By Linda Sieg, Ami MiyazakiTOKYO (Reuters) – Tokyo Governor Yuriko Koike, often floated as a future Japanese premier, said on Monday the Olympics must go ahead next year as a symbol of world unity in overcoming the novel coronavirus, even as her city grapples with stubborn spikes in cases.Japan has not seen an explosive coronavirus outbreak as suffered in some other places but a recent increase in cases in Tokyo, which accounts for more than a third of its more than 20,000 total, has fanned worries about a second wave of infections.The 2020 Olympics were scheduled to start this month but were postponed because of the coronavirus. Koike has pledged to win public support for the Games, although a media survey showed a majority think they should be cancelled or postponed again.“I want to host them as a symbol of the world coming together to overcome this tough situation and of strengthened bonds among humankind,” Koike told Reuters in an online interview. She declined to specify a deadline for deciding if the Games could go ahead.A media-savvy former television announcer who speaks English and Arabic, Koike is to many a paradox: a global thinker with a nationalist tinge; a political outsider who advanced with help from old-boy mentors, and a risk-taker who shied away from the big gamble of running for parliament in 2017 as head of her upstart “Party of Hope”.The party floundered after Prime Minister Shinzo Abe called a snap election. Instead, Koike stayed on as Tokyo governor and has won plaudits for her straight-talking handling of the COVID-19 outbreak in contrast to what critics called Abe’s clumsy response.She was re-elected by a landslide last week, reigniting talk she has a shot at becoming Japan’s first woman prime minister.On Monday, she sought to brush such speculation aside. “I’m happy that people have hopes for me but I received support for a second term as governor,” she said.“I want to protect the lives and health of the people of Tokyo by addressing the immediate issue of policies for the coronavirus. That is my greatest mission.”POLITICAL MACHINE? Tokyo’s jump in COVID-19 cases comes as Abe’s government prepares to launch a campaign to promote domestic tourism, but that has raised concern about spreading the virus outside the capital.Koike said it was important both to contain the virus and revive the slumping economy.“At present, a tough situation continues but … by taking a proper response in Tokyo, I want to advance both the prevention of infections and social and economic activity,” she said.Tokyo accounts for about 20% of Japan’s economy. Koike, who clashed with Abe’s administration over the timing of a state of emergency, and over which businesses to target for shutdowns, said she wanted greater clarity on local governments’ authority during the crisis.A veteran member of parliament before defying Abe’s Liberal Democratic Party (LDP) to make her 2016 bid for governor, Koike also wants to make the metropolis a global financial centre by luring foreign talent. Still, speculation persists that she could yet aim for Japan’s top job.She has already broken several glass ceilings: first female governor of Tokyo, Japan’s first female defence minister and the first woman to run for LDP president.But creating a new political machine to vault her to the top would be tough, political analysts said. “Does she have what it takes to be prime minister? Absolutely. But she doesn’t have the political machine that can make it happen,” said a source who has advised Koike for years. A return to the LDP fold would also face obstacles, given that mutual antagonism runs deep.
Kirstin Louie | Daily TrojanMoving up the ranks · Sophomore Jessica Failla is one of three ranked singles players on USC. The Trojans will take on SDSU on Wednesday.Coming off of a 1-1 split in the ITA Kick-Off Weekend, the No. 18 USC women’s tennis team prepares for its first two home matches of the year. Following a 4-2 win over Rice and a 4-1 loss to No. 15 Auburn last week, the Women of Troy host San Diego State on Wednesday and No. 1 Florida on Friday. Both matches are set for afternoon starts in Marks Stadium. With a 2-1 record, the Trojans have started the year off strong. USC boasts three ranked singles players: No. 46 sophomore Jessica Failla, No. 52 junior Madison Westby and No. 56 senior Zoë Katz.The Trojans also have two ranked doubles teams, both of which feature Katz. The pairing of Katz and junior Gabby Smith are No. 18 in the country, while Katz and junior Madison Westby are tied for the No. 27 ranking. With a good amount of representation in the ITA rankings, USC has a talented squad that will look to challenge for the Pac-12 title. Coming off a solid 8-2 home record during the 2015-16 season, the Trojans will look to replicate their strong performances at Marks Stadium again. On a team with ranked talent, Smith is perhaps the player to watch most closely. While currently unranked, Smith is on an impressive eight-match winning streak that includes five ranked opponents. Smith’s streak will get put to the test once again when No. 1 Florida comes through Los Angeles this weekend. Coming to Marks Stadium with a 2-1 record on the season, the Aztecs will look to sneak out a win on the road. With only three matches under its belt, SDSU will be facing its highest-ranked opponent so far this season in USC.The Aztecs do not