WOOF. is the solo recording project of New Jersey-based multi-instrumentalist and singer Kelan Bonislawski. As the story goes, Kelan spent years gathering and messing around with various instruments and pieces of recording equipment before he realized that he had enough equipment to record the sound of a full band all by his lonesome. As his bio says, these recordings "developed into a collage of sounds from Beck-esque lo-fi funk to early 00's indie rock" (with occasional detours in "dense psychedelic space"). WOOF. recently signed with Tree Machine Records, and they are collaborating to release this self-titled EP on this very day. Tree Machine calls it "the latest project to grasp electronica-inspired indie-pop by the metaphorical balls and swing it towards the ceiling of otherworldly goodness"; I'll explain why this is a true statement.
"My Device" is a pretty predictable song topic in the age of proto-cyborgs (that is to say, technology-addicted millennials who have no history of offline experience), but Kelan handles the topic with artistic ease and a welcome burst of levity. It opens with a juxtaposition of dissonant guitar tones and tinny dialtones before harmonic guitar-strumming opens the song up into an alternative-pop type verse which deconstructs our modern life and times. I have no qualms singing along with a chorus like this one ("my device is my whole life") – there's an intersection between irony and charm somewhere up in here.
"Not to Offend" reminds me of Unknown Mortal Orchestra in the style of singing, guitar tones, and simplistic but driving and catchy rhythm orchestration. It's a more laid-back sonic excursion than the previous one, featuring wordless vocal harmonies and spacey guitar-driven bridge sections which provide the track with some welcome textural variety.
The video for "I Got Away" features alternating shots of lighting, nature, and what seems to be an edited shot of ink flowing through a liquid medium set to twangy guitar hooks and an irresistible vocal refrain. A grainy display flickers back and forth between 1/2/3/4 in predictable fashion, then begins jumping around out of time and numerical sequence as a psychedelic breakdown opens up the middle of the track. The sun sets in the nature shots, and the vocal hook returns, accompanied by more trippy visual effects playing with the name WOOF. itself – a pleasant viewing experience, for sure.
"Certainty" features some extremely smooth production, mixing what sounds like palm-muted guitar picking with Todd Terje-esque synth streaks and ambient padding. The track opens with totally disjoint synth bloops, but after a few seconds of weird listening the rhythm tracks are introduced alongside the bloops to contextualize them harmonically and rhythmically. This is easily one of the most original and forward-thinking tracks on the album (or at least where I have the most difficult time of pulling up relevant bands to talk about).
I could continue deconstructing the album track-by-track, but I can feel my method becoming less and less efficient as I progress. ("2am" is a dreamier tom-driven number; "Hear Me Breathing" is a surprisingly short track with a shuffling straight-eighth beat and warbling, crunchy guitar textures.) WOOF.'s aesthetic is legitimately difficult to describe – 'different wavelength'? 'Grainy post-pop lo-fi jams'? I'm not entirely sure how to do this EP justice in a linguistic sense. To isolate Kelan's songwriting from his orchestration feels sort of ungainly as well; the smartness of his lyrics is striking when you experience his vocal delivery and instrumental arrangements simultaneously, but it loses a little power if it's pulled out and stuck on the Internet in raw text like some sort of faux-endearing free verse.
So, you want a summation of WOOF.? Think about a dude who listened to Washed Out and Animal Collective, then went home to a room full of guitars and made an alt-pop album. The last track on the album, "Apophenia," was my final clue as to Kelan's interest in electronic music; the plinking of the arps under spaced-out distortion-guitar tracks is the EP's perfect summation, I think. What I'm trying to say to you here is that I could give you a press clipping-worthy statement about the album's nature, or you could just listen to the damn thing and form your own opinion. Real art doesn't just speak for itself, it screams into the mic and then drops it. Stream the whole thing below, buy it on iTunes, or stream it on Spotify!


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Modern cases argued and adjudged in the Court of King's Bench at Westminster : in the reign of Her late Majesty Q. Anne, in the time when Sir John Holt sat chief-justice there, taken by Thomas Farresley ; with two tables, the first of the cases, the other of the principal matters
The instance Modern cases argued and adjudged in the Court of King's Bench at Westminster : in the reign of Her late Majesty Q. Anne, in the time when Sir John Holt sat chief-justice there, taken by Thomas Farresley ; with two tables, the first of the cases, the other of the principal matters represents a material embodiment of a distinct intellectual or artistic creation found in Biddle Law Library - University of Pennsylvania Law School. This resource is a combination of several types including: Instance, Electronic.
The Resource Modern cases argued and adjudged in the Court of King's Bench at Westminster : in the reign of Her late Majesty Q. Anne, in the time when Sir John Holt sat chief-justice there, taken by Thomas Farresley ; with two tables, the first of the cases, the other of the principal matters
in the reign of Her late Majesty Q. Anne, in the time when Sir John Holt sat chief-justice there
taken by Thomas Farresley ; with two tables, the first of the cases, the other of the principal matters
Modern cases argued and adjudged in the Court of King's Bench at Westminster : in the reign of Her late Majesty Q. Anne, in the time when Sir John Holt sat chief-justice there
In the Savoy London, Printed by E. and R. Nutt, and R. Gosling, assigns of Edward Sayer Esq; for John Walthoe, 1725
The second edition, with references to all the modern reports
1 online resource (160 pages, 12 unnumbered pages)
Context of Modern cases argued and adjudged in the Court of King's Bench at Westminster : in the reign of Her late Majesty Q. Anne, in the time when Sir John Holt sat chief-justice there, taken by Thomas Farresley ; with two tables, the first of the cases, the other of the principal matters

 Data from Modern cases argued and adjudged in the Court of King's Bench at Westminster : in the reign of Her late Majesty Q. Anne, in the time when Sir John Holt sat chief-justice there, taken by Thomas Farresley ; with two tables, the first of the cases, the other of the principal matters - Biddle Law Library - University of Pennsylvania Law School

