CHAIR YOGA This gentle practice make yoga accessible to everyone with support of a chair. We do postures that focus on lengthening the muscles while improving our posture and circulation. This practice is perfect for those whom have difficulty standing, limited mobility or sever aches and pains. No yoga mat required.
Deep Relaxation Yoga combines restorative yoga (supported postures), gentle yoga, breath work, hands-on-healing and guided meditation techniques. It is an excellent choice for those who need something gentle yet effective for bringing the body into balance and reducing stress. Deep Relaxation is a deeply meditative experience – it provides the opportunity to step away from the busy-ness of the outside world and access the deeper wisdom that resides within us.
GENTLE HATHA YOGA A calming, stress-relieving yoga class to stretch and strengthen the body gradually. Emphasis is on building awareness of the breath and the body. Asanas are practiced at a slower pace with attention to alignment and detail.
HATHA YOGA Hatha Yoga is done on a mat on the floor and uses postures (asana) and stretches in combination with the breath to develop flexibility and relaxation. Hatha Yoga encourages proper alignment of the body and is excellent for increasing flexibility, developing strength, improving body awareness, building concentration and calming the mind.
RESTORATIVE YOGA Restorative Yoga uses props (bolsters, blankets, belts, blocks and chairs) to modify traditional yoga poses. These supportive postures gently stretch, and flex the spine in all directions while opening the body to deep relaxation and healing. The class is ideal for those going through stressful times, suffering from chronic pain, illness, cancer, injury or major life changes.
YIN Yin postures are passive, done with relaxed muscles and held for several minutes with deep breathing. This allows the body to release tensions and tightness, to enhance energy, cultivate an inward focus and surrender. Explore and nourish the inner layers of the body (joints, connective tissues and organs) and stimulate the flow of chi (prana) through the meridian system. Through inward awareness, we can balance our predominantly outward-focused attention with gentle, compassionate inquiry to what we find in our bodies, minds and hearts.
YOGA NIDRA Yoga Nidra (yogic sleep) is a meditation used to bring the subconscious mind to the surface by focusing awareness to the parts of the body in a defined sequence. Participants use a sankalpa, or 'positive intention' to direct their path and realize their goals. Yoga Nidra goes well beyond deep relaxation; Yoga Nidra establishes the link between the conscious desires, will power, and the subconscious & unconscious minds. Bring your favorite pillow, blanket and eye pillow and join us for the Sleep of the Yogis.


