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This summary report is an archived publication and may contain dated technical, contact, and link information
State Planning and Research (SP&R) Guide
Publication Number: N/A
Oversight & Stewardship
The Federal Highway Administration (FHWA) is charged with managing entrusted public funds efficiently and effectively while ensuring that Federal highway programs are conducted in compliance with Federal laws, regulations, and policies.
View FHWA Deputy Administrator J. Richard Capka's memo on Stewardship and Federal Highway Programs (January 8, 2003). FHWA also issued a June 22, 2001, memo on Policy on Stewardship and Oversight of the Federal Highway Programs. Other FHWA documents released by the Stewardship and Oversight Committee also can be found on FHWA's Web site.
States may use SP&R funds for planning and research. This guide addresses SP&R funds that may be used to research new knowledge areas; adapt findings to practical applications by developing new technologies; and transfer these technologies, including the process of dissemination, demonstration, training, and adoption of innovations by users. The use of SP&R funds by States and subrecipients is authorized by Title 23, U.S. Code, Section 505, and regulated by Title 23, Code of Federal Regulations (CFR), Part 420; State departments of transportation (DOT) are responsible for monitoring activities performed by staff of subrecipients that use SP&R funds.
One of the requirements for using SP&R funds is that the State DOT must develop its own unique management plan, which establishes a process for conducting its research and technology (R&T) program. The FHWA Division Administrator must certify the plan. The Transportation Research Board's (TRB) National Cooperative Highway Research Program (NCHRP) report, "Guide for Developing a State Transportation Research Manual" is a support document for developing a management plan.
The process that State DOTs use to manage their research programs varies considerably. Procedures vary from State to State for developing the plan and selecting the projects. Most States work with universities and other stakeholders.
The Standing Committee on Research (SCOR)/Research Advisory Committee (RAC) Web site has posted a survey on research programs in State DOTs. Information about research policies, research oversight committees, project selection processes, and the presence of the Local Technical Assistance Program can be found in the survey.
Each management plan must include a provision for a periodic peer exchange; periodic has been defined as every 3 years. (See the Robert Betsold September 20, 1996, memo and the Dennis Judycki July 13, 2000, memo).
Some States have posted their management manuals online, providing some examples of how different States have organized their transportation research programs.
Although States tailor their management process to fit their individual needs, FHWA established minimal requirements for this process. The FHWA Division office must certify a State's management process before it is implemented.
The proposed use of planning and research funds must be documented by DOTs and subrecipients in a work program acceptable to FHWA. Title 23, CFR, Section 420.207 states that the State DOT's research, development, and technology (RD&T) work program must, at a minimum, consist of a description of RD&T activities to be accomplished during the program period, estimated costs for each eligible activity, and a description of any cooperative activities, including the State DOT's participation in any transportation pooled fund studies, technology transfer activities, and NCHRP. A list of the major items with a cost estimate should be included, as should any study funded under a previous work program, until a final report has been completed for the study. During the development of the work program, States are required to search TRB's Transportation Research Information Services (TRIS) database to ensure that another State is not already conducting the planned research.
Each work program must include a record of the FHWA certification of the State's management plan. Upon receiving approval of the work program from their FHWA Division office, States are required to post their new research in the Research in Progress database. If changes occur during the work program year, States must update the work program, and their Division office must approve the changes. To address progress in the program, the State must prepare an annual report of activities detailed in the work program.
States also should post information on any resulting research reports in TRIS and make them available to the research community for further implementation. For example, the Wisconsin DOT manages a database of online research reports in full text for State, national, and international research reports.
NCHRP addressed State research needs by releasing a report titled "Synthesis of Highway Practice 231: Managing Contract Research Programs" in 1996. Although the report was issued a few years ago, the information still can be used to guide contract research programs.
At times, States will have questions about using SP&R funds for specific purposes. To address these concerns, FHWA issued Guidance on Use of FHWA Planning and Research Funds for Travel and Training on January 29, 2004. On March 11, 2004, FHWA clarified the FHWA, State DOT, and Metropolitan Planning Organization (MPO) Rights to Copyrighted and Patented Items Developed with FHWA Planning and Research Funds.
SP&R Guide Home | Legislation/Regulation | Oversight/Stewardship | Peer Exchange | Pooled Funds | TRB | RAC
Topics: research, state planning and research
Keywords: research, State Planning and Research, SP&R, research peer reviews
TRT Terms: research, highway, persons and personal characteristics, personnel, groups


Wow factor! Wonderful opportunity to design your dream home overlooking Central Park. Apartment 57D is a spacious 2 bedroom, 2.5 bathroom residence in one of Manhattan's most elegant luxury condominiums. Approximately 1,500 square feet of ample space for living and entertaining. The 33 foot living room is wrapped by floor to ceiling windows facing North and East with spectacular Park and City views as far as the eye can see.


Young basketball players in the Valley are participating in an Elite Girls Basketball Camp held at Mark R. Isfeld Secondary School this weekend. Students in grades 8 to 12 from the Valley, across the Island and from Powell River are participating in the camp.
The camp is put on by the Comox Valley Athletic Association with four high profile national and provincial level coaches from B.C. sharing their knowledge.
The camp's high-performance coach, Leanne Evans, most recently coached the U15 Basketball BC provincial team who won gold at the 2018 National Championships. She also played on the Canadian national team for eight years and was the lead assistant coach at the University of Victoria for six.
Jenna Bugiardini, Jenna Krug and Aieisha Luyken, all very experienced coaches and players, are also coaching at the camp this weekend.


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"The most exciting and thought-provoking trip!"
We take our hats off to our remarkable 2015 Cycle Cambodia Challengers, Ally Bruhn, Melissa Treacy and Greg Wilson, who spent nearly two weeks in July cycling around Cambodia, discovering and participating in CUFA's in-country programs, seeing exactly how the donations from our generous supporters help people build a brighter future. The team also got hands-on experience of life in Cambodia, meeting Village Entrepreneurs and participating in financial literacy classes.
Ally Bruhn, from Service One, described it as "the most exciting and thought-provoking trip." "I can't praise the CUFA Cambodia staff enough," she said. "Their commitment to the Cambodian children with the Children's Financial Literacy program, and the support for the Village Entrepreneurs, is commendable."
Like the other challengers, Greg from Summerland Credit Union found the experience inspirational. "It was great to see how effective the projects are at helping people and communities," he said. "I feel proud that Australians are contributing to this great work."
Melissa, from Railways Credit Union, agreed: "The training and support CUFA gives to the Village Entrepreneurs is evident and I was very impressed."
"The entrepreneurs we met really inspired me," she added. "They are working so hard for their families and communities."
While the main goal of the Cycle Cambodia Challenge is to provide an opportunity for supporters to get an up-close look at CUFA's programs in-country, it's not all hard work. The 300 km round trip also gave our Challengers a chance to explore some of Cambodia's beauty and history, including the world's largest temple site, the nine centuries old Angkor Wat, through rice fields, breathtaking countryside and past impressive waterfalls.
And all for lasting benefit. As Melissa put it: "I have grown personally from this experience, and also professionally. I feel that I am looking at daily challenges and experiences in a different way."
Are you ready to challenge yourself? Find out about CUFA's Challenge programs HERE. You'll be fully supported every step of the way by CUFA's experienced staff, enjoy magnificent scenery, and most importantly of all, see exactly how your fundraising efforts are directly helping to lift people our of poverty.
What's the most challenging thing you have ever done to raise funds for a cause? Share your stories on our Facebook page now!