feature any ranked singles or doubles players, but they have taken close victories over UC San Diego and UC Irvine to this point, with their sole loss coming against Cal State Fullerton. With a 43-4 all time record against SDSU, the Trojans look to continue their strong track record and gain some momentum going into their challenging matchup two days later. The No. 1 team in the nation, Florida, will roll through Los Angeles on Friday featuring one of the deepest teams in the country. The Gators are anchored by their five ranked singles players: No. 15 junior Josie Kuhlman, No. 24 senior Kourtney Keegan, No. 30 junior Anna Danilina, No. 37 senior Belinda Woolcock and No. 39 senior Spencer Liang.Though Florida’s singles lineup alone equals the total number of ranked Trojans, the Gators also boast four ranked doubles teams, including the No. 7-ranked pair of Keegan and junior Brooke Austin. Three more top-25 pairs make up the rest of Florida’s doubles lineup: No. 12 Kuhlman/Woolcock, No. 21 Danilina/Liang and Keegan and junior Peggy Porter (No. 22). The highly touted Gators will be a big test for USC, but victories against a talented Florida team could go a long way when it comes to future rankings.But before they set their eyes on toppling the top team in the country, the Trojans will first focus on dispatching San Diego State. Their match against the Aztecs begins at 1:30 p.m. on Wednesday afternoon, and they will take on Florida at the same time on Friday.
As keeper Tara Yowek goes, so does the L.V. Rogers Junior Bombers Fieldhockey squad.Yowek was once again outstanding guarding the cage to power the Bombers to a silver medal showing at the Chilliwack High School Junior Girl’s Fieldhockey Tournament Saturday in the Fraser Valley City.The Bombers finished with a 3-1 mark at the tourney, which featured teams from Fraser Valley and Lower Mainland Schools.The lone loss of the weekend came against Delta.“Tara (Yowek) only had two goals against the entire weekend,” said Bomber coach Val Gibson. “She also added three shutouts to her record.”Yowek was outstanding during a 2-0 win over host G.W. Graham.Allie Zondervan and Chiara Chirico scored for LVR.Sydney Ednie scored the only goal of the game as the Bombers edged Rosedale 1-0.LVR then bounced Maple Ridge 7-0 as Naomi Perkins and Anna Goeppner each scored twice. Chirico, Zondervan and Ednie added singles.Game stars included Allie Zondervan, Naomi Perkins, Sydney (Baby Syd) Ednie and keeper Tara Yowek.
TORONTO (AP):DeMar DeRozan matched his season high with 38 points and added 10 rebounds as the Toronto Raptors beat the Miami Heat 112-104 in overtime on Saturday night.Jonas Valanciunas added 20 points and 10 rebounds, while Kyle Lowry chipped in with 16 points for the Raptors, who secured the season series against the Heat for the second straight season, as well as a potential play-off tiebreaker should they finish with the same record.Joe Johnson had 28 points while Luol Deng added 20 for the Heat, which had Dwyane Wade on the sidelines with an injured thigh.Deng tied it at 97 on a three-pointer from the corner with 3.1 seconds remaining in regulation and DeRozan’s jumper before the buzzer went in and out.In overtime, the teams traded scores until five straight trips to the free throw line, four for DeRozan and one for Bismack Biyombo, allowed the Raptors to score seven unanswered points to take a 109-101 lead with 42 seconds to play.Johnson’s three-pointer closed the gap to six points, but a pair of free throws from Cory Joseph allowed Toronto to close out the game.Stephen Curry scored 15 of his 35 points in the fourth quarter and the Golden State Warriors rallied from a nine-point deficit over the final 12 minutes to beat the Phoenix Suns 123-116.Curry, who spent most of the third quarter on the bench in foul trouble, made three of his seven three-pointers in the fourth, including two as part of an 18-8 run to close out the game.The NBA’s reigning MVP capped his night with a behind-the-back pass to Shaun Livingston for a layup that helped extend the Warriors’ record home winning streak to 48 games.Golden State (59-6) also stayed one game ahead of the pace of the 1995-96 Bulls, who set an NBA record with 72 wins.Kawhi Leonard scored 26 points and the San Antonio Spurs beat the Oklahoma City Thunder 93-85 for their 41st straight home victory, the third-longest streak in NBA history.Only Golden State with their current 48 and the Chicago teams that won 44 straight in 1995-96 had longer streaks.LaMarcus Aldridge added 24 points and Tim Duncan had 11 for San Antonio. Kevin Durant had 28 points for the Thunder.Jusuf Nurkic scored all of his season-high 17 points in the second half and the Denver Nuggets rallied in the fourth quarter to beat the Washington Wizards 116-100.Gary Harris, D.J. Augustin and Darrell Arthur also scored 17 points and Will Barton finished with 14 points and 10 rebounds for Denver. The Nuggets outscored Washington 41-17 in the final 12 minutes to win their fourth straight.John Wall had 19 points and 11 assists and Otto Porter scored 21 points for the Wizards.Elsewhere, the Milwaukee Bucks topped the New Orleans Pelicans 103-92, the Atlanta Hawks downed the Memphis Grizzlies 95-83, the Detroit Pistons used a big second half to beat the Philadelphia 76ers 125-111, and the Charlotte Hornets had a 125-109 win over the Houston Rockets.
