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Tag: Bowery Boys Recommend
'Shadows': Improv, jazz and a squint at midtown Manhattan
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A beat in Times Square: Ben Carruthers drifts through the city in 'Shadows' BOWERY BOYS RECOMMEND is an occasional feature where we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. Other entrants in… Read More
Tags 42nd Street, Bowery Boys Recommend, Classic Film, Museum of Modern Art
Staten Island History
'Cropsey': urban legend intersects with unspeakable crime at an abandoned Staten Island children's institution
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Above: Willowbrook State School in central Staten Island. Looks innocent enough…. BOWERY BOYS RECOMMEND is an occasional feature where we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City as well as any reference or history book. Other entries in this… Read More
Tags Bowery Boys Recommend, Staten Island
'Stonewall Uprising' and reenacting a historical riot
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BOWERY BOYS RECOMMEND is an occasional feature where we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City as well as any reference or history book. Other entries in this series can be found here. Rarely do documentaries on New York… Read More
Tags Bowery Boys Recommend, Stonewall, West Village
Bowery Boys Recommend: Sex and death in 1970s Soho
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Laura is disturbed "I'm completely out of control!" BOWERY BOYS RECOMMEND is an occasional feature where we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. Other entrants in this particular film festival can… Read More
Tags Bowery Boys Recommend, classic film, classic restaurants, Columbus Circle, Soho
Bowery Boys Recommend: Belle of New York
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BOWERY BOYS RECOMMEND is an occasional feature where we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. Other entrants in this particular film festival can be found HERE. Sometimes a movie can tell… Read More
Tags Bowery, Bowery Boys Recommend, Washington Square
Soylent Green: New Yorkers taste the best!
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BOWERY BOYS RECOMMEND is an occasional feature where we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. Other entrants in this particular film festival can be found HERE. Thirty-five years ago, the future… Read More
Tags Bowery Boys Recommend, gramercy park
The Roaring Twenties: a boozy old Hollywood bio
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BOWERY BOYS RECOMMEND is an occasional feature where we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. Other entrants in this particular film festival can be found HERE. New York during the Prohibition… Read More
Tags Bowery Boys Recommend, prohibition, Texas Guinan
Grand Central Murder: Glamour on the third rail!
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BOWERY BOYS RECOMMEND is an occasional feature where we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. Other entrants in this particular film festival can be found HERE. During research for our Grand… Read More
Tags Bowery Boys Recommend, Grand Central Terminal
Still 'Burning' after all these years
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Above: the phenomenal Willi Ninja BOWERY BOYS RECOMMEND is an occasional feature whereby we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. Other entrants in this particular film festival can be found HERE.… Read More
Tags Bowery Boys Recommend, gay New York, Harlem, Savoy
Ah, the bad ole days of Needle Park
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BOWERY BOYS RECOMMEND is an occasional feature whereby we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. The traffic island at 72nd and Broadway has always been one of the Upper West Side's… Read More
Tags Bowery Boys Recommend, museum of natural history, Upper West Side
Monster madness at the Chrysler Building
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BOWERY BOYS RECOMMEND is an occasional feature whereby we find an unusual movie or TV show that — whether by accident or design — uniquely captures an era of New York City better than any reference or history book. By the early 80s, New York City has already seen its absolute nadir as a fiscally… Read More
Tags Bowery Boys Recommend, chrysler building, empire state building, mimes, museum of natural history

redpajama_set_name: RedPajamaCommonCrawl


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For example: Ceilings
Plinton Curry Funeral Home
Funerals, Funeral Services, Funeral Home, Multicultural Funeral Services, Cremations, Cremation Services, Cremation with Memorial Service, Direct Cremations, Burials, Memorial Ceremonies.
Address 411 W Broad St Westfield, NJ 07090
Website www.plintoncurry.com/
Contact person James Curry
Working hours Available 24 hours / 7 days a week
Plinton Curry Funeral Home has been serving the New Jersey area with quality funeral services for over 20 years. Two funeral home locations are available, as well as a full range of funeral and cremation options. The staff understands that "It is not just a day in a lifetime, but a lifetime in a single day." Every service is customized to highlight the unique achievements and personality traits of each person.
The funeral directors and team embrace diversity, respect, dignity, and compassion. All families have access to custom funeral services, regardless of their economic status or cultural persuasion. In fact, Plinton Curry Funeral Home specializes in multicultural funeral services and unique funerals. Choose a traditional funeral, or look at other options such as direct cremation, cremation with a memorial, burials, pre-need funeral services, and life celebrations.
In addition to the main funeral services, Plinton Curry Funeral Home also offers all of the supporting details that are needed for the day: caskets, vaults, urns, repatriation, Veteran services and military honors. Not only does the funeral home provide the logistics for the day, but they can also support with grief resources to help the family cope with a challenging time in life. Visit the website for a convenient option to answer all your questions about funeral planning and services.
Plinton Curry Funeral Home offers services for families in all areas of New Jersey, including Somerset County, Essex County, Union County, Middlesex County, and Sussex County. Funerals and cremations have been provided for residents in many of the major cities in the area: Somerset, Piscataway, Newark, Edison, East Orange, Irvington, Princeton, New Brunswick, South Plainfield, Rahway and more.
As members of the National Funeral Directors Association (NFDA), Garden State Funeral Director Association, and New Jersey State Funeral Director Association, the team works hard to stay current in the industry. The staff at Plinton Curry Funeral Home is available 24/7 to support for immediate need funerals. Customers can call during regular hours to learn about funeral pre-planning options that are offered. Learn more about the services that are available by visiting the Westfield location at 411 W Broad St Westfield, NJ 07090. Or, call to schedule a consultation: (908) 232-6869.
Simplicity Funeral and Cremation Services at Glackin Chapel
Funeral home, funerals, funeral services, cremations, cremation services, cremation with memorial service, direct cremations, burials, pre-need funeral services, pre-planning funeral services
136 Morrison Ave Hightstown, NJ 08520
William J. Leber Funeral Home
Life celebrations, funeral home, funerals, funeral services, cremations, cremation services, cremation with memorial service, direct cremations, burials, pre-need funeral services,
15 Furnace Rd Chester, NJ 07930
It's not just a day in a lifetime, but a lifetime in a single day
428 Elizabeth Ave Somerset, NJ 08873
Funeral Home Pre-Need Funeral Services Multicultural Funeral Services Funeral Services Honoring Life Direct Cremations Military Honors Veteran Services Cremation Services Pre-Planning Funeral Services Memorial Ceremonies Cremation with Memorial Service Life Celebrations Cremations Grief Resources


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We Should Connect Adaptation and Mitigation in New York City and Around the World
June 12, 2013 By Elizabeth Sawin
Solar energy as part of the response to a climate disaster. www.smartplanet.com
When addressing climate change, we should look for every opportunity to implement solutions that help communities adapt to unavoidable climate change while simultaneously building their capacity to reduce greenhouse gas emissions.
Unfortunately, all too often, adaptation and mitigation of climate change are viewed as competing or even mutually exclusive priorities.
Reactions to New York Mayor Bloomberg's recently announced $20 billion climate change adaptation plan illustrate this sort of response. Take for example this framing, from an opinion piece by Dana Milbank in the Washington Post:
"Among climate-change activists, the realization is spreading that the combination of political inaction on greenhouse gases, plentiful new petroleum supplies and accelerating changes in weather patterns means there is no escaping more life-altering floods, droughts and fires. Although ongoing efforts to reduce carbon emissions could mitigate even worse catastrophe, momentum has shifted in part to preparing for the inevitable consequences of a warmer planet."
That's a shift that we can't allow to happen because it will not be feasible to adapt to unmitigated climate change, which will bring with it too much warming, much too fast.
The good news is that mitigation and adaptation don't have to be mutually exclusive. Problems are often interconnected but so are solutions, as Donella Meadows wrote.
In fact, identifying solutions that serve adaptation and mitigation is an underlying goal of several systems modeling studies at Climate Interactive (including projects on disaster risk reduction in Africa, and green infrastructure in the US). These projects are inspired by people around the world who are showing that we can prepare for unavoidable climate change while also taking action to stop root cause of future climate change. Here are a few examples, and we'd be very interested to hear of others you've observed or participated in:
— Ecosystem based adaptation — which restores wetlands, forests, mangroves, and shorelines to protect against flooding and storm surges — simultaneously protects against climate impacts, sequesters carbon, and helps reinforce the mindset that human beings depend on a living planet for their survival, a mindset that can help build commitment to the tough choices required to address the root causes of climate change.
— Community organizing and connecting people to their neighbors helps create networks that allow for rapid response in a disaster and can also build the sense of empowerment needed to accomplish politically difficult tasks, like putting limits on greenhouse gas pollution.
–Incorporating distributed renewable energy into the energy mix of a community helps the lights stay on in a disaster and builds familiarity and comfort with new clean energy sources.
In addition to New York's big new adaptation plan, the city has the ambitious mitigation goal of reducing emissions 30% by 2030. With their serious efforts on both fronts, let's hope that New Yorkers will discover and share with the rest of us the state of art for blending adaptation and mitigation in mutually enhancing ways.


The 40km coast road between Tathra and Bermagui with its stunning landscapes and pristine beaches has been inspiring artists for years. Visitors can explore the galleries on this art trail, which winds its way through the rolling hills of Tanja and culminates in the port village of Bermagui. Check galleries for opening times.