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The BMD Interview
BMDQ&A: ASSASSIN'S CREED Performance Director Simon Peacock On Games, Drama, And Cliche
"You should never pat a bear."
By Andrew Todd Sep. 10, 2015
I've been a bit absent from BMD over the past couple weeks. The reason is largely that my life was taken over by a partially-improvised theatre show called Hamlet: The Video Game: The Stage Show, for which I created over a hundred video cues. It was directed by Simon Peacock, voice and mo-cap director for games such as the Assassin's Creed and Deus Ex series, Outlast, and Far Cry 3, and a former member of New Zealand improv company The Court Jesters (to which I belong). Not wanting to pass up an interview opportunity, I sat down with Simon and his wife Jennifer Seguin (also a video games director and actor) to chat about directing craft, the role of drama in games, and ruining Shakespeare with game tropes.
How does directing for video games compare to other media? You're directing for screen, but it also has a lot of other elements.
Simon Peacock: As far as the screen side of it is concerned, like in motion capture, it's a little bit different. I'm called the "performance director." I just concentrate on the actors' performances - also making sure they're consistent with what's done in the voice studio, that our dialects remain consistent. On Deus Ex, there's David Hubert, the cinematics director. He knows how he's gonna shoot it when he gets it back in the studio, so I don't have to worry about any of that. For me it's like, "are the actors hitting their notes?"
But it's different from film in that it's just so damn fast. With motion capture, it's two or three takes and you're done, because you don't have to change cameras, you don't have to touch up makeup or costumes, you don't have to rearrange lighting. None of that stuff exists, right?
It's rough on actors as well. If they haven't done motion capture before, they'll come in thinking, "I'll probably do two or three pages of dialogue today," but it's like, "no, you're gonna do 30 or 40 pages of dialogue today."
How does performance directing relate to game development, as things change and get cut along the way - even late in the process?
It results in scripts that can be really last-minute. There are days when I turn up in the studio to direct something that I haven't even read yet. It comes down to different companies, too. Some companies will do a lot at the last minute. But one of the nice things about working on Deus Ex is that they've been recording for two years now, whilst doing testing and that sort of stuff. It's a weird industry. There is no standard operating procedure. Even in a company like Ubisoft, there's no systemic way that we go about it. Each project will develop its own way of doing things. You never know quite what you're going to be doing.
Jennifer Seguin: I find the reaction of actors is much different to working in any other mileu. They have no choice. They have to do it, no questions asked - be ready to do what the director says, have full trust, and commit to it. When you have something that has more time, actors tend to be more involved in the creation process of the character. But [in games] they have to remember that they're just one part of a character that's being built by a lot of other people.
SP: Very very few of the actors will see a full script. Maybe a couple of lead actors, and that's it. The rest are just getting their scenes - sometimes just their lines within the scene. That becomes a big part of the directing - a huge part of it is context, understanding where it fits in the game, and keeping it consistent with the other performers.
Are actors usually directed separately from each other?
For voice, almost always. For motion capture, obviously you can bring them all in together. That's half the point of motion capture. A lot of it comes down to the way agreements exist with actors in the unions, as to how long you can book them for. Overlapping becomes really expensive and difficult in a voice studio. Even in motion capture, if you're hiring someone who's got maybe a six-line role in the game, you're probably going to have them do motion capture for six other characters while they're there, and then you'll just re-voice them later.
How is performance affected by the technological aspect of mo-cap and games - the fact that you never see the actual actors on screen?
We talk about developing a style for acting called "hyper-real." For all that technology - facial capture and motion capture is better than it's ever been - there's still some stuff that it doesn't get across. There's subtleties and nuances to body language and facial expressions that just don't get captured - especially eyes. You look at video game eyes, there's never anything in them. They're always dead and glassy. So that means that information we assume we can take from one another, that you can get from film and theatre, you're not getting from a video game performance. Everything has to be slightly exaggerated. Especially in the voice studio, everything's a little heightened and raised, so without the subtleties of the face, you can still get the emotional content across, and you understand what's happening to the character.
You talked about AI loops. Background NPC barks and other incidental shit has always been fascinating to me - what's it like churning those out?
There are so many. Sometimes there'll be 20,000 of those in the game, and we've got two months to get them all recorded. So you can't spend five minutes on any line polishing it. Most actors get two takes at each line. If after two takes you haven't nailed it, that's when you get direction. If after the third take, you still haven't nailed it, you get a line read from the director. "Here's how I want it; replicate it." Done. Moving on. Next one. The guys who are really good at it? You'll get a couple hundred lines an hour out of them on those barks. Especially in a game like Rainbow Six, where it's really short and always at the same intensity, like "Incoming! Stacking! Frag and clear!"
JS: Often the writer will be present in case someone can't deliver a line. Often the same script goes to every character. Every background soldier, say, will get the same script, but if it's becoming too repetitive, sometimes Simon will say "let's change this line." As long as it's okay with the writer and they don't have to animate the mouth, they'll change it just to give it more variety.
SP: It's an argument I've had at a lot of production companies. When you're doing voiceovers for cutscenes and walk-and-talks, they'll take a lot more time with it - twenty or thirty lines in an hour instead of two hundred. But if you actually look at the practical effects of it, you only hear those lines once. Those background barks, though, you're gonna hear those hundreds of times each. So if you don't spend the time making sure they're of a high quality, it's like "you can smell the river from here" from Thief. Every single character in the background records that line. It's one of those things that bugs me. You can't do jokes in barks, unless you have some system of implementation whereby you can guarantee that line only plays once. With the project I'm working on with Eidos at the moment, they've been really protective about that sort of thing. They'll identify, "that's a funny joke. Once one character says it, it never gets played again."
Do you frequently get lines that show up in the final game and just clunk?
Oh, yeah. It's hard. If the actor comes in and does 200 an hour, and as a director you're in the studio for eight hours, you're doing 1600 lines a day. It's really hard for one of those not to get away. I worked on Rainbow Six: Vegas, and it was exactly the same barks for every single character. 800 of them. But then you had to record them in stealth mode, combat mode, relaxed stealth mode, combat stealth mode, combat relaxed...so many permutations. You're recording the same line eight times for each actor, over sixteen actors, 800 lines. By the time you've done that, you're just starting to go nuts. You can't tell up from down sometimes. Tango? What's a tango? That's a funny sounding word.
And pain grunts and things?
We call them "oh-noes" - onomatopoeia, and also the reaction of the actors when they see them. Those ones, we record like 300 an hour. We always schedule them at the end of a session, before we trash their voice.
JS: Simon was actually instrumental in making sure that the union had a limit on how long an actor can do oh-noes, because it really is hard on the voice. If the director isn't like Simon, who's sympathetic towards that, they'll book the actor for a whole day. I mean, that's impossible. You can't use your voice like that, screaming nonstop for hours.
SP: They're good to record. That's where you find out if someone's a gamer or not. If they're a gamer, it's really easy and fast. It's like, "give me ten impacts, arrow to the torso."
They know the function of it.
They know the function of it, and they know the way it sounds in games generally. I mean, oh-noes are horribly unrealistic. I remember a WWII veteran talking about Saving Private Ryan, saying it wasn't like that at all, all that screaming and stuff. If someone got hit on the beach, they were silent. That was the creepiest part of it. They'd just collapse, crumple, and go into deep shock really quickly. It's like if you spend time in an emergency room. Very few people come in making a lot of noise. If they did, they'd be the ones with minor injuries. Major traumatic injuries are quite quiet. But oh-noes can't be quiet, because it's about feedback to the player. The player needs to know if they've shot somebody, they need to know if they're going to die. So it's heightened and sort of ridiculous, which gamers will get straight away.
It's also the language Hollywood's established in movies. Everytime someone gets punched in the face in a film, it's a big sound effect. They've created this weird vocabulary of sound that games have latched onto. They've already established to people what it "sounds like," so we're not going to mess with that. And then we have to build variety into it as well, so you're not just hearing the same impact or the Wilhelm scream every time you get shot.
If you get an actor who doesn't understand how that stuff works, it's harder to explain. "So...you're partially on fire, and you've just made that realisation. It's not a bad heat yet, it's gonna ramp up, but there's also pain on the inhales, your chest's on fire, so when you inhale, you're burning your lungs" - it's just easier to give them a demo. "It's just going to be this!" [makes noise just described] Some actors hate that stuff. Others love it. I like doing it - it's really fun, dying for an hour.
JS: It is fun. Gets your frustrations out.
Game protagonists get a lot of criticism for being samey. If you're doing a series of gritty protagonists on a path of revenge, how do you differentiate them?
SP: It's really hard. Because the protagonist in most cases is also representing the player, it's hard to make bold choices with that. It's one of the things we talked about with [Deus Ex: Human Revolution protagonist Adam] Jensen. On the first Deus Ex, we spent so much time recording him and re-recording him, putting him in, testing it. We ended up using a pretty narrow emotional range. Jensen never gets really upset or really freaked out by anything. It's really subtle, because you've gotta remember the player has to be feeling the same thing to get to an extreme. So if you have your protagonist absolutely freaking out, and the player hasn't had that same experience, then it breaks them out of that immersion.
That's the other extreme - when people make fun of it for seeming over the top.
"It's stupid! It's dumb!" Yeah. But you can take those risks with the other characters. Like with Far Cry, with Vaas, we went really crazy with him. He can be really ridiculous, because he's not representing the player. And if it's done right, it adds more colour to the protagonist as well - the way you interact with them and reflect back on their actions.
You get to have more fun with NPCs?
Definitely more fun. It's where you can make much more interesting choices. I work with Nolan North quite a bit, and he's a different case as the protagonist, because he's just an incredibly funny guy. Really quick, really witty. I've directed him as Desmond in Assassin's, I worked with him on Teenage Mutant Ninja Turtles. [laughs] He's a freakin' genius. When you get him in the studio, you can try a lot of things. On a lot of Uncharted, they'll get him to deliver the script, then say, "and now give us one however you want." That gives you a much more natural-feeling result out of it as well, which means as a protagonist you actually can go a little bit further, because it's coming straight from him. And they get themselves organised enough that they can show him what's happening on screen as well, so he can just improv off that. It's a great gift. Even different barks as well - it's not all coming from the imagination of just the writer. You get another voice from someone who also understands the character. Elias [Toufexis] is great for that too, with Jensen in Deus Ex. He knows that character so well now, because he took a couple years developing the character before voicing him. The writer says that if Elias struggles to deliver a line, it means the line's wrong.
How much improv do you get in the studio, or is the script hard and fixed?
It depends on the project, and the writer for the project. But a lot of them, especially for barks, actually like it when you can get improvisers in. Because again, with just one writer writing all those barks, who's going to come up with 150 different ways of saying "what was that?" There's only so many ways, from your own frame of reference, you can do that. But if you bring in other actors and say, "say whatever you would say," suddenly you've got some varieties you hadn't thought of. It's a valuable asset.
Some people skip every cutscene, and others dial down difficulty so they can just experience the story. Where do you stand on the balance? Your work can be completely ignored by some people.
The balance at the moment is still that gameplay rules over storyline every time. You can have a game with great gameplay where the storyline is crap, and it could still be a massive hit. But the opposite doesn't work. If you have a great storyline but the gameplay's crap, no one's gonna play it. So you see a lot of times in the studio when you feel those decisions being made. The level designer's decided to scrap a whole chunk of dialogue because they've put you in a mine cart for that stage instead. But it is changing. I think The Last Of Us is a good example of why it's changing. When games like that come out, where the sales start snowballing because people are going "oh my god, the story and characters are amazing," that gets held up in the industry a lot at the AAA level. It's like, "look! You can tell good stories. You can have interesting characters, and still have good gameplay." And that should be the holy grail, right? Get both of them up to that standard.
And ideally, they should support each other.
We've got a lot of writers who have come over from film and television as well, so it's taking them time to understand the medium themselves. How do we make that mesh? How do we bring the two of them together? As companies, when do we have level designers and writers work together? What's the process? With a lot of games in the past, the level designer did everything first, then said, "here are our twelve levels; make a story." Now there's a lot more sitting down at the beginning of a game, where level designers say what their ideas are, narrative can say what they're thinking of for an overarching story, they discuss what works and what doesn't work, and slowly but surely they start slotting level design and story together into some sort of coherent whole. Hopefully.
What would you hold up as great examples of melding drama with gameplay?
Again, The Last Of Us does it really well. Coincidentally, also zombies, The Walking Dead episodic stuff was really good, because it gives them a bit more freedom with the storyline. They can take a pause, see what's landed well, figure out where the plot can go, and be open to possibilities. They can also see what was popular. A lot of game developers spend way more time on forums than people realise, looking at feedback and what players are talking about and liking. Sometimes it's to the detriment of some things - a writer freaking out over what 0.001% of players think of something.
What kinds of things get changed based on feedback?
The most common ones are if players are having a hard time understanding objectives or gameplay mechanics. Often you'll have to go back and get lines from characters and make them more clear.
With the stuff I'm working on at the moment, they won't find out half the things that can be done in the game until the testers go in. If it's a stealth game, say, you can drag a body around and hide it. That also means you can drag a body anywhere, right? So you can drag a body up to another character and drop the body. So now every AI character has to have ten lines covering a body being dumped in front of them. And then - like, we have secure zones where you can't do that. But a tester will find a way. They'll pick up a body, take it into the ventilation shaft, go around security, find three ways of doing this, this, and this. So our protagonist is now presenting a dead body to their boss, which we didn't think was possible. And now the boss has to have ten lines to cover how weird that is, even though in actuality, when the game is played, there will probably only be seven or eight people in the entire world who will ever actually do that. The amount of time that goes into those little details is ridiculous.
That's what you get when the player gets to choose what happens.
Especially with open-world games. The level designers cannot think of all the possibilities until you get people in to start playing it, and you realise, "oh crap, you can do that! Oh no! Now we have to have dead animal lines! Now we have to have foley of animals being killed!"
At least in Assassin's you can pat animals as well. I really appreciated that! But you can only pat the sheep, the pigs, the dogs…
Not the bear.
I tried it.
You should never pat a bear. We'd be sued for that if we had. We'd have kids going up trying to pat bears in Yellowstone, getting mauled to death. "Another Assassin's Creed getting someone killed! Video games!"
JS: Didn't you kill the bear in the woods there, and you'd have a little prayer for the bear? Or was it a stag?
SP: I think both. Connor used to give little prayers for pretty much everything he killed.
I think you killed the stag first.
JS: You killed a rabbit...
Just working your way up the animal kingdom.
SP: Jenn did a lot of directing on [Assassin's Creed III] as well, directing all the Mohawk voices.
JS: That was really interesting! The Mohawks have only learned [their language] by speaking it with their elders. They don't read it. So there had to be a Mohawk teacher there to tell them what it was they were saying. And even when they spoke it, it was hard for them to grasp what they were seeing. It was a really long process. And they all had to be authentic Mohawk actors to actually pronounce those words.
SP: That's one of the things Ubisoft, with the Assassin's franchise, has done a really good job of. They do so much research. There's always one or two history professors they bring in to consult with. They'll try and find real people who can actually speak these languages, as opposed to just "here's what it sounds like, now say it back," which is always gonna sound horrible. And from the cultural side of things as well, it's just not right to bring in a bunch of white guys to read Mohawk and pretend to be Mohawks. Before you know it, you'd be in a 1960s Western again. Or an Adam Sandler film.
How do you deal with cliches when you're directing?
We teach video game acting, and one of the things we talk about is that stereotype is actually a shortcut to character. If you're an AI character in the background, you may have two lines. In those two lines, the player has to be able to identify who you are and what you are. And what's the easiest way to do that? It's a stereotype. Here's the blacksmith. We know, because he's got a big burly old English accent. "Ooooh, you need yer shoe fixed therrre?" Same with a pirate. "Oh, oi'm a poirate. Ooh, arr, arr." You don't want your pirate coming in with a soft French accent and this beautifully-worked characterisation - oh, and by the way, we need 200 lines in the hour for that beautifully-rendered character. There's only so much subtlety and nuance you can get there. So for AI, cliches happen a lot, but you embrace it. For your protagonists and your bigger roles, you've got the room within those characters and their scenes to try and do something more interesting and show some more colour.
Click here for part 2 of this interview, in which we discuss Shakespeare, improv, gender, and Hamlet: The Video Game: The Stage Show.
Thanks To The Quarantine, I Finally Played SKYRIM
At Long Last, KENTUCKY ROUTE ZERO Will Hit Gaming Consoles This Month
THE OUTER WORLDS Game Review: Peak Role-Playing Takes On Peak Capitalism
bmdq&a
simon peacock
Andrew Todd Gaming Editor
Andrew is a New Zealand-born writer, filmmaker, and theatre practitioner who sometimes lives in Canada. He can be read at Birth.Movies.Death., SlashFilm, IGN, Polygon, and elsewhere. His favourite movie is MIRACLE MILE, his favourite band is the Manic Street Preachers, and his favourite commenters are the ones who read the article first.
By Evan Saathoff, May 11, 2020
While you all played ANIMAL CROSSING, I studied the blade.
The wait is finally (almost) over.
By Andrew Todd, Oct 28, 2019
Obsidian Entertainment returns with a slam-dunk space Western RPG.

