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D.Gray-man (ディー・グレイマン, Dī Gureiman) és un manga escrit i dibuixat per Katsura Hoshino. La trama principal és l'eterna batalla entre el bé encarnat en els exorcistes clergues capaços de sincronitzar-se amb la divina i sobrenatural substància anomenada Innocència i el mal, representat pel comte del mil·lenni i de la família de Noè, visionaris malignes i que busquen aniquilar a la humanitat.

Editat des del 2004 a la revista Shōnen Jump, editat per Shūeisha i imprès per Jump Comics. El Manga fou llicenciat a l'estranger, el febrer del 2006; VIZ Media ha llançat els dotze volums als Estats Units. A Espanya és publicat per l'editorial Glénat. A Mèxic ho fa l'editorial Mundo Vid. El 3 d'octubre del 2006 es va començar a emetre un anime a TV Tokyo.

A causa dels problemes de salut, Hoshino va detenir la seva obra amb un total de 18 volums. L'anime ha tancat amb 103 capítols sense haver acabat la trama.

Katsura havia pensat deixar el manga, a causa del seguiment dels fans, va decidir continuar amb l'obra. Això ho insinua al volum 19.

Sobre el títol del manga, s'especula que es tracti a una referència a Dorian Gray, un dels personatges immortals de l'època victoriana més destacats. Segons les paraules de l'autora, l'antagonista de la història, El Comte del Mil·lenni, està basat en lAlquimista viatger del temps, un antic profeta i filòsof que va viure al .

Història
La sèrie se centra en un final imaginari del  a Europa, on l'Ordre Fosca lluita amb el fi de detenir el Comte del Mil·lenni, que té la intenció de destruir la humanitat amb el seu exèrcit d'akumes, armes creades a partir de les ànimes dels morts quan un familiar o ésser estimat plora per la seva pèrdua, considerant-lo un càstig diví. Per ajudar a l'Ordre Fosca recorre a l'ús de la substància divina coneguda com la Innocència dividida en 109 peces, que es va escampar per tot el món gràcies al diluvi universal. Derivant el naixement dels Exorcistes, persones capaces d'utilitzar la Innocència i destruir els akumes. Un tros de la Innocència és conegut com el "Cor de la Innocència": aquest és el que pot assegurar la seva victòria a la batalla. Tot i això, el Comte també busca la Innocència i el seu cor per a destruir-les.

El protagonista principal és Allen Walker, un jove exorcista que s'ha reunit recentment a l'Ordre Fosca després d'ésser abandonat pel seu mestre, el General Marian. Comença així una molt emocionant i perillosa aventura plena de les afliccions, riscos i problemes ètics que pateixen els exorcistes per a salvar a la humanitat. Allen se sent molt lligat a aquestes conxorxes que el portaran a una sèrie d'experiències en les quals farà molts aliats però també molts enemics.

Personatges
 Allen Walker (アレン・ウォーカー, Aren Uōkā)
El protagonista de la història és un noi britànic de veu aguda. Té quinze anys i és l'exorcista més jove fins al moment. La seva innocència va adquirir la forma del seu braç esquerre: Allen el pot transformar en una urpa enorme amb la qual destrueix als akuma. Pateix canvis al llarg de la sèrie i la seva innocència pateix canvis; en cert moment, fins i tot és destruïda, però acaba adquirint la forma d'una espasa poderosa semblant a la del Comte del Mil·lenni. Allen és molt amigable, alegre, noble i tímid. La seva lleialtat amb els seus amics, la seva sincronització amb la seva innocència i la seva estranya relació amb el comte del mil·lenni el poden convertir en la clau de la guerra entre els exorcistes i la família de Noè.
 Lenalee Lee (リナリー・リー, Rinarī Rī)

És una exorcista xinesa de setze anys. Té un passat tràgic i un gran cor. Lenalee és lleial, noble, valenta i afectuosa. La seva innocència són un parell de botes fosques (ダークブーツ) que li confereixen alta rapidesa, grans salts i el poder de caminar per sobre l'aigua. La seva innocència, a més, ha estat una de les més misterioses al llarg de la sèrie, ja que l'ha protegit en els moments crítics i pot adquirir noves formes.
 El Comte del Mil·lenni (千年伯爵, Sennen Hakushaku)
És l'antagonista principal que busca el final de la humanitat. Ha ajuntat les seves forces amb la família Noè, que l'anomenen "Príncep Mil·lenari". És alegre, amistós i egocèntric, tot i les seves intencions. Però quan executa els seus plans demostra que és sàdic, cruel i homicida. La seva forma principal de combat implica el seu paraigües, Lero, que es transforma en una espasa, oposada a la d'Allen. També pot crear explosions massives d'energia fosca. Sempre que apareix porta un barret diferent. El seu objectiu és trobar el Cor de la Innocència i destruir-lo.
 Yu Kanda (神田 ユウ, Kanda Yū)
És un noi fred i rude japonès d'uns divuit anys. És el primer exorcista que coneix Allen a l'Ordre Fosca. Té la característica de curar-se més ràpid del normal a causa d'un tatuatge que té. La seva relació amb Allen al llarg de la sèrie ha estat violenta i utilitzada com a font de comèdia més d'una vegada. El seu antiakuma es diu 6 il·lusions (六幻, Mugen), que li permet fer unes tècniques especials a les quals anomena il·lusions i que li fan restar el seu temps de vida.
 Lavi (ラビ, Rabi).
És un exorcista de raça mixta, pèl roig, d'uns divuit anys, tot i que amb una personalitat infantil, bromista i controvertida. És l'hereu de Bookman, una persona que enregistra la història oculta del món i ha estat entrenat des de molt petit per a fer aquest objectiu. La seva arma antiakuma es diu martell de mida variable (鉄槌, Tettsui), que es pot engrandir i estirar el que vulgui.
 La Família Noè (ノアの一族, Noa no ichizoku)
Els descendents directes de Noè i els seus fills. Són una família de super-humans que cooperen amb el Comte. Posseeixen habilitats sobrenaturals diferents i poden destruir a la Innocència. Un dels seus trets més distintius és una línia de creus als seus fronts, ulls daurats i pell grisa. Com complement, cadascun d'ells representa un aspecte i personalitat de Noè, cosa que fa que l'aparença i personalitat d'aquest varii. Per exemple, l'aparició de membres femenins com Road i Lulú Bell'. Els noms dels Noès són: Skin, l'ira; Lulu Bell, la luxúria; Road, els somnis; Tyki, el plaer i Jasdevi, la unió.

Terminologia
 Dimoni (アクマ, Akuma)
Éssers necròfags creats pel Comte del Mil·lenni per a destruir a la humanitat. Són éssers freds, sàdics i violents per naturalesa. També s'han denominat "màquines de matar". Només poden néixer a partir de tres elements: una màquina, una ànima i una tragèdia: aquestes dues darreres són les més importants. El comte del mil·lenni aconsegueix crear-los quan enganya a les persones que pateixen la mort dels seus éssers estimats, en oferir-los la possibilitat de ressuscitar-los. Quan es deposita l'ànima d'una persona a l'akuma, aquesta queda al servei del comte permanentment i les seves obligacions prioritàries són matar. Es compromet a matar qualsevol cosa que es mogui i aconsegueix evolucionar i derrotar els exorcistes.

 Nivell 0: És l'Akuma que s'ha acabat de crear. Només és un esquelet de metall. L'ànima humana encara és la personalitat dominant, però està lligada al control del Comte. La part final dels braços varia segons l'Akuma. Tot i que en el nivell dos els Akuma canviïn totalment el seu aspecte exterior, en els dos primers nivells sempre és el mateix (un esquelet metàl·lic i una bola amb canyons, respectivament).
 Nivell 1: És el nivell bàsic i inicial dels akuma. És una espècie d'estrany ésser ovalat (rodó en procés d'evolució), amb unes arrels i una cara amb el pentàgon maldit i línies verticals que recorren els seus ulls com si fossin llàgrimes. Normalment aquests akumes no tenen personalitat i no són capaços de parlar, cosa que els fa més perillosos i imprevisibles perquè no tenen consciència de si mateixos. Però són fàcils de destruir per qualsevol exorcista.
 Nivell 1,5: Més que un nivell, és el pas entre el nivell 1 i el 2. La diferència és que l'Akuma és totalment esfèric i els canons semblen haver estat introduïts al cos de l'Akuma. Les seves bales són més potents.
 Nivell 2: Són els akumes que han evolucionat. Són més poderosos i tenen més intel·ligència i habilitats de combat. Estan amb igualtat de condicions quan lluiten contra un exorcista. Tenen formes diferents.
 Nivell 3: Són els més poderosos. Són bípedes i aproximadament de la mida humana, coberts per unes resistents i variades armadures que només deixen entreveure unes mandíbules d'ossos i a vegades uns ulls aterridors, acompanyats d'una mirada dement i demacrada. A vegades opten per a devorar els seus propis congèneres per a augmentar la matèria fosca del seu cos o saciar la sed de sang humana quan no tenen humans a prop. Se senten atrets entre si i s'acaben fusionant en un sol ésser, que es denomina fusió d'akuma. Però si un akuma de nivell 3 aconsegueix assassinar un nombre determinat de persones, pot evolucionar a un quart nivell.
 Fusió d'Akumes: Són aglomeracions de centenars o milers d'akumes comuns, la majoria de nivell tres, que acaben generant una única entitat molt més forta. Són autèntics gegants però no tenen agilitat ni intel·ligència. Són una figura humanoide allargada semblant a una marioneta. Trenen tres cares, dues als pòmuls i una a la cara principal. Tot i ser lents i estúpids, les fusions d'akuma tenen tant poder que poden destruir una ciutat sencera amb la tècnica de l'estrella demoníaca que acaba amb tot el que hi ha al seu voltant.
 Nivell 4: Són, amb molta diferència, la classe més poderosa d'akumes i la fase evolutiva màxima que poden assolir. El seu nivell és tan alt que poden ser més poderosos que un general o un Noè. S'ignoren els detalls de la seva evolució. Són més petits i tenen una personalitat més infantil que els anteriors.
 Bales de Sang (Blood Bullet)
Són les armes dels Akuma. Tenen un verí mortal. Quan cau sobre un humà, aquest es torna pols.
 Armes Anti-Akuma
 Són armes creades a partir de la Innocència, les tenen els exorcistes i tenen diferents formes segons la persona. N'hi ha de tres classes: Paràsit, Equipament i tipus cristall.
 Parasitisme: És el més estrany. La Innocència fa un tipus d'unió amb el receptor utilitzant parts del seu cos com a armes; és el cas d'Allen i el seu braç esquerre. Aquest tipus d'innocència dona certa invulnerabilitat davant el verí dels Akuma, tot i que nivells molt alts de les toxines poden causar problemes. També estressa el cos del receptor, reduint la seva vida. L'usuari pot ésser humà o animal.
 Equipament: És el més comú. La Innocència està dins una arma o objecte que utilitza el receptor. És el cas de Kanda i el seu Sable Mugen i Lavi i el seu Martell de Mida Variable.
 Cristal·lització: Aquestes són la forma evolucionada de les de tipus Equipament: l'arma es crea a partir de la sang de l'exorcista i es pot regenerar amb aquesta. A més, es controlen de la mateixa manera que una arma de tipus Paràsit, però sense utilitzar el cos de l'usuari com a arma. Fins al moment, només es coneix un exorcista que la tingui: Lenalee Lee. Aquesta manifestació també escurça la vida de l'usuari.
 Cor de la Innocència.
És la substància creadora de totes les innocències del món. La seva estructura bàsica és un cristall en forma de cor. Es pensa que si és destruït, totes les innocències del món moriran amb ell.
 Exorcistes (エクソシスト, Ekusoshisuto).
Són els clergues que són compatibles amb la Innocència i que són membres de l'Ordre Fosca. Lluiten contra el Comte del Mil·lenni i els seus Akumes. Vesteixen un uniforme amb un símbol que mostra la seva autoritat envers els altres i que serveix per atraure els seus enemics.

