Since the night of the Israeli election on 22 January I have been avoiding Israeli news. It wasn't exactly something I decided to do: perhaps it was just my immune system protecting me from the flood of commentators and the endless repetition of words like 'hope', 'change', 'future' and 'the new politics'. I escaped straightaway to the websites of the BBC and the Guardian and found myself suspiciously interested in the drivers caught in the snow on British motorways. Lucky them, I thought.
No one predicted the success of Yair Lapid. According to the last poll I heard before the election, he was expected to get nine seats, and I remember thinking to myself that for a party that was established only a year ago, and that since then hadn't said a single meaningful thing about anything, it was quite a generous prediction. In that poll, the right-wing bloc had a strong lead, with Likud-Beiteinu (a merging of Netanyahu's Likud and Lieberman's Yisrael Beiteinu) expected to get 36 seats, and the Jewish Home party (an ultra-nationalist movement headed by the former director of the settlements' council) 14 seats. This implied that after the election Netanyahu would only have to tempt the religious parties into joining his government, after which he'd be able to continue undisturbed in his great effort to make Israel the pariah state of the world.
But on the night of the election, Likud-Beiteinu went down to 31 seats, and Jewish Home – despite talk of its rise – settled on 12. Lapid hit the jackpot and introduced 19 new members (including himself) into the Knesset, many of whom had been anonymous hitherto. Overnight, Lapid became the head of the second-largest party after Likud. Netanyahu will now be forced to include 'centrist' parties in his coalition, and of these Lapid's is definitely the first choice. It was a night the handsome TV presenter – Lapid's job before he went into politics – will never forget, but the morning after was arguably nothing more than a cosmetic change on the face of Israel.
On the day of the election I woke up in my apartment in Tel Aviv, but I had to get to Jerusalem to vote, since I have never told the authorities (or myself) that I am a Tel Avivian (I am not: I just happen to live there). The radio was celebrating democracy's great moment just as I passed Latrun junction on the way to Jerusalem, where three Palestinian villages (Yalu, 'Amwas and Beit Nouba) had stood until 1967. They were destroyed in that year's war by the democracy's army, who also put roadblocks around their perimeter and planted a forest where the streets had been, just to make sure the people who'd lived there wouldn't be able to come back one day to perform their democratic duty.
It was a sunny day and the radio interviewees seemed filled with optimism. Netanyahu waved his ballot paper in front of the journalists and made a not very funny joke. Shelly Yachimovich, the leader of the Labour Party, was in good spirits too and said she wasn't going to say who she voted for; then she too made a not very funny joke. Rabbi Ovadia Yosef, the 92-year-old spiritual leader of Shas (the Orthodox Mizrahi party), didn't speak to the media, but the female observers at his polling station asked him for a blessing and he was happy to give it to them on the record. Asked by reporters how he had voted, Lapid announced with a smile that it was the first time he had voted for himself and that it was 'indeed a unique experience'. He wasn't half as funny, though, as the leader of Jewish Home, Naftali Bennett, who said that he was calling on voters to 'join the new house we established in Israel … all you of you – including men and women, religious and secular, Sephardi and Ashkenazi, Druze and Arabs.' It was hard to say what was more bizarre: the distinction he was making between Arabs and Druze or his notion that Palestinian citizens of Israel would vote for a party called Jewish Home, one of whose candidates suggested a couple of years ago in a Florida church that it would be 'incredible' if the Dome of the Rock were blown up. You can see it on YouTube.
I entered Jerusalem and went to the polling station in the primary school I left 25 years ago. Bennett was very visible on the posters outside, smiling broadly ('I love the people of Israel'; 'I love the state of Israel'; 'I love the army of Israel'; 'I love the Torah of Israel'). After voting I went to see my grandmother. She has just turned 97 and has voted in every election since 1948; in 1965 she voted for Abie Nathan and in 1969 for Uri Avnery. This time, she voted for Meretz, a liberal Zionist party. Given her record, and the fact that she opposed both Gaza wars, I felt that this wasn't the party for her. But there is something about Israel that makes it hard for its Jewish citizens to think outside the Zionist parties' box. We met in a new coffee shop called Old Katamon, an incongruity that didn't seem to bother anyone. Neither the name of the place nor its description as 'a dairy Kosher coffee place, located in a 110-year-old house, which serves unique pasta dishes and uses only free-range eggs' seemed to signal a missing landlord to its customers, or a missing community, not to mention a missing participant in the not so free-range elections.
It was time to go back to Tel Aviv to try to make use of what was left of the day. As I drove, Shelly Yachimovich called. She rang me about five times over the week of the election: was she desperate? 'Shalom, this is Shelly Yachimovich,' said the recorded voice on the other end of the phone, followed by a string of promises about a better future, social democracy, and a pinch of social justice. She didn't use – she never uses – any tricky words like 'occupation', 'land confiscation' or 'settlements' ('I certainly don't see the settlement project as a sin,' she said in an interview with Haaretz). She also, significantly, refrained from using the L word, a word that has become a curse, a badge of shame in the Israeli political system: 'Left'. 'To say that the Labour Party is a left-wing party is a historical injustice,' Yachimovich said in an interview on the news.
Tel Aviv was packed and my girlfriend warned me off going home. She works for the Jewish-Arab list, Al-Jabha/Hadash, or the Democratic Front for Peace and Equality (a new way to avoid the word 'communism'). She wanted me to spend as much time as possible stuck in the traffic in order to drive a member of the party from one ballot box to another in the south part of Tel Aviv. Our task was to check that the few red-shirted volunteers were all right, that no one was hungry, that there were a plausible number of ballot papers in the boxes, and that nobody got into trouble in the new McCarthyite Israel.
Lapid's party, Yesh Atid (There Is a Future), had a large stand outside Bialik-Rogozin School. I was the last person to get a leaflet as it had just gone five o'clock and the three Lapid supporters were starting to dismantle their stall. A woman in a red dress, who behaved suspiciously like a leftist, was taunting them: 'Doesn't Lapid pay you overtime? Working 9 to 5, eh? How much did you get to stand here?' Maybe there was some truth to her jokes, as the three disappeared soon afterwards. To me, naive as I was, it looked like another sign that Lapid's party was made up of time-serving nonentities who, when it came to the big moment, no one would vote for. Who, I thought, would vote for a party that, like all the others, talks about a 'better future', but whose catchphrase – instead of the familiar 'social democracy' (Labour) or 'a strong Israel' (Likud-Beiteinu) or 'our brothers and sisters' (Jewish Home) – was 'middle class', 'middle class', 'middle class'?
A lot of people was the message I received from my friend Elad, who owns a pub in south Tel Aviv. He sent me a text listing the many friends and customers who had told him they had decided to vote for Lapid – next to two of them he added 'and his workmates', 'and her husband', and next to another: 'and his pub'. Elad said he hoped that at least the Arab population would go out and vote in large numbers, which would mean stronger representation for the Jewish-Arab list, the National Democratic Assembly (Balad) and the more conservative Islamic party (Ra'am Ta'al). I told him he should start worrying as I was just parking in the Ajami neighbourhood in Jaffa, and the queues of Jewish customers outside Arab restaurants were ten times longer than those of Arabs outside Israeli polling stations. Sixty-five years in opposition, with not one Israeli government ever having included any Palestinian Arab party in its coalition: that can't have done much to encourage Palestinian Arabs to vote. Not to mention four years of the present government with its record of anti-democratic and racist bills. Yet there is little satisfaction to be had from the Arab MPs who can't work together and have done very little to improve the situation of Israel's Arab-Palestinian citizens.
At around 9 p.m. people started saying that Lapid was expected to win about twenty seats. The text message I got from my father when I sent him this information was: 'Impossible. Let's wait and see.' But instead of waiting I had been co-opted by the party to observe the count at a religious school in south Tel Aviv. It was the first time I had done this, and I'm not sure I'd recommend it to my friends. One thing became quickly clear: Lapid was truly the star of the election. In the middle-class neighbourhood I was stationed in, he won by a very big margin. When the head of the count took out a Likud-Beiteinu ballot paper, or a Labour one, or a Shas one, or a Kadima one (this only happened once), I felt nothing, but when the paper had the letters PH on them (the symbol of Lapid's party) I felt dizzy. I couldn't believe so many people were voting for a party that was less than a year old, that didn't seem to stand for anything, other than the vague promise of a better deal for the 'middle class'. What I couldn't work out was what kind of Israel people wanted when they voted for that kind of party.
voted yesterday for sanity, they voted for hope, and they voted because they believe in our chances of working together and creating a better place … I heard the prime minister and was happy to see that he is now speaking about the same things we have been speaking about for the last year: sharing the burden [of military service], the situation of the Israeli middle class, and the need to rescue the middle class and help it in education and housing, and in everything that is important to people who live here and love this place … I also heard the talk about a blocking majority [the idea that Lapid might join a 'centre-left' bloc against Netanyahu], and I want to take this option off the table. We are not going to create this bloc with the Haneen Zoabis [smiling]. It is not something that is going to happen.
Lapid, it was clear, not only did not see himself as an alternative to Netanyahu or part of a 'centre-left' coalition, and not only did not perceive the Palestinian Arab citizens of Israel as legitimate partners: he was participating in the fascistic Israeli habit of generalising the Arab population ('Haneen Zoabis', after the Palestinian Arab MP Haneen Zoabi). It is an impressive act of condescension to dismiss 20 per cent of the country's citizens in one contemptuous phrase. The sad thing is that no one (not a single journalist celebrating his victory on television, nor any of the more progressive members of his list) was uncomfortable with the expression.
In one minute and 38 seconds, Lapid joined the large Israeli orchestra that demonised Haneen Zoabi's protest against the Israeli siege of Gaza in May 2010 when she boarded the cruise ship Mavi Marmara, which was part of the flotilla that aimed to break the siege. Israeli commandos raided the ship in international waters and in clashes with passengers, whom Israel called 'terrorists', nine Turkish citizens were shot dead. Despite the fact that the Israeli government's legal adviser said that there was no evidence to cite against Zoabi, that she hadn't committed any crime, and despite the fact that the investigation committee appointed by Israel concluded that she 'was below deck on the ship and was not involved in any clashes with the soldiers', Zoabi was marked in Israel as a traitor and an enemy. In this respect, Lapid wasn't doing anything different from other Israeli politicians. He just joined the army of Jewish Israelis who scapegoated a member of the Knesset for having concerns different from those of the Jewish Israeli middle class.
The other thing which struck me in that minute and 38 seconds was that no one had mentioned the occupation or Gaza, or the Palestinians, or the Haredi Jews (the ultra Orthodox), or anyone at all who wasn't contributing to Lapid's common good. It was a conservative morning that saw the military – again – as the focal point of Israeli society; it was a right-wing capitalist morning, a morning for the middle class to assert their right to know why their taxes were being used to help the weak; and it was a morning of blindness, since those who really need to be 'rescued' are exactly those who Lapid feels are the problem.
I remembered the reaction of my friend Abigail, who lives in Oxford and who came to visit during the 'social justice protests' in the summer of 2011. 'Why do people here keep speaking about a social protest?' she asked after a trip to Rothschild Avenue. 'This is a consumer protest.' And indeed, the hundreds of thousands of people who went out on the streets weren't there out of a wish for social or political change. It is no surprise that Lapid, the Robin Hood of Israel's middle class, won the vote in Omer and Savyon, the two richest towns in Israel, but got only 4 and 2 per cent respectively in Ofakim and Netivot, two of Israel's poorest towns. Lapid's slogans spoke about 'sharing the burden' – mostly in relation to what he called the 'unfair' exemption of Haredi and Arab citizens from serving in the army – and he was able to give the demonstrators the feeling that other people were living off them. He was distinguishing between 'those who give', meaning 'us', successful individuals, the ones who make money, and 'those who take', meaning 'them', the unemployed, the Arab citizens and the Haredi Jews, all those groups who chose their poverty at our expense.
Lapid, who began his election campaign deep in the West Bank, and who says that 'a united Jerusalem will be the capital of Israel for ever,' and that in a two-state solution Israel will maintain control of the 'blocks of settlements', and that Israel 'must at last get rid of the Palestinians and put a fence between us', knew he wasn't saying or doing anything politically different from Netanyahu, Lieberman, Yachimovich, Livni, Mofaz, Olmert, Barak (or Sharon, if he ever wakes up). In the vision of the 'peace agreement' they share, next to a sovereign, nuclear, powerful Israel that stretches over almost 80 per cent of historical Palestine, a demilitarised, hollowed out, no-airport, no-port, no-borders, no Jordan Valley, non-sovereign, 20 per cent 'Palestine' will be established. The reason Lapid has been so successful is that he knows that in a consumerist society the candidate who promises to make the most of our money is the star; that it would be a waste of his time to talk about the Palestinians. And it's because they believe in stars that people I overheard weren't sure whether to vote for 'Yair' or 'Tsipi' or 'Shelly' or 'Bibi' without even mentioning (or knowing) the name of the parties they represented.
Politics, in the usual sense of the word, played no part in Israel's election. No one gave any thought to the occupation, Israel's position in the Middle East and the growing international criticism of Israeli policies. They were enchanted by Lapid's TV presenter style, by his alleged 'new politics' – which are fundamentally no different from Netanyahu's neoliberal politics. Israelis want to imagine they are far away from the Middle East, that they have the 'regular' economic concerns of Western democracies. They want to be not part of America but another America which is situated between Lebanon and Egypt, and Lapid helped them hallucinate. Playing Bruce Springsteen's 'We Take Care of Our Own' – the same song that accompanied Obama's campaign – at full volume in his car he probably started believing it himself. Muhammad Ali, he said, was his 'cultural hero' (hence perhaps the rumours about the boxer's deteriorating health); and at the rock-style party with which he celebrated his victory he played the electric guitar while the former head of the Shin Bet (number five on his list) played the trumpet to 'With a Little Help from My Friends'. This is the sort of American dream Lapid sold the Israelis and they voted for the handsome, athletic-looking former chat-show presenter because he said the same thing as the other candidates but said it better.
A few days after the election it was reported that tests had been conducted at the Soroka University Medical Centre in Be'er Sheba to assess the condition of Ariel Sharon, who has been in a coma since suffering a stroke in 2006. The results showed that Sharon was exhibiting brain activity, though Shiba Hospital, where he is actually hospitalised, said these weren't new findings and that Sharon's condition can be defined as 'low-level consciousness'. A senior Israeli neurologist involved in the test put it more clearly: 'the chances of Sharon getting out of bed are very, very low.' Israel too is suffering from low-level consciousness, it too has been asleep for a long time, and the chances of its getting out of bed any time soon are very, very low.