redpajama_set_name: RedPajamaCommonCrawl


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Home / News / ASU's Music Theatre and Opera 2018-19 season centered on exploration
ASU's Music Theatre and Opera 2018-19 season centered on exploration
The School of Music in ASU's Herberger Institute for Design and the Arts is internationally recognized for having one of the few programs that provides undergraduate and graduate students training in both music theater and opera performance. Each year, the program presents a performance season, and this year, the season is centered on exploration and exposing students and audience to the broadest forms of music theater and opera repertoire available.
In addition to new musicals and operas that are part of the 2018-19 season, the program will also embrace a new title, "Music Theatre and Opera."
"While we treasure the history associated with 'Lyric Opera Theatre,' we have chosen to embrace 'Music Theatre and Opera' as a title that more clearly identifies what has made our program unique since 1964," said Brian DeMaris, associate professor and artistic director of Music Theatre and Opera. "We have always been and will continue to prepare students in and produce both music theater and opera, along with everything between and beyond, including innovative art forms not yet defined."
In addition to four main-stage productions, the season will continue its series of new works readings and ongoing partnerships with multiple local and national arts organizations.
"Our emphasis on new works and partnerships with local nationally recognized professional arts organizations continue to place ASU on the cutting edge of music theater and opera training," said DeMaris.
The pioneering New Works Reading series will open the season with "Marie Begins," a jazz opera by Ellen Fishman and Julia Curcio in which the audience helps choose the plot through wireless clicker technology. DeMaris said he is excited to partner with Phoenix Theatre on "The Anxiety Project," by Rachel Dean and David Brush, which will also be presented through the Festival of New American Theatre.
Leonard Bernstein's "Mass," with additional lyrics by Stephen Schwartz, is identified by the composer as "a theater piece for singers, dancers and players." In celebration of the composer's centennial and in collaboration with the ASU Symphony Orchestra, the ASU Choral Program, the School of Film, Dance and Theatre and the Phoenix Boy's Choir, the production will be a full theatrical experience performed at ASU Gammage. The performance will feature internationally acclaimed artist Jubilant Sykes as the Celebrant. Sykes, who is a teacher, actor, communicator and singer in a variety of genres, will be in residence throughout the semester to teach and engage with many members of the community who will be involved in "Mass" through performance, colloquia and other educational initiatives.
Traditional fare includes "Kiss Me Kate," directed and choreographed by Molly Lajoie, and Handel's comic opera "Xerxes," directed by Dale Dreyfoos, professor in the School of Music.
A new rock opera, "Triassic Parq," will be presented in co-production with Phoenix Theatre and directed by Toby Yatso, lecturer in the School of Music. This poignant, irreverent and fun coming-of-age story is an Arizona and university premiere.
DeMaris said the student labs are an important component to the program's seasonal offerings and give students a place to practice becoming complete theater artists by choosing and producing their own productions. Next year's student lab projects include "Trouble in Tahiti" and "The Musical of Musicals (The Musical!)."
For the finale, the program continues its Music Theatre Showcase in both New York City and Phoenix. This year-end event has quickly become a celebration of the talent ASU turns out each year.
"The ASU Music Theatre and Opera program is a gateway for talent entering and exiting from multiple directions," said DeMaris. "For decades ASU has served to both bring talent into Arizona and to nurture Arizona talent and position it nationally. Our showcases in New York and Phoenix are a testament to our national reach and our commitment to the local community."
Tickets go on sale Aug. 1 for the general public. Ticket prices and venues vary. Contact the Herberger Institute Box Office at 480-965-6447 or visit season.asu.edu for more information.
Summer box office hours are 9:30 a.m.-12:30 p.m. and 1:30–4:30 p.m., Mondays–Thursdays.
ASU Music Theatre and Opera 2018-19 Season
New Work Reading
"Marie Begins"
An interactive jazz opera
Music by Ellen Fishman
Libretto by Julia Curcio
6 p.m. Sept. 9
ASU Kerr Cultural Center
"Kiss Me, Kate"
Music and lyrics by Cole Porter
Book by Samuel and Bella Spewack
7:30 p.m. Sept. 21, 22, 28 and 29; 2 p.m. Sept. 23 and 30
Evelyn Smith Music Theatre
Student Lab
"Trouble In Tahiti"
Music and lyrics by Leonard Bernstein
7:30 p.m. Oct. 26 and 27; 2 p.m. Oct. 28
"Mass: A Theatre Piece for Singers, Players and Dancers"
Music by Leonard Bernstein
Lyrics by Leonard Bernstein and Stephen Schwartz
Collaboration with ASU Symphony Orchestra and ASU Choral Program
Featuring Jubilant Sykes as the Celebrant
7:30 p.m. Nov. 17, 2 p.m. Nov. 18
ASU Gammage
Musical Theatre Holiday Cabaret
7:30 p.m. Nov. 26
Phoenix Theatre
"The Anxiety Project"
Music by Rachel Dean
Book and lyrics by David Brush
Collaboration with Phoenix Theatre
6 p.m. Jan. 20
Music by George Frideric Handel
After a libretto by Silvio Stampiglia
7:30 p.m. Feb. 14, 15 and 16; 2 p.m. Feb. 17
"The Musical of Musicals (The Musical!)"
Music by Eric Rockwell
Lyrics by Joanne Bogart
Book by Eric Rockwell and Joanne Bogart
7:30 p.m. March 22 and 23; 2 p.m. March 24
"Triassic Parq"
Book, music and lyrics by Marshall Pailet
Book and lyrics by Bryce Norbitz and Steve Wargo
7:30 p.m. April 5, 6, 12 and 13; 2 p.m. April 7 and 14
Musical Theatre Showcase and Alumni Night
7:30 p.m. April 22
Opera Scenes
"Kiss Me, Kate" is presented by arrangement with Tams-Witmark Music Library Inc., 560 Lexington Avenue, New York, NY 10022.
"Trouble in Tahitia" is presented by arrangement with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner.
"Mass: A Theatre Piece for Singers, Players and Dancers" is pressented by arrangement with Boosey & Hawkes, Inc., Sole Agent for Leonard Bernstein Music Publishing Company LLC, publisher and copyright owner.
"The Musical of Musicals (The Musical!)" is presented by special arrangement with Samuel French Inc.
"Triassic Parq" is produced by special arrangement with Broadway Licensing. www.broadwaylicensing.com.
Lynne MacDonald
lamacdon@asu.edu
The Herberger Institute comprises the Schools of Art; Arts, Media and Engineering; Music, Dance and Theatre; The Design School;
The Sidney Poitier New American Film School; and the ASU Art Museum.
Art degrees
Arts, Media and Engineering degrees
Design degrees
Film degrees
Music, Dance and Theatre degrees


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YOU DID IT! YOU'VE COMPLETED THE UPSWING MASTERMIND!
Many of you have asked what's next, and I'm here to let you know how you can keep working with me. Fortunately, our work together doesn't have to end here.
As the "getting started" cycle now comes to a close, it's time to look at the next step - getting consistent clients, solidifying your $5k months, and even growing beyond that (when you're ready).
at this stage, YOU HAVE ALL DISCOVERED THE DEEP IMPORTANCE OF BEING CONSTANTLY SURROUNDED BY LIKE-MINDED WOMEN ON THIS JOURNEY AND THE TRUE POWER OF SISTERHOOD.
My own greatest breakthroughs are often inspired from my mentors and ladies in my mastermind - who challenge me to keep thinking BIG (even when the hard moments and overwhelm creep in); keep me accountable; and offer a fresh perspective on what's really possible.
And I know you've realised that with each new level of success comes new challenges and unknown territory. Entrepreneurship is a rollercoaster ride and a constant balance between learning and implementing.
So, now that you have the know-how, I want to help you double your results even faster.
Working together on an ongoing basis, you can expect to feel fully confident in your target market, your offer, your message; and your tribe of loyal followers will be nurtured by your deeper mastery of email and social media communications (while still continuing to build your 1:1 practice).
1. Totally implement everything that you learned in the first 6 months of the UPswing Mastermind. You learned a lot in those 6 months. This is not the time to let up or take a vacation to Fiji. (Although a retreat in a few months time together may not be such a bad idea....) Now that you know what you need to do to earn $5K per month, I'm going to keep you accountable so that you'll do it. (This may be the biggest benefit to being in a high-level mastermind over time. I already know your business and I know what you need next.) PLUS there is a new format to maximise accountability.
2. Massively grow your email list and engaged tribe of fans. Magnetise your ideal clients! As you begin leveraging your business online, your email list is everything. My team and I are going to show you how to nurture your ideal clients like crazy to build yourself a loyal tribe who 'know, like, and trust' your expertise.
4. Establish your online presence. During the first 6 months, I showed you how to establish yourself as an expert health coach. Now, it's time to take those lessons up a notch by harnessing the power of the internet. PLUS we'll be covering one of the industries best kept secrets - how to create relationships and connections that can leap-frog you forwards fast.
I see a lot of value in working with you for a longer period of time (rather than working together for just a few months) - because, as I mentioned earlier, that's when the real magic happens.
DANIELLE WILL BE JOINING ME (AND YOU!) FOR A LIVE SESSION, WHERE WE'RE GOING TO DIVE DEEP ON 'WORKING WITH SOUL TO BUILD A BUSINESS'.
JOIN UPSWING MOMENTUM by 24 July AND YOU'LL ALSO RECEIVE A FREE COPY OF DANIELLE'S NEW BOOK, WHITE HOT TRUTH!
get ready to strengthen your coaching toolkit with rock-solid coaching skills that will have you feeling bulletproof on your coaching sessions with clients and more confident in your work as a coach.
I'M PLEASED TO OFFER 3 LEVELS OF SUPPORT TO CHOOSE FROM, DEPENDING ON JUST HOW MUCH ROCKET-FUEL YOU ARE READY TO ADD TO YOUR BUSINESS. CHOOSE FROM THE SAME LEVEL OF SUPPORT YOU RECEIVE NOW TO KEEP YOUR MOMENTUM STEADY AND CONSISTENT - OR UPGRADE TO GET THE DELUXE TREATMENT TO REALLY LIGHT A FIRE IN YOUR MARKETING, WITH PRIVATE MENTORING FROM ME AND INTIMATE RETREATS/INTENSIVES.
AS GRADUATES OF UPSWING MASTERMIND 2017 YOU ARE GETTING AN EXCLUSIVE INVITE TO THIS PROGRAM AS I TRULY SEE THE MOMENTUM THAT IS BUILDING FOR YOU ALL NOW AND KNOW THAT THIS IS THE MOST IMPORTANT TIME TO KEEP A HIGH LEVEL OF SUPPORT.
Email Natasha (support@amandajdaley.com) and let her know you are 'in'.