 Un usuari de la innocència adquireix el grau de general quan aconsegueix un grau de sincronització de més del 100% (punt crític). Tot i que Allen Walker ho va aconseguir i Hevlaska va citar que s'havia creat un nou general, no se'l considera com a tal. Actualment viuen 3 generals, ja que el cinquè (Kevin Yeegar) fou assassinat per Tikk Mikk i no es coneix a on està el general Cross Marian, que fou greument ferit dins la mateixa Ordre Fosca, deixant la seva Innocència. Els generals que resten són: Froi Tiedoll, Klaud Nine i Winters Sokaro.
 Innocència (イノセンス, Inosensu): És una matèria estranya deixada per una civilització antiga que es va enfrontar al Comte. Els plans del Comte són trobar una part especial de la Innocència: el Cor. Si aconsegueix detruir-la, la resta també morirà. En total hi ha 109 parts d'Innocència repartides per tot el món i no és fàcil de trobar-les, tot i que es va arribar a una conclusió: "A on hi ha Innocència, hi ha successos estranys al seu voltant"; els encarregats de trobar la Innocència són els Exorcistes, abans que ho facin el Comte i els Akuma. Es creu que algunes o totes tenen vida pròpia.
 Rastrejadors: Són "assistents" dels exorcistes. Investiguen la possible existència de les innocències. Són persones que van anar arribar a l'Ordre per a ser exorcistes, però que no eren compatibles amb la Innocència.
 Arca de Noè: L'arca que un dia fou utilitzada per Noè per a salvar els éssers vius del diluvi universal, ara és utilitzada pel Comte per a la creació d'Akumes i per a transportar-se a qualsevol lloc del món. El seu interior és com una ciutat amb edificis blancs. El comte intentà traslladà el seu model original per a crear una nova arca, però Allen va salvar a la nova arca modificant-la perquè només servís com a Caserna General. Tot i això, els plans del Comte no foren frustrats, sinó que va poder crear la seva nova arca amb les dades que va aconseguir salvar de la vella (la d'Allen).
 La Família de Noè: Són un grup d'éssers humans, hereus dels pensaments i gens de Noè que s'enfronten als exorcistes i obeeixen al Comte. Aquest, a més a més, estan dotats de poders sobrenaturals i són fàcils de reconèixer perquè tenen la pell grisa i 7 estigmes al seu front. També tenen l'habilitat de destruir la Innocència. No es coneix el temps de vida d'un Noè, però el Comte (que ha estat confirmat com un Noè oficial) ha viscut més de 7000 anys. A més, quan un Noè mor, la seva consciència busca un altre hoste i pot renéixer.

Adaptacions

Manga
D.Gray-man està escrit i dibuixat per Katsura Hoshino. Fou editada des del 31 de març del 2004 al Japó per la revista Shōnen Jump i publicada per Shueisha. Actualment té 20 volums al Japó i 20 a Espanya. VIZ Media té la llicència del manga als Estats Units i Glénat la té per Espanya i França.

El novembre del 2008, la revista Shonen Jumb anuncià que la sèrie va quedar paralitzada per una lesió al canell de l'autora. La publicació es va reprendre el 9 de març del 2009, però la sèrie es tornà a detenir el 27 d'abril del mateix any, sense que hi hagués data per al retorn. El manga va tornar a l'Akamaru Jump, de la que només surten quatre volums a l'any (un per estació de l'any). Aquest retorn estigué constituït per un capítol especial de 50 pàgines amb diverses a color, amb la portada a color i que es publicà el 17 d'agost. El proper número va sortir el 4 de novembre a la revista Square Jump. A partir de llavors la sèrie es continua editant en aquesta revista mensualment.

Novel·la lleugera
Hi ha dues novel·les que es titulen D. Gray-man: Reverse i que es basen en el manga. Foren escrites per Kaya Kizaki. La primera va sortir el 30 de març del 2005 i la segona el 4 de juliol del 2006. Cadascuna d'elles són una derivació de la història i hi ha diversos episodis de l'anime que s'hi basen.

Anime
Els estudis Tokyo Movie Shinsha van adaptar el manga a l'anime, amb música de Wada Kaoru. La seva retransmissió va començar el 3 d'octubre del 2006 a TV Tokyo. La transmissió és del 30 de setembre de 2008 per la lesió al canell de Hoshino. Es van transmetre 103 episodis de l'anime, però resta inconclús i encara no se sap quan es tornarà a emetre la sèrie. La sèrie també s'emet a Corea del Sud, a Espanya (cadena Animax) i a França.

Grup de producció
 Creadora: Hoshino Katsura
 Director: Nabeshima Osamu
 Disseny de Personatges: Morioka Hideyuki
 Escenaris: Yoshida Reiko
 Director d'art: Koga Toru
 Director d'animació: Morioka Hideyuki
 Director de Fotografia: Tsuchida Eiji
 Música:Wada Kaoru
 Animació: TMS Entertainment
 Canal i dies d'emisión: TV Tokyo - Dimarts, 18.00 hores

Música

Temes d'obertura
 Opening 1 (1 al 25): "INNOCENT SORROW" por Abingdon Boys School
 Opening 2 (26 al 51): "Brightdown" por Tamaki Nami
 Opening 3 (52 al 76): "Doubt & Trust" por Access
 Opening 4 (77 al 103): "Gekidou" por UVERWORD

Temes de tancament
 Ending 1 (1 al 13): "SNOW KISS" por NIRGILIS
 Ending 2 (14 al 25): "Pride of Tomorrow" por JUNE
 Ending 3 (26 al 38): "Yume no Tsuduki He" por Surface
 Ending 4 (39 al 51): "Antoinette Blue" por Nana Kitade
 Ending 5 (52 al 64): "Anata ga Koko ni iru Riyū" por Rie fu
 Ending 6 (65 al 76): "Wish" por Sowelu
 Ending 7 (77 al 90): "Regret" por Mai Hoshimura
 Ending 8 (91 al 103): "Changin" por Stephanie

Videojocs
Konami va llençar el primer videojoc per la Nintendo DS; es titulà D.Gray-man: Innocence no Shitotachi. El jugador interacciona amb els personatges i es dedica a destruir akumes utilitzant la pantalla tàctil i el llapis òptic.

L'11 de setembre del 2008 va sortir al mercat D.Gray-man: Sousha no Shikaku, per a la PlayStation 2.

Referències

Enllaços externs

 Pàgina oficial de D.Gray-Man
 Pàgina Oficial de la revista Jump Comics
 D.Gray-man a TV Tokyo

Mangues shonen
Sèries d'anime començades el 2006
Mangues del 2004
TMS Entertainment
Sèries de televisió de TV Tokyo
Anime i manga de ciència-ficció


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With the growing amount of available geographical data, it is useful to be able to visualize one's data on top of a map. Visualizing numeric and/or categorical information on top of a map is called a map chart.
Two student teams in my Fall data mining class explored and displayed their data on map charts: one team compared economic, political, and well-being measures across different countries in the world. By linking a world map to their data, they could use color (hue and shading) to compare countries and geographical areas on those measures. Here's an example of two maps that they used. The top map uses shading to denote the average "well-being" score of a country (according to a 2004 Gallup poll), and the bottom map uses shading to denote the country's GDP. In both maps darker means higher.
The tricky part is obtaining shapefiles. One good source with free files is Blue Marble Geographics (thanks to Dan Curtis for this tip!). For US state and county data, shapefiles can be obtained from the US Census Bureau website (thanks to Ben Meadema for this one!) I'm still in search for more sources (for Europe and Asia, for instance).
I thank Smith MBA students Dan Curtis, Erica Eisenhart, John Geraghty and Ben Meadema for their contributions to this post.
Hi Dr. Shmueli, we also have the world map with discrete colors, rather than the gradient. Would you like that one as well?
If you think that using different hues ("discrete colors") highlights other information then sure. If you can't post it yourself, send it to me and I will post it on your behalf.
Wells - this is pretty cool! One suggestion is to replace the multi-color coding with a gradual scale. This is because you are conveying increasing values of a growing percentage.
By the way, what technology did you use to create the slideshow?
I worked with the gradual scale at first, but it was hard to tell the difference between the states (this was before I added the values below, I probably should have thought about going back after I added the values). For the slideshows, I exported each page from Spotfire into Powerpoint, then right clicked each image and saved them as pictures (.png files). I then uploaded them to my SmugMug account (photo publishing website) and posted a link to the slideshow.
Wells - you can control the amount of contrast between the different color shades by assigning different values to different shades in the Properties>Color area in Spotfire.
Thanks for the tip on posting the visualizations as a web-enabled slideshow!
Select a country, and then select "Administrative Areas".