redpajama_set_name: RedPajamaCommonCrawl


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Cantina Talk: This Is Your New Favorite Room on the Millennium Falcon
Graeme McMillan
Unsurprisingly, it's for Lando Calrissian—and it's perfect.
Turns out that in Solo: A Star Wars Story, the Millennium Falcon contains an entire closet just for Lando's capes.Jonathan Olley/Lucasfilm
It's amazing to consider, but the next Star Wars movie—Solo: A Star Wars Story—is less than three weeks away. (Expect reviews to start popping up on social media in the next couple weeks, and then make sure to hide from the internet as spoilers inevitably follow.) That's not all that's happening in a galaxy far, far away, however, with movement starting on J.J. Abrams' Episode IX and the announcement of an all-new animated television series later this year. Looks like it'll be life during wartime for a while longer.
Episode IX Restores the Natural Order of Things
The Source: The Resistance's favorite former stormtrooper, John Boyega
Probability of Accuracy: There's a level of speculation in here, but we'd still give it a high likelihood of being true.
The Real Deal: After The Last Jedi broke with tradition by beginning a Star Wars movie immediately after the previous movie ended, it looks like Episode IX is going to restore the between-movie time jump, if comments made by John Boyega are anything to go by. "I can't wait to start shooting the next and final leg of the franchise," he said during a recent press appearance. "The first step is growing out my hair, so you can wait for the trailer to see why." Sure, there's probably some plot-related reason for the long hair as well—a life spent constantly on the run, following the events of the last movie, perhaps—but at least the opening crawl will have something to write about once more.
George Lucas Changed a Scene in Solo
The Source: Solo director Ron Howard
Probability of Accuracy: It's from Howard's own lips, so it better be true.
The Real Deal: Ever since Disney acquired Lucasfilm from George Lucas himself, the director has largely been hands-off about the new movies in the franchise. But after Ron Howard, who starred in his film American Graffiti, took over directing duties on Solo he decided to stop by the set. He also had a small piece of advice to offer Howard on a bit of dialogue he was filming. "We were doing a scene and he was trying to stay out of the way, but he did lean over and he said, 'You know what Han would really do there?'" Howard told Stephen Colbert last week on The Late Show. "I said, 'What?' And he told me the joke, he gave me a little joke. And I said [to the cast], 'Hey, guess what? Here's what we're gonna do in the next take.'" Fans won't know for a couple more weeks, but chances are Lucas' line made the final cut.
Another Female Leader Is Coming to the Star Wars Universe
The Source: A casting notice, noticed by the internet
Probability of Accuracy: The notice itself is legit, but everything else is open to interpretation.
The Real Deal: While almost everything outside of the potential time jump remains a mystery when it comes to the final part of the Skywalker Saga, The Hashtag Show found an interesting casting notice for a new character in the movie. Called Caro—although that name is almost certainly a placeholder—she is "a leader and problem solver, smart with a great sense of humor and a strong will. All this comes to her effortlessly." She also has, apparently, "captivating naturalness and ease to her manner." Lucasfilm is reportedly looking for an "ethnic female," preferably African-American, around 18-26 years old for the role. But will Caro turn out to be on the side of the Resistance or the First Order? All will be revealed in December 2019.
Finally, the Millennium Falcon Tour You Always Wanted to See
The Source: A promotional hit for Solo
Probability of Accuracy: Look, it's very accurate that this will make you love Donald Glover all the more.
The Real Deal: As if to prove that Donald Glover's Lando Calrissian is likely going to be the breakout character of Solo: A Star Wars Story, a new promo for the movie let Glover loose on the Millennium Falcon set to show everyone around, and in the process, introduce a previously unseen area to fans.
…Yes, there's an entire closet just for Lando's capes. Seriously, Lando is going to be everyone's favorite character in the entire Star Wars galaxy by this time next month. Well, unless Phoebe Waller-Bridge's L3-37 steals the show, which let's be honest: it's potentially very likely.
The WIRED Guide to Star Wars
The Animated Adventure Begins Again
The Source: An official announcement from Lucasfilm itself
Probability of Accuracy: This is completely spot-on. And pretty exciting.
The Real Deal: Star Wars Rebels may be over, but that doesn't mean that the animated adventures from long, long ago have finished. Lucasfilm just announced Star Wars Resistance, a new series set prior to Star Wars: The Force Awakens, focusing on the early days of the conflict between the Resistance and the First Order. The series is created by Clone Wars and Rebels showrunner Dave Filoni, and will focus on a young pilot named Kazuda Xiono as they're recruited by the Resistance to spy on the First Order. Expect to hear some familiar voices throughout the show, however: both Oscar Isaac and Gwendoline Christie will be part of the cast, voicing Poe Dameron and Captain Phasma, respectively, and BB-8 will also make appearances. The show will start this fall with a premiere on the Disney Channel in the US and the regular series airing on Disney XD.
Everything You Want to Know About Solo (Well, Almost)
The Source: More Lucasfilm promotion
Probability of Accuracy: It's as accurate as any promo can be, really…
The Real Deal: Elsewhere in the Solo promotion cycle, Lucasfilm released a number of new character posters as well as a video about creating the galaxy under Imperial rule, complete with all-new footage from the movie.
[#video: https://www.youtube.com/embed/fS37K3Lcf6g
Perhaps of most interest, however, is Ron Howard talking about the movie (and the character) on the official Lucasfilm-produced Star Wars Show, giving perhaps the best insight on what to expect from the movie itself. (Also, Arrested Development fans should keep watching after the interview…)
[#video: https://www.youtube.com/embed/p1VCYu2ecfo
More Cantina Talk
Solo isn't really an origin story
Thought you saw all of The Last Jedi? You didn't
Is Solo in even more trouble?
TopicsCantina TalkStar Wars


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Chris Barkley was born in beautiful Nashville, Tennessee, and fell in love with storytelling after seeing The Princess Bride (which he's enjoyed over fifty times) as a child. Taking a unique path to storytelling, Chris began as a songwriter, penning over 200 songs. The need to emote through the power of the story drove Chris to co-found Bonsai Creative in 2015, a boutique company whose goal is to help independent film creatives tell stories in a meaningful (and profitable) way.
Since then, Chris has worked as Executive Producer, Advisory Producer, Film Consultant, Story Consultant, and Brand Strategist on several feature films, including 'Another Version of You' (CJ Perry, Alan Powell), 'Adult Interference' (Kate Upton, Ted Welch, Mike Vogel), and 'All Light Will End' (Andy Buckley, Sarah Butler). Chris is also the host of the five-star podcast 'MAKE IT,' an audio platform for the Independent Film Creative that provides a variety of content options.
Bonsai Creative's films are distributed worldwide, including distribution on Netflix and Paramount+.
He brings over two decades of successful C-Suite sales, consultation, marketing, branding, and entrepreneurial experience across a wide range of industries, including Healthcare, Real Estate, Music, and Film.
Chris earned a Bachelor of Science from Middle Tennessee State University with degrees in Journalism and Marketing and serves on the Boards of NPR/WPLN, the Nashville Film Festival, and the Nashville Women In Film and Television.
"It was of the utmost importance to have a home team here for me, and (together) we made an award-winning film that got distribution. That's a win! I would recommend Bonsai Creative to anyone. My experience has been wonderful. Thank you guys for everything!"
Ted WELCH / Actor
"I liked how hands off yet present Bonsai Creative was. They let me steer the ship and be a Creative, but they were there to support and collaborate if things needed to be worked out. I respect them as creatives as well, and I felt the respect was mutual. I would recommend them to anyone and everyone!"
Lesley POWERS / Producer, Writer, Director
"I was looking for someone to listen to my creative ideas and interact with them as if they were theirs. Bonsai Creative did that for me. Stories are important to Chris and Nick, even if the project isn't a good match. I can count on them to care. Bonsai invested in me and now my projects are award-nominated and winning films."
Kris WENTE / Actor
"Bonsai Creative has provided so much passion and support for our film through every phase. They have been springboards for ideas and they have offered their support through every step of the journey. As we moved through production and post-production, they had a light, but passionate touch on many of the moves we made. They provided feedback when asked, and they were very collaborative in their approach without being invasive. This is the kind of relationship every creative longs to have."
Motke DAPP / Writer Director
All Light Will End
When a capricious young author hiding a dark secret returns home for her brother's graduation, she finds herself haunted by the past and tormented by grim night terrors.
Another Version of You
Diggsy Ellston has been in love with Suzette Larking since he was a boy. When Suzette gets married to another man, Diggsy meets a stranger who offers him an unbelievable gift: the unusual possibility of finding another Suzette. This offering comes in the form of a key that opens doors into parallel universes. Universes where other versions of Suzette may not only exist, but where one of them could even possibly love him.
Adult Interference
When he's sentenced to 90 days of house arrest, Bo meets Elliot, the awkward kid who lives across the street. While bonding over football, these unlikely friends teach each other a little bit about growing up and what it means to be a man.
©2021 by Bonsai Creative. Proudly created with Wix.com
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Cats. Mass adoption of blockchain technology's first real breakthrough is a game about cats.
CryptoKitties has taken the world by storm, both among crypto holders and entering into the mainstream, and its proving what we at WAX have been saying all along — digital trading in the gaming industry will drive global mass adoption of cryptocurrencies, to the point where the volume of transactions requires a custom blockchain solution like the one that WAX is building.
CryptoKitties is a game where users buy, sell and breed digital cats using ERC20 tokens. It's been responsible for up to 15% of all transactions on the Ethereum blockchain. This instant virality of this game shows the power and impact of digital item trading within video games compared to other use cases for crypto currency.
When WAX launches to the millions of users on OPSkins later this month as well as other sites, we expect the number of weekly transactions to be in the hundreds of thousands just to start with, since OPSkins currently processes 2 million item transactions per week on its current centralized platform. The Ethereum blockchain would be overloaded, since nearly 700,000 Ethereum transactions occur daily.
That's why WAX is building a custom blockchain. The predicted virality and subsequent transactional volume would overload the ETH blockchain, and so a custom solution is necessary.


