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The Smooth Late Show with Martin Collins 10pm - 1am
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6 of Paul McCartney's greatest ever duets, from George Michael to Michael Jackson
Sir Paul McCartney has been pretty prolific in the making music department over the past six decades.
But surprisingly, he hasn't recorded as many duets with other artists as often as you might think.
Every now and then, he has teamed up with some of the world's greatest, and here's our very favourites.
1. 'The Girl is Mine' (with Michael Jackson)
Perhaps surprisingly, this pop ballad was the first single to be taken from Michael Jackson's Thriller.
This song features the pair fighting over the same girl. She clearly has no particular type! Jackson said it was "one of my favourite songs to record" as there was "lots of playing, and throwing stuff at each other, and making jokes." Many members from Toto also took part in the recording.
2. 'Ebony and Ivory' (with Stevie Wonder)
OK, this one might be a bit on the sickly sweet side, but come on, it's a classic!
It is a self-empowerment anthem that tackles issues of racial equality, and it reached number one on both the UK and the US charts. The title was inspired by McCartney hearing Spike Milligan say "black notes, white notes, and you need to play the two to make harmony, folks!".
3. 'Say, Say, Say' (with Michael Jackson)
Produced by Beatles collaborator George Martin, this song was actually recorded before 'The Girl Is Mine', but was released a year later.
Michael stayed at the home of Paul and his wife Linda during the recording sessions, and became friends with both. While there, Paul apparently showed Michael a booklet that showed all the songs that he owned publishing rights for.
"This is the way to make big money", he told Michael. "Every time someone records one of these songs, I get paid. Every time someone plays these songs on the radio, or in live performances, I get paid." Whoops.
4. 'Heal the Pain' (with George Michael)
George Michael first released this song in 1991, having written it in the style of a Paul McCartney ballad as a tribute to him.
14 years later, he asked McCartney to record it as a duet, and later included it on his 2006 'best of' compilation Twenty Five. The song sees the singer(s) telling a potential lover that their partner is not treating them with the kind of love respect that they can offer them.
5. 'The Very Thought of You' (with Tony Bennett)
A jazz standard recorded by everyone from Billie Holiday to Frank Sinatra, Paul took it on with another crooning legend in 2006.
For Bennett's album Duets: An American Classic, the pair collaborated in style to celebrate the American's 80th birthday.
6. 'New Moon Over Jamaica' (with Johnny Cash)
Paui teamed up with country legend Johnny Cash to co-write this track in 1988.
It was featured on Cash's album Water from the Wells of Home, which also featured Glen Campbell, Emmylou Harris and others.
Listen to Barry Gibb's haunting original demo of Barbra Streisand's 'Woman In Love'
Barry Gibb
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Booya the naughty little ghost and his friends, Jim and Jam are back with your all time favorite nursery rhyme Teddy Bear. Join them and watch what mischief Booya is upto.
Teddy Bear Teddy Bear touch the ground.
Teddy Bear Teddy Bear touch the sky.
Booya Booya touch your toes.


text:
Industry analyst Shaw to keynote Latin Expo
Tire Business Staff
MIAMI — David Shaw, CEO of Tire Industry Research, will be the keynote speaker at this year's Latin American & Caribbean Tyre Expo, scheduled for June 14-16 in Panama City, Panama.
Mr. Shaw, head of his own consultancy for the past four years and editor of European Rubber Journal from 1989-2012, will speak on the state of the Chinese tire industry during his address, set for June 15. He also is a consultant to the Tire Technology Expo conference and for the last three years has moderated the World Rubber Summit in Singapore.
The eighth Latin American & Caribbean Tyre Expo will take place at the Atlapa Convention Center in Panama City. The speakers' program is scheduled for 11:30 a.m. to 1:30 p.m. on the 15th.
The expo is open 10 a.m. to 5 p.m. on the 14th and 15th, and 10 a.m. to 4 p.m. on the 16th.
The event organizers, Latin Expo Group, expect to announce the other speakers shortly.
More information about the event is available at latintyreexpo.com
Do you have an opinion about this story? Do you have some thoughts you'd like to share with our readers? Tire Business would love to hear from you. Email your letter to Editor Don Detore at [email protected].

redpajama_set_name: RedPajamaCommonCrawl


Lansky Leather Strop Finishing Hone.
Lansky Sharpening System products are mounted on specially designed color coded holders with comfortable slip resistant finger grooves and are embossed with grade of stone for instant identification.
After sharpening any knife it is best to remove any burrs that may have built up with a strop, now Lansky have added one to their stable.
The original and still the best sharpening system you can buy.
This is probably the only system that is still made in the US, everything else has been farmed out to China.
It really will sharpen any tool to a shaving sharp finnish in minutes. I have been using a kit for years and haven't even had to replace the bottle of honing oil yet. A real winner.