text:
The Geography of Mammals
Por William Lutley Sclater, Philip Lutley Sclater
Saki are all inhabitants of various localities within this district. The mode of distribution of the three species of Ouakari is still more remarkable. Each of them, as first shown by Bates and afterwards further explained by Forbes, is limited to a comparatively small tract of forest on the banks of the Amazon and its affluents. The Black-headed Ouakari (B. melanocephatus), as shown by the accompanying map (prepared by Forbes), which we
MAP OF THE SPECIFIC AREAS OF THE OUAKARIS.
(P. 2. S. 1880, p. 647.)
have been kindly permitted to use by the Zoological Society of London, is met with only in a tract traversed by the Rio Negro, the Bald-headed Ouakari appears to be confined to the triangle formed by the union of the Amazon with another affluent, the Japurà, and the Red Ouakari to the forests on the north bank of the Amazon opposite Olivença, and lying between the main stream and the river Iça. Each of them evidently takes the place of the others in its particular district. Of this peculiar
kind of distribution few instances are known amongst mammals, but many somewhat similar cases have been observed in birds, reptiles, and butterflies.
The fourth and lowest sub-family of the Cebidæ (Nyctipithecine) includes three genera—the Douroucoulis (Nyctipithecus), the Titis (Callithrix), and the SquirrelMonkeys (Chrysothrix), and numbers altogether some twenty species. This group, as a whole, has a wide range like the two first sub-families, extending from Central America to Paraguay. But the species are most abundant in the centre of the area, where some of them, so far as is yet known, have a very limited range.
SECTION V.—DISTRIBUTION OF THE MARMOSETS
Like the Platyrrhine Monkeys the little Marmosets, which constitute the family Hapalidæ, are entirely restricted to the tropical forests of the New World. The family embraces but two genera generally acknowledgedHapale with about seven, and Midas with about fourteen or fifteen species. But these small creatures are still little known, and it is probable that many more of them remain to be discovered when the vast forest-region through which they are distributed shall have been more thoroughly explored. The Marmosets do not extend so far north as the true Monkeys, only a single species (Midus geoffroyi) having yet been ascertained to range north of the Isthmus of Panama as far as Chiriqui. Thence, southwards, they are thinly distributed over the South American continent down to the northern provinces of the Argentine Republic, where Hapale penicillata is said to occur in the forests of Salta
and Jujuy. The Marmosets appear to be most numerous in the forests of Amazonia, where some of them are confined to very restricted districts. Our best account of these animals is to be found in the journals of the excellent observer Bates.
SECTION VI.-SUMMARY AND DEDUCTIONS
The subjoined table contains a list of the genera of the Order Quadrumana," or Monkeys, and gives the approximate number of species met with in each of the great geographical Regions.
DEDUCTIONS.
1. The Order Quadruinana, or Monkeys, contains about 212 species, divisible into twenty genera and four families.
2. Monkeys are found only in the tropical and subtropical portions of the Eastern and Western Hemispheres, and are absent in Australia and Madagascar.
3. The Monkeys of the Eastern and Western Hemispheres are quite distinct in structure,and belong to different families.
4. In the Western Hemisphere Monkeys are restricted to the Neotropical Region, not occurring north of 20° N. lat., or south of 30° S. lat.
5. In the Eastern Hemisphere some few species of Monkeys are met with as far north as 40° N. lat., and in Africa descend to 35° S. lat.
6. The Monkeys of the Ethiopian and Oriental Regions belong to distinct genera.
7. The Anthropoid Apes are restricted to the tropics of Africa and Asia, the most highly organized of them being the Chimpanzees of Africa and the Orangs of Asia.
SECTION VII.—DISTRIBUTION OF THE LEMURS
The Lemurs, which by many recent authorities are united with the Monkeys to form the Order Primates, but which it is, in some respects, more natural to retain as an Order by themselves, number altogether some fifty species-only onefourth of the number of the Quadrumana. They are also very different in geographical distribution, thirty-five out of the whole series being confined to the Malagasy Sub-region, whilst the few remaining forms are met with only in isolated portions of the Ethiopian and Oriental Regions. Besides the family of

redpajama_set_name: RedPajamaCommonCrawl


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He Loves to Fly and He D'oh's, también conocido como He Loves to Fly titulado en Hispanoamérica Le gusta volar y se nota y en España ¡Le gusta volar, jo!, es el primer episodio de la decimonovena temporada de la serie de dibujos animados Los Simpson, estrenado originalmente el 23 de septiembre de 2007, el 25 de mayo del 2008 en Hispanoamérica y el 5 de julio de 2009 en España. Fue escrito por Joel H. Cohen y dirigido por Mark Kirkland, mientras que Lionel Richie es la estrella invitada como sí mismo y Stephen Colbert interpreta a Colby Kraus. En este episodio, Homero viaja en el avión privado del Señor Burns, por lo que decide buscar un empleo con tal prestación, recurriendo a la ayuda de un life coach.

El episodio promedió 9.7 millones de espectadores, y tuvo un rating Nielsen de 4.7 puntos y un 12% de audiencia, siendo el episodio más visto de la serie el día de su estreno desde "The Wife Aquatic", el cual se estrenó el 7 de enero de 2007.

Sinopsis

Todo comienza cuando, mientras está de compras en el Centro Comercial de Springfield, el Sr. Burns encuentra un centavo en una fuente de agua y se inclina para recogerlo; mientras lo hace, cae en la fuente. El agua queda a punto de matarlo, pero Homer llega y lo saca del agua, salvándole la vida. Para recompensarlo, el Sr. Burns le ofrece a Homer llevarlo a cenar. Homer dice que le gusta la pizza al estilo Chicago, por lo que el Sr. Burns lo lleva de manera inesperada a Chicago en su avión privado. En el avión, Homer es tratado con lujo y conoce a Lionel Richie. Y aunque Homer se pone terco para salir del avión, considera que fue una experiencia increíble.

Luego de regresar de Chicago, Homer le dice a Marge que está cansado de ser una persona normal y se vuelve deprimido. Marge decide ayudarlo, por lo que contrata a un asesor llamado Colby Kraus, quien ayudaría a Homer a cumplir su sueño de viajar en un avión privado. Colby comienza su tratamiento con Homer filmándolo todo el tiempo. En el Bowlarama y luego de ver los hábitos de Homer por un par de días, Colby se da cuenta de que el bowling es lo único en lo que Homer es bueno y que disfruta haciendo. Colby le da instrucciones a Homer de que usase sus zapatos de bowling a todos lados que fuese para ayudarlo a tener confianza en sus acciones. Los zapatos de bowling dan resultado, y Homer se convierte en un hombre nuevo, por lo que recibe numerosas ofertas de trabajo. Homer decide ir a una entrevista en una fábrica de tuberías, con la única razón que debería volar en el avión privado de la compañía como parte de su trabajo.

Sin embargo, el Texano Rico no lo contrata, pero Homer decide no decirle nada a su familia y simula ir a trabajar cada día, aunque en realidad sólo iba a Krusty Burger a pasar la jornada. Al día siguiente, la clase de Bart va al local luego de un viaje escolar y Bart queda muy sorprendido al encontrar a Homer sentado solo ante una mesa. Homer decide ser sincero y le dice a Bart que su entrevista de trabajo no había sido como él había pensado, ya que su entrevistador, el Texano Rico, había descubierto que Homer no sabía nada sobre tuberías de cobre. Bart convence a Homer de que debe decirle a Marge lo que había pasado (porque Marge empezaba a tener una crisis de compras), por lo que Homer la llama desde un teléfono público.

Sin embargo, cuando escucha la voz feliz de Marge decide que no puede decepcionarla y decirle la verdad sobre su "nuevo" trabajo. En lugar de eso, inventa una historia, diciéndole que debía volar en el jet de la compañía por trabajo y le pide a Marge que se encontrase con él en el aeropuerto en una hora. Homer le paga a un Marine para que le permitiese volar en su avión, para decirle a Marge una vez en vuelo la verdad sin que se molestase. Una vez en el aire, Marge no puede creer los lujos que tiene el avión privado. Homer la hace tomar asiento para decirle la verdad, pero antes de que pueda hacerlo, sufren una turbulencia. Homer y Marge entran en la cabina para ver cuál era el problema, sólo para descubrir que el piloto estaba desmayado. Homer echa al piloto a un lado y toma el control del avión. Marge toma su teléfono celular y llama a Colby Kraus para pedirle ayuda. Gracias a la motivación de Colby, Homer logra aterrizar el avión a salvo aunque cometería el error de hundir el avión cerca de la costa. Después del rescate, Homer le explica a Marge que volar en aviones privados es fabuloso pero simplemente muy peligroso, por lo que volvería a trabajar en la Planta Nuclear.

Al final del episodio, se nota que Lionel Ritchie también se encontraba dentro del avión por lo que fue rescatado. El piloto del helicóptero le sugiere que deje caer sus premios al mar pero Lionel Ritchie simplemente se burla del piloto porque él nunca dejaría sus premios.

