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Adriano Aprà
A Concrete Warhol
19 gennaio 2016 / Adriano / No comments
Only after Andy Warhol's death in 1987 did it become truly possible to view his films. Before that, screenings were sporadic when not altogether clandestine, due to the difficulty of obtaining prints or because the circulation of his films, except in very select circuits, was forbidden. Nevertheless, this did not discourage a body of criticism from developing a discourse, even by those who did not have the privilege of actually attending the "premieres" of his films. At times, this criticism even had a founding role, with its conceptual approach which embraced the artistic "act" – the event – as a substitution for the concreteness of the work itself. In fact, this principle continues to be applied to some titles which have probably been lost to us forever, or are no longer available in their complete versions (the complete series of Kiss, the 6 hours of Sleep, or the 8 hours of Empire). There are also some films that can no longer be shown in their original contexts (The Velvet Underground and Nico, which were part of the show The Exploding Plastic Inevitable, the 25 hours of the various "episodes" of ****, or Four Stars, which were screened in superimposition). Yet today, the availability of some titles on film, and even more frequently in VHS and DVD too, makes it possible to correct that primitive critical approach in less abstract terms.
To begin with, the following are some details on the works proposed in this DVD (it should be remembered that all of the titles are "attributed", and in any case they are not mentioned on the prints).
Kiss (34′)
The series of "kisses", whose total number is unknown, was filmed in part in August, and then in November and December 1963, in black and white. The films were silent, and shot at a speed of 24 frames per second, with a 16mm Bolex equipped with standard 100-foot rolls (equivalent to 3′ at 24 fps). The "Kisses of Naomi Levine" were screened for the first time at the Gramercy Arts Theater of New York in September 1963 under the title Andy Warhol Serial. Individual "kisses" were screened as openers before a main film. Filmographies indicate a total running time of 50′ for the series.
The selection proposed in 1989 by the Estate and Foundation of Andy Warhol, and in this DVD, consists of 13 "kisses" with running times that range from 2'45″ to 2'55″, opening and end leaders included, except no. 1 (50″) and no. 2 (1 '50″), for a total running time of 34'12″. Details in the various filmographies make it possible to identify the actors (from left to right in the shot): no.1, Naomi Levine and a man with a moustache, glasses, tie and jacket; no. 2 (slightly out of focus at the beginning), N. L. and Gerard Malanga; no. 3 (slightly out of focus), a girl with blond hair and a man with black hair and dark jacket; no. 4 (on a couch), Fred Herko (the man with the light hair?) and John Dodd (the man with the black curly hair?); no. 5 (with standing subjects under a harsh frontal light), Baby Jane Holzer and a young man with light hair; no. 6 (standing), a youth with short dark hair and checked shirt (Mark Lancaster?) and G. M.; no. 7 (the same background as nos. 1 and 2), N. L. and a man with a moustache (different from the one in no. 1); no. 8 (a medium close up on a dappled couch), a man with black hair and a woman with long black hair, both dressed in black; no. 9, Rufus Collins and N. L.; no. 10, a man with dark hair and striped shirt and a boy with light hair; no. 11 (standing), a girl with long black hair (who is not the same as the girl in no. 8) and a man in a wide-striped shirt; no. 12 (standing), a youth with short dark hair and striped shirt, and a girl with long light hair; no. 13, N. L. and a man (who at least from the nose seems to be the same as no. 10). It is difficult to be more precise, even though the filmographies indicate another partner for Naomi Levine (Ed Sanders: the man in nos. 1, 7 or 13?), and two for Baby Jane Holzer (John Palmer, who therefore could be the man in no. 5, and Malanga, who however in this selection does not appear with her. Nor should the couple Palmer-Andrew Meyer appear either, though they too are indicated in the filmographies. Indeed, the young man in no. 5 does not seem to be one of the men in the unidentified male couple of no. 10). According to different sources, this film and the other Warhol silents were meant to be projected at 16 fps (sometimes at 18 fps to avoid the annoying flicker created by the slower speed) even though they were shot at 24 fps; however, this prescription has not always been respected. In the telecine of the four silents provided by the mentioned Estate (therefore the only "official" one, or at least the only "authorized" one) there was a cutting on the four sides of the original film frame, following a practice which is unfortunately quite widespread. What's more, the telecine was realised at the standard speed of 24 fps. In other words, while the result of the original projection was an evident, and unnatural, slow motion effect (both at 16 and 18 fps), with the Estate telecine all actions are brought back to the "natural" quality of the 24 fps shooting (25 on video). It must also be noted that in the different filmographies this slow motion effect in projection is never mentioned, and it is therefore difficult to state if the running time for Warhol's silent films, cited in our filmography, is related to a 16, 18, or 24 fps speed.
Most of the "kisses" were filmed in static shots (but at least in nos. 1 and 2 the camera was handheld), except for no. 4, which had a rapid zoom backwards, no. 6, where it seems there is a slight pan to the right (to bring Malanga back into the frame, since he risked going off screen), and no. 11, in which at a certain point the camera jerks slightly. The shots are generally close-ups; except in no. 4, in which the zoom ends up in an almost full shot of the two partners, no. 8, in a medium close up, and no. 13, in extreme close up.
Blow Job (26′)
This film was shot (with the same technical specifications as Kiss) in one day, during the winter of 1963-64, with an unknown actor. It was screened for the first time at the Washington Square Gallery of New York on 16 July 1964.
The version proposed in 1989 by the previously mentioned Estate and preserved by the Film Department of the Museum of Modern Art, has a running time of 26'06″ at 24 fps (beginning after the brief black leader following the added caption concerning the Museum, and up to the white leader at the end of the film). According to Roy Grundmann, the author of a painstaking and excellent book, Andy Warhol's "Blow Job", Temple University Press, Philadelphia, 2003, p. 191, that mentions Callie Angell, curator of the Andy Warhol Project of the Whitney Museum responsible for the cataloguing and restoration of Warhol's films, Blow Job runs 41′ at 16 fps (and 36′ at 18 fps).
The film consists of 9 "segments" of approximately 3′ each, including the beginning and end leaders. They were all filmed with the same type of frontal static shot and with the subject slightly off-centre to the left.
Empire (60′)
Filmed on the night of 25 June 1964 from the 44th (or 41th according to Mekas) floor of the Time-Life Building, with an Auricon 16mm sound camera (though the film was silent and at 24 fps). It was screened for the first time in its entire 8-hour-5-minute running time at the City Hall Cinema of New York, by the Filmmakers' Coop., on 6 March 1965.
The Auricon used was a film camera with non-standard rolls, modified thus for newsreels to enable the recording of sound directly on film (since the interruption caused by changing the standard roll would interfere in the shooting of exceptional documentary events). According to information on this type of camera, it was equipped with 400-foot rolls equivalent to 11′ at 24 fps, and was the same used in the first direct cinema films (for example Primary, 1959-60 directed by Richard Leacock, and others), or in The Brig (1965), directed by Jonas Mekas, who used three of these cameras to film the show of the Living Theatre continuously for 120′. News items concerning the filming of Empire (included in this book) referred to 1200-foot rolls, equivalent to almost 33′ at 24 fps.
The excerpt of 60'13″ proposed in this DVD would appear to be what was circulated, in the years after it was first presented, as "a taste" of the original, that cannot be shown anymore. It was taken from the middle of the film (not from the beginning, at sunset, when there was still some light and the Empire State Building appears partially veiled in fog). There are no beginning or end leaders and it does not show the splicing which should have existed between the two 33′ rolls (since the running time is 60′). Nevertheless, no source mentions filming was not absolutely continuous, since every 33′ the roll had to be changed, nor is there any mention of the possible presence of leaders between each roll, or even of splices. There is not even any mention of the many flares, veilings or other "disturbances" that interfere with the static image, in fact the film's most obvious characteristic.
Mario Banana (3'30″ + 3'30″)
This was shot as a silent film at 24 fps with the same Bolex used for Kiss and Blow Job. It was made in November 1964 in several versions, one (or more than one) which was in colour. It starred the famous underground transvestite Mario Montez (an admirer of the Mexican actress Maria Montez, which explains his stage name). It was screened for the first time (and was an award winner) at the Los Angeles Filmmakers' Festival in January 1965.
The DVD contains two versions which are very similar in action, though not identical. The first is in colour and the second in black and white (though the latter was probably the first produced). The running times of both films is 3'30″, beginning and end leaders included. Distribution and copyright credits were added at the beginning and the end of the film (The Museum of Modern Art Film Library, and 1996, The Andy Warhol Foundation for the Visual Arts, Inc.).
May Irwin Kiss
The following are comments on the films themselves, all of which belong to the "portrait" genre (including the "object portrait" genre, to which Empire belongs). Here, Warhol parodies the development of the silent movies (which explains his choice of a 16 fps projection speed). In Kiss he begins with one of the many "primitive" films of American cinema: the very popular May Irwin Kiss (also known as Kiss Scene or Kiss) which was filmed in mid-April 1896. It is claimed that the film was "produced" (today we would say "directed") by Norman Raff and Frank Gammon, and promoted by "The New York World" for the Edison Manufacturing Company. The cameraman was William Heise, and the main roles were portrayed by two famous stage actors, May Irwin and John C. Rice. At the time, this film, almost a unicum of very early cinema, must have seemed quite racy if not downright pornographic (which also explains its popularity). Yet Warhol's film too, though viewed by the more uninhibited early-60s audiences, must have had quite an effect on them as well, if not for the explicit nature of the kisses, at least for their unusual duration (3′ is a long time…), and above all because of a "black-with-white" kiss (no. 9) and of three "man-with-man" kisses (nos. 4, 6 and 10). In the succession of kisses, this series starts with two shorter kisses, almost as if to prepare viewers for the duration of the following ones, and ends with a kiss filmed much closer up than the others, as if to conclude with the "essence" of the kiss. Here "naturalistic" elements are rejected and full attention is focused to the nose-lips-chin profile highlighted by the intensely modulated chiaroscuro. As a whole, it is not the types of couples which make the 13 kisses different, as much as the types of kisses themselves. They range from the violent no. 4, to the extremely delicate nos. 8 and 11 (a continuous grazing of the lips rather than real kisses). Another characteristic is the type of pleasurable reaction shown by the partners. By far the most outstanding, and which gave rise to the entire series, were the kisses of Naomi Levine (nos. 1, 2, 7, 9, 13) that often express a highly moving sensuous tenderness. Thus the series is also a study of the subtle nuances of the human face (as was Blow Job almost to a scientific degree). No. 4 should be noted as the only episode that is "out of style", not only in that the partners are bare-chested, but above all because of a backward zoom that reveals without any doubt that the two kissers are both young men (something that was not completely clear when they were still seen in close up). This introduced an element of surprise which was completely new to Warhol's "observational" cinema. An important element common to all the episodes was the use of artificial light (presumably from one source only). This modulated the partners' faces with very fine nuances which were worthy of Warhol the painter. This element gave that tinge of abstraction to the entire series. Thus it became "beautiful" to see on its own, beyond any consideration of the self-reflexivity of the film itself (authorized firstly by the leaders in the film, with respective flares of light), which in this work is in fact quite marginal. In short, Kiss is above all a film "with a subject". It describes what we see, as well as the viewer's projection-identification relationship with what is seen. Moreover, it would be quite forced to introduce a discussion on the dialectics between artifice and naturalness. The partners almost give the impression they are kissing in absolute seriousness and that they are unaware of the camera.
The naturalism of shooting in close-up was already outdistanced in Blow Job, at least for its duration. The repetition, or the repetition compulsion of the action forces the viewer to concentrate on the details; the movements of the face, the modulations of light, the wall which serves as a background, and the "noise" elements. The latter range from those incorporated in the original (snows, flares of light in the leaders) to those which were due to wear and tear later on (stripes, missing frames). Therefore, we have all the time we need, if we are not frenetically conditioned by the title and therefore the "conclusion" of the "blow job", to pass from the concreteness of the premise to the abstraction of the result. In otherwords, to the substitution of the "dramatic" (or pornographic) concreteness with the "filmic" one, and to reflect as we go on the many faces of this extraordinary film. These various faces are not only those of the young man, even if the variations might seem minimal, but above all those which might come to mind from time to time, depending upon who is watching. These range from the mythology of the black leatherjacket (remember James Dean?), to the diabolical iconography (a face that seems like a skull when the young man looks down and his eye sockets become black and empty), and the mystic (the ecstasy when he lifts his head and the light hits his face from the left, making it appear almost transparent as white as it is). There is a dual off-screen presence: an explicit "who" (one or more people?) moving below – it seems indisputable, not only because of the context in which the film was made, but also because of the young man's movements, that it is a male – and the implicit (but not absent, even though the young man hardly ever looks into the camera) "who" that moves in front of him: in other words, the camera and the person behind it. Indeed, the two off-screen presences produce both torment and pleasure. They subject the young man to a subtle passage from stages of pleasure to stages of suffering, where there is only the slightest difference between self-identification and possible performance exhibition.
Empire may rightly be considered the apotheosis of Warhol's silent films, and the director's most clearly self-reflexive film. Indeed, even after only a few minutes, we are forced to relegate the "subject" to the background (including all of its symbolic associations – political and sexual – moreover accentuated today by the destruction of the Twin Towers. It is equally true that, in Blow Job, we cannot avoid thinking of the symbolic connotations derived from the tremendous media coverage of the Bill Clinton-Monica Lewinsky affair). What forces itself to the foreground is the film itself, its materiality: the grain (emphasized by the dominant black); the snow (that comes from the inevitable deposit of dust at the time of developing and printing); the frequent gauzes and flares of light (probably due to a purposely clumsy development of the original negative). In addition, here too there is all of the subsequent "noise" added over the years by the wear and tear of the film (slashes and stains). Finally, and most importantly in this case, the effects of viewing the film on video instead of seeing it projected on film. The framing is rigorously fixed and perfectly centred (except for a curious and very quick pan to the right at the very beginning. This, however, could have been caused by a framing adjustment during the telecine stage). What we see is the top of the Empire State Building, even if in fact only the lights of the top floors emerge out of the night, and the spire above them, despite a few illuminated dots below. One of these – on the left and slightly larger than the others, at times pulsating and disappearing – introduces (at least in this excerpt) the only "movement" that may be attributed to the so-called "pro-filmic". And yet, the film is alive with movement from the "filmic" point of view (if you would like to prove it to yourself, try watching it frame by frame). In this sense, Empire is the most concrete, the most material film that Warhol ever made. But it is also his most abstract, or most conceptual film. For, even if we take into account the tremendous movement at the material level, rather than the fixed "subject", nevertheless after a while (an hour?) it is truly impossible to watch, since it is "useless" to continue, and the "idea" thus replaces the reality of the viewing. That is, unless you think of Empire as an installation (something that has already been done), or a painting in movement, a nice flat television with liquid crystals hung on the wall of your home, broadcasting it, if not in a loop, at intervals, precisely of 8 hours…
Maria Banana is not only the "obscene" version of both Kiss and Blow Job, in the sense that what is hidden in these films is now exhibited (the tongue held between the two mouths, which only at times appeared in Kiss; and what happens off screen, in the case of Blow Job). The film also alludes, in the form of a parody, to a must of gay (but not only) cult: "The Lady in the Tutti-Frutti Hat", a number from the beautiful and extravagant musical by Busby Berkeley The Gangs All Here (1943). In it, Carmen Miranda dances, wearing a hat decorated with bananas, accompanied by girls with giant bananas on their heads too. Warhol filmed this scene in a close-up static shot with Mario reclining on a couch as he deliciously savours a banana. He peels it, then sucks it and licks it with obvious enjoyment, throwing more than suggestive looks at the viewer. Unlike other Warhol players, Mario acts with visible self-gratification, throwing looks at the camera that seem more "murderous" in the colour version, and more languorous in the black and white. The latter version, slightly over-exposed, is dominated by white, and appears more immaterial; the colour version, however, highlights all the details of the star's rather studied way of dressing. Out of subtraction, or out of excess, both of the versions thus end up relegating to the background the very action that a pornographic imagination would want in close up. Warhol's "obscenity" is not that of a Peeping Tom, but rather that of someone who attempts, with the most rudimentary means that film offers, to see what is "beyond the scene".
Published in Adriano Aprà (ed.), Andy Warhol. 4 Silent Movies/4 film muti, DVD booklet for Kiss, Empire, Mario Banana, Blow Job, Rarovideo/Interferenze, Rome 2004, pp. 37-42.
Category: English, Underground Statunitense /
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(C) 1960-2014 Adriano Apra'