Halle Berry is a very good actress. She deserves to be in better movies than KIDNAP (2017).
KIDNAP opens with a mother Karla Dyson (Halle Berry) playing with her son Frankie (Sage Correa) at a busy park. When Karla is distracted by a business call on her cell phone, she loses sight of her son, and after the call, she discovers that he is missing.
She catches a glimpse of him being shoved into a car, and after failing to catch the car on foot, she jumps into her own car and begins a high speed pursuit. Just how far will a mother go to get her son back? That's the question posed by this movie, and of course the answer is obvious- she'll go to the ends of the earth.
The rest of KIDNAP is pretty much a nonstop chase as Karla pursues the kidnappers over roads, highways, and wherever they lead her. Sounds like an intense thrill ride, but it's not, because the filmmakers forgot one very important ingredient: they forgot to make it believable.
The first problem I had with the plot of this one is the kidnappers' motivations. Karla chases them from the outset, and within seconds she's on the road behind them causing an uproar. You'd think that kidnappers, regardless of how much money they might be paid for stealing children, would not want this kind of exposure. You'd think they dump the child and take off. But no, they hang on, as if this particular child was the next Lindbergh baby.
The next issue is Karla in her pursuit of the kidnappers causes more accidents and collateral damage than James Bond and Jason Bourne combined. You'd think the police would be all over her, especially after one of their own, a motorcycle cop, is killed in the chase. But, nope, the police aren't anywhere to be found.
At first, I thought the film was going for a DUEL (1971) feel, the classic early Steven Spielberg film about a truck chasing a car driven by Dennis Weaver in which you never see the driver of the truck. Early on in KIDNAP, you don't see the kidnappers either, just their vehicle. But, alas, this wasn't to be as we soon do meet the kidnappers, and— well, it might have been a stronger story had we not met them.
The screenplay by Knate Lee starts with a scary premise- a young child abducted from his mother- but then does nothing with it. It's contrived within moments of Karla's jumping into her car to chase after her son's kidnappers.
Director Luis Prieto fares a bit better. The chase scenes are done rather well, and in terms of action scenes, this one doesn't disappoint. And the scene early on where Karla discovers her son is missing in the park is a good one, full of suspense and that sense of dread parents feel when they realize their child isn't where he/she is supposed to be. But these positives are undercut by the fact that I just didn't believe any of it.
The best part of KIDNAP is the performance by Halle Berry as Karla, the distraught mother who won't give up her pursuit of the kidnappers who took her son. It's an exhilerating performance, one that makes this movie better than it actually is.
This is the second straight clinker that Berry has starred in, following THE CALL (2013), another pretty bad and convoluted thriller. She deserves better.
The rest of the cast is neglible. Chris McGinn and Lew Temple barely register as the kidnappers, mostly because we know nothing about them nor do we see them do a whole heck of a lot. Temple was much more memorable when he played Axel, one of the prisoners, on THE WALKING DEAD.
Likewise, young Sage Correa as Karla's son Frankie isn't in this movie enough to make much of an impact.
I wasn't expecting much from KIDNAP, and it didn't really deliver, in spite of a solid performance by Halle Berry and a decent directorial job by Luis Prieto. It just never really came to life for me, as I never believed what was happening on screen. This is a movie that was begging for another rewrite, to polish the script and make it more believable.
As it stands, KIDNAP is a rather ludicrous thriller that fails to draw in its audience because it's difficult to root for Halle Berry when she's operating in a world that seems so far removed from reality.
It's been eleven years since AN INCONVENIENT TRUTH (2006), the Oscar-winning movie which featured Al Gore as the spokesperson for saving the environment, hit the theaters.
Gore used that film as a platform to awaken the world to the dangers of global warming. The movie was an informative and rousing call to action. It was 2006, in the latter stages of the George W. Bush years, and there was hope that perhaps this environmental movement would take hold.
Now comes AN INCONVENIENT SEQUEL: TRUTH TO POWER 2017), the sequel where Al Gore is still trying to convince people that the most important issue on earth is in fact saving the earth. Since the first movie, the Bush years have ended, the Barack Obama administration has come and gone, and now we have Donald Trump. In terms of the United States taking a leadership role on environmental issues and global warming, with the arrival of Trump, things have gotten worse since 2006. Much worse.
In fact, even though the election of Donald Trump doesn't factor into the movie until the final few minutes, there is a general sense of exhaustion and despair around Gore throughout the movie, as if he is tired of fighting a losing battle. Gore hasn't given up, not by a long shot, and this film like the first is a call to action, a call to get people on board with saving the environment. But still you can see it in Gore's eyes, a sense that the powers that be are going to resist and continue to resist for a long time. There's also some disbelief on his part that people just can't see the urgency of what he is talking about, that they simply aren't buying what he's selling, and for Gore, that lack of interest is sinful.
Don't get me wrong. Gore never says he's giving up, nor hints that he's going to. In fact, he says the opposite, that in spite of all the adversity, you have to keep going to outlast the other guy. But you can see the frustration in his eyes all the same.
AN INCONVENIENT SEQUEL: TRUTH TO POWER uses news footage to debunk criticisms of statements Gore made in the first movie. For example, in the first film, Gore showed a graphic that due to global warming flood waters would rise in New York City reaching the site of the World Trade Center memorial. He was criticized and laughed at for making such a statement, yet this movie provides video footage of the massive flood in New York City several years ago in which water did indeed reach the World Trade Center site.
Gore travels to the streets of Miami, streets that are dealing with flooding on a regular basis, because as Gore explains, as the glaciers melt, the water has to go somewhere. It's going into the oceans, and sea levels are rising. Gore also travels to the polar ice caps and captures on film the melting glaciers.
A large portion of the movie deals with the Paris Climate Agreement, and shows Gore working behind the scenes. At the time, India did not want to sign the agreement, as they balked at the idea of using renewable energy sources like wind and solar instead of fossil fuels because systems for these new cleaner energy sources were simply not in place. It wasn't a practical transition for India to make. Gore works behind the scenes connecting a solar company with the Indian government to help them go solar, and eventually India changed its mind. The film then goes on to show the nations of the world ratifying the Paris Climate Agreement.
Of course, the celebration was short-lived. Soon after being elected, Donald Trump declared that the United States was pulling out of the Paris Climate Agreement, calling global warming a hoax and saying that focusing on environment issues was a monumental waste of time.
With Gore as its guide, AN INCONVENIENT SEQUEL: TRUTH TO POWER delivers its message and makes its point, but directors Bonni Cohen and Jon Shenk don't really make full use of their editing powers. The bulk of the film features Al Gore talking. And talking. And talking. And although Gore is truly passionate about his work, his words alone lack the potency to drive the point home that combating global warming must be done now, that the danger is imminent and very real. The film could have used more dramatic and telling footage.
Sure, some of news footage is dramatic, like the flooded streets in Florida, but oddly most of the film is low-key. It fails to deliver that sense of urgency. Like Gore, the entire documentary seems to be wading through a sense of frustration.
Also, with the film focusing solely on Al Gore, other world players are only seen fleetingly, folks like John Kerry and President Obama, for instance.
Nonetheless, Gore is right when he calls this issue as big as the civil rights movement. He says people know when things are right and when things are wrong, and to ignore the science which states that the earth is in trouble, is flat-out wrong.
That being said, this is not a very impactful movie, and as such, it's doubtful it will convert many naysayers into environmental activists. And that's something that is definitely missing in AN INCONVENIENT SEQUEL: TRUTH TO POWER, that feeling that this movie will make a difference.
It would be nice if in a few years Gore stars in a third movie, making this an INCONVENIENT trilogy, and in that film he's able to boast that people heeded the call to action, hereby ending the global warming epidemic. That would be sweet, indeed. But I'm not holding my breath.
Fixing the environment means change, dramatic change, and for most people, that's something that is simply too inconvenient.
ANNABELLE: CREATION (2017) is a prequel to a prequel. It's a prequel to a bad movie which was itself a prequel to a good movie. Huh? Let's try that again.
ANNABELLE: CREATION (2017) is a prequel to ANNABELLE (2014), a pretty bad movie, which was itself a prequel to THE CONJURING (2013), which was a pretty good movie. And where does that leave ANNABELLE: CREATION? Somewhere in between. It's better than the awful ANNABELLE but not quite as good as THE CONJURING.
In terms of quality, it reminded me a lot of another prequel to a bad movie, OUIJA: ORIGIN OF EVIL (2016) which was a surprisingly very good prequel to the lowly OUIJA (2014). Heck, the two movies even share the same star, child actor Lulu Wilson.
ANNABELLE: CREATION takes place in the 1950s, as a group of girls from a Catholic orphanage and their sponsor Sister Charlotte (Stephanie Sigman) move into a new home, a farmhouse run by a retired doll maker Samuel Mullins (Anthony LaPaglia) and his ailing bedridden wife Esther (Miranda Otto). The Mullins lost their own daughter twelve years earlier and see opening their home as an orphanage for young girls as a way to instill some life back into their world.
The girls are ecstatic to be living in a new and very large home, but Samuel tells them that there is one room in the house that is always locked and that room is off-limits (of course.) One of the girls, Janice (Talitha Bateman) enters the room anyway (of course, again) and immediately feels a strange presence there. She realizes it is the ghost of the Mullins' deceased daughter Bee (Samara Lee). Janice also discovers the doll Annabelle hidden away in a closet, and she experiences a sense of dread. When Janice's best friend Linda (Lulu Wilson) joins her in the room, she too senses evil, and that's because there's a demon inside the Annabelle doll that wants people's souls. Yikes!
