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Home > Cancer > The genius of robotic surgery
The genius of robotic surgery
The da Vinci Robotic Surgical System has revolutionised surgical options in SA, providing life-saving surgeries to patients battling cancer and other debilitating conditions.
Named after Leonardo da Vinci's 15th-century robotic knight that moved via hidden pulleys and cables, the da Vinci Robotic Surgical System has been described as a miracle by many surgeons and patients worldwide.
For urologist Dr Gawie Bruwer from Mediclinic Durbanville, the first Mediclinic doctor to perform minimally invasive robotic surgery with the da Vinci Si HD in 2014, it's an absolute privilege to perform life-saving surgeries with the assistance of the medical robot.
"A robotic prostatectomy – involving the partial or complete surgical removal of the prostate – is now considered the gold standard for treating prostate cancer, so it's wonderful knowing I can offer this to our patients. In the past five years, we've performed about 600 surgeries on the da Vinci at Mediclinic Durbanville, for the treatment of prostate, kidney, colorectal and adrenal cancers, as well as pelvic floor relapses."
Out of the 420 patients who he's operated on with this cutting-edge technology, he only remembers one patient being disappointed that the operation hadn't been easier, relates Dr Bruwer. "Every other patient has been incredibly impressed, as 91% of them are able to go home the day after their procedure and they experience less pain and bleeding."
Most importantly, he says, very few of his patients have had cancer recurrences.
For several months while juggling the demands of their busy practices, Dr Bruwer and Mediclinic Panorama urologist Dr Pierre van Vollenhoven dedicate themselves to the complex training needed for mastering Mediclinic Durbanville's newly acquired da Vinci under the guidance of da Vinci accredited international surgeons. They give a nickname to the da Vinci: The Robot.
On 24 September, Mediclinic history is made when Thomas Mouton becomes the first patient to undergo a robotic-assisted prostatectomy at Mediclinic Durbanville, successfully performed by Dr Bruwer and Dr Van Vollenhoven.
On 24 May, Mediclinic Durbanville extends its da Vinci treatment range when Dr André Naudé from Mediclinic Panorama tackles the first robotic-assisted pyeloplasty (a procedure to repair a blockage where the kidney meets the ureter, a tube that connects the kidney to the bladder). He then performs the first partial nephrectomy for kidney cancer treatment (operation to remove part of the kidney that has a tumour in it) on 7 June.
On 16 June, Mediclinic Durbanville becomes the first hospital in SA to conduct a pelvic floor relapse repair on the da Vinci, thanks to the newly acquired robotic surgery expertise of general surgeons Dr Frikkie Rademan from Mediclinic Durbanville and Dr Reniel de Beer from Mediclinic Louis Leipoldt. They then spend their weekend performing additional pelvic floor and colorectal procedures on The Robot.
In February, Mediclinic Durbanville and partaking urologists extend a pro bono offering of robotic surgery to 10 public sector patients battling with prostate cancer at Tygerberg Hospital, as part of Mediclinic's ongoing collaboration with the Western Cape Department of Health. This is the first time robotic surgery is extended to state sector patients through this public-private collaboration. "Mediclinic Durbanville's operating theatre, the da Vinci, nursing staff, expertise from Mediclinic-associated doctors and an overnight stay were provided free of charge in February, March and April 2018 – and we've continued with our pro bono surgeries in June 2019," says Dr Bruwer. This is just one of the many da Vinci success stories in 2018.
On 15 October, Dr Rademan and Dr De Beer perform the first roboticassisted adrenalectomy in South Africa, saving the life of patient Jade Picoto, who had a rare tumour embedded in her adrenal gland and was suffering from cardiomyopathy – a life threatening disease of the heart muscle.
The da Vinci is once again in the spotlight with what appears to be a world-first: Dr Bruwer and Dr Rademan are able to simultaneously remove both rectal and prostate cancer from a 68-year-old patient on 29 April.
On 3 June, they repeat this pioneering surgery successfully on a 56-year-old patient. "We looked through the literature and it seems nobody else in the world has reported doing this dual surgery," says Dr Bruwer. "Only robotic surgery could have accomplished this procedure – we combined two cancer operations into one. Both patients' cancers were successfully removed, so they didn't need any additional cancer treatment, and they're both continent. We learnt that the best way to conduct this dual surgery is by removing the rectum first and then the prostate."
THE BENEFITS OF ROBOTIC SURGERY WITH THE DA VINCI
Worldwide doctors are turning to robotic surgery as a minimally invasive alternative to open surgery and traditional laparoscopic surgery (aka keyhole surgery), particularly when it comes to treating prostate cancer.
"I firmly believe that this technology is giving patients the option of improved clinical outcomes postsurgery that may not be possible with traditional surgery options," says Dr Bruwer. "The precision of the da Vinci aids the thorough removal of cancerous tissue as well as offering the ability to perform nerve-sparing surgery, which in the case of a prostate cancer patient enables a faster return to erectile function, as well as a better chance for urinary continence."
The difference between robotic and traditional laparoscopic surgery, he says, is that The Robot is capable of mimicking any hand movement. "With laparoscopic surgery, it feels like you're trying to eat sushi with chopsticks – you just can't make the movements as precisely as you can with the da Vinci."
As far as a patient's quality of life is concerned, the benefit of a shorter recovery time after a robotic procedure can't be overestimated, says Dr Bruwer.
"These days, 91% of my robotic surgery patients go home the very next day. They have a catheter inserted for seven days, whereas open surgery patients wear a catheter for three weeks. And most of my patients now go back to work within 14 days after surgery – before, they would be off for at least six weeks."
Mediclinic Durbanville is currently the only Mediclinic hospital that offers robotic surgery, although Dr Bruwer hopes the robotic programme will be extended in the near future. As with any new technology, it's going to take time for the da Vinci to gain the kind of acceptance that's afforded open surgery and traditional laparoscopic surgery, he says.
In South Africa, there are currently only six da Vincis in private hospitals and about 26 accredited private surgeons, so access is limited too – and it takes time and intensive training to become accredited and then even more time and effort to become an expert, he explains.
Another major issue counting against robotic surgery is that it's about 25% more expensive than traditional surgery options, says Dr Bruwer. "In the case of prostatectomies, the benefits of robotic surgery more than outweigh the cost. Robotic surgery also has major advantages for intra-abdominal, cardiac and lung surgeries, but it's difficult to prove that its benefits far outweigh those of the traditional and laparoscopic surgery options – and hence, we can't prove its cost-effectiveness. But in the future, when these devices and the various disposables hopefully come down in price, robotic surgery will become the first choice option because it's minimally invasive and more precise. But we're not there yet – we'll have to wait for the competition to bring prices down."
COMPARED TO TRADITIONAL SURGERY OPTIONS, ROBOTIC SURGERY'S BENEFITS FOR PATIENTS INCLUDE …
▶ A lower risk of infection or complications
▶ A quicker return to normal activities, including a significant earlier return to work
▶ Less scarring due to smaller incisions
▶ A shorter hospital stay
▶ Less blood loss
▶ Less pain
IN THE FUTURE ROBOTIC SURGERY WILL BECOME THE FIRST CHOICE OPTION BECAUSE IT'S MINIMALLY INVASIVE AND MORE PRECISE.
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To Tell the Truth Freely
The Life of Ida B. Wells
Author: Mia Bay
"If Iola Were a Man"