Every company has sensitive information that it needs to protect. If that information falls into the wrong hands, companies can often suffer serious legal consequences which can ruin their image or sometimes even close their doors.Enter the SD Key. It’s a locally produced encryption device for IT security and the first of its kind to be sold in South Africa.The unique, encrypted serial number stored on the key’s chip is embedded in a solid injection mould and physical attempts to access the chip will destroy it. The serial number is attached to an application (any file type) making nearly impossible to open without using the correct key.The robust product functions with a 128Kb encryption program and does not require a password. One key can be used for multiple tasks.The SD Key is based on a European product but has improved features, including the tamper-proof mould.Product improvements will be available to download, at no extra cost, to registered users. The token authenticates the user and replaces the password.SD Key (Pty) Ltd, a Proudly South African company, will export its limited range of products to Europe, Australia, Asia, the Middle East and South America.SouthAfrica.info reporter
An Introduction to Photovoltaic SystemsGood News, Bad News: A Glut of Solar PanelsTesting a Thirty-Year-Old Photovoltaic ModulePV Systems Have Gotten Dirt Cheap RELATED ARTICLES Manufacturing efficiency is improvingResearchers found that PV modules manufactured today are responsible for an average of 20 grams of carbon dioxide per kilowatt hour of electricity produced over their 30-year life span. That’s a decrease from the 400 to 500 grams per kWh in 1975-era panels. The break-even point — when energy output equals manufacturing energy input — has fallen from 20 years to just two years.Each time the world’s solar capacity doubled, the energy required to make a PV module fell by about 12%, The Economist said, while carbon dioxide emissions associated with the process dropped by 17-24%.Still, the global break-even point remains vague. Because of uncertainties in the computer model as well as photovoltaic performance, researchers said that the break-even point could have occurred as early as 1997. At worst, the industry will reach that milestone next year.Over that 40-year period, cumulative installed PV capacity grew from less than 1 megawatt to about 180 gigawatts, with a compound annual growth rate of 45%, the study said. China was expected to surpass Germany as the country with the most installed PV capacity in 2015. More efficient manufacturing processes have steadily reduced the amount of energy required to make photovoltaic (PV) modules, cutting the amount of time it takes for a panel to produce as much energy as was used to manufacture it to two years or less, a new study concludes.Writing in the journal Nature Communications, Wilfried van Sark and his colleagues find that the break-even point for all of the PV panels manufactured worldwide between 1975 and 2015 falls no later than 2018, and could even have already occurred, as early as 1997.The study may help settle a debate over the net environmental benefit of solar panels. Skeptics note that the large amount of electricity needed to melt and purify the silicon used to make the PV cells comes mostly from power plants burning fossil fuels, a recent article in The Economist says. That produces a lot of carbon dioxide, meaning that PV panels have a large “carbon debt” that must be settled before the panels are able to make a genuine environmental contribution.Van Sark and his fellow researchers from Utrecht University in the Netherlands used data from the International Energy Agency to calculate the number of PV panels installed worldwide over the last 40 years. They relied on dozens of published studies to estimate the amount of energy required to make them, and consequently the amount of carbon dioxide emitted during the process.