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Bristow Helicopters sacks 100 pilots, engineers – COVID-19
Bristow Helicopters in
a statement released on Tuesday, has announced the sack of over 100 pilots and
engineers in its employ, stating that the workers were laid off due to the
effect of the coronavirus pandemic on its operations.
The aviation company
which described the sack as "painful", said it engaged with the National
Association of Aircraft Pilots and Engineers (NAAPE) to negotiate a fair and
equitable redundancy compensation for those affected.
"This decision has
not been made lightly, but having considered the state of the business and the
very serious constraints caused by the spread of the COVID-19 disease and the
downturn in the oil and gas market, the company must now take this painful, but
decisive step to ensure the continuity of its business and delivery of
essential services to its clients.
Also Read: COVID-19: Man spends government's COVID-19 loan on Lamborghini, strip clubs
"One of these
measures includes the right-sizing of the business to ensure that the company
has the optimal level of personnel to continue the safe delivery of its
services to its clients, whilst allowing the appropriate capacity for future
"Accordingly, and
with much regret, the company has taken the very difficult decision to release
over 100 pilots and engineers (both National and Expatriates) over the next
couple of weeks," the statement read in part.
Recall that this is
coming barely 24 hours after Air
Peace sacked some its pilots and supporting staff across its fleet, while
slashing staff salaries by up to 40 percent.
Tags: Updatesworld news updates

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text:
Home » Social Dealings » Inheritance
There is no Bequest for an Heir
My father wrote (in his will) that a farm was to be owned by his son after him. Bearing in mind that he has four daughters in addition to this son, is it permissible for him to do that? And if the farm was divided up between the son and the four daughters, how would the division be?
Allaah, the Almighty, the All-Powerful has explained in His Book how the estate of the deceased is divided up, saying: Allaah commands you as regards your childrens (inheritance): to the male, a portion equal to that of two females. [1] The Prophet (sallallaahu alaihi wa sallam) said:	Verily Allaah gave every deserving person his right, so there is no bequest for the heir. [2] According to this, the bequest of this father to his son is an invalid one and it is not permissible to implement it - unless all of heirs agree to this. In that case, there is no objection. If they do not agree, then this farm must be returned to the inheritance and be divided amongst the heirs, as Allaah, the Almighty, the All-Powerful has commanded, and the division must be among all of the heirs. If he has no heirs aside from this son and these daughters, then it (the inheritance) will be divided between them, for the male a portion equal to that of two females. So the value of this farm and whatever else the deceased has left must be divided into shares, for each daughter one share and for each son two shares.
[1] An-Nisa 4:11 [2] Abu Dawud no. 2870.
Fatawa Islamiyah Vol. 5 Page 61
Marriage and Engagement
Family and Society


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Q: Prove that $a\sqrt{a^2+bc}+b\sqrt{b^2+ac}+c\sqrt{c^2+ab}\geq\sqrt{2(a^2+b^2+c^2)(ab+ac+bc)}$
Let $a$, $b$ and $c$ be non-negative numbers. Prove that:
  $$a\sqrt{a^2+bc}+b\sqrt{b^2+ac}+c\sqrt{c^2+ab}\geq\sqrt{2(a^2+b^2+c^2)(ab+ac+bc)}.$$

I have a proof, but my proof is very ugly:
it's enough to prove a polynomial inequality of degree $15$.
I am looking for an easy proof or maybe a long, but a smooth proof.

