In tracking the market, Converge does not expect any significant changes in demand over the next several months, continuing the holding pattern that the IC market has seen in recent months. Manufacturing fabrication capacity is at the lowest it has been in a considerable amount of time, and distribution inventories have been slashed to minimal levels. However, for the second month in a row we have seen a month-over-month increase in real shortages due to these low inventory levels.
Some customers are still trying to reduce inventory levels, although the number of those doing so has decreased somewhat over the last several months. Nevertheless, there is still available inventory in the market for savvy bargain hunters.
Additionally, Converge is tracking a minor reduction in demand in some military sectors, indicating a slowing of new manufacturing over the next 6-12 months. Demand for military connectivity devices, however, appears to be unchanged, as the repair business remains steady.
Converge, a subsidiary of Arrow Electronics, has evolved from an industry-leading electronics components distributor to a full service global supply chain partner. We help create full component life-cycle and process management plans for companies with challenging sourcing, obsolescence, inventory and supply chain needs.
Converge, a subsidiary of Arrow Electronics, has evolved from an industry-leading electronics components distributor to a full service global supply chain partner. We help create full component life-cycle and process management plans for companies with challenging sourcing, obsolescence, inventory and supply chain needs. Converge is headquartered in Peabody, Massachusetts, and has offices in Foothill Ranch, California; Amsterdam; and Singapore, along with support centers throughout Europe, Asia and the Americas. For more information about Converge,
My Six Determine Life-style was Chuck Marshal’s up-front earnings and residual revenue program via postcards. It has since developed into The Secret Components Teleseminar, a more moderen $1,497 system that calls itself another for the 95% of people that really feel lied to, dissatisfied, confused and offended by the “biz opps” trade.
The Secret Components Seminar (previously My Six Determine Life-style) has been developed by Rob Stinson, a one-time machinist who candidly makes use of his regular-guy persona to share how his “Secret Components” now has as much as 150,000 distributors and outcomes of over $250 million price of merchandise bought.
Stinson states that what differentiates his teleseminar and software program from the remainder is that they are designed to draw what he calls Enterprise-Alternative-Purchaser (BOB) prospects. These prospects seem to consist of homeowners and managers of current companies seeking to construct up refined streams of a number of revenue channels, as a substitute of associates, relations or co-workers who are likely to drop out of those packages.
Per his web site, Stinson guarantees as much as a five-figure revenue inside the first few months, no time wasted with scheduling, displays, promoting, pitching or closings, and fewer than two hours spent every day on the enterprise when homeowners work the techniques correctly.
Stinson seems to consider that by being upfront about frustrations and potential scams potential clients have skilled, The Secret Components Seminar might have the power to draw those who have since rejected on-line enterprise alternatives.
The newly revised “My Six Determine Life-style” program, now often known as The Secret Components Seminar, is reported to price $1,497 to hitch. This system appears to work on a teleseminar kind system and is alleged to incorporate a handful of various gadgets and options. A few of them embody pre-qualified leads, confirmed advertising and marketing software program and techniques and manuals and incentives.
As with all and all on-line based mostly enterprise endeavors; it’s extremely suggest that one does their very own analysis earlier than investing precise monies right into a program. The Web is a really massive and uncontrolled ambiance that requires warning and in-depth analysis; particularly when being requested for monies in return for a service, membership or product. That is to not say that actual and profitable alternatives do not exist on the market; one simply must train warning when on the lookout for that good one to make sure it’s a official alternative and delivers on what it says for a way a lot it says.
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I started reading Nijinsky’s diaries earlier in the year and absolutely fell in love with a man who truly was a victim of his time. You can feel the anxiety and unease surrounding his homosexuality through the page and this was something that I strongly identified with. I therefore thought it might be interesting to consider how his queerness was actualised within his performances and choreographic style.
My favourite performance of Nijinsky was his work in L’Après Midi D’un Faune which he both performed and choreographed himself. As this work was his choreographic debut, it really showcased all of his ideas surrounding dance technique that was evidently distinct from the previous styles of the Ballet Russes.
I was led to writing about Moki Cherry’s tapestries and their relationship to different environments because of the eerie absence of critical writing about her artwork (despite being exhibited internationally and being such an important part of jazz musician, Don Cherry’s aesthetic).
The best thing I’ve read is an issue of the feminist arts journal Heresies called Women’s Traditional Arts, The Politics of Aesthetics, from 1978. I found the writing and photography in here to be provocative and relevant. Lucy Lippard’s article ‘Making Something from Nothing (Towards a Definition of Women’s Hobby Art)’ provided a feminist approach to my research into Cherry’s tapestries and the social conditions they were made in.