Who are you rooting for? Which of these directors deserves the Oscar? Share your thoughts in the comments below. This year’s nominees for Best Director brought their A-game and then some with the most visually arresting, engaging films in recent memory.Top image via Paramount Pictures.2017’s Oscar nominees for Best Director come from wildly different backgrounds, and they tell stories in completely different ways. Experts in their field, these artists have truly demonstrated what it means to have a vision. Each of this year’s nominated films overcame many different challenges on their way to the box office. Let’s take a look at their creators.Denis Villeneuve — ArrivalImages via Paramount Pictures.Some would say Quebec native Denis Villeneuve is long overdue for a Best Director nomination. Last year’s Sicario garnered worldwide acclaim — as did its predecessor, Prisoners. Villeneuve’s work ethic is admirable, to say the least. However, his recent successes span only a small portion of his career.Cosmos, Villeneuve’s first dip into feature territory, is an anthology film featuring five other directors, shot entirely in black and white, that landed a spot at the Cannes Film Festival in the Directors Fortnight category. It’s available in its entirety at YouTube here (check it out while you can).His first full-length feature, August 32nd on Earth, premiered at Cannes in 1998, then eventually came to the U.K., France, and Germany. Villeneuve’s directing career took off after the success of his second feature-length film, Maelstrom, in 2000. Villeneuve grabbed everyone’s attention when his film Incendies earned a nomination for Best Foreign Language Film of the Year, and he quickly became a director to watch.Until very recently, Villeneuve has had to work with relatively small budgets, even on large film projects. Yet, each film comes off in the end like an epic. He’s spoken in interviews about dealing with a small budget and the importance of preparation (with one of his usual DPs Roger Deakins), as well as knowing everything you want to get out of each shot before you begin production. This precision and cutthroat editing attitude has produced some truly stellar films.“When we work, every shot we are making, its important for Roger [Deakins] to understand if it is important in the movie and if it will stay in the movie … thats why when we are trying to shoot in a very economic way, each shot has its own importance and is crucial. Editing is a cruel process. Sometimes the shot doesn’t make it in the end.”Villeneuve recently spoke with DP/30 about his Oscar-nominated film Arrival and the magic of working with cinematographer Bradford Young. The two are a perfect match, and they created mysterious, hopeful, and engaging environments that are breaking new ground for Villeneuve both commercially and critically.Villeneuve has recently signed on to direct the latest adaptation of Dune. Given his recent foray into sci-fi, this is certainly not a surprise. For now, we’ll simply have to be content watching the Blade Runner 2049 trailer for the twentieth time. Villeneuve’s films are tense, heavy, and masterfully crafted, and they have successfully established him as the next great auteur.Mel Gibson — Hacksaw RidgeImages via Lionsgate.As far as Hollywood superstars go, Gibson topped the list for the majority of the early ’80s and ’90s in classic franchises like Mad Max and Lethal Weapon. Gibson has stated that working with directors like George Miller and Peter Weir were major influences on the type of director he would eventually become.His first at-bat, The Man Without a Face, demonstrated his ability to direct and act at the same time. His next project, Braveheart, launched him into the box office stratosphere and earned him Oscar glory. It was almost a decade after Braveheart before Gibson’s controversial return with 2004’s Passion of the Christ. When asked about taking the reins and assuming responsibility for dozens — if not hundreds — of people on set, Gibson had the following to say:When you step into that arena, you find pretty quickly that your daily task is to solve about a million problems a day — or maybe only 50-60 problems a day, it seems to be. You have to be very judicious in your choices, and you have to make choices, and you have to make them fast. You have to solve a lot of problems, like how do we get around this one, because they present themselves in battalions. As an artist, you’re supposed to shove the boundaries. You’re supposed to do stuff that’s out there, to do stuff that makes people uncomfortable. That’s your job.In a recent hour-long interview with DP/30, Gibson discussed the struggles of his latest effort, Hacksaw Ridge, an epic war movie that had a $30 million budget and a limited production window. They had to shoot all three battle sequences in nineteen days, so Gibson personally bought a couple Blackmagic Pocket cinema cameras.I said to the financiers, ‘We need a few more days!’ but they said ‘Nope. You have to make things work.’ It really puts you on your mettle to say, ‘I need to get the best bang for my buck. How do I do it?’ Even to the point where I went and bought two cameras, like little $1,500 Blackmagic digital cameras, and we were shoving them under rocks and up people’s shirts. There’s a lot of those shots in there because there’s stuff going off, and the cameras have been placed in interesting places, near explosives with guys flying over the top. It’s interesting what you come up with.Gibson embraces the unknown and accepts the challenges of limited resources. He demonstrates that even A-list Hollywood status can’t always guarantee good funding. Gibson claims to have multiple projects in the works, but only time will tell if these get off the ground anytime soon.Barry Jenkins — MoonlightImages via A24.Starting out in film school at Florida State University, Jenkins worked on short films and commercials. His debut feature in 2008, Medicine for Melancholy, had only a five-person crew, a fifteen-day shoot, and a $15,000 budget. Jenkins reflects on that project fondly, as the (relatively) low stakes afforded him the luxury of a production with little pressure.After the attention Medicine for Melancholy garnered, Jenkins became the announcer for film screenings at the Telluride Film Festival. Jenkins had attended the festival for years through a student program that allowed young filmmakers to attend Q&As with some of the industry’s biggest directors. Jenkins praises this opportunity to learn from long-admired directors like David Cronenberg and Lynne Ramsay.While introducing 12 Years a Slave in 2013, Jenkins met with distribution and production company Plan B, which would later go on to back Moonlight. Jenkins is a quintessential example of improving one’s craft by seizing every available opportunity and establishing good relationships in the film community.Recently Jenkins sat down for Apple’s Meet the Filmmaker series for a conversation about the making of Moonlight, working in the industry, and where the future will lead. When asked about the dynamic between himself, his DP, and the actors, Jenkins praised the openness and improvisation he experienced on the set:I trust the people around me, and they know every now and then I’m going to spring some sh*t on them, and they know they gotta be ready to jump with that spring. Its not an adaptation; its a collaboration, I think. I’m not beholden to what I have in my head because its usually going to be much better to get this thing out of these people in front of me.On top of the many accolades and praise that Moonlight has garnered in the past few months, one of the standout features of the film is its look and feel. Jenkins decided to shoot with the ARRI ALEXA XT Plus with his DP James Laxton:Tarell and I wanted to make this movie very lush. Our memories of our childhood are this very beautiful place. My first film, Medicine for Melancholy, it traffics in the absence of color or sort of the removal of color. Whereas I love when I watch that scene — the trees behind Mahershala are just popping, but that’s Miami you know. The colors just pop. The chlorophyll is very present.Jenkins had options to shoot the film in New Orleans or Atlanta, where he could expect favorable tax incentives, but Miami was always the only option for him. A filmmaker who recognizes the importance of time and place to this degree will always make wise decisions when it comes to choosing projects. His work speaks for itself, and I personally can’t wait to see which film he chooses to work on next.Damien Chazelle — La La LandImages via Lionsgate.Damien Chazelle is everywhere. As I write this, he just won the Directors Guild of America award and is the current front runner for the upcoming Oscars. Chazelle has been in producers’ sights since his breakout feature about two jazz musicians, Guy and Madeleine on an Park Bench, premiered at the Tribeca Film Festival in 2009. Chazelle filmed the majority of the project while he was at Harvard University with a borrowed 16mm film camera on an off-and-on shooting schedule for a couple of years. Chazelle stuck with these musical themes for his next passion project, Whiplash.Starting out as a short film (primarily shot to impress investors), the feature would premiere at Sundance, where it won the Grand Jury Dramatic Competition Award. It went on to win three Oscars for Best Supporting Actor, Best Editing, and Best Sound Mixing — as well as earning a Best Picture nomination. Chazelle sat down with DP/30 after Whiplash premiered at Toronto International Film Festival, and he discussed funding, writing from your experiences, and overcoming fear.After the wild success of Whiplash, Chazelle’s “passion project” La La Land went into production during the late summer of 2015. The film is unique in today’s cinematic world, given the nostalgic yet original aspects that set it apart from other musicals. Working with DP Linus Sandgren, Chazelle decided to shoot with a Panavision Panaflex Millennium XL2 on a 2.55:1 aspect ratio — just like 1954’s A Star Is Born.The film is a wonderful combination of comedy and drama that sustains a feeling of inspiration, which is exactly what Chazelle wanted. While discussing the necessity of maintaining a consistent tone throughout the musical, Chazelle noted the following:It’s harder to find the tone. Within any given week of shooting, we’d be doing Ryan and Emma sitting at a table fighting, and the next day they’re