As the Nineteenth Century came to a close, a young African American woman named Ida B. Wells was acclaimed "the most widely known woman of her race in the world."1 Born a slave in Civil War-ravaged Mississippi,Wells achieved freedom with emancipation, and international renown in the 1890s, when she rose to fame as a journalist, speaker, and civil rights activist who led an international crusade against lynching. She was just thirty years old when she first began her campaign to end the brutal white-on-black mob violence that took the lives of at least 3,220 African American men, women, and children between 1882 and 1930—a period that marks the high tide of this violence. Wells would remain an antilynching crusader all her life, with good reason. During much of it, lynching was so popular in the South that it was commemorated in postcards featuring the dead black bodies hanging from trees, bridges, and streetlights. And even outside of the South, the mob violence went almost wholly unchallenged until Wells began her antilynching crusade. The lynch mobs' victims, usually both black and male, were sometimes accused of rape, and invariably condemned as criminals after the fact—although they were put to death without judge or jury. As the postcards advertising these lynchings testify, the practice was not covert. Instead, it was the work of white mobs who displayed dead African American bodies to underscore their continuing racial dominion over a people only recently freed from slavery.
A member of that new generation of ex-slaves, Ida B.Wells came of age at a time when her people needed aggressive leaders who could combat the erosion of black civil and political rights that accompanied the end of the Reconstruction era. By the late nineteenth century, the voting rights, political power, and social freedoms that African Americans had won when the South was first reconstructed after the Civil War were under assault. Anxious to restore the white supremacy that slavery had once guaranteed, white Southerners used mob violence, political terrorism, and election fraud to drive the freed people and their Republican allies out of politics. What came next was a Jim Crow South, where few African Americans voted, and all were subject to segregation and many other forms of legal and economic discrimination. While white Southerners called the end of Reconstruction a blessed "Redemption," among African Americans it represented a devastating setback in the struggle for freedom that dated back to slavery. Moreover, it came at a time when many of the black leaders who had led that struggle were too old to head the new battle now needed to protect emancipation's freedoms. A new generation of black leaders was needed, and Wells would become one of them.
Born to slave parents in 1862, she had defied remarkable odds before she ever embarked on her antilynching campaign. Orphaned at age sixteen when her parents died in the yellow fever epidemic that swept the Mississippi Valley in 1878, she raised her five younger siblings by herself, taking a teaching job in a rural school that same year. Her own education remained incomplete as a result, but Wells pursued a tireless course of self-education, reading and writing her way into a career in journalism under the pen name "Iola." By her late twenties, Wells had become one of the preeminent female journalists of her day, and the editor and co-owner of the Memphis, Tennessee, newspaper Free Speech and Headlight. Now widely acclaimed as "Iola, the Princess of the Press,"Wells saw her career almost derailed in the spring of 1892, when a white mob lynched three black businessmen in Memphis. Shocked by the violence and mourning the death of three men she had known for years, one as a close friend,Wells protested the murders.
She also began an investigation of lynching that would last a lifetime and see her exiled from the South. The three men who died in Memphis had committed no crime other than to open a store that challenged a nearby white-owned business. Accordingly, their deaths inspired Wells to research the causes of lynching. White Southerners justified lynching as a necessary "check on the horrible and beastly propensities of the black race." Black men were prone to the crime of rape, they insisted. Only "the most prompt, speedy and extreme punishment" could prevent them from preying on "weak and defenseless [white] women."2 But as Wells soon discovered, more than two-thirds of the African American men murdered by lynch mobs were never even accused of rape. Indeed, like her dead friend, many of the victims of white mob violence were never accused of any serious crime. Outraged by her findings, Wells wrote an editorial indicting Southern whites for lynching black men "on the old threadbare lie that black men rape white women," which soon brought death threats that forced Wells to leave the South.3 She left just ahead of the white mob that attacked the offices of Free Speech, smashing her presses and shutting down her paper. But the attacks made her all the more determined to expose lynching's true cause by telling "the truth freely."4
After she left Memphis Wells launched an antilynching campaign that took her from Tennessee to New York, Great Britain, and Chicago, and garnered her new acclaim as one of the most forceful African American leaders of the day. Her antilynching campaign, as one contemporary commentator noted, addressed the most urgent issue facing black America at a time when "none of our representative and most prominent black men would take up the lead." Another deemed her "the only successor to Frederick Douglass"—the former fugitive slave who became black America's great antislavery leader. As such observers were well aware, the two black leaders had much in common. "Both were editors, both were orators, and both began their careers passionately committed to righting the worst forms of injustice that, in their respective times, were inflicted on their people," writes Douglass biographer William McFeely.5 Moreover, after the two met in 1892, they became fast friends; Douglass wrote a number of letters of support for Wells, including testimonials for the antilynching pamphlets Wells published before Douglass's death in 1895—providing a public record of his support for her.6 In his seventies by the time they met, Douglass served as both a mentor and a role model to Wells, whose antilynching campaign mobilized some of the same international reform networks Douglass had once rallied to the antislavery cause.
The British, in particular, had lent powerful moral authority and financial support to the abolitionist movement. They proved a crucial audience for Wells, who, at the beginning of her campaign, had trouble even gaining a hearing among whites at home. American whites in both the North and the South chose to regard lynching as a Negro problem largely brought on by the criminal character of the race, but the British proved more receptive to Wells's well-researched analysis of its true causes. Moreover, they were also supportive when Wells asked them to once again champion the unrealized liberties of the freed people—just as they had supported their emancipation. The result was the formation of a much publicized British Anti-Lynching Committee, which shamed a number of American states into drafting, and in some cases even passing, antilynching legislation, and fostered an Anglo-American discussion of lynching that made headlines in both countries.
Lynching did not end in the 1890s, or for many years to come. But Wells's campaign transformed lynching from a practice that went largely uncontested even among Northern whites into an ugly symbol of the racial injustices of Jim Crow. Not the first African American to speak out against lynching, Wells was the first to gain a broad audience. Her work is notable for crafting an analysis of lynching that remains pathbreaking even to this day. In challenging the practice, Wells cut through the myths about black rapists that white Southerners used to defend lynching. Lynching had nothing to do with rape and everything to do with power, Wells argued, presenting the facts and figures to prove it. White men policed the color line even to the point of murdering black men who engaged in consensual relationships with white women, and most lynchings did not involve allegations of rape. Instead, lynchings sustained the all-encompassing system of racial domination that marked the New South by terrorizing blacks and "keeping the nigger down."