A: $\sum\limits_{cyc}a\sqrt{a^2+bc}\geq\sqrt{2(a^2+b^2+c^2)(ab+ac+bc)}\Leftrightarrow$
$\Leftrightarrow\sum\limits_{cyc}\left(a^4+a^2bc+2ab\sqrt{(a^2+bc)(b^2+ac)}\right)\geq\sum\limits_{cyc}(2a^3b+2a^3c+2a^2bc)\Leftrightarrow$
$\sum\limits_{cyc}(a^4-a^3b-a^3c+a^2bc)\geq\sum\limits_{cyc}\left(a^3b+a^3c+2a^2bc-2ab\sqrt{(a^2+bc)(b^2+ac)}\right)\Leftrightarrow$
$\Leftrightarrow\frac{1}{2}\sum\limits_{cyc}(a-b)^2(a+b-c)^2\geq\sum\limits_{cyc}ab\left(a^2+bc+b^2+ac-2\sqrt{(a^2+bc)(b^2+ac)}\right)\Leftrightarrow$
$\Leftrightarrow\sum\limits_{cyc}(a-b)^2(a+b-c)^2\geq2\sum\limits_{cyc}ab\left(\sqrt{a^2+bc}-\sqrt{b^2+ac}\right)^2\Leftrightarrow$
$\Leftrightarrow\sum\limits_{cyc}(a-b)^2(a+b-c)^2\left(1-\frac{2ab}{\left(\sqrt{a^2+bc}+\sqrt{b^2+ac}\right)^2}\right)\geq0$, which is obvious.

A: This inequality is beautiful and tight. Equality holds when $a=b=c$, or $a=b$ and $c=0$.
Now we use the S.O.S. (sum of squares) technique to solve it (about this technique, see Sos - sum of squares for details).
First, squaring on both sides, it suffices to show
$$\sum a^2 \left( a^2+bc \right) + 2\sum bc\sqrt{\left( b^2+ca \right) \left( c^2+ab \right)} \ge 2\left( \sum a^2 \right) \left( \sum bc \right)\\
\Longleftrightarrow \sum a^4 + abc \sum a + 2\sum bc\sqrt{\left( b^2+ca \right) \left( c^2+ab \right)} \ge 2\sum bc\left( b^2+c^2 \right) + 2abc \sum a.$$
Note (from the formulation of Schur's inequality) that
$$\sum \left( b^2 + c^2 - a^2 \right) (b-c)^2 = 2 \sum a^4 - 2 \sum bc\left( b^2 + c^2 \right) + 2abc\sum a.$$
Thus the inequality is equivalent to
$$\frac{1}{2} \sum \left( b^2 + c^2 - a^2 \right)(b-c)^2 + 2\sum bc \sqrt{\left( b^2+ca \right) \left( c^2+ab \right)} \ge \sum bc\left( b^2 + c^2 \right) + 2abc \sum a.$$
Note that
$$\sum bc \left( \frac{(b-c)(b+c-a)}{\sqrt{b^2+ca} + \sqrt{c^2+ab}} \right)^2 = \sum bc \left( \sqrt{b^2+ca} - \sqrt{c^2+ab} \right)^2\\
= \sum bc \left( \left( b^2+ca \right) + \left( c^2+ab \right) \right) - 2 \sum bc \sqrt{\left( b^2+ca \right) \left( c^2+ab \right)}\\
= \sum bc \left( b^2+c^2 \right) + 2abc \sum a - 2 \sum bc \sqrt{\left( b^2+ca \right) \left( c^2+ab \right)}.$$
Thus the inequality is equivalent to
$$\sum \left( b^2+c^2-a^2 - \frac{2bc(b+c-a)^2}{\left( \sqrt{b^2+ca} + \sqrt{c^2+ab} \right)^2} \right) (b-c)^2 \ge 0.$$
Note that
$$\left( \sqrt{b^2 + ca} + \sqrt{c^2 + ab} \right)^2 = b^2+ca+c^2+ab + 2\sqrt{\left( b^2+ca \right) \left( c^2+ab \right)}\\
\ge b^2+ca+c^2+ab+2bc=(b+c)(a+b+c),$$
and similarly
$$\left( \sqrt{c^2 + ab} + \sqrt{a^2 + bc} \right)^2 \ge (c+a)(a+b+c)\\
\left( \sqrt{a^2 + bc} + \sqrt{b^2 + ca} \right)^2 \ge (a+b)(a+b+c).$$
So if we define
$$S_a = b^2+c^2-a^2 - \frac{2bc(b+c-a)^2}{(b+c)(a+b+c)},\\
S_b = c^2+a^2-b^2 - \frac{2ca(c+a-b)^2}{(c+a)(a+b+c)},\\
S_c = a^2+b^2-c^2 - \frac{2ab(a+b-c)^2}{(a+b)(a+b+c)},$$
then we only need to show $\sum S_a (b-c)^2 \ge 0$. Without loss of generality, we assume that $a \ge b \ge c$. In a post by hungkhtn in Sos - sum of squares, we know that it suffices to show
$$S_b \ge 0,\ S_c\ge 0,\ a^2 S_b + b^2 S_a \ge 0.$$
First,
$$\left( c^2+a^2-b^2 \right)-(c+a-b)^2=2b(c+a)-2ca-2b^2=-2(b-a)(b-c)\ge 0\\
\Longrightarrow \left( c^2+a^2-b^2 \right) (c+a)(a+b+c)\ge (c+a-b)^2\cdot (c+a)(a+b+c)\ge 2ca(c+a-b)^2,$$
which means $S_b\ge 0$.
Besides,
$$\left( a^2+b^2-c^2 \right)(a+b)(a+b+c) - 2ab(a+b-c)^2\\
= \left(a^2+b^2\right) (a+b)^2 + \left(a^2+b^2\right)(a+b)c- (a+b)^2 c^2 - (a+b)c^3\\
- 2ab(a+b)^2 + 4abc(a+b) - 2abc^2\\
= (a-b)^2 (a+b)^2 + \left( \left(a^2+b^2\right)(a+b)c - (a+b)^2 c^2 \right) + \left( 4abc(a+b) - 2abc^2 - (a+b)c^3 \right)\\
\ge 0,$$
which means $S_c \ge 0$.
Finally,
$$a^2 S_b + b^2 S_a \ge 0\\
\Longleftrightarrow a^2 c^2 + a^4 - a^2 b^2 + b^4 + b^2 c^2 - b^2 a^2 \ge \frac{2ca^3(c+a-b)^2}{(c+a)(a+b+c)} + \frac{2b^3 c(b+c-a)^2}{(b+c)(a+b+c)}\\
\Longleftrightarrow (a+b+c)\left( (a+b)^2 (a-b)^2 + \left( a^2+b^2 \right) c^2 \right) \ge \frac{2ca^3 (c+a-b)^2}{c+a} + \frac{2cb^3 (c+b-a)^2}{c+b}.$$
Note that the right hand side is not greater than
$$2ca^2 (c+a-b)^2 + 2cb^2 (c+b-a)^2\\
= \left( 2c^3 a^2 + 4c^2 a^2 (a-b) + 2ca^2 (a-b)^2 \right) + \left( 2c^3 b^2 + 4c^2 b^2 (b-a) + 2cb^2 (a-b)^2 \right)\\
= 2c^3 \left( a^2 + b^2 \right) + 4c^2 (a+b)(a-b)^2 + 2c\left( a^2 + b^2 \right)(a-b)^2\\
\le (a+b+c)\left(a^2+b^2\right)c^2 + 4c^2 (a+b)(a-b)^2 + 2c\left( a^2 + b^2 \right)(a-b)^2.$$
So it remains to show
$$(a+b+c)(a+b)^2 \ge 4c^2(a+b) + 2c\left( a^2+b^2 \right)\\
\Longleftrightarrow (a+b)^3 \ge 4c^2 (a+b) + c(a-b)^2\\
\Longleftrightarrow (a+b)\left( (a+b)^2 - 4c^2 \right) \ge c(a-b)^2,$$
which is obviously true, since $(a+b)^2 - 4c^2 \ge (a+b)^2 - 4ab = (a-b)^2$ and $a+b\ge c$.

redpajama_set_name: RedPajamaStackExchange


Lease financing is a great way to take full advantage of machinery benefits in your plant without large initial cash outflows. Essentially your machine investment is paid out over the time it produces more income for your business. W W Thayer Company deals with several leasing companies that can tailor a lease program specifically to meet your needs, allowing you to put that machine to work for you right away saving you time and money.
Lease rates based on 60 month lease term, 10% purchase option, 2 lease payments down, rates are subject to change without notice.