Data Citation of the Instance Modern cases argued and adjudged in the Court of King's Bench at Westminster : in the reign of Her late Majesty Q. Anne, in the time when Sir John Holt sat chief-justice there, taken by Thomas Farresley ; with two tables, the first of the cases, the other of the principal matters

redpajama_set_name: RedPajamaCommonCrawl


NEWARK, NJ — NJ TRANSIT's Board of Directors today authorized the purchase of an additional 45 multilevel rail cars from Bombardier Transportation—a move that saves the company money on overhaul costs. The fleet of 279 rail cars will enable NJ TRANSIT to meet and anticipate ridership demand on its busiest rail lines, while providing a higher level of comfort for customers.
The additional multilevel vehicles will approximately replace the seating capacity of 49 Comet III-series rail cars delivered to NJ TRANSIT in 1990. The Comet III cars require a midlife overhaul, and replacement of these cars with multilevel vehicles has been determined to be a cost-effective alternative.
In December 2006, NJ TRANSIT debuted its first multilevel train—whose planning and design included extensive input from customers—on the Northeast Corridor. Last month, NJ TRANSIT increased its eight-car train to an 11-car train, running four trips per weekday.
To date, Bombardier Transportation has delivered 23 multilevel cars to NJ TRANSIT, with a number of cars going through the commissioning and testing process. The manufacturer is expected to deliver all 279 cars by mid-2009.
By late July, NJ TRANSIT anticipates placing a second multilevel train into service on the Northeast Corridor.
More knee room (25.27 inches)—a full inch more than Comet V single-level cars—and 2.2 inches more seat width than Comet V seats.


Performers dressed in costumes of the Qing Dynasty (1644-1911) act during a rehearsal of a performance presenting the ancient royal ritual to worship heaven at the Temple of Heaven in Beijing, capital of China, Feb. 5, 2013. The Temple of Heaven, used to be the imperial sacrificial altar in ancient China, will witness the heaven worship performance during the upcoming Spring Festival holiday. The Spring Festival, or the Chinese Lunar New Year, falls on Feb. 10 this year.


text:
Roku TVs now know what you're watching, will suggest related shows
Sarah Perez	@sarahintampa / 5 years
Roku today is rolling out a software update that's primarily filled with new features aimed at Roku TV owners – the portion of its business where its media software is integrated into television sets, instead of standalone streaming players. One of the standout features from the new release is a feature Roku calls "More Ways to Watch," offering viewing suggestions that pop up on the screen, based on what you're currently viewing.
Yes, Roku will now know what you're watching, presuming you opt in to the new feature after installation of the updated software, or after you turn on your new Roku TV set for the first time.
To be clear, Roku is only tracking your viewing behavior when you're watching through an input – like your digital antenna or cable box, for example.
This is enabled through the use of ACR technology (automatic content recognition), which is common to smart TVs today. However, not everyone is comfortable with this sort of tracking and data collection, which is why the feature is opt in and there are easily accessible settings to disable it, if you choose to later switch it off.
Roku acknowledged that it is saving this data, and referred us to its privacy policy for more information. However, the company declined to answer our specific questions about how the data would be put to use, in terms of being shared or sold to Roku's advertisers. But the privacy policy does offer more details. Here, Roku states that the data will be used for personalized recommendations and personalized ads, as well as to measure the viewership of ads and programming. This viewing data will also be combined with other demographic data Roku has on you.
Shocking? Not really. After all, in 2017, TV watches you.
That said, if you've given up protecting your privacy in favor of cool, new features, "More Ways to Watch" can be handy.
If you've tuned in to watch an old episode of a favorite TV show, for example, Roku might pop up on the screen that the show is also available for streaming across a variety of services you already subscribe to. You could choose instead to switch over to a streaming service, like Netflix, then continue viewing the show without the commercial breaks found on live TV. (Yay, no live TV commercials! So Roku's advertisers can better target you!)
It may also suggest related shows to the one you're currently viewing.
These recommendations appear as a pop-up on the screen, but if you're not into having on-screen interruptions, you can disable the pop-up overlay but still access the suggestions with a press on the remote control instead.
You can use either the right arrow button to view the ACR results, or the OK button, which brings up the info dialog box, which also includes ACR results, if available.
These on-screen recommendations are the most notable new feature to arrive with the release of Roku OS 7.6, and will be supported on HD and FHD Roku TVs and new 2017 4K Roku TVs. It will hit 2016 4K Roku TVs this summer.
[gallery ids="1475351,1475350,1475348,1475347,1475346,1475349"]
Also included in the update is a feature to make a list of favorite channels when you have a broadcast antenna; the addition of thumbnail images when using the Live TV Pause feature (rewind, pause, fast forward live TV); support for Closed Captions on Live TV Pause's "replay" feature; support for a faster resume from standby on some Roku TVs; and support for custom input names on Roku TV.
This latter option is useful for those who have a lot of devices plugged into their various inputs – for example, if you have both the Xbox One and an Xbox 360, you might want to customize the name beyond just "Xbox."
For both players and TVs alike, Roku OS 7.6 now includes an expanded search that can track content on over 300 streaming channels, a 10-fold increase from a year ago.
Roku TVs have a growing footprint in the U.S. Today, they account for 13 percent of U.S. smart TV sales, accounting for 1 out of 8 smart TV purchases. In total, Roku has 14 million active accounts across both its players and TVs, it says.
The update is rolling out now to all Roku models from May 2011 on.


My understanding of a solar cover is that it heats the pool by slowing evaporation of the water.
Obviously, night is a perfect time for this.
But I have also read that solar covers actually block some of the sun, and prevent heating.
So on a typically, 80 degree, sunny day, is more heat gained by removing the cover, or by leaving it on?
My guess, strictly from a heat gain perspective, is that on a nearly windless day with air temps higher than water temps, you are better off with the cover off. Otherwise, I think you'll be better with it on up until you have really warm air temps.
Just put mine on this week and I'm leaving it on except when in use. I've seen a big difference bringing my water temp up from 68 to 80. We were hitting upper 80's midday but probably only for a few hours with lows in 50's. We are full CA sun so I think the blue absorbs the heat of the sun throughout the day.
I don't have the option of being home to remove in the afternoon when air temps are higher.
I think it has less to so with actual ambient air temp and wind(which should be close to a non factor), that it has to do with sunlight. The temp of the areas in the sun can be easily 20 degrees warmer than actual air temp. And since all solar covers actually impede a percentage of that sunlight from penetrating--there in lies the question. Is the benefit from evaporation of heat greater than full sunlight penetration during the day. I understand there are many, many variables in this, but didn't know if there was some standard general rule on this.
Evaporation is a major source of heat loss, and the main thing that a solar cover does is cut down on evaporation. (My understanding is that wind affects evaporation rate so that actually would be a nontrivial cooling factor for an uncovered pool.) The volume of water lost through evaporation is significant; I recently took my old decaying cover off about 2 weeks before the new cover arrived. Replacing 2" per week was a bit of a shock, compared to more like every 5 weeks with the cover on.
The actual heating (as opposed to loss prevention) is less with the cover on than with the cover off, because having the sun heat the cover which then conducts heat to the water is inherently much much less efficient than the sun directly heating the water. But, I think preventing the heat loss is a bigger factor than the loss of direct heating.
That said, in my experience, the solar cover heats up in the sun, which conducts to the water in the pool. This clearly heats up the top two inches or so of the pool (the effect was quite obvious to both my thermometer and the hand I was holding it with). If the pump is off, that's about the only effect; there's no significant conduction/convection warming the main body of the pool water (the warm water prefers to stay at the top). With the pump on, the water warmed by the cover is replaced by cooler water and the heating efficiency goes up. Whether this is a huge difference, I can't really tell; it seemed to make a difference in my pool.
Ahh--I was looking at wind speed as it effects temp, completing ignoring the evaporation effect of higher winds speeds--great point.
I have come to the conclusion, at least this time of year in the Midwest, that cover=warmer water.