This project will save us $6,343 , allowing us to provide more comprehensive services, reducing client barriers to energy asssitance, early childhood services, and employment. Our programming is led by client and community input and needs.
We would like to create a strategy that combines Public Relations Strategies along with a Resource Development Plan.
We currently have an agency wide strategic plan to mirror strategies from, which should make it easy for you to get started. We also have our old PR consultants strategic plans, and the ability to provide any other information you need.
We are known community-wide for providing human services, yet media and funders often do not know who we are as a community action agency. Yearly, we provide services to 20,000 people with Head Start, energy services, workforce development, and senior advocacy. Our goal: create a brand where everyone knows what OLHSA does and wants to become a neighborhood champion. Simultaneously we need to create non-restricted fundraising strategies to provide more comprehensive services for our clients.
To empower families and communities to gain the knowledge, skills and resources needed to improve their quality of life.
People often call our agency for OSHA Safety trainings....while OLHSA loves to ensure that our clients and families are safe, we only provide education related to community action.


Widow's Revenge by K.L. Fogg. Published by Covenant Communications, Inc.
To Wesley, getting kicked out of school is the least of his worries. Soon, the reason why he's out of school is moving in next door, school bully Dylan Maclean. Wesly also finds out Harrison is more than just a geeky tutor. When things take a turn for the worse, events leave Wesly in the middle of nowhere, with a madwoman (who thinks she's his mother) and with wild animals right outside his door. Wesly has to rely on some unlikely people to escape.
I think Widow's Revenge is a great sequel. This book is the sequel to "Serpent Tide". On it's own, you do miss a lot of background information. The first time I read it - it was hard to understand, what the characters were talking about or who different people were. When I re-read it though, it was easier to understand and I liked it much better.
I have always loved adventure books and this one certainly didn't let me down. It was exciting and thrilling but allowed you time to think about the next part in the story. I was in suspense until the very end! I recommend this book to both boys and girls around 12-16 years old.


The Other '69 Charger: Dirty Mary, Crazy Larry!
Filed to: Fury Flip-O-Rama!Filed to: Fury Flip-O-Rama!
I saw this movie on the big screen as an 8-year-old and was sent into such a car-chase frenzy that I used up my entire stash of firecrackers that very afternoon, sending exploding Hot Wheels cars to their doom. Far dumber and more ineptly made than its early-70s car-chase contemporaries, Vanishing Point and Duel, Dirty Mary, Crazy Larry still deserves a place in the Jalopnik Movie Canon, if only for the Charger, backroad-Stockton settings, and Plymouth Fury copmobiles.


News of the upcoming Jeff Beck album Rock 'n' Roll Party has gone on numerous sites with competitions on Classic Rock, Total Rock, Rock Louder, Music News, and I Like Music.
After a very successful couple of dates in London, video interviews with Innerpartysystem have gone live on Amplified and Bring The Noise.
Anathema are back on the Division roster and announced their upcoming UK tour this week with news pieces going live on Music News, All Gigs and more with plenty of interest in the shows!
South Central have their video for new single The Day I Die on the NME homepage today. The single is released on March14th.
Amplifier have blogged about their 8 favorite concept albums for Virgin. Their own 2 disk epic 'The Octopus' will be released next week.
Pulled Apart By Horses were back in the NME this week with a full page live review. "They are irresistible," says the magazine.
This week's Kerrang! has an awesome 2 page feature with Social Distortion's Mike Ness. Check it out!
Funeral For A Friend, The Get Up Kids, and Pendulum have been added to this weeks essential Kerrang! playlist. Check them out here.
The Get Up Kids' new album 'There Are Rules' is released next month and the band has unveiled an exclusive preview on This Is Fake DIY. Check it out.
Amplifier saw the video for their track The Wave get an exclusive placement on Classic Rock this week. The track is taken from their upcoming album The Octopus.


text:
Dollar Rises Against Euro in Technical Rebound
Published 9:27 PM ET Tue, 24 July 2007 Updated 3:12 PM ET Thu, 5 Aug 2010 Reuters
The dollar jumped broadly Wednesday in a technical rebound from record lows against the euro, shrugging off fresh signs of deterioration in the U.S. housing sector.
A government report showed U.S. existing homes sales in June were the lowest since November 2002, even though the median price rose for the first time in 11 months.
The euro fell to a session low of $1.3710 from $1.3730, where it was before the home sales data. The single European currency was down on the day against the dollar and way off record highs above $1.3850 hit on Tuesday.
The dollar was up against the Swiss franc.
Against the yen, the dollar's gains were more modest.
"The predominant trend in euro-dollar today is profit-taking, and this piece of (housing) data isn't likely to change that," said Boris Schlossberg, senior currency strategist with DailyFX.com in New York.
"Housing is clearly in a free-fall, but it hasn't translated into a recession for the overall U.S. economy."


text:
Is BHCG less than 5.0 considered a Positive or a Negative Pregnancy Test Result?
Many women sent such results to the Facebook page's inbox, like this
The medial laboratory interpret the BHCG levels like that:
Beta hCG < 5.0 mIU/mL, any hCG number less than 5 means that there is no pregnancy yet or that the pregnancy is still very early and at its first beginning, and therefore the level of the pregnancy hormone appears very little to a degree less than 5.
Beta sub-unit from 6 up to 24, an hCG number in this range means that pregnancy is at its beginning and that the pregnancy hormone still needs more time to increase and rise, so we have to repeat the B-hCG blood test again after at least 48 hours to make sure that the pregnancy hormone increases as time passes. Also after re-doing the quantitative hCG test, if the hormone level increases, then this is a good sign of the continuation of the pregnancy, but it cannot be considered evidence of the viability of the pregnancy. Know why. But if the pregnancy hormone level has stopped increasing to a remarkable number or becomes less than the result of the previous test, then this is a very important sign of the end of pregnancy and the loss of the fetus in the very early stage.
If Quantitative hCG test result >25, <100, any hCG number equal to or greater than 25 is considered a pregnancy from the first test, but this hCG number must double every 48 hours, and that the menstrual cycle must be delayed by a day or two at the most so that the result can be interpreted as a pregnancy at an early beginning. Practically we find most hCG readings between 25 and 100 in the first days after delayed menses often go down which leads to pregnancy loss, so that your doctor may prescribe progesterone supplements to increase the hCG level in the pregnant's blood and to help maintain a healthy pregnancy.
B-hCG < 5.0 usually means negative pregnancy test, but if the date of menses is still early, the hCG lower than 5 may mean a very early pregnancy, that's because the hCG hormone can be detected 6 days earlier before the due date, and therefore you must repeat hCG test after the menstrual cycle is late than the usual date every month, and this repetition is to make sure that HCG 5 increases and that it was due to very early pregnancy.
Also, hcg <5 can be seen if the woman is in premenopausal (before girl puberty) or postmenopausal stage (usually after age 50 of women there's no menstruation), it means the girls before menopause may normally show b-hcg number lower than 5, and women stopped their menstruation can still naturally see hCG number lower than 10 without pregnancy or any disease.
Note that some tumors can see slowly increasing hCG levels, but this is another article, be tuned.
High B-HCG Levels and No Image on Ultrasound, What to expect?
20+ real cases, AM I PREGNANT , all pregnant or non pregnant questions answered
by Dr.Megan Ralf · Published March 29, 2014 · Last modified February 16, 2020
What is hcg level blood test results meaning? false positive/negatives
by Dr.Megan Ralf · Published March 4, 2014


Manu Tuilagi wants to come back into the fold and play for his team Leicester in this new season.
But, the groin injury that he sustained during the season's opening game at Gloucester has not healed fully and this is preventing him from taking part in the games. Manu's run with injuries is continuing for the past two years. Leicester is desperately hoping for his groin injury to subside soon and he takes the field for the team very soon.
The director of rugby, Richard Cockerill, said that the team will be looking after Manu for a couple of weeks. He is about 80% fit, but the team did not want to take a chance with his injury. If the team had decided to play Manu in the last game against Newcastle, he would have definitely said yes. The team is looking to make cent percent sure that his groin injury is completely cured and he gets over it once and for all.
Richard said that losing a valuable player like Manu for two to three weeks is a big setback for the team. But, these things happen in sport and they have to move on. Manu too is dying to play and give his best shot for Leicester. But, the team has decided to be patient and wait for the injury to subside fully and set things right before putting Manu back on the playing field. Tuilagi returned to the playing arena after a 15 month leave due to Gilmor's groin only in January. His comeback was interrupted with hamstring injuries on two occasions. The injuries have not allowed him to take part in an international event in England for the last two years. Manu does not want to rush things and has given time for recovery so that he gets fully fit to hit the field once again.