This much-loved home is an "oldie but a goodie" with its charm & character you'll feel right at home from the moment you enter the front gate! Set in the middle of the island not far from the Wahine boat ramp, surrounded by lovely bush like setting you will enjoy the peace and serenity of this charmer.
Calling all boaties looking to be close to the water to drop the tinny in, this lovely three bedroom home is so neat and tidy you will have all the time in the world to enjoy the island life, positioned on a 536m2 corner block to give you two street entrance. The home consist of three well appointed bedrooms off the the main living with a two way bathroom of the master, huge amount of window all screened in to give you plenty of lighting.
BRAND NEW HOME, NEEDS FINNISH OFF.
Huge 847m2 Block in town, walk to the club, shops and ferry only 200m to the Canaipa Passage. Artist retreat with approved plans for the main residence. loads of options with property, the Artist reteat will be completed in the coming months. Power, water,septic system installed and electricity will all be connected. Build the main residence within your own time, plans and approvals all in place. When complete you can rent out the house or live in. Contact Bruno for more information.
Situated only just around the corner from Palm Beach Road and stunning views sits this new 3 bedroom home. With an excellent kitchen, good lounge area and fully fenced yard, this really is the home to buy.


AIX-EN-PROVENCE, France, November 25, 2011 – Inside Secure, a leader in semiconductor solutions for secure transactions and digital identity, today announced that it has been named as a winner of the Deloitte Technology Fast 500 EMEA awards, a ranking of the 500 fastest growing technology companies in Europe, Middle East and Africa based on percentage growth in operating revenue over five years. The Fast 500 EMEA award validates INSIDE's product family expansions, growth into new market segments, and leadership position in Near Field Communication (NFC) technology.
Being included in the Deloitte Technology Fast 500 EMEA is recognized as a significant achievement. In its 11th year, the program highlights both established and emerging companies. The press has rewarded Technology Fast 500 winners with positive media exposure and has become increasingly interested in the Technology Fast 500 winners, related trends, and overall statistics. Past years' programs garnered coverage in some of the nation's top publications, including CNN, CNBC, BBC World News Radio, Financial Times and Dow Jones News Service.
In 2009, INSIDE was named as a Deloitte Technology Fast 50 Award winner in the semiconductor, electronic, and components category. In 2011, 37 semiconductor companies were entered in the Deloitte Technology Fast 500 EMEA Award program, and 57.2 percent of entrants are based in Western Europe. Overall, companies that ranked on the Deloitte Technology Fast 500 EMEA 2011 program had an average growth rate of 1,287 percent.
The Technology Fast 500 list is compiled from the Deloitte EMEA Technology Fast 50 programs, nominations submitted directly to the Technology Fast 500, and public company database research. To qualify for the Technology Fast 500, entrants must have had base-year operating revenues of at least €50,000 and current-year operating revenues of at least €800,000.
Entrants must also be public or private companies headquartered in EMEA and must be a "technology company," defined as a company that develops or owns proprietary technology that contributes to a significant portion of the company's operating revenues; or manufactures a technology-related product; or devotes a high percentage of effort to the research and development of technology.
The Deloitte Technology Fast 500 EMEA is the region's most objective industry-ranking standard to focus on the technology field and recognizes technology companies that have achieved the fastest rates of revenue growth in Europe, the Middle East and Africa during the past five years. Combining technological innovation, entrepreneurship and rapid growth, Fast 500 companies – large, small, public and private – span a variety of industry sectors, and are leaders in hardware, software, telecom, semiconductors, internet, media, life sciences and emerging areas, such as clean technology.
The program is supported by the Deloitte Technology Fast 50 initiatives, which rank high growth technology companies by location or specifically defined geographic area and is run by the Deloitte Touche Tohmatsu Limited's Technology, Media & Telecommunications (TMT) global industry group. Co-sponsors include Taylor Wessing, a leading International law firm with a focus on the industries of tomorrow, and Fidelity Growth Partners Europe, a venture and growth capital investor which backs entrepreneur with aspiration for greatness in the IT and clean technology sectors across Europe.


text:
Shawn Maestretti Garden Architecture is now Studio Petrichor!
Leigh Adams
Consultant/Co-presenter
Leigh is an educator, eco-sensitive designer and horticultural interpreter at the LA County Arboretum and Botanic Gardens. She has trained many county agencies in regenerative practices as well as conducting hands on workshops with local schools and professional groups. Her love of collaboration and education infuse all aspects of her work, leaving participants with a profound sense of empowered accomplishments. Currently she holds multiple artist's residencies at the LA Arboretum, Metabolic Studios and New Horizon School. She has received a Global Citizen Award from the United Nations, an Angel Award from the City of Los Angeles and an Outstanding Citizen Award from the County of Los Angeles.
Copyright © 2019 Studio Petrichor
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Manila - Philippine television's Queen of Asianovelas Kim Jung-eun finally returns as Vivian in the highly-anticipated comeback of the original "super kilig" Koreanovela "Lovers in Paris" beginning Monday (June 30) on ABS-CBN.
Relive the love story of Vivian and Carlo (Park Shin-yang) that began in Paris. Reminisce their "Aja!" moments together in this phenomenal series that started the Korean romantic-comedy trend in the country 10 years ago.
How can a bubbly, free-spirited girl and a rich bachelor who pretended to be lovers actually find love despite their differences?
Fall in love all over again in "Lover in Paris" premiering this Monday (June 30), 10 AM in ABS-CBN's Umaganda.


text:
Q: npm doesn't install dependencies of packages I have the next content inside my package.json
"dependencies": {
    "@symfony/webpack-encore": "^0.24.0",
    "axios": "^0.18.0",
    "bowser": "^2.0.0-beta.3",
    "chalk": "^2.4.2",
    "commander": "^2.19.0",
    "esdoc": "^1.1.0",
    "esdoc-standard-plugin": "^1.0.0",
    "glob": "^7.1.3",
    "inquirer": "^6.2.1",
    "jquery": "^3.3.1",
    "stylus": "^0.54.5",
    "stylus-loader": "^3.0.2",
    "terser": "^3.14.1",
    "velocity-animate": "^1.5.2",
    "vue": "^2.6.8",
    "vue-loader": "^15.7.0",
    "vue-router": "^3.0.2",
    "vue-template-compiler": "^2.6.8",
    "vuex": "^3.1.0",
    "webfonts-generator": "^0.4.0"
}

I'm trying to install packages using npm i. After that I'm getting the same named directories inside node_modules but without any sub-dependencies of these packages.
For example @symfony/webpack-encore depends on webpack. But it is not installed. Package-lock was created with full tree that contains webpack.
Removing of node_modules or package-lock.json doesn't help.

But if I delete node_modules and do npm update (not npm install), then it installed successfully but without any changes inside package-lock.json and package.json (according to git diff)
Update
If I delete node_modules and package-lock.json then npm i works good.


An interactive Valentine's Day campaign that aims to get women thinking about the early signs of domestic abuse. Women choose whether a man's behaviour might be "caring" or "controlling", and are offered more examples and information depending on their response. They are also given the option to forward the campaign to friends.
The online adverts are part of a wider campaign that includes posters and press advertising.
To encourage women to think about the early signs of domestic abuse. According to Refuge, research shows that many women are not aware of the ways in which abusive men control their partners, and that if they understood the signs earlier it could prevent abuse.
Advertising agency G2 UK created the campaign on a pro bono basis.
Where are the adverts running?
On a campaign microsite on the charity's website.
A clever advert for Valentine's Day that explains a complicated message in clear terms.


correct referral to appropriate Brussels-based institutions and services for issues that NASCI is not able to solve.
NASCI does not provide financial support.
as a subsidised association, maintain the relationship with competent administrations and executives by fulfilling public contracts in close consultation with them and in a professionally responsible manner.
NASCI's aim is to generate more solidarity within the metropolitan Brussels community and promote general social engagement.
The right to child welfare is the top priority!


We've released the complete documentation for OpenStack Insights, with binaries and source code downloadable from Sourceforge while the OpenStack Dash tools are the vanilla MetricsGrimoire set hosted on github. The code is free as in freedom so you're welcome to play with it. We're working to put both pieces of code in the hands of the OpenStack Infrastructure team soon.
Following up on the long session hosted during the Summit in Portland and 1-on-1 discussions, I've created a new topic on the Development mailing list. You can join the conversations about OpenStack metrics and the Activity Board avoiding the high volume traffic on the Development list by subscribing only to the Metrics topic. You'll receive only messages that have the words [metrics] or [activity] in the subject and nothing else. Go to http://lists.openstack.org/cgi-bin/mailman/options/openstack-dev to subscribe and pick "Metrics" among the topic categories you would like to subscribe to.
If you want to know how the OpenStack Activity Board can help you understand your team's activities in the project, build reports, integrate data from different sources, join the webinar we're hosting on May 9th. We'll keep ironing out the known issues while we think about the future of the platform.
Contribute to OpenStack Activity Board was posted on May 1st, 2013 at 7.29pm and is filed under Communication, community, Development, Measurement..


text:
#pragma once

#include <LockEndpoint.h>
#include <app/clusters/door-lock-server/door-lock-server.h>
#include <cstdint>

#include <app/util/af.h>

class LockManager
{
public:
    LockManager() {}

    bool InitEndpoint(chip::EndpointId endpointId);

    bool Lock(chip::EndpointId endpointId, const Optional<chip::ByteSpan> & pin, DlOperationError & err);
    bool Unlock(chip::EndpointId endpointId, const Optional<chip::ByteSpan> & pin, DlOperationError & err);

    bool GetUser(chip::EndpointId endpointId, uint16_t userIndex, EmberAfPluginDoorLockUserInfo & user);
    bool SetUser(chip::EndpointId endpointId, uint16_t userIndex, chip::FabricIndex creator, chip::FabricIndex modifier,
                 const chip::CharSpan & userName, uint32_t uniqueId, DlUserStatus userStatus, DlUserType usertype,
                 DlCredentialRule credentialRule, const DlCredential * credentials, size_t totalCredentials);

    bool GetCredential(chip::EndpointId endpointId, uint16_t credentialIndex, DlCredentialType credentialType,
                       EmberAfPluginDoorLockCredentialInfo & credential);

    bool SetCredential(chip::EndpointId endpointId, uint16_t credentialIndex, chip::FabricIndex creator, chip::FabricIndex modifier,
                       DlCredentialStatus credentialStatus, DlCredentialType credentialType, const chip::ByteSpan & credentialData);