The girls try to warn everyone in the house that there is something evil residing there with them, but by the time they do, it's too late.
ANNABELLE: CREATION has a lot of good things going for it. The best part about it is that it delivers some pretty good scares and crafts some memorable horror scenes. Credit director David F. Sandberg for a job well done when it comes to the scare department. Of course, the Annabelle doll is creepy to begin with, but interestingly enough some of the better scare sequences don't even involve her. There's a creepy bit involving a scarecrow, a suspenseful scene on a staircase chairlift, and yet another one in a creaky old-fashioned dumb-waiter.
Then there's the demon. One of the more interesting parts of ANNABELLE: CREATION is that it sheds more light on the background of the Annabelle doll. It seems that the instigator of all this evil surrounding Annabelle is a demon possessing the doll that wants people's souls. We catch glimpses of this demon, and he's pretty cool looking, which is no surprise since he's played by Joseph Bishara who's becoming quite the expert at this sort of thing. Bishara played a demon in both the INSIDIOUS and THE CONJURING movies. He was most memorable in INSIDIOUS (2010) as the Lipstick-Face Demon.
There are lots of cool scares here, and that's a good thing. What's not so good is the pacing. There are a lot of slow parts in ANNABELLE: CREATION, lots of scenes where characters slowly move about in dark hallways, the kinds of scenes that drive me nuts in horror movies. These types of scenes don't build suspense. They put audiences to sleep.
And the film is just begging for a more frenetic pace during its third act. While the movie's conclusion isn't bad at all, it never becomes that go-for-the-throat ending that makes audiences squirm and scream.
Director Sandberg does make full use of the creepy farmhouse interiors. Most of the film takes place in dark rooms and hallways, and the atmosphere is sufficiently spooky and haunting. The camera also gets in close, so much so you can almost smell the wood of the old hardwood floors.
Sandberg also directed LIGHTS OUT (2016), an okay horror movie that I wasn't all that crazy about. I enjoyed ANNABELLE: CREATION more.
The screenplay by Gary Dauberman isn't bad. It tells a decent story and does a good job with its characters, who come across as real and likable. I liked some of the reveals about Annabelle, and I enjoyed the characters, from the girls to Sister Charlotte to Samuel and Esther Mullins. The dialogue isn't always fresh, and the story Esther Mullins tells about what happened to her daughter is full of dumb lines and clichés.
Dauberman also wrote ANNABELLE (2014), and the second time seems to have been the charm, as his screenplay here for ANNABELLE: CREATION is much better and tells a far more interesting story than the previous film. Dauberman also wrote the screenplay to the upcoming adaptation of Stephen King's IT (2017), due out in September.
Talitha Bateman as Janice and Lulu Wilson as Linda are both excellent. It was especially fun to watch them go through different levels of emotion. At first, they're joyful about their new home, then there's quiet unease and building fear, and then flat-out visceral horror as the threat becomes real. And once the demon becomes involved, there's also some icy cold evil, which Bateman does well.
This is already the third horror movie for young Lulu Wilson, as she previously starred in OUIJA: ORIGIN OF EVIL (2014) and DELIVER US FROM EVIL (2014).
The rest of the girls in the film are also very good.
I also enjoyed Stephanie Sigman as Sister Charlotte. She makes the nun a real person and prevents her from becoming a cliché. Likewise, Anthony LaPaglia does the same for Samuel Mullins. At times, LaPaglia plays things a bit too mournful, as he just sort of stares gloomily at the camera, but for the most part he does a nice job bringing Samuel Mullins to life.
Miranda Otto as Esther Mullins is in the film less than LaPaglia, and as a result has less of an impact, and unfortunately towards the end of the film she does get some of the worst dialogue in the movie.
In a small role, Mark Bramhall has some fine moments as Father Massey, the priest who drives them to the Mullins' farmhouse and who returns later in the movie. He also gets one of the more humorous lines in the film.
The story ends with a solid tie-in to ANNABELLE. The way screenwriter Gary Dauberman and director David F. Sandberg tie the two movies together is creative and satisfying.
I liked ANNABELLE: CREATION much better than I expected I would. It's a decent horror movie that rises above the muck of inferior sequels and prequels, yet it's not quite as good or at the level of an INSIDIOUS or THE CONJURING, those horror movies that are destined to be remembered for years to come, the ones you want to watch over and over again.
I guess that would be asking too much from a prequel to a prequel.
The best part about DETROIT (2017), director Kathryn Bigelow's powerful portrait of race riots in 1967 Detroit, is that it doesn't play like a movie at all. It comes off as raw live footage, transporting its audience to 1967 Detroit as witnesses to the horror which occurred during that time. It's based on a true event which happened at the Algiers Motel in Detroit.
In DETROIT, you won't find traditional characterizations, main characters with background stories and depth, a plot with a neat and tidy story arc, or anything else that makes you think you are watching a movie. You will find horror and revulsion.
The centerpiece of the movie is a brutal and misguided police interrogation inside a hotel which leads to the deaths of three black men. This wince-inducing sequence takes up a sizable chunk of the movie. It'll leave you squirming in your seat, wishing it would just end, but it doesn't end. It goes on, and as such, it's one of the more riveting sequences in a movie I've seen in a long while. Not only are the Detroit police tactics disturbing, but the fact that everyone else on the scene— the State Police, the National Guard soldiers— look the other way is equally sickening.
DETROIT opens at the outset of the 1967 race riots in Detroit, and then follows a group of characters whose fate becomes connected when they cross paths at the Algiers Motel. When someone shoots a toy gun in the vicinity of the National Guard soldiers on the street, it's mistaken for sniper fire. The Detroit police descend upon the hotel with the soldiers, and the police interrogation begins.
Top-billed John Boyega plays a young black man named Dismukes who's working multiple jobs to make ends meet. One of the jobs he holds is as a security officer in a building across the street from the Algiers Motel. Dismukes has a good head on his shoulders, and early on he brings coffee to the National Guard soldiers, alerting them that he's across the street guarding the building, letting them know that if things go down, he's on their side, which is exactly what happens when the "sniper fire" draws the authorities to the Algiers Motel.
Since there aren't any lead roles here, fans of John Boyega might be disappointed that he's not in this one more, but it's still a much meatier role than when we saw Boyega last, in THE CIRCLE (2017), which really wasted Boyega's talent. He does a nice job here as Dismukes. I found Boyega's performance reminiscent of a young Denzel Washington.
The other big name in the cast is Anthony Mackie, who plays a former soldier recently home from Vietnam named Greene who finds himself among the interrogated. It's a good performance by Mackie, and the scene where he decides he won't lay down for the police is a potent moment. It's also jarring to watch this character, someone who fought in Vietnam and survived, beaten back home in the United States by officers of the Detroit police department.
One of the better performances in the movie belongs to Algee Smith as Larry, a young singer whose group's performance was cancelled by the riots. The group becomes separated, and Larry and his friend Fred (Jacob Latimore) find themselves at the motel. Smith nails the emotions, from fear to disillusionment to eventually anger. Likewise, Jacob Latimore is very good as Fred, who like the rest of the black men forced against the wall during the interrogation, becomes more and more terrified as the night goes on.
But the most memorable performance in the film just might belong to Will Poulter as the racist Detroit police officer Krauss. You can't take your eyes off this guy. He's that despicable. This might be a break-out role for Poulter, who starred in THE MAZE RUNNER (2014) and was in THE REVENANT (2015), but I remember Poulter most for his role as Jennifer Aniston's and Jason Sudekis' son in the comedy WE'RE THE MILLERS (2013). Poulter's work here is about as far removed from his comic work in WE'RE THE MILLERS as you can get.
Likewise, Ben O'Toole is nearly as chilling as Krauss' partner Flynn. They're the epitome of racist police officers.
And while DETROIT doesn't paint a positive picture of the Detroit police, it does show that these two officers did not represent the entire department. During the movie, we see other white officers helping black people, and we see other white officers chastising Krauss' motivations. The problem is, and this is where the film remains true to life, that while most did not share Krauss' views towards blacks, no one felt strong enough to do anything about it. This film is every bit as much about those who turned a blind eye on the proceedings as those like Krauss who instigated them.
There are also two strong performances by Hannah Murray and Kaitlyn Dever as two white women, Julie and Karen, staying at the motel. When they are found with the black men, they are accused by the police as being whores. They endure both verbal abuse and in Julie's case physical abuse, as the police strip her top from her.
The screenplay by Mark Boal is first-rate, which is no surprise, since Boal also wrote the screenplays to the two other critically acclaimed movies directed by Kathryn Bigelow, THE HURT LOCKER (2008) and ZERO DARK THIRTY (2012). The dialogue is superb, the situations tense, and the characters while not fleshed out in the traditional way are all very real.
Director Kathryn Bigelow makes full use of her camera, from painful close-ups to terse hand-held camera work during chase scenes. She also captures the race riot streets of 1967 Detroit. I really felt as if I had been transported back to this volatile time.
I would imagine Bigelow will receive some backlash regarding this movie, as it's a rather one-sided interpretation, and the police are not on the bright side of this one. But the reality is, racism still exists, and until it doesn't, stories like this need to be told.
DETROIT is a superior movie, a powerful movie, and one that is even more disturbing because it takes place in a country that is known for its freedom and its rights, but as shown in this movie, those freedom and rights don't extend to everybody.