Subsequent civil rights activists would agree, organizing much of the early twentieth-century civil rights struggle around antilynching strategies pioneered by Wells. But Wells would not lead them, nor go on to be Frederick Douglass's successor. Although she appears among the major leaders of the race in an 1895 photo collage that includes Frederick Douglass and Tuskegee Institute principal Booker T. Washington, she would have trouble sustaining prominence as a national leader even through the remainder of the 1890s. Eclipsed at least in part by Washington's meteoric rise to fame on a platform of black accommodation to Jim Crow, she also during those years became a wife and mother, marrying the Chicago-based African American lawyer Ferdinand Barnett. Thereafter, she juggled her public life with domestic responsibilities that included two stepsons and soon came to include four children of her own. But neither motherhood nor the growing power of Booker T. Washington fully explain why Wells's sojourn in the national spotlight was so brief. An activist all her life, Wells would continue to battle lynching and other forms of racial injustice for the remainder of her days. But she ended her life as a leader more prominent in Chicago than the nation as a whole.
Undoubtedly, sexism circumscribed her career, as did her assertive personality, which many contemporaries found to be at odds with her gender. Even her admirers could never compliment her leadership without noting that it was ill-suited to her sex. "If Iola were a man," black journalist T. Thomas Fortune said of Wells after first meeting her, calling her by her pen name, "she would be a humming independent in politics. She has plenty of nerve, and is sharp as a steel trap." And over time, such admirers would often turn on Wells for possessing traits admirable only in men. Fortune himself was a case in point. By 1899, Fortune, who had once employed Wells at his newspaper The New York Age, had allied with Booker T. Washington, and began to dismiss his former protégée as "a bull in a China shop."7
Whether Wells's career would have indeed taken a different path if she had been a man remains impossible to say, although her contemporaries' persistent unease with her gender suggests as much. An activist by nature, Wells had limitations above and beyond her sex when it came to sustaining a following. She often resisted the "restraints of organization," as a later critic would note. Hardheaded to a fault, and possessed of a temper that she acknowledged to be a "besetting sin,"Wells helped build a stunning variety of black organizations, including the National Association for the Advancement of Colored People (NAACP), only to find herself comfortable in none of them. More radical than most of her contemporaries, she also had no gift for compromise and often departed in a huff from the organizations that she helped create, her famous temper flaring when negotiations did not go her way. As a result, her contemporaries considered her difficult, although even that assessment cannot be decoupled from her gender. With the possible exception of Booker T. Washington, most of the leading African Americans of her era were difficult, in one way or another.
Early twentieth-century black leaders had to contend with a racist white majority that questioned their qualifications for leadership, while defending their community against a relentless assault on black civil rights. Not surprisingly, strong personalities prevailed among their ranks. Such personalities included the NAACP leader W.E.B. Du Bois, who deposed Booker T. Washington to become the early twentieth century's most preeminent leader. A man who frequently butted heads with Wells, Du Bois was often described as "arrogant."He spent much of his career battling with both black and white contemporaries—without ever being written off as "a bull in a China shop." A strong mind was more of a liability in a woman.
Moreover, Wells-Barnett—as she renamed herself after her marriage—had other leadership liabilities as well. Born at the end of the slavery era, she became a leader without the help of the kind of educational or social credentials that would help younger black leaders such as Du Bois earn the respect of the increasingly educated black middle class—and their white allies as well. Although Wells was active in the Progressive-era reform community, her credentials as wife, mother, and self-educated journalist paled next to the academic credentials that supplied many black and white progressives with their leadership qualifications. She was also less educated and socially elite than many of the black club women she helped organize during her antilynching campaign. Founded in 1896, the National Association of Colored Women (NACW) first took shape around her work, but she was never considered for any leadership post in that organization.
Disappointed but never despairing about the many obstacles her leadership faced, Wells remained committed to the "preservation of our [African American] liberties" all her life. Tireless foes of mob violence in Illinois, she and her husband, Ferdinand, fought a successful battle for effective antilynching legislation there, and then moved on to fight injustices within the state's legal system, offering representation to blacks who had been unfairly imprisoned, and support and guidance to black prisoners as a group. Moreover, even though Wells would not remain active in the NAACP or the NACW or any other national organization, she continued to fight lynching and other forms of racial injustice in Illinois and elsewhere, protesting the race riots of the twentieth century's first decades as well as the federal government's mistreatment of black soldiers during World War I. Also active on behalf of early childhood education, women's suffrage, temperance, and the social welfare of Chicago blacks, Wells was involved in Republican politics, and even made an unsuccessful bid for a state senate seat in Illinois in 1930—at age sixty-eight. Her campaign capped a life committed to a range of causes so extensive that they defy easy summary. Raised by ex-slaves and informed by an education that included reading the Bible cover to cover and imbibing all the most activist elements of the Judeo-Christian tradition, Ida always felt compelled to "do something" in the face of "injustice or discrimination." Her life bears eloquent testimony to the power of that commitment. An African American leader barely a generation removed from slavery, Wells drew on forms of antebellum politics that survived the Civil War but have not always been appreciated by historians since. In particular, the keen political insights that Wells brought out of her ex-slave upbringing lend strong support to the work of scholars such as Steven Hahn, who maintains that black Southerners greeted emancipation with enduring political and moral commitments forged during slavery and fostered thereafter in the kinship networks that guided the freed people through emancipation.8 Moreover, Wells embraced the tradition of noisy public protest nourished among antebellum-era blacks who escaped the slave South, combating lynching with protest strategies once used by black abolitionists and allying herself with the ex-slave leader Frederick Douglass.
Although the African American protest strategies and political traditions that Wells did so much to help sustain would shape the twentiethcentury civil rights movement, Wells herself was underappreciated during her own lifetime. As she got older, she found herself increasingly overshadowed by a new generation of black leaders—many of whom were active in organizations she had helped found. She had spent most of her life far "too busy trying to do what seemed to me to be my share of work for the race . . . to write about myself," so in her sixties Wells decided to "set it all down." Intent on leaving "some record of the beginnings of agitation against lynching," she interrupted her busy career as a reformer to write a long autobiography that she never managed to finish.9 Despite this effort, after her death in 1931 her reputation languished for many years, neglected by a historical profession long uninterested in the history of African Americans or women.