In the almost three years that I have been actively blogging, I have been blessed to be able to try some new things and be introduced to brands I may otherwise have been unfamiliar with.
Several weeks ago, I was contacted by a clothing company called eShakti. I had not heard of it before and was really excited when I learned that they offer customized clothing ranging from size 0-26W.
That's right. Customized. When I heard that the pieces can be fully customized, I thought that the prices would be very high. I was wrong. You can order standard sizes or, for $15 more, you can supply eShakti with your measurements to have it made just for you. When you consider the fact that these pieces are made to fit, they really are quite affordable.
I was offered the chance to try anything at all on the website. I initially chose a wrap style black winter coat. I figured that I live in Upstate New York and it can stay cold for several months. It turns out this was no longer available, so I was considering a dress. I literally changed my mind about ten times and ultimately chose something I felt would see lots of use.
I chose a spring denim jacket that screamed "vintage" to me in terms of style and detailing. It is pictured above.
My jacket arrived last week and I do have mixed feelings. On the website, it says "lightweight." It is extremely lightweight--the same thickness as my husband's dress shirts for work. I thought it would be more substantial--not like my old Gap denim jacket I had as a college kid, but not shirt material. There were a couple issues with stitching being a bit uneven near the shoulder as well. It is also 100% cotton and hand wash only. It arrived with loads of wrinkles and I know what happens when I hand wash 100% cotton items. Wrinkles, wrinkles, and more wrinkles.
So while I like the idea of this jacket, it isn't really working out for me. It is just so thin. I did upcycle the rosettes and buttons, though for a project. I also plan to add different buttons to the jacket and do something a bit different with it.
I do have to say, though, that I was extremely impressed with the fit of the jacket. It truly fits like a dream. I have a big problem with button front tops in general. I have a waist that is quite a bit narrower than my hips and chest. When an item fits in the chest, it is too big in the shoulders and waist. If it fits in the waist, it ends up being snugger in the hips and pulls across the chest.
This fit perfectly. That is a big thing for me.
Would I order from eShakti in the future? Absolutely. I am considering a dress for spring, actually. If it isn't what I am expecting, they do have a 90 day return policy.
Disclaimer: I did not receive monetary compensation for writing this review. I did, however, receive the jacket mentioned above free of charge from eShakti. All opinions in this review are solely my own and receiving this item of clothing in no way influenced the review.


In May 2014, The government launched "The Energy Engage Code". Under the 'Energy Engage Code', suppliers will guarantee that no customer engaging with them will be cut off. They will seek to identify vulnerable customers at an earlier stage and will treat each customer individually, with realistic and achievable payment plans offered to any customer in difficulty. The new Code will be independently audited to ensure that all energy suppliers are complying with it.
CER has a statutory obligation to ensure that a high standard of protection for final customers exist in the electricity and gas markets. CER's Supplier's Handbook sets out the minimum service levels that electricity and gas suppliers must provide to their customers; including in the area of disconnections, Pay-As-You-Go meters and vulnerable customers. Suppliers must also facilitate a consumer who wishes to nominate a third party represent them.


Wednesday, Kentucky will welcome U.S. Commerce Secretary Wilbur Ross to usher in a new era of economic growth for the commonwealth. Century Aluminum, America's largest primary aluminum producer, will host a ceremonial restart as we increase production at the Hawesville, Kentucky primary aluminum smelter by 60 percent. That will result in nearly 300 new jobs created in Western Kentucky by early next year.
As CEO of Century Aluminum, I, as well as my colleagues, are truly honored to be welcoming Secretary Ross, who has worked tirelessly with President Trump to save the American aluminum industry.
In recent years, Century Aluminum was forced to curtail capacity at our Hawesville smelter to 40 percent as foreign countries engaged in illegal trade practices that hurt American workers. In late 2015, the U.S. primary aluminum industry was on the brink of collapse and at one point, the whole industry had announced it was closing.
Today, as a result of the action taken by President Trump and Secretary Ross, thousands of American aluminum workers are finally winning again. As a result of the renewed confidence in the market, we are in a position to invest $150 million to restart potlines and create the hundreds of new jobs.
While the upcoming ceremonial restart is a historic day for Kentucky families and our local community, our struggle is far from over. Foreign governments and aluminum producers continue to jockey for exemptions from the Trump administration's aluminum tariffs. Some groups continue to fight the president's trade agenda and are trying to undermine the program from within. Now, more than ever, we need to stand strong against attempts to weaken or undermine the tariff relief. In simple terms, if the tariffs are to have any real impact, there can be very few exclusions.
The fight of the American primary aluminum industry is well-documented. Global overcapacity of primary aluminum crippled domestic production, forcing smelters across America's heartland to dramatically slow production, laying off thousands of workers. The industry faced an increasingly unlevel playing field tilted in favor of India, the Persian Gulf, China and other foreign nations. Even geopolitical allies like the EU have long had tariffs on U.S. aluminum coming to their shores. It wasn't until this administration that our government stepped in to stop the cheating and address the flood of foreign imports racing onto our shores.
President Trump and his administration appropriately recognized that the adverse effects on the industry represented a clear and present danger to the nation's national and economic security. Since the president signed the aluminum Section 232 proclamation earlier this year – imposing tariffs on imports of foreign aluminum, we have seen a renewed sense of confidence in our industry. As a direct outcome of President Trump's action, the U.S. primary aluminum industry has already started expansions that will increase its production by 60 percent.
At Century Aluminum, these tariffs have allowed us to invest more than $150 million in our facility to upgrade smelting technology, train existing employees to use new equipment, and recruit more tradesman, mechanics and engineers. These are high-paying jobs for Kentucky that will help support our local economy in Hancock County and beyond.
Due to President Trump's bold and courageous leadership, hundreds of families across Western Kentucky have been given another shot at the American dream. President Trump and Secretary Ross stand up to special interest groups and continue to push forward with an "America First" trade policy that levels the playing field for U.S. aluminum workers and millions of workers in industries across America.


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La música del Trecento és la música produïda a Itàlia durant el .

El Trecento va ser un període de vigorosa activitat en les arts al Regne d'Itàlia, incloent els camps de la pintura, l'arquitectura, la literatura, i la música. La música del Trecento evoluciona en paral·lel als èxits de les altres arts en molt diverses formes, per exemple, sent pioners de noves formes d'expressió, especialment en el cant secular en la llengua vernacla, italià.

El gènere vocal en forma de cànon de la caça fou molt estès durant aquest període.

Multimèdia

Referències

Música del Renaixement

redpajama_set_name: RedPajamaWikipedia


The Redevelopment Assistance Capital Program (RACP) will use a reimbursement process to fund projects. Grantees must apply for periodic payments to reimburse a portion of paid project expenses.
If a facilitation meeting has not been held, it is strongly encouraged that the Grantee request one before submitting a request for payment.
A Payment Request must include paid construction costs before any other items will be reimbursed. Therefore, if construction has not started, the Commonwealth will not reimburse on land, permits, or interest.
To facilitate the release of grant funds the submission of completed, signed Payment Request (PR) forms and supporting documentation must be sent to the Office of the Budget. There are three (3) different PR forms, all of which are available in a single Excel file (link in box at right). Aside from the facilitation meeting, a Reimbursement Handbook is also provided below to assist you in preparing the PR forms for submission (link in box at right).
Office of the Budget staff will 1) assess satisfaction of all terms and conditions of the grant; 2) verify compliance with all other RACP program requirements; and 3) examine the PR forms and all supporting documentation.
The state-assigned consultant will issue Construction Monitoring Reports periodically, which will be used to assist Office of the Budget staff in the assessment.
the PR forms are acceptable.
Upon submission of a final payment request, retainage of up to 10% may be withheld by the Office of the Budget until a close-out audit is concluded. For more information, please see the Legislatively-Mandated Close-Out Audit section of this web site.


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*Split scene to many files (e.g. characters, cars, birds, clouds, etc) and then load them up to different  elements for each one.

*Load whole scene to one  element and then animate groups inside scene?

A: It depends how you work. I would imagine that working with others, e.g animators etc, that they would often provide separate files. So it may work out easier that way. I don't think there's a right answer to this one though. If you load it in one go, at least you don't have to work out when various async loads have finished though.