An equivalent combination of education and experience from which comparable knowledge and skills have been acquired may be substituted.
On the University of St. Thomas Jobs page, follow the instructions to complete an online application which includes uploading a resume and copy/pasting a job specific cover letter.
In light of its commitment to create and maintain a safe learning and working environment, employment with the University of St. Thomas requires consent and successful completion of a background screening.
Inspired by Catholic intellectual tradition, the University of St. Thomas educates students to be morally responsible leaders who think critically, act wisely and work skillfully to advance the common good.


There'd probably be hunky firefighters inside those firefighter suits, wouldn't there?
And would they look like this?
oh (gif) it crashed dangiT!!!!! sorry about that, messed up the only one liner I've ever done BOOO!!!
Did you know (speaking of ants) that the giant anteater (a dense, reddy-brown hardwood carving of which i recently acquired) is native to the grasslands and rainforests of South America, also enjoy termites, carry their young on their backs for up to a year, are known as 'antbears', but are actually members of the sloth family?
Charming and weird; is that all tail at the back or is some of it still body?
I think it's all tail, which is sort of logical, because don't they need some counter-balance to that looooooooong face?
don't they need some counter-balance to that looooooooong face?
Is this one of those "horse walks into a bar" jokes?
Ah, all right, a horse, an anteater and Hitler walk into a bar, the horse says 'Haaay', the anteater says 'Ant for me.' and Hitler says nothing. So bartender gives hay to the horse and to the anteater too and nothing to Hitler.
Yeah, will you remind me from now on not to invent any jokes anymore?
Well obviously comedy relief is a difficult job eh?!?!?!?!?!?!!?????? <<< that's called a question.
it is what it is eh?!?!?!????? <<< this too-- a question. Again internet lag sorry for double postage.
Was this meant for the Grrr thread?
Don't you see how far flung from reality we all must be when, while worrying about like why the internet is slow, or who's data-mining my android, as we speak when, for all we know, there's a 1000-f'n-mile-wide spacecraft, hovering, in midair, behind the moon plotting some unimaginably evil mind control?
Am I the only one absolutely certain that aliens cannot possibly be more stupidly violent or more disgusting than humans?
I think my imagination has died .... anyone know a way to revive it?
Well, aren't fire-fighters good at CPR?
There's a little Fire Station just 10mns walk from here, shall I enquire as to whether they need volunteers to practice on?
You know, if I tried 5 times and had to delete it as too weird, somewhat too weird or completely awkward, isn't it time I change the subject?
Okay, safe change of subject: what are you having to eat this evening? Will the cauldron be getting a bit of a workout?
Oh, the cauldron was bubbling yesterday, so we've got enough of leftovers for few days, I'm only making a dessert today: mixed fresh fruits, crushed, with Greek yogurt and just a little bourbon vanilla flavoured sugar (who am I kidding? just a little too much of said sugar), it's a lot like... rough... smoothie, if that doesn't defy the definition of a smoothie?
Didn't you forget johnny's wart and witchhazel for just the right spin eh?!?!?!?!?!??!????????? <<<< that's a question.
NOte: Year of the Pig, DOUBLE HEAPING HELPINGS OF EVERYTHING!
Well, damn *slaps forehead with tentacle* I knew I'll forget something, the only thing I never forget is to forget something, so, how about we give you dry bat wing instead of spoon?
Wait, damn, we're out of dry bat wings, how about fresh one? It's a little bendy, but it will only make it more interesting, right?
... . NOOOOOOOOOOOO! ... what do you do when you've broken your great great great ....( too many))))GRANDMAMA'S brewing/stiring stick/spatchla ?!


Modern designed Apartment for up to 7 people with a huge terrace close to the city center offers all you need for a comfortable stay in Vienna! Close to public transport, you reach the inner city within 15 minutes.
The apartment is on the top floor of a tradional house with lift and a garden. It is next to Schoenbrunn Castle with its beautiful parks so take a jog or a relaxing walk after your sightseeing.


It was clear from the time Papico got that gadget on her hand that she was chosen for something unusual. Gigant Chapter 19 is finally out, but we are quite disappointed to see such a short chapter. There is nothing much to talk about the last chapter. We saw how Papico comes to save Rei Yokoyamada & starts throwing punches on that alien.
We all are sure of the presence of the unnatural power & during the fight it was very unusual to see the Alien guy throwing his type of Rasengan at Papico. By the end of the chapter, we saw how Papico doge the attack & now she has no option left but to fight against him.
In this article, we are going to discuss what is going to happen in Gigant Manga Chapter 20.
The title of the next chapter is "Fight Papico" & we don't have to describe what this means. in the upcoming chapter, we will be seeing Papico fighting against the alien. We were expecting to see the defeat in chapter 19, but it seems that we will have to wait to see it in the next update.
We are expecting that Papico will learn a way to fight against the giant alien. There is no doubt that everyone will cheer her up to get the alien down.
This is something which is quite unexpected. We have seen this anime to release in very off timing. If you ask me about the release date, we expect that Gigant chapter 20 might release by Mid October. If we have any more information about the chapter we will update you here.


Best known for their audacious motifs and streetwear-inspired shapes, look to Kenzo to keep your casual wardrobe up to date. This forest green long draped skirt from Kenzo features an asymmetrical shape, a velvet finish and a draped design. It has an available matching jersey top for the complete head to toe look!
Soyez le premier à laisser votre avis sur "Kenzo Jupes | Femme Long Draped Skirt Vert" Annuler la réponse.


text:
#import "ElasticLoadBalancingDisableAvailabilityZonesForLoadBalancerRequest.h"

@implementation ElasticLoadBalancingDisableAvailabilityZonesForLoadBalancerRequest

@synthesize loadBalancerName;
@synthesize availabilityZones;

-(id)init
{
    if (self = [super init]) {
        loadBalancerName  = nil;
        availabilityZones = [[NSMutableArray alloc] initWithCapacity:1];
    }

    return self;
}

-(id)initWithLoadBalancerName:(NSString *)theLoadBalancerName andAvailabilityZones:(NSMutableArray *)theAvailabilityZones
{
    if (self = [self init]) {
        self.loadBalancerName  = theLoadBalancerName;
        self.availabilityZones = theAvailabilityZones;
    }

    return self;
}

-(void)addAvailabilityZone:(NSString *)availabilityZoneObject
{
    if (availabilityZones == nil) {
        availabilityZones = [[NSMutableArray alloc] initWithCapacity:1];
    }

    [availabilityZones addObject:availabilityZoneObject];
}

-(NSString *)description
{
    NSMutableString *buffer = [[NSMutableString alloc] initWithCapacity:256];

    [buffer appendString:@"{"];
    [buffer appendString:[[[NSString alloc] initWithFormat:@"LoadBalancerName: %@,", loadBalancerName] autorelease]];
    [buffer appendString:[[[NSString alloc] initWithFormat:@"AvailabilityZones: %@,", availabilityZones] autorelease]];
    [buffer appendString:[super description]];
    [buffer appendString:@"}"];

    return [buffer autorelease];
}

-(void)dealloc
{
    [loadBalancerName release];
    [availabilityZones release];

    [super dealloc];
}

@end

redpajama_set_name: RedPajamaGithub


This post follow from https://edyourself.wordpress.com/2016/04/04/ofsted-inspections-march-2016/ and looks at Ofsted safeguarding inspection reports mentioning home education in April and May 2016. Scroll down for background information.
RATED REQUIRES IMPROVEMENT There are appropriate systems in place for monitoring children and young people who are electively home educated. There are currently 506 children and young people being home educated in the county. Where a child or young person is withdrawn from school or where parents elect not to register them with a school, the inclusion team makes contact with the family to ascertain the reasons for this and, if appropriate, to plan for a return of the child or young person to school. The inclusion team will make approaches to the parents to arrange a visit to see the child and to ensure that parents have an appropriate programme of work for their child. The inclusion team provides a small number of services to support elective home education. For example, they provide a facility to register children for GCSE examinations. The inclusion team holds an annual review to monitor and promote the needs of the small number of children and young people who have a statement of special educational needs. If a child or young person is known to social care and becomes home educated, there is a joint investigation of the child's or young person's circumstances by the inclusion team and the social care team. Where there are concerns, including fears of radicalisation and extremism, the team refers the case to the MASH for further assessment.
RATED REQUIRES IMPROVEMENT At the time of inspection, 86 children and young people were being educated at home. The local authority routinely checks on their educational progress. Considerable effort has resulted in good relationships with parents who value the support and guidance that they receive on a regular basis. Staff visit at least 95% of all home-educated children and young people annually, and specialist caseworkers have a good understanding of their needs. The [Local Safeguarding Children] board has mechanisms in place to ensure that there is a good understanding of the effectiveness and quality of frontline services in Bury. These include annual reports, information on allegations management, children and young people who are electively home educated, and private fostering.
RATED REQUIRES IMPROVEMENT Two hundred and forty-three children are known to be electively home educated in Dorset; this is broadly in line with national averages. The local authority has a team of four designated visiting officers to monitor the education and welfare of these children and young people by making at least one annual monitoring visit to those families who agree to meet with them. However, the local authority's ability to monitor their education and welfare is limited because, in the year 2014–15, only 57% were visited. Safeguarding concerns identified by visiting officers are dealt with promptly. In the last year, this has resulted in four children returning to mainstream education.
RATED REQUIRES IMPROVEMENT While there is detailed oversight of individual children missing education and children electively home educated, the local authority does not routinely analyse and evaluate the data on them to respond to trends or to inform service development. There are currently 173 Thurrock children who are electively home educated. The local authority actively reviews all children who are electively home educated at the monthly strategic meetings on children missing education. This includes checking the information that they hold to ensure that children are not at risk and that they have been seen, and to identify when a conflict with school can be resolved. A 'traffic light' system is used to flag families on this list that may need additional support. The local authority does not sufficiently analyse and evaluate the data about children missing from education and those who are electively home educated to find out if there are particular trends, for example if numbers are increasing or decreasing, or to consider fully why this may be (Recommendation).


