. 18:30 Mad og teater 160 kr. billetter Kurt 2891 9046 Givskud Forsamlingshus 2.november 2019 kl. 18:30 Mad og teater 175 kr. billetter Irene 2360 6208 Egtved Idræts og Multicenter 8.november 2019 kl. 18:30 Mad og teater 175 kr. billetter Egtved Lyd&Billede 7555 3565 Nørup Sognegård 9.november 2019 kl.18:30 Mad og teater 175 kr. billetter Dagli´Brugsen Ny Nørup 7588 3038 Tak for støtte til forestillingen Egtved Lyd&Billede Dagli’Brugsen Ny Nørup Dagli’Brugsen Bredsten Givskud Forsamlingshus Nørup og Omegns Kulturforening Musicalakademiet Fredericia Kolding Profiltøj Kirkens Korshær Bredsten Pure-Hair.dk - certificeret Grøn Salon ALLETIDERS MELODI GRAND PRIX Tekst og idé Kevin H. Larsen. Velkommen til et brag af en Melodi Grand Prix kavalkade. Her kommer alle de kendte evergreens, og et par stykker mere, kædet lystigt sammen af vores uforlignelige værter. Vi håber, I vil nyde at være i selskab med os et par timer og syng endelig med. Instruktør: Bobby Munk Vestergaard Larsen Suffli: Hanne Younes, Bettina Alrø Sminke: Sanne Væver, Tobias Væver, Emmelie Væver, Alberte Væver Kostumer: Janne Mejborn Nielsen, Kirsten Jensen Scene: Bobby Munk Vestergaard, Bent Iversen Lyd og lys: Maibritt Vestergaard Iversen, Bent Iversen, Youssef Agerbo Halabi, Kevin H. Larsen Plakat og program: Kirsten Jensen Video: Youssef Agerbo Halabi Sangere Dorthe Salomon Hvid Jette Salomon Jan Christoffersen Anne-Meta Brunsborg Jimmi Jacobsen Værter Anne Kirstine Vestergaard Iversen Søren Kristensen Margrethe Kristensen Jørgen Overgaard Kor og dansepiger Anne-Sofie Laursen Karoline Pearson Fink Stine Aaby Larsen Orkester Klaver: Morten Sandfeld Elwarth Guitar: Ole Schmidt Bas m.m.: Thomas Bové Bølkov Trommer: Kasper Tinggaard Sangene i den rækkefølge de bliver opført i vores udgave af et Melodi Grand Prix • 1957 Skibet skal sejle i nat. -
June July 2018 Bulletin
A Congregation Affiliated with the Congregation B’nai Israel United Synagogue of Conservative Judaism 6525 Sylvania Avenue Sylvania OH 43560 151 Years of (419) 517-8400 Consecrated Service to www.cbitoledo.org God, Torah and Israel 5778 1 Notes from the Cantor ………………………………………. POWER OF MUSIC V The past month in Jewish history and in our calendar has been momentous. We experienced Israel’s 70th anniversary, celebrated in several excellent events in our community, the 51st anniversary of the reunification of Jerusalem, and the relocation of the US Embassy in Israel from Tel Aviv to Jerusalem. In the midst of all this euphoria, what might have escaped your attention is Israel’s winning the prestigious Eurovision song contest on May 12th 2018 in Lisbon, Portugal. That night in our Jewish calendar - the 28th of Iyar, commemorates the reunification of Jerusalem during the Six Day War of 1967. This is the fourth time Israel has won Eurovision, one of the world’s most famous international song contests. The winning song “Toy”, a pop anthem about female independence, was performed by 25 year old Netta Barzilai, accompanied by her signature “chicken dance.” Netta had placed third by the official judges, but won thanks to tele-voters from around the world catapulting her to victory. Hours before the victory, Israeli superstar film actress Gal Gadot had urged her twenty million Instagram followers to vote for Israel’s entry. Including words like “I’m not your toy you stupid boy...,” it was influenced by the #MeToo movement. The Eurovision contest has often been embroiled in political and religious controversies, although politically tinged songs are unofficially disallowed.