redpajama_set_name: RedPajamaStackExchange


text:
The Latest: Australia OKs funding for two potential vaccines
Posted: Sep 5, 2020 / 11:43 PM CDT / Updated: Sep 6, 2020 / 09:33 PM CDT
A health worker takes a nasal swab sample to test for COVID-19 in New Delhi, India, Saturday, Sept. 5, 2020. India's coronavirus cases have crossed 4 million, leading the world in new infections and deepening misery in the country's vast hinterlands where surges have crippled the underfunded health care system. Initially, the virus ravaged India's sprawling and densely populated cities. It has since stretched to almost every state, spreading through villages. (AP Photo/Manish Swarup)
CANBERRA, Australia — Australia announced on Monday it had struck supply and production agreements with pharmaceutical companies worth 1.7 billion Australian dollars ($1.2 billion) over two potential COVID-19 vaccines.
Under the agreement, Britain's University of Oxford in collaboration with AstraZeneca and Australia's University of Queensland working with CSL will provide more than 84.8 million vaccine doses for Australia's population of 26 million people, almost entirely manufactured in the Australian city of Melbourne, a government statement said.
Australians would have access to 3.8 million doses of the University of Oxford vaccine in January and February, it said.
Prime Minister Scott Morrison said both vaccines would need to be proven safe and effective and meet all necessary regulatory requirements before being made available to the public. Any vaccine would be free to all Australians.
HERE'S WHAT YOU NEED TO KNOW ABOUT THE VIRUS OUTBREAK
— Pandemic turns summer into European tourism'sleanest season
— As the pandemic raged, roadways became speedways
— States are planning for cuts as Congress deadlocks on virus aid
— As coronavirus cases fall in the U.S., governors in hard-hit states are rethinking lockdown orders on bars.
— Cutbacks in credit insurance are creating a dilemma for suppliers, caught between potentially going unpaid and losing customers. That could affect retailers as they approach the critical holiday season._
— Some colleges areturning campus sewage into a public health tool. At least two schools in Utah and Arizona have quarantined students after tests showed the presence of genetic material from the new coronavirus in wastewater.
Follow AP's pandemic coverage at http://apnews.com/VirusOutbreak and https://apnews.com/UnderstandingtheOutbreak
HERE'S WHAT ELSE IS HAPPENING:
SEOUL, South Korea __ South Korea has added 119 more cases of the coronavirus, its lowest daily jump in more than three weeks amid a downward trend in new cases.
The Korea Centers for Disease Control and Prevention said Monday the additional figures took the country's total to 21,296 with 336 deaths.
It's the fifth straight day the country's daily jump has stayed under 200. The 119 additional cases are the lowest in kind since mid-August.
South Korea's caseload had risen since early last month, with many associated with churches, restaurants and schools and an anti-government street rally in the greater Seoul area. In late August, South Korea's daily jump once marked over 400.
But the caseload has gradually slowed down, largely thanks to toughened social distancing rules that restricts at dining at restaurants and bans gatherings at churches, night spots, after-school academics and fitness centers.
MORGANTOWN, W.Va. — West Virginia University has suspended 29 members of a fraternity house for not following health and safety orders related to the coronavirus pandemic.
A Theta Chi fraternity member, who tested positive for the virus and had been ordered into isolation, attended a party at the fraternity house on Friday, the university said in a statement. In addition, all residents of the fraternity house had previously been notified by the university to isolate or quarantine due to confirmed virus cases and close contacts.
The university said the 29 students received notifications letters of the interim suspensions Sunday stating they have been banned from campus and cannot take classes, including those offered online.
"Their flagrant disregard for the health and safety of their classmates, our campus and the entire Morgantown community will not be tolerated," Dean of Students Corey Farris said.
The university also is investigating photos and videos from a large party hosted by another fraternity, Alpha Sigma Phi. Neither fraternity is recognized by the university.
MELBOURNE, Australia — Australia's hot spot Victoria state on Monday recorded its lowest count of new COVID-19 cases in more than 10 weeks.
The state reported 41 news cases and nine deaths in the latest 24-hour period. That was the lowest infection tally since 37 were recorded on June 26 in the early days of the state's second wave of infections.
The state on Sunday announced a slight easing of restrictions in Melbourne that began in early August, but the country's second-largest city will remain in lockdown until at least Oct. 26.
The new infections bring the 14-day average in Victoria to 96 a day. Victorian Premier Danial Andrews said the average would have to be brought below 50 before restrictions can be relaxed.
"This is not about eradicating it," Andrews said. "We will finish up with cases and outbreaks in 2021, but they'll be of such low numbers that we can probably put the lid on those and not have to put restrictions back on," Andrews said.
JERUSALEM — Israeli Prime Minister Benjamin Netanyahu has announced overnight curfews on some 40 cities and towns hit hard by the coronavirus.
But he backed away from reported calls for full lockdowns after an uproar by powerful religious politicians.
The measures were announced late Sunday after hours of consultations with decision-makers. The government has been forced to take new action after failing to contain an outbreak that has claimed more than 1,000 lives and remains at record levels of new infections. The curfews will go into effect Monday at 7 p.m. and will be in effect until 5 a.m. It was not known how long they will remain in place.
HAVANA — A small outbreak of COVID-19 cases has prompted authorities to reclose schools in a central Cuban province only a week after they opened.
Ciego de Avila schools director Bárbara Rodríguez said 75 of the province's 90 schools would return to televised teaching on Monday. Students had returned to classrooms only on Sept.1 after a six-month break.
The province has reported 30 new infections with the new coronavirus over the past 15 days. Cuba as a whole has reported 4,309 infections and 100 deaths from the disease since March.
The largest outbreak has been in the capital, Havana, which remains under a nighttime curfew.
Cuba's baseball season is scheduled to start on Saturday before stadiums without spectators.
LONDON — Britain has recorded its highest daily number of new coronavirus cases since May, with 2,988 new infections announced on Sunday.
Like other European countries, the U.K. is seeing the number of infections rise as society reopens after lockdown.
Some of the increase can be accounted for by expanded testing, which is identifying people who have mild or no symptoms. The number of hospital admissions and deaths has so far not shown a corresponding rise. Two new deaths were reported Sunday.
The increased number of cases comes as British schoolchildren return to class, a milestone in the resumption of normal life.
Britain's confirmed coronavirus death toll stands at 41,551, the highest in Europe.
YANGON, Myanmar — Myanmar on Sunday reported 166 confirmed new cases of the coronavirus, topping the previous single-day high of 107 reported on Aug 31 and bringing the total number of confirmed cases to 1,419. The total number of dead from the disease has risen to eight after two new deaths were announced over the weekend.
Myanmar had its first confirmed case in late March, but a surge in the western state of Rakhine has roughly doubled the total in the past week alone.
The government has responded by imposing new lockdowns along with other restrictions in Rakhine and in major urban areas in other parts of the country. In Yangon, police have begun strictly enforcing a late-night curfew implemented several months ago, arresting more than 1,000 people since late last week.
ATHENS, Greece — Greek health authorities announced 144 new cases of the coronavirus Sunday, 24 from international arrivals, and four deaths.
The total number of cases is 11,544, with 284 deaths. While the median age of those who got sick is 39, that of those who died is 78.
Although the latest numbers are well off the recent highs, when the number of new daily cases reached nearly 300, authorities are stepping up controls and fines for people not wearing masks in closed spaces or not keeping social distancing.
TIRANA, Albania – An Albanian restaurant owner has been arrested after repeatedly violating the government ban on wedding gatherings due to the coronavirus pandemic. It's the first time authorities have made such an arrest.
Police reported on Sunday that the 52-year old was arrested in the port city of Durres, about 35 kilometers (20 miles) west of the capital, Tirana, after organizing a wedding. He had earlier been fined twice for the same offense.
Albanian authorities have banned mass activities such as weddings and funerals to impede spread of the virus.
The country has reported 10,255 confirmed virus cases and 316 deaths as of Sunday.
ROME — Silvio Berlusconi's doctor says that the hospitalized former Italian premier is responding "optimally" to COVID-19 treatment, but that he belongs to the most vulnerable category of patients and is in "the most delicate phase" of the virus.
Dr. Alberto Zangrillo, who is head of intensive care at the San Raffaele hospital in Milan, repeated Sunday that he nevertheless remained "cautiously optimistic" about Berlusconi's recovery.
"The patient is responding optimally to treatment," he said. "This doesn't mean we can claim victory because, as you know, he belongs to the most fragile category" given his age. He also suggested Berlusconi would not be released anytime soon, recalling that the virus "requires adequate treatment and takes its time."
The three-time premier turns 84 in a few weeks and has had a history of heart problems that required being fitted with a pacemaker several years ago. He checked into San Raffaele Friday after testing positive for the virus earlier in the week. Zangrillo said at the time that he had the early stages of a lung infection.
Data from Italy's Superior Institute of Health indicates men aged 80-87 have the highest COVID-19 lethality rate among all cases in Italy, at 47%.
Berlusconi spent some of his summer vacation at his seaside villa on Sardinia's Emerald Coast. Many of Italy's recent cases of COVID-19 have been linked to clusters in people who vacationed on Sardinia.


text:
You are here: Home > Teaching > Course unit catalogue > Mineral Science > Course Timetable
Course Unit
Course Timetable 91556 - Mineral Science (9 cfu)
A.Y. 2022/2023
Teacher: Giovanni Valdrè
Lesson period Oct 10, 2022 - Jan 12, 2023
Monday, 10 October 2022 11:00 - 13:00
AULA G5
Piano Secondo
locali in Bo - via Zamboni 61-63-65
Via Zamboni, 67 - Bologna
Tuesday, 11 October 2022 16:00 - 18:00
Wednesday, 12 October 2022 11:00 - 13:00
Thursday, 13 October 2022 11:00 - 13:00
Wednesday, 2 November 2022 11:00 - 13:00
Thursday, 3 November 2022 11:00 - 13:00
Monday, 7 November 2022 11:00 - 13:00
Tuesday, 8 November 2022 16:00 - 18:00
Thursday, 10 November 2022 11:00 - 13:00
Monday, 14 November 2022 11:00 - 13:00
Tuesday, 15 November 2022 16:00 - 18:00
Wednesday, 16 November 2022 11:00 - 13:00
Thursday, 1 December 2022 11:00 - 13:00
Monday, 5 December 2022 11:00 - 13:00
Tuesday, 6 December 2022 16:00 - 18:00
Wednesday, 7 December 2022 11:00 - 13:00
Monday, 12 December 2022 11:00 - 13:00
Tuesday, 13 December 2022 16:00 - 18:00
Wednesday, 14 December 2022 11:00 - 13:00
Thursday, 15 December 2022 11:00 - 13:00
Monday, 9 January 2023 11:00 - 13:00
Tuesday, 10 January 2023 16:00 - 18:00
Wednesday, 11 January 2023 11:00 - 13:00