With a stay at APA Hotel Ginza-Takaracho in Tokyo (Ginza), you'll be convenient to Bridgestone Museum of Art and Tokyo Imperial Palace. This hotel is close to Tokyo Tower and Sensoji Temple.
Make yourself at home in one of the 108 air-conditioned rooms featuring LCD televisions. Complimentary wired and wireless Internet access is available. Bathrooms have designer toiletries and hair dryers.
Enjoy a satisfying meal at a restaurant serving guests of APA Hotel Ginza-Takaracho.
Are you affiliated with APA Hotel GInza Takaracho? Apply to the Hotel WiFi Connect program to take control of your account, improve your hotel's confidence score and ranking.


text:
You are currently browsing the tag archive for the 'trees' tag.
What senseless pleasure
July 23, 2011 in First Word archive (2011) | Tags: burglary, Graffiti, how stupid we can be...and we're meant to be the most intelligent species in the known universe, saplings, trees | 6 comments
I've been going on about it, telling anyone who'll listen, I'm even telling you now, sharing my story about the little black hole that appeared on my verge. Last Tuesday at 6.30 a.m. there was knocking on my door. My neighbour was standing there. He asked me if I owned a collection of plastic toy motorbikes; I said no. He asked me if I owned a pot plant filled with old coins; I said no, I didn't – what was he talking about? He told me to go out to the lane. He's a good man, but a very quiet man, and I recalled how when I'd moved in he'd said that if I ever needed help he had a gun. I thought it best to follow his instructions.
In the lane was a scattering of toy motorbikes, all different colours, looking like an accident had happened, though it would have been a strange accident to say the least. Nearby was the pot plant, upturned, the old coins spilled. "You really don't know anything about this stuff?" No, I didn't. I remembered how my neighbour on the other side owned motorbikes, and that his garage door was broken so he'd tried to secure the gap with chicken wire. We went to investigate. The wire had been lifted into a miniature archway. Kids had got in and stolen what they thought would be valuable or fun but almost immediately decided the loot was neither.
My neighbour and I put the motorbikes in a bag and returned the coins to the pot. We'd hand it all back to our other neighbour when we saw him at a less ungodly hour. Case solved.
Except I saw a little black hole on my verge. As they'd left the scene the thieves had pulled a much-loved sapling from the ground, a dogwood from a previous house, a piece of the old home for a new home, what beautiful white flowers the tree had given, always in the first week in December. How brave the sapling had been, surviving incessant winds, hail storms, frost. Leading away from the hole were drops of dirt, like blood, black blood, until there were no signs of the sapling at all.
As I've told this story to anyone who'll listen, I've said, "I understand burglary, I even understand graffiti, but where is the pleasure in wrenching a sapling from the earth?"
(First published in Panorama, The Canberra Times, 23 July 2011.)
Mute companions
February 6, 2011 in Australian literature, General sprays | Tags: Australian literature, Cyclone Yasi, Roger McDonald, The Tree in Changing Light, trees, you don't have to be a tree-hugger to love trees | 8 comments
Right now I feel alive to trees. Yes, alive. And, yes, to trees. Because I've just finished reading The Tree in Changing Light (2001) by Australian novelist Roger McDonald. The book, which was a gift from the writer (I interviewed him for the Canberra Times late last year), is a deeply thoughtful, poetic, even Biblical exploration of the tree.
We're lucky in Australia to be surrounded by trees. As I write this a countless number of eucalypts live on the other side of the river on the other side of the window. Sometimes, like earlier this week when a cyclone called Yasi (named after a Fijian tree, apparently) smashed its way across tropical Queensland, we can be unlucky in the company of trees, too.
McDonald's book has me thinking about some of the trees that I've known.
The gigantic old Smooth-barked Apple (botanical name Angophora costata, which sounds like something an orchestra might play) in the tiny front yard of my family's Sydney home. How my mother, wanting to rescue it from the reality of its old age, and needing to save my brothers and me from branches that would fall in summer, got in a tree surgeon, who lopped the dangerous limbs and, following the crown's drop-line, injected the soil with Poplar Special, which I was told was like giving the tree a massive dose of vitamins. I remember how, some years later, a sugar glider launched itself out of the tree only to land on the handle-bar of the lawnmower I was pushing – how indignant, how downright embarrassed I felt when I tried to pick up the delicate animal and it bit me violently on the end of one of my fingers.
The windbreak of radiata pines (Pinus radiata, which sounds exactly like what a forester would call them) that protected the little green weatherboard Blue Mountains cottage my family rented each year when I was a child and then a teenager. Climbing as high as I could until it felt dangerous, perched up there for hours, looking out over the sparsely populated village, feeling the ocean-like sway as the tree shifted in the national-park wind, holding me up. The smell – the stink? – of pine needles in my nose and mouth, watching as unsuspecting family members went out in the rambling, wild-in-parts garden to do something or other that was meant to be private and unseen. Turning away from them down there, I got lost in the miniature canyons of the bark, hoping that I wouldn't fall asleep and let go. I seem to remember that once or twice I did fall asleep, but I didn't let go, I mustn't have.
The exotic trees in the front yard of the first house I bought, a 1960s 'ex-government' joint – they died suddenly one summer. Two English oaks, two liquidambars, a cherry tree, a fig: together, in one week, they just extinguished themselves, the way dolphins can do on an isolated sandy beach. How devastated I felt, and devastated is the word: shocked, distressed, distraught. So I got in a tree surgeon, just like my mother got in the same to save her Smooth-barked Apple, and, not being someone who under-does things, I also got in a man who advised the local government about how to care for the city's urban forest, and I got in the caretaker of the prime minister's grounds, and tests were done, soil samples sent away to Sydney. As advised, I had the ground injected, not with Poplar Special but chemicals, because the technology had moved on.
Still the trees died, although a beloved magnolia survived, despite having lost its sheltering over-storey. I cared for this tree, kept the water up to it during the extended hot and dry periods, especially when the winds came from further inland, I pruned the greying branches, year after year amazed that it flowered for me, and flowered for the neighbours who praised me for the display as if I'd given birth to the tree myself.
How, only this morning, I've noticed that the dinosaur-esque fig tree tucked away in the corner of the back yard of the 1890s house in a country town I now call home has suddenly turned yellow. It has dropped half its leaves, it's unwell. It won't, it seems, survive the recent days of heat.
Trees may well be protection, or decoration, or entertainment. Perhaps they can even be symbols of status. But what are they really? A sign of a slower life than our own, or a greater simplicity, or a greater serenity? Or is it the stength? Or the (mostly) silence?
McDonald has the answers, as most novelists do.
In the final chapter of his book, entitled 'Into the Light', he notes, in the Biblical – or apocalyptic – past tense:
We wrote philosophies, built faiths, and took every kind of comfort from trees. They gave language to our existence as we put down roots, stretched our limbs, budded in infancy and were felled in old age. They were mute companions to our lives and worshipped beyond ourselves as the better part of balance and aspiration. They offered steadiness and long patience even as we failed in those. They were meeting points and sites of rough justice. They gave the idea and supplied the material for shelter. They offered an image of completion, which was an illusion, but it was enough. Theirs was a whisper in the wind to the human ear both tragic and hopeful. Civilisation grew from exploiting, destroying, venerating and looking back on them. Trees led us to ourselves and we stood against them trunk to trunk, arms upon branches, our thoughts tangled in the stars.
Mute companions.
Companions that I wouldn't ever want to be without.


text:
Home > Castles, towers, bell towers
Torre di Re Enzo
Only evidence of the ancient castle of the lords of these lands, the tower in 1249 becomes a prison for king Enzo...
Castello di Bentivoglio o di Ponte Poledrano
Mansion of leisure and hunting, built by the noble family of Bentivoglio at the end of the fifteenth century...
Torre dell'Orologio
Watch tower of the 14th century, now houses the City Hall and a vast art collection of paintings...
Castello dei Ronchi
Large country house, originally owned by Counts Caprara; until May 2012 it was the site of festivals and historical events...
Castello di Palata Pepoli
Built with elements of severe elegance by order of Filippo Pepoli around 1540 with a remarkable arcaded courtyard...
Castello Galeazza Pepoli
A late 19th century castle in neogothic style, surmounted by a mighty tower...
Torre di Galliera
Remains of the system of fortifications erected by the Bologna Council in the 12th century at the limit with the Este's State...
Castello di San Martino in Soverzano
Ancient building of private property with characteristics at the same time of defence and residence...
Torre Colombaia
Elegant dovecote tower, whose design is attributed to Jacopo Barozzi, called the Vignola...
Torre di Santo Stefano
What remains of the ancient castle built by the government to defend the border of Bologna toward Ferrara...
Torre di San Pietro
Beautiful tower, which formed part of the castle walls built in the Dark Ages to defend the Via Emilia...
Torresotto
Costruito nel 1391, il fortilizio ha in origine funzione di controllo. Dal 1998 è sede della biblioteca...