But as the twenty-first century opens, Ida B. Wells is well on the road to achieving all the honors and recognition never accorded her in her lifetime. Even as Wells's star dimmed after her death, her youngest daughter, Alfreda Duster, preserved her mother's papers, edited her autobiography, and worked tirelessly to secure its publication. She finally succeeded in publishing Crusade for Justice: The Autobiography of Ida B. Wells in 1970, at a time when black history and women's history were finally beginning to receive widespread attention. Since then, Wells has been studied by an ever increasing number of scholars and biographers, whose work appreciates the importance of her antilynching campaign and pioneering history as a female leader. Far from forgotten, Wells now receives a full measure of the public recognition that eluded her during the second half of her life. Studied and taught in school and college curriculums, she was even featured on a U.S. postage stamp issued in 1990. And in 2005, her work was lauded on the floor of Congress. The Senate adopted a "nonbinding" resolution "apologizing to the victims of lynching and the descendants of those victims for the failure of the Senate to enact antilynching legislation" (which did not receive a unanimous vote).Too little, too late, Wells might have thought with reference to the Senate resolution. But she might also take comfort in the fact that today her life and work are not just honored but also studied and taught, ensuring that her "crusade for justice" will have a continuing impact on future generations.
Wells is now appreciated as an important historical figure not in the least because her life and work illuminate dilemmas that still vex us today. Racism and sexism still shape American politics in myriad ways, coloring popular perceptions of both black and female leaders and perpetuating the challenges to black female leadership that Wells faced. Moreover, Wells's life provides invaluable historical testimony on the often contradictory impact of being black and female at the turn of the nineteenth century—a time when the lives of most black women went unrecorded. Among the relatively few African American women of her era to leave a life chronicled well enough to be studied or remembered in any detail, Ida documented experiences that would otherwise be lost to history. A journalist and an activist, she left behind many news articles, editorials, petitions, and protest pamphlets. She was also a prolific correspondent and compulsive writer who recorded the details of her life in diaries, letters, and a long autobiography. Many of her diaries and much of her personal correspondence are long gone—burned in a house fire that destroyed many of her papers. But, carefully preserved by Alfreda Duster, Wells's autobiography and her surviving diaries and papers combine to provide a rich documentary record of the life of a woman whose observations about her world remain insightful even today.
Not the least bit representative of mainstream modes of thinking common to her day—among whites or within her own community—Wells was an extraordinary individual. Her biography offers far more than a useful chronicle of her times or a life characteristic of her era. An unrelenting and insightful social critic, Wells spent her life testifying to the social, political, and economic evils of her era and thereby recording the toll they took on a generation of African Americans who, by and large, lacked the education, opportunity, and political freedom to speak for themselves. An indignant witness to the violence, segregation, and other forms of racial discrimination white Southerners used to restore white supremacy, her life preserves a history of black activism and female leadership that historians are just now beginning to recover. Moreover, her commitment to " 'do something' about every item of injustice and discrimination . . . whatever the matter happened to be" makes her a hero whose life still stands as both a lesson and a challenge to modern-day Americans—black or white, male or female. Always impatient with anyone unwilling to speak out against injustice, Wells reflected on the ongoing challenge faced by those who shared her commitment to equality and civil rights. "Eternal vigilance is the price of liberty" was the motto she used to begin the final chapter of an autobiography too often interrupted by her protest activities to be completed.10
Excerpted from TO TELL THE TRUTH FREELY by MIA BAY
Copyright © 2009 by Mia Bay
Published in 2009 by Douglas & McIntyre Ltd.
All rights reserved. This work is protected under copyright laws and reproduction is strictly prohibited. Permission to reproduce the material in any manner or medium must be secured from the Publisher.
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Born to slaves in 1862, Ida B. Wells became a fearless antilynching crusader, women's rights advocate, and journalist. Wells's refusal to accept any compromise on racial inequality caused her to...
Born to slaves in 1862, Ida B. Wells became a fearless antilynching crusader, women's rights advocate, and journalist. Wells's refusal to accept any compromise on racial inequality caused her to be labeled a "dangerous radical" in her day but made her a model for later civil rights activists as well as a powerful witness to the troubled racial politics of her era. Though she eventually helped found the NAACP in 1910, she would not remain a member for long, as she rejected not only Booker T. Washington's accommodationism but also the moderating influence of white reformers within the early NAACP. In the richly illustrated To Tell the Truth Freely, the historian Mia Bay vividly captures Wells's legacy and life, from her childhood in Mississippi to her early career in late-nineteenth-century Memphis and her later life in Progressive-era Chicago.
"Mia Bay . . . brings dimension to history's minimalist portrait of [Ida B. Wells] in her insightful new biography . . . Bay's book gives credit where it's long overdue." —Sandy Nelson, The Santa Fe New Mexican
"In the richly illustrated To Tell the Truth Freely, the historian Mia Bay vividly captures Wells's legacy and life, from her childhood in Mississippi to her early career in late nineteenth-century Memphis and her later life in Progressive-era Chicago." —The African American Book Review
"This well-researched book . . . should be useful to both mass communication scholars and a general audience, thanks to Bay's fluid writing style, attention to details, and facts." —Jinx Coleman Broussard, Journalism History
"In this remarkable book, Mia Bay understands Ida B. Wells in full--as thinker, writer, crusader, politician, and woman of the world. Finally, we have a biography worthy of one of the bravest and most influential activists in U.S. history." —Michael Kazin, author of A Godly Hero: The Life of William Jennings Bryan
"Ida B. Wells is one of America's most important yet relatively unknown historical figures. Absorbing and insightful, To Tell the Truth Freely deftly chronicles the way in which her extraordinary life and career altered the evolution of race and democracy in late nineteenth- and early twentieth century America." —Peniel E. Joseph, author of Waiting 'Til the Midnight Hour: A Narrative History of Black Power in America
"Mia Bay's biography of Ida B. Wells is as sharp and sassy as the woman herself. The vigilance and bravado of this dynamic black woman crusader shines through on every page. Bay's triumphant tapestry reveals the life and times of an unsung heroine woven into battles for African American freedom." —Catherine Clinton, author of Harriet Tubman: The Road to Freedom
"At last--an eloquent, concise, yet richly detailed account of Ida B. Wells. Beautifully crafted, this book restores Wells to her rightful place in American political history by telling her story with verve and grace." —Barbara D. Savage, author of Your Spirits Walk Beside Us: The Politics of Black Religion
"Superb . . . Having been squeezed out of a role in national civil and women's rights organizations, Wells lost a prominent place in the historical record. It took several generations before her relentless and often discomforting agitation for social justice received the appreciation it deserved, as scholars over the last twenty years gradually reestablished her place in history. Mia Bay's lucid biography contributes enormously to this project." —Andrew Feffer, History News Network