text:
Theide, Robert
October 12, 2009 Legends speak to us No comments
Robert (Bob) Theide
Career base: Morrestown NJ (Suburb of Philadelphia, PA)
Accomplishments:
1970, Most Valuable Player in the Pennsylvania State Dart Tournament
Culver City: 1st – Team;
North American Open: 2nd – Singles;
United States Darting Association Open – 1st – Singles;
1971, North American Open: 1st – Singles
American dart league (NECDL) High Average 48.5
1972, Garden State American Dart League High Average – 52.8
1973, Schmidt's Open (Philadelphia): 1st – singles;
1974, Schmidt's Open (Philadelphia): 1st – singles.
"I played softball at lot before I played darts, and after a game we'd go back to the tavern for a couple of beers. There was an American dart board in the place and since I didn't shoot pool, I wanted something to do and picked up the darts. I started playing some people in the place and started winning games and the people would tell me I was lucky to win. I liked playing and started getting good at it so I started practicing and playing more often. Our business was up in Camden at the time and I'd go over to Kelly's bar for lunch. I saw the dart board and stopped after work for a few beers and some dart playing. I asked Babe Kelly, the owner, about the dart team and he gave me a big score I'd have to make to be on the team, something like 51, and I told him I didn't think I could make that much but I thought I could shoot 45. They never called me. Then, when I was going to Rutgers night school, I'd stop after school at a place called the Red Eagle to throw some darts. One time the bartender told me one of their players quit and asked me what team I played for and when I said I didn't play for a team he signed me up for theirs. I played out the season under that guy's name.
Some people, like a guy named Steve Brown, who was very good, said that some people just have a knack for darts and that I excelled because I was one of them. I didn't say anything, but it was really because I put a lot of practice time in. I practiced the bulls eye for half an hour first. The reason was, Tommy Eagan told me three things about the bulls eye: if you can control the bulls eye, you can control the games; it gave the best place to develop your grouping of darts; then there was a game called bulls eye. After the bulls eye, I set up a platform to hit, like back to back scores of seven, and back to back doubles a set number of times, then back to back seven score and eight score. Basically it was get the first dart in the double, then play off that dart with the last two. I played for grouped darts and hardly ever played a game where you split darts. Jack Fletcher and Joe Schwartz, guys from Delaware county over by Philly, played those kinds of games. I played in three leagues at the time, on different nights, and I had Sundays off and Mondays off and Thursdays too. But then I'd practice on Sunday and stop in Fairview Gardens on my way home from work for a couple of beers on Saturday, and if I didn't have to be home and somebody was there, I'd call my wife and tell her I was going to stay and play, if not I went home. A lot of times she'd go to her parents. And Friday nights I played a lot.
I didn't pull the dart all the way back before I shot it, and I didn't shoot it with my arm far out either, I sort of flipped it. After my accident, I found out a lot later, I started throwing it instead of flipping it and that was bad. I started pushing the dart out and that got me throwing off side to side. I didn't take any time off after the accident, I guess I was afraid I'd loose what ever I had, but if I had I might not have started bad habits. At times I could really throw it out there and other times I couldn't, I wasn't consistent.
I used to play with Crazy Jack, Jack Eagan, who played out of Fairview Gardens. He was a 41 average player in the league, but for money he played a lot different. He used to play Jim Brady a lot and the more he drank the better he got, until he had enough that it would get to him. Brady would make sure he got enough for that to happen, too.
I didn't play American darts all that long, maybe six – seven years. I got better at it after I got married because I'd practice at home at lot more. I didn't play English darts all that long either, maybe three, four, five years is all I played really good. Then I had an accident with a train, over in Philly, and that messed that all up.
In 1970 I played in Philadelphia on an American dart team, and there was a guy named Charlie Young who had a bar there where I saw in Gains Score Card, that was like a news bulletin about darts that was in all the bars over there, there was a team going out to California to play in a dart tournament and they were looking for donations to help with the expenses. I got hold of Junior, Charlie Young, and told him I'd like a shot at playing on the team. So, ah, I paid my own way to California and went with them as part of the team. I had success out there. Basically the difference between American and English was learning to count for out shots and getting used to the longer line. They played English at eight feet at the time. I learned the game in four to six weeks and went out there and came in second place. The reason I lost was I didn't count right on a couple of shots, and I think I drank too much. In December 1970, I went to a tournament in New York put on by Bob McLeod. It was the United States Dart Association Open and I beat Richie Yost in the finals. What pumped me up was that I had come in second place in California earlier in the year and I didn't want to come in second place again.
That was the year I met McLoed and I started playing both American and English darts. The longer line in English darts didn't make any difference once you got used to it, except you didn't have the real good accuracy from that far back. In fact to get used to the eight foot line, I practiced at eight foot six a few days, then when you move up the line it feels close. In the Delaware county league, where I was playing American darts, they put down a toe board so you had to stay behind the line, so practicing the longer line helped my American dart game. I think I averaged 43 the first year in American darts, then I think I won high average with 46.8 the next year but ended up with almost a 53 average later.
In the beginning I didn't play money matches, but when I did play for money I played with my own money. Most of the other players didn't play with their money, they played with somebody backing them, like Lenny Craig and Richie Yost.
Yostie and me used to go to Trenton and play Ernie Reel and Jimmie Hasson and we just walked through them, in American darts, and won about $1100. I got into an argument with Yost because his backer put up the money for Yost and I put up my own money and I didn't think a three way was split was right, I wanted it to be 50/50. I didn't ask anybody to back me up with their money, I played on my own. Sometimes I'd get it from Art Caness, who owned the Fairview Gardens but mostly it was my own. When I got married I had a little kitty where I'd put money I won from darts after I took out my expenses for the night, and that was what I used to play money matches. If I won $20 in a night I'd put half in the kitty jar. That way I never went into my own money, so playing for money never bothered me because I was never playing with my last dollar. There was a guy who could play really well for quarters but as soon as you got the money up his game fell apart. There were certain people that way.
Lenny Craig and I played one really good match in a place in Gloucester. Lenny beat me because I started out real good and we were shooting well into the 50s and 60s then after about four hours I was shooting in the low 50s and Lenny was still hitting 55 and 60. We were playing what was called a freeze out, where each person would put up an amount of money, in this case it was $100, then play for so much per game and when somebody won the $100 it was over. We were playing for $10 a game and I was only a few games away from breaking his back earlier, because I came out strong. There was one game in that match where I played something like 67 and lost it. I didn't crumble after that and it wasn't the deciding game or anything, it was just a game we played during the match. That was just the caliber of darts we were playing. I remember me & Whitey Vitorski played Jack Fletcher & Joe Swartz and Whitey shot a 57 and I shot a 69 and we barely won. We weren't keeping track of what the whole score was in those games but we would sometimes add a game up at the end. Most of the time we didn't know what the total score was.
Ernie and Jim came down to a place Lenny Craig and I were in, looking for Lenny Craig to play a money match. Lenny wasn't sure about the money end, if there was any, so we went up there and watched Ernie drop $500 in a card game, then another $500 on the dart board, and that's a lot of money for a guy that did roofing for a living. He had Joe T. , the owner behind him but still, that's a bundle. There was some talk that Ernie was connected to the Irish Mafia, but I wasn't sure about that.
I didn't start out playing money matches. I started playing for beers, then a quarter a game after I got better and thought I could win. Then after a while, when I'd win most of the time, I started playing for more. At that time I controlled the number of beers I'd drink. I'd have a couple, then just sip on one while I played. I remember one time, a matter of months after I got married, I played a match downstairs in the Fairview Gardens until 7 O'clock in the morning against Peanuts, John Lowery. He got action. He took me into south Philly where we got to playing $100 a game against a guy named Sonny Ricobini. A couple of his brothers, or step brothers got killed, not from darts, from other things. The guy ended up owing us $600 but when I found out who he was I wasn't going to try to collect it. I told Lowery his cut of the winnings that night was the $600 we were owed.
Me and Joe Dick went to Springfield one time and got playing partners for $100 a nine inning game, and I wanted to get more so I told Joe I was going to hold back a little and for him to pour it on, because he was only throwing fours, five's and sixes, and he said he was trying already. We played the Store brothers up there, and their favorite game was triple thirteen, and like I said, if you play them off their game they'll stop calling it, I made three triples eight out of nine games, so we didn't see that game any more. That didn't work all the time though. Some good players, if that was their game, they'd come back at it because they'd figure you had your shot and they could still play really well in it.
Bob McLoed was trying to do things with English darts and began using me to build himself up. He had connections and everything and tried to get darts on cable TV, I think Joe Baltadonis played in one, and George Silberzahn did something in Boston, but it never took off. He connected himself with Kwiz darts in England because Unicorn had a distributor in America already. He became sort of a sponsor, but he only paid my entrance fees and I got a royalty off the sales of my signature dart, but that was about it. I was sponsored by Schmidt's beer just before my accident. They paid my travel and board as well as entrance fees.
The first English dart tournaments I played in I used the Widdy, wooden dart. I thought the metal darts were too heavy and then when I did get a metal dart it was Silver trim. Those darts were thinner, and gave me shooting room in the triple and had a grip on them. I used feathers flights, Silver trim flights were the best, Unicorn and Kwiz flights fell apart. I used feathers about all the time, although I did fool around with the plastic ones. I needed the feathers because I didn't throw hard. Like, I couldn't throw a nail like Barry Twomblow from England. He used to come over here for Unicorn and put on exhibitions on TV doing things like knocking an apple off someone's head with a 20 penny nail. That stopped the time he hit the guy in head with the nail, he missed the apple. Kwiz duplicated the Silver Trim dart and that became my signature dart. Brass darts were 15 grams and 20 gram darts were unheard of. I guess the longer you play the heavier dart you want because I switched to the 18 gram dart later. Silver Trim drilled the brass dart out and put lead in them to make them heavier. Eventually I went to an 18 gram tungsten because after I saw them I realized the 15 gram were too thin.
In English darts I'd practice the doubles because at that time the tournament games were double on, double off and if you don't get double on, you don't do it. Practice on doubles not only got you into the flow of it, it gave you confidence. In fact, I had a couple of tournaments I won where I was throwing double on all the time, I never missed a double on.
I joined a team in New York City in a place up on 88th street I think it was and I'd drive an hour and a half each way to go play. They had a board back in the corner and people only played in there in league nights. There was a place called the Anchors Away, though, down near Hells kitchen and they played a lot in there.
English darts got started in South Jersey out of Fairview Gardens because we had a team there that was part of the Philadelphia English dart league. I knew the owner and I talked her into it. That was the first team in South Jersey I can think of. After that I talked Joe Baltandonis into putting English dart boards in his place: the Mt. Royal Inn. The South Jersey English Dart League started that way.
I took Joe to the 1971, or '72 US Open, and he beat me. I didn't like that he didn't know how to count and there were people telling him how to count and that broke my concentration. That's a big thing when you start hearing what people in the crowd are saying. That's a big bad thing.
I went to California in 1970 and came in second, then in 1971 I won it. Pims Cup, a British liqueur, came to the United States because they wanted to advertise in football until they found out what the price tag was, so then they ran this tournament and got a lot of advertising out of that. They ran a few tournaments then had a round robin in Chicago with the three winners of the other tournaments, one east coast, one west coast and one central. I won that and then went to England and I did pretty good there. You didn't play heads up over there, you shot partners and we played all their top players in a tournament in Trafalgar Square. We won one match when I took a 102 out. The people loved that because the caliber of player at that time wasn't what it was later. The team was Jack Carr, from California, me, and Jackie Eagan, the woman from Washington DC who won the women's section. I'd never played in a tournament until I went to California, even in American darts I didn't play in a tournament until later at the state tournament. I think the secret to tournament darts is concentration, where you get to the line and blank everything out and zero in on what you want to hit. When I was playing well I'd pinpoint where I wanted to hit that first dart, I'd zero in and concentrate on that spot for the first dart then group off it. I knew if that first one went I could put the other two in there too. I learned something else from Lenny Craig about darts. I played partners with Lenny at a tournament against a couple of other players, then after we'd played for quite a while two of us quit, but Lenny and the other guy played more, and after the other guy quit Lenny played all night against some other guy, a German guy I think. That got me to thinking, if you practice for two and a half hours that has to be equal to five hours of playing and stamina has something to do with tournament play. The waiting, at tournaments, is difficult to handle. I'd try to find a board to stay loose on, so I'd be ready to play, right out of the box, like you have too. The problem with that is that the board you practice on might be different than the one you play on. But you have to stay loose and ready. Towards the end I didn't do that, I'd sit and relax with a beer between rounds of play.
The first one I went to was held in the Culver City civic center, I think and it was like a gymnasium, with bleachers, you know? There were twenty some dart boards, maybe, and about 150 entrants. We got in with the people from northern California because they were outsiders too, because most of the people were from southern California. The first thing I wanted to know was where I could practice and relax a little.
When I was playing good I looked to get another good player as a partner for a better chance for some money and we usually chopped prize money with partners. Partner games is tough because you have to rely on another person and if they are a little off that could effect you. I guess Ray Fisher was the easiest person to play with as a partner. I remember one time I was with Joe Baltadonis, Ray Fisher and a few other people and we went to a St. Patrick's day tournament, and Joe beat me in the finals. I didn't like that one too much, but it taught me something. Me and Ray Fisher were in the doubles finals and I ran out of gas on the triple twenty so I switched to the triple 19 and I had a 171 and a number of 133s. The guys we played in the finals got so wrapped up in the game that after I hit to end the game the guy was going to the line to shoot and we had to tell him it was over, he lost. I think that is the way you have to be. I didn't want to pay attention to the other person because if you compete to the other person's score you can psych yourself out. I don't think I looked at the other individual, I just wanted to score a hundred each time I went up. I remember a time in Canada when the other guy went up to shoot after it was over: I'd shot an eleven dart game.
I don't think I played English darts that much for money.
One of the best trophies I have is the one for "Most Valuable Player" in the Pennsylvania State Tournament. I was up in Nanicoke, Pennsylvania and played for the Philadelphia team and we won. It was the first time a team from Philly won in a long time. That was in the early '70s. I was playing both English and American at the time and was playing really well. There were only a few English tournaments but getting ready for them, from the longer line, made you a better American player. Lenny Craig is the one that put into my mind that the line doesn't really make a difference. He used to play for money at arms length, at the line and back at eight feet. So I thought if he could do it, I could.
The Schmidt's Tournament in Philly had a big trophy that if someone won it three years in a row they could keep it. Well I won it the first two years but they canceled the tournament after that so I figured it was mine and I kept it.
After I moved here to Delaware, I used to go over here to a place where a couple of older guys played. They even have a league around here somewhere. In about 1998, I tried going back to playing American darts and I could feel a difference in the way I shot a dart, I wasn't delivering correctly. I sat down and thought about it, the way I used to do it, like analyzing myself, and realized that after my accident, I started developing bad habits to compensate for problems I was having with my eyes and other things, but I didn't know it. Now, there was something with my leg, I didn't have my foot right. I used to hold the dart side ways in front of my face before I shot it, so I'd have a second to concentrate a little more and to pick that spot out. Another thing, I was holding the dart up, in front of my eye, and I realized I used to hold it lower and look over it at the board like sighting a rifle. To play darts you have to have x amount of things and one of them is concentration. Another thing is a comfortable stance, and your release is another one. I think when you're on you should take a picture of your stroke, then when you're off you could take another picture and see the difference.
I guess if I applied myself I could have gotten it back, but to practice you have to have the time to do that practice and physically, I don't know if I have the stamina, I have circulation problems with my legs. You have to have a clear mind, you can't have problems with business on your mind. You need the concentration and the desire and I noticed, when I tried to pick up darts again after laying off for a while, that my concentration was broken by other things. When something you get out of your mind pops back into it that's a sign your concentration is shot.
In the late '70s I was only going to tournaments in New England, Washington DC and Atlantic City, and I played in a summer singles league in Philly and I did fairly good in that but I started devoting more time to the business and wasn't playing or practicing much and tapered off darts. Then in the early '80s, Barney, Ron Barnstead, and I were partners at a tournament down in Atlantic City, that was the last tournament I played in. I don't know exactly why, but I stepped back and figured it was foolish to embarrass myself with the way I was playing, and that it was just a waste of time. You can't play if you feel that way, so I stopped."
Interviewed April 2003
Passed away June 2004
howtodarts.com