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text:
package phenoscape.queries;

import static org.junit.Assert.*;

import java.sql.PreparedStatement;
import java.sql.ResultSet;
import java.sql.SQLException;
import java.util.Map;
import java.util.Set;

import junit.framework.Assert;

import org.junit.After;
import org.junit.Before;
import org.junit.Test;

import phenoscape.queries.TaxonomyTree.TaxonomicNode;
import phenoscape.queries.lib.Utils;

public class TestTaxonomyTree2 {

	private static final String OSTARIOPHYSIROOT = "TTO:302";

	Utils u;

	private int ostariophysirootnode;

	private static final String ROOTQUERY = "SELECT n.node_id,simple_label(n.node_id),t.rank_label FROM node AS n " +
	"JOIN taxon AS t ON (t.node_id = n.node_id) "+
	"WHERE (n.uid = ?)";

	TaxonomyTree tree;

	@Before
	public void setUp() throws Exception {
		u = new Utils();
		u.openKBFromConnections("connection.properties");
		final PreparedStatement p = u.getPreparedStatement(ROOTQUERY);
		p.setString(1,OSTARIOPHYSIROOT);
		ResultSet r = p.executeQuery();
		if(r.next()){
			ostariophysirootnode = r.getInt(1);
		}
		tree = new TaxonomyTree(OSTARIOPHYSIROOT,u);
		tree.traverseOntologyTree(u);
	}

	@After
	public void tearDown() throws Exception {
	}

	@Test
	public void testTaxonomyTreeStringUtils() throws SQLException {
		TaxonomyTree t = new TaxonomyTree(OSTARIOPHYSIROOT,u);
		Assert.assertNotNull(t);
	}

	@Test
	public void testTaxonomyTreeTaxonomicNodeUtils() throws SQLException {
		TaxonomicNode n = TaxonomyTree.getRootFromKB(u,OSTARIOPHYSIROOT);
		TaxonomyTree t = new TaxonomyTree(n,u);
		Assert.assertNotNull(t);
	}

	@Test
	public void testGetRootNodeID() {
		Integer rootNode = tree.getRootNodeID();
		Assert.assertEquals(ostariophysirootnode, rootNode.intValue());
	}

	@Test
	public void testGetAllTaxa() {
		Set <Integer> treeTaxa = tree.getAllTaxa();
		Assert.assertEquals(11407, treeTaxa.size());
	}

	@Test
	public void testGetTable() {
		Map<Integer,Set<Integer>> table = tree.getTable();
		Assert.assertNotNull(table);
		Assert.assertEquals(11407,table.keySet().size());
		Assert.assertEquals(true,table.keySet().contains(tree.getRootNodeID()));
		Assert.assertEquals(3,table.get(tree.getRootNodeID()).size());
	}

	@Test
	public void testNodeIsInternal() {
		Assert.assertEquals(true,tree.nodeIsInternal(tree.getRootNodeID(), u));
	}

	@Test
	public void testTraverseOntologyTreeUsingTaxonNodes() {

		fail("Not yet implemented");
	}

	@Test
	public void testTraverseOntologyTree() throws SQLException {
		TaxonomyTree t = new TaxonomyTree(OSTARIOPHYSIROOT,u);
		t.traverseOntologyTree(u);
	}

	@Test
	public void testReport() {
		tree.report(u, null);
	}

	@Test
	public void testGetRootFromKB() throws SQLException {
		TaxonomicNode n = TaxonomyTree.getRootFromKB(u, OSTARIOPHYSIROOT);
		assertEquals(n.getUID(),OSTARIOPHYSIROOT);
	}

	@Test
	public void testGetChildNodesFromKB() {
		fail("Not yet implemented");
	}

}


We are pleased to introduce you to Gerard Virga, co-founder of PowerStream and founder of StreamDynamics and StreamGear, an online platform reselling video capture devices.With more than 20 years of experience in the streaming industry, Gerard is going to share with us the best way to choose a video capture device for live streaming.
So you want to stream live video on your website, from an online video platform host, or anywhere else! You've done lots of research on options for a Content Delivery Network (CDN) and which software you're going to use. Now, you need to get the video signal from your source (camera or production switcher) into the webcasting computer system. You need a video capture device, but you're overwhelmed with the wide choice of devices, with costs ranging from under $100 to over $1000. What's the difference? What matters for you?
What is a video capture device, anyway?
Most modern laptops have a webcam which makes live broadcast available to a software on that system. Within the camera, there is a chip that converts the analog visual world into digital data. The system sees the webcam as a video device which can be used by software such as Skype or Google Hangouts. It can also be used by most live broadcast software, like Telestream Wirecast or vMix.
The unfortunate fact is that your little webcam doesn't give you the ability to connect an external video source. This is where a third-party capture device comes to the rescue. It allows you to connect an external video feed to your computer, and makes that source available as a audio/video capture device selection in your software.
The video industry has no end to the number of acronyms they use.
Over the last ten years, the video industry has transformed from Standard Definition (SD), to High Definition (HD), to Ultra High Definition (Ultra HD or UHD). Your video capture device needs to support the signal format which you have available as an input. This may be as simple as an HDMI consumer camera that supports 1080p or 720p. But what does this mean?
It all started with the National Television System Committee (NTSC) back in 1953, when the original TV standards were formed. They outlined that in North America, a TV image would contain 525 horizontal lines (483 are visible) and would be interlaced, meaning that only half (alternating) lines are rendered in each frame [i]. Today this early standard is known as Standard Definition (SD).
Interlacing was a method for cheating since there wasn't enough over the air bandwidth for a single frame. They split alternating lines into tow frames and the phosphors in the old tube TVs glowed long enough for the alternating lines to blend. Interlacing is still used in HD application to lower the amount of data need to for the same effective resolution. While there are no longer phosphors used in displays the time on screen is so short that your eye cannot tell that you are only seeing half the image at once.
The DVD was the industry's first implementation of digital technology, and specified a method for converting analog video signals into digital data and storing it on the DVD media. The effective resolution was 640×480, and referred to as 480i – the "i" meaning it was interlaced.
While the DVD was a revolutionary at the time, the next wave of change to full digital TV was even farther reaching, and enabled higher resolutions. The new specifications provided for the whole TV ecosystem to be digital from camera to display, including over-the-air broadcast signals. The new digital TV rules only provide guidance on how signals are handled, as opposed to the single mandated resolution of the early NTSC standard. This allows for a broad range of signals, but also causes lots of confusion, particularly with what we refer to as "HD".
The easiest way to think about a signal format is by its resolution. Common designations for HD are 1080p and 720p. The number is the frame height in pixels, while the letter "i" or "p" is the interlacing method (or lack thereof). As above, "i" means Interlaced, rendering alternating lines in each frame. "P" mean progressive – there is no interlacing, and all lines are rendered in every frame. As you would guess, progressive delivers a better picture, because each frame contains a complete image – unlike interlaced, which is like looking at a picture through a fast flickering window blind. However, progressive content consumes twice the data to render same video as an interlaced signal. This is especially important when the signal is broadcast over the air, but not so important when being recorded.
Below is chart which outlines common digital signals and resolutions.
The last aspect of the signal is just that – the frame "aspect" ratio. As you can see in the chart above 4:3 and 16:9 are most commonly used. The aspect describes the shape of the viewing frame; width to height being the multiplier used to determine the final resolution of the frame. Standard Definition is most commonly in 4:3 aspect and HD being 16:9.
4k is the newest term in the video industry. This term was originally coined by the Digital Cinema Initiative (think NTSC for movies) and refers to the horizontal resolution of 4000 pixels. DCI's specification is 4096 x 2160. By comparison Ultra HD (UHD), the standard used for consumer 4K TVs, is 3840 x 2160. We could also call Full HD "2K" at its 1920×1080. But we don't.
Figuratively, and sometimes literally, there are two sides to a video capture device. The input – which accepts the incoming signal to the device – and how the device connects to the computer to output the digital signal.
The input side comes in many variations. The most common connection is HDMI for consumer sources and SDI for professional sources. However, there are several other sources as well: DVI, VGA, Component and Composite to name a few.
The connection to the computer falls into two main categories: internal and external devices. External devices usually connect via the Universal Serial Bus (USB) but some systems also have a Thunderbolt connection which is popular on Apple Mac systems. USB is the easiest method to add a video capture device to your system. Most modern systems support USB 3.0, which allows for connecting HD – and sometimes Ultra HD – devices. There are two device types in this class: devices that need their own software (drivers) to work, and ones that support plug-and-play (no drivers needed). The latter is obviously preferred and easier to use.
The second category is internal devices. They usually connect through the PCI Express (PCIe) adapter slot inside a desktop or rack system. There is also the small form factor – Mini PCIe version or Newer M.2 standard. These cards have the benefit of being connected directly to the system, which enables higher performance. This higher performance also allows for multiple input channels on one device. Video switching software packages like Wirecast or vMix are a perfect match for cards with multiple capture channels for multi-camera webcast production.
That's a lot of info! What's right for you?
Whew. Now that you understand the ins and outs of video capture devices, you can focus on your needs and deciding what type of device is best for your application.
1.How many video sources do you desire – single camera, or multiple video sources?
This is the first question you must answer. If your project only requires a single camera (or video source), then a USB device will likely be your best bet. We recommended the Magewell USB Capture line of driver-free devices. It's as simple as it can get – truly plug and play. The USB Capture family is available with HDMI or SDI input. The USB Capture Plus line comes in HDMI, SDI and DVI models, with signal loop-through (out) on the HDMI and SDI versions, and analog audio input and output.
If you need more than one source available to your software, then a PCIe capture card would be best. Magewell has a complete line of PCIe Capture cards with a vast array of input options. These cards come with one, two and four channels on a single card.
2. Does your solution need to be portable?
Again, a USB device might be the best option if portability is important. Otherwise, you might want to consider a purpose-built system like the StreamDynamics StreamMini X4. This compact, small-form-factor system incorporates the Magewell Pro Capture Quad card, which provides four live camera sources to your software.
3. What type of type of output connectivity does your camera(s) or switcher support?
In general, the most common digital signal is HDMI, which is available from both consumer and professional cameras. SDI is also a common video output professional signal. The biggest difference between HDMI and SDI is that SDI cables can run a much longer distance before losing signal strength. Depending on the age your equipment, it may also support several other types and connections (such as composite, s-video or component video; and balanced or unbalanced analog audio). Once you know the type of output and signal format you will be using, select a video capture device that supports it.
It's also worth noting the All-in-One class devices which have single capture channel and allow you to select from a broad array of a/v input types, from analog to digital and SD to HD. There is even a 4K All-in-One card which spans from SD to 4K capture resolutions.
Below is a chart of signal types and the connectors that are commonly used with them.
I know that was a lot of info – I hope you found it helpful in order to stream live video as successfully as possible. And don't forget that we're here to help! Let us know your questions and feedback in the comment section below, and we'll get back to you. For exclusive offers and regular live streaming tips, you can also join our LinkedIn group.
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After discovering a security flaw in the Global Unique Device Identification Database (GUDID), the US Food and Drug Administration (FDA) is giving device makers an additional month to comply with new labeling and data submission requirements.
In 2013, a new set of regulations required companies to comply with new labeling and data submission requirements, with staggered compliance dates based on device classification.
Specifically, companies distributing devices within the US would need to include a UDI on each device, combining static and dynamic identifiers. According to FDA, these identifiers "will help reduce medical errors, and will allow FDA, the healthcare community, and industry to more rapidly review and assess adverse event reports, identify problems relating to a particular device, and thereby allow for more rapid and effective corrective actions that focus sharply on the specific devices that are of concern."
Many high-risk, or class III, devices were required to comply with UDI and GUDID requirements by 24 September 2014. However, certain products, including some orthopedic implants and intraocular lenses, were given additional time to comply.
FDA gave non-class III devices that are "implantable, life sustaining and life supporting," until 24 September 2015 to comply with UDI and GUDID requirements.
However, after discovering a security flaw in the GUDID on 7 August 2015, FDA has said it has "decided to take the system offline until a patch is implemented" and will exercise its enforcement discretion to extend the compliance date to 24 October 2015, giving affected labelers an additional month to comply.