    DlStatus GetSchedule(chip::EndpointId endpointId, uint8_t weekDayIndex, uint16_t userIndex,
                         EmberAfPluginDoorLockWeekDaySchedule & schedule);
    DlStatus GetSchedule(chip::EndpointId endpointId, uint8_t yearDayIndex, uint16_t userIndex,
                         EmberAfPluginDoorLockYearDaySchedule & schedule);
    DlStatus GetSchedule(chip::EndpointId endpointId, uint8_t holidayIndex, EmberAfPluginDoorLockHolidaySchedule & schedule);

    DlStatus SetSchedule(chip::EndpointId endpointId, uint8_t weekDayIndex, uint16_t userIndex, DlScheduleStatus status,
                         DlDaysMaskMap daysMask, uint8_t startHour, uint8_t startMinute, uint8_t endHour, uint8_t endMinute);
    DlStatus SetSchedule(chip::EndpointId endpointId, uint8_t yearDayIndex, uint16_t userIndex, DlScheduleStatus status,
                         uint32_t localStartTime, uint32_t localEndTime);
    DlStatus SetSchedule(chip::EndpointId endpointId, uint8_t holidayIndex, DlScheduleStatus status, uint32_t localStartTime,
                         uint32_t localEndTime, DlOperatingMode operatingMode);

    static LockManager & Instance();

private:
    LockEndpoint * getEndpoint(chip::EndpointId endpointId);

    std::vector<LockEndpoint> mEndpoints;

    static LockManager instance;
};

redpajama_set_name: RedPajamaGithub


text:
Кинельский — поселок в Матвеевском районе Оренбургской области России. Административный центр Кинельского сельсовета.

История
В 1959 г. указом Президиума Верховного Совета РСФСР посёлок центральной усадьбы совхоза «Матвеевский» переименован в Кинельский.

Население

Примечания

Населённые пункты Матвеевского района

redpajama_set_name: RedPajamaWikipedia


There aren't any Nascar coupons available right now.
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To talk of Txetxu Lacroix is to talk about evolution; since 1999 this DJ/Producer has been through the best clubs in Spain, resident of clubs as mythical as Coppelia, Pasapoga, Noxx, Velada, Divino, Fabrik ,Kapital and People and that´s just in Madrid… In 2010 becomes resident of Space and Space of Sound World Tour, Space of Sound Festival . Thanks to this great showcase begins touring worldwide leading the brand Space all over the world, playing with some top DJs as Danny Tenaglia , Paul Van Dyk , Deadmau5 , Sasha, Tiga and many more… In 2012, binds with several professionals from the music industry, to create a event in the Spanish capital where class and good taste for music meets, Playback, which brought artist to the capital of Spain such as Dixon, Shaun Reeves , Ryan Crosson , Guy Gerber, Deetron and System of Survival just to name a few. He has been awarded for two consecutive years as best national deejay by the Spanish association MADO . As a result he become the main deejay of the Europride (Madrid) being an indisputable part in all Gay Pride events. As a producer his evolution has been constant becoming part of the German label Schlachth, Delicious Label Recordings, Kerala Music and quite recently Kevin Yost´s Irecords.


we have some guidelines for bronchiolitis.
commonly, of course they would have guidelines for something like this.
that falls within this in the diagnosis category.
look to see whether or not your patient population actually fits this guideline.
of bronchiolitis in children from one month through 23 months of age.
So our patient's three months old, so that would fit.
And if we go to the next page here, we can see what patients were excluded.
our patient doesn't have either one of these.
neuromuscular disorders, or congenital heart disease.
that's only excluding in sections that have to deal with management.
or wondering about that right now.
>> No we're not, but our patient doesn't have any of these problems anyway.
>> That's true. >> Which makes it much easier.
try to find out what you want to do.
that you know the evidence is strong when you're actually making clinical decisions.
they sort of updated the 2006 bronchiolitis guidelines.
including hospice and neonatologists and pediatric infectious disease doctors.
the guidelines in the primary literature to update things.
It looks like they've also done an evidence search.
So looking here, where have they done the evidence search?
the Cochran library, Medline via Ovid, also on PubMed.
the appendix which is in the back it talks about which search terms they used.
it shows you what search terms they used in the different databases.
>> Okay, so the next step is to look to see how they grade evidence.
Now, have you ever looked at evidence that was graded before?
>> Okay, well there different levels.
There's level A, there's level B, there's level C, and there's level D.
after we look at what our evidence is actually rated as.
it looks like they have a couple action statements on the diagnosis.
that this is the one that we're interested in.
So what does this have to say?
physical exam, radiographic or laboratory studies should not be obtained routinely.
And that's evidence quality B with a recommendation strength of moderate.
go back to this chart that we talked about.
And what does evidence level B say?
diagnostic studies with mild limitations fall under level B.
>> Exactly, and as you can see It goes with the moderate recommendation.
vice versa, and the quality of evidence is good but not excellent, okay?
should remain alert to new information and sensitive to patient preferences.
to try to find the paragraph on chest x-ray.
And as you can see, that's on the next page.
routine chest x-ray in children with bronchiolitis.
Why don't you read right here?
That kind of shows us the primary literature incorporated.
were more likely to receive antibiotics without any difference in outcomes.
at if we wanted to know about the primary literature.
now,we get to figure out what we're going to do with our patient.
So how does this apply to our patient?
so definitely fits into these recommendations.
>> And so I don't think that we need to obtain a chest x-ray at this point.
So we will just continue to watch this baby and make sure that things go okay.
trying to learn how to use evidence based medicine.
>> Thank you, Dr. Stogen.


If you ask around you will discover that there are so many counseling services being offered. In most cases people turn to professional medical counselors who are trained to deal with people who are facing different problems in life. All the same none of the sources can match those of Christian counseling services. This however does not mean that the medical professional counselors lack the expertise to deal with the same issues. There are many reasons as to why Christian counseling services work much better compared to counseling services from other sources. By reading on you will realize the reasons as to why most people nowadays opt to go for Christian counseling services. Get in touch with Atlanta's number one psychologist to help you.
It is vital to note that Christianity is the only significant religion that has a department of counseling for all sorts of problems that people face in their life. In fact you will not come across another denomination that takes counseling services as serious as the Christian denomination does. Surprisingly you will come across denominations that do not believe in counseling sessions at all as they believe individual problems should be solved internally, and do not find the need to use professional counseling help. This makes it very difficult for people in such religions to face and solve their issues. In the end such individuals are left with no choice but to swim in their desperation.
It is possible for people throughout the world to acquire Christian counseling services. You can easily get Christian counseling services from the web. For those who do not wish to have a face to face session, online Christian counseling has become very convenient for them. You have a variety of sites from where you can register for your counseling sessions. With the internet you will also manage to acquire a Christian counseling center that is close to your home hence making it convenient for you to attend the sessions. If you are in need of counseling services, do well to consider Christian counselors.


text:
Liddle lashes out at 'arrogant' BBC
Rod Liddle on Ben Bradshaw: 'Ben keeps reminding everybody that he knows what heÕs talking about because he used to work for the BBC. Well, so he did. But he wasnÕt very good.'
Jason Deans
Thu 8 May 2003 06.43 EDT
Former BBC Radio 4 Today editor Rod Liddle has accused BBC television news of "institutionalised political correctness" in its coverage of the Iraq war and last week's local elections.
Liddle claimed this political correctness led to certain assumptions becoming part of BBC TV's coverage of the war and reporting of the local election results - even when they were not backed up by the facts.
On local election results night, these unsubstantiated assumptions included the Conservatives doing very badly, when the party ended up the largest in local government in England; and that people voted for the BNP in Burnley for reasons other than simple racism, according to Liddle.
"The compelling thing about the BBC's election night programme was that almost every assumption made by its producers gave the wrong general impression or was irrelevant," he said, writing in the latest edition of the Spectator.
"The programme was written before the results came in. It was based on the assumption that the Conservatives were bloody useless and would perform badly. And it was insufficiently flexible to change when reality did not meet its expectations," Liddle added.
He said he did not think this was down to any conscious bias from the BBC's most senior on-screen journalists that night, political editor Andrew Marr and election results show host David Dimbleby.
"But in the choice of guests, in the pre-planned graphics, in the off-base inserts from reporters and correspondents and, most tellingly, in the assumptions behind the questions, there seemed a certain pre-disposition against the Conservative party," Liddle added.
"What bothers me more than this though, is the purblind political correctness. The inability to accept that the people who voted BNP might be racist; the refusal to acknowledge that the BNP did quite well; the repeated assertions that the Welsh national assembly is, really, adored by the people of Wales, despite overwhelming evidence to the contrary," he said.
The BBC defended its TV coverage of the local election results, saying it had included many of the views expressed by Liddle in its programme that evening.
"We stand by our coverage of the results of the recent elections. It is the BBC's duty as a public service broadcaster to bring these results in full to the nation," a BBC spokeswoman said.
"Throughout the election campaign and on the night [of the results], we indicated that there were real concerns about the performance of the devolved legislature [in Wales and Scotland]. When the picture of Conservative gains became clear, the BBC gave proper prominence to those gains, both in regards to the share of the vote and the number of council seats that had been won," she added.
Liddle claimed the same "political correctness" could also be seen in the BBC's - and other broadcasters' - coverage of the war in Iraq.
"You could see it at work during the war on Iraq. Now, I was opposed to the war but I was aware that the military campaign was carried out with devastatingly brilliant precision and speed.
"And yet, watching television - Channel 4 or the BBC or, for that matter, Sky - there seemed a determination to present at every juncture the worst case scenario as if the war, because it was inherently 'immoral', could not therefore possibly be expedited with success," Liddle added.
He said there was a "terror of the truth" at the BBC, "arrogant in its assumptions because it believes 'ordinary' people cannot cope with the truth and need it either sweetened or altered entirely".
"This is the result of institutionalised political correctness; every bit as corrupting as institutionalised racism. It is the result of seminars and workshops (I remember them well) where journalists are instructed time and again that the Scottish parliament and Welsh assembly are bloody important and don't you dare suggest that they aren't," Liddle added.
Rod Liddle


text:
Q: Windows 8 - Display soft keyboard when opening the charm search bar In my application, I open programatically the charm search bar with this kind of code :
Windows.ApplicationModel.Search.SearchPane.GetForCurrentView().Show();
But I would like to open the soft keyboard so the use can directly search text without having to touch the text input.
I understood that I can not control the keyboard, so I have to set the focus to the search text block.
Did anyone have to solve this kind of issue ?