Producción

La secuencia de apertura del episodio es una especie de continuación de Los Simpson: la película. Bart escribe "No esperaré 20 años para hacer otra película" en la pizarra y pasa con su patineta por Springfield, la cual todavía está siendo reconstruida del incidente del domo. Muchos personajes de la película reaparecen, incluyendo al presidente Schwarzenegger, la ardilla con varios ojos, Colin, Russ Cargill, y la mujer esquimal. Plopper el cerdo también aparece por primera vez en la serie, durante el gag del sofá, y Homer se refiere a él como "mi amor de verano".

Casting
Cuando se le ofreció participar en el programa, Stephen Colbert creyó que simplemente iría a una audición, por lo que quedó muy sorprendido cuando los productores le dijeron que ya tenía un papel en el episodio. Colbert estuvo satisfecho con que su personaje se llamase Colby y que su aparición sea similar a él mismo, aunque no esperaba que los animadores conservaran sus anteojos para su diseño. Basó su actuación en Tony Robbins, y describió las sesiones de grabación como "el trabajo más duro".

Referencias culturales

 La secuencia de apertura hace alusión a la conclusión de Los Simpson: la película.
 Cuando están en Chicago, el Sr. Burns y Homer entran en un salón llamado "Ferris Bueller's Day of Beauty", haciendo referencia a Ferris Bueller's Day Off. Al salir del salón, están vestidos como Ferris (Burns) y su amigo Cameron (Homer), respectivamente.
 Lionel Richie es el invitado especial de este episodio donde canta "Say You, Say Me" en el vuelo de Homer, y cambia la letra para que todas las palabras sean "cerveza" luego de un pedido de Homer.
 El Sr. Burns y Homer van a ver un espectáculo en el Teatro Second Life; tanto Dan Castellaneta como la estrella invitada Stephen Colbert fueron miembros de The Second City a principios de sus carreras.

Recepción

El episodio promedió 9.7 millones de espectadores y tuvo un rating Nielsen de 4.7 puntos, con un 12% de audiencia. El episodio tuvo el rating más alto en un estreno de la serie desde "The Wife Aquatic", estrenado el 7 de enero de 2007. Sin embargo, la audiencia fue en un 13% menor que en el primer episodio de la decimoctava temporada, "The Mook, the Chef, the Wife and Her Homer", el cual tuvo un rating Nielsen de 5.3 puntos. Pese a esto, superó el promedio de audiencia de la decimoctava temporada, que fue de 4.1 puntos. Junto al episodio de King of the Hill "Suite Smells of Excess", "He Loves to Fly and He D'oh's" finalizó segundo en la franja horaria de las 8 PM, detrás del programa de la NBC Sunday Night Football, pero superó el rating de la segunda hora de Extreme Makeover: Home Edition, de ABC y de Power of Ten, de la CBS. En las audiencias generales de la noche del domingo, FOX finalizó tercero detrás de NBC y CBS, con un promedio de 10.5 millones de espectadores y un rating de 4.9 puntos.

Brian Tallerico de UGO le dio al episodio una crítica contradictoria (una C), expresando una desilusión luego de la bien recibida Los Simpson: la película. Escribió que los guionistas "volvieron a los viejos clichés y a los tristemente repetitivos gags", pero elogió la secuencia de presentación alternativa. Robert Canning de IGN también le dio al episodio 5 puntos de 10, elogiando la secuencia de apertura pero hallando a la mayor parte del episodio mediocre, especialmente la participación de Stephen Colbert. No obstante, "incluso un episodio mediocre puede tener chispas de gracia escondidas dentro. El tiempo que Homer pasa en Chicago es muy agradable, incluyendo un buen gag de Ferris Bueller, y el asesor Colby compara la actitud de Homer con la de los Estados Unidos". Richard Keller de TV Squad elogió el episodio, diciendo que "después de ver varios episodios recientes en los cuales Homer parece un paciente de un sanatorio mental, no estaba acostumbrado a un Homer bastante normal". Al Jean, el productor ejecutivo actual de Los Simpson, declaró que el episodio es uno de sus favoritos.

Referencias

Enlaces externos

 He Loves to Fly and He D'ohs en TheSimpsons.com (en inglés)

01
Episodios de televisión de 2007

redpajama_set_name: RedPajamaWikipedia


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Washington State DC Alex Grinch reportedly a candidate to join Ohio State's staff
Wayne Staats, Land of 10
Washington State DC Alex Grinch is a candidate to join Ohio State's coaching staff, a reported by Football Scoop's Zach Barnett reports.
Grinch has been the Cougars' defensive coordinator for three seasons, being named to the position in January 2015. As reported by Barnett, Grinch would not replace a current Buckeyes assistant. Instead, he would be Ohio State's 10th assistant coach, which is effective for FBS teams starting January 9.
With head coach Mike Leach, Washington State is more commonly known as an offensive team. But Grinch and the Cougars defense have made big steps. The Cougars are 9-3 this season and allowed 24.4 points per game. Opponents passed for only 167.4 pass yards per game.
In 2016, Washington State gave up 26.4 points per game. The previous season, Grinch's first, the Cougars surrendered 27.7 points per game. Before Grinch took over as defensive coordinator, Washington State allowed 38.6 points per game in 2014.
Grinch is a 2002 graduate from Mount Union and is also from Grove City, Ohio.
The post Washington State DC Alex Grinch reportedly a candidate to join Ohio State's staff appeared first on Land of 10.


People return home as water recedes in a flooded village in Sanamxay district, Attapeu province, Laos Thursday, July 26, 2018.
Survivors of July's disaster at the Xe Pian Xe Namnoy (PNPC) hydropower project in Champassak, Laos are calling upon the local and national governments for relief, after failing to receive promised allowances for living expenses for the past two month., according to a local official.
Two months ago the Lao government agreed to pay $12 per month to each person who was affected by the collapse of PNPC's dam, which swept away homes and caused severe flooding in up to 12 villages downstream in Champassak and neighboring Attapeu Province. According to the Asia Times, the disaster killed at least 43 people, with hundreds more missing. It has been described as Laos' worst flooding in decades.
"It's been almost two months that they haven't been paid for living expenses," the official said.
The official also said that recipients of the food assistance complained that the rice they received was low-quality or rotten.
On November 17, National Assemblyman Phetkeo Leuangpanya, who is the chairman of the People's Council of Attapeu Province, visited victims in Sanamxay asking them if they had concerns, difficulties and requests he could bring up with his colleagues at the assembly.
Leuangpanya responded to this and other requests by saying, "As chairman of the Attepeu People's Council, I would like to express concerns and sympathy to you all.
"I'd also like to encourage you to be strong and to always believe in the Party and government. I'll bring your concerns to the national and provincial assemblies as soon as possible," Leuangpanya said.
Previous RFA reports indicate that in the hours before the collapse, bureaucratic inefficiencies within PNPC and the local government and communication issues caused delays in preparation for the impending disaster.
Reported by Max Avary for RFA's Lao Service. Translated by RFA's Lao Service. Written in English by Eugene Whong.
Don't worry, be happy. Lao party-state managed to turn Laos into a country of slaves and prostitutes.For now they cover only southeast Asia but soon they will cover the world. Every Lao citizen must be proud of their government. Somseuay, somseuay !


text:
Martínez Campos was the home stadium of Racing de Madrid between 1918 and 1930. They played before in Campo de Hermosilla for 1 year, and in Campo de La Exposición for 3 years.
In 1930 Racing de Madrid moved to play their home games in Campo de Fútbol de Vallecas for another 2 years before dissolving in 1932.

Martínez Campos hosted the 1919 Copa del Rey Final when Arenas Club de Getxo won the cup with a 5–2 scoreline against FC Barcelona.