text:
require 'etengine/scenario_migration'

# The full load hours of the SMR have been updated from 7500 to 8322. For 7500 was no source in
# ETDataset and the 8322 is based on this datasheet
#
# This migration scales SMRs in existing scenarios to account for the change.
#
# See https://github.com/quintel/etengine/issues/1292
class UpdateSmrCapacity < ActiveRecord::Migration[7.0]
  include ETEngine::ScenarioMigration

  def up
    do_migrate(7500.0 / 8322.0)
  end

  def down
    do_migrate(8322.0 / 7500.0)
  end

  private

  def do_migrate(multiplier)
    migrate_scenarios do |scenario|
      if scenario.user_values.key?(:capacity_of_energy_hydrogen_steam_methane_reformer)
        scenario.user_values[:capacity_of_energy_hydrogen_steam_methane_reformer] *= multiplier
      end
    end
  end
end


text:
The sexiest Japanese name. name is Only given to people worthy enough, you have to be sexy, muscley, funny, and courageous.
His strong spirit tells me he was Born to be a Hiroyuki.
by Mole ester May 26, 2021
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Hiroyuki Sanada
The Japanese version of Samuel L Jackon. He is one kick ass mofo and has been in many films including "The Last Samurai" and "Ringu" (the ring, Jap)
Samuel L Jackson and Hiroyuki Sanada could be brothers... if one of them wasn't black... and the other Japanese
by Itchy January 19, 2005
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Rumors surrounding the history of stately Ravenhearst Manor have circulated for decades. The recently acquired diary of Emma Ravenhearst may hold the key to unraveling the tale behind this unsettling place, yet the pages are missing. Players assume the role of Master Detective to unlock secrets held within Ravenhearst ®, scouring a myriad of enchanting rooms in the manor for cleverly hidden clues. Locating and assembling diary pages helps tell the story of the house and, ultimately, unlock the mystery.


8′ x 10′ in size.
Must be ready & open 8 to 5 Sat-Sun (advertised hours).
Daily rental fees, storage & reservation fees apply.
Print and mail our application and we will place you on our waiting list.
10′ x 10′ in size.
Spaces given out on first come, first serve basis.
All merchandise must be taken at end of each business day.


text:
Sabriel (book one in the Old Kingdom series) by Garth Nix (1995)
By Piranha T.
Sabriel is used to danger. Her father, the necromancer Abhorsen, has taught her such things from a young age. She knows how to use the seven bells which are the root of the craft of necromancers, has journeyed through Death, and bound the creatures who lurk there. But despite this all, she hasn't grown up in the magical and mysterious Old Kingdom, where she was born. Instead, she attends school in the modern realm of Ancelstierre, as far from anything magical as it is possible to get.
But Sabriel is pulled into an ancient conflict when Abhorsen disappears. Now, she must journey into the Old Kingdom, overcome dangerous creatures, and brave trials which she has never even imagined. And over her journey, she discovers that her father's disappearance may just be part of a bigger plan—a plan orchestrated by one of the most powerful, nefarious beings she has ever encountered.
Sabriel is an engrossing read, starring a capable, clever, and believable heroine. This book, widely acknowledged as a modern classic, is set in a well-developed fantasy world with intricate, dangerous magic and a plot with mysteries that keep you wondering at the ending. That said, Sabriel is a young adult book, and though it's amazing when you're old enough, there are parts which may be disturbing for younger readers. Because of that, I would highly recommend it (and the rest of the series) to high fantasy fans ages twelve and up.
Book Reviews By & For Kids
Everyone knows that Rapunzel spent her early years locked up in a tower. We'd like to think she had plenty of books to while away the time, and that she'd appreciate our own favorites.
Founded in 2014, our reviews focus on great books for middle grade (MG) readers. Beginning in 2018, we began adding selected Young Adult (YA) books as well, but only if we really love them and think Rapunzel Reads followers will too. Favorite picture books have their own page.
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In Verse