1982 graduate of the Atlanta School Massage with additional hours from the Florida School Massage.
Developed the Integrated Restoration Technique of sports and wellness technique, a 150-hour program which I taught at the Academy of Somatic Healing Arts [ASHA] from 1991-2001.
Bob Lanier, MD, Daniel Applerough, MD, Rheumatologist (5 years).
Leon Chaitow, D.O., Queens College, London, UK.
Vladimir Janda, M.D., Charles University, Prague, Cz.
Phillip Greenman, DO, Michigan State University.
John Upledger, D.O. Upledger Institute.


Bauer Elite -SR Goalie Chest Protector. Square profile shoulder floaters & caps. ABS Adjustable Belly System with removable extension on bottom. Height 5'3"- 5'5" (inches/feet). Verify with local sanction rules/regulations in your area.
If you play recreational leagues, then item is perfectly fine to use. We apoligize, there is alittle bit of odor. We spray disinfectant febreze to minimize smell. Recommend to continually air out item after each game & spray febreze or clean interior. Cosmetic wear: Yes, little wear.
Dust/dirt spots & puck marks: Yes, typical from use. Interior padding: Nothing has deteriorated & padding is still provides user excellent protection. Review images for best results. Jenstad Collectibles was founded in 1998. Over the years, customers' shopping activity helped us grow into a full-time business because at our company'The Customer Comes First'. Jenstad Collectibles slogan is'Something for Everyone'. We sell a variety of products including toys, collectibles, sporting goods, home, kitchen, misc items, and much more. Feel free to browse in our store.
Thank you for giving us an opportunity to provide you with a pleasant shopping experience. Please refer to GSP tab above, for more information. All items are coming from a clean & smoke free site.
Images posted may appear larger than actual size. Refer to description for approximate sizing & measurements. Any rulers, displays or mannequins are not included, and only meant for images as a visual aid guideline and/or measurements.
Item came to us in a packed pallet. Any items we sell are new or used, customer return, store demo, closeout, supplier buyout, store shelf pull or other. We never know exact history of any item we receive, but we strive to be honest with our customers. No service and no warranties given or implied.
We are not experts in any field. Our store only writes relevant information, based on physical aspects of the product, online research or packaging description(if applicable). The item "BAUER ELITE ADULT SMALL GOALIE CHEST & ARM PAD PROTECTOR ICE ROLLER HOCKEY USED" is in sale since Thursday, January 3, 2019. This item is in the category "Sporting Goods\Team Sports\Ice & Roller Hockey\Clothing & Protective Gear\Goalie Equipment\Other Hockey Goalie Equipment". The seller is "jenstad" and is located in Glendora, California.


text:
Stehag is een plaats in de gemeente Eslöv in Skåne, de zuidelijkste provincie van Zweden. De plaats heeft 1129 inwoners (2005) en een oppervlakte van 75 hectare. Stehag is de geboorteplaats van Vilhelm Ekelund.

Plaats in Skåne län

redpajama_set_name: RedPajamaWikipedia


text:
<?php

namespace Elcodi\Bundle\GeoBundle\Tests\Functional\Services;

use Elcodi\Bundle\TestCommonBundle\Functional\WebTestCase;
use Elcodi\Component\Geo\Services\Interfaces\LocationProviderInterface;
use Elcodi\Component\Geo\ValueObject\LocationData;

/**
 * Class LocationServiceProviderTest
 * @group now
 */
class LocationServiceProviderTest extends WebTestCase
{
    /**
     * @var LocationProviderInterface
     *
     * LocationProvider class
     */
    protected $locationProvider;

    /**
     * Returns the callable name of the service
     *
     * @return string[] service name
     */
    public function getServiceCallableName()
    {
        return ['elcodi.location_provider.service'];
    }

    /**
     * Load fixtures of these bundles
     *
     * @return array Bundles name where fixtures should be found
     */
    protected function loadFixturesBundles()
    {
        return [
            'ElcodiGeoBundle',
        ];
    }

    /**
     * Setup
     */
    public function setUp()
    {
        parent::setUp();

        /**
         * @var LocationProviderInterface $locationProvider
         */
        $this->locationProvider = $this->get('elcodi.location_provider.service');
    }

    /**
     * Test that we are returning the root locations
     */
    public function testGetRootLocations()
    {
        $rootLocations = $this
            ->locationProvider
            ->getRootLocations();

        $this->assertCount(
            1,
            $rootLocations,
            'We only expect one zone to be root'
        );

        /**
         * @var LocationData $location
         */
        $location = reset($rootLocations);
        $this->assertInstanceOf(
            'Elcodi\Component\Geo\ValueObject\LocationData',
            $location,
            'The response should be a LocationData'
        );

        $this->assertEquals(
            'Spain',
            $location->getName(),
            'Spain is the only root location'
        );
    }

    /**
     * Test get children
     */
    public function testGetChildren()
    {
        $locations = $this
            ->locationProvider
            ->getChildren('ES');

        $this->assertCount(
            1,
            $locations,
            'We only expect one location to be returned'
        );

        /**
         * @var LocationData $children
         */
        $children = reset($locations);

        $this->assertInstanceOf(
            'Elcodi\Component\Geo\ValueObject\LocationData',
            $children,
            'The response should be a LocationData'
        );

        $this->assertEquals(
            'Catalunya',
            $children->getName(),
            'We expect only Catalunya as children of Spain'
        );
    }

    /**
     * Test get children with a non-existent entity
     */
    public function testGetChildrenLocationNotFound()
    {
        $this->setExpectedException(
            'Doctrine\ORM\EntityNotFoundException'
        );

        $this
            ->locationProvider
            ->getChildren('UNEXISTENT');
    }

    /**
     * Test get children with a location without children
     */
    public function testGetChildrenNotFound()
    {
        $locations = $this
            ->locationProvider
            ->getChildren('ES_CA_VO_SantCeloni_08470');

        $this->assertCount(
            0,
            $locations,
            'We don\'t expect any location to be returned'
        );
    }

    /**
     * Test get parents
     */
    public function testGetParents()
    {
        $locations = $this
            ->locationProvider
            ->getParents('ES_CA');