text:
Mascagni's Isabeau at Opera Holland Park: in conversation with David Butt Philip
Opera directors are used to thinking their way out of theatrical, dramaturgical and musico-dramatic conundrums, but one of the more unusual challenges must be how to stage the spectacle of a young princess's naked horseback-ride through the streets of a city.
But, that's the gauntlet thrown down by Pietro Mascagni and librettist Luigi Illica, in their 1910 opera, Isabeau - and one that must be picked up Martin Lloyd-Evans when Opera Holland Park presents Mascagni's medieval melodrama next month. Illica's libretto is a variant on the Lady Godiva legend, which transmutes the naked progress from self-sacrifice to punishment - when Isabeau refuses all of the suitors whom her father, King Raimondo, has gathered to compete for her hand in a tournament of love - and swaps the voyeuristic Peeping Tom (who disobeys Godiva's plea for all the townspeople to stay indoors and avert their gaze) for an innocent country lad, Folco, who is imprisoned for his visual trespass. Though he wins the chaste princess's heart, when she visits him in his prison cell, her pleas to her father for clemency come up against the cunning machinations of the Chancellor, Cornelius. It's not a romance that is destined for a happy ending.
An American premiere was originally planned for Isabeau, with soprano Bessie Abott as the eponymous princess, but financial support was not forthcoming, and the opera was eventually first performed in Buenos Aires, at the Teatro Coliseo in June 1911, conducted by Mascagni and with Maria Farneti and Antonio Saludas as the doomed lovers. Performances at La Scala and La Fenice the following year were well-received, and the opera stayed in the repertory of many Italian houses before gradually fading after a couple of decades into near oblivion. Critical opinion has proved, on the whole, negative: William Ashbrook dismissed the opera as 'trite bombast', while Michele Girardi's Grove article, complains that 'the opera depends too much on 19th-century devices whose forced rhetoric is often evident; similarly, the attempts at musical sophistication in the work fail to conceal its essential conservatism.'
But, in an interview, Mascagni professed that, 'With Isabeau I attempted a return to that romanticism which inspired so much Italian opera. It seemed to me that in the lyric theatre, verismo, of which I myself was a fervent follower, had had its day'. He looked upon the opera as 'something entirely new', and this was the question I posed to tenor David Butt Philip, who takes the role of Folco in OHP's forthcoming production: is Isabeau hackneyed, histrionic verismo or is it something fresh and new?
David Butt Philip. Photo credit: Andrew Staples.
David Butt Philip explains that, far from being clichéd convention, the harmonic language of Isabeau suggests that this was a composer who had heard Salome and the early music of Strauss, and who was beginning to explore new paths and idioms of a distinctly 'modernist' bent. The opera by Puccini which it most readily brings to mind is Turandot, composed more than ten years later, and particularly the third act which was 'completed' by Franco Alfano.
It's not so much the vocal lines which seem innovative, rather the orchestral language, which prompts me to ask David about the challenges of singing a role which so often, as he observes, lies consistently just above the break in the voice, even if it does not rise to stratospheric peaks. Indeed, it has been suggested that it's the difficulty in casting two singers who are capable of sustaining the soaring lines of the arduous leading roles that has contributed to the opera's languishing. In fact, explains David, Mascagni helps the singers to pace themselves: the warm-ups to the most muscular bursts of vocal activity are skilfully structured, and, at least until the demanding final Act with its extensive duets, there are 'rest breaks', so to speak. But, the tenor does feel that this is perhaps why Isabeau doesn't appear often in the repertory, as smaller houses and festivals may find the casting demands prohibitive; and, the tenor thinks that he himself would be reluctant to sing the role of Folco in one of the larger houses. So, the opportunity to participate in the OHP production is greatly welcome; the verismo repertory clearly feels 'entirely natural' to David, who in 2016 sang Luigi in Opera North's Il Tabarro.
Alongside the Intermezzo (Mascagni termed it a 'hymn to the sun') depicting Isabeau's naked ride, the musical peaks of the opera are the two arias for each of the principals and the final duet. Is the opera rather 'static', dramatically, I wonder? David admits that there are some dramaturgical challenges: there are sections where there is little action - such as at the start of Act 2, as Isabeau prepares for her ride - which need careful consideration in the theatre, but also passages where the plot moves along very quickly, in ways that are not always presented through explicit action or text. For example, there are minor characters, such as the anonymous knight, who are not fully delineated but who play a vital part in the plot, and who intimate a back-story of which the audience are unaware. We might well be familiar with the 'back-story' of Figaro after more than 200 years, but Lloyd-Evans and the cast are having to reflect upon how to ensure that essential points of detail are communicated even if they are only briefly or implicitly articulated in text or score.
David's enthusiasm for, and conviction in, Isabeau is compelling: it's an opera, he tells me, not concerned with mythology or philosophy, but about real human beings with tangible, credible emotions. Rather different, then, from the literary starting-point of Brett Dean's Hamlet which David performed (as Laertes) at Glyndebourne Festival Opera last summer, taking the title role during the Glyndebourne Tour subsequently. As David concurs, even selecting just 25% of Shakespeare's four hours' worth of dramatic text, would have proved too lengthy and unwieldy, so Dean and his librettist Matthew Jocelyn took an early decision to fragment the original text and largely remove it from its philosophical context. The result was an opera that must have confounded the expectations of many opera-goers, who thought that they 'knew' Hamlet, by presenting them with an opera which subverted Shakespeare's drama from its very opening phrase - a fragment of the play's most famous line, which is only heard in its entirety when uttered ironically by one of the Players - and forcing them to take the opera on its own terms.
David admits that the directorial team and cast were slightly anxious going into the dress rehearsal: 'We had no idea if it was any good!' They thought it was, had worked so hard, had the faith of the Glyndebourne management behind them … but what would the Glyndebourne audience, many of whom may not be regular opera-goers, make of it? Fortunately, "they immediately got it!" And, David was surprised that it was often those who were less experienced opera-goers who responded so strongly to the theatricality of the work. Certainly, that was my own experience of hearing a tour performance in Canterbury. I'm often a little hesitant when approaching an opera based on an existing literary work which I know well, but on this occasion, although the excision of Hamlet's soliloquies did alter our conception of his psychological development as a character, Jocelyn and Dean created a Hamlet of immediate and escalating intensity, and the result was dramatically compelling - a view clearly shared by the Canterbury audience-members around me, who may well have chosen to attend the opera because it was 'Hamlet' but who evident enjoyed being served up a performance that 'wasn't'.
Inevitably, I ask David about the challenges of swapping roles between the Festival and Tour. He responds that singing Hamlet on tour was not difficult - after all, he knew the opera and production well by then; rather, it was performing the role of Laertes during the Festival, while simultaneously under-studying Hamlet, which gave him 'a few sleepless nights'. Having received the score a little later than anticipated, and while he was making his debut in the role of Erik in Der fliegende Holländer at Opéra de Lille, David had to learn the role of Laertes in the single month after the Lille performances had finished and before Glyndebourne rehearsals began, and then get to grips with Hamlet 'on the job', as it were. Rehearsing as Laertes in the mornings and then returning in the evening to sing Hamlet's music was exhausting; and the pressure was increased as the role of Laertes turned out to be larger than he, or probably Brett, anticipated. He obviously immensely enjoys the 'theatricality' of Brett's music though, and in March this year joined Allison Bell and the Radio Symphony Orchestra Berlin under the baton of Vladimir Jurowski to sing Dean's From Melodious Lay, an orchestral poem which explores the relationship between Hamlet and Ophelia, and which was re-worked in to the score of Dean's opera. Though Dean's music is not so obviously vocally satisfying as Mascagni, for example, David admires the dramatic interest with which Dean injects his vocal writing and his skill in producing precise and exciting effects for the voice.
Our conversation moves on to future plans, one of the most interesting of which is ENO Artistic Director Daniel Kramer's staging of Britten's War Requiem in November. David has "no idea what to expect!", but the score is inherently and intensely dramatic, and Wilfred Owens' texts offer copious, often disturbing, visual imagery. Designed by Turner Prize-winning artist and designer Wolfgang Tillmans, this is going to be one of the 'not to be missed' cultural events in the capital this autumn. David has 'warmed up' with performances of the Requiem with Orquestra Sinfonica Portuguesa and Opéra Orchestre National Montpellier this year. At ENO he will perform alongside Roderick Williams and Emma Bell; and, interestingly, the conductor will be Martyn Brabbins, under whose leadership a young David Philip Butt performed the Requiem as a chorus member in his student days, an experience which clearly initiated a growing passion for Britten's dramatic music - one which was nurtured this year in Madrid, where David sang the role of the Earl of Essex in Sir David McVicar's new production of Gloriana. It's an opera I feel is woefully under-rated, and David agrees: it's a more 'angular' work, and the libretto presents challenges to an audience - the characters, particularly the Queen, can seem distanced and difficult to engage with. But, the two scenes for Essex and Gloriana are stunning - as, I suggest, is the musico-dramatic structure of the final Act, to which David adds the impact of the trumpeters in the opening scene. Having appeared in just a single scene, as the Master-of-Ceremonies, in Richard Jones's Covent Garden production - during his time as a Jette Parker Young Artist at the Royal Opera House, David clearly relished being involved in McVicar's production, which he describes as a 'real revelation'.
Looking ahead, David will sing Verdi's Requiem with the Royal Philharmonic Orchestra under conductor Jac van Steen at the Royal Albert Hall in November, and then take the role of Froh in Das Rheingold at the Teatro Real in Madrid in January 2019 - a role he performed at the Tanglewood Festival in July 2017. As for his 'wish-list', perhaps first ports of call might be Cavaradossi or Lohengrin. But, it's clear that, further ahead, Britten is where the heart lies: namely, Grimes and Vere. Let's hope the casting directors are taking note.
Isabeau is being performed at Opera Holland Park from 14th-28th July.
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Samurai Jack 2001
A great warrior is displaced to the distant future by the evil shape-shifting wizard Aku. The world has become a bleak place under the rule of Aku, segregated into fantastic tribes and ruled by Aku's evil robot warlords. Jack travels this foreign landscape in search of a time portal that can return him to his home time so he can "undo the future that is Aku!".
Genre: Sci-Fi & Fantasy, Action & Adventure, Animation
Stars: Phil LaMarr, Greg Baldwin, Tara Strong, Grey DeLisle, Tom Kenny
Director: Mike Lazzo, David Krentz, Darrick Bachman, Bryan Andrews, Genndy Tartakovsky
1. XCII 2017-03-11
2. XCIII 2017-03-18
3. XCIV 2017-03-25
4. XCV 2017-04-08
5. XCVI 2017-04-15
6. XCVII 2017-04-22
7. XCVIII 2017-04-29
8. XCIX 2017-05-06
9. C 2017-05-13
10. CI 2017-05-20
The Mobile Cop Jiban (1989)
Ghost in the Shell: Stand Alone Complex (2002)
The Sarah Jane Adventures (2007)
Terminator: The Sarah Connor Chronicles (2008)
SpongeBob SquarePants (1999)
Amazing Stories (1985)
MegaMan NT Warrior (2002)
Gungrave (2003)
FLCL (2000)
Helen of Troy (2003)
A Step Into The Past (2001)
The Dead Zone (2002)
Primal (2019)
Scooby-Doo! Mystery Incorporated (2010)
Mr. Pickles (2014)
Death Note (2006)
JoJo's Bizarre Adventure (2012)
InuYasha (2000)
Cowboy Bebop (1998)
Star Wars: The Clone Wars (2008)
Courage the Cowardly Dog (1999)
Regular Show (2010)
Batman: The Animated Series (1992)
Ed, Edd n Eddy (1999)
Marvel's Ultimate Spider-Man (2012)
Captain Tsubasa (1983)
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Thousands of chemicals are used in the vast array of products available for domestic and business needs, such as household and industrial cleaning products, soaps and shampoos, cosmetics and deodorants, and paints and pesticides.
Regulations to protect humans, animals and the environment against poisoning and pollution from all these chemicals have been around longer than me. Many countries around the world have implemented different tiers of regulation to minimise risk.
The EU Biocidal Product Regulation (BPR, EC 528/2012).
Versions of the EU REACH (1) regulation in Korea (K-REACH) and China.
A building block approach to implement versions of GHS(2) worldwide in countries including EU, New Zealand, Japan, Korea, Canada, Mexico, and Singapore.
The NAFTA agreement between Canada, Mexico, and the USA has seen an effort being made to harmonise pesticide registration requirements in a trading block which has an estimated value of $17 trillion.
New Zealand and Australia working together to harmonise labelling requirements for aerosol products and animal health products.
1 September 2016 was a milestone deadline in the latest revision of the EU regulation controlling the supply and use of non-agricultural pesticides (also known as Biocides). It got me thinking about whether it is achieving its aims of improving the functioning of the biocidal products market in the EU while ensuring a high level of protection for humans and the environment.
With the passing of the deadline, I thought this would be an appropriate time to look at the history and evolution of the EU Biocidal Products Regulation (BPR), which first came into force over 16 years ago as Biocidal Products Directive 98/8/EC.
At 97 articles and 7 annexes, the new BPR certainly has high ambitions to raise the safety standard of biocide use in the European market.
Indeed, it is considered as the gold standard in biocide regulations worldwide, but there are concerns from industry about the cost burden for pursuing authorisation and the length of time it takes to complete.
A harmonised market, as far as it is possible to achieve, ensures the same high standards are applied across all member countries of the European Union. This also means that a product approved in one country will be accepted in all the other countries in the agreement.
Bigger companies have internal expertise and can collaborate with partners as a way of driving innovation. Working together with experts at all levels of industry and with the regulatory bodies will ensure products are safe, compliant and efficacious while still delivering innovative solutions for pest control.
The Biocidal Products Directive 98/8/EC established an authorisation scheme to ensure that active substances and biocidal products are assessed so that they are safe for people to use, and will not harm the environment, before they are placed on the market.
Prior to the Directive, each European member state applied their own national rules regarding the marketing of biocides. Some countries had very strict rules relating to marketing, eg The Netherlands had a national registration scheme for 22 of the 23 biocidal product types identified in the Directive, while other countries had a very simple scheme of notification for biocides and most regulated just a few of the biocidal products coming under the scope of the Directive.
The Directive 98/8/EC was in force from 13 May 2000 until 31 August 2013, after which it was reviewed and replaced with the Biocidal Product Regulation (BPR; EU 528/2012).
"Active substances and preparations containing one or more active substances, put up in the form in which they are supplied to the user, intended to destroy, deter, render harmless, prevent the action of, or otherwise exert a controlling effect on any harmful organism by chemical or biological means.
Control by means of physical or mechanical action is excluded.
One of the aims of the Directive was to harmonise the European market for Biocidal Products and their active substances. A biocidal product authorised in one member state should also be authorised upon application in other member states unless there are specific grounds to derogate from this principle of mutual recognition.
Cited reasons could be climate differences or other local market conditions, efficacy concerns or similar. In practice, this means there will always be scope for some markets to exclude products authorised elsewhere in the EU.
The Biocidal Product Directive (98/8/EC) came into force on 13 May 2000 and covered 23 Product Types (PT) in four main groups: disinfectants, preservatives, pest control products and water treatment chemicals.
PT9 fibre, leather, rubber and polymerised material preservatives (products for the control of microbial deterioration of leather, rubber, paper and textile products).
While the Directive included substances not previously covered under the pesticide regulations such as disinfectants, it specifically excludes those covered elsewhere eg agricultural pesticides, medicines, and cosmetics.
Of the original 23 product types in the Directive, Product Type 20 Preservatives for Food and Feedstocks was replaced with what was PT23 Control of Other Vertebrates, under the latest revision. So now there are only 22 product categories.
A full list of product types can be found on the European Chemicals Agency website.
From 14th May 2000 new active ingredients and products containing them had to meet the criteria set out in the Directive before being allowed to be marketed in the EU.
It included data and studies relating to the safe use, storage, product performance, human toxicology, environmental toxicity studies, analytical and chemistry information, disposal considerations and labelling.
Existing products would remain on the market while they were being reviewed to bring them up to the standard as set out in the Directive. Originally the review of existing products was expected to take 10 years, but it has since been extended to past 2020.
The review of existing products that fall within the scope of the Directive is based on the potential risk of their continued use. Once the data has been reviewed, the member state responsible for the evaluation of the data will make a recommendation for inclusion or non-inclusion. Â A non-inclusion decision results in a period of 180 days to withdraw the existing product from the market.
Statistics show only 58% of existing active ingredients were being supported through the Directive (3). Is it because the remaining 42% were unsafe? Some may not meet the new criteria for authorisation to market. However, there are also the commercial considerations relating to market size vs. level of investment.
Around 10 years after the Biocidal Products Directive came into force; it was reviewed and replaced with the Biocidal Products Regulation (BPR; EC 528/2012).
There were also new provisions for Parallel trade permits, data sharing and an attempt to harmonise the fee structure for applications.
The Biocidal Product Regulation has been in force in the EU since September 1, 2013. A lot of the changes are procedural, but the extension to the scope was important because it impacted industries that previously had no biocide-related obligations.
Some of the key changes under the revised Biocidal Products Regulation are summarised below.
A "Treated Article, according to Biocidal Products Regulation (BPR EC 528/2012), means any substance, mixture or article that has been treated with or, intentionally incorporates, one or more biocidal product.
a preservative added to a water-based paint or adhesive to prevent deterioration.
If the biocide is present as a means not to protect the item, it could be considered a biocidal product. Such an example could be an addition of a disinfectant to an anti-microbial paint for use in a hospital environment.
Treated Articles had to comply with the Regulation from 1 September 2013.
Products already on the market before this date entered the review programme. An application for the approval of the active substance for the relevant product type had to be submitted on or before 1 September 2016.
If they were not submitted by then, articles treated with such active substances may not be placed on the market after 1 March 2017.
The term in situ here refers to the production of active substances manufactured at the point of use, both with or without the use of other chemical substances (precursors).
These products were previously excluded from the Directive because there had been no such biocidal product placed on the market.
active chlorine produced from seawater.
Existing products covered by this definition had to have an application for approval submitted under the Biocidal Products Regulation on or before 1 September 2016. The products could then continue to be marketed until the review was complete.
If an application was not submitted before this date, the active substances cannot be used or supplied after 1 September 2017.
While there are some exemptions in the original Biocidal Product Directive for Biocides based on foodstuff, the subsequent Regulation clarifies the definition.
The agreed EU position is that food or feed which is placed on the market only as food or feed but which is used as an attractant/repellent would be outside the scope of the BPR.
An example would be using strawberry jam to attract wasps to a trap because the jam is primarily intended as a foodstuff. That is not to say foodstuffs are excluded from the scope of the Regulation. If the product is placed on the market intended only for repellent/attractant use, it would be within scope even if they consist entirely of food or feed.
Existing products on the market which met this new definition had to be notified to the European Chemicals Agency (ECHA) before 30 November 2015.
If a dossier was not submitted, existing stocks of the product have to be withdrawn by 30 October 2016.
similar levels of risk and efficacy.
any appropriate risk mitigation measures.
Grouping products together in a family should minimise cost, and make the evaluation easier and faster.
There are strict conditions for union authorisation e.g. similar conditions of use across the Union and there are exclusions for certain biocidal product types and those active ingredients meeting exclusion criteria.
As a way of streamlining the authorisation process, it is possible to apply for all countries where you wish to market the Biocidal Product in Europe, at the same time. The Member State that evaluates the application shall agree on the conditions of authorisation together with all the other relevant (concerned) Member States.
the product is sufficiently effective.
The BPR introduces the new concept of the Same Biocidal Product. It allows a faster and cheaper authorisation route for authorisation of the same biocidal products from the same company or other companies under the same terms and conditions.
How has the new BPR improved EU authorisation for biocides?
introducing timelines for Member State evaluations.
Reduction of animal testing: It promotes reduction of animal testing by introducing mandatory data sharing obligations and encourages use of alternative testing methods.
Online platform for applications: There is a dedicated IT platform, the Register for Biocidal Products (R4BP 3) and IUCLID for submission of applications and as a means to exchange information between the applicant, ECHA, Member State competent authorities and the European Commission.
It is positive that there is an attempt to streamline and harmonise the process for marketing biocides in the EU, but how successful this is, as the review programme progresses, remains to be seen.
I am a Regulatory Specialist at Rentokil Initial, with over 15 years experience of ensuring legal compliance of chemical product innovation, in the EU, Asia, US, Australia and others. Outside of work, and away from bugs, I enjoy time on my allotment and a pint or two of craft beer. If the sun is shining, all the better!