literally doing their hilltop duet dance, and they have to be the same people; it has to be the same movie, so they and I and everyone else in the cast and crew were always talking about [how] it has to be the same movie no matter what part of the movie we’re shooting — the camera has to move the same way, it has to respond to the actors the same way, the sense of color has to be the same. It couldn’t be a movie that was just sort of veering between two completely opposite pulls that never really coexisted.Musical themes aren’t the only motifs in Chazelle’s work, and his range has only broadened with La La Land. Though nothing has been announced, his next project will surely have critics and audiences lined up to see what he will accomplish next.Kenneth Lonergan — Manchester by the SeaImages via Amazon Studios.The voice behind many of your favorite movies has established himself as one of the next great directors with Manchester by the Sea. Starting out with screenplay credits on films like Gangs of New York, Analyze This, and You Can Count On Me (which he also directed), Lonergan developed his unique voice but had yet to stand out as a director. Primarily considered a screenwriter and a playwright, Lonergan holds that screenplays are meant to be filmed, meaning that, as standalone pieces of work, they are genuinely uninteresting. You Can Count On Me, which gained Lonergan a Best Screenplay Oscar nomination, gave him the opportunity to hone his skills behind the camera before his sophomore feature Margaret in 2011.In Lonergan’s dense screenplays, dialogue is everything, and he’s said multiple times in press junkets how important it is to give each character (no matter how small) their own voice. Bringing those performances to life was tricky:The idea is not to follow the script as though it’s a piece of literature, but to embody it and to feel [the actors’] way through it. But occasionally, you have to respect the pauses because they’re as meaningful as — you know — we don’t just express ourselves with words. We express ourselves with silences and with difficulty in finding words. And so there’s only one way to write that down.Making his rounds promoting Manchester by the Sea, Lonergan stopped by The Film Society of Lincoln Center to discuss the pains, processes, and procedures of directing his latest masterpiece.Lonergan isn’t your typical director. He’s soft-spoken, unsure of the future, and brutally honest. His films are tough, intimate character studies that pack an emotional punch and will continue to resonate with audiences for years to come. Though still relatively new to directing, Lonergan’s work comes across like he’s been doing this his entire life.For more on this year’s Oscar nominees, check out PremiumBeat’s recent coverage of cameras and editing:Insight From 2017’s Film Editing Oscar NomineesThe Cameras and Lenses Behind 2017 Oscar-Nominated Films
West Bengal Chief Minister Mamata Banerjee has said she will not attend the swearing-in ceremony of Prime Minister Narendra Modi on Thursday as the BJP is spreading information which is “untrue.’Congratulating Mr. Modi, Ms. Banerjee said in a tweet that it was her “plan to attend the oath-taking ceremony. However, I am seeing media reports that the BJP [is] claiming 54 people have been murdered in political violence in Bengal. This is completely untrue.”She said, “These deaths may have occurred due to personal enmity, family quarrels and other disputes.”Odisha Chief Minister Naveen Patnaik is also not attending as his presence is required at the swearing-in of the new Assembly members on Thursday.“The ceremony is an august occasion to celebrate democracy, not one that should be devalued by any political party which uses it as an opportunity to score political points. Please excuse me.”Her initial decision to go to Delhi indicated that both sides are trying to calm down the pitch of campaign that got severely amplified during the elections, hurting Centre-State relations. The new development indicates that the fight between the parties will continue for now.
Sacked Fulham boss Jokanovic ready for management returnby Paul Vegas10 months agoSend to a friendShare the loveSacked Fulham boss Slavisa Jokanovic is ready to return to football.Jokanovic was sacked by Fulham last month and already looks refreshed and recharged and is looking forward to his first Christmas with his family in years.“I am open, I am looking around and I am one of the first coaches to lose my job but I can be one of the first to get a new job,” he told the Mirror. “It will be a strange situation for me because I can enjoy Christmas with my family, spend some time with my children and it will be a little bit different to so many past Christmases!“I’ve had four years with no rest, I’m not tired but I also try to find something that is interesting and a plan to be successful. I live a good life, it’s not about money, I want to find a way for success.“I am rested, I am ready and hope to find something interesting for myself. I want to carry on working, it’s my profession and I hope I will find work for the next 20 years. Where? This world is so big that I cannot give you answers.” TagsTransfersAbout the authorPaul VegasShare the loveHave your say