Pullip Eve Sweet is the first in a new original series called Innocent Flowers. She is counterpart to Dal Cherry Sweet.
Feel Like So: Bright Roses….. Smile unwillingly…..Seems to bloom until my heart splendidly….Feel Like So.
Wig: Long wavy pink wig.
Stock: Eve Sweet's stock contains a headdress, one-piece dress, frill apron, tights and shoes.
Special notes: Pullip Eve Sweet was voted the number 1 prototype doll in a survey at a Tokyo Doll Show on May 5th 2015.
Known Issues: Stock may contain animal products (headdress).


Are you looking for a new and exciting career opportunity in the sporting industry? We are seeking suitably qualified applicants for the position Game Development Officer.
The position of Game Development Officer is responsible for the management and delivery of the New South Wales Touch Football development and education programs for playing, coaching, refereeing and selecting throughout the state.


text:
Q: Jquery Ajax with GET not working I have this peace of HTML code
<select id="country" name="country" onchange="updateState()">
    <option value="1">Country 1</option>
    <option value="2">Country 2</option>
    <option value="3">Country 3</option>
</select>
<select id="state" name="state">
    <option value="1">State 1</option>
    <option value="2">State 2</option>
    <option value="3">State 3</option>
</select>

and im trying to update state select with JQuery ajax
<script type="text/javascript">
function updateState(){
    var state = $('#country').val();
    alert(state);
    $.ajax(
    {
        type: "GET",
        url: "../functions/selectstate.php",
        data: { sta : state }
    }).done(function( html )
    {
            $('#state').empty();
            $('#state').append(html);

    })
    }
}
</script>

selectstate.php have this php code, i tested it and work fine
include_once('select.php');
include_once('cndb.php');
$sDB = new SelectDb();
$data = $sDB->selectStatesById($_GET['sta']);
foreach($data as $row)
{
    echo "<option value=" . $row->state . ">" . $row->name . "</option>";
}

I just can't see where is the problem. Thanks in advance

A: Try using the below approach. It might help
HTML Code:
<select id="country" name="country" onchange="updateState()">
<option value="1">Country 1</option>
<option value="2">Country 2</option>
<option value="3">Country 3</option>
</select>
<div id="stateDiv">
   <select id="state" name="state">
   <option value="1">State 1</option>
   <option value="2">State 2</option>
   <option value="3">State 3</option>
   </select>
</div>

JavaScript Code:
...
...
.done(function( result )
 {
   $('#stateDiv').html(result);
})
...
...

PHP Code:
...
...
echo '<select id="state" name="state">';
foreach($data as $row)
{
 echo "<option value=" . $row->state . ">" . $row->name . "</option>";
}
echo '</select>';
...
...

A: HTML
<select id="country" name="country">
    <option value="1">Country 1</option>
    <option value="2">Country 2</option>
    <option value="3">Country 3</option>
</select>
<select id="state" name="state">
    <option value="1">State 1</option>
    <option value="2">State 2</option>
    <option value="3">State 3</option>
</select>

SCRIPT
<script type="text/javascript">
    $(document).on('change','#country',function (){
        var state = $('#country').val();
        alert(state);
        $.ajax(
        {
            type: "GET",
            url: "../functions/selectstate.php",
            data: { sta : state }
        }).done(function( html )
        {
            //$('#state').empty();
            //$('#state').append(html);
            $('#state').html(html);
            // you can use it insetead of the above two lines
        })
        //}<-- here is th problem remove this extra bracket
    });
</script>

redpajama_set_name: RedPajamaStackExchange


Marketing can be a contentious subject.
Some entrepreneurs believe they are natural born marketers. In fact, they're only partially correct.
The wisest ones get branding and marketing help early in their startup journey. Because when they do, they're more likely to be successful.
Please come to Chris Grindem's workshop, "Making Friends with Marketing". You'll learn about a wide range market-tested, best practices. And you can learn how they make sense for your organization.
Chris Grindem is the Executive Director of The Utmost Group, a boutique branding, marketing and communications firm focused on serving the greater good with social enterprises, startups and small businesses in Detroit. Chris earned his BA and MBA in marketing at Michigan State University.
Over the past 30-plus years, he's worked with advertising agencies including Leo Burnett, Chicago, Doner, and JWT Detroit. Corporately, he worked in marketing with The Goodyear Tire & Rubber Company and the Broad College of Business at MSU. And he's been an entrepreneur, helping found the Optimization Group, Ann Arbor, as well as The Utmost Group. He also serves as an Adjunct Faculty Instructor at the College for Creative Studies in Detroit.


text:
An high exhaustion tanning process
Today, 80-90% of leathers in the world are tanned by chrome tanning. Chrome tanning uses a solution of chemicals, acids, and salts (including chromium sulfate) to tan the hide. It's a very quick process, taking about a day to produce a piece of tanned leather. First, hide are limed to remove hair and then are "pickled" by being left in the acid salt mixture, before being placed in the chromium sulfate. All hides then come out looking light blue (known as "wet blue").
In 2008, about 24 million tons of chromium was produced. About 2% of it has been used for the production of chromium salts, such as chromium sulfate, for the making of leather tanning materials but also for the production of dyestuffs and plastics. Worldwide approximately 480,000 tons of chromium tannins are produced per year.
The most important chrome deposits are found in South Africa accounting for 33% of production, while India and Kazakhstan provided 20% and 17% respectively. Brazil, Finland, Oman, Russia, and Turkey together contributed a further 21%, while some 12 smaller producer countries brought the balance of 9%.
The increasing requirements of producing safer chrome leathers in a sustainable way have led Silvateam to develop an innovative hybrid tannage using a combination of chrome salts and Blancotan CAT that allows the customer to produce a new environmental friendly wet blue.
Main advantages of hybrid chrome tanning compared to standard chrome tanning
Very low environmental impact
High percent of Cr2O3 fixed to the leather fibers
Extremely light wet blue leather colors
Uniform and excellent fullness of leathers
Chrome free sludges
Versatile hybrid wet blue leather
Leathers with a more performing dyeing characteristics compared to standard wet blue
Reduced chances of chrome (VI) formation


text:
David "Dave" Marsh (born December 29, 1958) is the head coach of Team Elite in San Diego, California, and the 'Professional Adviser' of the Israel Swimming Association.

Marsh worked to build Team Elite under SwimMAC Carolina since 2007. Prior to founding Team Elite he was the men's and women's swimming coach at Auburn University. After becoming head coach of Auburn in 1990, Marsh led the men's team to seven NCAA national championships (1997, 1999, 2003, 2004, 2005, 2006, and 2007) and the women's team to five national championships (2002, 2003, 2004, 2006, 2007).  He finished his coaching career at Auburn at the conclusion of the 2007 season, after which he became the Head Elite Coach and CEO of the United States Olympic Committee Center of Excellence with SwimMAC Carolina.  To date, Marsh has led SwimMAC to three consecutive USA club excellence championships, a first for any program, outdistancing the second-place finisher by 12,000 points (see www.usaswimming.org). He was the head swim coach for University of California San Diego, an NCAA Division II program for two seasons from 2017 to 2019.

The internationally known coach has coached 49 Olympians from 19 countries. In December 2016 Marsh was named the 'Professional Adviser' of the Israel Swimming Association, with a goal of preparing the country's swimmers for the Tokyo 2020 Olympics.

Early life

Marsh is originally from Miami, Florida and received his degree in Business Administration from Auburn in 1981.  Marsh was a five-time All-American backstroker at Auburn.

Success at Auburn
Marsh has won 17 SEC titles (13 men and 4 women), by far the most of any Auburn coach or team.

In 2003 he led both the men's and women's teams to a sweep of the NCAA titles, a first in collegiate Swimming and Diving.  Marsh and the Tigers went on to repeat this accomplishment three more times (2004, 2006, and 2007).

Marsh inherited a strong swimming program that was a fixture in the national swimming scene and regularly in the top 20 but was in a slump and turned it into a dynastic powerhouse. Since Marsh took over the Auburn swimming and diving program, Auburn's men finished in the Top 10 every year but his first two years (1991 & 1992 Auburn teams finished 20th and 15th).  In 1990, the year before Marsh came to Auburn, the team failed to qualify any swimmers for the NCAA Division I Championship Meet; in Marsh's first year in 1991, the men's team placed 20th at the championship meet. In 1993 the Tigers finished #6 in the NCAAs and have not fallen out of the top 10 since, with the lowest placing in that time being #7 in 2001.  The women have been equally successful, jumping from #30 in Marsh's first year to #8 in his second of 92.  The lowest finish for the Tiger women since 1992 was #13 in 1995.

SwimMAC Carolina (formerly known as Mecklenburg Aquatic Club )
Marsh, Head Coach at Auburn University, became CEO & Director of Coaching for SwimMAC Carolina Mecklenburg Aquatic Club in the summer of 2007. Marsh focused his attention on developing an Elite component of the program, for athletes who rise to a world-class level from within the SwimMAC program, as well as those relocating to North Carolina, such as post-graduate and professional swimmers focusing on their Olympic dreams. Marsh stated, "I am thrilled to have had the opportunity to move to Charlotte and join one of the country's premier programs. I have a long history with SwimMAC athletes and have found them to be remarkable individuals. SwimMAC athletes such as Aaron Ciarla, Daniel Slocki, and Catherine Caldwell have been a key part of the championship program we have built at Auburn. I look forward to joining the quality coaching staff at this club and working with the coaches, athletes, and parents to build a championship program in Charlotte."