text:
Rolston String Quartet
Luri Lee & Jason Issokson, violins
Hez Leung, viola
Peter Eom, cello
With their debut recording, "Souvenirs" recently named BBC Music Magazine 'recording of the year', Canada's Rolston String Quartet continues to receive acclamation and recognition for their musical excellence. As the 2018 recipient and first international ensemble chosen for the prestigious Cleveland Quartet Award from Chamber Music America, their accolades and awards precede them. In 2016, a monumental year, they won First Prize at the 12th Banff International String Quartet Competition, Grand Prize at the 31st Chamber Music Yellow Springs Competition, and Astral's National Auditions.
Recent highlights include debut performances at Carnegie Hall, Wigmore Hall, The Freer Gallery, and Chamber Music Houston, two major Canadian tours under the Prairie Debut and Debut Atlantic touring networks, and three European tours with dates in Leipzig, Berlin, Lucerne, Heidelberg, Barcelona, and Graz among others. Their 2019-20 season includes concerts at UCLA's Herb Alpert School of Music, Texas Performing Arts, Chamber Music Northwest, and Calgary Pro Musica; the chamber music societies of Detroit, Fort Worth, Kansas City, Philadelphia, and Vancouver; and the Louvre Museum. As Süddeutsche Zeitung states, "they showed such delicacy, slender elasticity, impeccable intonation, and such eminent sense of tonal balance…This is a new bright star on the truly not empty string quartet sky of our day."
Notable collaborations include performances with renowned artists Janina Fialkowska, Gary Hoffman, Nobuko Imai, Miguel da Silva, and David Shifrin, as well as the St. Lawrence, and Dover Quartets. The quartet are associated artists at the Queen Elizabeth Music Chapel, and completed a two-year term as the Yale School of Music's fellowship quartet-in-residence in spring 2019. Previously, they were the graduate quartet-in-residence at Rice University's Shepherd School of Music. Keeping in the teaching tradition, they have taught at the Yale School of Music, University of Toronto, and the Bowdoin International Music Festival among others. Primary mentors include the Brentano Quartet, James Dunham, Norman Fischer, and Kenneth Goldsmith, and the quartet has received additional guidance from the St. Lawrence String Quartet, Miguel da Silva, and Alastair Tait.