        $this->assertCount(
            1,
            $locations,
            'We only expect one location to be returned'
        );

        /**
         * @var LocationData $children
         */
        $children = reset($locations);

        $this->assertInstanceOf(
            'Elcodi\Component\Geo\ValueObject\LocationData',
            $children,
            'The response should be a LocationData'
        );

        $this->assertEquals(
            'Spain',
            $children->getName(),
            'We expect only Spain as parent of Catalunya'
        );
    }

    /**
     * Test get parents with a non-existent location
     */
    public function testGetParentsLocationNotFound()
    {
        $this->setExpectedException(
            'Doctrine\ORM\EntityNotFoundException'
        );

        $this
            ->locationProvider
            ->getParents('UNEXISTENT');
    }

    /**
     * Test get parents with a root location
     */
    public function testGetParentsNotFound()
    {
        $locations = $this
            ->locationProvider
            ->getParents('ES');

        $this->assertCount(
            0,
            $locations,
            'We don\'t expect any location to be returned'
        );
    }

    /**
     * Test get location
     */
    public function testGetLocation()
    {
        $location = $this
            ->locationProvider
            ->getLocation('ES_CA');

        $this->assertInstanceOf(
            'Elcodi\Component\Geo\ValueObject\LocationData',
            $location,
            'The response should be a LocationData'
        );

        $this->assertEquals(
            'ES_CA',
            $location->getId(),
            'Unexpected id for the received location'
        );

        $this->assertEquals(
            'Catalunya',
            $location->getName(),
            'Unexpected name for the received location'
        );

        $this->assertEquals(
            'CA',
            $location->getCode(),
            'Unexpected code for the received location'
        );

        $this->assertEquals(
            'provincia',
            $location->getType(),
            'Unexpected type for the received location'
        );
    }

    /**
     * Test get location not found
     */
    public function testGetLocationNotFound()
    {
        $this->setExpectedException(
            'Doctrine\ORM\EntityNotFoundException'
        );

        $this
            ->locationProvider
            ->getLocation('UNEXISTENT');
    }

    /**
     * Test get hierarchy
     */
    public function testGetHierarchy()
    {
        $hierarchy = $this
            ->locationProvider
            ->getHierarchy('ES_CA_VO_SantCeloni');

        $expectedHierarchyNames = [
            'Spain',
            'Catalunya',
            'Valles Oriental',
            'Sant Celoni',
        ];

        $this->assertCount(
            count($expectedHierarchyNames),
            $hierarchy,
            'The height of the received hierarchy tree is incorrect'
        );

        foreach ($hierarchy as $key => $hierarchyNode) {
            $this->assertInstanceOf(
                'Elcodi\Component\Geo\ValueObject\LocationData',
                $hierarchyNode,
                'Every node received should be a LocationData'
            );

            $this->assertEquals(
                $expectedHierarchyNames[$key],
                $hierarchyNode->getName(),
                'Unexpected name for one of the received nodes'
            );
        }
    }

    /**
     * Test get hierarchy for multiple paths
     */
    public function testGetHierarchyMultiplePaths()
    {
        $hierarchy = $this
            ->locationProvider
            ->getHierarchy('ES_CA_VO_SantCeloni_08470');

        $expectedHierarchyNames = [
            'Spain',
            'Catalunya',
            'Valles Oriental',
            'La Batlloria',
            'Sant Celoni',
            '08470',
        ];

        $this->assertCount(
            count($expectedHierarchyNames),
            $hierarchy,
            'The height of the received hierarchy tree is incorrect'
        );

        $hierarchyNames = [];
        foreach ($hierarchy as $key => $hierarchyNode) {
            $this->assertInstanceOf(
                'Elcodi\Component\Geo\ValueObject\LocationData',
                $hierarchyNode,
                'Every node received should be a LocationData'
            );

            $hierarchyNames[] = $hierarchyNode->getName();
        }

        $this->assertSame(
            sort($hierarchyNames),
            sort($expectedHierarchyNames),
            'Unexpected hierarchy returned'
        );
    }

    /**
     * Public function test get hierarchy not found.
     */
    public function testGetHierarchyNotFound()
    {
        $this->setExpectedException(
            'Doctrine\ORM\EntityNotFoundException'
        );

        $this
            ->locationProvider
            ->getHierarchy('UNEXISTENT');
    }

    /**
     * Test in found
     */
    public function testInFound()
    {
        $found = $this
            ->locationProvider
            ->in('ES_CA', [
                'ES',
            ]);

        $this->assertTrue(
            $found,
            'CA should be found inside ES'
        );
    }

    /**
     * Test in found with multiples possibilities
     */
    public function testInMultipleFound()
    {
        $found = $this
            ->locationProvider
            ->in('ES_CA_VO_Viladecavalls', [
                'ES_CA_VO_SantCeloni',
                'ES_CA',
            ]);

        $this->assertTrue(
            $found,
            'Viladecavalls should be found inside ES_CA'
        );
    }

    /**
     * Test in not found
     */
    public function testInNotFound()
    {
        $found = $this
            ->locationProvider
            ->in('ES', [
                'ES_CA',
            ]);

        $this->assertFalse(
            $found,
            'ES should not be found inside CA'
        );
    }

    /**
     * Test in not found for multiple options
     */
    public function testInNotFoundMultiple()
    {
        $found = $this
            ->locationProvider
            ->in('ES', [
                'ES_CA',
                'ES_CA_VO_SantCeloni',
            ]);

        $this->assertFalse(
            $found,
            'ES should not be found inside Catalunya or Sant Celoni'
        );
    }

    /**
     * Test in with a non-existent location
     */
    public function testInLocationNotFound()
    {
        $this->setExpectedException(
            'Doctrine\ORM\EntityNotFoundException'
        );

        $this
            ->locationProvider
            ->in('UNEXISTENT', [
                'ES_CA_VO_SantCeloni',
                'ES_CA',
            ]);
    }
}

redpajama_set_name: RedPajamaGithub


Styled Stock Photography Icons collection is a large set of 130 icons that are specially curated for styled stock photographers, designers and creative freelancers! I am a huge fan of beautiful Styled Stock Photography. Seeing these type of images on my social media like Pinterest and Instagram is a dream to me. Because I`ve never seen any icons that would cover the subjects that are so often used in Styled Photography, I decided to made them my self!
STYLED STOCK PHOTOGRAPHY ICONS ARE A BIG HIT AMONG LADY BOSSES!
All the favorite subjects in styled stock photography are here, including the all-present peony flowers, cacti, succulents, monstera plants, notebooks etc. Use them in your social media feeds, for personal or client websites and blogs.
Thank You and enjoy creating!