In 2016 Marsh and Team Elite placed Anthony Ervin, Ryan Lochte, Cammille Adams, Kathleen Baker, Jimmy Feigen, and Katie Meili on the US Olympic Team.

In late 2016, the board decided to move forward without Marsh as CEO and agreed to work to redefine his and Team Elite's role at the club. In May 2017, SwimMAC and Marsh announced a mutual parting of ways.

Olympians
Marsh has coached 49 Olympians from 19 countries.

Individual champions
Marsh's swimmers have combined to win 89 individual NCAA titles and 277 individual SEC titles. Auburn swimmers have also brought home 90 medals from international competitions such as the World Championships, Goodwill Games, Pan-American Games, and the Olympics.

2016 Olympics
On September 9, 2015, USA Swimming announced that Marsh would serve as the head coach of the women's roster of the 2016 US Olympic Swimming Team.  Marsh stated: "I will do all I can to uphold the unmatched tradition of excellence that has been established by the swimmers and coaches from the previous Olympic Games." A total of 8 medals were achieved by the Team Elite Athletes. 1 Gold for Ryan Lochte (4x200 relay), 2 Gold for Anthony Ervin (100 free relay prelims & 50 free); 2 for Katie Meili (Bronze 100 Br & Gold 4x100 Medley relay prelims); 1 Gold for Jimmy Feigen (4x100 free relay prelims); 2 for Kathleen Baker (Silver 100 back; Gold 4x100 medley relay)

Israel
In December 2016 Marsh was named the 'Professional Adviser' of the Israel Swimming Association, with a goal of preparing the country's swimmers for the Tokyo 2020 Olympics.

Coaching honors
CSCAA Women's Coach of the Year: `01, `02, `03

CSCAA Men's Coach of the Year: `94, `97, `99, `03, `04

SEC Men's Coach of the Year: `92, `93, `97, `98, `99, `01, `03, `04, `05

SEC Women's Coach of the Year: `93, `02, `03

Knoxville News-Sentinel Men's Coach of the Year: `93, `95, `98, `99, `01, `03, `04

Knoxville News-Sentinel Women's Coach of the Year: `92, `93, `03

Inside the Auburn Tigers Coach of the Year: `93, `96, `97, `03, `04

2016 USA Women's Olympic Team Head Coach

2014 USA Women's Team Assistant Pan Pac Championships, Australia

2012 USA Men's Olympic Team Assistant

2010 USA Men's Duel in the Pool Head Coach

2005 USA World Championships Assistant Men's Assistant Coach

2003 USA World Championships Head Coach

2003 & 2005 USA Men's Mutual of Omaha Duel in the Pool Head Coach

2000 & 2003 National Collegiate and Scholastic Swimming Trophy

2003 Board Member of the Greater Lee County Boys and Girls Club

2000 USA Men's Olympic Team Assistant Coach

1999 USA Men's Pan-Pacific Team Assistant Coach

1996 USA Men's Olympic Team Assistant Coach

1995 USA Men's Pan-Pacific Team Head Coach

1994 USA Women's Assistant Coach-World Championship Team

Honored on the "Tiger Trail" of Auburn which commemorates athletic achievements by coaches and athletes.

2016 Inducted into the North Carolina Swimming Hall of Fame

2015 Inducted into the Auburn Swimming Hall of Fame

Marsh also serves on the boards of the American Swimming Coaches Association as well as the Championship Performance Advisory Board.

References

External links
 Bio from AuburnTigers.com
 MAC Website
 Surrey St John Website

Living people
American Olympic coaches
American swimming coaches
Auburn Tigers swimming coaches
Auburn Tigers men's swimmers
UC San Diego Tritons swimming coaches
Sports coaches from Miami
1957 births

redpajama_set_name: RedPajamaWikipedia


Researchers using new data collected by the Hubble Space Telescope (HST) have refined our estimates of the rate at which the Universe is expanding to an uncertainty of only 3%. This new figure invalidates the idea that our region of space is situated in a vast unusually empty bubble, or void, which has up till now stood as an alternative to the Dark Energy hypothesis.
Albert Einstein recognised that the Universe could not be static, based on physics as he understood it, since there was nothing to hold it all up against its own gravity – eventually all the galaxies and stars should fall into each other. To try and explain why this had not happened, why we still in fact had a Universe, he added a term to his famous theory of relativity which he called the Universal Constant. The Universal Constant was a placeholder which would represent some as-yet undiscovered force that supports the Universe against its own weight. Shortly afterwards, astronomers like Edwin Hubble discovered something which would cause Einstein to discard his Universal Constant and describe at as his greatest blunder: They found that extremely distant objects were all uniformly moving away from us and that the further the object was, the faster it was receding. This could only be explained by an expanding Universe, and eventually led to the Big Bang theory.
In recent years, something astonishing was discovered: As astronomers worked to refine their measurements of the rate of expansion, they found that the rate was steadily increasing. Rather than slowing down, as both Newton and Einstein's theories on gravity would suggest, the expansion is getting faster and faster. The term 'Dark Energy' was coined, as another placeholder to describe whatever force was pushing the Universe apart.
Scientists follow strict rules in their thinking, however, and one of these is Occam's Razor. This rule requires a thinker to never waste time on the complicated difficult answers till the simpler ones have been tried and tested. In this case, scientists should not run around inventing entire new theories of physics when there could be a a quite ordinary explanation for this strange observation.
Of course, this does not mean that all solutions are simple, or that all complicated ideas are wrong, merely that simple ideas are easier to test and harder to get wrong. If the simple idea is wrong, you find out quickly, and if it's correct then you haven't wasted decades on a complex plan. In this case, the simple idea was that our region of space is situated in a vast bubble, unusually empty when compared to the rest of the Universe. Regions in the rest of the Universe would tend to be pulled slightly apart by the gravity of their neighbours, but ours would not. This would reduce the rate of expansion of our local space, and cause very distant regions to appear to be expanding faster than they should. Now as most people are aware, the speed of light travels at a fixed, limited speed, so that when we look very far away, we also look into the past. Distant objects appearing to expand more slowly than we expected would imply that the rate of expansion of the Universe was slower in the past. In other words, this idea suggests that the changing rate of expansion is simply an illusion, brought about by our assumption that the Universe is essentially the same (at a large scale) everywhere.
This relatively simple idea, when properly analysed, leads astronomers to specific rates of expansion that we should be able to observe. Previously, the error margins one our calculations were broad enough to include this idea. But the new work has narrowed the rate of expansion down to a much more precise figure. The predictions of the Void theory no longer match observations. As it stands, that theory is now proven wrong. Result: Dark Energy just took one step closer to being recognized as true. Which means that the Universe really is a very strange place that we still haven't figured out yet.