My favourite image is a poster that Moki Cherry made for a concert in Stockholm 1967. It was the first concert that she collaborated on with Don Cherry as Movement Incorporated. It was really rewarding to discover this poster among other archived papers, and to see the symbols of hands, lips, birds and stars that are recurring motifs throughout her later tapestries.
Currently my working title is ‘“Embroidered in Dyes”: Fabrics and Fashions by the Footprints Textile Printing Workshop in London 1925–1939’.
Our amazing tutor Rebecca Arnold informed me about the Joyce Clissold and Footprints archive at the Central Saint Martins because she knew I am particularly interested in textiles and the making of dress. I visited this archive in February and immediately fell in love with the Footprints designs and Joyce Clissold’s work as a designer-craftswoman. I especially appreciate the broad perspective on fashion that the archive gave me, as it contains a wide range of objects that illustrate the diverse processes of designing, making, advertising and retailing of fabrics as well as garments. In the course of the research process, I became more and more intrigued by the creative activity of the many individuals and loosely knit groups of craftsmen and -women in London in the 1920s and 1930s. It would be a dream to continue my research in this exciting field.
I could spend hours at the British Library reading the beautifully-designed journal The Town Crier. Issued by the Merchant Adventurers in London from 1921, this journal was full of interesting crafts-related articles and advertisements, as well as for instance job requests and vacancies by or aimed at established or aspiring craftspeople. The journal was printed on this nice, thick paper. I enjoy just leafing through it, read all the fun ads, and explore interwar London in my mind.
I think I already gave my favourite images away in my last blog, as I love both the cover of the Footprints leaflet and the photograph of Joyce Clissold wearing a scarf of her own design.
But perhaps I can share my favourite ‘object’ with you. It is a reference in British Vogue’s 17 May 1933 issue to the Footprints shop that was located in New Bond Street. After spending almost two days at the British Library, leafing page-by-page through 1930s issues without any previous indication or even guarantee that I would find anything relating to Footprints, I could hardly suppress my euphoria when I actually found a short reference in the magazine’s regular shopping column. I felt like a kind of dress historian-detective…
The most beautiful place to work is the National Art Library at the Victoria and Albert Museum. It is my dream library. It reminds me of that library in Disney’s animated film Beauty and the Beast. But I also enjoy drinking coffee whilst working, for which I often go to Bloomsbury Coffee House at Tavistock Place.
My virtual exhibition was about late 1960s minimalist sculpture in relation to fashion. One of my exhibits was a metal ‘sound sculpture’ robe made by the Baschet Brothers for the 1966 film Who are You, Polly Maggoo? I became interested in how the models moved in this uncomfortable metal dress, which eventually drew me to Paco Rabanne and his metal dress creations from the late 1960s. In 1966, Rabanne presented a collection titled ‘Twelve Unwearable Dresses in Contemporary Materials’ at the Georges V Hotel in Paris, which I will discuss further in my dissertation.
I enjoyed reading Jane Pavitt’s Fear and Fashion In The Cold War (V&A, 2008). Pavitt discusses late 1960s avant-garde and space-age fashions, stating the reasons why designers and wearers chose to make such statements in what was a politically turbulent time. The book also features many entertaining photographs of strange space-age costumes.
I found an advertisement in the January 1967 issue of British Vogue for Goddard’s ‘Long Term Silver Polish’. In the photograph, a model wears a Rabanne style metal disc dress, and the advert explains the polish’s use for the dress. It is interesting to see the connection between ‘traditional’ metal surfaces and Rabanne’s style of dresses, and also imagine the mixed attitudes towards them during this period.
The title of my dissertation will probably still change. However at the moment I am going with How very British: National Identity in Norman Parkinson’s fashion photography for Vogue, 1950-1952. Parkinson produced some stunning images for different spreads, many of which lend themselves really well to a study of British national identity. Delving a little deeper into these specific images, Parkinson’s biography and the history of 1950s Britain has been great fun.
The topic stemmed from a mixture of previous interests and pure chance. I had no pre-conceived idea of what I wanted to look at for this dissertation. However, I always studied World War II and the Cold War when I had the chance as an undergraduate, so I knew I wanted to stick within that time frame. Couple this with my love of 1950s fashion and elegance, and the random selection of a beautiful book on Norman Parkinson whilst browsing the stacks at the Courtauld and – ta dah! – the dissertation title was born. I had also wanted to be practical about my choice and choose a topic that would enable me to make the most of London based archives. Norman Parkinson has his own in south London (big shout out to the lovely and wonderful people that work there!), so it all came together beautifully.