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Image courtesy of Nick Atkins.
by Paige Silveria
14 November 2019, 8:17pm
Artist Nick Atkins turns his climate anxiety into art
He uses his fantastical work to cope with society's abuse of the earth and inspire action.
New York-based artist Nick Atkins' latest exhibition Nocturne is comprised of new paintings, sculptures and a giant, bizarre, color-coordinated shrine. The show, which is on display at Entrance in New York, centers around an ongoing sci-fi fantasy narrative called "Hanji Party." It follows the adventures of its main character, Harp, and his alter-ego/imaginary friend, Party Fanatic, both which serve as a kind of coping mechanism for Atkins' feelings of hopelessness concerning society's environmental misdeeds.
"I use Harp's world as a means to explain some of the themes going on in my life and as inspiration for art, painting, music and sculpture," explains Atkins. "The majority of it comes from an ache concerning our connection to the Earth and what we're doing to it — and I know I'm a part of this myself; I can barely get myself to recycle."
With each exhibition Atkins parcels out a new chapter from the long Hanji saga. "I'm framing these shows like episodes so they have a clear meaning: beginning, middle and end, in a way... My drawings become storyboards for this pretend TV show." In addition to focusing on collective society's shameful mistreatment of Mother Earth, other themes in the developing narrative are derived from an assortment of the artist's personal experiences, like the trauma of working with survivors in the aftermath of the 2010 earthquake in Haiti, as well as a time-honored struggle with drug and alcohol abuse.
But instead of harping on the negatives, Atkins hopes to keep things upbeat and bring about some communal pleasure with his work: "The main thing that I think I can do is to take some of that uncomfortableness and try and turn it into some of the art. That impact, if it's positive, is really all I can do. I want to try to expel some joy where old people or young people at the show say, 'Hey, I loved that so much.' I'm just trying to turn all of these negative feelings around."
i-D caught up with Atkins to learn more about "Hanji Party" and his latest exhibition.
Give me a little background on your work. You began with videos?
I filmed a lot of reality stuff before anyone was really doing it — before Instagram was popping. I'd cut them up into these clips (seen here on his Vimeo page, TVTV). I felt super disconnected and it was how to express myself through video, through my life. I was doing a lot of traveling and going to Haiti a lot. Now that kind of video work is super common practice; people enjoy watching other people's lives. But seven years ago, to show exactly what you were doing and where was rare. Especially for someone like me who fancied themselves secretive or some sort of pseudo-criminal.
How did you transition into making the work you do now, which is so different?
After doing that for a long time, I thought that the next phase of what people were going to want to see was people creating their own fantasy. From all this documenting and my experiences in Haiti and just life shit, like drugs, and problems, this other narrative arose, this science fiction autobiographical fantasy that I call "Hanji Party."
What is "Hanji Party" exactly?
It's this narrative centered around this young semi-politician called Harp and this imaginary friend of his called Party Fanatic, a creature that only he can see and interact with. Harp's a representative of one of very few tribes of people that are left on Earth in this post-apocalyptic future. Every year they gather to celebrate their existence on the planet with something called a Hanji Party. Each of the different tribes is represented by a different color; Harp's tribe is blue. Following the catastrophic event, the president had taken advantage of the opportunity to start fresh as a humanity and make everything functional. He melted down all the guns in the world and reconnected everyone back to nature — and this is what they're celebrating essentially.
Who are the bad guys?
I always wondered what all of these genetically modified Monsanto organisms/plants that humans have created would eventually turn into. Instead of aliens or machines, it's like if Terminator is this horrific monster that's a mutated amalgamation of all of these plants coming to seek revenge for what humans have done to nature. When I was in Haiti, the farmers would burn Monsanto seeds. These big genetically-modified seed companies would send them seeds and say, "Hey go ahead. Use these." But the seeds were genetically locked. And these people were so poor. And they would have to rebuy them every year because they would die every year. They couldn't be replanted. They made all of these modifications for money. So farmers would burn them. They'd attack the bags of seeds. That act of retaliation really stuck in my mind.
How does this story translate back into your visual art?
I use Harp's world as a means to explain some of the themes going on in my life and as inspiration for art, painting, music and sculpture. My drawings become storyboards for this pretend TV show. I would look at all of these "Making of" books about movies — "Making of Alien," or whatever. There's all this art that goes into their creation; I would emulate that to render all these different aspects — mostly as inspiration, but also to expand this idea. The ultimate goal would be to film this show, but even if I didn't, the art from behind the scenes is almost more important than if I ever actually made the film.
Where did your connection to Haiti come from?
In the 50s, my grandfather's first wife remarried a Mellon — of Carnegie Mellon — and they went and started this hospital in Haiti. (They were very cool people.) It's not my direct family, but we're so close still. And ever since I was really young, when I got in trouble, my mom would send me there to take a good look at what I had, to try to get me to understand more about the world I was living in. I'd be around doctors and artists all day. So in 2009 I left NYC after having lived here for almost 10 years. I had to get out. I did this like geographical: "Oh the city's killing me. I can't do it." And blamed a lot of my problems on New York City. During this time I traveled around and would go to Haiti often and just kind of live. At this point I understood a little bit more about art and in order to be useful and to engage with the community there, I'd paint these murals with my cousin and kids from the neighborhood.
That was right around the earthquake right?
Yeah there was that massive earthquake in 2010 and like 250,000 people died. The whole fucking island was crushed. Our hospital was the closest one outside of Port Au Prince, which was the epicenter of the devastation. It got flooded with so many people day after day. We got a grant from the UN to take care of the people, because the population in this tiny rural area had just blown up and there were no jobs, no infrastructure. No one knew what to do. I arrived the month following the disaster.
I had a ticket to Haiti to land on the day of the earthquake but for some reason I didn't go. That was a weird one — which I forgot about until now. So I just lived there for three years. I implemented different grants. It was crazy. We set up this beautiful amazing prosthetic center because all of this shit fell on people and crunched them all up. A lot of them were missing limbs or had to relearn how to walk. And I worked with patients in a clinic to craft as therapy. You know the number one export from Haiti has been art for a long time. It always impressed and affected me so much, seeing all of these people making this amazing artwork with very little. They wake up and make art and sell it; it's their life; that's their career.
What eventually brought you back to the States?
My time in Haiti was also pretty devastating: the traumatic experiences and the partying, the drug and alcohol use. I misspent all this grant money, which almost got me incarcerated. It was just a little volatile. No infrastructure and long periods of isolation, speaking only Creole. With all this craziness, I felt a loss of identity and an exclusion from society. All sorts of shit started to weigh on me. It kind of plateaued in this like mental earthquake and so I left.
I went back to my mom's house and I set up a studio there and started making work. I started pulling little pieces of my life together, which eventually became the shrine that's on display at the current exhibition. It reflects what I see and do. I started making cut-out paintings inspired by Haitian techniques. There was a boutique at the hospital that I always felt connected to. When I was young, I saw this cut-out Haitian Mickey Mouse in a tuxedo and I thought that was so fresh — characters that I was so connected to, recreated over there and kind of like manipulated. I always liked a bizarre shift or perversion. That's always what I look for and love in my work too.
You mentioned that Harp's narrative is a reflection of themes in your life. Can you expand on that a bit more?
A lot of it has to do with drug addiction and use. The majority of it comes from an ache concerning our connection to the Earth and what we're doing to it — and I know I'm a part of this myself; I can barely get myself to recycle. It's like I'll go out and say I'm not drinking and then I drink. And harmful things like plastic use feel like an addiction to me. Saying that I'm going to try to just drink out of a metal water bottle, but then I catch myself getting all this plastic shit and plastic bags.
This feeling of helplessness extends past me, extends into the world, into government, into society. The main thing that I think I can do is to take some of that uncomfortableness and try and turn it into some of the art. That impact, if it's positive, is really all I can do. I want to try, little by little, to become connected, to go back to where we came from. You know, personally, where things started to take a turn, trying to reel it in a bit and from that try to expel some joy where old people or young people at the show say, "Hey I loved that so much." Just trying to turn all of these negative feelings around.
There's a hopelessness but also a kind of willful ignorance in our society. Are you hoping to bring about awareness with your work or more just reflect and commiserate?
It's blissfully ignorant it seems. Like people might not even know what they're engaging in. People would rather not know. I'm still working it all out my damn self. People in society, I have no real bearing on them. All I can do is take these frustrations and turn it into something that they can at least say, "Oh that was a beautiful moment." Or if they purchase it, then their children get to see it in their houses for a long time. Whether they understand where it came from or not, that beauty is what I can contribute. Any kind of changes socially or environmentally, all I can do is do it for me. I would never say, "Hey society. I'm an artist. You should do this. You should do that." I basically shattered my brain from age 12 to age 33, so I'm just trying to reorganize it and reassess how I want to live my life — how life is and how I want to navigate through it.

redpajama_set_name: RedPajamaCommonCrawl


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Ewa PODLEŚ - Contralto. The most recognized Polish singer, widely regarded as the World's foremost contralto at the present time. "One of the greatest artists of our times" (Le Figaro). "Her contralto voice is one of the most distinctive sounds around today" (The New York Times).***
Katarzyna HOLYSZ – Soprano. The voice called "jugendlich-dramatischer". "She has all attributes to become an authentic opera star" (Gazeta Wyborcza).
Kaludi KALUDOW - Tenor. Bulgarian singer resident in Poland. World-recognised "voce verdiano", sings in all major opera houses and concert halls.*
Philippe BERNOLD (France) - flutist and conductor. Winner of the Int'l Jean-Pierre Rampal Competition Paris 1987. "The kind of player who makes the hard things look easy" (Manchester Evening News). **
Markus BELLHEIM (Germany) - pianist. Winner of the Int'l Olivier Messiaen Competition Paris 2000. "Magnificient, stylistically perfect" (Le Figaro). "Unbelievably high music acquirements" (Neue Ruhr Zeitung). "Sensational" (Ruch Muzyczny).**
Jory VINIKOUR (USA/France) - harpsichordist. Winner of the International Wanda Landowska Competition in Warsaw (1993). "The undisputed winner" (Ruch Muzyczny). "He combines thoughtful scholarship and imaginative vitality" (Chicago Tribune).**
Marcin DYLLA – guitarist. Winner of 19 international music competitions. "Dylla ranks among the most gifted guitarists on the planet" (The Washington Post).**
TUTTI E SOLO Poznan Chamber Ensemble - group of four musicians performing Baroque and early classical music. The string instruments are contemporary ones, the harpsichord is a Silbermann's (18 c.) replica. "Superb quality" (Hamburger Abendblatt). "Stylistic mastery" (The Washington Post).
LUTE DUO - Anna Kowalska and Anton Birula masterly perform interesting, often neglected repertoire, mainly from the Renaissance and Baroque periods, written for lute and similar instruments (theorba, baroque guitar...). The original ancient instruments or their contemporary copies are presented by the artists during the concerts.*
GALLERY QUARTET - ensemble of wind-wood instruments, formed by the soloists of the Poznan Philharmonic Orchestra, who play together for 20 years now. "Enthusiastic audience" (Ruch Muzyczny).
ORTHODOX CHAMBER CHOIR "Cappella Musicae Antiquae Orientalis" - ensemble of 25 singers specialised in the Orthodox Church music, first of all by the Russian masters of the 18-20th c. Leader, prof. Leon Zaborowski, as well as some Choir's members received their musical education (incl. Peter Tchaikovsky Conservatory) in Moscow.
Partnership in music - master classes given by professor Jerzy MARCHWIŃSKI, founder and longtime leader of the Chair of Piano Chamber Music at the Fryderyk Chopin University of Music in Warsaw, pianist, author of numerous publications, books and essays on partnership in music.
Maciej SZTOR - conductor, performs large classical repertoire, pasionated by film music, incl. big forms from American films and musicals, for which he owns many orchestral materials with the editors concertrights.
We also co-operate with several other soloists and ensembles, represented by us occasionally.
* non-exclusive
** representation for Poland and selected countries.
*** representation for Poland
e-mail: jacek@nedzynski.com
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The award-winning Food's Future Summit 2018 by Foodie is returning on 21 and 22 September. Launched in 2017, the goal of the Summit is to initiate change within the world of food by furthering ideas, knowledge and connections across the full spectrum of the food space and the public. The Summit hopes to recognise future-forward innovations; champion individuals behind critical causes; and empower consumers to make better-informed decisions about what they eat.
Interested to be a partner or a market vendor at the Food's Future Summit? Kindly email Yan at yan@afoodieworld.com.