Congratulations to the winners; and thanks to everyone for playing!
You're quite fantastic, aren't you Wiz.
The Ultimate Horror Scenario Survival Guide.
Behind the Kong: API checking with "info"
The weird Ikariam guy wants you!
Its me, deal with it.


text:
Support JesterLand
Potsdam is the capital and largest city of the German federal state of Brandenburg. It directly borders the German capital, Berlin, and is part of the Berlin/Brandenburg Metropolitan Region. It is situated on the River Havel some 25 kilometres southwest of Berlin's city centre.
Potsdam was a residence of the Prussian kings and the German Kaiser until 1918. Its planning embodied ideas of the Age of Enlightenment: through a careful balance of architecture and landscape, Potsdam was intended as "a picturesque, pastoral dream" which would remind its residents of their relationship with nature and reason.
The city lies in an area of interconnected lakes and is distinguished by a series of cultural landmarks, in particular the parks and palaces of Sanssouci, the largest World Heritage Site in Germany. The Potsdam Conference in 1945 was held at Cecilienhof Palace.
Babelsberg, in the south-eastern part of Potsdam, was already by the 1930s the home of a major film production studio and it has enjoyed success as an important center of European film production since the fall of the Berlin Wall. The Filmstudio Babelsberg is the oldest large-scale film studio in the world.
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text:
Home PLO
11/September/2020 10:20 PM
Ashrawi: Normalization with Israel will not solve the conflict
RAMALLAH, Friday, September 11, 2020 (WAFA) – In response to Bahrain's declaration on normalizing its relations with the occupying state of Israel under US auspices, Hanan Ashrawi, Member of the Executive Committee of the Palestine Liberation Organization, stated:
"The Bahrain-Israel announcement is not a peace deal. It is US President Donald Trump playing to his base in the wake of elections and a reward to Israel's escalating aggression and impunity. Normalization has been taking place between Bahrain and Israel surreptitiously. The US administration has used all its political and economic might to extort, pressure, and bully Arab and other states to normalize Israeli colonization and trample on foundational principles of international law, including the tacit endorsement of the war crime of annexation. The path to real peace must be founded on mutual respect and adherence to international law.
By contrast, the false promise of prosperity and peace based on the US-Israeli approach will prove itself a destructive mirage that will only further destabilize the region. Normalization of states in the region with Israel will not change the essence of this conflict, which is the systemic denial of the Palestinian people's inalienable right to freedom and sovereignty. The US administration can continue to exercise its power of coercion in the region to serve its electoral needs while applying cruel pressure on the Palestinian people. However, such an arrogant and ignorant approach will not bring the Palestinian people to their knees.
The Palestinian people remain deeply rooted in their homeland and determined to secure their fundamental rights to a reality of freedom, dignity, and sovereignty. We will not surrender our agency nor abdicate our responsibility to deliver a genuine and just peace to our future generations. Justice in Palestine is a moral and legal imperative that can neither be ignored nor denied."
Minister Hussein al-Sheikh says citizenship of 660 Palestinians approved by Israel
Palestinians mark 57th anniversary of the establishment of Fatah
31/December/2021 09:00 PM
PLO denounces statements by an Arab member of the Israeli parliament, says they go in line with extremist policies


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text:
The men's national basketball team of the United States won the gold medal at the 1996 Summer Olympics in Atlanta, Georgia. Led by Basketball Hall of Fame head coach Lenny Wilkens, the team won gold for the second straight Olympics. Nicknamed Dream Team III, the team included five players who were Olympic teammates on the original "Dream Team", from the 1992 Olympic basketball tournament: Charles Barkley, Karl Malone, Scottie Pippen, John Stockton, and David Robinson.  Gary Payton was a late replacement for the injured Glenn Robinson

Roster
With Michael Jordan intimating in 1994 that he would pass on the opportunity to participate in his third Olympic Games (previously in 1984 and 1992 (the Dream Team)) to "let others get their chance at a gold medal," USA Basketball officials sought to construct the team dubbed Dream Team III (Dream Team II was the moniker of the lesser-known 1994 USA Men's Basketball World Championship Team) with a winning combination of veteran players from the 1992 Dream Team that won the gold medal in Barcelona, and some of the league's best young talent.

When the first ten players of the 1996 United States Men's National Basketball Team roster were announced in the summer of 1995, that young talent, and first-time Olympians, included the likes of Anfernee "Penny" Hardaway, Grant Hill, Shaquille O'Neal, and Gary Payton, who was added as a replacement for an injured Glenn "Big Dog" Robinson. Other veteran players who were first-time Olympians were Reggie Miller, Hakeem Olajuwon, and, Mitch Richmond, who was added in April 1996 along with Charles Barkley, completing the roster as the eleventh and twelfth members. Thus, the holdovers from the 1992 Olympic Team, Karl Malone, Scottie Pippen, David Robinson, John Stockton, and Charles Barkley, coupled with the first-time Olympians, formed the 1996 United States Men's National Basketball Summer Olympic team roster.

Staff

Head coach: Lenny Wilkens (Atlanta Hawks)
Assistant coaches: Jerry Sloan (Utah Jazz), Bobby Cremins (Georgia Tech), and Clem Haskins (University of Minnesota)
Team physicians: Steve Haas (Washington Bullets), John A. Hefferon (Chicago Bulls), and Bruce Moseley (Houston Rockets)
Athletic trainers: Steven Brace (Creighton University) and Ron Culp (Miami Heat)

1996 USA results
 beat , 96–68
 beat , 87–54
 beat , 104–82
 beat , 133–70
 beat , 102–71
 beat , 98–75 (quarterfinals)
 beat , 101–73 (semifinals)
 beat  FR Yugoslavia, 95–69 (gold-medal game)

1996 Olympic standings

1.  (8–0)
2.  FR Yugoslavia (7–1)
3.  (5–3)
4.  (5–3)
5.  (5–3)
6.  (3–5)
7.  (4–4)
8.  (2–6)
9.  (3–4)
10.  (2–5)
11.  (1–6)
12.  (0–7)

References

External links
 USA Basketball, official site

United States at the Olympic men's basketball tournament
United States
Olympics

redpajama_set_name: RedPajamaWikipedia


Multi-instrumentalist performer/composer Joshua Geisler recently returned to NYC after 6 years of touring with Cirque du Soleil's "TOTEM" with a fresh approach to his music. Combining his signature bansuri flute with compositions for guitar, didgeridoo, looping, field recordings, and electronics, Geisler's music ranges from ambient Indian Classical bansuri meditation to downtempo world-infused grooves. His music tells stories and will guide us to refine our inner gaze as we expand our awareness. This class will be full of grounding stability, expansive flight, and loving breath.


Shimmer all evening long in this silver spangle cold shoulder top, team with black trousers and heels for evening chic. Designed with three quarter length sleeves and eyelet detailing to the neckline. Back length 65cms.
This top will help me to feel special this Christmas after the passing of my husband.


ScummVM provides a way to play many classic graphical point-and-click adventure games - such as SCUMM games (like Monkey Island and Day of the Tentacle), Revolution's Beneath A Steel Sky, and many more. NO GAME DATA FILES ARE INCLUDED; you must supply your own.
You can find a quick-start guide on our website at wiki.scummvm.org/index.php/Android/Guide which provides some more information, explains how to configure some Android-specific options, and where you can find other help.
forums.scummvm.org/viewforum.php?f=17 is our web forum where you can discuss the Android version.


Myanmar citizens get free visas to India Prime Minister Narendra Modi today said that India will provide free visas to Myanmar's citizens wishing to be there. Mr Modi made this statement during his meeting with State Councillor Aung San Suu Kyi after the two heads had conducted extensive discussions here. "I am happy to announce that we have agreed to provide a free (free) visa to all Myanmar citizens wishing to travel to India," Modi said.
Mr. Bangemann also said that India has agreed to free 40 Myanmar citizens who are currently held in various prisons in India. "We are hoping that they will soon be able to see their family in Myanmar," said the PM. Modus also claimed that India to Myanmar is in the midst of the challenge before it.
"I am optimistic that we will work together in the near term to build a powerful and mutually beneficial partnership," Modi said. As a neighbor and within the framework of the Act East Policy, he said strengthening relations with Myanmar was a top-riority.
for Myanmar and Indonesia. Nine other nationalities - Japan, Singapore, Finland, Luxembourg, New Zealand, Cambodia, Laos, Vietnam and the Philippines - are already using this opportunity in India. "TVOA is valid for a max. of 30 day one-time travel through Immigration Officers in Delhi, Mumbai, Chennai and Kolkata Airports for a charge of US $ 60 or a corresponding amount in Indian rupiah per person (including children).
The TVOA is permitted a limited number of visits twice a year for a foreign national with a break of at least two month between each one. The CDU/CSU Interior Minister said that TVOA should not be renewable or inconvertible. However, foreign nationals can also use TVOA for up to 30 working hours for health care, for occasional businesses or to meet a friend or relative.
TVOA does not apply to diplomatic passport holder. TVOA is also not available for foreign citizens who have their domicile or profession in India. These people can enter India on a regular visa. "The TVOA programme was first launched on 1 January 2010 for citizens of five different nations - Japan, Singapore, Finland, Luxembourg and New Zealand - to encourage tourist activities.
This system was considered useful by the foreigners. Until December last year, 6569 citizens used the establishment of TVOA. On 1 January this year, the programme was renewed by the authorities for citizens of four other African and Caribbean Republics - Cambodia, Laos, Vietnam and the Philippines.