Many of our most enterprising home furnishings retailers have shared their stories of survival, growth and service with FURNITURE WORLD readers. This is the second installment in a series that commemorates the 140th anniversary year of FURNITURE WORLD Magazine.
It was back in 1913 that Sam and Mary Bozzette opened their store in Mount Morris in the Genesee Valley, just five minutes away from Letchworth State Park. They promised the town's folk they would "revolutionize furniture values with savings so great that we are sure it will only take a minute to make up your mind". But once customers crossed the threshold, they found it difficult to leave. In the early days, the family's living room and kitchen were located on the first floor, right behind the showroom, their bedrooms above the store. The enticing and pervasive fragrance of Mary's good Italian cooking greeted everyone and held them captive. And undoubtedly influenced their purchases!
Lou graduated from New York Military Academy, a boarding school north of New York City, just in time to serve the last two years of World War II states-side in the U.S. Air Force as a B29 bomber radio repairman. After discharge, he officially joined the family business as store manager.
He believed strongly in the power of marketing, and initiated advertising campaigns in newspapers, on radio and, eventually, television. Lou bought the business from his parents in 1956 with the commitment to maintain their uncomplicated philosophy. "Treat your customers right, and you will never have to worry." He also continued their growth pattern, enlarging the showroom and building a 10,000 square foot state-of-the-art high rise warehouse.
And he believed in "giving back to the community that gave him so much". He was a member of the Mount Morris Merchants Association, Charter Member of the Livingston County Chamber of Commerce, served on the Boards of Directors of Mount Morris Historical Society and Noyes Memorial Hospital, and is a third degree member of the Knights of Columbus.
In 1982, the 390 expressway made travel to Metropolitan Rochester an easy drive to and from the Genesee Valley. This was an opportunity to expand the store's customer base to the lucrative Rochester market. Lou had already extended media reach in the '60s.
His vision included recognition of the aesthetic in store design and product display. Lou was one of the first to develop room vignettes, and he was keenly aware of fashion trends, offering fresh contemporary looks as well as tried and true traditional styling.
Main Street Mount Morris was once the shopping hub of the Valley, and Lou, now retired, strongly believes specialty businesses can thrive in a small community. The "restoration and revival of Main Street" will happen.
Third generation Jim Stallone, Lou's son-in-law, heads up the operation these days, and fourth generation Kristin Stallone DiProsa became Director of Marketing and Advertising 10 years ago. The spirit of optimism continues at Mount Morris!
Two years after Sam and Mary began to build their dream in Mount Morris, Robb & Stucky put down roots in Fort Myers, Florida, then as a one-store general merchandise emporium.
"Because Robb & Stucky has been in business since 1915, there is trust in the name that has been around for almost 95 years. A company that has survived a depression, wars and recessions and is still thriving, shows the ability to stay the course at every turn," said corporate spokesperson, Janet Wilson.
Over the years, the company evolved into a nationally recognized, award-winning interior design and premier home furnishings retailer offering a unique lifestyle shopping experience. Clients have included luminaries Henry Ford, Thomas Edison and Harvey Firestone.
In 1979, Robb & Stucky was purchased by the Mariner Group and Clive Lubner, currently the company's chief executive officer. In the ensuing 31 years, the company has expanded from two Florida showrooms to 30 facilities in Florida, Texas, Arizona, North Carolina and Nevada and continues to grow, employing more than 1,300 employees.
Spend some time with Robb & Stucky on their excellent website, www.robbstucky.com. It's a dazzling experience!
There's more to this optimism theme. The beginnings of El Dorado Furniture date back to the island of Cuba in the 1920s. Simon Capo originally traded farm products for used furniture that he restored and would later sell. He eventually grew this small business into a chain of five furniture stores he named Casa Capo and, by 1950, Casa Capo was one of Cuba's largest furniture manufacturing and retail enterprises.
But once Fidel Castro came to power, Simon's stores were taken from him. His son, Manuel, felt that his family was no longer safe in Cuba and, in 1966, he and two of his sons, Carlos and Luis, escaped from Cuba in a small sailing boat they had christened "El Dorado". They disembarked in Mexico, and made their way to the U.S., receiving political refugee status.
The family returned to what they knew best, furniture, and opened their first store in Miami's Little Havana, named El Dorado after the boat that had freed them from Cuba.
Said Luis, "As I look back, I can vividly remember the beginning when my father, my brother and myself struggled to survive in a new country. The only assets we possessed were the joy of being free, the longing for the family left in Cuba and a burning desire to succeed. We found strength in each other and in this great nation that welcomed and believed in us, opening the doors of opportunities denied to us in our own country.
El Dorado ranks within the top 50 out of more than 35,000 furniture stores in the U.S. today. Their corporate goal is no less than to be the top furniture retailer in the country. "We will continue to grow as we have done by providing outstanding customer service, reaching new levels of performance and always remembering the sky is the limit!" El Dorado Furniture is wholly owned and operated by the Capo family. Father Manuel and his seven sons all hold executive positions within the corporation.
Creative innovation is another El Dorado landmark. Imagine a series of showrooms centered on a "main street" called the Boulevard, designed with realistic building facades, old fashioned street lamps and benches that give you the feeling of being in a heritage town. The Boulevard opens into individual specialized furniture stores or galleries, in total 110,000 square feet of showroom space. Musical entertainment is offered during weekends. At select stores, children are offered videogames and movies. Adults can take a break at El Dorado's Woodmups Café. A rare home furnishings experience! And optimism in action.