References

Defunct football venues in Spain
Sports venues completed in 1918


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Encourage your customers to 'shop green-and-gold' this Australia Day
The Australian Made Campaign will call on all Australians to support local manufacturers this month, by considering the many ways they can get behind them in the lead-up to Australia Day and beyond.
"We are encouraging consumers to 'search and shop green-and-gold' whenever possible, and take the time to maintain a general awareness of what the local industry has to offer. They might just be surprised to discover the wide variety of goods produced in this country. It all starts with the green-and-gold Australian Made, Australian Grown kangaroo logo," Australian Made Campaign Chief Executive, Ian Harrison, said.
The logo is the only registered country-of-origin certification trade mark for all products made in Australia.
The Australian Made Campaign promotes certified Australian Made and Australian Grown products via its social media platforms daily, while its website offers a speedy search of over 15,000 products via a comprehensive online directory.
"Australia Day is a great time of year to celebrate Aussie producers. Maintaining the connection between the local industry and the community throughout the year is the next goal. Let's make every day Australia Day," Mr Harrison said.
Consumers want 'Australian Made'
The Australian Made Campaign has welcomed the latest research from Colmar Brunton which reveals 'Australian Made' has moved to the "third most looked for statement on product labels". The first two both being price related.
"The finding that an 'Australian made' claim ranks second behind price factors in the information shoppers are looking for, clearly establishes that shoppers want to know where their food is coming from and where their products are made. Primarily they want to buy Australian made," Mr Harrison said.
"The Australian Made, Australian Grown logo provides that immediate connection and gives Australian consumers' confidence and trust that what they are buying is in fact from Australia. Shoppers buying local products will continue to enjoy great quality while giving opportunities to Australian manufacturers," he said.
The green-and-gold Australian Made, Australian Grown (AMAG) logo is the only registered country-of-origin certification trade mark for the full range of genuine Australian products and produce. It has been helping Australian consumers, farmers, processors and manufacturers for thirty years.
Australian Made and Australian Grown logo celebrates 30 years
2016 was an important milestone for the iconic Australian Made, Australian Grown logo, with it celebrating 30 years of helping businesses promote; and consumers easily identify, genuine Aussie products and produce.
The 30 year anniversary was formally recognised at a Canberra business dinner, for which Prime Minister Malcolm Turnbull was guest speaker.
The logo was initially launched in 1986, by the then Prime Minister Bob Hawke, to encourage Australians to buy genuine Aussie products. It is now used by more than 2600 businesses and appears on over 16,000 products sold in Australia and around the world.
Over the past three decades, the logo has achieved some important milestones, including the introduction of the Australian Grown descriptor in 2007 and the incorporation of the logo this year into the Government's new food labelling scheme.
The logo is universally recognised by 98 per cent of consumers and trusted by 89 per cent of consumers, and also features heavily in export markets, particularly throughout Asia where consumers are interested in Australia's enviable reputation for safety and quality.
"The logo has helped establish an immediate connection between Australia and its products for 30 years. It has been great for business and great for consumers as well," Mr Harrison said.
In keeping with the logo's celebrations at the Australian Chamber of Commerce and Industry dinner, Mr Turnbull was presented with a limited edition Australian Made Coopers Vintage Ale.
Prime Minister, Malcolm Turnbull, was presented with Australian Made limited edition Coopers Vintage Ale by Vice President of the Australian Chamber, Jeremy Johnson.
Australian Made logo markets local products in export markets
Being recognised as genuinely Aussie is an asset in the marketplace, and that is where the green-and-gold AMAG logo plays its very important role. Its enormous recognition and trust in Australia and its growing recognition and trust throughout the world make it a powerful marketing symbol for Australian growers and manufacturers.
The AMAG logo gives businesses a very powerful brand umbrella under which they can establish the recognition of their own brand and their own products. Many companies are using the logo to establish their credentials overseas.
To support its role in key export markets, the logo has been registered as a trademark in China, South Korea and Singapore (as well as the USA), and Australian Made branded retail outlets have been opened in China and South Korea. Asian consumers are particularly interested in Australia's enviable reputation for product safety and quality, and the Australian Made logo readily connects to this.
Australian Made Campaign Chief Executive Ian Harrison said shoppers are looking for the logo to readily identify goods as authentic and manufacturers should be leveraging that fact.
"Research has shown that the AMAG logo carries significant weight overseas, with studies finding that Australian products carrying the logo in export markets were more likely to increase sales than Australian products not carrying the logo," Mr Harrison said.
"Also, in most situations Aussie products can command a premium in the marketplace. This is one of the reasons distributors are so interested in stocking products carrying the AMAG logo," he said.
D&D Technologies wins 'National Export Award' from Master Builders Australia
Sydney based gate hardware design and manufacturing company, D&D Technologies Pty Ltd, has won the 2016 Master Builders Australia's National Export Award.
D&D Technologies, famous for its multi-award-winning MagnaLatch® Child Safety Gate Latch seen on many swimming pool and childcare centre gates around Australia, took out the prestigious award in the Great Hall, Parliament House, Canberra, late last year.
Each year Master Builders Australia acknowledges excellence in the building and construction industry through its National Excellence in Building and Construction Awards, including the Export category.
The National Export Award was sponsored by the Australian Made Campaign to recognise the outstanding export performance of members and others in the Australian building and construction industry within the export market.
D&D's Director of Sales and Marketing, Justin Francis, said winning the prestigious award was another feather in the cap of the innovative, home-grown manufacturer and exporter.
"This National Export Award is a great honour for our company. To be recognised by the national representative body of Australia's leading building companies, designers and suppliers is most gratifying – a huge honour. It is a testament to the great products and great people behind our company, which has been able to export its ground-breaking gate latches, locks and hinges to many countries around the world, notably the USA."
While D&D Technologies built its business around the revolutionary, magnetically triggered MagnaLatch product, the company has gone on to design a number of other patented gate safety and security latching and hinging solutions that have been highly appreciated by the building, fencing, swimming pool, locksmith and childcare industries. The company is already the holder of no less than four Australian Design Awards and two Australian Design Marks.
"The two things we are most proud of is the fact our products have helped protect and save the lives of so many toddlers around backyard pools, homes and roadsides, and the other great achievement is that we have been able to keep the manufacturing of our products in Australia – with the products being made at our Sydney facilities. We are proudly Australian made and Australian owned, with a passion for innovation and quality," Mr Francis said.
D&D Technologies is renowned for a wide range of safety and security gate latches and self-closing hinges, including a recently released deluxe version of the MagnaLatch, the MagnaLatch® ALERT. This innovation is the world's first and only gate latch with dual electronic alarms in one convenient product that can be easily mounted to most gates without the need for wiring, electricians or special tools.
D&D Technologies invented magnetic gate latches (MagnaLatch®) and polymer safety gate hinges (TruClose®) in the 1990s, and has since developed a wide range of other security and general-purpose gate latches, locks and hinges. It exports its products around the world, most notably to North America, New Zealand and the UK.
The regular MagnaLatch® is a familiar sight on many swimming pool, childcare centre and playground gates throughout Australia. It is also a multi-award-winning product that boasts an Australian Design Award for design excellence, and it was also a previous winner of the Kidsafe 'Product of the year' award. Its magnetic technology has made it a favourite among parents and carers, and D&D Technologies has sold millions of the latches worldwide. It's a great Australian success story.
D&D Technologies is fully Australian owned, and all products are Australian made.
Summary of Australian Made logos
The product has been manufactured here (not just packaged or assembled), and 50 per cent or more of the cost of making it can be attributed to Australian materials and/or production processes.
Australian logo
Can only be used in export markets; and the product must satisfy the criteria for at least one of the four preceding claims, and not be misleading.
For more information visit: www.australianmade.com.au
Timbermate acquires Agnews Water Putty
During 2016, Timbermate bucked the trend of moving away from Australian manufacturing and acquired the Agnews Water Putty business. Operated out of Melbourne since 1929, the Agnews brand will continue to not only be owned by an Australian business but manufactured locally in Mitcham, Victoria.
While familiar to homes in Australia for three generations, Timbermate plans to capitalise off the high level of quality manufacturing available in Australia by introducing this product to new global markets.
The trend to move away from Australian manufacturing has increased over the past 12 months unfortunately, according to Timbermate CEO Warren Mymin.
"Particularly with increasing local costs (raw materials, increase in superannuation, rents etc.) many businesses believe there is no other choice. At Timbermate we continue to absorb increases which are above and beyond our increases to our customer base," Mr Mymin said.
"We understand that while every business needs to be commercial, there are also social and economic reasons for maintaining local manufacturing. For every business that goes off shore, there are families who no longer have wages to put back into the economy which eventually affects us all," he said.
Point of difference
Timbermate's point of difference surrounds a formula developed in the 1920s that has stood the test of time.
"When Timbermate launched in the Australian marketplace it was made up of latex, acrylic and solvent based fillers. Each of these had limitations with cracking or compatibility with top coats, however Timbermate has neither of these issues. As a water based product in the true sense of the word (many think of Acrylic because of paint), Timbermate contains no acrylic, latex or solvent so can be used with any coating and stain. The formulation is also VOC free," Mr Mymin said.
"In 2012, the Timbermate Group released Earl's MulTFill, which has 'filled' the demand for an exterior version of Timbermate. This product continues to grow rapidly for both painting applications and filling nail holes in decking," he said.
Much like the current demand for craft products in many walks of life, Timbermate is no different. The manufacturing side of the business is unique in that it is not mass produced by machinery lines, but is rather pumped out individually by an operator and hand capped. Not only does this keep Australians in a job, it also means an element of pride is included with every tub, according to the company.
Sales within the category are lifting.
As housing prices continue to rise, it seems the home owner needs to repair the home rather than replace it.
As Timbermate only manufactures premium products, we have also seen tremendous growth in the premium category as the consumer mindset continues to change, Mr Mymin said.
"If the consumer buys based on price, often they find they are spending more time and money to fix the job shortly thereafter. This is why they would rather buy premium materials and do the job once. This has been particularly significant in Timbermate's growth. The market is very competitive. Regardless of the price point, the strength of a product all comes down to customer education," Mr Mymin said.
"In our area we have to educate the consumer on why they need to buy a premium product. This could include features and benefits for the consumer and also the fact that you support Australian families with 100 per cent of the purchase. Regardless, with different price points and new technologies being introduced by ourselves and our competitors, you always need to be ready to adapt to a moving and more competitive landscape," he said.
The main issue facing the category simply comes down to cost and pricing pressures, Mr Mymin said.
"Without government support, more and more Australian businesses will feel compelled to move offshore to survive as their competitors move to other environments where they can save on labour, manufacture overheads and drive down prices. This has been seen in the car industry, amongst other industries, in recent years."
"The biggest draw back from the cost savings is that in most instances you lose quality once you move offshore and you become no different to most of your competitors unless you can protect any change in quality. For those brands that want to maintain Australian quality, they need work on their own efficiencies and need the support of their customers and end users, to re-inforce the demand for quality Australian Made products," Mr Mymin said.
"As our products are not only 100 per cent Australian made but made from all Australian raw materials, we do not envisage any changes through regulation. In fact, we welcome new regulation as for too long products have not been truly Australian yet marketed as 'Australian Made'. We believe that the 50 per cent threshold for the cost of manufacture should be raised to truly differentiate those businesses supporting Australian families," he said.
Above and beyond the expansion of the Agnews brand, Timbermate also launched a new line of Slipstick Bench Grippers in December 2016. Leveraging off the strength of the Slipstick brand in the floor protection market, the Bench Gripper uses the same non-slip technology for the DIY user who wants to support any piece of timber they are working on without any slippage. The packaging also comes with eight painter's points which are used to allow support for painting too.
Haymes launches new brand positioning
Haymes recently underwent a brand positioning review, involving key stakeholders, to determine the future brand positioning for the business to take it forward into the next decade. After an extensive process that included evaluation a number of options, Haymes will launch a new brand positioning statement of 'Australia's first family of paint'.
Haymes General Manager, Rod Walton said, "The new positioning highlights the distinctive nature of the business being family owned and operated by the fourth generation Haymes family. Our brand audited also highlighted the Haymes brand is seen as: Genuine – with our country upbringing and family values shine through; Inventive – over the years we have proven that lateral thinking and good ideas give us an edge; Quirky – popular, uplifting, individual, full of life and welcome in any home. And Feisty – we are young, smart and somewhat fearless."
The Haymes family believe the new positioning resonates because they are still a unique Australian and family owned paint manufacturer with a history and heritage in the category (in the family since 1935).
There are also generations of R&D in their product range, including a number of 'industry firsts' under their belt – from computerised colour through to revolutionary Simply Woodcare acrylic water based formulations.
"We have an unsurpassed commitment to quality. Our name is name on every tin so we stand by our brand and product range. We are also a fourth generation family business that is committed to investing in the industry and Australian manufacturing. We see our family values flowing through our entire paint family being staff, resellers, trade and specifiers," Mr Walton said.
Haymes has the ability to deliver this unique brand proposition through all its products and services, according to Mr Walton.
Haymes has also commenced the launch of its new formulation for its flagship Ultra Premium Interior Expressions range, which is the "next generation" in finishes, National Sales and New Business manager, Matt Haymes said.
"There are a few years of R&D and testing in our new formulation, so our best just got better. We are pretty excited about this product release as it is our flagship range and will reinforce what we are known for in the market – an unsurpassed commitment to quality finishes," he said.
For retail stockists of Haymes the new features of the Ultra Premium formulation include:
Superior washability: Maintains a long-lasting freshly painted look. No shearing or visible marks left after washing.
Exceptional coverage: Easy to apply with a solid block-out. The coverage properties return a positive application experience.
Stain-proof barrier: Resists stains penetrating the paint film, allowing easy removal of common household stains.
No fumes or odours: Low VOC formula that emits virtually no fumes or odour, providing a healthier home that enables a rapid return to the freshly painted room.
Mould and Mildew protection: Seven year protection against mould and mildew making it ideal for kitchens and bathrooms.
For more information on the range, free-call Haymes on: 1800 033 431
RLA Group
With manufacturing experience spanning over 60 years in Australia, the RLA Group is the result of the amalgamation of a number of companies manufacturing a large range of specialised products specifically designed for the hardware, construction and plumbing markets.
Priding itself on innovation and technology, the RLA Group has invested in over 160 employees, creating a team that is dedicated to presenting the market with product and service that cannot be matched, according to RLA Group National Business Manager, Emma Greeves.
"With the recent expansion of companies, we have invested heavily in new production facilities across Australia, which has not only increased our capacity and but also our range of products available. This year we have launched a range of render products and a number of products that complement our existing offerings in the sealant/adhesive and coatings space," Ms Greeves said.
"We also have some big plans for 2017, with the launch of some new and exciting technologies that will be a first in the Australian market. 2016 has already showed promising signs for RLA Hardware division and we plan to continue this throughout 2017," she said.
In 2016 the Australian Forestry Standard (AFS) became an Australian made campaign associate. The AFS is committed to promoting Australian sourced, sustainable forests as well as wood and paper products. Timberlink's two Australian plants (Tarpeena, South Australia, and Bell Bay, Tasmania) are both Chain of Custody Certified through the AFS.
Until mid-2016, Timberlink's offer to the NSW market was supported by a NSW sales manager and a mill-direct offer. After undertaking a review of the market, Timberlink decided to improve its investment in the state to allow it to better service its existing and new customers, according to Timberlink Australia's Marketing Programs Manager, Theresa Weymouth.
"We also added to our sales team with the relocation of Sue Wood from Tasmania to the position of NSW State Manager. Sue was previously our Tasmanian State Manager. Frank Milazzo, with 23 years' experience in the timber industry joined the NSW team as an Account Manager and Sue remains in her position as NSW Sales Manager," Ms Weymouth said.
Sales of Timberlink's low-odour outdoor LOSP structural pine products, Timberlink Green, also continue to grow, according to Ms Weymouth, who said the product had been travelling well since the product was introduced onto the market in 2015.
"Timberlink now manufactures almost all of its outdoor timber in as low-odour LOSP. Traditional LOSP treated products may have an odour similar to methylated spirits, which is perfectly safe but can be unpleasant in dealing with the product. However, Timberlink's low odour Timberlink Green has 30 times less odour – making it much more pleasant to work with," Ms Weymouth said.
Increasing popularity of Australian Made
Australian made wood products, in general, are becoming increasingly popular due to its environmental benefits. Timber building products, including Timberlink structural pine, are the only building product to actually remove carbon dioxide from the environment, according to Ms Weymouth.
"Trees absorb carbon dioxide and then store the carbon so efficiently that about half the dry weight of a tree is carbon. This carbon remains locked up in the wood even when used for building. Every cubic metre of kiln dried pine we make represents 631 kilograms of the greenhouse gas carbon dioxide being removed from our atmosphere and locked into the timber for its service life."
"We expect that the recent changes to the NCC allowing timber framing to be used in buildings up to 25 metres high in certain building classes will grow the structural timber category," she said.
Supporting timber building systems
Recently, Timberlink was one of the first industry gold sponsor partners to support the establishment of the WoodSolutions Technical Field Force pilot program in Victoria. The program has resulted in the establishment of an advisory group, consisting of a team of industry Program Development Managers, with extensive experience in property development, construction, timber engineering and architecture.
The Program Development Managers are ideally placed to liaise with development, design and construction professionals, providing generic information and advice on making the most of the cost, time, environmental and other advantages of timber building systems. The team is available to provide free one-on-one in-house assistance and advice on any mid-rise design and construction questions builders may have.
The Victorian team comprises of four industry experts including: Gerard Neylan, who is a qualified town planner with over thirty-five years' experience in construction, planning and architecture; Robert Pradolin who has been in the property industry for over thirty years with the last eighteen years being at Frasers Property Australia (formerly Australand); Paolo Lavisci has worked in the timber industry for over twenty-five years and authored a book on timber structures and David Bylund who is an architect with experience across a wide range of architectural projects ranging from large scale, multi-million-dollar commercial, institutional and industrial projects to residential, office and retail fit-outs.