text:
does super 8 movie have a narrator
Home Uncategorized	does super 8 movie have a narrator
[21] He then named it one of the Top 10 Best Movies of 2011. In the adult cast, Kyle Chandler and Ron Eldard deserve an especially positive mention, the latter giving life to a character that is rather unfriendly to the audience.Technically, the film invests a lot in the environment, in creating tension. Probably audio description. Check the audio/subtitle options, if it is AD, there'll be a standard English audio there too. It's like narration for if a blind person were watching. This happened to me! Steven Spielberg (producer) and J.J. Abrams (director), each had as his first camera the Super 8 kind. I can't get it turned off. Woodward was one of the scientists experimenting on the alien. Just happened to me too, defaulted to audio descriptions this thread was the only thing that came up when I googled. I don't remember there being a voice-over of every little thing that happens on the screen. The film was shot in Weirton, West Virginia and surrounding areas, masquerading as the fictional town of Lillian, Ohio. [8] To promote the film, Valve created a short video game segment and released it alongside the Windows and Mac versions of Portal 2. With its night skies filled with mystery, its kids racing around town on bicycles and its flashlights forming visible beams in the air, "Super 8" has the visual signatures of an early Spielberg movie. Looking for some great streaming picks? Thanks for helping bc you're the only thing Google had as a fix. LOL That's so frustrating! As Joe and Alice reunite with their fathers, along with Cary, they and the military all watch as various metal objects from all over the town are pulled up to the top of the water tower by an unknown force. He conducted a national talent search in order to find the child actors to play each of the leading roles. Lol. For example, writing for MUBI's Notebook, Fernando F. Croce alleged that "no film this year opens more promisingly and ends more dismally than J.J. Abrams' Super 8. He found out about the train, years later, and wanted to help the alien. The children flee the scene when a convoy from the local Air Force base, led by Col. Nelec, arrives at the scene. "[20] Richard Corliss of Time gave it a similarly positive review, calling it "the year's most thrilling, feeling mainstream movie". Is "Super 8" connected to other J.J. Abrams projects. Eventually the kids regroup and wander amid the wreckage, finding crates full of strange white cubes, then discover the truck's driver to be Dr. Woodward, their biology teacher. First time watching. Joe, Charles, Martin, and Cary convince Jen, Charles' older sister, to pretend to hit on Donny, a worker from the town camera store, so he can get them into town to rescue Alice. I just had to solve the mystery. Honestly, I think it's more interesting than most big-budget sci-fi films, which are basically shot on the green screen. UPDATE: I was able to fix it by going to Audio and turning CC on and back off. This film is an interesting mystery sci-fi that revolves around a small group of teenagers with a passion for cinema. About to turn the damned movie off because of it. Press question mark to learn the rest of the keyboard shortcuts. Roger Ebert gave the film 3½ stars out of 4 and said, "Super 8 is a wonderful film, nostalgia not for a time but for a style of film-making, when shell-shocked young audiences were told a story and not pounded over the head with aggressive action. I don't remember there being a voice-over of every little thing that happens on the screen. Fighting superior technology, mankind's best weapon is the will to survive. Was this review helpful to you? After getting in a car accident, a woman is held in a shelter with two men, who claim the outside world is affected by a widespread chemical attack. Its earnest young heroes stumble upon an awesome mystery and try to investigate it themselves. And nothing else I play on Prime has it. So just watching on my laptop (no narration now) and hooked it to HDMI on TV. [14] The release was produced as a combo pack with a Digital Copy, including nine bonus features and fourteen deleted scenes. Now, with the blessing of the master, he can plagiarize with alacrity."[26]. Courtney (who was hoping to land a part in a commercial) was picked out of many boys because Abrams found something "different" in him. Another viral website, www.rocketpoppeteers.com, was also found, which like Slusho from Cloverfield plays no direct part in the film but is indirectly related. (2011). [22] Jamie Graham of Total Film gave the film a perfect five-star rating, saying, "like Spielberg, Abrams has an eye for awe, his deft orchestration of indelible images – a tank trundling through a children's playground, a plot-pivotal landmark framed in the distance through a small hole in a bedroom wall – marking him as a born storyteller". [5] Primary photography began in fall (September/October) 2010. All music is composed by Michael Giacchino (although track 33, "The Case", is credited on the liner notes to the film character Charles Kaznyk). IMDb 25: Top 25 Stars of the Last 25 Years. Like Cloverfield, an earlier J. J. Abrams-produced film, Super 8 was promoted through an extensive viral marketing campaign. The film received several awards and nominations, primarily in technical and special effects categories, Giacchino's musical score, as well as for Courtney and Fanning's performances. At the base, Alice's father tells Joe the creature has abducted her. How do you watch most of the movies you see? Of course Columbia Films were the most notorious for truly awful (and at times humorous) add-on. [18], Chris Sosa of Gather gave the film an A rating, calling it, "a gripping and exciting tale of finding one's place in the world amidst tragedy". Shortly after, unusual disappearances and inexplicable events begin to take place in town, and the local Deputy tries to uncover the truth - something more terrifying than any of them could have imagined. Super 8 is a 2011 American science fiction monster thriller film written and directed by J. J. Abrams and produced by Steven Spielberg. Four months after Elizabeth's funeral, as school lets out for the summer, Joe helps his best friend Charles Kaznyk to make a low-budget zombie movie for a film competition. Written by The film stars Joel Courtney, Elle Fanning, and Kyle Chandler and tells the story of a group of young teenagers who are filming their own Super 8 movie when a train derails, releasing a dangerous presence into their town. A family living on a farm finds mysterious crop circles in their fields which suggests something more frightening to come. Super 8 was released on June 10, 2011,[2] in conventional and IMAX theaters in the United States. The alien grabs Joe, who quietly speaks to it, telling the alien "bad things happen" but that it "can still live". Abrams combined the ideas, worried that the former would not attract enough attendance. It won the 2012 Saturn Award for Best Music. It's not very good anyway. Use the HTML below. 23 hours later it feels nice reading that I'm not alone taking the exact path you did. The trailer gave the premise of a section of Area 51 being closed down in 1979 and its contents being transported by freight train to Ohio. I don't think sentimentality is bad, I think that in the right measure it brings depth to the film.Elle Fanning and Joel Courtney are the main actors in the film, which gives a lot of scope for young actors to show what they are worth, and these two young actors have definitely done a good job here. Abrams and Spielberg collaborated in a storytelling committee to come up with the story for the film. It is immediately clear that the accident is very unusual, and that the military's interest in what happened is far from normal. Super 8 was actually the combination of two ideas; one for a film about kids making their own movie during the 1970s, and another for a blockbuster alien invasion film. Found it on Amazon Prime. Joe finds himself near one of the cars, the loading door of which is violently thrown off by an unseen force. Shortly after, unusual disappearances and inexplicable events begin to take place in town, and the local Deputy tries to uncover the truth - something more terrifying than any of them could have imagined. View production, box office, & company info. After a moment, he lets it go, completing the ship. Woodward, barely alive, warns them at gunpoint to forget what they have seen, or they and their families will be killed. During the summer of 1979, a group of friends witness a train crash and investigate subsequent unexplained events in their small town. On the film-critics aggregator Rotten Tomatoes, the film received a score of 81%, based on 287 reviews, and a rating average of 7.33/10, with the consensus that: "it may evoke memories of classic summer blockbusters a little too eagerly for some, but Super 8 has thrills, visual dazzle, and emotional depth to spare. You're not crazy! The film strives to portray teenagers, the way they relate and even the family environment and the relationships between families, which are important for a very small community like this small town. For sequences involving CGI, cinematographer Larry Fong used Super-16 instead.[10]. J.J. Abrams had the idea to start a film by showing a factory's "Accident-Free" sign long before he came up with the rest of the ideas for the film. Super 8 Check out some of the IMDb editors' favorites movies and shows to round out your Watchlist. Is anyone else having this problem? "[25] David Edelstein, of New York magazine, called it a "flagrant crib," adding that "Abrams has probably been fighting not to reproduce Spielberg's signature moves since the day he picked up a camera. The first trailer for the movie was attached to Iron Man 2, released in May 2010. The film was released on June 9, 2011, in Australia; June 10, 2011, in the United States; and August 5, 2011, in the United Kingdom. Charles enlists the further help of fellow friends Preston Scott, Martin Read, and Cary McCarthy, as well as Dainard's daughter, Alice. Overhearing military communications, Jack approaches Nelec to figure out what he is up to amidst the panic, and if he has some part in it, but Nelec has him arrested. I've often wondered if the purpose for this was to help the story along,our there were legal reasons dictated by the studios. The film was released on Blu-ray and DVD on November 22, 2011. Happening to me too. As the ship rockets into space, Joe takes Alice's hand. It was commercially released on June 10, 2011. The teaser itself was filmed separately in April. I don't care so much about watching the movie. It's like narration for if a blind person were watching. In town, the military attempts to kill the alien but their hardware goes haywire in its presence, resulting in significant collateral damage. Very generic and forgettable. Though their fathers would be furious, Joe and Alice become close to each other. The brash James T. Kirk tries to live up to his father's legacy with Mr. Spock keeping him in check as a vengeful Romulan from the future creates black holes to destroy the Federation one planet at a time. Which film with a number digit in the title do you like best? Set in the late Seventies, a remarkable decade for sci-fi thanks to the fascination of aliens and technology in general, it is a film of familiar contours where mystery is well used.The film is skillfully directed by J.J.Abrams, and presents a good story, with young teens taking the lead.
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does super 8 movie have a narrator was last modified: November 3rd, 2020 by