Optimism obviously crosses borders, many borders. The sun was shining in Windsor, Ontario, a long way north of Little Havana and just across the river from Detroit, when Nate Tepperman initiated his own dynasty. The young, Russian born entrepreneur kicked off the Tepperman vision when he made his epic first sale of towels, sheets and rugs door-to-door. Four years later, he opened "his first little store on Ottawa Street", and one year after that made the most inspired decision of his life when he doubled the size of his staff "by hiring a good bookkeeper, Rose Eisen. Soon after, he marries her to cement the relationship, and they later have two children (Bill and Harriet) to make the relationship even more permanent".
The storytellers are Nate's grandsons, Andrew and Noah. They've burned happy midnight hours journalizing the Tepperman Tale and their enlightening and entertaining commentary will be interspersed throughout this portion of our saga. They continue, "1940. Nate builds a new 18,000 square foot store with displays on both the basement level and main floor." Seven years later, he doubled the display area with the major construction of the second and third floors. And this made Tepperman's the largest, most modern store of its kind in Windsor, a landmark for 31 years.
1948, a shining year, when Bill, age 12, made his first sale. Four years later the City of Windsor, in its drive to open up the city's waterfront, expropriated Tepperman's main warehouse, but within two years the family had replaced it with a 450,000 square foot warehouse at Ouellette Place, "a preparation for increased volume".
Young Bill came of age when he married Rochelle Laurie, a multi-talented multi-tasker like himself. She raised three sons while simultaneously participating in a host of volunteer activities. In time she became an elected member of the Windsor School Board, the Chair of the Windsor Police Services Board, the Chair of the Ontario Association of Police Services Boards and a Vice President at Tepperman's!
1970 was a sad year when founder and grandfather Nathan drowned while on vacation. Bill, along with Rochelle's brother, Harry Eisen, assumed leadership, but in only two years Harry retired due to ill health, leaving Bill in charge.
In 1973 the warehouse was expanded again to 650,00 square feet, and in 1975 Tepperman's celebrated its 50th year in business. In 1976 the warehouse hit the million mark.
Andrew made the scene at age seven in 1977, his first job, manually sorting Accounts Receivable cards for 25 cents an hour, his strict supervisor Rose Tepperman, his grandmother.
The pace quickened. 1978, another new store opened, Southwestern Ontario's largest and most modern; 1981, a new store in downtown Chatham; at the same time, another 500,000 square foot warehouse expansion.
And Noah, age 8, "takes his first turn at Tepperman's employment", also "sorting Accounts Receivable cards, also under strict supervision".
1984, marked the arrival of the first ever Bargain Annex store in Windsor, a "clearing house for scratch-n-dent, repossessed, as-is and one-of-a-kind merchandise. It quickly became, in addition, a retail outlet that carried its own lines of in-stock goods, focusing on value oriented, entry level price point customers".
In 1986, the ever-growing warehouse grew again, to more than two million square feet. Computerization of sales, inventory and accounts receivable systems arrived on Tepperman's 65th birthday in 1990 and, the following year, once again leading the way, the Ultimate 2000 Guarantee was made reality with P.D.Q. next day deliveries, a 90 day Price Guarantee, discounts and free rides to and from Tepperman stores in Windsor and Chatham for senior citizens. And there was a relocation of the Chatham store.
1992 was both exciting and frightening. The Chatham store burned to the ground and Bill and his staff broke all records by opening a temporary fire disaster store within six weeks. But expansion was continuing in Windsor, the Bargain Annex, and marketing efforts now included the offer of a new car if competitor's prices could not be beaten, the first company in North America to offer such an incentive.
The 1993 recession marked the opening of a new store in the town of Sarnia, and in three years time software and hardware and radio frequency controls were expanded.Yet another expansion, this time to London, Ontario in 1997, and Andrew officially joined the dynasty's flow when he was chosen to lead London operations, 62,000 square feet with 89,000 square feet of warehouse space. And, at that point in time, Tepperman's became the largest independent furniture retailer in Canada.
On another level, 1998 was a monumental year when the team kicked off the Canadian Scholarship Trust programme. The brothers explain, "Four children under the age of 10 win a post-secondary scholarship trust each month. Through year 2009 Tepperman's has invested over $520,000 in this programme".
The 75th anniversary coincided with the millennium. Andrew relocated to Windsor and became Buyer for the Bargain Annex, and his brother Noah joined the firm as the creator and first director of the new human resources department. Staff grew to more than 280.
The following year, a new 35,000 square foot store was constructed in Sarnia, and the Windsor store received a major renovation. Two years later construction was completed on a new retail location in Chatham, doubling the existing square footage and introducing a Bargain Annex to Chatham. And Bill was honoured by the Ontario Furniture Manufacturers' Association as their Retailer of the Year, only the second time this award had been presented.
The following year, "we implemented a new credit decisioning software package, reducing the amount of time customers wait for decision on their credit application and providing sensational customer service to an increased number of customers everyday".
Yet another anniversary year, the 80th, was celebrated in 2005, especially important since "Noah became the 'voice of Tepperman's', recording all on-air advertising. Family to Family . . . . That's The Difference.
All contributing factors, without doubt.
Andrew is now a member of the Executive Board of the NHFA, and belongs to a specialized international Performance Group. Outstanding, universal elements amongst this landmark group of home furnishings retailers? Hard work. Perseverance. Belief. And, most certainly, optimism!
Which leads us from the roaring twenties inexorably into the drama of the 1930s. Part Three, many more stories to come!
SEPTEMBER/ OCTOBER ISSUE: THE STORIES CONTINUE!
The celebration of your longevity and ours will continue in Furniture World's next issue, advancing toward our present times with retail histories completed so far, and others out there who were perhaps just not able to find that right vintage photo in time. Keep looking, it's not too late. Just email editor@furninfo.com for details.
The industry and all of us at Furniture World will thank you!
Janet Holt-Johnstone is an international marketer and editor, happily contributing to Furniture World Magazine for the past 20 years. She also writes/edits for CanWest publications, the Globe and Mail, The Toronto Star and many shelter magazines, and edited the award-winning Korean War epic, "One Bugle, No Drums", by William B. Hopkins. Janet has just completed her first novel, "The Devil Knows".