text:
Home Dartford Sport Article
Dartford caretaker boss Tony Burman salutes players' resilience amid upturn in form
ByMatthew Panting
mpanting@thekmgroup.co.uk
Caretaker boss Tony Burman has been impressed by how his squad have handled the pressure in recent weeks.
The Darts made it back-to-back away victories by winning at Horsham in the FA Cup on Saturday – and their character is starting to shine through.
Dartford caretaker boss Tony Burman Picture: Sean Aidan
It represents a vast improvement since the departures of Jamie Coyle and Adam Flanagan earlier this month.
"The players are a bit happier with what they've done (in the last fortnight) and I'm glad for them," said Burman.
"They've been under a lot of pressure this season. I don't like to see players upset and not happy, because if they're not happy off the field then they're not happy on it.
"I'm really pleased for all of them.
"Of course it affects them. It's a group thing what's happened but worse things happen than managers losing their jobs.
"The players don't mean to (lose games) so they were upset as well. It's about trying to get the basics over and that's what myself and Paul Sawyer have tried to do."
Confidence is starting to return to the players, and Burman knows their FA Cup tie at Horsham might have had a different outcome had it come while morale was low.
"Last week we deserved our victory at Concord but the important issue was that we got our clean sheet," added Burman.
"It was the first time this season and I didn't realise that (until you told me).
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"We knew we were the favourites to win here as we're in a higher league but it doesn't always work like that.
"The pressure was on the guys but winning last week has helped them with that pressure. With all due respect, three weeks ago it might have been a different story."
With on-loan Southend defender Rob Howard not permitted to play, youngster Cameron Brodie impressed at the heart of midfield at Horsham.
Burman knows better than most the potential among the club's academy, with Sam Odoudu and Max Walsh – who both featured in the FA Youth Cup two days earlier – on the bench at Horsham as well.
"Look at Cameron Brodie, he has just turned 18, and has played a full game in the middle of the park," said Burman.
"We had to make a change and he's come through it, that can only do well for his experience.
"You have to be careful with the younger guys. We had two others who played on Thursday night in the FA Youth Cup on the bench, one of them is only 16.
"Listen, they are going to be good players, they really are. They see what's gone on and in the academy it's lovely football but they do have to work hard to succeed at this place."
Burman remains in charge for this Saturday's National League South clash at home to Slough.
"It's another team who have won three or four on the trot. We'll worry about ourselves and what we can do," he added.
Read more: All the latest sports news in Kent
Dartford FootballDartford SportFootballNon LeagueSportSport Football
Matthew Panting