redpajama_set_name: RedPajamaCommonCrawl


Two weeks, two countries, six races, a red bib…and one heck of a finale!
World Cup '11 wrapped up with 2 races in Lahti, Finland and then the World Cup Finals in Sweden.
Lahti – Distance PR with 11th in pursuit and donned the red bib in the classic sprint for 21st.
Stockholm – Final WC sprint, skied to 10th and held on to 3rd in the overall sprint cup!
Falun – Mini-tour finals, 19th in prologue, 21st in pursuit, 14th in 10k to finish 16th overall. Finished the season in 10th in the Overall World Cup standings.
One more series of races to go before its break time! More coming from Sun Valley next week!!
The first weekend post-World Champs kicked off in Lahti, Finland with a 5km+5km duathlon. It was a challenging course with big steep climbs. I got off to a good start and thanks to some great skis I was able to move my way up through the pack on the classic leg. I continued to ski strong on the skate portion and narrowly lost a photo finish for 10th place. My 11th place was a new personal best World Cup distance performance.
The next morning we contested a classic sprint. After my victory in Drammen, I had retaken the lead in the overall World Cup sprint rankings and so I got to race wearing the red leader's jersey. Although the course was long and tough, I laid down one of my best-ever classic sprint qualifications in 5th place. Anticipation was high.
In the quarterfinals I was leading my heat halfway through the lap until I struggled to kick up the steep climb and then bogged down with slow skis, lost touch with the group on the downhill and ended up 5th (21st overall). It was a frustrating early end to my day and I dropped to third in the overall sprint rankings.
The final sprint race of the season was just three days later in Stockholm, a 1km classic sprint on man-made snow laid on the steps of the Royal Palace. A pretty sweet venue! I put down a solid qualifying round in 13th and despite landing in a super-competitive quarterfinal, managed to advance to the semis as a lucky loser. In the semis I skied all out to try and hang in the pack, eventually tying for 5th. I didn't advance to the final but secured 10th place for the day and locked up third in the overall sprint cup. Having never been in the top 10 before, this was a huge breakthrough for me!
From Stockholm we traveled 3hrs to Falun to continue the World Cup Finals mini-tour with a 2.5km classic prologue on Friday. While Thursday's off day featured impeccable conditions and clear blue sky, race day brought heavy snowfall and temperatures around the dreaded zero mark. Thankfully my skis were great and my body felt strong and I skied a solid lap for 19th place.
For the following day's 5km+5km duathlon, the sun came back, although the waxing conditions were still challenging. Starting as bib 10 in the 2nd row my race was off to an excellent start when, 500m in I got caught in a crash and suddenly dropped from top 10 to back of the pack. I spent the rest of the race trying to work my way back up and eventually finished 21st.
The final race of the mini-tour, and of the World Cup season, was a 10km freestyle handicap start based on the overall time from the mini-tour. I started the day in 17th place and immediately latched on to bib 16, Marte Kristophersen of Norway. As we skied the two hard laps around the 5km course, we picked up several skiers ahead. Coming over the top of "murder hill" the last time however, my legs gave way and I lost touch with the group. I still managed to finish 16th on the day with the 14th fastest split time. It felt good to lie down in the snow at the finish after the demanding tour and the conclusion of a successful World Cup season!
The icing on the cake was going up on stage for the award presentations for the overall Sprint World Cup. Just a year before I had watched my teammate Andy Newell stand up there getting his crystal medal, and dreamed of getting there myself. It felt great to stand on the podium one more time, accept the crystal medal, and get sprayed by champagne from Petra Majdic's retirement celebration!
This World Cup season has been my most successful year yet. In addition to the third in the Sprint rankings, I also finished 10th in the Overall World Cup. These overall awards show that my consistency is coming up and I am already getting excited about chasing the crystal globes next season.
While the World Cup season is now finished, I still have one more series of races to do before heading home. I have rejoined my APU teammates for the 30/50km US National Championships races this weekend in Sun Valley, ID and then the SuperTour Finals next week. Five more races to go, time to see what's left in the tank!
We have the most awesome team behind us!!
This entry was posted on Friday, March 25th, 2011 at 10:47 am	and is filed under Racing. You can follow any responses to this entry through the RSS 2.0 feed. You can leave a response, or trackback from your own site.


Why the Media and Entertainment Industry Needs a Digital Agency?
Do you belong to the media and entertainment industry? Then you may already know how consumer media habits, as well as expectations, have changed. Now, compared to Television, content is being increasingly consumed by smartphones and computers. People are opening their preferred news app on their tablet ditching the newspaper and instead of joining cooking classes to learn how to cook, people are turning towards YouTube videos. In this post, we will discuss the media and entertainment industry trends that are shaping the future of this industry, how digitization is playing an important part in it and why a digital agency is what you need. Have you partnered with a digital agency yet? If not, then it's high time that you do so! A digital agency offers all the services that you need to make it big in the media and entertainment industry. Want to know how? Read on.
Virtual reality (VR) has now become one of the hottest topics across a number of industries. According to a report, by the end of the year 2022, the value of the global VR market will be more than USD 26 billion. Now that's a huge amount of money! With the emergence of technologies such as YouTube 360 and Facebook 360, people can interact with content from far away through immersive and natural human experiences. If you want to stand out from your competitors, the best thing that you can do right now is to think of ways how you can use this technology to the fullest. And when we are talking about VR, what's better than hiring a digital agency? A digital agency can help you with VR apps and games specific to your business type and make your business the talk of the town! Don't you want that?
As your business falls under the media and entertainment industry, wouldn't it be great if you could have an insight into your consumer behaviour across a variety of channels and devices? Well, digitization has made it all possible! Now, if you already have a business website, with analytics and data collection, you can know about the number of your users, the geographical location of your users, which pages of your website are the most-visited, duration of each session, bounce rate, your visitors' journey, exit pages, which buttons of your website are clicked, from which channels your users have come – and many more! Hire a digital agency and see your business sky-rocket!
In the year 2015, the amount that was spent on Artificial Intelligence (AI) was $300 to $350 million. And it is expected that by the year 2015, the AI market will reach $30 billion. Yes, you read that right! AI is all set to change the entire creative process. In order to create effective movie plot points depending on box-office performance, some companies have already started using AI. It has made it possible to create movie trailers in a far less time than the traditional method. And it's not just in movies, AI can be used in image recognition, language processing, deep learning as well as speech recognition – there's actually no end to the way how Artificial Intelligence is laying an impact in the creative process in the media and entertainment industry. If you don't want to fall behind, partner with a digital agency and ask them to make use of the AI technology in apps and games related to your business in media. This will attract more and more customers, giving your business a huge boost.
The power of mobile and social is transforming the way how media is consumed as well as perceived. With instant and continuous access to media content through smartphones, tablets and laptops and by sharing it on social media platforms, your consumers have the power to destroy or promote your brand or organization. The majority of the entertainment sector market share is captured by the social media applications. Some of the most popular areas include online music applications, mobile gaming apps and live streaming of TV shows. This makes it all the more important to have a mobile app for your business. With an app, you can enhance your social networking strategies, increase your visibility, reduce your cost, reinforce your brand, build client loyalty, engage your customers and be with your customers all the time. And all these can be done perfectly by partnering with a digital agency.
We are an award-winning digital agency focusing on marketing, branding, web design and development with clients all over the world – ranging from start-ups to fortune 500 companies. We take pride in partnering with the clients in order to provide them with the most transparent as well as the best experience – from scoping to deployment. Want to partner with us? Give us a call now!


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Suspended Rope Platform suppliers in Gujarat
Posted in: Services > Other in India | Posted: 2021-10-22 |
Area/Neighbourhood: 7 / 1165 B, Asarawala Estate, B / H Hamd Park, Rampura, Surat, Gujarat 395003
Smit's Suspended Platform is widely used for exterior construction of high-rise building, bridge construction, window cleaning, inspection & maintenance, refurbishing of outer wall construction, installing of curtain wall, maintaining cleaning of mansions. It can specifically meet the demands of different projects, such as for ship, chimney and for checking elevator. It is convenient to operate, safe and reliable, and high efficiency. Smit's Façade Access System is generally praised in the industry due to good materials, fine workmanship, reliable quality and favorable price.
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Coresteel Central Plateau is excited to announce their new sponsorship of Mt Tauhara Gymnastics.
"They are a very active club that not only has a large local membership but also hosts regional competitions," says Lee Parker-Frew, Coresteel Buildings Central Plateau.
The club is located at Owen Delany Park and shares a car park with the Taupo Rugby club rooms. The park hosts a number of events throughout the year including netball, cricket, rugby, the annual fireworks display and the area schools cluster athletics.