scheda film] in cinemas and is now shooting various chapters of the new season of the series Money Heist for Netflix. "Thanks to them, there is plenty of work for audiovisual professionals in Spain," the Basque helmer declared in a recent chat with Cineuropa.
scheda film], produced for Netflix, in the official section of the latest Berlin Film Festival. Now, for the first time, she has begun preparing a television series – for HBO Europe, through HBO España – which will be called Foodie Love. It will comprise eight 30-minute episodes in which the dinner table and the bed intertwine, scripted and directed by the Catalan filmmaker herself.
scheda film], is called Miss Wasabi Films: as readers will no doubt be aware, wasabi is a staple condiment in the cuisine of the Land of the Rising Sun. Given all of this, it is hardly surprising that the filmmaker is now dedicating a project to one of her most cherished pastimes, openly combining it with romantic relationships, which her storylines are usually chock-full of.


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Q: No icons after exporting a Swing application I'm programming a GUI in Java (using Swing of course) and while running my application in Eclipse everything is fine and with icons and whatnot, but after exporting my application the icons are gone.
The icons are located under the class-path in the following directory resources/icons.
JButton browseButton = new JButton("Browse", new ImageIcon("resources/icons/browse.png"));

A: Seems like as guided by @kleopatra, this surely is the right way.
When you create resources folder, make sure you do it by right clicking your project, then go to source folder and name it as resources/icons and then manually put your images in that folder, and go back to your eclipse and refresh your project. Now you can use these images in your runnable jar also.
Now in order  to use your image/icon in your Classes use this
private ImageIcon getImage(String path)
{
    URL url = getClass().getResource(path);
    System.out.println(url);
    if (url != null)
        return (new ImageIcon(url));
    return null;
}

Here your path will be the name of the image prefix it by a forward slash, which is inside your resources/icons folder like "/myIcon.png"
I wanted to be sure,  before i post my answer, so tested it.
Else give me some time, I will put all steps somewhere for you to see.
More info related to the whole thingy can be found on this another answer of mine :
Load ImageIcon Exception

redpajama_set_name: RedPajamaStackExchange


Elissa Slotkin will be celebrating the opening of her Rochester campaign office on Friday, June 15.
Slotkin is seeking Michigan's 8th Congressional District seat, which is currently held by U.S. Rep. Mike Bishop, R-Rochester Hills.
The public is welcome to attend the grand opening of the campaign office, which is located at 134 W. University Drive, Suite 305. The event runs from 6 p.m. to 8 p.m.
Attendees will have the opportunity to hear from and meet Slotkin as well as sign up for campaign volunteer opportunities. You can learn more about Slotkin's campaign by visiting www.elissaforcongress.com.


The first time I heard the "Chaconne in G Minor" by Vitali was at a violin recital in January.
The most recent performance of this piece that I attended was March 7 and it was played by Sarah Chang, my new favorite violinist (well, one of them).
Needless to say, Chang was a much more skilled violinist than the girl who played at the recital.
Her vibrato was warm and enticing, drawing the audience into her sound and delivering me to a trancelike state of awe.
The notes on the pages of music (not like she was actually using them–it was all memorized) were transformed into emotions, pure passion exploding in my face.
Chang took me from a tranquil sea of pacifism one minute to a tempestuous tornado of vexation the next. And all in one piece!
Despite Chang's obvious skill and prowess in making music, her stage presence really sets her apart from others in her field.
Sitting in the audience, I felt a strange sensation of spying on Chang.
While she was performing, it was as if she were in her own world and I was lucky enough to be present for the display.
Her movements were so natural and unprocessed that it seemed as though the audience was nonexistent to her.
From the bending and unbending of her body in the intense parts of the piece to the playful steps in the more "spunky" parts, her gestures brought the audience into her musical world.
Chang's performance also included a Prokofiev concerto and an arranged version of West Side Story for violin and piano.
Hours later, I'm still thinking about the alluring sounds of the Prokofiev concerto.
I'm also thinking about my own mediocre playing.
At 8 years old, Chang was making her debut with the New York Philharmonic. Yes, she was one of those kids.
At 8 years old, I was still trying to figure out how to keep my bow from poking me in the eye while playing.
And to make my position seem even worse, Chang performed the piece that I am working on now (Henri Wieniawski's "Second Concerto in D Minor") when she was only 4.
Amazingly, I haven't given up on violin yet.
I guess I'll just have to deal with the fact that I will never be as good as Sarah Chang.
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text:
German Air Force impact on Holloman
Jacqueline Devine
The German Air Force has been training its aircrews in the United States since 1958. GAF training took place on various bases throughout the United States before moving its primary mission to Holloman Air Force Base in 1992. The mission of the German Air Force Flying Training Center at Holloman is to train future Tornado aircrews.
In 2013, the German Air Force Flying Center became the headquarters for the entire German Air Force Command in the Continental United States. Commanding Director of GAFFTC Col. Heinz J. Ferkinghoff was the former commander of the German Air Force Command U.S./Canada in El Paso until he transitioned his responsibilities to Holloman in 2014.
Ferkinghoff said the main reason GAF chose Holloman to be their main headquarter was because of its vast air space and exceptional weather that is needed for their Tornado aircraft.
"The main reason why the German Air Force chose Holloman to operate here was that it had all the air space we needed and had all the training installations we wanted to utilize. The weather is also marvelous here," Ferkinghoff said. "New Mexico provides blue skies more than 300 days a year and all that in connection gives us an ideal training environment to train our young aviators. It's a combination of the weather, unlimited air space and excellent cooperation we have with the U.S. Air Force."
Ferkinghoff said their main job at Holloman is to train Tornado aircrews to become Instructor Pilots and later on train them to be Weapons Systems Instructors.
"We have a training squadron in Goodyear, Arizona. That is where we do our initial flying training where our young aviators start to climb into a cockpit for the first time to learn how to fly a plane. From there we follow different routes depending on the individual careers of the aviators," he said. "Our classical jet pilots receive their jet pilot training in Sheppard Air Force Base which is in north Texas. After 13-14 months they graduate from there and if they decide to become Tornado pilots then they will be sent to Holloman together with our Weapon System Operators who are trained in Pensacola Naval Air Station, Florida. After they get to go to one of our two Tornado air bases in Germany."
Ferkinghoff said the GAF has had a huge impact on Holloman because at one point it was on the verge of being closed down until they decided they wanted to be stationed there.
"Honestly, I remember in the 90s when GAF showed interest in Holloman. At the time it was one of the bases to be closed by the U.S. Air Force by the Base Realignment and Closure program (BRAC)," he said. "When GAF said we would love to go to Holloman it eventually made the cut and so it continued to exist. The U.S. Air Force has recognized that it would have been stupid to close down Holloman at that time with the proximity of White Sands Missile Range and all the air space that they use for themselves."
Ferkinghoff said he's not certain if GAF was responsible for saving Holloman but they were definitely a contributing factor and that German personnel are very happy to be a part of the Alamogordo community.
"It's a mutual agreement between GAF and Holloman that we support each other as good as we can. I think almost all the permanent German staff live in Alamogordo and that they're a considerable factor in the economy of Alamogordo," he said. "All the Germans live in houses or apartments in Alamogordo and they have become a part of the community. They love to spend their money in restaurants, go shopping and they're involved in various activities with their American friends. Alamogordo also houses the largest German school outside of Germany."
Since the arrival of GAF at Holloman there are 1,200 Germans, including their dependents, living in Alamogordo.
Ferkinghoff said the Tornado, the only aircraft they train with in the U.S., features two crew positions, two engines, short takeoff and landing performance, fly-by-wire controls, and an aerial refueling probe.
"The Tornado is a fairly old system. Its had 40 years of service since the Cold War," he said. "The Tornado is the only aircraft with the German insignia that can fly in the U.S. Sometimes other nations operate in the U.S. but they make them fly with the U.S. flag emblem. The German Air Force is allowed to fly their jets with the German flag here in the United States which is a huge exception."
According to the GAFFTC's website, the Tornado Interdictor Strike (IDS) carries two internally mounted guns and two AIM-9 Sidewinder missiles for self defense. The aircraft is guided by an accurate, fully autonomous navigation system. The Tornado Air Defense Variant (ADV) provides autonomous, all-weather air defense. It can patrol for more than two hours at 350 nautical miles from base and can climb to 30,000 feet in under two minutes. The Tornado ADV detects targets more than 100 nautical miles away and engages those targets beyond visual range.
Ferkinghoff said GAF is proud to be a part of Holloman and the Alamogordo community. The GAF contract with Holloman will end in 2019 but they will gladly accept a renewal to continue to work at Holloman for many more years.
"Almost with no exception, the Germans are enjoying their tour of duty here. They love being in the United States to have the opportunity to travel the country," he said. "Most of the German Airmen extend their tour which is up to three years. Many of them end up staying here."