text:
DROPPIN by Nadya feat. Oleksa Kaminsky @NadyaSudjaja Dance/Club BMI Hollywood
connect@fractalefekt.com
www.SimplyNadya.com
Artist Biography in Her Own Words
Nâdya Sudjaja, a Asian-American singer came from humble beginnings in Southeast Asia. She had been known to work behind the scenes as a songwriter. She worked with veterans in the music industry interpreting Disney Classics in Bahasa Indonesian, to include, Cermin Diri (from the movie Mulan's Reflection) and most recently Lepaskan Pop Version (from the movie Frozen's Let it Go).
Nâdya recently became one of the very few crossover artists from the Philippines to have ranked and charting in the top 50 of the Global Adult Contemporary Charts simultaneously. Path for Love is a musical collaboration between two international artists; Nadya Sudjaja and Oleksa Kaminsky. Despite the distance between the US and Ukraine, they both bridged the gap between continents to show music has no boundaries.
Nâdya, a true woman of the world, sings in her voice the story of our lives. Nâdya together with talented artists around the globe is working on her next album "Chain of Dreams." It is an authentic album, with melodies tinged with pop sounds from all over the world, that only she could sing.
Nadya was recently recognized by the World Songwriting Awards in December of 2018 for her song with Oleksa Kaminsky: 'Lepaskan' where she received the Best Song Award - in the World Music category. Nadya was also recognized and commended for her song 'Path of Love' in the UK Songwriting Awards as well as a Finalist at World Songwriting Awards in the Pop Music category.
Talented, radiant and atypical, Nadya is a citizen of here and elsewhere, who seizes her pen as soon as she feels the urge to inspire and share her stories through music. What to expect on her new album? Nâdya's travel diary and memories from around the globe.
Email Publisher@YWPNNN.com


text:
Archives FAQ
Free Lecture Series
Simulation at the Museum
The Ether Dome
The Paul S. Russell, MD Museum of Medical History and Innovation at Massachusetts General Hospital has several offerings for groups. The museum itself is available for visitors to explore at their own pace; groups of 10 or more are required to make a reservation. We recommend 45 minutes for a group visit, which includes an introduction by a docent and time for self-guided exploration. The museum also provides 45-minute group tours of the Ether Dome, which can be extended into a history tour of the hospital with several additional stops.
Group visits are available on weekdays between 9 am and 5 pm with advance reservation. If your group is larger than 20 people, they can be split into smaller groups to do the visit back-to-back. We recommend the museum and Ether Dome for 8th grade and up.
The museum is partnering with the medical simulation group at MGH to provide interactive experiences with medical simulation for interested visiting groups. These demonstrations can include either hands-on simulated arthroscopic knee surgery or a demonstration of a medical simulation mannequin. If your school or community group of between 5 and 15 people is interested in this opportunity, please contact the museum with as much advance notice as possible. Simulation demonstrations are limited by the availability of the clinicians and the equipment. Please plan to spend an hour and a half in the museum for the demonstration and museum visit.
Please feel free to download our group visit policies.
For questions or to reserve a group visit, contact Tegan Kehoe at tkehoe@partners.org or 617-726-4548.
If you are interested in a hospital history tour but are not coming with a group, you can attend one of our public MGH history tours. For more information, visit the museum's Facebook or Eventbrite pages, or email mghhistory@partners.org to join the mailing list.
Monday–Friday: 9 am–5 pm
Saturday April–October:
The museum will be closed
Monday, Jan. 20 for the
Martin Luther King holiday.
It will reopen at 9 am
Tuesday, Jan. 21.
Russell Museum at MGH
2 North Grove Street
about the Russell Museum,
Museum Lecture Series
View all events and register
GO TO EVENTBRITE
© 2020 Massachusetts General Hospital