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Café Life and Ice Cream
October 2, 2019 June 3, 2020 / WriteMindsWritePlace
Francesca looks at how growing up in cafés between the Fifties and Seventies has influenced her novels, as she continues the series inspired by The Great British Bake Off. And there's ice cream!
After a day working at the cafe as a teen
All writers are bound to be influenced by their own upbringings, and it's certainly true of me. The first novel I ever wrote was a YA called Sea Angel. The main character in it was fourteen-year-old Morwen. Although her fortunes and failures weren't mine, and I didn't have to live over the place like she did, we naturally had much in common. That included youthful resentment at having to work in the business in our spare time.
I pictured Morwen's café to look much like our own, even if I did lift it out of Littlehampton and place it in an imaginary Sussex village called Littlebay. Recently it has featured again in both a 1970s pocket novel I've written and in a saga I've begun set in 1914, where it remains firmly in Littlehampton.
The Mediterranean in the early 60s, circled.
The business in Littlehampton (incongruously called The Mediterranean), was a seaside restaurant serving (in my humble opinion) some of the best fish and chips I've ever tasted. It also sold pork and lamb chops, sausages, ham, eggs, spam and spam fritters (remember those?) in different combinations with chips and a choice of beans or peas. There were also ham or cheese salads and roast beef and two veg. Over the years the menu changed little, being what the day trippers desired during the Sixties and Seventies.
View from the Mediterranean of the River Arun
The fish was delivered fresh every day from a local fishmonger. I recall a long-time chef we employed boning the cod and plaice with great skill. There was certainly nothing frozen. The kitchen housed two large fryers into which were melted huge blocks of lard. In the basement was a peeling machine that removed the skins before the potatoes were chipped. This was originally done by a type of guillotine hand slicer, then later on an electric chipper. They were then part fried and kept in an industrial sized fridge in the basement until needed. Twice fried chips before they were even a thing!
For dessert you could choose between peaches and/or ice cream, chocolate gateau, apple pie and cheesecake. We also served up a very nice frothy coffee (in the days before there were myriad variations) and strawberry, chocolate or pineapple milkshakes, made with ice cream.
The Criterion in the early 70s had a name change
Regrettably, there was never time to bake our own cakes, though we did get them delivered from a nice patisserie. Further back, when my father had The Criterion café in Worthing, there was a time when he made his own ice cream. I never thought to ask Dad what his recipe was, though I do recall him saying it involved large cans of condensed milk.
Me, circa 1959, outside the Criterion.
This café, where I spent the first three years of my life (especially since we did live over this one), was more a snack based eating establishment. It used to open from nine in the morning till eleven at night, the evenings attracting the café youth culture of the Fifties.
The Criterion featured in a 1950s series I had published in The People's Friend called Happy Days at the Criterion. It tells of the meeting and romance between Gwen and Renzo, based on how my own parents met and got together.
A busy evening at the Criterion, c1958
Back in the early 90s, I acquired an electric ice cream making machine. I think these days they're much easier to use, but back then you had to keep adding combinations of salt and ice to the outside layer and the whole process was a real pain. It made me wonder what kind of effort Dad had expended in making it by hand. I persisted with the machine and made many different flavours of ice cream over the decade. One of my favourites has to be brown bread ice cream.
Brown bread ice cream originated in the Georgian era. It seems to have made a bit of a comeback recently, though I first tasted it in a restaurant in Lincoln over thirty years ago. It was this that prompted me to try making my own, once I took possession of my machine.
It's been many years since I gave up on the contraption, but I still have the recipe for the brown bread ice cream, which I make occasionally now by hand.
Brown Bread Ice Cream
1 vanilla pod or 3 drops of essence
50g dry brown breadcrumbs
Ice cream dishes and a tablecloth I kept from the Mediterranean
Put the milk and vanilla into a heavy-based saucepan and bring slowly to the boil. Remove from the heat, cover and stand for ten minutes. Remove vanilla pod and reheat to simmering.
Beat the egg yolks and sugar in a bowl until thick and pale yellow. Gradually pour the hot milk into the eggs, stirring continually. Strain into a heavy-based or double saucepan and stir over a gentle heat until the custard thickens enough to cover the back of a spoon. Do not boil. Allow the mixture to cool and place in a freezer for one-and-a-half hours, until mushy.
Gently toast the breadcrumbs under a low grill, turning them to ensure they toast evenly. Put aside to cool.
Beat the cream to form soft peaks. Fold the cream and breadcrumbs into the frozen custard and freeze. Beat the mixture after one hour, then seal and freeze.
The Mediterranean was sold in 1981 and for a time became a burger bar. It eventually returned to being a fish and chip restaurant called Osca's. It looks very different to when we had it, but I'm pleased to report that their fish and chips, tried recently by Elaine and me, are excellent and I recommend a visit if you're in Littlehampton.
Francesca's latest novel, Heartbreak in the Valleys, a Great War saga set in Wales, will be published June 10th 2020 and is available for pre-order.
Francesca's Twitter
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Danger for Daisy
cafe, Danger for Daisy, fish and chips, Francesca Burgess, Francesca Capaldi, Littlehampton, novels, restaurant, seaside, That's Amore, Worthing, writing
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Guest Author Rosemary Goodacre On Her Saga, Until We Meet Again →


When it comes to South America, your options of places to live are endless; for some people, they suggest you live in Bogota while some people, they suggest you live in Medellin. Whichever place you choose to settle with in South America, do know that a lot of business establishments are now thriving there because of how fruitful their technology atmosphere has become.
When it comes to having a South American move, you have to be able to find the right place to move. For you to discover more about the best cities that you can be moving into in this particular continent, view here for more and you may check it out!
When it comes to this particular continent, the country that typically stands out the most is Brazil with its thriving economic and social backgrounds in the past ten years or so. This is one of the reasons why if you make mention of South America, what automatically pops into the minds of most people is Brazil.
If you look at Sao Paulo, you might underestimate this particular city at first. But then, this particular city is so big that as a business newbie, you may be facing a lot of challenges if you have plans of conquering it. Nonetheless, living in this city will make you understand better why even the locals themselves would not want to reside just about anywhere else.
A lot of startup businesses have been shown to find this place a great place to begin. In fact, a startup business in Latin America you call Drafiti has been proven very successful in this particular city. You will have to expect this of course since Brazil would not have attained this much success if not for Sao Paulo.
Another place that you can consider going when you are headed to South America is Buenos Aires of Argentina. Make sure to consider living in this city for all of your food needs as well as being able to thrive within its ultimate nightlife. And yet, if you are after what is the most flourishing in this country, the tech world is where you should start exploring here.
If you are wondering how Buenos Aires compares to other countries, you should know that it is known as the Silicon Valley of Latin America. If you have heard of Globant, a successful tech industry, this is particularly the city where it thrives and one that has quite a number of offices across 17 countries worldwide with earnings of $400 million. Click for more on this homepage to get a view on what this service or this product this particular tech company offers you now!
If these tech giants are present, it only means that there will be major tech population in the area just waiting for you to tap them. You might want to check out Palermo and Parque Patricos being two of the liveliest neighborhoods in terms of technology.


In this article as well as in the video below I go over an in-depth tutorial on how to use our percentage calculator as well as deriving the formulas shown for each of the calculations by hand.
Similar to the above video, screenshots of our percentage calculator are shown below and each calculation is discussed as well the formula derived.
3/5*100 and the answer is 60.00%.
Increase / 0.1 = (12335 - 0.1) / 0.1 * 100 = 12,334,900 ≈ 1.23 x 107 %.
Note that the final answer is rounded up and written in Scientific Notation which to make sure the answer fits into the answer box. Scientific Notation is simply a number written as a multiply of 10 to the power of another number. In our case 1.23 x 107 simply means 1.23 * 10,000,000 = 12, 300, 000 which is thus a rounded up version of the actual answer of 12, 334,900. This is especially useful when dealing even bigger numbers such as 1.23x1022 which if written normally out would be 12,300,000,000,000,000,000,000 which would not fit into our small answer box. Similarly this is can be used for very small numbers as explained further in the homepage of our percentage calculator so make sure to check that out.


Provident Living: New Dinosaur in Mesa (and it's not Barney)!
Ok, who loves dinosaurs?!? There is a new exhibit at the Arizona Museum of Natural History, coming October 3rd. It features a "lost dinosaur": Therizinosaur. I am trying to teach my two-year-old to say that.
While you are at the museum, check out dinosaur mountain, with monsoon storms every fifteen minutes. Since the outdoor temperature has cooled down from blistering to scorching, you might enjoy panning for gold in the courtyard!
For more information on the new exhibit, check out their website: http://www.azmnh.org , or see below.
One of the newest and strangest dinosaur fossils from North America is the subject of a stunning new major exhibit. "Therizinosaur-Mystery of the Sickle-Claw Dinosaur" opens Saturday, Oct. 3 at the Arizona Museum of Natural History, 53 N. Macdonald in Mesa.Paleontologists from the Museum of Northern Arizona in Flagstaff made an once-in-a-lifetime find in 2000 with discovery of a single toe bone during an excavation in southern Utah. The discovery led to the recovery of the most complete Therizinosaur skeleton ever found. While all dinosaurs lived on land, the Therizinosaur was found in a location that was the bottom of the Cretaceous Western Interior Seaway, an ancient sea that covered the middle of North America. But how did the whole animal, 93 million years ago, get buried in a seafloor, 60 miles from shore? Come to the Arizona Museum of Natural History to find the answer.The exhibit will include fossil beds and a life-size Therizinosaur that is a free-standing skeleton, cast from the original bones of the 13-foot tall, one-ton sickle-clawed and feathered dinosaur. It is the first mounted interpretation of the animal's stance and posture.The opening day of the exhibit will also feature a talk by Museum of Northern Arizona Paleontologist Dr. David Gillette, the exhibit curator, who led the excavation team that discovered the Therizinosaur remains. "The Curator's Story of Therizinosaur" will be held at 2 p.m. in the Arizona Museum of Natural History Theatre.For more information, contact Arizona Museum of Natural History Curator of Education Kathy Eastman at (480) 644-5662, or visit http://www.azmnh.org.