text:
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20 Movies You Need To Watch Before Decorating Your Home
No matter what your decor style is, these movies are sure to inspire.
By Bridget Mallon
While this film brilliantly captures the ennui that so many experience after graduating college, the stylish '60s interiors are just as impressive. From the Braddock family's inviting home, to the sleek and modern style of the Robinsons' abode, to the iconic rooms in the Taft Hotel, "The Graduate" offers up plenty of decor inspiration.
For anyone looking to add a little glitz and glamour to their homes, Baz Luhrman's take on "The Great Gatsby" is a must see. Each room in the film has its own distinct feel, and while the interiors are quite grandiose, they brilliantly capture the feel of the Roaring Twenties.
Nancy Meyers has quite the reputation for creating enviable interiors in her films, but "It's Complicated" just may take the cake. It's almost impossible to watch without dreaming of cooking in the impeccable kitchen, or plopping down in the muted living room wrapped in a cashmere blanket.
"Midnight In Paris" travels between time periods, so there are countless scenes that feature breathtaking interiors. The '20s night clubs, Gertrude Stein's home and even the modern day hotel rooms all evoke a completely different style, but all remain entirely enticing.
Leave it to fashion designer Tom Ford to create a film where the design is almost as important as the plot. Every interior in the film makes use of layered patterns, colors and textures to bring to life a stylized version of the 1960s that will surely inspire any fan of the time period.
Holly Golightly's apartment is a testament to the idea that less is more. While there's hardly any furniture at all, what she does have in her NYC pad immediately catches the eye.
While it's not actually a home, Miranda Priestley's office in "The Devil Wears Prada" features one of the most perfect gallery walls we've ever seen. And her townhouse isn't too shabby either.
Summer's bedroom in "500 Days Of Summer" is warm, inviting, and quirky without feeling kitschy. Anyone looking to incorporate patterns and color into their homes could learn a thing or two, while fans of muted black and white color palettes will surely find inspiration in Tom's bachelor pad.
While the exterior of the "Father Of The Bride" house tends to get all of the attention, we're partial to its cozy, lived-in interiors. The home perfectly demonstrates how to pull off shabby chic, but with a polished finish.
Yes, we know, "Gone Girl" gets pretty dark. But would you just look at that immaculate kitchen?
Almost the entire movie takes place in the Altman family's house, so it's no surprise that the set design is top notch. And while the storyline isn't always cheery, the brilliant use of pattern and color keep the interiors feeling bright and welcoming.
The classic French film offers up plenty of design inspiration with its use of richly saturated colors and vintage-inspired details. It can be quite difficult to pull off a red bedroom that feels more relaxing than sensual, but "Amélie" pulls it off with aplomb.
If you have an affinity for avant-garde design, there's no better film choice than "Beetlejuice." With macabre, almost gothic colors and off-the-wall furniture choices, the "Beetlejuice" house demonstrates the best in absurdist design.
Fans of classic Italian villas need look no further than "Under The Tuscan Sun" for an inspiring film. Seeing Frances Mayes restore her newly purchased Tuscan home will surely get the decorating ideas flowing.
While Stanley Kubrick's science fiction masterpiece may not seem like a place to seek out decor inspiration, it actually features beautifully designed interiors that are sure to thrill fans of modern and classic styles alike.
Eat Pray Love
Liz Gilbert's global adventure to self discovery brings viewers on a journey around the world, with plenty of stops to inspire exotic decor choices. But be warned, the film may also cause serious wanderlust.
It's no surprise that one of the most beloved romantic comedies ever has interiors that inspire warm and fuzzy thoughts. Kathleen Kelly's homey bedroom in Nora Ephron's classic film "You've Got Mail," is a direct representation of the character's warm and inviting personality. Fans of shabby chic styles will adore her entire Upper West Side apartment.
Every one of Wes Anderson's films is a complete feast for the eyes, but it's almost impossible to top the interior perfection he achieved in "The Royal Tenenbaums." Each room of the Tenenbaum family's Harlem mansion is decked out in Anderson's signature saturated hues and accented with unexpected details like zebra wallpaper.
Coco Chanel & Igor Stravinsky
"Coco Chanel & Igor Stravinsky" is the perfect film for people who dream in black and white. The interiors put the classic color combo to work, while the use of interesting patterns and graphic shapes keep the design from feeling stagnant.
Down With Love
Barbara Novak's pretty pink apartment is over-the-top in all the right ways, with unapologetically bright colors and boldly modern furniture choices. And really, who wouldn't want that gorgeous rooftop terrace?
#LoveWins
From: ELLE Decor US
Bridget Mallon Bridget Mallon is the Assistant Web Editor for Elle Decor and Veranda.
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In my last blog post, I discussed converting audio from integer to floating point back to integer, mostly from a programming perspective. I showed how there are a lot of ways to do the conversion. Most audio folks would say, "huh, I thought there were only two ways to convert floating point numbers to integers." And they'd be right: with and without dither. So what's all the fuss about?
When I have dither off and no effects (including volume, etc) I expect to be able to get out exactly what I put in.
When I have dither on, I expect it to sound good.
Point 1 is what we referred to as bit transparency in the previous post, and we found lots of ways to do that. Point 2 is a bit more subtle. How do you make something sound good? In this case, we mean transparent, and what's especially critical is that we eliminate truncation and IM distortion which are the hallmarks of cold, harsh digital audio.
Figure 1. Comparison of 16-bit conversion using the same scaling factor (matched) vs. different scaling factors (mismatched). Mismatched scaling factors come from Method 3 from previous post and matched are Method 2.