Put in storage those crisp sheets and bring home the fuzzy flannel and other soft cold-weather linens. And while you're at it, switch the thin summer quilt for the down comforter cause baby it's soon gonna be cold outside.
Get ready to start using the oven again. Whether it's to use those lovely upstate apples and make pie out of them or start baking all kinds of squashes, or just make a braise, it's oven time.
It's gourd, pumpkin and wreath season peoples but don't limit yourself just to these decorations, get creative. Stop at the farmer's market and pick up fall fruit and veggies and make a table arrangement or display pinecones and candles—you get the idea.
A nice fuzzy throw not only makes the home look more fall and winter ready but it's also a practical and feel good way to warm up on the sofa or a chair.
If you have old windows and get that bitter breeze through the frames, get weather sealing, draft snakes or insulation film. Also, don't forget that thicker curtains do wonders for keeping out drafts. Insulating your windows not only keeps you warm but also helps keep your energy bills lower and does wonders for your carbon footprint.
If you're lucky enough to have a fireplace, it's time to make sure it's clean and ready to go. Remove all the dust and debris you can. And make sure to have your chimney sweeped periodically.


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Tags: Boston Bruins, Brad Marchand, Brandon Carlo, Tuukka Rask, Winnipeg Jets
What we learned: Bruins return to an 'old time hockey' win
Tim Rosenthal February 1, 2020
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That was 10 days worth the wait.
The Boston Bruins returned from their bye week as a rested bunch against a desperate Winnipeg Jets bunch. It didn't take long for them to shake off the rust.
Bruce Cassidy's squad found themselves trailing 1-0 after Patrik Laine notched his 18th of the season 6:06 into the opening stanza. Then Charlie McAvoy delivered a game-changing hit on Mark Scheifele.
What followed in the spirited contest resembled the Big Bad Bruins of yesteryear. The Bruins backed one another up in their four — yes four — fights with the Jets during a physical 60-minute tilt. Tuukka Rask (concussion) returned in grand fashion in his first start since Jan. 15. The power play and penalty kill stymied Winnipeg to the tune of a perfect 6-for-6 night in shorthanded situations and a pair of timely goals from Patrice Bergeron and Jake DeBrusk on the man advantage.
The Bruins backed one another up in a team-building 2-1 win over the Jets. Here's what we learned from Friday's fight night in Winnipeg.
McAvoy's hit kickstarts an 'Old Time Hockey' tilt
"Coming off the break you lose a little bit of your competitive edge, but the quicker you get it, the better off you're going to be," Cassidy told NESN's Jack Edwards and Andy Brickley postgame. "[The McAvoy hit] was a big part [of the win]. It kind of got us to pull together in the same way and then off we went."
The Bruins weren't playing poorly by any means prior to McAvoy's hit on Scheifele late in the first period. They found their skating legs as the period progressed and generated some quality looks on Laurent Brossoit but a defensive miscue on Laine's tally put them in an early hole.
McAvoy's thunderous hit on Scheifele turned the game's intensity from 1 to 100. Winnipeg's Neal Pionk instigated McAvoy into a mini-bout in Boston's defensive zone seconds later.
What a hit from Charlie McAvoy on Mark Scheifele. pic.twitter.com/QIhsal0Dxx
— Conor Ryan (@ConorRyan_93) February 1, 2020
The responses and counter-responses continued in the middle stanza. Brad Marchand, Brandon Carlo and Karson Kuhlman each dropped the gloves in respective bouts against Nikolaj Ehlers, Gabriel Bourque and Luca Sbisa. Marchand, Carlo (also assessed a 10-minute misconduct following his fight with Bourque) and Sbisa each served additional two-minute minors for roughing or instigating.
For all the questions surrounding their response to questionable hits at times — especially in the aftermath of Emil Bemstrom's shot to Rask in Columbus — the Bruins didn't back down on this night. That's an encouraging sign for a team that historically prides itself on being big and bad.
Brad Marchand & Nikolaj Ehlers have at it. pic.twitter.com/T1xUV7N6K6
"That's 'old time hockey' right there," Marchand told reporters. "Any time there was a big hit there was a fight. That's how [the game] used to be. It was fun to play a game like that. It's not going to happen every night, but when they do, they're fun to be a part of."
Through all the chaos and questionable officiating, the two teams combined for 60 penalty minutes in the second frame. The Bruins had to kill a whopping five penalties in that 20-minute span. They were up to the task on a rather 'special' night in the Canadian Prairies.
A 'special' night for the power play and penalty kill
They say staying out of the box is a key to success. Yet, the Bruins and Jets made frequent trips to the sin bin and nearly filled it to capacity at times.
The Bruins found themselves shorthanded more often than not in that physical middle stanza. They dug deep killing off all five of Winnipeg's power-play attempts — including two 5-on-3 chances — during that 20-minute stretch.
Be it through timely saves from Rask, disrupting shooting lanes to block shots or displaying their forechecking prowess, the Bruins didn't waver on the penalty kill going a perfect 6-for-6.
"Special teams on both sides of the puck were very good. That's something that we take a lot of pride in," Carlo said to the media. "And myself as a penalty killer it's a big thing to be able to kill it off whether it's a 5-on-3 or a 5-on-4. We take a lot of pride in it like I said and it's the same thing for the power play."
Great defensive play by Jeremy Lauzon here.
Bruins PK is 6-for-6 on the night. pic.twitter.com/N3i4ezpe4m
The Bruins' shorthanded unit sits third in penalty kill percentage, but their power play took a dip in production leading up to the 10-day break. A usually potent man-advantage hadn't lit the lamp in their last 15 attempts heading into Friday's slate.
The power play wasted little time finding the back of the net as Bergeron netted a 5-on-3 goal late in the first to even things up.
https://twitter.com/NHLBruins/status/1223424312557953024
Following another timely kill to start the third, the Bruins found themselves on the power play yet again when Sami Niku slashed Marchand at 2:35. In a 5-on-4 situation, DeBrusk, parked in front of Brossoit, found himself at the right place at the right time 32 seconds later with for the game-winner.
.@JDebrusk's PPG was the difference.#NHLBruins pic.twitter.com/ebWuKnq6gF
— Boston Bruins (@NHLBruins) February 1, 2020
A special night indeed for the power play and penalty kill.
Tuukka Rask made a triumphant return
He was set to serve a league-mandated one-game suspension for skipping the All-Star Game in St. Louis last weekend. But Rask's concussion diagnosis following the Bemstrom hit put a dent into the original plans as the NHL dropped his suspension.
Upon clearance from the league, Rask returned to the crease for the first time in 16 days on Friday.
The winningest goaltender in franchise history always performs well following a lengthy period between starts. That trend continued in Winnipeg.
Rask was dialed-in from the start even after making a helmet save on one of the first shots he faced. He didn't have many dents in his performance and backstopped the Bruins through a busy shorthanded slate in the second before securing the win after making 15 of his 37 saves in the final 20.
The Bruins didn't need to rush Rask back in net. Rask stayed fresh in his busy return even as he shook off some rust after nearly two and a half weeks between starts.
"I felt the puck after the first period," Rask said to the press. "It was a long break, though, so physically it wasn't that great. I'll need another break now."
Rask will get that break in Minnesota on Saturday as Jaroslav Halak will get the start against the Wild barring any last-minute development. He won't have to wait too much longer after that for his next start, though.
Brandon Carlo
Tim Rosenthal
Tim Rosenthal serves as the Managing Editor of Bruins Daily. He started contributing videos to the site in 2010 before fully coming on board during the Bruins' Stanley Cup run in 2011. His bylines over the last decade have been featured on Boston.com, FoxSports.com, College Hockey News, Patch and Inside Hockey. You can follow Tim on Twitter @_TimRosenthal.
Studnicka, Carey and P-Bruins end pre-All-Star slate on a high note
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A historic estate in northern Wales, Plas Newydd, is getting a makeover.
The mansion on the Irish Sea once was a major polluter, consuming at times up to 1,500 liters of oil to keep it warm. But it has switched to a heat pump, which will extract the heat from sea water to keep the entire mansion warm.
The cost of the 300-kilowatt heat converter to the National Trust, which oversees the 18th-century estate, is £600,000 ($1,010,388) and is expected to save around £40,000 ($67,359) a year in operating costs. These savings will be invested in upkeep of the property, now a museum.
The pump is one of the first systems of its kind in the United Kingdom and so far the biggest. The National Trust says using a heat pump in Plas Newydd is its way to demonstrate the importance of using local sources of energy instead of imported oil or gas.
The BBC reports that the pump relies on a heat exchanger, not unlike a refrigeration device, to extract heat from the earth, air or sea water, then amplify the heat.
Plas Newydd is the first of five projects under way in the first states of the Trust's plan to invest more in renewable energy. If the projects provide energy at appreciable savings, the charity is prepared to make similar conversions at 43 other properties it oversees.
Already the Trust has committed to reducing overall energy consumption at the properties it oversees by 20 percent, including cutting the use of fossil fuels by 50 percent and generate half its energy from renewable sources.
Using a heat pump at Pla Newydd really was a natural choice for the property, according to Adam Ellis-Jones, the assistant director for operations in Wales for the Trust. "With the Irish Sea right on the doorstep of Plas Newydd, a marine source heat pump is the best option for us," Ellis-Jones told the BBC.
But that didn't make the conversion easy, he said, because marine-source heat pumps are hard to find, especially pumps of the size needed to heat the estate. "It has been a challenging project but an exciting one," he told Wales Online.
The idea of heat pumps is becoming increasingly attractive in Britain, though they don't work efficiently in every application. Plas Newydd is a good candidate for the heat pump because it isn't connected to Britain's gas grid and therefore until now could rely only on oil heat, which not only pollutes but is expensive.
As for cost, air-source heat pumps, which draw heat from air outside a building, are not expensive to install, but they are inefficient during cold weather. Heat pumps that extract heat from water or earth are more expensive to install, but also are more efficient because the water and earth are consistently warmer than air.
Because of their overall efficiency, heat pumps will be invaluable tools for Britain's goal of reducing CO2 emissions by 80 percent by 2050, according to Tobi Kellner, the co-author of the "Zero Carbon Britain" report for the Center for Alternative Technology at Machynlleth, Wales.
Based on the $1 million cost, and the $67,000 in annual energy savings, it will be 15 years for it's ROI. From what I've read, heat pumps last between 10 to 15 years before they need replacing. So where is the cost saving?