Bitcoin (BTC) has been doing good so far this year as it seems to have managed to escape from the claws of the bears that held the crypto market captive throughout 2018.
More crypto experts and analysts have been saying that the bull run that took place during the past week definitely marks the fact that we are out of the crypto winter that lasted a really long time.
Now, the Bitcoin network also reached a brand new milestone.
It seems that more than 400 million transactions have been processed on the network, according to the latest data coming from data tracker Smartbit.
The Daily Hodl reported that on average, the BTC network processes about 350k transactions on a daily basis.
The transaction speed is of four transactions per second.
It's also important to mention that the average cost is of $1.70 in fees per each transaction.
They also make sure to note the fact that since the beginning of 2009, the network has been operating with almost zero downtime.
The estimated uptime of BTC is about 99.98%.
More than that, the number of blockchain wallet users also managed to reach a new all-time high: 35 million.
This is up by 45% since last year in April when the number managed to cross 24 million.
Since the beginning of 2019, the crypto space has been flooded with a lot of price-related predictions.
Most of them have been bullish, and now, especially after last week's bulls, the trend continues in the same manner.
The post Bitcoin Hits New Milestone And Reaches 400 Million Transactions – BTC Uptime Is 99.98% appeared first on Oracle Times.


text:
Lack of body cameras fuels suspicion in Chicago shooting
A police force with a history of brutality and racism created a new crime-fighting team, but on one of its first forays into the streets, the group did not wear body cameras, which would have shown whether a man accused of firing a gun at officers was, in fact, armed.
That's where the Chicago Police Department finds itself in the wake of a police shooting of a Black man that prompted hundreds of vandals to descend on the city's famed Magnificent Mile shopping area, where they smashed store windows and made off with everything from clothing to cash registers.
Latrell Allen, 20, appeared in court Tuesday on charges of attempted murder and was ordered held on a $1 million bond. Police said he fired at officers before they returned fire and wounded him. Authorities have said they found a gun at the scene, but they acknowledge that the officers who shot him were not wearing cameras.
Investigators have reviewed video from a surveillance camera that captures the pursuit of a man matching Allen's description, but the Civilian Office of Police Accountability, or COPA, has not found video that shows Allen was carrying a gun, spokesman Ephrain Eaddy said.
COPA has made a public request for any witnesses to the shooting to come forward and asked anyone with cellphone video of the shooting to provide it to investigators.
In announcing that the officers were not wearing body cameras, the police department stressed that it "understands how technology can support accountability and transparency." In the past, the department has pointed to its rollout of body cameras as among the most extensive of any police force in the nation.
But department spokesman Howard Ludwig said citywide teams, including the team that Superintendent David Brown created last month to respond to crime hot spots, do not yet have the cameras.
"It's a matter of resources," Ludwig said. "We don't have enough to go around."
The department said it is working on changing that, announcing in a news release that getting the cameras to that team and another similar group was a priority under the 2021 budget.
On Tuesday, both Brown and Mayor Lori Lightfoot said the department is working to get cameras to as many officers as possible. Both of them suggested that the effort to put more uniformed officers on the street led to a shortage of cameras.
Lightfoot, who started trying to equip more officers on the street with cameras even before Sunday's shooting, said, "We can't have people out on the street interfacing with the public on a regular basis who don't have body cameras."
But those comments after another police shooting do little to address suspicions in the city, both about the kind of units Brown has created and the department as a whole.
More than a decade ago, another citywide crime-fighting unit called the Special Operations Section was disbanded after an investigation revealed members were robbing drug dealers and committing home invasions and other crimes. Other units were disbanded after Mayor Rahm Emanuel took office amid concerns that their tactics sowed more public mistrust.
After Allen was shot on Sunday, activists immediately seized on the news that the officers were not wearing body cameras. Black Lives Matter Chicago issued a statement questioning the department's version of events.
"These details are uncorroborated, partially because CPD also claims there is no body camera footage available for this interaction," the group said. Soon activists were organizing another demonstration outside a South Side police station to protest what they called the "attempted murder" of Allen.
Questions about the lack of body cameras extend beyond activist groups. One law enforcement expert found it baffling that the department did not equip with cameras officers whose job it is to wade into violent situations in a city where there remains widespread suspicion of police.
"It is really shocking, actually," said Wesley Skogan, who studies crime and law enforcement at the Institute for Policy Research at Northwestern University. "Without body camera footage, it (the shooting) will be disputed until the end of time."
Cameras have played a prominent role in the recent history of the Chicago Police Department. Dashboard cameras led to murder charges against a white police officer in the 2014 shooting death of Black teenager Laquan McDonald. That was the first conviction of a city cop for an on-duty shooting in decades.
Without the video showing the teen shot 16 times, the investigation may have begun and ended with the false contention of officers at the scene that the teen lunged at officer Jason Van Dyke before he fired.
Chicago police have also used body camera footage to show that officers acted properly, possibly heading off the kind of rampage that unfolded this week. In 2018, for example, then-Police Superintendent Eddie Johnson ordered the release of a video that showed a fleeing suspect not only had a gun in a holster at his hip, but that he reached for his waist before officers opened fire, killing him.
"The community needs some answers, and they need them now," Johnson said of his decision to release the video of a shooting that prompted protesters to throw rocks and bottles at officers.
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text:
We object to this world (we object) – High Country News – Know the West
Our future is worth fighting for.
sometimes i look up The onslaught of news, which, for those of us who care about things like human rights and a habitable planet, is getting blurred by the day, and I wonder: How did we get here? How is it okay for someone to believe that their fellow human beings have less rights, and for our nation's Supreme Court to officially agree? when did it become fashion, and legally defensibleFor disregarding the health and well-being of the ecological communities we live in?
The moon shines with smoke from the 2021 Caldor Fire as it burns in the Eldorado National Forest near Pollock Pines, California. The fire burned more than 220,000 acres and destroyed more than 700 homes.
Max Whitaker
I'm thinking of a recent Supreme Court session that has largely attacked women's rights and downplayed the EPA's ability to control its dirty energy – both huge steps back for the country. . The immediate and potential future implications of both these decisions have been difficult to digest.
Consider how a delay in climate action will hurt the economies and communities of the West. Our forests, our air, our rivers, our cities, our bodies – Everyone will be affected. Delaying climate action is not what most people in our region want. According to Colorado College's 2022 State of the Rockies Project, 69% of Western voters feel more worried than hopeful about the future of our land, water, air and wildlife. Two-thirds want their representatives in Congress to focus on protecting resources and natural lands over drilling or mining. Only 7% of voters in our region want to encourage the use of coal, and only 8% want to encourage the use of oil as an energy source.
In other words: we want a different world, not ruled by the constant threat of devastating climate disasters, including wildfires that burn hotter and longer and cause more damage to property and more than in the past. claims life. It is all tied to women's rights and human rights, because those who are marginalized by systemic racism or sexism or any other stance will suffer more from climate disasters like wildfire than those in positions of power.
Jennifer Sah, Editor-in-Chief
high country news The West is invested in a healthy, equitable and joyful future for all residents – humans, other animals, plants and natural features such as mountains and rivers. We believe that such a world is possible and worth fighting for. That's why my colleagues and I come to work every day looking for stories that celebrate small victories, as well as ones that keep government agencies and corporations in mind. This vision of a healthy and equitable future is why we do the things we do. And we thank you, dear reader, for being a part of it – and also for believing in a better future.
We welcome readers' letters. E-mail high country news Feather [email protected] or submit letter to editor, see our letter to editor policy,
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Categories World Tags country, High, News, object, West, World
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text:
var SuiteTreeView = classCreate();
objectExtend(SuiteTreeView.prototype, XulUtils.TreeViewHelper.prototype);
objectExtend(SuiteTreeView.prototype, {
        initialize: function(editor, tree) {
            this.log = new Log("SuiteTreeView");
            XulUtils.TreeViewHelper.prototype.initialize.call(this, tree);
            this.editor = editor;
            this.rowCount = 0;
            this.currentTestCaseIndex = -1;
            this.clickedTestCaseIndex = -1;
            var self = this;
            tree.addEventListener("dblclick", function(event) {
                    var testCase = self.getSelectedTestCase();
                    if (testCase) editor.app.showTestCaseFromSuite(testCase);
                }, false);
            tree.addEventListener("mousedown", function(event) {
                if (event.button == 2) {
                    self.clickedTestCaseIndex = tree.treeBoxObject.getRowAt(event.clientX, event.clientY);
                }
            }, false);
            editor.app.addObserver({
                    _testCaseObserver: {
                        modifiedStateUpdated: function() {
                            self.treebox.invalidateRow(self.currentTestCaseIndex);
                        }
                    },