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Saalbach is surrounded by beautiful countryside and is a paradise for hikers. The village has an attractive pedestrian zone with lots of shops and restaurants.
Flight time from London: 1 hour 5 min
Luxembourg Findel Airport: 107km from the city centre; transfer time about 1 hour 10 min
Nearest railway station: Saarbrücken Hauptbahnhof
Saarbrücken, the capital of the state of Saarland in Germany, was once a thriving industrial city producing steel, sugar, beer, pottery and other materials. Although the emphasis on industrial production has dwindled over the last ten years, it is no less a fascinating city. Its beautiful scenery and historical buildings in the old part of town make it both an attractive and interesting destination for visitors. A city of bridges, Saarbrücken's proximity to France also means that it has retained a certain French influence in its lifestyle and culture.
If our hotels in Saarbrücken are not what you are looking for then check out our Hamburg city breaks and hotels in Cologne for alternative trip options.
St Johanner Market
Saarbrücken is framed by its three prettiest squares, which give the city a historical and sociable feel. St Johanner Market square is filled with bars, cafes and restaurants and relaxing here, in the heart of the Old Town, is the perfect way to spend an afternoon.
Saarbrücken Palace
The Saarbrücken Palace is an eclectic mix of baroque and modern architecture at the centre of which is an avant-garde structure. Open air concerts are held in the palace gardens in summer.
Ludwigskirche Church
Known to be one of the most beautiful Protestant baroque churches in Germany, Ludwigskirche church was once the residence of the aristocrats. Along with the Ludwigsplatz square, it is a stunning example of baroque architecture and of the architect Stengel's work.
Saarbrücken also has an array of interesting museums. The Saar Historical Museum informs on the history of the Saarland in the 20th century. Exhibitions of the First World War and of the Nazi period also exist and it is even possible to view a cell once used by the Gestapo. Another fascinating museum is the Saarland Museumwhich has an Old Gallery exhibiting works from the Middle Ages to the 19th century, and a Modern Gallery which has a collection of German and French impressionism from 1950 onwards.
Being so close to the border with France, French influence can be seen particularly in the cuisine of Saarbrücken. Restaurants such as Forsthaus Neuhaus feature a predominately German and French menu. This particular restaurant will offer a unique dining experience in Saarbrücken. Located in the heart of a forest, which was formerly a hunting ground, the interior of the restaurant is surprisingly modern and spacious and at the back is a beer garden.
Owned by Klau Erfort, who was voted the chef of the year in 2008, Gästehaus Erfort is the most famous restaurant in Saarbrücken and has been rated one of the top 10 in Germany. This is because the food served is some of the most creative and delicious in all of Germany. Many of the dishes on offer are traditional but they are served with such innovative gusto that it makes this restaurant an absolute must-try.
Bio Live, offering live music and reasonably priced food, is a firm favourite with locals. Serving a range of cuisines from French to Mediterranean to Euro-Asian, there is something here to suit all tastes and palates.
El Sombrero serves Mexican food and has a buzzing atmosphere. The décor is appropriate to the menu and is popular with families due to discounts on Fridays. Serving traditional Mexican tacos, burritos and nachos, the food is excellent and this is a very popular choice.
Shopping in Saarbrücken is a diverse experience with as many as 200 shops on offer. The very chic St Johanner Market Place, with its narrow streets and courtyards, is home to exclusive boutiques, art galleries and small shops.
The Old Town of Saarbrücken also boasts a charming shopping experience, combining the cobbled streets and historic buildings with boutiques.
The Chinese quarter, as it is affectionately called, is the most vibrant and up and coming district in Saarbrücken. More alternative products can be purchased here, such as organic food, clothes and second-hand goods. The Chinese quarter is also home to some trendy bars.
Described as having the most diverse nightlife in Europe, Saarbrücken has so much to offer both locals and visitors. Nightclubs in this city are of a very high standard and promise a great night to all who venture inside.
The most popular is the appropriately named Club No.1 where most of the student population flocks. Its range of music and trendy atmosphere make it a firm favourite and it also hosts special events throughout the year.
S-Club is less of a night club and more of a relaxing bar for those who prefer to talk and unwind rather than dance the night away. The chilled music and friendly staff mean it is the perfect place to go grab a drink with friends.
Blau Night Club is one of the most impressive clubs in Saarbrücken. It has two main dance floors each with its own theme. The Flamingo Lounge is decorated with Flamingos and the Theatre has LCD lights. Another club for dance fanatics is the Canossa which plays all types of music including house, hip-hop, soul and funk.
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Adobe does a really good job of showing you how to deploy thier software. They have a Customization Wizard for 9 which will allow you to easily create a transform for the deployment. They also have some white papers on various deployment methods. Check out the following website for Enterprise Deployment.
The Customization Wizard works just like AdminStudio or Wise, however it modifies some keys in the MSI tables that allows you to call the installation without requiring the use of setup.exe. It also enables the ability to do an Administrative Installation using an Admin Install Point.


In an webinar discussion, as part of the IDEC@Internet digital symposium, Drs. Kelly Killorn-Moravec and John Moravec discussed their findings from World Café conversations at the European Democratic Education Community (EUDEC) annual meeting in Warsaw in August, 2015. In these conversations, they invited the EUDEC community to provide feedback and insight on how to best actualize the principles enshrined in Manifesto 15.
The following notes present a summary of our conversations, together with actionable "next steps" that will be worked on by the Manifesto 15 community and shared further at the IDEC@EUDEC conference in June, 2016.
Question 1: What good examples or good practices already exist?
Participants in this discussion identified many practices that currently exist which fit within with framework of the Manifesto 15 principles. In regard to educators, these include growing the number of teachers who are questioning and seeking answers for change, sharing good ideas with one another, and living the principles of Manifesto 15.
Current good practices specific to learners include engaging students emotionally, socially, and mentally by creating a physical space conducive for learning and developing within it an environment of respect and transparency through providing opportunities for moving from child-centered toward child-emergent learning, allowing for personal choice in learning, connecting to students' previous experiences and interests, and participating in projects involving collaboration and teamwork. Specific examples included free-schooling methods, "flipped" classroom instruction, students as teachers where the teacher is a partner or mentor, mixed-age groups, developing a school government system, providing opportunities for social entrepreneurships during which students learn through engaging with the community, student education retreats, student-developed startup weekends funded through foundation resources, Social Impact Awards, and the development of learning communities where participants are both teachers and learners simultaneously and on equal terms and are engaged through mixed disciplines and subjects, linked to society's needs. Resources for development currently being used included Ted Talk videos and discussion, MOOCs, networking and collaborating through EDUFORUM, and systemic modeling of teaching and learning methodologies.
Question 2: Where do you want to go in the future?
Ideas for a future vision of education were also considered. These centered on the concepts of learning environment and relationship building. Within the topic of learning environment, participants suggested ideas such as changing the model to allow for more "knowmadic" experiences, removing compulsion from schooling, providing free opportunities for education and learning, classes with mixed-age groups, differentiated settings for learning, small class sizes to encourage student cooperation and collaboration, development of centers for projects on different topics, student choice in course offerings and learning opportunities, developing one's own sense of learning, students leading teaching with teachers serving as advisors or mentors, development of soft skills, providing a space for failure and supporting students in their attempts to try and fail, developing a safe space for communication, and cultivating an environment of trust where intercultural respect exists and everyone is tolerant of one another.
Similarly, participants identified the importance and advantage of integrating "micro worlds" through developing relationships between students, parents, schools, and communities. Through this interconnected community, experiences can be shared and ideas may be communicated; global and transnational learning communities can be developed; and established resources (universities, communities, libraries, texts, etc.) may be connected and shared with interested learners. Finally, needs were identified to further develop teacher preparation coursework to support these ideas and the principles of Manifesto 15, while deliberately incorporating technology in non-invasive, "invisible" ways.
Question 3: What are our next steps to make this happen and what can we share with future Manifesto 15 groups?
As participants discussed what they envisioned for the future, several next steps emerged. First, developing opportunities to promote, explain, discuss, and further clarify the principles of Manifesto 15 through development of a glossary of terms, translation into new languages, synthesis of new ideas, and authentic redistribution through such means as social media presence, stickers, bumper stickers, magnets, notebooks, calendars, t-shirts, and short video clips highlighting each principle. Further, curating the principles of Manifesto 15 within communities and online could be done through a group of "Manifesto 15 Ambassadors" who would share and promote ideas, co-educate one another, and involve kids (we are already moving forward with this idea and will have an update soon).
Second, participants suggested identifying more good practices for application, such as deconstructing the myths in education and sharing the realities of schools; being examples of openness and trust; sharing the experiences of what has been done, what is wanted, and what is needed; using every opportunity to learn; and taking time for reflection and summary.
Third, the importance of creating communities through a shared trust was also discussed. This might be done by connecting with – and involving – schools, businesses, communities, and industries through shared communication, education, and decision-making; organizing and gathering people to produce impactful collective action; and engaging teachers within various contents (English, vocational, humanities, social sciences, etc.) in discussion around the principles of Manifesto 15.
Finally, it was suggested that we might involve political groups and influence decision-makers to create alternatives to what currently exists. Examples of this include taking steps to change teacher education programs, merging formal and informal education, and developing opportunities for entrepreneurial skills development, and creating a union to advocate for children's rights.


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Amistad makes final event-donation to Terra Scholarship Fund
Fremont, OH, December of 2008: A group of Latino friends, known as Amistad, has held its final special event that supports scholarships at Terra Community College.
Since 1987, six area couples have been organizing dances, campouts and other social activities, benefiting local colleges. Terra students have shared in the group's generosity since 1996. Throughout the years, the group has contributed more than $15,000 for scholarships for Latino students enrolled at Terra.
"But, even though the group has held its last special event, contributions will continue to be made to the Amistad Scholarship Endowment Fund through an annual fundraising campaign," said Dr. Sue Babione, Executive Director of the Terra College Foundation.
The six couples who founded Amistad, are: Al and Gloria (Hernández) VanCoppenalle of Toledo, Bob and Amelia Valle of Gibsonburg, Ramiro and Carol Martínez of Fostoria, Clyde and Dora López of Oregon, and Ramiro and Anita Almaguer and Fernando and Mary Costilla, of Fremont.
Babione looks forward to Amistad members continuing their involvement with Terra. Bob Valle remains a member of the Foundation's Board of Trustees and several members of the group have volunteered for Foundation special events committees.
Valle is appreciative for all the time and effort put in by the Amistad members. "A special thanks to all the members who volunteered to form the Amistad Committee 20 years ago," he said.
"This life journey of 20 years has been a wonderful love-filled time we have shared together. Only by the grace of God have we accomplished our dream of bringing together a lot of our childhood and teenage friends.
"We also wish to thank all those who attended our scholarship dances at Bascom's beautiful Meadowbrook Park Ballroom. The contributions and donations from individuals and area businesses have made it possible for young people to attend Terra Community College," concluded Valle.
The campaign to raise funds for scholarships and instructional program equipment will conclude in March 2009. More than $1.8 million has been raised in cash, pledges and in-kind equipment.
For more information on the Terra College Foundation, contact Babione at 419-559-2301.
Your reliable source for current Latino news and events with English and Spanish articles.
Contact us at [email protected] or call (419) 870-6565


This is our school timetable – the subjects are very broad as we try to use a cross-curricular approach to learning.
Please be aware that 'English', 'Numeracy' and 'Topic' are multifaceted so can cover a range of subjects.
There are occasions when we might deviate from the subjects shown; these might be during whole school 'WOW' days, when we have visitors or groups of children are taking part in an activity off site.