LEDON uses eco-friendly, non-toxic, long-lasting and maintenance-free material only. That is not the cheapest way to produce playground equipment, but we think it's the better way.
All polyethylene boards are especially developed for LEDON, aiming at getting the best possible quality. The material is maintenance-free and extremely hard-wearing – even scratches and fissures do not reduce its durability.
The boards are non-toxic and comply with EN71 (safety requirements for toys) as well as with the requirements of the United States Food & Drug Administration (FDA) as outlined in the CFR (Code of Federal Regulations) Title 21, Section 177.1520.
Our polyethylene boards are available in 11 different colours with a black core. The boards are UV-stabilized regarding both shape and colour. We give 5 years guarantee on considerable fading.
All handles are made of nylon (PA6), have round edges and are shaped to offer good grip. This reduces eye and dental injuries. Fingers won't freeze to them. All parts are UV-stabilized regarding shape and colour. They are impact-proof from -40°C to +110°C. All parts are maintenance-free.
All LEDON's domes and windows are made of crystal clear polycarbonate (PCA). Polycarbonate is extremely impact-proof from -40°C to +120°C – which in fact means it is indestructable. It does not change colour and does not contain any heavy metals. Window frames are made of maintenance-free polyethylene.
Our skid-proof polyethylene board is coated with a 3 mm rubber layer. Being a gimmick from the car industry, it also provides our playground items with extremely durable and skid-proof surfaces. We use this board for all stepping and seating surfaces.
LEDON's springs are made of 18 mm special steel that can be bent in all directions. After the coiling process, the springs are treated with zink and phosphor and then covered with an impact-proof polyester lacquer.
The springs are made so no fingers will be pinched, and our patented spring fixing with self-locking nuts allow for the spring to be fixed at one point only in each end. This ensures a long operating life with a very low risk of a breaking spring. The springs are delivered with a cover for the bottom part.
Most of our playground items are assembled with either bolts, screws or specially designed aluminium bushes. All screws and bolts are made of stainless or galvanized steel.
All fittings have got round edges and are hot-dip galvanized.
All metal pipes and posts are hot-dip galvanized to avoid rust. Metal pipes make a very stable construction and do not deform.
All nuts and bolt ends are capped with nut covers, protecting children from sharp edges and the playground items from unwanted demounting.
All ropes and nets are made of six strands with eight steel wires each, that is a total of 48 steel wires protecting against vandalism.
The rope can take a peak load up to 4,500 kg and does not brittle nor get slack. All climbing nets are put together with joints of impact-proof nylon (PA6).
Wooden floors and posts are made of hard wood – e.g. canadian cedar, mandioquira or robinia. These wood sorts are very hard-wearing with a high content of natural oils or tanning acids (all FSC-certified).
There is a 10 years guarantee against dry rot and mould, plus we deliver our posts with metal shoes for extra protection (except Robinia). Our wood is maintenance-free, but you can give it some high quality wood oil if you wish to keep the original colouring.
Only products that are identified as such in this catalogue are FSC-certified.


The 2018-2019 Sunshine State Young Reader Award book list is out and the titles are arriving at the library. Sign up for the Summer Reading Program and read them this summer to earn books for yourself and for children at the Golisano Children's Hospital. Or just get a jump on next school year's reading.


Empire of Time was produced by Valgeir Sigurðsson – an Icelandic producer who was worked with groups such as Sigur Rós, Björk, Feist, and Tim Hecker.
Performed and produced by Andy Sheppard with additional production by Joshua Van Tassel and Valgeir Sigurdsson.
Recorded at Greenhouse Studios, Reykjavik, Verge Music Lab Underground, Toronto, and Berry Road, Bowen Island.