"Unfortunately, the majority of departments are highly disorganized with a great deal of turnover, so it's hard to move projects forward or make a case to take on new responsibility. You're always trying to prove yourself to new leadership. "
One thing Loyola University Chicago can improve?
Would you recommend Loyola University Chicago to other women?
"This is a huge university system, and as such, experiences will vary depending on the division and department you're in. I will say that the university does adhere strongly to its Jesuit mission, which can be good and bad (very social justice oriented, but also a lack of birth control options other than those federally mandated, etc). In my division, men seem to advance more quickly despite women making up the majority of the division."


Click on each picture to enlarge. These photos are of Richard & Fran Boultbee's past work, and are for reference only. I will replace them as images of my work become available.
Prices depend on size and number of letters and / or size of slate name plaque required.
Lettering in 23 carrat Gold leaf compared to paint finishes are also different in price. Shaping the slate takes time, so the simplest option of a straight rectangle will be cheaper than a chipped oval, for example.
We like to work closely with our clients- each piece is a personal item - so we don't have standardised order forms..


text:
/*
 * This file is part of Nucleus, licensed under the MIT License (MIT). See the LICENSE.txt file
 * at the root of this project for more details.
 */
package io.github.nucleuspowered.nucleus.modules.nickname.commands;

import com.google.common.collect.Maps;
import io.github.nucleuspowered.nucleus.NameUtil;
import io.github.nucleuspowered.nucleus.Nucleus;
import io.github.nucleuspowered.nucleus.api.exceptions.NicknameException;
import io.github.nucleuspowered.nucleus.internal.annotations.command.Permissions;
import io.github.nucleuspowered.nucleus.internal.annotations.command.RegisterCommand;
import io.github.nucleuspowered.nucleus.internal.command.AbstractCommand;
import io.github.nucleuspowered.nucleus.internal.command.ReturnMessageException;
import io.github.nucleuspowered.nucleus.internal.docgen.annotations.EssentialsEquivalent;
import io.github.nucleuspowered.nucleus.internal.messages.MessageProvider;
import io.github.nucleuspowered.nucleus.internal.permissions.PermissionInformation;
import io.github.nucleuspowered.nucleus.internal.permissions.SuggestedLevel;
import io.github.nucleuspowered.nucleus.modules.nickname.services.NicknameService;
import org.spongepowered.api.command.CommandResult;
import org.spongepowered.api.command.CommandSource;
import org.spongepowered.api.command.args.CommandContext;
import org.spongepowered.api.command.args.CommandElement;
import org.spongepowered.api.command.args.GenericArguments;
import org.spongepowered.api.entity.living.player.User;
import org.spongepowered.api.event.cause.Cause;
import org.spongepowered.api.text.Text;
import org.spongepowered.api.text.format.TextColors;
import org.spongepowered.api.text.serializer.TextSerializers;
import org.spongepowered.api.util.annotation.NonnullByDefault;

import java.util.HashMap;
import java.util.Map;
import java.util.stream.Collectors;

@NonnullByDefault
@RegisterCommand({"nick", "nickname"})
@Permissions
@EssentialsEquivalent(value = {"nick", "nickname"}, isExact = false,
        notes = "To remove a nickname, use '/delnick'")
public class NicknameCommand extends AbstractCommand<CommandSource> {

    private final NicknameService nicknameService = getServiceUnchecked(NicknameService.class);

    private final String playerKey = "subject";
    private final String nickName = "nickname";

    // Order is important here! TODO: Need to de-dup
    private final Map<String, String> permissionToDesc = Maps.newHashMap();

    @Override protected void afterPostInit() {
        super.afterPostInit();

        MessageProvider mp = Nucleus.getNucleus().getMessageProvider();

        String colPerm = this.permissions.getPermissionWithSuffix("colour.");
        String colPerm2 = this.permissions.getPermissionWithSuffix("color.");

        NameUtil.getColours().forEach((key, value) -> {
            this.permissionToDesc.put(colPerm + value.getName(),
                    mp.getMessageWithFormat("permission.nick.colourspec", value.getName().toLowerCase(), key.toString()));
            this.permissionToDesc
                    .put(colPerm2 + value.getName(), mp.getMessageWithFormat("permission.nick.colorspec", value.getName().toLowerCase(), key.toString()));
        });

        String stylePerm = this.permissions.getPermissionWithSuffix("style.");
        NameUtil.getStyleKeys().entrySet().stream().filter(x -> x.getKey() != 'k').forEach((k) -> this.permissionToDesc.put(stylePerm + k.getValue().toLowerCase(),
            mp.getMessageWithFormat("permission.nick.stylespec", k.getValue().toLowerCase(), k.getKey().toString())));
    }

    @Override
    protected Map<String, PermissionInformation> permissionSuffixesToRegister() {
        Map<String, PermissionInformation> m = new HashMap<>();
        m.put("others", PermissionInformation.getWithTranslation("permission.nick.others", SuggestedLevel.ADMIN));
        m.put("colour", PermissionInformation.getWithTranslation("permission.nick.colour", SuggestedLevel.ADMIN, true, false));
        m.put("color", PermissionInformation.getWithTranslation("permission.nick.color", SuggestedLevel.ADMIN));
        m.put("color.<color>", PermissionInformation.getWithTranslation("permission.nick.colorsingle", SuggestedLevel.ADMIN, false, true));
        m.put("style", PermissionInformation.getWithTranslation("permission.nick.style", SuggestedLevel.ADMIN));
        m.put("style.<style>", PermissionInformation.getWithTranslation("permission.nick.stylesingle", SuggestedLevel.ADMIN, false, true));
        m.put("magic", PermissionInformation.getWithTranslation("permission.nick.magic", SuggestedLevel.ADMIN));
        return m;
    }

    @Override
    protected Map<String, PermissionInformation> permissionsToRegister() {
        return this.permissionToDesc.entrySet().stream().collect(Collectors.toMap(
            Map.Entry::getKey, v -> new PermissionInformation(v.getValue(), SuggestedLevel.ADMIN, true, false)));
    }

    @Override
    public CommandElement[] getArguments() {
        return new CommandElement[] {
                GenericArguments.optionalWeak(requirePermissionArg(
                        GenericArguments.onlyOne(GenericArguments.user(Text.of(this.playerKey))), this.permissions.getPermissionWithSuffix("others"))),
                GenericArguments.onlyOne(GenericArguments.string(Text.of(this.nickName)))};
    }

    @Override
    public CommandResult executeCommand(CommandSource src, CommandContext args, Cause cause) throws Exception {
        User pl = this.getUserFromArgs(User.class, src, this.playerKey, args);
        Text name = args.<String>getOne(this.nickName).map(TextSerializers.FORMATTING_CODE::deserialize).get();

        try {
            this.nicknameService.setNick(pl, src, name, false);
        } catch (NicknameException e) {
            throw new ReturnMessageException(e.getTextMessage());
        }

        if (!src.equals(pl)) {
            src.sendMessage(Text.builder().append(
                    Nucleus.getNucleus().getMessageProvider().getTextMessageWithFormat("command.nick.success.other", pl.getName()))
                    .append(Text.of(" - ", TextColors.RESET, name)).build());
        }

        return CommandResult.success();
    }

}

redpajama_set_name: RedPajamaGithub


Sign up to be a part of our resident artist's public workshop! Red Rock Canyon's resident artists will share their passion for art and the outdoor environment. New skills can be learned as resident artist, Morgan, will lead a hike on the Willow Springs Loop and a participatory art experience where participants can learn to sketch basic shapes of Red Rock Canyon and then learn to stitch with needle and thread on the transferred sketch! Participants must be willing to work with needle and thread. Materials will be provided; however, participants are encouraged to bring their personal sewing supplies if desired. Ages 7+. Registration is required/spaced limited. Call 702-515-5367 to reserve your spot!


text:
Q: Background won't cover whole page     ScrollView {
        ZStack{
            NavigationView(){
                List {...}
                .toolbar {...}                    }
                .sheet(isPresented: $showingProfile) {...}
                .sheet(isPresented: $showingVoortgang) {...}
            }
        }
    }
    .background(Image("Background3")
        .resizable()
        .ignoresSafeArea()
        .opacity(1))

// I have a NavigationView in a Stack in a ScrollView. I made the background of the scrollView my picture but it wouldn't render the whole page, only the background of the back page and not the NavigationView