A: This isn't possible.  Opening the soft keyboard MUST be triggered by a touch event.  See here for an explanation.


text:
Review: Sonic Free Riders (Microsoft Xbox 360)
D.J. Tatsujin | December 13, 2010 | Archive, Top Story, Video Game Reviews, Xbox 360 | No Comments
Sonic Free Riders
Publisher: SEGA
Developer: SEGA
Genre: Racing
So far, 2010 has seemingly been the year of the hedgehog. With Sonic Colors ripping up many jaded gamers' low expectations, Sonic the Hedgehog 4 taking a first step in the right direction and the solid, yet dated, Sonic Adventure DX remakes popping up, the tail end of the year might lead one to believe the blue blur is rising once again.
Here we have Sonic Free Riders, a real black sheep standing out among the releases. The series has never been able to capture critical success, but the fanbase surrounding the characters has evidently kept it afloat and we're now looking at a fresh entry in the series to take advantage of the Microsoft Kinect accessory. When I think of Sonic Riders, sort of like Sonic Drift, I just immediately question why SEGA would have Sonic do anything outside of running. That's seemingly irrelevant, though, as Nintendo's mascots do everything short of brain surgery and the last time Sonic took to a vehicle, it resulted in Sumo Digital crafting what I found to be a surprisingly phenomenal kart racer. With SEGA at the helm of this new racer, will the Sonic crew make me a fool a second time?
This installment sees the introduction of yet another World Grand Prix in which competitors race on hover boards known as gears. The competition featured in this title is hosted by a poorly-masked Eggman, who promises cash and treasure to the winners of the grand prix. Undaunted by the impending danger, four teams, headed up by Sonic, Jet, Shadow and Amy, enter the competition to best one another and, certainly, each competitor has their own personal agenda in the tournament. Unfortunately, the storylines are only spilled out through the use of fuzzy stills displayed through a television monitor, so there isn't anything exciting to see throughout the storyline. This omission could be alleviated through some great scripting, but this fails to surface as the characters engage in straightforward chatter, smack talk and bickering and any "twist" brought forth by the main villains can be seen coming from a mile away. The story is also held back by the rapid-fire nature of challenges implemented in the World Grand Prix mode do not tie into the story at all, yet they encompass roughly 60-70 percent of the game mode.
So, obviously, the story behind the game isn't exactly stellar, but Mario Kart never had a story and that series turned out well. With this, the real weight of the game's offerings is on the shoulders of the modes offered by the game. Aside from the World Grand Prix mode, which offers multiple team perspectives culminating in a final rival race, Sonic Free Riders does serve up a free race mode, a time attack mode, tutorials and a few game variants such as damage survival.
While this serves up a fair chunk of options, these are standard fare for racing titles, so the most interesting modes on tap lie in the tag and relay modes. While neither are groundbreaking, they certainly fall in lie with the goal of Kinect in getting multiple people involved with the game. If you're feeling crowded, though, up to eight players can be pitted up against each other in online races. For a more family-targeted racing title, Sonic Free Riders has a deceptively high amount of content to tackle and this doesn't even factor in the gear boards and parts I'll be touching on later. Players will no doubt find themselves hanging on to the quickfire modes more than the lackluster story, so the spread of offerings saves the day for the title's offerings.
The core gameplay of Sonic Riders hasn't changed a bit and it is expected any gamer will understand most of the game modes are races and getting first place is a good thing. With this, I enter the field where Sonic Free Riders is made or broken – the control. To be honest, I spent a huge amount of time trying to judge whether or not the controls in Sonic Free Riders even worked.
Going online, it's actually a bit confusing with so many people stating the controls do not work, yet, on the other hand others insist the controls work just fine. After putting an hour or two into the title, completing the basic tutorials, rearranging my living room for the third time since I bought Kinect and making sure my camera was calibrated, I thought I was going to be on board with those claiming the game just didn't work. However, giving the title an extended chance I realized the controls did in fact work, it's just I needed extra finesse in order to get my characters to do what I wanted … well, for the most part.
With my understanding of what the game wanted me to do, I was finally clearing the story challenges and dominating the competition. This understanding was in doing what I expected to in the first place, manipulating my positioning as if I was on a snowboard. The leaning always worked to turn right, but to turn left, I have to awkwardly bend backward and extend my arms back like I was HHH spitting water during his WWE ring entrance. While it wasn't exactly comfortable, I had finally grasped how to manipulate my onscreen character without bumping into every wall on the track.
The controls actually worked. Still, even with a number of interesting mechanics involving arm positioning, jumps and foot pedaling, I just wasn't having fun doing all of this. Sonic Free Riders actually throws a good amount of motions, positions and actions at players, so it makes use of Kinect, but I never found some of the implementations to be intuitive, which goes above some of the younger players the game will no doubt attract. At the simplest level, I could imagine a younger audience completely getting into the game with the full energy required from the foot pedaling to activate boosts, the crouching to prepare for jumps and the actual act of jumping. On the other hand, though, it took me a good amount of time to fine-tune my turning and jumping, so anyone not willing to put some time into figuring out how they need position themselves to fully manipulate the game is going to be immediately turned off by the game. In my case, I just can't say my hour spent perfecting my form through the tutorials translated into a fun and rewarding experience.
This is unfortunate as the game has a fair share of intuitive motion controls, such as the pedaling to boost and reaching out to grab on to structures for tight turns and shortcuts. I personally got a kick out of the ruins track, which is littered with these shortcuts, and the descent down the temple stairs, and I believe the track design is the only aspect injecting some fragment of fun into the game. The shortcuts even added an element of strategy to the title as the gear slot selections can allow players to access shortcuts reached by riding air streams, grinding across rails, punching out blockades and more. Any player without these powers will have to find another way around, so this aspect definitely creates some tough decisions and forces players to learn the tracks.
However, it's almost as if SEGA designed these tracks around the limitations of the controls as there are plenty of boost belts placed at strategic positions in order to thrust the player around turns and into groups of rings. As hard as it is to navigate a 90-degree turn, slamming into the wall immediately repositions the player on the correct course with very little penalty to speed. The inclusion of these elements slightly bothered me in a racing title, but I soon understood these elements were essentially the only thing preventing me from completely giving up on the title. Some of the tracks even feature segments where your character will leave the gear board. Oddly, these sections that have players switching paths on a train track or sledding through a cave, for example, feature spot-on control – a puzzling occurrence considering I have to bend backward almost 45 degrees just to bank left on my gear, no matter how I configure the Kinect camera and this carried over into different people's living rooms as well.
It also doesn't help that navigating menus in Sonic Free Riders is a monumental task. The game clumsily requires players to shuffle through options using swiping motions and moving the selected icon into the corner. This creates a sometimes lengthy process that is far more complicated than it should be. Thankfully, a speech option is included to allow players to speak out certain elements such as game modes in order to select them.
It's again disappointing considering some of the unique elements of the game, such as leveling up your gear by accumulating rings, triggering item attacks with unique actions (such as shaking up a soda can to burst it for an extended boost) or utilizing the power-ups players can slip into their gear's two slots. Outside of a few clever gimmicks, though, Sonic Free Riders is essentially a standard "kart racer" that becomes overcomplicated by the Kinect camera, especially for those discouraged by the game's controls.
Outside of the gameplay, gamers will receive some decent presentation elements, thanks mostly the focus of speed in the title. The game's characters are presented in the same style we have grown accustomed to since the days of Sonic Adventure and, to some degree, the Sonic X animation. Having mentioned the animation, it is pretty disappointing to see the route SEGA chose to unveil the story segments, as I'm sure they were going for a clever sports presentation approach, but it just comes across as uninteresting.
In the game, however, most everything looks quite sharp, which isn't too hard when everything is zooming by at hundreds of kilometers per hour, but, unlike some other racing titles, nothing in the environments look overly offensive when at a stand still, either. The game features a lot of sped-up animations on the characters during tricks and other actions, but this preserves the speed of the game fairly well. There is a bunch of animation involved in the environments as well, including lava spurts, waterfalls, vehicles and wild animals that give the tracks a little flair and there are other subtle touches involved such as the game screen steaming up while crossing a bridge over lava. Overall, the graphics get the job done and while nothing screams amazing, there is a handful of clever touches to be seen and nothing comes across as poorly done.
On the other hand, while acceptable, the game's audio just couldn't suck me in. This is a shame as Sonic Free Riders (much like Sonic Colors) finally introduces a fresh voice cast for the characters involved. Most of the main characters, like Sonic, of course, still remained quite pleasant to my ears, I actually found a few voices, such as that of Tails, to be more fitting and, of course, I found some deliveries, such as Shadow's, to be even more dry. Regardless, the painfully generic script writing doesn't exactly help some of these deliveries out, so I can cut a little bit of slack on the voice actors, but anyone outside of diehard Sonic fans or kids will probably find themselves skipping the cutscenes. Also, I'm probably not the target market for such a game anymore, but the opening theme absolutely made me cringe due to its cheesy lyrics and vocal delivery. Still, it fits the Sonic style developed by SEGA ever since Sonic Adventure, so at least there is some continuity involved.
In the game, though, I found the music to be much more bearable, even though some of it got lost in the shuffle of the game's sound effects. Being shoveled over from most other Sonic games, the trademark sounds of picking up rings remains intact and players are also treated to a number of environmental sounds that are all very appropriate to the surroundings. Overall, the sound in the game is very serviceable, but with all of the jumping and actions involved in gameplay, players' attentions will most likely be diverted from this element, making it easy to dismiss them.
On a final gameplay note, I've made mention some players will be able to adapt to the controls and there is some fun involved in the title, so how does Sonic Free Riders keep a player hooked? I've already made mention of the multiple modes, especially those involving multiple players, but the title adds another positive notch with its extensive offerings of special gear boards and parts.
With the accumulation of rings, the game has a shop where players can cash in for special boards with not only increased stats, but special abilities to boot. For example, some boards may expand certain abilities such as earning more boost or being able to hold higher amounts of boost, while others can add additional effects, such as creating a damaging explosion around the player while kick boosting. On top of that, boards can be equipped with two power-ups that include actions such as grinding or passive abilities that can increase your top speed or more. Dedicated players will be tackling the game quite a while to uncover every single item and the abilities add more to the elements of strategy and customization. On top of besting track times and achievements, there is actually a fair share of content to dive into in Sonic Free Riders.
Story/Modes: ENJOYABLE
Graphics: GOOD
Sound: ABOVE AVERAGE
Control and Gameplay: POOR
Replayablity: ENJOYABLE
Balance: DECENT
Originality: POOR
Addictiveness: BAD
Appeal Factor: DECENT
Miscellaneous: BELOW AVERAGE
FINAL SCORE: BELOW AVERAGE GAME
Sonic Free Riders is a decent attempt at a Kinect-enabled racer, but every fun and brilliant element is marred by how finicky the camera's recognition of the player can be. I can envision the younger demographic really getting into the game as the track design eliminates some of the frustrations of crashing into walls and the game becomes quite immersive with its jumps and usage of items and the environment. Outside of this, however; I can't imagine many people having the patience to work with the controls and even when I finally nailed them down, I didn't find what I was doing to be fun or rewarding. The game has a healthy amount of great ideas and interesting features and the catalog of gear boards and parts and spread of game modes could have players coming back time and again. Unfortunately, the awkward controls, clumsy menus and underwhelming story make this title more of a chore than a treat.
Preview: Musashi Samurai Legend (PS2)
Review: Dungeons & Dragons: Chronicles of Mystara (Sony PS3/Nintendo Wii U)
4 Comments | Jun 18, 2013
Review: Tomb Raider (PC)
5 Comments | Apr 1, 2013
31 Days of Gaming Terror – Day 10: Dracula
1 Comment | Oct 10, 2008
D.J. Tatsujin
D.J. Tatsujin has been writing about video games on a rigorous schedule since 2005. He is able to so through extensive training of his first dorsal interosseous and diet consisting of nothing but pineapple. D.J. is most interested in the rhythm and fighting game genres, so when a game is announced that involves both, he camps outside of Best Buy 72 hours prior to the launch of the game. This usually ends with the police telling him to go home.