As people start becoming collective, they do not bother others, they do not trouble others, but they give joy to others. They are not bothered about their going and coming, their eating and everything, they just don't behave like mundane, usual type of people. But they are very patient. They are in the patience. Now this patience is most joy giving. Patience gives you the greatest joy. When you are patient you develop all your qualities. I think in patience you blossom the best. ... Patience is also a kind of a state within us with just this patience, Saburi as they call it. You just watch and see. Wherever you are you are.
Now some people are worried that they must get into the bus. Some people are worried they must reach back home. Some people are worried they must get their food in time. According to them this is discipline. This is not. This is conditioning. But what is the discipline is of patience in Sahaja Yoga. Where you watch everything and you are patient. If you are in the bus you are there. If you are standing on the road you are there. If you are walking on the road you are there. On the contrary it is a good idea to walk. ... So it's nice to walk a little bit in the evening time, it's a good idea. It's a very good idea, leisurely you can walk, that will digest your food. The food is rather heavy sometimes. It makes you feel better and just know that you are walking that's all. To feel that I have to walk, I have to go there, once you start thinking, you get exhausted sitting here, even if you have not walked. So, it is important that patience should be made the discipline of life.


text:
/*
 * Legal Notice
 *
 * This document and associated source code (the "Work") is a part of a
 * benchmark specification maintained by the TPC.
 *
 * The TPC reserves all right, title, and interest to the Work as provided
 * under U.S. and international laws, including without limitation all patent
 * and trademark rights therein.
 *
 * No Warranty
 *
 * 1.1 TO THE MAXIMUM EXTENT PERMITTED BY APPLICABLE LAW, THE INFORMATION
 *     CONTAINED HEREIN IS PROVIDED "AS IS" AND WITH ALL FAULTS, AND THE
 *     AUTHORS AND DEVELOPERS OF THE WORK HEREBY DISCLAIM ALL OTHER
 *     WARRANTIES AND CONDITIONS, EITHER EXPRESS, IMPLIED OR STATUTORY,
 *     INCLUDING, BUT NOT LIMITED TO, ANY (IF ANY) IMPLIED WARRANTIES,
 *     DUTIES OR CONDITIONS OF MERCHANTABILITY, OF FITNESS FOR A PARTICULAR
 *     PURPOSE, OF ACCURACY OR COMPLETENESS OF RESPONSES, OF RESULTS, OF
 *     WORKMANLIKE EFFORT, OF LACK OF VIRUSES, AND OF LACK OF NEGLIGENCE.
 *     ALSO, THERE IS NO WARRANTY OR CONDITION OF TITLE, QUIET ENJOYMENT,
 *     QUIET POSSESSION, CORRESPONDENCE TO DESCRIPTION OR NON-INFRINGEMENT
 *     WITH REGARD TO THE WORK.
 * 1.2 IN NO EVENT WILL ANY AUTHOR OR DEVELOPER OF THE WORK BE LIABLE TO
 *     ANY OTHER PARTY FOR ANY DAMAGES, INCLUDING BUT NOT LIMITED TO THE
 *     COST OF PROCURING SUBSTITUTE GOODS OR SERVICES, LOST PROFITS, LOSS
 *     OF USE, LOSS OF DATA, OR ANY INCIDENTAL, CONSEQUENTIAL, DIRECT,
 *     INDIRECT, OR SPECIAL DAMAGES WHETHER UNDER CONTRACT, TORT, WARRANTY,
 *     OR OTHERWISE, ARISING IN ANY WAY OUT OF THIS OR ANY OTHER AGREEMENT
 *     RELATING TO THE WORK, WHETHER OR NOT SUCH AUTHOR OR DEVELOPER HAD
 *     ADVANCE NOTICE OF THE POSSIBILITY OF SUCH DAMAGES.
 *
 * Contributors
 * - Sergey Vasilevskiy
 */

/*
*   Base interface for a loader class factory.
*   This class instantiates particular table loader classs.
*/

#ifndef BASE_LOADER_FACTORY_H
#define BASE_LOADER_FACTORY_H

#include "BaseLoader.h"
#include "Table_Defs.h"

namespace TPCE
{

class CBaseLoaderFactory
{

public:

    /*
    *  Virtual destructor. Provided so that a sponsor-specific
    *  destructor can be called on destruction from the base-class pointer.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           not applicable.
    */
    virtual ~CBaseLoaderFactory() {};

    /*
    *  Create loader class for ACCOUNT_PERMISSION table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<ACCOUNT_PERMISSION_ROW>*    CreateAccountPermissionLoader() = 0;

    /*
    *  Create loader class for ADDRESS table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<ADDRESS_ROW>*               CreateAddressLoader() = 0;

    /*
    *  Create loader class for BROKER table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<BROKER_ROW>*                CreateBrokerLoader() = 0;

    /*
    *  Create loader class for CASH_TRANSACTION table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<CASH_TRANSACTION_ROW>*      CreateCashTransactionLoader() = 0;

    /*
    *  Create loader class for CHARGE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<CHARGE_ROW>*                CreateChargeLoader() = 0;

    /*
    *  Create loader class for COMMISSION_RATE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<COMMISSION_RATE_ROW>*       CreateCommissionRateLoader() = 0;

    /*
    *  Create loader class for COMPANY_COMPETITOR table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<COMPANY_COMPETITOR_ROW>*    CreateCompanyCompetitorLoader() = 0;

    /*
    *  Create loader class for COMPANY table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<COMPANY_ROW>*               CreateCompanyLoader() = 0;

    /*
    *  Create loader class for CUSTOMER_ACCOUNT table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<CUSTOMER_ACCOUNT_ROW>*      CreateCustomerAccountLoader() = 0;

    /*
    *  Create loader class for CUSTOMER table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<CUSTOMER_ROW>*              CreateCustomerLoader() = 0;

    /*
    *  Create loader class for CUSTOMER_TAXRATE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<CUSTOMER_TAXRATE_ROW>*      CreateCustomerTaxrateLoader() = 0;

    /*
    *  Create loader class for DAILY_MARKET table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<DAILY_MARKET_ROW>*          CreateDailyMarketLoader() = 0;

    /*
    *  Create loader class for EXCHANGE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<EXCHANGE_ROW>*              CreateExchangeLoader() = 0;

    /*
    *  Create loader class for FINANCIAL table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<FINANCIAL_ROW>*             CreateFinancialLoader() = 0;

    /*
    *  Create loader class for HOLDING table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<HOLDING_ROW>*               CreateHoldingLoader() = 0;

    /*
    *  Create loader class for HOLDING_HISTORY table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<HOLDING_HISTORY_ROW>*       CreateHoldingHistoryLoader() = 0;

    /*
    *  Create loader class for HOLDING_SUMMARY table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<HOLDING_SUMMARY_ROW>*       CreateHoldingSummaryLoader() = 0;

    /*
    *  Create loader class for INDUSTRY table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<INDUSTRY_ROW>*              CreateIndustryLoader() = 0;

    /*
    *  Create loader class for LAST_TRADE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<LAST_TRADE_ROW>*            CreateLastTradeLoader() = 0;

    /*
    *  Create loader class for NEWS_ITEM table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<NEWS_ITEM_ROW>*             CreateNewsItemLoader() = 0;

    /*
    *  Create loader class for NEWS_XREF table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<NEWS_XREF_ROW>*             CreateNewsXRefLoader() = 0;

    /*
    *  Create loader class for SECTOR table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<SECTOR_ROW>*                CreateSectorLoader() = 0;

    /*
    *  Create loader class for SECURITY table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<SECURITY_ROW>*              CreateSecurityLoader() = 0;

    /*
    *  Create loader class for SETTLEMENT table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<SETTLEMENT_ROW>*            CreateSettlementLoader() = 0;

    /*
    *  Create loader class for STATUS_TYPE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<STATUS_TYPE_ROW>*           CreateStatusTypeLoader() = 0;

    /*
    *  Create loader class for TAXRATE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<TAXRATE_ROW>*               CreateTaxrateLoader() = 0;

    /*
    *  Create loader class for TRADE_HISTORY table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<TRADE_HISTORY_ROW>*         CreateTradeHistoryLoader() = 0;

    /*
    *  Create loader class for TRADE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<TRADE_ROW>*                 CreateTradeLoader() = 0;

    /*
    *  Create loader class for TRADE_REQUEST table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<TRADE_REQUEST_ROW>*         CreateTradeRequestLoader() = 0;

    /*
    *  Create loader class for TRADE_TYPE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<TRADE_TYPE_ROW>*            CreateTradeTypeLoader() = 0;

    /*
    *  Create loader class for WATCH_ITEM table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<WATCH_ITEM_ROW>*            CreateWatchItemLoader() = 0;

    /*
    *  Create loader class for WATCH_LIST table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<WATCH_LIST_ROW>*            CreateWatchListLoader() = 0;

    /*
    *  Create loader class for ZIP_CODE table.
    *  Should be defined in a subclass according to the subclass load type.
    *
    *  PARAMETERS:
    *           none.
    *
    *  RETURNS:
    *           Reference to the loader class.
    */
    virtual CBaseLoader<ZIP_CODE_ROW>*              CreateZipCodeLoader() = 0;
};

}   // namespace TPCE

#endif  // #ifndef BASE_LOADER_FACTORY_H

redpajama_set_name: RedPajamaGithub


text:
Canada puts up brave fight in men's rugby sevens but finish 8th
Patrick Johnston · Postmedia News | Posted: July 27, 2021, 11:59 p.m. | Updated: July 28, 2021, 12:30 p.m. | 2 Min Read
Canada's men's rugby team has one game left at Tokyo 2020 after a heartbreaking 21-14 loss to the USA, won by the Americans on the game's final play.
With no time left on the clock, Harry Jones was shown a yellow card and sent to the sin bin for intentionally knocking down a pass attempt from American forward Danny Barrett to speedster Carlin Isles.
The Americans attacked wide off the scrum and Isles, known as the fastest man in rugby, sprinted clear of the Canadian defence to dot down the game-winning tally.
It was a tough finish to a gutsy effort from the Canadians. who came back twice to level the scores and had matched the Americans pound for pound through most of the match.
Like the Canadians, the Americans came into the match on the back of disappointment, both sides having lost in the quarterfinals, their medal dreams dying with them. Whereas Canada were rightly bested by New Zealand, the Americans blew a 21-0 lead against Great Britain and lost 26-21.
But both teams pulled up their socks and went at it, their long-standing rivalry surely driving both teams' motivations.
Isles opened the scoring for the U.S. in the third minute, taking a pass from Barrett and sprinting nearly 90 metres down the sideline to score.
The Canadians fought back hard and the half proved to be a grind both ways, highlighted by a shrewd defensive play by Canada's Andrew Coe, who stopped an American breakaway attack when he managed to punch the ball out of Stephen Tomasin's hands, negating what might have been an American score.
As the half came to an end, Jones found himself on the attack, in a one-on-one against Isles. He side-stepped the American speedster at half way then sprinted down to score in the corner.
The second half was another grinding affair as both teams couldn't find a breakthrough until Martin Iosefo scooped up a loose ball and put the Americans back in front.
The Canadians kept at it and Justin Douglas finally found an inch of space and sprinted through, Nathan Hirayama kicking his second conversion of the game to knot things up.
But the game didn't finish the way the Canadians hoped and now they're hoping to take their last game, against the Australians who fell behind the South Africans in the first half and couldn't claw their way back.
South Africa will face the U.S. for fifth place.
Copyright Postmedia Network Inc., 2021