Duluth's 2012 flooding at least helped teach the city what it wasn't prepared for.
With global temperatures rising and federal action evaporating, Minnesota cities are taking it upon themselves to cut emissions and prepare for a climate they weren't built for.
Across the state, cities are readying themselves for the dangers of climate change and working to shrink their carbon footprints. But making a city more resilient is costly, and efforts to reduce emissions can seem paltry compared to the scale of the problem they're trying to solve.
Climate change is expected to increase the frequency and intensity of rainfall in Minnesota, bringing with it a greater risk of flash flooding that threatens cities whose current infrastructure has never weathered a 100- or 500-year flood. Since 2000, the state has had eight "mega-rain events," when at least six inches of rain fell in an area greater than 1,000 square miles, according to the Minnesota Department of Natural Resources. There were only three in the 30 years between 1970 and 1999. The eight since 2000 included the largest, earliest and latest mega-rain events on record — in keeping with the longer, more severe rainy season climate scientists expect to become the new normal.
One of those mega-rains led to the catastrophic 2012 Duluth flood, which served as a Hurricane Katrina-like wakeup call for a city built on rocky sediments and permeated by 43 creeks and streams. After getting deluged with seven-plus inches of rain in two days, floodwaters turned roads into rapids and ruined infrastructure, inundating neighborhoods and causing well over $100 million worth of damage. The scale of the destruction was unprecedented. City officials realized unless they started making major changes, they'd risk being swept away.
Climatologist are hesitant to attribute any one storm, like the one that swamped Duluth, to long-term climate change. But, what they're sure of is that this century, cities will see bigger storms more often.
In repairing the damage, Duluth factored in climate change's flood-inducing effects. Duluth mayor Emily Larson (elected 2015) says the city has stopped building in floodplains, and started enforcing stricter building standards, especially for bridges and culverts. The city is also investing in shoring up existing housing stock, rather than building outward, which would only serve to cover porous, water-absorbing land with concrete.
The extensive flooding Hurricane Harvey caused in Houston last year was made far worse by the sprawl of concrete and other impermeable surfaces in that city.
However, Duluth's changes made since the 2012 offer a piecemeal approach to an existential threat.
The prospect of more intense rainstorms has made storm water management a top priority in Edina, which has learned to be nimble to in preparing for floods in a suburb that's been almost completely built out over the decades.
One of those solutions is to repurpose land to help absorb flood water. Edina's Fred Richards Gold Course closed in 2014, and last July, the city council approved a master plan for a new park on the land that includes a "nature bank," a restored wetland that stores water and makes the area more resilient to flooding.
"Citizens in our town have a keen interest in a safe and protected environment," says Hovland.
Adapting to climate change is a pricey proposition. Duluth's recovery was helped along by Federal Emergency Management Agency (FEMA) funds, and Edina is a relatively populous and economically secure suburb. Smaller, less wealthy towns are struggling to find funds for proactive measures.
The city of Carver on the bank of the Minnesota River is also trying to prepare for the next big rainstorm. Carver Mayor Mike Webb says concern for residents in his town increased after a flood damaged the city's levy two years ago. But the price tag associated with improving the levy has proven too steep. Webb said he'd like to get the levy certified by FEMA — which would require rebuilding most of it — but the funds just aren't there for a small exurb of 4,600 people. Even the initial $350,000 feasibility study is prohibitively expensive.
Funding for infrastructure to make communities — especially smaller ones — better prepared will be a major issue going forward, according to Laura Millberg, a sustainable development planner for the Minnesota Pollution Control Agency.
The state is offering to help local governments through the GreenStep Cities program, which Millburg serves on as a best practices advisor. Since its creation in 2010, the non-regulatory program has advised cities on becoming more sustainable, giving cities a toolbox of methods to increase their resilience and reduce their greenhouse gas emissions.
For Edina, that meant first developing a greenhouse gas inventory to account for all the city's emissions, and then an electricity action plan laying out how to reduce its output.
The City of Falcon Heights was a pilot city for the GreenStep program. Sandwiched between Minneapolis and St. Paul, Falcon Heights is home to the Minnesota State Fair Grounds and parts of the University of Minnesota St. Paul campus, both of which draw people from all over the state to the tiny municipality of 5,500. Mayor Peter Lindstrom says addressing climate change is a top priority, and he wants the city to be a model for what willing local governments can do.
Since Lindstrom became mayor in 2007, Falcon Heights has opened a community garden and an organic local food hub. In January, the city gave away LED lightbulbs to its residents for free, which both lowered utility bills and reduced homes' impact on the planet. In 2011, Falcon Heights installed a solar garden on the roof of city hall, which now provides 25 to 40 percent of the building's power in the summer. That number drops to just 5 percent in the winter. To compensate, the city has also subscribed to a community solar garden in Chisago County, which sends them the sun's energy through the grid.
While progress can seem insignificant compared to the scale of the issue, Lindstrom is optimistic cities can make a huge difference in moving toward a cleaner future. When he's not working as the city's mayor, Lindstrom serves as an outreach coordinator for the University of Minnesota Clean Energy Resource Team, where he helps other cities come up with financing schemes for sustainability and energy efficiency.
Falcon Heights Mayor Peter Lindstrom shows off the solar panels that help power city hall in that suburb.
One unlikely city taking up the cause of energy efficiency is Warren, in northwestern Minnesota. The hamlet of 1,500 people seems remote, sitting two hours north of Fargo, but its residents take a global view of things. The city is part of the Climate Smart Partnership, a program that pairs Minnesota cities with a German counterpart to collaborate on how to be more sustainable and energy efficient.
After visiting Warren's German partner city of Arnsberg, city administrator Shannon Mortenson started working on ways Warren could emulate the efficiency efforts she'd seen in Germany. The city government has since started using a drone to take thermal images of all the houses in town, to show residents where they could prevent heat loss and save energy. Warren also banned disposable silverware in city hall, started a curbside recycling program, and is working on installing solar panels on its new rec center.
Mortenson even bought an electric car after her trip to Germany, which she says performs just fine on her 70-mile round trip commute. She's working on getting a charger in town to show others they can do the same.


YNPN Denver's Summer Happy Hour will bring together Denver's young professional communities to learn about other young professional organizations and meet other young professionals in various industries. Attendees can also enjoy the collection of antique cars, trains, planes, and motorcycles at the Forney Museum of Transportation and we will also be rolling out YNPN Denver's exciting new logo!
Reserve your spot today at this special collaborative happy hour!
Changing the world through real estate. Survives on yoga, climbing, philanthropy, books, music, film, sustainability, and puppy love.


text:
Doonside Cup Preview
Posted September 15, 2016 | By Tim @ Betting Gods
The Doonside Cup (Thursday, Ayr 4.50) has been moved to the first day of the Ayr Gold Cup Meeting, and this Listed contest is open to horses aged 3 or older, and is run over 10-furlongs.
Winners have been aged 3 to 6 in the last decade, with 3-year-old amassing the most wins with 4. Meanwhile, Saeed bin Suroor has trained 4 winners in the last 7 years (3 of which weren't 3-year-olds), whilst Frankie Dettori is the only jockey to have ridden 2 winners in the last decade.
9 runners are set to go to post for the 2016 Doonside Cup.
Made all over course and distance to win his maiden last year, and has been highly-tried this year. Didn't quite seem to stay 12-furlongs at group-2 level, but then looked outpaced at 10-furlongs at group-1 level. Dropped in class here though, and every chance.
Secret Number
Represents Saeed bin Suroor, and this lightly-raced 6-year-old hasn't been kept in training for nothing. Trainer targets the race, and has to be of interest having previously scored at both Listed and Group-3 level. Usually runs at 12-furlongs, but may get away with shorter trip on soft ground.
Maleficent Queen
Two from two over course and distance included a Listed Win, though the runner-up there has done little for the form. Disappointed last time, but looks sure to be on the premises for inform trainer.
Imshivalla
Well-beaten in a handicap off a mark of 90 last-time, and little chance on that form.
Irish trainer has enjoyed much success here this season, but last-time out victory was off a mark of 68, and still rated 30lb below the principles.
Abdon
The most lightly-raced horse in the field, but has yet to prove conclusively that he'll handle the soft conditions. Handicap win off 102 last-time, but well-beaten in a Group-3 previously.
Henry The Explorer
Rated just 70, and is surely just giving the owners a day out.
Hard to fancy on last-time out 11-length second off a mark of 87 in a handicap.
Motdaw
Class-2 handicap winner off a mark of 86, but that still leaves him with loads to find.
Doonside Cup Summary
The winner should come from Abdon, Almodovar, Maleficent Queen or Secret Number, and you can make a case for any of them. Abdon looks to have the most potential, Alomodovar has the best form and is a course and distance winner, Maleficent Queen is 2 from 2 over course and distance, and Secret Number hails from the prolific winning stable of Saeed Bin Suroor.


I'm actually away that weekend but I've been loads of times before, so may be just a case of traipsing through everything I've picked up from there over the years!
I just called SFE (wasn't that bad after all) and I would be able to get funding for another 3 year course which gives me hope! But also fills me with panic as I haven't even considered applying for anywhere until now! I think going somewhere funded is the better option and gaining a degree I feel would be more beneficial in the long run?
I've also just been recommended Momentum Performing Arts Academy? They have a dance teacher training course running alongside a musical theatre course so my understanding is you can do both at the same time, or focus on one depending on what you want to go into. Does anyone have any experience of them?
Thank you! It is cropping into my mind more and more that I need to decide on a Plan B or C just in case! I have a background in fitness too, so I have that as back up! I would like to go into teaching dance I just wanted to have a bit of a performance career beforehand. But teaching is always a back up. My other teacher suggested doing a distance learning CBTS with her, which I'm also looking into at the moment!
Thank you for this! When I went to see my old teacher, he suggested I just go straight for looking for work and auditioning and just seeing what happens, and continuing to take class as often as I can. I'd love to be able to go and take more classes at Pineapple, Base etc but it's so expensive to get there and everything, though I suppose if I worked more once I'm done with college it could work! Definitely an option if I can't get another loan for another course.
I think this is the kind of work I'd like to go into! I've been looking at some auditions, there's quite a few with height restrictions (I'm only 5"2) but this is something I'm considering I'm not sure really, it's difficult because I live with my mum and her partner, and her partner has a higher income but obviously doesn't pay for me because I'm not his child so it makes it a bit harder! Is there an age limit on the DADA scheme? I will check out the link someone posted earlier on this Oooh I've not heard of that one I'll take a look thank you!
No, repeating the year isn't an option. I would like to do cruise ships but like you say the auditions are crazy I don't know how I'd get on with just one year of proper training. I don't think I can afford to go to those kinds of colleges, I'm also not a confident singer (I had a few lessons last year but my teacher left unfortunately) and I can't afford more lessons at the moment either.
I've set up email alerts for some casting websites so I can start to see and hear about what's out there and that is my other option I guess!
I had an initial assessment by someone on Dr Wolman's team, and then I just got passed onto a regular physio who didn't do anything and then discharged me.
RNOH Stanmore is one of the NIDMS clinics, I explained this to my GP and yet somehow still managed to get referred there as a regular outpatient. I do have a follow up there soon though so will see if they can pass me onto someone dance related. Yep, my college is converted office blocks so the floors are not the greatest. I think I'd prefer a portfolio type career like you mention! Do you have any specific college recommendations i could look into for that sort of route? The only thing that's really been said to me is that injury could be a concern, and my weight (but that's something I'm working on) and other teachers have said I should be pushing for it so there's been mixed opinions!
Yes, I did Dance at A Level, then did Dance for 1 year at university, then went back to the Level 3 (it was BTEC last year but now it's a UAL course, basically the same) after having not got into any other dance schools (I did London Contemporary, Northern Contemporary, Laban and London Studio Centre. At the time I only wanted to do contemporary however now I really enjoy jazz and commercial as well) I'm 21 in April I would consider a Level 6 course as that's what I wanted to do originally, but I'm not sure I feel about an extra 3 years of training, and being much older than everyone else on the course? (presuming most people start at 18) Shin splints for the most part are gone, my legs swell slightly but there's no pain so I'm pushing through! I'd like to think that I'm fit enough for a professional career, but my current college obviously doesn't think so.
Added: I personally think I could do with a bit more training to back me up but I'm not sure of what the options are, since I can't afford to pay outright and don't think I can get any more funding. It's also now very late to think about applications.