Research Routt Business Bandwidth Instantly Online!
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Nick Kroll and John Mulaney on Oh, Hello's Biggest Audience Yet
Published by Amma Marfo at June 13, 2017
Gil Faizon (Nick Kroll) and George St. Geegland (John Mulaney) are gearing up to bring their production of "Oh, Hello On Broadway" from stage to television screens across the world. "Oh, Hello On Broadway" premieres today, June 13, 2017 globally on Netflix after a 138 performance record at Broadway's Lyceum Theatre. See for yourself how two legendary bachelors of New York's Upper West Side, Gil Faizon and George St Geegland, created the greatest work of art of the 21st or any century. Our own Amma Marfo sat down with John and Nick to talk about the Netflix premiere.
If John Mulaney is to be believed, the success of Oh, Hello, his joint project with Nick Kroll about two septuagenarians with a penchant for tuna-based pranks, the appeal of their off-Broadway-turned-touring-turned-Broadway show is as unlikely as the appeal of an actual tuna sandwich. "It's like this second chicken, but it's like gross. It's so weird[…], like, "oh I'll take some gross-ass fish from a can and mix it up with mayonnaise, and put it on white bread and everyone would be like, 'I'd like that.'"
Unlikely or not, Kroll and Mulaney's Gil Faizon and George St. Geegland made their latest big move Tuesday, to Netflix. The acclaimed production was filmed toward the tail end of its run at the Lyceum Theatre, and adds to the streaming service's considerable comedy offerings. With that said, Kroll is quick to point out that this show is different from many others that have occupied the coveted Tuesday release slot this year:
"A lot of times when you watch plays on TV, they feel really flat. But it's just different when you're watching something [live]. So we did our best to film it in a way that feels like the play, but also more cinematic, like the teleplays you watched that were shot on sound stages so you'd have moments of that. To just make it feel more dynamic. The weird thing is it's not a stand up special- most people are used to seeing a stand up special on Netflix. We've done something that's not a stand up special, but not a classic play either."
Those who saw the show previously live, either at the Lyceum or in its touring form (as I did), should still tune in for this version- it continued to evolve even over the course of its Broadway run. "[A]s much as we were trying to get the funniest jokes we could, it was also 'what's the story that makes the most sense?' or 'what is the most cogent version of this?'" The answers they found created a dynamic experience during the 138-show Broadway run, including the introduction of a new character that Mulaney notes was gradually improvised between September and January at the Lyceum. The only spoiler I'll share? "Now it's considered one of the greatest love stories ever told," Kroll shared proudly. Mulaney agreed with an "Absolutely."
The story of actor Gil Faizon and playwright George St. Geegland could too, go down as one of the greatest love stories ever told. Developed over a decade ago by Kroll and Mulaney, the characters gelled previously through shows at the Largo and later on Kroll's Comedy Central sketch series Kroll Show. Their relationship evolved in that time, and one of the key points that shines in the play is the conflict between the two men- a conflict that very nearly didn't come to be.
"I had a problem with that," Mulaney recalls, thinking about the show at the Largo in Los Angeles where Gil and George got in their first fight. "I didn't like it at first. I was like, "Nah, it's them against the world. We shouldn't do this." I remember the first time we ran it, and I was like 'I don't like yelling at Gil.'" But he warmed to the idea: "by the end of Broadway, I loved yelling at Gil."
For those familiar with Mulaney and Kroll's other work, the emergence of Mulaney as the yeller of the relationship may seem striking; Mulaney's open and amiable persona paints Kroll's often more brash and bravado-laden filmography (including two characters with "douche" in their names) as the likely aggressor. But the pair relished the opportunity to play against those types. Said Mulaney, "what became evident was because I never yell at anyone in real life, I have so much saved up. It was like always there." Kroll added, "I think it's a chance for both of us to exercise different things. Someone once described the show to us as 'Oh, George is an asshole and Gil is a baby,' underneath all of it. And that's fun!"
The unpredictability of the live show shines through despite its filmed, almost cinematic look nature. Notable for its wide slate of guests, Oh, Hello was a hot attraction for celebrities in and around New York during its run. And while I won't share whose appearance is highlighted in the special, we did have the chance to talk about guest spots by Mo Rocca (who got accidentally stabbed by the toothpicks in the "prahnk" sandwich), Steve Martin (who kept his Three Amigos suit, but often doesn't wear it), and Matthew Broderick (who appeared on the one night where, due to food poisoning, Mulaney finally reached the point where too much tuna "was not a good prank."), as well as audience cameos from Edie Falco and Wolf Blitzer.
With all the star power that Mulaney and Kroll's "limited run vanity project" (Mulaney's words!) has attracted, one has to ask: Is this the end for Gil and George? While Kroll and Mulaney admitted to talking about it, very little is set in stone. The idea of them giving tours on New York City buses was floated briefly, before Kroll admitted, "they're not allowed on most of those." But the front-running idea? "They're going to do the Amazing Race," said Kroll. Mulaney added a twist to the proceedings: George and Gil will compete as a quartet, "with Dr. Ben Carson and Gene Simmons."
Catch George and Gil ahead of their now-rumored Amazing Race appearance in Oh, Hello, now streaming on Netflix.
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Amma Marfo
Amma Marfo is a writer, speaker, and podcaster based in Boston, MA. Her writing has appeared in Femsplain, The Good Men Project, Pacific Standard, and Talking Points Memo. Chances are good that as you're reading this, she's somewhere laughing.
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There is not an university or college pupil earth that will inform you they usually have a good amount of sparetime in school.
In reality, it is usually just the opposite.
Posted in Writing Help For Students.


Nine out of ten times, when you being to model a realistic head, this is where you start, then progress outwards. Preferably, you would want to model it closed; this way, later on you can open the lid and fold the skin back.
The face moves almost all of the time in some way, albeit slight motion. The eye very rarely stays static, which therefore affects the deformation of the eyelid due to the curved shape of the iris passing underneath the skin. Observe the motion of your, or another person's, eye (use a mirror if you can't find a willing subject!) to determine which elements move or deform and which muscles pull the eyelid into shape.
Another method, and this may sound odd, is to touch your eye as you blink to feel which part of the eyelid deforms when the eye passes under the skin or when you blink, frown, have a twitch (etc). By doing this, you will discover that only the top eyelid actually rotates over the eyeball itself; the bottom lid is pulled up over the eye by a small muscle at the corner of the eye which stretches the lid over the bottom of the eyeball.
To animate all these elements may sound slightly daunting, but it is not the case. The thing to remember when modelling a face is that you have to be able to animate and deform it to perform various facial expressions such as anger or happiness. To animate one facial expression to the next, you would ideally use a Morpher modifier. This consists of various "Channels" to insert the final expressions you wish your character to perform, such as sneering, and one of these expressions can be a blink. Animating this blink motion is a simple case of animating the value of the Blink channel slot to close and re-open the eyes, or can be set up to a Manipulator slider to be animated directly in the viewport.
Additionally, if you really fancy being clever, you could set up this Blink channel value to a Motion Capture controller, linked to keyboard key, so when you play the animation back in real time, if you act out the scene / dialogue you want your character to perform, every time you blink, press the assigned key, and your character will blink also. You could even set up the eyeball motion to a mouse or joystick Motion Capture controller to completely animate the eye in real time!
The rest of the eyelid motion would be set up separately, and be linked to the motion of the eyeball, such as the lids stretching and moving when the eyeball rotates up or down, but not when rotating side to side. This could be performed by inherited limited directional hierarchy from the eyeball to a null object, linked to a soft selection or FFD cage on the eyelid to deform it slightly.
Finally, the eyelid shape is deformed somewhat when the iris passes underneath the eyelid, which could be deformed using Volume Select with the Iris as the selection area, with an X-Form modifier applied after to scale and deform the lid slightly.
To easily animate any facial movement in Max, a Morpher modifier should be used. Manipulators can be set up to animate directly in the Viewport.
The Morpher Blink spinner setting can be linked to a Motion Capture controller and set up to a keyboard key to animate in real time.
Initially published: 3D World magazine, Issue 17, October 2001.
Copyright © Pete Draper, October 2001. Reproduction without permission prohibited.


Bacone College is a four-year liberal arts college affiliated with the American Baptist Church embracing a historic educational mission to American Indians. Since our doors opened in 1880 we have been serving students from all regions, nations and walks of life. Bacone is the oldest college of continuous education in the State of Oklahoma and is prepared to be your Alma Mater.


It took me a few orders to get the size that fits me perfectly in these girls maidenform bras. But my midwife, being the amazing woman she is, saw through the mask. Adjustable shoulder straps provide the perfect fit. Place the left foot on the chart and record the length of the foot e. Image Unavailable Image not available for Colour: This "big girls" bra was way too small.
I ordered a 34A which is my true size and the band felt more like a 30 or 32 I couldn't close it. Guys, come meet up with some other dads. So I did, early. Share Facebook Twitter Pinterest. I had mine tested and results came back drastically low in many areas, but most severely in Serotonin.