What we need when it comes to transparency and avoiding that cold harsh sound is linearity. In this regard, the methods discussed in my last post, transparent or not, don't stack up equally. You might think you could judge them by inspection, but the mathematics are a bit more complex. Let's be clear about what we need to test: what we don't care about is how accurately a given conversion method responds to a DC signal: we aren't measuring the temperature or the amount of fuel in a tank. Rather, when we talk about linearity in audio we are referring to the ability to accurately translate dynamic information. Think about it: when you buy an analog-to-digital converter, you aren't concerned about its ability to accurately measure a certain input voltage, are you? No, you care about it's frequency response and dynamic range. In the same way, we must ensure maximum signal-to-noise ratio and dynamic range in our conversions. It turns out not all the conversions from my last post have good dynamic performance.
It is sometimes claimed that the percent error introduced by "mismatched" conversion (ie Method 3 from the previous post) is small, and therefore of little concern, but percent error is not what matters in a dynamic system such as audio, so we will not concern ourselves with that and investigate the dynamic performance instead. In Figure 1 we show the results of "mismatched" conversion. In this case we are converting from a source signal of 2 sine waves in double precision to 16-bit integer (to simulate A/D conversion), then to single-precision floating point and back to 16-integer (to simulate a standard editing workflow), and finally back to double precision (to simulate D/A conversion). This is more or less the minimum error we can expect with the mismatched method if we use audio editing software but do not use DSP, and therefore represents a best-case scenario. In the dynamic analysis, it becomes clear that using different scaling factors produces more noise whether dither is used or not. In fact, the difference made by dither is dwarfed by the difference in techniques. Just as importantly, the quality of the noise is bad: rather than shifting the noise floor up, we see spikes indicating that the noise is likely to be audible even at low levels. These results also suggests that it is important to use the same scaling factors throughout the processing chain.
Figure 2. Quantization and dithering from float to int and back to float is tested at 16 bits (a,b) and 24 bits (c,d) using a full-scale sine (a,c) and the sum of two sine (b,c). Notes: the sum of two sines does not clip; clipped signal and raw quantized signal are not shown in a.
Figure 2. shows the dynamic performance of conversion using 2^n, (2^n)-1 and "asymmetrical" conversion (ie Method 4 from my previous post). We will discuss below that "asymmetrical" is a misnomer. We also looked at dithered and non-dithered versions.
Two types of tests were run: first, a full-scale sine wave was generated, converted to int, and back to float for FFT analysis. The second test was the same except that two sines, each at 1/2 full scale were summed together. Each test was run at 16 and 24 bits. Note that the full-scale sine wave cannot be accurately represented in some of these conversion methods, resulting in some clipping.
As you can see, all dithered converters performed fine at 16-bit as long as nothing was out of scale. At 24-bit, the weakness of the (2^n)-1 converter becomes clear: it actually performs worse than rounding (ie. no dithering). Clearly (2^n)-1 is not an acceptable transformation for 24-bit integers and single precision floating point numbers. The 2^n converter performed admirably on all tests except the 16-bit full-scale test (1a). Those small spikes line up perfectly with the spikes caused by clipping as expected (results not shown) meaning that it is harmonic distortion -- not the worst thing that could happen, but, still, the asymmetric converter does outperform it in this regard.
As mentioned, I'm calling Method 4 from my previous post the "asymmetric" method, but it is only asymmetric in the sense that you apply different math to positive and negative numbers. As these results show, it is linear. Moreover, it is symmetric with respect to dither amplitude, which is what ensures its linear behavior.
Clearly the two winners here are the so-called asymmetric method and the (2^n) method. Both methods excel in the critical areas of bit transparency and linearity. Even their un-dithered performance is quite good, and they are obviously superior to other methods.
The one area in which the asymmetric model outperforms the (2^n) model is in terms of clipping signals that originated from higher resolution. Even with dither, we still see incorrect behavior with the the (2^n) model because dither only finds its way to 1/2 LSB, whereas +1 clips by going 1 LSB over. The question is whether or not this matters. Indeed there is some debate about the importance of +1. My opinion? +1 is a value that occurs in the real world and it's not always possible for the code that's producing the +1 to know what the output resolution is going to be. For example, a VST synth plugin has no way of knowing what the output resolution is going to be, so it can't be expected to know what to scale its output to. When converting from 24 bit to 16 bit and using float as an intermediary, there is no simple way to solve this problem.
On the other hand, non-pro A/D converters frequently clip around -.5 dBFS, which is below +1 - 1 LSB anyway. Conceivably, you could also correct for this by introducing a level shift at the output equal to 1/2 LSB, but that's equivalent to turning your converter into a (2^n)-.5 converter -- it solves one problem, but introduces another. All that said, there is no reason not to develop software, especially libraries, drivers and other software intended for use by multiple type of users including audiophiles and pro audio engineers, that is convenient to use while meeting the highest audio standards: just use the asymmetric converters.
Given the potential hazards found in mixing and matching conversion methods, I recommend that all libraries (and drivers, if possible) offer options for various conversion settings, both to minimize bit transparency problems and unnecessary quantization noise, until all libraries and drivers can standardize on the asymmetric conversion method. This is the only way to guarantee transparency and maximize linearity. As these results show, this issue may be more important than dither.
Int->Float->Int: It's a jungle out there!