                    _testSuiteObserver: {
                        testCaseAdded: function() {
                            self.refresh();
                        },
                        testCaseRemoved: function() {
                            self.refresh();
                        },
                        //Samit: Fix: Update correctly when test cases are moved
                        testCaseMoved: function(testCase, fromIndex, toIndex) {
                            var start = fromIndex;
                            var end = toIndex;
                            if (start > end) {
                                start = toIndex;
                                end = fromIndex;
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                            //Handle moves where position of the current test case is affected
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                                    if (tests[i].content && tests[i].content == self.currentTestCase) {
                                        self.currentTestCaseIndex = i;
                                        break;
                                    }
                                }
                            }
                            self.rowsUpdated(start, end);
                        }
                    },

                    testCaseChanged: function(testCase) {
                        testCase.addObserver(this._testCaseObserver);
                        var tests = self.getTestSuite().tests;
                        for (var i = 0; i < tests.length; i++) {
                            if (tests[i].content && tests[i].content == testCase) {
                                self.currentTestCase = testCase;
                                self.currentTestCaseIndex = i;
                                self.rowUpdated(self.currentTestCaseIndex);
                                self.log.debug("testCaseLoaded: i=" + i);
                                break;
                            }
                        }
                        //self.refresh();
                    },

                    testCaseUnloaded: function(testCase) {
                        testCase.removeObserver(this._testCaseObserver);
                        var index = self.currentTestCaseIndex;
                        self.currentTestCaseIndex = -1;
                        if (index >= 0) {
                            self.rowUpdated(index);
                        }
                    },

                    testSuiteChanged: function(testSuite) {
                        testSuite.addObserver(this._testSuiteObserver);
                    },

                    testSuiteUnloaded: function(testSuite) {
                        testSuite.removeObserver(this._testSuiteObserver);
                    }
                });
            var controller = {
                supportsCommand : function(cmd) {
                    switch (cmd) {
                        case "cmd_delete":
                        case "cmd_delete_suite":
                        case "cmd_play_suite_from_here":
                            return true;
                    default:
                        return false;
                    }
                },
                isCommandEnabled : function(cmd){
                    self.log.debug("isCommandEnabled " + cmd);
                    switch (cmd) {
                    case "cmd_delete":
                    case "cmd_delete_suite":
                        return self.selection.getRangeCount() > 0;
                    case "cmd_play_suite_from_here":
                        return self.clickedTestCaseIndex >= 0 && self.editor.app.isPlayable() && self.editor.selDebugger.state != Debugger.PLAYING;
                    default:
                        return false;
                    }
                },
                doCommand : function(cmd) {
                    switch (cmd) {
                    case "cmd_delete":
                    case "cmd_delete_suite":
                        self.deleteSelected(); break;
                    case "cmd_play_suite_from_here":
                        if (self.clickedTestCaseIndex >= 0) {
                            self.editor.playTestSuite(self.clickedTestCaseIndex);
                        }
                        break;
                    }
                },
                onEvent : function(evt) {}
            };
            tree.controllers.appendController(controller);
        },

        getSelectedTestCase: function() {
            return this.getTestSuite().tests[this.tree.currentIndex];
        },

        getCurrentTestCase: function() {
            return this.getTestSuite().tests[this.currentTestCaseIndex];
        },

        getTestSuite: function() {
            return this.editor.app.getTestSuite();
        },

        refresh: function() {
            this.log.debug("refresh: old rowCount=" + this.rowCount);
            var length = this.getTestSuite().tests.length;
            this.treebox.rowCountChanged(0, -this.rowCount);
            this.treebox.rowCountChanged(0, length);
            this.rowCount = length;
            this.log.debug("refresh: new rowCount=" + this.rowCount);
        },

        currentRowUpdated: function() {
            this.rowUpdated(this.currentTestCaseIndex);
        },

        editProperties: function() {
            var testCase = this.getSelectedTestCase();
            var self = this;
            if (testCase) {
                window.openDialog('chrome://selenium-ide/content/testCaseProperties.xul', 'testCaseProperties', 'chrome,modal', testCase, function() {
                        self.treebox.invalidateRow(self.currentTestCaseIndex);
                    });
            }
        },

        deleteSelected: function() {
            this.getTestSuite().remove(this.getSelectedTestCase());
        },

        //
        // nsITreeView interfaces
        //
        getCellText : function(row, column){
            var testCase = this.getTestSuite().tests[row];
            var text = testCase.getTitle();
            if (testCase.content && testCase.content.modified) {
                text += " *";
            }
            return text;
        },
        getRowProperties: function(row, props) {
            if (this.selection.isSelected(row)) return;
            var testCase = this.getTestSuite().tests[row];
            if (testCase.testResult && testCase.testResult.summary) {
                if (testCase.testResult.summary == 'passed') {
                    return XulUtils.setProperty(props, "commandPassed");
                } else if (testCase.testResult.summary == 'failed') {
                    return XulUtils.setProperty(props, "commandFailed");
                }
            }
        },
        getCellProperties: function(row, col, props) {
            if (row == this.currentTestCaseIndex) {
                return XulUtils.setProperty(props, "currentTestCase");
            }
        },

        getParentIndex: function(index){return -1;},

        getSourceIndexFromDrag: function () {
            try{
                var dragService = Cc["@mozilla.org/widget/dragservice;1"].
                               getService().QueryInterface(Ci.nsIDragService);
                var dragSession = dragService.getCurrentSession();
                var transfer = Cc["@mozilla.org/widget/transferable;1"].
                               createInstance(Ci.nsITransferable);

                transfer.addDataFlavor("text/unicode");
                dragSession.getData(transfer, 0);

                var dataObj = {};
                var len = {};
                var sourceIndex = -1;
                var out = {};

                transfer.getAnyTransferData(out, dataObj, len);

                if (dataObj.value) {
                    sourceIndex = dataObj.value.QueryInterface(Ci.nsISupportsString).data;
                    sourceIndex = parseInt(sourceIndex.substring(0, len.value));
                }

                var start = new Object();
                var end = new Object();
                var numRanges = this.selection.getRangeCount();
                var n = 0;
                for (var t = 0; t < numRanges && n <=1; t++){
                    this.selection.getRangeAt(t,start,end);
                    for (var v = start.value; v <= end.value && n <=1; v++){
                       n++;
                    }
                }
                sourceIndex = n > 1 ? -1 : sourceIndex;

                return sourceIndex;

            }catch(e){
                new Log("DND").error("getSourceIndexFromDrag error: "+e);
            }
        },

        canDrop: function(targetIndex, orientation) {
                var sourceIndex = this.getSourceIndexFromDrag();

                return (sourceIndex != -1 &&
                        sourceIndex != targetIndex &&
                        sourceIndex != (targetIndex + orientation));
        },

        drop: function(dropIndex, orientation) {
            try{
               var sourceIndex = this.getSourceIndexFromDrag();

               if (sourceIndex != -1){

                   if (dropIndex > sourceIndex) {
                       if (orientation == Ci.nsITreeView.DROP_BEFORE)
                           dropIndex--;
                   }else{
                       if (orientation == Ci.nsITreeView.DROP_AFTER)
                           dropIndex++;
                   }

                   //Samit: Ref: Move is now part of the testSuite
                   this.getTestSuite().move(sourceIndex, dropIndex);

                   this.selection.clearSelection();
                   this.selection.select(dropIndex);
               }
           }catch(e){
               new Log("DND").error("drop error : "+e);
           }
        }
    });

redpajama_set_name: RedPajamaGithub


However hard I try to think of the machine standing in front of me as a scooter, I fail; for the spanking new Aprilia SR 150 R, which was first shown to the discerning Indian masses at the Auto Expo earlier this year, looks unlike any other vehicle that is classified a scooter. In fact, the more I stare at this minimalist but gorgeous two-wheeler, the more convinced I become that Aprilia may have got it right in classifying this machine as a 'Sport-Scooterbike'. Although a novel descriptor in the dictionary used by the automotive world, it seems apt.
The first thing that stands out when you look at the SR 150 is the wheels. At 14 inches across, they are the largest on any scooter, not counting the handful few maxi scooters available, you can find in our country. And, boy, do those blacked out five-spoke wheels stand out! Those polished alloys could easily give a few motorcycles a run for their money. The other thing that is instantly noticeable about the SR 150 is its overall length. Although the specification chart provided by Aprilia does not mention the scooter's dimensions, visually it seems a bit longer from tail to nose than other scooters. This is further accentuated by the merging of the minimalist styling of the scooter: the moto scooter-esque headlamp on the body instead of on the handlebar, the short stepped seat, a superb paint job and an even better set of stickered graphics. No. There is no argument on this aspect. The Aprilia SR 150 brings the best of the world of Italian design into the humble universe of the scooter in India.
Where features are concerned, Aprilia have continued with the minimalist theme and, as a result, there are hardly any features to talk about. There is, of course, the customary under-seat storage box and a hook up front to hang a small bag from but not much else. There isn't even a parking brake or a side-stand. According to Stefano Pelle, the CEO of Piaggio, the objective was to be able to price this product as competitively as possible and, therefore, Aprilia have shaved off everything that could add to that cost without adding equivalent value in a two-wheeler of this sort. The company's efforts at making this product as affordable as it is, is also evident in some other areas. For instance, the quality of the aforementioned plastic hook or the switchgear for that matter could definitely be improved. But every teeny tiny bit adds, and adding is what Aprilia wanted to avoid as far as possible.
Beyond the aspect of costing, and therefore pricing, lies the other issue of whom this two-wheeler is meant for. In Aprilia's own words, the intended buyer of the SR 150 is unlikely to be a customer in search of a practical means of transport or one who is looking to cash in on the iconic (and, perhaps, nostalgic) legacy of a brand like Vespa. The target audience of the Aprilia SR 150 is the consumer who aspires for the excitement of a motorcycle but desires the convenience and practicality of a scooter. As far as the eye is concerned, the SR 150 effortlessly straddles the twin worlds of the scooter and the motorcycle and, perhaps, in many ways is the first crossover of the two-wheeler world in India. But then, you don't just look at a two-wheeler, do you?