Laurent Dauby studied political sciences in Belgium, Scotland and Germany. In 1996, he joined the UITP Rail Department. From January 2006, he was appointed Senior manager for all rail-bound activities at UITP, including the Metro Division, and the "rail side" of the supply industry. In 2008, Laurent has been appointed Director of Knowledge and Membership Services Department – UITP's department responsible for developing knowledge-related services for UITP members. He was key instrumental to devising UITP's "PTx2 strategy" aiming at no less than a global challenge to double market shares of public transport worldwide by 2015. Laurent is now Rail Director within the Knowledge and Innovation Department.


Republican presidential candidate Donald Trump calls for Apple boycott over San Bernardino killer phone encryption. Rough Cut (no reporter narration).
ROUGH CUT (NO REPORTER NARRATION) Republican presidential candidate Donald Trump called on Friday for a boycott of Apple Inc products until the tech giant agrees to U.S. government demands that it unlock the cellphone of one of the killers in the San Bernardino, California, attack. "Boycott Apple until such time as they give that information," Trump said at a campaign event in Pawleys Island, South Carolina. "It just occurred to me."


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Het bosseren (bossering, bossage, gebosseerd) is het bewerken van stenen op zodanige manier dat de zichtbare kant van de steen in een muur ruw behakt wordt. Door bossering krijgt een gevel of zuil een fors, rustiek uiterlijk.

Van oorsprong komt het bosseren van natuursteen van de Romeinen en later komt dit ook voor in romaanse en renaissancistische gebouwen, daar ook wel Rustica genoemd. Aanvankelijk zijn het bosseringen in natuursteen, later werd dit ook in pleisterwerk toegepast. Bosseringen worden vooral toegepast in de plint, op de hoeken en soms ook als band.

Een afgeleide van het ruwe behakken zijn bosseringen met bepaalde motieven en patronen, waarbij de willekeur aan behakkingen ontbreekt.

Bouwkunde


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Durbin Proposal To Release Brandon Road Study On Asian Carp Included In Senate Appropriations Bill
WASHINGTON – Today, the Senate Appropriations Committee approved its $38.4 billion energy and water spending package, including a provision offered by U.S. Senators Dick Durbin (D-IL) and Tammy Baldwin (D-WI) requiring the U.S. Army Corps of Engineers (Army Corps) to release a draft plan within 30 days of the bill's passage for keeping Asian carp from reaching the Great Lakes. This plan, referred to as the Brandon Road Study, was set to be released on February 28, 2017, but has been stalled by the Trump Administration.
"With last month's discovery of an adult Silver Carp a mere nine miles from Lake Michigan, it is imperative that the Trump Administration release the U.S. Army Corps of Engineers' draft proposal to prevent Asian carp from reaching and severely harming the Great Lakes," said Durbin. "I remain concerned by what I understand to be a White House decision to delay and potentially modify this report that has been under development for years. Now more than ever, we should be redoubling our efforts to prevent the spread of Asian carp by ensuring strong federal funding for the Great Lakes Restoration Initiative – which President Trump's budget eliminates – and by pushing for the release of the Brandon Road Study, which this proposal intends to do."
Senator Durbin has long advocated for a comprehensive approach to protect the Great Lakes from the threat of Asian Carp. In January, Durbin and eleven other bipartisan senators from the Great Lakes region wrote to Assistant Secretary of the Army Jo-Ellen Darcy asking the Army Corps to complete the Brandon Road Study, which will offer recommendations to keep invasive Asian carp from reaching the Great Lakes. In April, Durbin and some of his colleagues wrote to President Trump and Office of Management and Budget (OMB) Director Mick Mulvaney requesting the Administration release the Army Corps draft proposal to prevent Asian carp from reaching and severely harming the Great Lakes after the White House decided to delay and potentially modify this report. Durbin has yet to receive a response to this letter. In June, Durbin joined Senators Debbie Stabenow (D-MI) and Gary Peters (D-MI) to introduce the Stop Asian Carp Now Act, which would require the Trump Administration to release the Brandon Road Study within seven days of the bill's enactment.
Durbin has led efforts in the Senate Appropriation Committee to secure federal funding to combat the spread of Asian Carp. He has helped secure nearly $2 billion in funding for the Great Lakes Restoration Initiative (GLRI), a cross-agency action program intended to protect the Great Lakes from threats, including invasive species like the Asian carp, and clean up toxic areas of concern. President Trump's fiscal year 2018 budget calls for the elimination of the GLRI, hurting efforts to prevent Asian carp from entering the Great Lakes.


Don't you just loOoOve surprises? I know we do!! When I was a little girl, my mom had this thing where she would hide surprises occasionally under my pillow and let me know that it would be there when I got home from school. I remember not being able to contain myself throughout the day. I would rush home and pull the pillow back to see my surprise revealed. So, we've got one for you…this Thursday! If you are already on our VIP newsletter list, you're all set and will receive an email from us on Thursday! If not, come back to this page on Thursday for the BIG reveal! We can't wait…(I know, suspense -not fair – but sooo much fun)! You can blame my mom for this one (wink, wink).