A: If I understand correctly, your issue is that content inside NavigationView does not have the background image you applied to scroll view.
One way to do this is to use blendMode() on NavigationView, try it with .darken, .overlay, .plusDarker or other modes to see which one you like better.
Example in your code:
ScrollView {
    ZStack{
        NavigationView(){
            List {...}
            .toolbar {...}                    }
            .sheet(isPresented: $showingProfile) {...}
            .sheet(isPresented: $showingVoortgang) {...}
        }
        .blendMode(.plusDarker) // <--
    }
}
.background(Image("Background3")
    .resizable()
    .ignoresSafeArea()
    .opacity(1))

A: Try this:
 ScrollView {
    ZStack{
        NavigationView(){
            List {...}
            .toolbar {...}                    }
            .sheet(isPresented: $showingProfile) {...}
            .sheet(isPresented: $showingVoortgang) {...}
        }
    }
    .background(Image("Background3")
    .resizable()
    .edgesIgnoringSafeArea(.all)
}

redpajama_set_name: RedPajamaStackExchange


text:
86.1630. Tax-exempt status of plan to be maintained — assets of system to be held in trust — member benefits vested, when — distribution of benefits. — 1. A retirement plan under sections 86.1310 to 86.1640 is a qualified plan under the provisions of applicable federal law. The benefits and conditions of a retirement plan under sections 86.1310 to 86.1640 shall always be adjusted to ensure that the tax-exempt status is maintained.
2. The retirement board shall administer this retirement system in such manner as to retain at all times qualified status under Section 401(a) of the Internal Revenue Code.
3. The retirement board shall hold in trust the assets of the retirement system for the exclusive benefit of the members and their beneficiaries and for defraying reasonable administrative expenses of the system. No part of such assets shall, at any time prior to the satisfaction of all liabilities with respect to members and their beneficiaries, be used for or diverted to any purpose other than such exclusive benefit or to any purpose inconsistent with sections 86.1310 to 86.1640.
4. A member's benefit shall be one hundred percent vested and nonforfeitable upon the member's attainment of normal retirement age, which shall be the earlier of:
(1) The attaining of the age of sixty-five or the member's tenth anniversary of employment, whichever is later for any Tier I member, or the attaining of the age of sixty-seven or the member's twentieth anniversary of employment, whichever is later for any Tier II member;
(2) For any Tier I member when the total sum of age and years of creditable service equals or exceeds eighty, or for any Tier II member when the total sum of age and years of creditable service equals or exceeds eighty-five; or
(3) To the extent funded, upon the termination of the system established under sections 86.1310 to 86.1640 or any partial termination which affects the member or any complete discontinuance of contributions by the city to the system.
Amounts representing forfeited nonvested benefits of terminated members shall not be used to increase benefits payable from the system but may be used to reduce contributions for future plan years.
5. Distribution of benefits shall begin not later than April first of the year following the later of the calendar year during which the member becomes seventy and one-half years of age or the calendar year in which the member retires, and shall otherwise conform to Section 401(a)(9) of the Internal Revenue Code.
6. A member or beneficiary of a member shall not accrue a service retirement annuity, disability retirement annuity, death benefit, whether death occurs in the line of duty or otherwise, or any other benefit under sections 86.1310 to 86.1640 in excess of the benefit limits applicable to the fund under Section 415 of the Internal Revenue Code. The retirement board shall reduce the amount of any benefit that exceeds the limits of this section by the amount of the excess. If the total benefits under the retirement system and the benefits and contributions to which any member is entitled under any other qualified plan or plans maintained by the board of police commissioners that employs the member would otherwise exceed the applicable limits under Section 415 of the Internal Revenue Code, the benefits the member would otherwise receive from the retirement system are reduced to the extent necessary to enable the benefits to comply with Section 415 of the Internal Revenue Code.
7. The total salary taken into account for any purpose for any member of the retirement system shall not exceed two hundred thousand dollars per year, subject to periodic adjustments in accordance with guidelines provided by the United States Secretary of the Treasury and may not exceed such other limits as may be applicable at any given time under Section 401(a)(17) of the Internal Revenue Code.
8. If the amount of any benefit is determined on the basis of actuarial assumptions that are not specifically set forth for that purpose in sections 86.1310 to 86.1640, the actuarial assumptions to be used are those earnings and mortality assumptions used on the date of the determination by the retirement system's actuary and approved by the retirement board. The actuarial assumptions used at any particular time shall be attached as an addendum to a copy of the retirement system's statute maintained by the retirement board and shall be treated for all purposes as part of sections 86.1310 to 86.1640. The actuarial assumptions may be changed by the retirement system's actuary annually if approved by the retirement board, but a change in actuarial assumptions shall not result in any decrease in benefits accrued as of the effective date of the change.
9. Any member or beneficiary who is entitled to receive any distribution that is an eligible rollover distribution, as defined by Section 402(c)(4) of the Internal Revenue Code, is entitled to have that distribution transferred directly to another eligible retirement plan of the member's or beneficiary's choice upon providing direction to the secretary of the retirement system regarding the transfer in accordance with procedures established by the retirement board. Effective for distributions made on or after January 1, 2010, a nonspouse beneficiary may elect to directly roll over an eligible rollover distribution to an individual retirement account under Section 408(a) of the Internal Revenue Code of 1986, as amended; to an individual retirement annuity under Section 408(b) of the Internal Revenue Code of 1986, as amended; or if the participant satisfies the requirements for making a Roth contribution under Section 408(A)(c)(3)(B) of the Internal Revenue Code of 1986, as amended, to a Roth individual retirement account.
10. For all distributions made after December 31, 2001:
(1) For the purposes of subsection 9 of this section, an eligible retirement plan shall also mean an annuity described in Section 403(b) of the Internal Revenue Code and an eligible plan under Section 457(b) of the Internal Revenue Code that is maintained by a state, political subdivision of a state, or any agency or instrumentality of a state or political subdivision of a state and which agrees to separately account for amounts transferred into such plan from the retirement system. The definition for eligible retirement plan shall also apply in the case of a distribution to a surviving spouse or to a spouse or former spouse who is the alternate payee under a qualified domestic relations order, as defined in Section 414(p) of the Internal Revenue Code; and
(2) For the purposes of subsection 9 of this section, a portion of a distribution shall not fail to be an eligible rollover distribution merely because the portion consists of after-tax employee contributions which are not includable in gross income. However, such portion may be paid only to an individual retirement account or annuity described in Section 408(a) or 408(b) of the Internal Revenue Code, or to a qualified defined contribution plan described in Section 401(a) or 403(a) of the Internal Revenue Code that agrees to separately account for amounts so transferred, including separately accounting for the portion of such distribution that is includable in gross income and the portion of such distribution that is not so includable.
(L. 2005 H.B. 323, A.L. 2013 H.B. 116 merged with H.B. 418, A.L. 2015 H.B. 515)
86.1630 8/28/2015
86.1630 8/28/2013 8/28/2015


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text:
Childhood Poverty, Parental Abuse Cost Adults Their Health for Years to Come
Growing up in poverty or being abused by parents can lead to accumulated health problems later in life, according to research from Purdue University.
"Childhood disadvantage has long-term health consequences—much longer than most of us realize," said Kenneth F. Ferraro, distinguished professor of sociology. "A novel aspect of this study is that childhood disadvantage was linked to the onset of new health problems decades later."
Keep Your Enemies Close? Study Finds Greater Proximity to Opponents Leads to More Polarization
Encouraging adversaries to have more interpersonal contact to find common ground may work on occasion, but not necessarily in the U.S. Senate, according to new research.
Many Religious People View Science Favorably, But Reject Certain Scientific Theories
A new study finds that many U.S. adults — roughly one in five — are deeply religious, know a lot about science, and support many practical uses of science and technology in everyday life, but reject scientific explanations of creation and evolution.
People in Their 60s Uniquely Benefit From Giving Advice Despite Fewer Chances to Offer it
A new study reveals that individuals in their 60s who give advice to a broad range of people tend to see their lives as especially meaningful. At the same time, this happens to be the age when opportunities for dispensing advice become increasingly scarce.
Timing of First Childbirth Influences Women's Health at Age 40
A new study finds some surprising ways in which women's health at midlife is connected to when they had their first child and to their marital history. Researchers found that women who had their first child in their early 20s didn't report better health at midlife than those who had their first baby as a teen.
Getting the Most Out of the U.S. Healthcare System
Kids with life-threatening illnesses need cutting-edge technology and medical expertise, but families face uneven access and paths to such care.
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How do I get into my major?
There are two ways to get into a major, either through Certification to a Major or Admission by Application.
Students with majors in the College of Arts and Sciences (except Contemporary Dance), School of Informatics (except Intelligent Systems Engineering), School of Education, and most School of Public Health programs are transferred from University Division through a process called "Certification". That is, they are admitted into their majors automatically, three times a year, when minimum requirements are met. Click Entering a School below to see the eligibility requirement information for your intended school.
Students with majors that require an application must meet all of the eligibility requirements, complete, and then submit an application by the deadline. Being eligible to apply to a program is not the same thing as being admitted. Click Entering a School below to see the eligibility requirement information for your intended school.