I believe I read in Parkinson’s book that Irving Penn babysat Parkinson’s son. As you do. No big deal. On a more serious note, I am still continually blown away by how clever his images are. They seem so simple at first glance, and then, the more you look, the more you realise just how good he was in expressing a certain image, feel or identity to a wide range of readers. This was especially interesting with regards to the way in which his photographs for a 1951 South Africa spread differed, or were used in a different way, from the May edition in British Vogue to the July edition in American Vogue. On a side note I have become obsessed with an image that I’m not even using in my essay. It is just too stunning. Everyone- google “Carmen’s Armpit” and you will understand! Or not, in which case it is just my inner dress history nerd coming to the fore…
I would love to say that it is The National Arts Library in the V&A. It surely wins the award for most aesthetically pleasing place to study- but I tend to be freezing cold in there, so sadly it loses out. I rather fluctuate between the Courtauld Book Library and my home. This arrangement provides the perfect balance between the comfort of home (sneaking a couple of biscuits and copious amounts of tea) and the beautiful comradeship between all Courtauld students during dissertation time in the library. We all really share the stress and joys of the process and that is unbelievably valuable as you are working. *Insert cheesy violin music here!*
Something along the lines of ‘Capturing Fashion at Work: Mark Shaw’s behind-the-scenes images of the Paris collections for LIFE magazine in the 1950s’
Our tutor Dr Rebecca Arnold’s fondness for the work of American designer Claire McCardell (you may thank her for ballet flats, spaghetti straps, separates…) led me to a fine art and textile collaboration she worked on (Picasso prints!) which was photographed for LIFE in the mid-Fifties by Mark Shaw. The Mark Shaw Archive recently popped up on Instagram (@markshawofficial / @markshawlondonsydney), and scrolling through his work – snapshots of Audrey Hepburn, Jackie Kennedy amongst the images – I discovered and became mildly obsessed with his images of models prepping for fashion shows. Amazingly few people have studied backstage images – these days they’re a mainstay of Instagram and Vogue Runway reports during fashion week.
Speaking to Mark Shaw’s daughter in law Juliet across the pond in Vermont and meeting his grandson Hunter in London. Juliet kindly sent me scanned film and contact sheets to pore over – a game changer. Coming across a key quote by Baudelaire (who famously coined the slippery term ‘modernity’) one grey day in the British Library got me pretty excited (#nerdalert).
The National Art Library at the Victoria & Albert Museum for its sheer opulence, or at home in my south London garden in the dappled light beneath the lilac tree. Most libraries don’t allow food or drink, and some days the need for constant cups of tea (and a visiting fellow art historian with a pair of puppies) wins out.
When we visited the National Portrait Gallery in December and the archivist brought out a few of the original prints from the Goddess Series, I knew because of their stunning beauty they would be the topic of my dissertation.
I am really inspired by the depth of care Madame Yevonde took in her creative process. This ultimately resulted in her use of a cutting edge photographic techniques and color printing that created the powerful luminescence of the Goddess Series.
I am not really a library or archive person at heart, so I spend a lot of time working coffee shops and on occasion in my flat.
I can’t quite remember how, but somehow in the course of research I stumbled across Marcel L’Herbier’s short film La Mode revee (1939), which was produced to promote Parisian couture at the New York World Fair in 1939.
Not only does the film make for fun viewing (the plot involves figures from Antoine Watteau’s painting, Pilgrimage to Cythera (1717), coming to life, escaping from the Louvre and going shopping in the top Paris couturiers), but its themes chimed directly with my own interests. I plan to explore the film in relation to the 1939 New York World Fair and questions concerning the temporality of fashion. Marcel L’Herbier is a fascinating director and one who deserves much more critical exploration and recognition.
Photo Caption: Still from La Mode revee (1939) by Marcel L’Herbier. Watteau’s painted beauties escape from their frame to go shopping in Paris’ finest couture establishments!
A few weeks ago I took a short study trip to Paris. In the archives at the Bibliotheque nationale de France I found some of the documents relating to the production of La Mode revee. I haven’t seen them referred to anywhere else and I didn’t unearth them until a couple of days in, so it felt like a very satisfying find! Plus, exploring new libraries is always inspiring.
I can be found most days in the British Library. They have (nearly!) all the books and you don’t even have to look for them on the shelves. Once you’ve ordered the book you want online the kindly librarians do all the legwork for you, so all you have to do is pick it up from the counter. That’s a win win in my opinion.
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WASHINGTON: Any residual doubt that Pakistan is a duplicitous terrorist state was set to rest by the time Pakistan Prime Minister Nawaz Sharif met US President Obama in the White House on Wednesday with leaked US intelligence reports that showed Islamabad acquiesced to Predator strikes on some terrorists targets even as the country\'s intelligence agencies shielded and helped others. The US president also implicitly accused Pakistan of exporting terrorism.