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DSM Highlights 100 Years of Vitamins
NETHERLANDS - In 1912, the Polish biochemist Casimir Funk isolated the first vitamin (B1) from rice bran. At that time, European rice hulling machines were brought to Asia to process rice. However, the hulling process stripped the rice of its vital nutritional elements.
As a consequence, new health problems began emerging among the people and animals who relied upon rice as a staple food. Symptoms included weakness, fatigue, and as the condition progressed, apathia, polyneuropathy, paralysis, cardiomyopathy and heart failure. This dietary deficiency disease is now known as beriberi.
Mr Funk realised that a compound inside of the rice bran that had been removed in the hulling process could in fact cure patients. He gave the substance he discovered the name "vitamine" — a combination of "vita" (Latin for "life") and "amine" (= nitrogen compound).
For 100 years the word "vitamin" has been an umbrella term for a group of essential, organic micronutrients that play a range of vital roles in our bodies. The majority of vitamins cannot be directly produced by the body and must therefore be obtained through dietary means (exceptions: niacin and vitamin D).
If vitamin intakes are insufficient, it can result in serious health problems. Despite extensive knowledge now available on the crucial role of vitamins in the body, vitamin inadequacies are not yet merely the topic of history books: even today, billions of people do not have sufficient intakes of essential micronutrients compared to recommendations.
In many developing countries, people do not have access to vitamin-rich foods, which leads to high mortality rates and serious health problems. However, even closer to home, in the world of abundant and modern lifestyles, inadequate vitamin intakes are also surprisingly common. DSM works in partnership with other organisations, such as the World Food Programme (WFP) and the International Osteoporosis Foundation (IOF), to help close up the gaps in essential micronutrient intakes and promote the essential role of micronutrients in promoting health.
Vitamins are also vital for animal nutrition and health. A diet rich in vitamins and essential micronutrients is vital for animal production and ensures that animals remain healthy throughout their lifecycle, which is central to the sustainability and efficiency of the food chain as well as to the welfare of the animals themselves. In a world facing growing global demand for animal protein, DSM works with leading institutions worldwide researching and developing optimum animal nutrition, and it delivers essential vitamin premix solutions to its customers to support the increasing demand for animal protein, as well as to benefit the health and sustainability of the food chain as a whole.
Dr Manfred Eggersdorfer, Senior Vice-President Nutrition Science & Advocacy at DSM commented: "At DSM, we are proud to have been part of the vitamin journey for human nutrition and health, animal nutrition and health, and personal care, and we are committed to further scientific advancements in these fields for generations to come."
Company, Rice
Curtin University and Wide Open Agriculture to commercialize lupin technology
FAO: Global food markets brace for uncertainty in '20/'21 due to COVID-19
CRISPR Genome Editing Strategy Could Improve Rice, Other Crops
Newly discovered plant gene could boost phosphorus intake
Weather: El Niño's Global Impact, US November Outlook


In the city of Mahabaleshwar, which is renowned for its enchanting beauty that can overpower one's senses and drift them away from the folderol of everyday life, Yesho Holiday's is one of the famous hotels. Unlike the other ubiquitous hotels, this property guarantees a comfortable stay. The property has large, well-spaced rooms which are equipped with basic amenities like an attached bathroom. The property is perfect for all those who are on vagabond voyage in the city and are delving for a peaceful place to rest. Yesho Holiday's is one of the best hotels in Mahabaleshwar. Parking service is provided to all patrons. The property serves scrumptious breakfast options.


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Criminal Defense Attorneys Specializing in the Los Angeles and San Fernando Valley Courts
CALL US TODAY(310) 246-9550
Schwartz & Weinrieb
Contact us if you have been arrested and charged with any criminal offense in Los Angeles, CA.
Man Arrested for Attacking Brad Pitt at El Capitan Theater
According to reports, a man with a history of incidents with celebrities was arrested on Wednesday night after jumping a barricade and proceeding to attack Brad Pitt.
"Los Angeles police said Vitalii Sediuk jumped a barricade around 7:30 p.m. at the El Capitan Theatre and battered Pitt, who was attending the premiere of "Maleficent," which stars his longtime partner, Angelina Jolie," the Los Angeles Times reported.
Sediuk was booked on suspicion of misdemeanor battery and was being held at the LAPD Hollywood Station. With a long history of harassing celebrities at a variety of events, he definitely has a solid case against him.
To be a battery, there must be an unwanted physical contact with a person's body, clothing or something they are holding or making contact with. While a person typically commits a battery by punching or kicking another person, a battery can also be committed by with an object, including an object is not usually considered a weapon, such as a lamp. Given the amount of witnesses and photo/video evidence, this will hopefully be Sediuk's last outburst.
Former Los Angeles Superior Court Commissioner, Mark Zuckmann, Joins Schwartz & Weinrieb
MISTRIAL DECLARED IN TRIAL OF LA FIREFIGHTER ACCUSED OF BEATING WOMAN FOR FEEDING STRAY CATS
LA jeweler indicted on charges of mail fraud
Offices of Schwartz & Weinrieb
Encino Office:
Beverly Hills Office:
Suite 750 West
Van Nuys Office:
San Fernando Office:
110 North Maclay Ave.
The information on this website is for general information purposes only. Nothing on this site should be taken as legal advice for any individual case or situation. This information on this website is not intended to create, and receipt or viewing of this information does not constitute, an attorney-client relationship.


Before choosing an ideal pet, important aspects must be taken into account; First of all, you should consider if you are prepared to have one. Pets are not seeking to buy or adopt by impulse, this is due more to a decision-making process, taking into account the time available for the care of the animal.
The most common pet that people choose is a dog, before, one should ask: what space do I have ?, as to know the size of the pet that I should choose; If you select a large pet for a small living area, it is important to keep in mind that you must have time to take the animal at least twice a day out for a walk so he can do its physiological necessities.
On the other hand, another of the questions would be, does my family agree with this decision?, Since it is not rare that a member disagrees, this would bring discomfort to both the owner and his pet, sometimes the animal could receive bad treatment from that person for not wanting to have it at home.
Having an animal, no matter how small it may be, means giving him good nutrition, personal hygiene (nails, ears, baths, haircuts), regular assistance to the veterinarian and control of the necessary vitamins and vaccines to avoid possible diseases.
Having a pet at home has multiple benefits, and it has been scientifically proven that within the psychological aspect, it helps reduce stress levels in the family, its owners are less likely to suffer from depression and even improve their social life, being more cheerful people with much better moods; Nowadays people seek enjoyment through social networks, creating Facebook or Instagram accounts for their pets where they are publishing the pranks their pets make every day, and in this way generating more sociability at the cyber level.
On the other hand, there are pet clubs, which are essential to share experiences and doubts about caring for them. Veterinarians also share their knowledge with the owners. At all times these little living beings bring happiness to people because they do not know about falsehood, they just give sincere love.
Pets especially dog only know how to give love, so they should receive love back, the main care should be to have routine control with the veterinarian as to ensure their health. Good nutrition also guarantees long life to the most common pet "dogs", their owners must have time to get them to do exercises, otherwise they will not be able to channel the energy that they would burn with these daily walks or playing sessions, whose lack of cause anxious loads that most of the time results in aggressiveness.
Making the decision to have a pet, do not require a specific moment, the decision can be made at any time of life, whoever decides to have a pet must be a responsible person, being able to guarantee the happiness of the animal. Do not do it on impulse because pets are not toys.
Friends for all times, pets teach children the stages of life, since they see puppies, then their growth and sometimes their death; giving children a chance to understand that death is part of living beings cycle of life. Also teaching them how to give and receive love, happiness, fun, and protection.
With respect to health, children can improve their immune system from a very young age coming into direct interactions with home pets but it is the responsibility of the parents to keep pets healthy, free of parasites, fleas, ticks, among others, they should not leave the care of the pet in the hands of the child, with the exception of creating the responsibility of giving water or food to the pet.
Please! Adopt a Pet, rather than buying one. Shelters are overcrowded, there are many homeless animals. Also, give the opportunity to old dogs to know what it is to have love, many have been thrown into the street since they were puppies and have not been able to live in a home and most die without getting to know this sensation.
It is recommended that you do not try to give a pet as a Christmas gift, unless you previously take into account with the family the responsibility that this requires, making collectively the whole family this important decision.


Are Professional Dating Services Worth The Money?
In the world of dating, and in life, quality often comes with a price. But are professional dating services REALLY worth the additional investment vs. cheaper options such as online dating?
Professional Dating Services: meet, interview and screen matches before selecting them for you.
Online dating: no screening or 3rd party verification of personal details provided.
Professional Dating Services: do not share your personal contact details or post your photos online. You get to meet someone they have selected for you in a casual setting before deciding whether to share your contact details or not.
Online dating: you typically share your contact details and/or post your photo online before meeting someone.
Professional Dating Services: a matchmaker will select someone for you that has the qualities you are looking for, and vice versa.
Online dating: you can review someone's profile but its not always an accurate description of who they are. You typically compensate for this by going on more dates and accepting the fact that relatively few will be 'good matches'.
Professional Dating Services: typically take care of all the date arrangements for you. This is one reason why such services are popular for 'busy singles and professionals'.
Online dating: you arrange the dates yourself once you have exchanged contact details with your 'match'.
It is often speculated that men and women want very different things in a relationship partner. In fact, the opposite is true.
A key element, often overlooked however, is a term we like to call 'relationship readiness'. That is, when a man or woman is at the stage of their life where they are looking for a long term relationship, their 'checklist' of criteria is often quite similar. If, on the other hand, that person is not seriously looking for a relationship, then their 'checklist' of criteria can be quite different and is often focused on purely superficial qualities such as 'looks'. This is one reason why meeting people in bars or online can be a frustrating way to go if you are looking for a relationship partner, since not everyone there is looking for something serious.
Attractiveness: you find them physically attractive.
Personality: you enjoy their personality; they make you laugh or at least find you funny.
Good conversational skills: you have good and stimulating conversations.
Relationship readiness: the person seems open and positive about relationships.
Throw a party: spring is a great time to have a party… invite some friends and have them bring some single friends.
Music connection: checking out a band you like at a local venue is a great way to meet like-minded music lovers.
Shop around: pick up your weekly groceries in a different neighbourhood and say hi to someone new that you run into.
Catch Canuck Fever: catch a Vancouver Canucks playoff game at one of the many sports lounges in town. Bonus points if you are wearing Canucks blue. Raise a toast to someone new whenever our team scores!
Break free from your comfort zone: Vancouver dating services are booming for a reason; because many Vancouver singles use them! Whether its attending a singles event or hiring a professional matchmaking service, you have nothing to lose but your single life.
Be approachable: when you are out with friends and you spot someone interesting (or someone interesting has spotted you), smile and say hello. No method of meeting someone new will work unless someone says hello!
The Grouse Grind: a great way to meet other active singles and get a workout in as well!