text:
XP Profiles
Take charge and gracefully interrupt: Media trainer Tim Braun's guide to moderating
By Samantha Stallard | July 8, 2022
Over the last month, media trainer Tim Braun has taught us the skills needed to speak at IRL events and how to master the art of the virtual panel. But moderators just might have the most difficult public speaking gigs of all. Whether presiding over a panel or a fireside chat, a moderator must act as a neutral leader in the discussion, holding participants to time limits and keeping them from straying off the topic. AKA, herding cats.
For more than twenty years, Braun has given speakers the tools to express themselves with clarity and confidence. As a seasoned journalist with an impressive background in live television production — and all of the split-second decisions that come with it — he knows how to drill down and find the "good parts" of any story.
I caught up with Braun to learn how to balance information with performance, where to present the most interesting information and why compelling stories matter more than equal attention.
Samantha Stallard: Some people may think that public speaking skills translate to moderating, but in my experience it's a whole different ball game. What skills does it take to become a successful moderator?
Tim Braun: One of the first things we talk about when we do these moderating sessions is taking charge. You are the person driving the train, and you shouldn't be afraid to wield your power to get that train in on time. Pay attention to the time, and gracefully interrupt anyone speaking too long. It's very, very important that you take charge.
The moderator's role — aside from taking charge — is to bring energy to the panel, because you're the one who sets the tone onstage. Usually it requires a bigger energy than you're used to. Dial it up, for both the audience and the panelists. It's funny; sometimes smart people have a problem with this. They think information should rule the day, and they don't want to perform. But you can and should do both when you're a moderator.
Keep the conversation clear and simple, but simple does not mean dumbed down. It means conversational and straightforward, avoiding jargon and stop words. I often share the Mark Twain quote, "I would've written a shorter letter if only I'd had more time." The panel is not about the moderator, so leave your ego at the door. You're not there to talk about yourself — you're there to help other people speak well.
SS: How should moderators prepare for a panel?
TB: We go through a whole section on panel prep. First, know your headline. Before the panel, make sure you are crystal clear on the topic, because if you aren't, your audience won't be either. If you can, contact your panelists in advance for a 20-minute prep call. Discuss what the single most important idea or question they all want to get across is. I shouldn't have to watch the whole panel to know the main takeaways. State that big headline in your opening remarks.
Then, craft a really powerful opening. The most important real estate is your opening and closing remarks. Many people zone out in the middle, and we don't want them to miss the good stuff. Start with a compelling statistic, if you have one, to grab attention. Take the audience on a journey with your language, or use humor if it comes naturally to you.
Keep introductions short, and do not allow panelists to introduce themselves. That is panel suicide. You do it, and you do it quickly. You also have to vary the pace of your questions to add energy and vibrancy to the panel. Some of them can be rapid fire — or ask for a show of hands from the audience — while others elicit longer stories. Uniformity is boring. Question, answer. Question, answer. It's the easiest way to put your audience to sleep.
It seems obvious, but arrive early to see how it feels to be up on that stage and where you'll be sitting. Sometimes moderators think they need to include everyone. Don't feel that way, and don't ever ask more than two people the same question. By the time you get to three and four, they're essentially reiterating what the others have said.
Also, don't be afraid to go deep. If someone starts a line of discussion that's really interesting, go with it. Don't worry about the other panelists — stick with what's exciting. Then, finally, if you run an audience Q&A at the end, set clear objectives. You have to be careful, because otherwise it'll turn into 15 minutes of people plugging their podcasts. So, again, it's that idea that you are in charge and you cut people off.
SS: How should moderators end a panel?
TB: The close is so important. Don't just say, "Thank you so much for coming…" and fade off. Have a closing statement prepared, but be ready to throw it out if something better emerges during the discussion. That's a really important part of being a great moderator; don't have 20 questions in front of you that you go through one by one. Listen really closely to the conversation — and, in some cases, reiterate what they said. "That was really interesting. Let's talk more about that…"
SS: It's so clear to me when a moderator is not listening, because they'll say, "Great, next question." As an audience member, I'm thinking, "Well, if you don't care, why should I care?"
TB: I would agree with you. Again, because the moderator drives everything. So, if you're inexperienced, it can be mentally taxing. Many new moderators are too attached to their questions and their order, or they get nervous onstage. Remember, it's not about you. You're there to facilitate. The audience isn't focused on you. They just want you to lead them on the journey.
(Part One) Mastering the art of virtual panels: Q&A with media trainer Tim Braun
When I met Tim Braun over Zoom on a sunny Friday morning, it felt more like we were catching up over…
(Part Two) Public speaking is storytelling: Q&A with media trainer Tim Braun
Now that you've mastered the art of the virtual panel, someone is bound to ask you to speak at an …


text:
Last edited 03 Mar 2020
DuraKerb
July 29 marked Earth Overshoot Day in 2019, the calculated date when resource consumption for the year exceeded what the Earth can regenerate, replenish and renew in that year. To lessen the detrimental consequences of ecological overshoot, sustainability-focused companies are providing innovative solutions that support the drive towards a circular economy.
This date in 2019 was the earliest it has fallen since the world passed the critical threshold in the 1970s, with the UK's country-specific day in 2019 being May 17.
The construction industry is facing pressure for rapid change. The construction industry uses more than 400 million tonnes of material a year according to a report by the UK Green Building Council [1], much of which has a negative impact on the environment. Furthermore, The National Building Specification stated that of that 400 million, 15% goes straight into landfill simply through over ordering, misordering or breakages [2].
Cement is the most widely used man-made material after water, responsible for around 8% of the world's carbon dioxide emissions [3]. With cement a key ingredient in concrete used for traditional kerbing, some products such as Econpro DuraKerb are designed to help reduce levels of waste disposal, but also help reduce the output of cement and the carbon emissions linked to its production. Compared to its precast concrete counterpart, DuraKerb is claimed to have saved approximately 12,000,000 kgs of emitted carbon as well as removed 1,000 articulated vehicles in transport due to the lightweight nature of the product.
Phil Sutton, Managing Director at Econpro, commented: "We are building an overwhelmingly large ecological debt more rapidly than ever before, so there has never been a more crucial time to revolutionise the ways in which we create and consume. Solving the waste disposal problem through innovative recycling techniques that reduce carbon emissions is at the very core of what we do, and what makes us strive harder every day to develop functional products and preserve natural resources. No doubt there's a long way to go across the whole world, but Econpro is proud to be a company moving towards a circular economy and leading substantial change in the way we dispose, reuse and recycle."
Durakerb – part of the Econpro Group that transform waste and by-products into sustainable products and solutions – says that alternatives to traditional concrete road kerbs are essential for highway and construction companies looking to reduce the number of accidents at work.
Regular lifting and carrying of considerable loads are a common cause of musculoskeletal problems in construction workers; the HSE reported an average of 2,310 workers per 100,000 in the UK building industry suffering work-related musculoskeletal disorders between 2015 and 2018. Concrete blocks can be difficult to carry manually, so Durakerb has developed an alternative, composed of 88% recycled polymer, which is far lighter.
Each Durakerb unit is made from the equivalent of 182 recycled plastic bottles and weighs only 6kg. It can be cut with a hand saw and installed manually. In contrast, a traditional concrete kerb can be more than 90% heavier and well-maintained lifting equipment is necessary. Further supervision is also needed as power tools are required to cut the concrete to the correct size.
The installation of concrete kerbs, which usually require the use of heavy cutting tools, generates a high level of risk of airborne silica. The HSE's cancer burden study estimates that 600 people die a year from lung cancer associated with exposure to respirable crystalline silica (RCS), with 450 of these occurring from exposure in the construction sector. Recycled plastic kerbs, on the other hand, contains no carcinogenic RCS, meaning workers are safe from lung conditions.
Durakerb products can be manually installed in line with the HSE guidelines benefiting the workforce and project managers by reducing working time on live networks by up to 75%, as well as the number of injuries and lost working days.
Phil Sutton, Managing Director at Econpro, said: "The installation of Durakerb is safe and easy for workers as the product's lightweight nature and absence of carcinogenic silica mean installation is less risky than traditional concrete, preventing costly and dangerous accidents at work. Since its inception, Durakerb has long been recognised for its safety benefits having been awarded the Institution of Highways & Transportation Health & Safety at Work Award back in 2008."
To find out more about Durakerb go to: http://www.durakerb.co.uk/about-durakerb/
Biomaterial.
BREEAM.
BREEAM Responsible sourcing of materials.
Circular economy.
Carbon footprint.
Deleterious materials.
Embodied energy.
End of life potential.
Green Guide to Specification.
Kevin McCloud's 'Green Heroes' 2019
Life cycle assessment.
Material procurement.
Natural resource.
Recyclable construction materials.
[edit] External references
[1] https://www.ukgbc.org/wp-content/uploads/2018/03/UK-GBC-Leading-the-way.pdf
[2] https://www.thenbs.com/knowledge/construction-waste-and-sustainability
[3] https://reader.chathamhouse.org/making-concrete-change-innovation-low-carbon-cement-and-concrete#
http://www.hse.gov.uk/statistics/causdis/msd.pdf
http://www.hse.gov.uk/aboutus/occupational-disease/cancer/silica.htm
Retrieved from "https://www.designingbuildings.co.uk/wiki/DuraKerb"