The disclosures relating to drone strikes from 2007 to 2011, when Gen Pervez Musharraf and Asif Ali Zardari were in power, did not stop Sharif from predetermined talking points during his two-hour meeting with the US president that included pleading for a stop to the attacks. \"Pakistan and the United States have a strong ongoing counterterrorism cooperation. We have agreed to further strengthen this cooperation. I also brought up the issue of drones in our meeting, emphasizing the need for an end to such strikes,\' Sharif said with a straight face, with US president next to him.
Obama, who had already spoken by then, ignored the drone issue altogether, but praised Sharif for his commitment in trying to reduce \"incidents of terrorism inside of Pakistan\'s borders, and the degree to which these activities may be exported to other countries.\" Implicit in the remark was that Pakistan is a terrorism-exporting country, and the drone strikes were a legitimate US response in areas where Islamabad has no control and has ceded sovereignty.
The fact that Obama grilled Sharif over Islamabad\'s dodgy approach to terrorism, particularly in reference to India, was confirmed by the Pakistani prime minister himself. \"He (Obama) asked, why the trial of the (Mumbai) terrorist attack in India has not started yet,\" Sharif told reporters soon after the meeting, adding, \"He (Obama) has raised the issue of (Dr Shakil) Afridi. He spoke about cross-border movement. He also talked about Jamaat-ud-Dawa.\"
In public though, the US president was careful not to embarrass his guest too much. \"We talked about security and the concerns that both of us have about senseless violence, terrorism and extremism. And we agreed that we need to continue to find constructive ways to partner together -- ways that respect Pakistan\'s sovereignty, that respect the concerns of both countries,\" Obama said in a nuanced explanation that provided the sub-text to the drones strike imbroglio.
The Obama administration was evidently compelled to leak intelligence reports of the back channel agreement on drone strikes with Pakistan after Sharif upped the ante ahead of his meeting with the US president in an address to the US Institute of Peace on Tuesday, saying the attacks infringed on Pakistani sovereignty, it is an irritant in bilateral ties, and he would raise it with Obama. US officials had tried to walk Sharif away from the subject by suggesting that such strikes were inevitable when Islamabad ceded sovereignty to terrorists and was even complicit in their activity, but faced with Sharif\'s intransigence, partly driven by domestic considerations, the administration leaked a trove of documents to the Washington Post that exposed Pakistan as a dishonest, two-faced country that helped terrorists it considered state assets.
The documents, the Post said, show that not only did US officials share information with Pakistan on drone strikes, but the two sides also clashed on occasions over Pakistani military-intelligence agencies being in cahoots with terrorists. These included time-stamped videos of terrorists dispersing material and themselves soon after being tipped off by an intelligence courier that a drone attack, about which US shared information with Pakistan, was imminent.
In one case, the report says, then US secretary of state Hillary Clinton cited \"cell phones and written material from dead bodies that point all fingers\" at a militant group based in Pakistan. \"The US had intelligence proving ISI was involved with these groups,\" she is cited as saying. In another case, CIA deputy director Mike Morell is said to indicate that the CIA was prepared to share credit with Pakistanis for a drone strike if the agency could confirm that it had killed Ilyas Kashmiri, an al-Qaida operative suspected of ties to plots against India. The agency would do so \"so that the negative views about Pakistan in the US decision and opinion making circles are mitigated.\"
Overall, the disclosures suggest that the United States is cognizant of Pakistan\'s sponsorship of terrorism, but instead of punishing the country, it will selectively leak information to walk it back from its self-destructive path. US President Obama\'s explicit reference to Pakistan exporting terrorism is the closest the US has come to publicly outing it as a terrorist entity.
But there is no indication though that Pakistan, dubbed Denialistan in some quarters, recognizes the gravity of the charges. In his USIP address, Sharif went so far as to assert that \"Pakistan is neither source of nor epicenter of terrorism,\" even though his own political party, the Pakistan Muslim League, has well-chronicled links with terrorist groups such as Lashkar-e-Jhangvi. The government in Punjab led by his brother is reported to make budgetary allocations to the internationally banned terrorist group Lashkar-e-Taiba aka Jamaat ul-Dawa, even as Washington appropriates US tax-payer dollars as aid to Pakistan.
None of these complications or contradictions is reflected in the 2500-word joint statement issued at the conclusion of the Obama-Sharif meeting. The statement, along with an elaborate fact-sheet, manages the optics of the visit and suggests that all is -- or will be -- hunky-dory between the two sides as the U.S tries to manage the relationship ahead of its 2014 drawdown from Afghanistan.