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Q: Excel formula to extract specific date and time from multiple lines of text in a cell Can someone please help me with an excel formula or macro to extract the date and time in the 2nd last row? This text is part or a ticket dump export and I need date and time stamp of when it was first acknowledged. The names can vary and so can the lines of text, however, I would always need the date and time in the 2nd last line. Please help!
2021-08-01 19:17:21 - Kamatham Rakesh (Additional comments)
sample text
2021-08-01 19:04:48 - Shelley Black (Additional comments)
Sample Text
2021-08-01 19:04:31 - Kamatham Rakesh (Additional comments)
Sample text
2021-08-01 19:04:30 - Shelley Black (Additional comments)
Sample text
2021-08-01 19:04:05 - Shelley Black (Additional comments)
Sample text
2021-08-01 19:03:41 - Shelley Black (Additional comments)
Sample text
2021-08-01 19:03:25 - Shelley Black (Additional comments)
Hello
2021-08-01 19:03:17 - Kamatham Rakesh (Additional comments)
Hi shelly
2021-08-01 19:03:03 - Kamatham Rakesh (Additional comments)
Thank you for waiting. Sample text
2021-08-01 19:02:29 - Shelley Black (Additional comments)
sample text

A: OK - if all text is in a single column, this may work:
=INDEX( LEFT( FILTERXML( "" & SUBSTITUTE( A2, CHAR(10), "" ) & "", "//sub" ), 19 ),
        ROWS( FILTERXML( "" & SUBSTITUTE( A2, CHAR(10), "" ) & "", "//sub" ) )-2 )

This assumes that the lines are separated by 2 carriage returns (i.e., CHAR(10)). It is delivering the text of the datetime.

If you want to return the datetime value, it may be a lot easier to deploy this with a helper cell, but you can also do this:
=DATEVALUE( INDEX( LEFT( FILTERXML( "" & SUBSTITUTE( A2, CHAR(10), "" ) & "", "//sub" ), 19 ),
               ROWS( FILTERXML( "" & SUBSTITUTE( A2, CHAR(10), "" ) & "", "//sub" ) )-2 ) )
+ TIMEVALUE( INDEX( LEFT( FILTERXML( "" & SUBSTITUTE( A2, CHAR(10), "" ) & "", "//sub" ), 19 ),
               ROWS( FILTERXML( "" & SUBSTITUTE( A2, CHAR(10), "" ) & "", "//sub" ) )-2 ) )

A: One way to do it would be:
=DATEVALUE( LEFT( INDEX( A:A, LARGE(IF( ISTEXT(A:A), ROW(A:A) ),2) ), 19) )
+ TIMEVALUE( LEFT( INDEX( A:A, LARGE(IF( ISTEXT(A:A), ROW(A:A) ),2) ), 19) )

This assumes the data are laid out in Column A of some arbitrary length:

This might take a lot of time to calc if your data are really long. There could be more calc-efficient ways if you knew exactly how many rows are in the data set. Unfortunately, the IF has to be repeated because the TIMEVALUE and DATEVALUE are computed separately and in Excel 2016, you don't have access to LET or FILTER which would speed things up a bit.


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Coprinus stellatus är en svampart som beskrevs av Buller 1929. Coprinus stellatus ingår i släktet Coprinus och familjen Agaricaceae.   Inga underarter finns listade i Catalogue of Life.

Källor

Basidiesvampar
stellatus

redpajama_set_name: RedPajamaWikipedia


Since 2009, NAB's employee choir has been bringing good cheer to colleagues at Christmas.
In 2016, the choir decided to share that good cheer with the RCH Foundation.
"When I joined the NAB choir this year, I asked what we were singing for," said Jacqueline Leou, Senior Consultant – Capability, Technology & Operations Management Assurance at NAB.
Jacqueline's son James has been an RCH patient since birth. He's cared for by multiple teams including maxillofacial and plastic surgery, neurology and orthopaedics, which have helped him make great gains.
The NAB choir is also making great gains. At each performance, volunteers accompany the choir rattling tins for gold coin donations to the RCH Foundation. The donations have been generous and Jacqueline is thrilled to help the hospital that's done so much for her son.


who claim that they were in a partnership with a PHMA director in relation to a Licensed Vessel and the purchase of quota from PHMA at any time during the Material Time.
A class action was certified regarding a Department of Fisheries and Oceans (the "Crown") scheme to divert individual vessel quota (IVQ) representing 10% of the Total Allowable Catch (TAC) to the Pacific Halibut Management Association for resale back to individual commercial halibut license holders.
A settlement of approximately $2.8 million has been reached in this case. The settlement was approved by the Supreme Court of British Columbia on September 11, 2015. The method of distribution, class counsel fees and an honorarium to the representative plaintiff was approved by the court on November 10, 2015.
On March 9, 2017, the court approved the payout of settlement funds to class members in stages. The first stage will be to pay out all claims to class members who are sole owners (company or individual) of the licensed vessel. The first stage includes approximately 80% of the class members who submitted a claim form. We anticipate cheques will be mailed out by the end of March for these claims.
The second stage will involve paying out settlement funds to the remainder of the class members, including joint owner claims, disputed claims, deceased claimant claims, and claims which have other issues with the submitted form. For those class members who fall within the second stage, you will be receiving correspondence from CFM within the next couple months detailing your claim and requesting further information if required.
On September 6, 2017, the court approved the second distribution of settlement funds in this class action, subject to obtaining additional information for claims made on behalf of deceased class members. We will proceed to issue and distribute cheques shortly.
On June 15, 2018, the court approved an order finalizing the distribution of settlement funds in this class action. The settlement distribution has now been completed, and the matter will be discontinued once all of the distribution cheques have been cashed.
For further information concerning this action, please contact Lise Carmichael at 1-800-689-2322 or 604-689-7555, or email lcarmichael@cfmlawyers.ca.


LAUREL — The Laurel softball team beat Glendive 7-6 on Friday in walkoff fashion.
The score was tied 6-6 going into the bottom of the seventh inning. With two outs, Laurel senior Taryn Wommack drilled a double, and freshman Taylor Feller drove Wommack in with a double herself to end the game.
Feller and teammate Bailey Chapman each went 2-for-3 with a walk.
Laurel (1-2, 1-2) will host Sidney and Glendive (2-1, 0-1) will play at Billings Central on Saturday.


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