From the abstract - "I review relevant literature on street trading management, and develop criteria for assessing the City of Cape Town's street trading management approach. These criteria are linked to Lefebvre's (1968) and Fainstein's (2010) concepts of 'the right to the city' and 'the just city' respectively. The main research question thus asks: What is the impact of the City of Cape Town's street trading management approach on the livelihood strategies of traders on the Grand Parade? The research uses the case study and discourse analysis methods to address this question."


Foozi is a friendly infusion system for your child that acts as a customizable "medical friend", featuring the ability to personalize the experience of a child being in the hospital while maintaining safety and easy using to create a healthy connection with the parents and the medical staff. It is a comprehensive solution for the child's need of mobility to his or her parents. There is also a particular place in this system to store the toys and other staffs of the child. Foozi features an extraordinary electronic pump fitted between the poles to make it easier to carry. There is a plastic part at the top which prevents the infusion bag from being flipped from site to side, and has an individual place to hang up a drawing of the child.
Tagged as comprehensive solution, foozi, infusion, medical staff, staffs.


November 20, 2011: Taiwan is sending another two of its E-2T AWACS aircraft to the U.S. for upgrading to the E-2C 2000 standard. Two Taiwanese E-2Ts were sent last year. The upgrade will cost about $63 million per aircraft.
The E-2T is very similar to the E-2C. Meanwhile, it was only last year that the U.S. Navy received its first E-2D aircraft. This is the latest version of the E-2 Hawkeye radar aircraft that was originally introduced in 1964. The two engine, 24 ton E-2 was never produced in large quantities (fewer than a hundred are in use). Four years ago, the E-2 fleet reached a milestone, of a million flight hours.


text:
2021 Gig Reports
All the gigs of my life
About Scruffy Storms
SCRUFFY STORMS
all the music of my life
All the gigs of my life: Gig 10 – Manic Street Preachers, Saturday, April 12, 1997, Royal Albert Hall
By Scruffy on March 25, 2018 • ( Leave a comment )
"So here I sit in the middle of The Day. The reason I'm still here and not swirling aimlessly around Perth again."
Four months had come and gone since my last Manics gig at the Forum on the 16th of December '96. That was the gig in which my life changed completely. So devastated afterwards at the prospect of possibly never seeing the Manics ever again, I went and bought myself a ticket for their Royal Albert Hall gig at the 90s equivalent of getmein.com – a dodgy bloke in Leicester Square. I paid £35, more than double face value, but I didn't care. What mattered was that I would see the Manics again.
So by mid-December 1996, my future was set: I wasn't going back to Australia, I was staying in London. By the time this gig came around, I was in the thick of London life, with a job, and a room of my own, and plenty of time to explore the fantastic musical worlds the city had to offer.
This gig happened during an era when there was much talk in the music press about whether or not the Manics had lost it. There was a sharp divide between the fanbase they'd built over the course of their first three albums, who revelled in the eyeliner and leopard print, the culture, alienation, boredom and despair, and the newer fans who seemingly just wanted to mosh and unironically swill beer to "A Design For Life". Just two days before this gig, I wrote in my diary about an article my new pop hero Dickon Edwards from Orlando had written in the Melody Maker about why he didn't love the the Manics anymore.
"I can actually agree with a lot of what he says in the article. It's true that the Manics have lost an edge. And the all-encompassing acclaim they inspire now is a tad worrying. But there's still far more to love about the Manics than almost any other band in existence."
And in keeping with these feelings, and the proximity of this Manics gig to other truly astounding gigs – more of which to be discussed in my next post about gig no.11 – I generally remember this Manics gig as one of the less good ones out of the 32 Manics gigs I have been to at the time of typing.
However, reading over the beginning of my diary entry for this gig, none of this is really apparent. The same hyperventilating excitement I'd experienced at my Manics gigs back in December '96 is evident from the opening line of the entry.
"the fatigue… bloody hell I was DOWN THE FRONT yes that's RIGHT DOWN THE FRONT!!! Crushed against the barrier right there in front of Nicky! oh what a night."
Support this night came from the Boo Radleys, who I noted were "a monumental improvement on previous Manics support selections." But little could distract me from the excitement of seeing the Manics again. Precisely a week before I'd been screaming my lungs out to Suede, but I felt it necessary to note that this night I screamed Even More.
"Forget anything I might have written last week, for as the MSP screen flickered into life I was screaming like I never have before and never will again, for as it was my throat was verily done in half way through… Such a thrill to see the band walk in at such proximity. I saw James first, then Sean, and finally NICKY! We'd screamed earlier when his feather-boa endowed mic stand had been set up, now here was the real thing, in glorious godlike tehnicolour real life. And I was DOWN THE FRONT! right there in front of him!"
They started with "Australia", the straight into "From Despair to Where" and "Faster". It was as thrilling and exciting as ever, and yet, there was something not quite right.
"However. If it's possible to be underwhelmed whilst screaming one's lungs to shreds, then yes. The size of the venue was uncooperative, the sight of the seated masses somewhat deflating of atmosphere, the familiarity of the set, maybe. The band seemed at first to wish they were elsewhere. Nicky hated us, or the venue, I couldn't tell which he was ranting about, probably both."
However, despite Nicky being in a mood, I was still inspired to describe his appearance that night in detail. "He was wearing green camo trousers and his "I love hoovering" T-shirt, heavily eyelinered, amazingly wonderful, basically. Occasionally he flashed That Grin but mostly just played his bass, first with sunglasses and looking moody, later without sunglasses and looking moody. Often he'd stop playing and just pose."
It was my first time ever being down the front at a gig, and it was a position I was to come to strive for as much as possible in my subsequent gigging life. I would come to cherish that bruised rib-cage feeling that came after spending several hours crushed against a barrier, screaming at your favourite band.
"I couldn't really jump about as I was totally pinned to the barrier. I couldn't even stretch my arms out really, as one of the large security types stood directly in front of me."
I stopped feeling underwhelmed about this gig, according to my diary, when James's acoustic set came along, and he announced "This Is Yesterday". It was still an era in which tracks from "The Holy Bible" were rarely played, and the crowd responded accordingly.
"After he says those words there is a split second of silence, then… pandemonium. We rupture our throats in acknowledgement of that rarest of creatures, the "Holy Bible" track."
The acoustic set was "monumental", carrying on with "Small Black Flowers That Grow In The Sky" ("awe-inspiringly devastating") and finishing with "Raindrops Keep Falling On My Head", "with the trumpeter getting a tad over-enthusiastic, prompting a small tirade from Nicky on his return. Now he has a pink scarf round his head and looks too lovely."
The set continued with "Enola Alone", then "Everything must go, and then: ""Stay Beautiful"!!! Do I even need to describe the mayhem, the intensity?"
Was I lost for words here because this gig really was that amazing, or because I was desperate for it to have been so? Or more likely, as I was stilll in the euphoria of being in my first few months in London, perhaps even a slightly less-than-usually brilliant Manics gig was more exciting than most things I'd experienced in my life up til that point.
The gig carried on with James introduing the band, and then launching into "A Design For Life", before a chaotic, mayhem-filled finale.
"It was the most storming version of "You Love Us" ever, ending with the Lust For Life style DIE! DIE! DIE! of the Heavenly version, and speaking of heavenly, the god that is Nicky then proceeded to show his fury at us pathetic mortals of London by demolishing the stage. He chucks his bass into the speakers! Hurls the drummer onto the floor! Crashes first his, then James's mic stand into the ailing drumkit! And finally topples a stack of speakers to the ground! And of course we are in the throes of screaming worshipping ecstasy at the sight of this petulant childish money-wasting GODLIKE display. Oh what a night indeed."
All in all, this was a contradictory gig. The band were in possibly a more settled, stable place than they'd ever been before, with massive success and acclaim at every turn, and yet, there were glimmers of them striving against this complacency, trying to regain the fire and vitriol that propelled their early years.
"It was as if, faced with the most telling indication of New Manics' more widespread, conventional appeal, the spirit of the Old Manics broke through and took over for the evening. And thank god for that too. If this is what the RAH does to them, I can't wait for the riots at the Nynex!!"
The band were due to play their biggest gig so far, at the Nynex Arena in Manchester, on the 24th of May, and I had snapped up my ticket the moment they went on sale. But before that gig came round, something unexpected happened: another band came along that threatened to topple the Manics from the centre of my musical obsessions. And it just so happened to be the band that would support them at that Manchester gig.
But as I stumbled towards home down Exhibition Road that night, all I cared about was that I would see the Manics again, in precisely six weeks' time.
Categories: All the gigs of my life
Tagged as: boo radleys, manic street preachers
All the gigs of my life: Gig 9 – Suede, Saturday, April 05, 1997, Kentish Town Forum
All the gigs of my life: Gig 11 – Mansun, Friday, April 25, 1997, Kilburn National
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