I am using the great Gamers DB app on my Android phone. When I'm adding Uncharted 4 to my collection list it does not show the cover art. Instead it shows a screenshot, but if I click on BOX ART/SCREENSHOTS/FAN ART it shows the cover. Is it possible for you to change that?
We don't have any official apps for the database, so you'd need to rely the problem to the app dev to have a look at it.


text:
body {
  overflow-x: hidden;
  font-family: 'Roboto Slab', 'Helvetica Neue', Helvetica, Arial, sans-serif;
  font-size: 12px;
}
p {
  line-height: 1.75; }

a {
  color: #fed136; }
  a.active, a:active, a:focus, a:hover {
    color: #fec503; }

h1,
h2,
h3,
h4,
h5,
h6 {
  font-weight: 700;
  font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
  text-transform: uppercase; }

section {
  padding: 10px 0; }
  section h2.section-heading {
    font-size: 40px;
    margin-top: 0;
    margin-bottom: 15px; }
  section h3.section-subheading {
    font-size: 16px;
    font-weight: 400;
    font-style: italic;
    margin-bottom: 75px;
    text-transform: none;
    font-family: 'Droid Serif', 'Helvetica Neue', Helvetica, Arial, sans-serif; }

.secthead {
  text-align: center;
  font-size: 2.5rem;
  font-weight: 600;
}
.bio {
  text-align: left;
  font-size: 1rem;
  padding: 20px 20px 20px 60px;
}
.profilepic img {
  width: 100%;
  padding: 20px 40px;
}
.storyheadline {
  font-size: 1rem;
  font-weight: 500;
}
  #skillschart {
    min-width: 300px;
    max-width: 600px;
    margin: 0 auto;
}

/*  Timeline */

/* end timeline */

  /* Header from Option2*/

  .header {
      position: relative;
      display: table;
      width: 100%;
      height: 450px;
      background: url(../img/papers.jpg) no-repeat center center scroll;
      -webkit-background-size: cover;
      -moz-background-size: cover;
      -o-background-size: cover;
      background-size: cover;
  }

  .text-vertical-center {
      display: table-cell;
      text-align: center;
      vertical-align: middle;
  }
  .headline{
   font-size: 4rem;
   color: white;
   font-weight: 600;
   /* text-shadow:
  		-1px -1px 0 #000,
  		1px -1px 0 #000,
  		-1px 1px 0 #000,
  		1px 1px 0 #000; */
  }
  .subhead {
    font-size: 2rem;
    color: white;
    font-weight: 600;
    font-family: garamond, serif;
    /* text-shadow:
  		-1px -1px 0 #000,
  		1px -1px 0 #000,
  		-1px 1px 0 #000,
  		1px 1px 0 #000; */
  }

  .text-vertical-center h1 {
      font-size: 4.5em;
      font-weight: 700;
      margin: 0;
      padding: 0;
  }
/* end of option2 */

/* from orig resume */
.jobtitle {
  font-weight: bold;
  font-size: 1.75em;
  font-family: Garamond, times, serif;
  margin-bottom: 0px;
  }
.employer {
  font-size: 1.25em;
  margin-bottom: 10px;
  font-family: "Roboto", arial, sans-serif;
  }

.duties{
  font-size: 1.4em;
  font-family: Garamond, times, serif;
  line-height: 1.25em;
  }
.jobbox  {
  margin-bottom: 3px;
  padding-bottom: 3px;
  }

  /* end of orig resume*/
@media (min-width: 768px) {
  section {
    padding: 10px 0; } }

::-moz-selection {
  background: #fed136;
  text-shadow: none; }

::selection {
  background: #fed136;
  text-shadow: none; }

img::selection {
  background: transparent; }

img::-moz-selection {
  background: transparent; }

body {
  -webkit-tap-highlight-color: #fed136; }

#mainNav {
  background-color: #222222; }
  #mainNav .navbar-toggler {
    font-size: 12px;
    right: 0;
    padding: 13px;
    text-transform: uppercase;
    color: white;
    border: 0;
    background-color: #fed136;
    font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
    text-transform: uppercase; }
  #mainNav .navbar-brand {
    color: #fed136;
    font-family: 'Kaushan Script', 'Helvetica Neue', Helvetica, Arial, cursive; }
    #mainNav .navbar-brand.active, #mainNav .navbar-brand:active, #mainNav .navbar-brand:focus, #mainNav .navbar-brand:hover {
      color: #fec503; }
  #mainNav .navbar-nav .nav-item .nav-link {
    font-size: 90%;
    font-weight: 400;
    padding: 0.75em 0;
    letter-spacing: 1px;
    color: white;
    font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
    text-transform: uppercase; }
    #mainNav .navbar-nav .nav-item .nav-link.active, #mainNav .navbar-nav .nav-item .nav-link:hover {
      color: #fed136; }

@media (min-width: 992px) {
  #mainNav {
    padding-top: 25px;
    padding-bottom: 25px;
    -webkit-transition: padding-top 0.3s, padding-bottom 0.3s;
    -moz-transition: padding-top 0.3s, padding-bottom 0.3s;
    transition: padding-top 0.3s, padding-bottom 0.3s;
    border: none;
    background-color: transparent; }
    #mainNav .navbar-brand {
      font-size: 1.75em;
      -webkit-transition: all 0.3s;
      -moz-transition: all 0.3s;
      transition: all 0.3s; }
    #mainNav .navbar-nav .nav-item .nav-link {
      padding: 1.1em 1em !important; }
    #mainNav.navbar-shrink {
      padding-top: 0;
      padding-bottom: 0;
      background-color: #222222; }
      #mainNav.navbar-shrink .navbar-brand {
        font-size: 1.25em;
        padding: 12px 0; } }

header.masthead {
  text-align: center;
  color: white;
  background-image: url("../img/papers.jpg");
  background-repeat: no-repeat;
  background-attachment: scroll;
  background-position: center center;
  -webkit-background-size: cover;
  -moz-background-size: cover;
  -o-background-size: cover;
  background-size: cover; }
  header.masthead .intro-text {
    padding-top: 150px;
    padding-bottom: 100px; }
    header.masthead .intro-text .intro-lead-in {
      font-size: 22px;
      font-style: italic;
      line-height: 22px;
      margin-bottom: 25px;
      font-family: 'Droid Serif', 'Helvetica Neue', Helvetica, Arial, sans-serif; }
    header.masthead .intro-text .intro-heading {
      font-size: 50px;
      font-weight: 700;
      line-height: 50px;
      margin-bottom: 25px;
      font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
      text-transform: uppercase; }

@media (min-width: 768px) {
  header.masthead .intro-text {
    padding-top: 300px;
    padding-bottom: 200px; }
    header.masthead .intro-text .intro-lead-in {
      font-size: 40px;
      font-style: italic;
      line-height: 40px;
      margin-bottom: 25px;
      font-family: 'Droid Serif', 'Helvetica Neue', Helvetica, Arial, sans-serif; }
    header.masthead .intro-text .intro-heading {
      font-size: 75px;
      font-weight: 700;
      line-height: 75px;
      margin-bottom: 50px;
      font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
      text-transform: uppercase; } }

.service-heading {
  margin: 15px 0;
  text-transform: none; }

#portfolio .portfolio-item {
  right: 0;
  margin: 0 0 15px; }
  #portfolio .portfolio-item .portfolio-link {
    position: relative;
    display: block;
    max-width: 400px;
    margin: 0 auto;
    cursor: pointer; }
    #portfolio .portfolio-item .portfolio-link .portfolio-hover {
      position: absolute;
      width: 100%;
      height: 100%;
      -webkit-transition: all ease 0.5s;
      -moz-transition: all ease 0.5s;
      transition: all ease 0.5s;
      opacity: 0;
      background: rgba(254, 209, 54, 0.9); }
      #portfolio .portfolio-item .portfolio-link .portfolio-hover:hover {
        opacity: 1; }
      #portfolio .portfolio-item .portfolio-link .portfolio-hover .portfolio-hover-content {
        font-size: 20px;
        position: absolute;
        top: 50%;
        width: 100%;
        height: 20px;
        margin-top: -12px;
        text-align: center;
        color: white; }
        #portfolio .portfolio-item .portfolio-link .portfolio-hover .portfolio-hover-content i {
          margin-top: -12px; }
        #portfolio .portfolio-item .portfolio-link .portfolio-hover .portfolio-hover-content h3,
        #portfolio .portfolio-item .portfolio-link .portfolio-hover .portfolio-hover-content h4 {
          margin: 0; }
  #portfolio .portfolio-item .portfolio-caption {
    max-width: 400px;
    margin: 0 auto;
    padding: 25px;
    text-align: center;
    background-color: white; }
    #portfolio .portfolio-item .portfolio-caption h4 {
      margin: 0;
      text-transform: none; }
    #portfolio .portfolio-item .portfolio-caption p {
      font-size: 16px;
      font-style: italic;
      margin: 0;
      font-family: 'Droid Serif', 'Helvetica Neue', Helvetica, Arial, sans-serif; }

#portfolio * {
  z-index: 2; }

@media (min-width: 767px) {
  #portfolio .portfolio-item {
    margin: 0 0 30px; } }

.portfolio-modal .modal-dialog {
  max-width: none;
  height: 100%;
  margin: 0; }

.portfolio-modal .modal-content {
  min-height: 100%;
  padding: 100px 0;
  text-align: center;
  border: none;
  border-radius: 0;
  background-clip: border-box;
  -webkit-box-shadow: none;
  box-shadow: none; }
  .portfolio-modal .modal-content h2 {
    font-size: 3em;
    margin-bottom: 15px; }
  .portfolio-modal .modal-content p {
    margin-bottom: 30px; }
  .portfolio-modal .modal-content p.item-intro {
    font-size: 16px;
    font-style: italic;
    margin: 20px 0 30px;
    font-family: 'Droid Serif', 'Helvetica Neue', Helvetica, Arial, sans-serif; }
  .portfolio-modal .modal-content ul.list-inline {
    margin-top: 0;
    margin-bottom: 30px; }
  .portfolio-modal .modal-content img {
    margin-bottom: 30px; }
  .portfolio-modal .modal-content button {
    cursor: pointer; }

.portfolio-modal .close-modal {
  position: absolute;
  top: 25px;
  right: 25px;
  width: 75px;
  height: 75px;
  cursor: pointer;
  background-color: transparent; }
  .portfolio-modal .close-modal:hover {
    opacity: 0.3; }
  .portfolio-modal .close-modal .lr {
    /* Safari and Chrome */
    z-index: 1051;
    width: 1px;
    height: 75px;
    margin-left: 35px;
    /* IE 9 */
    -webkit-transform: rotate(45deg);
    -ms-transform: rotate(45deg);
    transform: rotate(45deg);
    background-color: #222222; }
    .portfolio-modal .close-modal .lr .rl {
      /* Safari and Chrome */
      z-index: 1052;
      width: 1px;
      height: 75px;
      /* IE 9 */
      -webkit-transform: rotate(90deg);
      -ms-transform: rotate(90deg);
      transform: rotate(90deg);
      background-color: #222222; }