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Asked and Answered: Oct. 14
WILLIAM WALKER FROM CHARLOTTE, NC: I read that Mark Gilbert was "poached" off the Steelers practice squad. How can another team sign a player off another team's practice squad?
ANSWER: It's a very straightforward transaction. The interested team contacts the practice squad player's agent, they work something out contractually, and the player then is free to sign with the other team with the only contingency being that the player must be added to his new team's 53-man roster. And it usually happens so easily because of the difference in weekly salary between the practice squad and the active roster ($14,000 per week for the practice squad compared to $36,704 per week on the active roster), and because the player only earns time toward free agency when he is on an active roster. Those salary figures can vary a bit based on the player's experience, but that should give you a general idea of the incentive for the player to make that move. A practice squad player is not required to accept an overture from another team, as is the case when being claimed on waivers. Oh, and based on the way the system works, I would suggest that "lured" would be a more accurate verb than "poached" for what happened with Gilbert.
JOHN PUHALA FROM SPRINGFIELD, VA: With Najee Harris getting his first 100-yard game rushing, you can see why he was a No. 1 pick, and props to the offensive line that was much more effective in that area vs. Denver. The big problem to me, is that Benny Snell and Kalen Ballage don't look like reliable backups. Do you think that Anthony McFarland Jr. would be that better change of pace back to give Harris a breather?
ANSWER: That certainly was the plan all through training camp, but then Anthony McFarland was injured and ended up on injured reserve, which has caused him to miss the first five games of the regular season. I expect Anthony McFarland to be added to the 53-man roster in time for the game against Seattle, but even if the move happens that's not a guarantee he'll be active and be entrusted with being Najee Harris' complement against the Seahawks.
KEITH CLARK FROM BROOKLYN, NY: For the eight games played at 1 p.m. for Week 5, there were four AFC road teams, and four NFC road teams. Normally CBS would broadcast the games containing the AFC road teams, and FOX would televise the games containing NFC road teams. But last Sunday, the Broncos-Steelers game was broadcasted by FOX, and the Saints-Washington game was broadcast by CBS. Was there a broadcast issue in regard to CBS in the Denver/Pittsburgh area, and with FOX in the New Orleans/Washington area?
ANSWER: This began with the previous contract the NFL negotiated with its broadcast partners, and it will remain in effect through the recently negotiated contract the NFL has with its broadcast partners. There will be instances when games not only are flexed with respect to kickoff time, but they also can be flexed in terms of which network will handle the broadcast. That's why Broncos-Steelers was on FOX and New Orleans-Washington was on CBS.
Download and listen to the Ask & Answered Podcast here:Apple Podcast | Spotify
MIKE DAVITCH FROM JOHNSTOWN, PA: I know business is business in the NFL and in life as a whole, but how do you see Ju-Ju Smith-Schuster's future as a member of the Steelers playing out? Assuming he has successful shoulder surgery, and assuming he wants to stay in Pittsburgh, I truly believe the Steelers will make him a reasonable and fair offer next season. Am I crazy for thinking this way?
ANSWER: What's crazy is you're looking for an answer to a scenario that includes way too many assumptions at this point. Since you seem to like/want to assume, I'm going to assume JuJu Smith-Schuster is going to want to test free agency, which means rug-cutting time could be as much as five months from now. My advice to you would be two-fold: First, don't believe and/or react to anything you see/read on social media, and then wait until after the Super Bowl before revisiting this issue. Everything between now and then is a guess, and your guess is as good as anyone else's. Including mine.
RON WILLIAMS FROM ASTORIA, OR: In your opinion do you see the progress that the offense made against Denver last Sunday continue on the same course, or do you think that offensive coordinator Matt Canada will change it up and add more wrinkles to the offense so as to not become predictable?
ANSWER: My personal opinion is that I wouldn't be adding or "wrinkling" until I had allowed the young offensive linemen a little bit more time to build the muscle memory with respect to some of the things that have started to work consistently.
CHARLES GOLLMAR FROM KENNESAW, GA: I'm reading lots of comments on fan sites about how JuJu Smith-Schuster hasn't really made that big of an impact in 2021, so his loss for the season shouldn't hurt the team too badly. In part, I agree that the team should be fine at wide receiver given the depth of talent there, but one of the aspects of JuJu's game that people don't seem to be talking about is his blocking ability and the impact that will have on our burgeoning run game. Of the other receivers who will step in to pick up the slack, is there one who stands out to you as having the most potential in that area?
ANSWER: I'll take a stab at answering this. I believe James Washington brings a physical presence as a wide receiver, as does Chase Claypool. Whether that means they're the players most likely to be called upon to handle JuJu Smith-Schuster's blocking assignments, or even if they're the ones most capable to handle those assignments will be determined over time, but what I do understand is the importance of the wide receivers' blocking when it comes to a team having a consistently effective running game in the NFL.
JASON PRASTER FROM SAN ANTONIO, TX: I know you've posted the mailing address a million times, but can you please do it one more time? JuJu Smith-Schuster is my son's favorite player, and he wants to send him a get-well card.
ANSWER: The mailing address is: UPMC Rooney Sports Complex, 3400 S. Water Street, Pittsburgh, PA, 15203.
CHRISTOPHER GIBSON FROM MANALAPAN, NJ: Tight end Zach Gentry got some kudos for his blocking during the Denver game. Do the tight ends work on blocking skills with the offensive line and the offensive line coach, or do they work on that with the wide receivers and the wide receivers coach?
ANSWER: This submission puzzles me. Tight ends are not offensive linemen, and they are not wide receivers. In the NFL, tight end is a unique position with its own set of demands and a unique skill-set required to excel there. Tight ends have their own position coach, and in Pittsburgh his name is Alfredo Roberts. Whatever progress Zach Gentry has made as a blocker over the past year has happened under Roberts' tutelage.
KURT CARMEL FROM BALTIMORE, MD: When is Travis Fulgham replacing JuJu Smith-Schuster? When is Sam Darnold signing? Does that mean we get Aaron Rodgers and Cam Newton, too? Can't we just sign J.J. Watt and put him on the practice squad for $50? How do we reserve the right to draft Arch Manning today? Should we jump on the sword now, since we are 1-2, 1-3? When do we jump on the sword? Where is the sword? Can we sign the sword to the practice squad? Holy cannoli… It is a wonder your head doesn't pop off. Keep 'em coming, and thanks for what you do.
ANSWER: There you go mentioning Sam Darnold and Aaron Rodgers and Cam Newton, and now Deshaun Watson is going to feel left out. And if J.J. Watt goes on the practice squad for $50, will there be any money left for Geno Atkins?
BOB KERSHEY FROM CLEVELAND, OH: Cam Newton, a good fit for the Steelers. Why no interest?
ANSWER: Because adding Cam Newton would violate the NFL rule for having too many players on the roster with the first name of "Cam." The Steelers already have Cam Heyward and Cam Sutton, and so adding Newton would violate the "too many players named Cam" rule.


Masses of tiny pale purple-pink flowers from late September. Mildew resistant. 100 cm.
An S. ericoides hybrid with fine foliage which is smothered in the masses of tiny pale purple-pink daisies from late September. Very attractive, good levels of mildew resistance. 100 cm.
Plants will be despatched from May 2017.


John and I have been house sitting for the past 3 years and have made some wonderful friends. We would love to look after your house with the same care and attention that we did with our own. We enjoy gardening and are particularly keen to take on house sits with pets as we are life long animal lovers. We have a police check and references. We also have experience with pools as we had one of our own. Please don't hesitate to contact us to chat about your needs.


Well, Halloween is here and now it is time to have some spooky fun! I love Halloween because you can dress up! Reesha from 107.3 KFFM and I are the only ones that did today. She is the Owl Princess and I am Rey from Star Wars 7: 'The Force Awakens!'Rob Zombie, ghouls, goblins, ghosts and the foul stench of fear is always in the air around Halloween!
Getting ready for Halloween is always fun as heck. I remember when I was about 13, everyone stopped wanting to dress up for Halloween. I couldn't believe it! Are we really too old at age 13 to dress up?
Here are my 16 favorite Halloween songs in the world. You need to crank these up to get into the ghoulish spirit!


What factors do college swim coaches take into consideration when looking at recruits?
GPA and swim times are most important. Coaches may go to a meet and they don't need video but the main thing they are looking for is your GPA and swim times.


Homeschoolers often find it difficult in the first year or so to work out a balance between the attention they give their different aged learners. I am frequently asked for tips on how to balance sitting down with an older child while younger children yell "What do we do now mummmy?". Add a baby to the mix and the result is often exhaustion and confusion all around!
The first thing I advise homeschooling parents to do is to make sure they are doing something to balance their day. I know how important this is because I didn't do it in those early years and paid a dreadful price - a steady decline in my health which lead to the worsening of my chronic health problems!
What can you do to give yourself time to recharge your personal batteries? Do you practice meditation? Have a Daily Devotional time that is for you alone? Do you do yoga or tai chi, or work out doing an exercise routine that gets you huffing and puffing? Do you go for a walk or run each day?
You can do any of these with the children and they will still recharge your batteries, but if you can have some time alone, it will work much better. Half an hour a day is all you need to nurture yourself. Many homeschooling mothers get up early and take advantage of a peaceful house while the children still sleep. Getting up early for a brisk fifteen minute jog or walk by yourself every daywill help to eradicate that nagging scattered feeling that precedes a full attack of homeschooling or parental burn out!
We began homeschooling when our eldest had just turned six and my youngest five weeks old. Back then we did a 'school-at-home' approach. I wrote out lessons in April's workbook the night before and sat at our big table with Roger, then four years old, beside me with a workbook of his own, with the baby on my lap, often suckling. I made sure I had a variety of baby toys within reach, plus something for me to do if April and Roger didn't need my attention. I get bored quickly and am always looking for something to read and write.
April would sit opposite me and I would read and explain the instructions in her lessons if necessay. She would happily work through them without much attention. Roger was different. He couldn't read (it took another four years before he was an independent reader) and I also had to scribe his stories and comments. Lessons at the table would only last an hour at the most and then we'd be doing a project or simply playing. I spent a lot of time playing with the children. This seemed to satisfy their need for time with me, and left me huge blocks of time where I could do the chores, ususally within sight and hearing of them.
I developed a habit of instantly interrupting what I was doing to attend to their requests and found that over time the children became less demanding and more independent. Friends and relatives thought I was spoiling my children by taking care of their needs and requests straight aways (especially as they found the interruption annoying, whereas we found whining children more annoying!). However, over time we found the opposite effect actually happened. Taking care of their needs immediately took less time and got them out of my hair quicker!
This isn't to say we always did what the child wanted - that's another issue and could easily lead to a more demanding child. Listening to them, in the moment, and negotiating satisfactory solutions with them is important. Over time it builds respectful relationships and that's what we all want with, and for, our children.
The other solution we found for coping with demanding toddlers while you are busy helping an older child is to have plenty of activities and distractions prepared in advance. For me, this was more about establishing a vibrant and encouraging learning environment. I modelled our home on the local kindergarten (preschool) which April and Roger had attended from birth, first through playgroup and then kindy. We had open shelves with a few selected items on each and boxes of toys and dress ups.
Cluttered environments discourage learning, so keep it tidy and simple and rotate the toys and puzzles, in the same way kindy teachers do, to keep that novelty aspect. I'd hunt down interesting dress-ups in op-shops and add fresh items and remove and store others. You don't need to pay a fortune for play props. The junk box, and a well stocked craft table with lots of sticky tape, masking tape and glue, are essential.
Such a well-stocked, inviting and encouraging learning environment is useless if the children can access the items and activities within it without your help. The shelves need to be low. Materials need to be child-friendly and safe. The children need spaces to make mess, lay out a train track, or a soft corner to curl up comfortably with a book or favourite toy. You need to be comfortable within this space too.
Anticipating your toddlers' needs is the key to solving this issue - keeping one step ahead of them. You may need to be firm though - it doesn't hurt to gently let them know that you are busy right now and that you will help them when you are finished your task. Direct them to help themselves until then.
Juggling the attention you give to each child is difficult. Consistently making the toddlers wait sometimes and making the older child wait sometimes, will help them learn patience, with the reassurance that you care for them all. It doesn't hurt to point this out either, sometimes: "This is ...'s time now, I will help you/play with you when we are finished." It's not easy, but if you can do take care of yourself and build a calm time that nurtures your soul each day, you should feel less stressed by this difficult aspect of parenting.