.portfolio-modal .modal-backdrop {
  display: none;
  opacity: 0; }

.timeline {
  position: relative;
  padding: 0;
  list-style: none; }
  .timeline:before {
    position: absolute;
    top: 0;
    bottom: 0;
    left: 40px;
    width: 2px;
    margin-left: -1.5px;
    content: '';
    background-color: #f1f1f1; }
  .timeline > li {
    position: relative;
    min-height: 50px;
    margin-bottom: 50px; }
    .timeline > li:after, .timeline > li:before {
      display: table;
      content: ' '; }
    .timeline > li:after {
      clear: both; }
    .timeline > li .timeline-panel {
      position: relative;
      float: right;
      width: 100%;
      padding: 0 20px 0 100px;
      text-align: left; }
      .timeline > li .timeline-panel:before {
        right: auto;
        left: -15px;
        border-right-width: 15px;
        border-left-width: 0; }
      .timeline > li .timeline-panel:after {
        right: auto;
        left: -14px;
        border-right-width: 14px;
        border-left-width: 0; }
    .timeline > li .timeline-image {
      position: absolute;
      z-index: 100;
      left: 0;
      width: 80px;
      height: 80px;
      margin-left: 0;
      text-align: center;
      color: white;
      border: 7px solid #f1f1f1;
      border-radius: 100%;
      background-color: #fed136; }
      .timeline > li .timeline-image h4 {
        font-size: 10px;
        line-height: 14px;
        margin-top: 12px; }
    .timeline > li.timeline-inverted > .timeline-panel {
      float: right;
      padding: 0 20px 0 100px;
      text-align: left; }
      .timeline > li.timeline-inverted > .timeline-panel:before {
        right: auto;
        left: -15px;
        border-right-width: 15px;
        border-left-width: 0; }
      .timeline > li.timeline-inverted > .timeline-panel:after {
        right: auto;
        left: -14px;
        border-right-width: 14px;
        border-left-width: 0; }
    .timeline > li:last-child {
      margin-bottom: 0; }
    .degreename {
      font-size: 1.2rem;
      font-family: arial;
      font-weight: 700;
      text-align: center;
    }
  .timeline .timeline-heading h4 {
    margin-top: 0;
    font-size: 1rem;
    font-weight: lighter;
    margin-bottom: 0px;
    color: inherit; }
    .timeline .timeline-heading h4.subheading {
      text-transform: none;
      font-size: .75rem;
      margin-bottom: 0px;
    }
  .timeline .timeline-body > ul,
  .timeline .timeline-body > p {
    margin-bottom: 0;
    line-height: 1rem;}

@media (min-width: 768px) {
  .timeline:before {
    left: 50%; }
  .timeline > li {
    min-height: 100px;
    margin-bottom: 40px; }
    .timeline > li .timeline-panel {
      float: left;
      width: 41%;
      padding: 0 20px 20px 30px;
      text-align: right; }
    .timeline > li .timeline-image {
      left: 50%;
      width: 100px;
      height: 100px;
      margin-left: -50px; }
      .timeline > li .timeline-image h4 {
        font-size: 13px;
        line-height: 18px;
        margin-top: 16px; }
    .timeline > li.timeline-inverted > .timeline-panel {
      float: right;
      padding: 0 30px 20px 20px;
      text-align: left; } }

@media (min-width: 992px) {
  .timeline > li {
    min-height: 50px;
  margin-bottom: 0px; }
    .timeline > li .timeline-panel {
      padding: 0 20px 20px; }
    .timeline > li .timeline-image {
      width: 50px;
      height: 50px;
      margin-left: -25px; }
      .timeline > li .timeline-image h4 {
        font-size: 18px;
        line-height: 26px;
        margin-top: 10px; }
    .timeline > li.timeline-inverted > .timeline-panel {
      padding: 0 20px 20px; } }

@media (min-width: 1200px) {
  .timeline > li {
    min-height: 50px; }
    .timeline > li .timeline-panel {
      padding: 20px 20px 20px 50px; }
    .timeline > li .timeline-image {
      width: 70px;
      height: 70px;
      margin-left: -35px; }
      .timeline > li .timeline-image h4 {
        margin-top: 20px; }
    .timeline > li.timeline-inverted > .timeline-panel {
      padding: 0 10px 10px 10px; } }

.team-member {
  margin-bottom: 50px;
  text-align: center; }
  .team-member img {
    width: 225px;
    height: 225px;
    border: 7px solid white; }
  .team-member h4 {
    margin-top: 25px;
    margin-bottom: 0;
    text-transform: none; }
  .team-member p {
    margin-top: 0; }
  .jobbox {
    padding: 15px;
  }

section#contact {
  background-repeat: no-repeat;
  background-position: center; }
  section#contact .section-heading {
    color: white; }
  section#contact .form-group {
    margin-bottom: 25px; }
    section#contact .form-group input,
    section#contact .form-group textarea {
      padding: 20px; }
    section#contact .form-group input.form-control {
      height: auto; }
    section#contact .form-group textarea.form-control {
      height: 236px; }
  section#contact .form-control:focus {
    border-color: #fed136;
    box-shadow: none; }
  section#contact ::-webkit-input-placeholder {
    font-weight: 700;
    color: #eeeeee;
    font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
    text-transform: uppercase; }
  section#contact :-moz-placeholder {
    font-weight: 700;
    color: #eeeeee;
    /* Firefox 18- */
    font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
    text-transform: uppercase; }
  section#contact ::-moz-placeholder {
    font-weight: 700;
    color: #eeeeee;
    /* Firefox 19+ */
    font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
    text-transform: uppercase; }
  section#contact :-ms-input-placeholder {
    font-weight: 700;
    color: #eeeeee;
    font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
    text-transform: uppercase; }
  section#contact .text-danger {
    color: #e74c3c; }

footer {
  padding: 25px 0;
  text-align: center; }
  footer span.copyright {
    font-size: 90%;
    line-height: 40px;
    text-transform: none;
    font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
    text-transform: uppercase; }
  footer ul.quicklinks {
    font-size: 90%;
    line-height: 40px;
    margin-bottom: 0;
    text-transform: none;
    font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
    text-transform: uppercase; }

ul.social-buttons {
  margin-bottom: 0; }
  ul.social-buttons li a {
    font-size: 20px;
    line-height: 40px;
    display: block;
    width: 40px;
    height: 40px;
    -webkit-transition: all 0.3s;
    -moz-transition: all 0.3s;
    transition: all 0.3s;
    color: white;
    border-radius: 100%;
    outline: none;
    background-color: #222222; }
    ul.social-buttons li a:active, ul.social-buttons li a:focus, ul.social-buttons li a:hover {
      background-color: #fed136; }

.text-primary {
  color: #fed136 !important; }

.btn-primary {
  font-weight: 700;
  color: white;
  border-color: #fed136;
  background-color: #fed136;
  font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
  text-transform: uppercase; }
  .btn-primary.focus, .btn-primary:focus {
    color: white;
    border-color: #b48b01;
    background-color: #fec503; }
  .btn-primary:hover {
    color: white;
    border-color: #f6bf01;
    background-color: #fec503; }
  .btn-primary.active, .btn-primary:active,
  .open > .btn-primary.dropdown-toggle {
    color: white;
    border-color: #f6bf01;
    background-color: #fec503; }
    .btn-primary.active.focus, .btn-primary.active:focus, .btn-primary.active:hover, .btn-primary:active.focus, .btn-primary:active:focus, .btn-primary:active:hover,
    .open > .btn-primary.dropdown-toggle.focus,
    .open > .btn-primary.dropdown-toggle:focus,
    .open > .btn-primary.dropdown-toggle:hover {
      color: white;
      border-color: #b48b01;
      background-color: #dcab01; }
  .btn-primary.active, .btn-primary:active,
  .open > .btn-primary.dropdown-toggle {
    background-image: none; }
  .btn-primary.disabled.focus, .btn-primary.disabled:focus, .btn-primary.disabled:hover, .btn-primary[disabled].focus, .btn-primary[disabled]:focus, .btn-primary[disabled]:hover,
  fieldset[disabled] .btn-primary.focus,
  fieldset[disabled] .btn-primary:focus,
  fieldset[disabled] .btn-primary:hover {
    border-color: #fed136;
    background-color: #fed136; }
  .btn-primary .badge {
    color: #fed136;
    background-color: white; }

.btn-xl {
  font-size: 18px;
  font-weight: 700;
  padding: 20px 40px;
  border-radius: 3px;
  color: white;
  border-color: #fed136;
  background-color: #fed136;
  font-family: 'Montserrat', 'Helvetica Neue', Helvetica, Arial, sans-serif;
  text-transform: uppercase; }
  .btn-xl.focus, .btn-xl:focus {
    color: white;
    border-color: #b48b01;
    background-color: #fec503; }
  .btn-xl:hover {
    color: white;
    border-color: #f6bf01;
    background-color: #fec503; }
  .btn-xl.active, .btn-xl:active,
  .open > .btn-xl.dropdown-toggle {
    color: white;
    border-color: #f6bf01;
    background-color: #fec503; }
    .btn-xl.active.focus, .btn-xl.active:focus, .btn-xl.active:hover, .btn-xl:active.focus, .btn-xl:active:focus, .btn-xl:active:hover,
    .open > .btn-xl.dropdown-toggle.focus,
    .open > .btn-xl.dropdown-toggle:focus,
    .open > .btn-xl.dropdown-toggle:hover {
      color: white;
      border-color: #b48b01;
      background-color: #dcab01; }
  .btn-xl.active, .btn-xl:active,
  .open > .btn-xl.dropdown-toggle {
    background-image: none; }
  .btn-xl.disabled.focus, .btn-xl.disabled:focus, .btn-xl.disabled:hover, .btn-xl[disabled].focus, .btn-xl[disabled]:focus, .btn-xl[disabled]:hover,
  fieldset[disabled] .btn-xl.focus,
  fieldset[disabled] .btn-xl:focus,
  fieldset[disabled] .btn-xl:hover {
    border-color: #fed136;
    background-color: #fed136; }
  .btn-xl .badge {
    color: #fed136;
    background-color: white; }