Campus for AGILENT TECHNOLOGIES Manesar, Gurgaon, Haryana - Sanjay Prakash - SHiFt - ArchitectureLive!
Agilent Technologies a leading life sciences organisation ,chose to set up a corporate hub in Manesar thus housing all its various offices at a central location. Crafted for the ultimate office experience, this building imparts a distinctive character to enhance productivity while maintaining the sanctity of a quiet work environment. Integrating various standalone features with energy efficiency, the project serves as an international model in ecologically appropriate office architecture in continental tropical climates.
One of the central roles of the Agilent building is to set an example of innovative design and construction that would inspire a change, and conceptually re-orient existing practices in the building industry. Agilent is not an only a symbol of green design, but has also taken into account all aspects of meaningful design by considering the holistic effect of embodied energy of materials used, energy efficiency in envelope, life cycle cost of equipment and systems, and is a real performer towards sustainable design. A real example of sustainable design.
The east approach within the campus is characterized by a large cantilevered office section with distinctive tensile structures which mark the staff entrance. This side lets the morning light filter in from certain portions. Elsewhere, the interplay of small square glass windows and local sandstone respond to the need to block the sun from the west and east. Despite this, the largely glazed (but protected) north and south façade instigate a feeling of the 'modern' glass office from inside without paying the attendant price of extra heat gain.
The northwest formal entrance, under a triple height space, integrates a water body and a concrete shear wall. This entrance leads to a grand atrium with a tree which is the connecting element of all the spaces within the complex.
Intermediate spaces have been provided for repose from the intense work environment in the form of a roof top cafeteria, gardens, terraces and the atrium itself. Intermittent provision of internal and external courtyards also ensures enhanced indoor air quality. Meeting rooms project outwards, as distinct entities offering magnificent views of the building and outwards.
Personalized work environments utilize a hybrid under-floor air conditioning system based on the principle of cooling the user (not the space) while efficient variable air volume systems work even for the increased ceiling height of 3.2 meters. The extra height, as well as the limited floor plate depth of 25 m, allows much of the office to operate in natural light.
The building currently utilizes only about a quarter of the permissible floor area, allowing for future expansion to full coverage in the future. For now, this land (at the south) not only serves to create valuable outdoor spaces for recreation, but also enhances biodiversity by stepping the landscape, cutting dust and noise.


This season, soprano Andriana Chuchman makes her debut at the Hamburg State Opera as Eurydice in _Orphée et Eurydice,_debuts with the San Francisco Opera as Mary in Jake Heggie's _It's a Wonderful Life,_ and returns the Canadian Opera Company as Musetta in La bohème.
Ms. Chuchman's recent opera engagements have included Adina in L'Elisir d'Amore, Miranda in _The Enchanted Island,_ Gretel in _Hansel and Gretel,_ and Valencienne in _The Merry Widow_ at the Metropolitan Opera; the title role in a new production of _Orphée et Eurydice,_ Zerlina in _Don Giovanni,_ Yum-Yum in The Mikado, and Valencienne at the Lyric Opera of Chicago; her house and role debut as Pat Nixon in _Nixon in China_ at the Houston Grand Opera; Micaëla in _La tragédie de Carmen _at the San Diego Opera; Lauretta in _Gianni Schicchi_ at the Los Angeles Opera, Boonyi/India in the critically acclaimed world premiere of Jack Perla's _Shalimar the Clown_ at the Opera Theater of St. Louis, Gretel on the Glyndebourne Festival Tour, Magnolia in _Show Boat_ and Marie in _Fille du Regiment_ at the Washington National Opera, Magnolia at the Dallas Opera, John Adams' _A Flowering Tree_ at the Opera Omaha, Guinevere in _Camelot at the Glimmerglass Festival,_ Yum-Yum in The Mikado, Cleopatra in_Guilio Cesare,_ Susanna in _Le Nozze di Figaro,_ and staged performances of Orff's _Carmina Burana_ at the Michigan Opera Theater; Minka in _Le Roi le Malgra at the Bard Music Festival,_the title role in _Flora, an Opera_ and Irma in _Louise_ at the Spoleto Festival USA, and Alinda in _Giasone_ and Dorinda in _Orlando_ at the Chicago Opera Theater.
In concert, Ms. Chuchman recently made her debut at the Lincoln Center White Lights Festival in staged performances of the Pegolesi Stabat Mater. She has also appeared at the Cincinnati May Festival in a performance of the Bach B minor Mass, the Detroit Symphony Orchestra in performances of the Brahms Requiem, the Rhode Island Philharmonic in Orff's_Carmina Burana,_ the Kalamazoo Symphony Orchestra in Mahler's Symphony No. 4, the Ravinia Festival as a guest on the_Prairie Home Companion_ radio show, and with the International Music Foundation of Chicago in performances of Handel'sMessiah.
In her native Canada, Ms. Chuchman recently sang the premiere of Larysa Kuzmenko's _Golden Harvest_ with the Winnipeg Symphony. She made her debut at the Canadian Opera Company as Olympia in _Les Contes d'Hoffmann_ and has also appeared at the Edmonton Opera as Yum-Yum and Marie in La Fille du Regiment; and at the Manitoba Opera as Susana in_Le Nozze de Figaro_ and Pamina in _Die Zauberflöte._ Concert performances have included engagements with the Toronto Symphony, Edmonton Symphony Orchestra and the Manitoba Chamber Orchestra. Prince George Symphony, and the Winnipeg Symphony Orchestra.
Born in Winnipeg, Ms. Chuchman received her Bachelor's Degree in Voice Performance from the School of Music at the University of Manitoba. She is also a graduate of the Ryan Opera Center at the Lyric Opera of Chicago and the San Francisco Opera's Merola Program. Ms. Chuchman's many awards include the Opera Theater of St. Louis' 2017 Mabel Dorn Reeder Award, prizewinner at the Finals of the 2009 Neue Stimmen Competition in Germany, and a Sullivan Foundation Encouragement Award in 2007.


text:
Chérif Hachemi Bouchache (en ) est un footballeur international algérien né le  à Skikda et mort le  dans la même ville. Il évoluait au poste d'attaquant.

Il est le grand frère du footballeur international Hocine Bouchache.

Biographie

En clubs

Chérif Bouchache évolue d'abord avec son club formateur, la JSM Skikda pendant 5 ans avant d'aller jouer en France dans les plus grands clubs français de l'époque, l'Olympique lyonnais et Le Havre AC. Puis il revient au pays pour servir dans le FLN au sein de l'équipe du Front de libération nationale.

En équipe nationale

Chérif Bouchache reçoit trois sélections en équipe d'Algérie. Il joue son premier match le 4 juillet 1963, contre l'Égypte (nul 1-1). Son dernier match a lieu le 22 décembre 1965, contre l'URSS olympique (défaite 0-1).

Palmarès
 JSM Skikda
 Championnat d'Algérie D2 (1) :
 Champion : 1966-67.
Coupe d'Algérie :
Finaliste: 1967

Notes et références

Liens externes

Naissance en mai 1929
Naissance à Skikda
Décès en juillet 1999
Décès à Skikda
Décès à 70 ans
Footballeur international algérien
Joueur de la JSM Skikda
Joueur de l'Olympique lyonnais
Joueur du Havre AC

redpajama_set_name: RedPajamaWikipedia


text:
May 24, 2012 Technology3d, animation, computer, computer graphics, disain, disain grafisBoss
3D computer graphics software refers to programs used to create 3D computer-generated imagery. This article covers only some of the software used.
3D modelers are used in a wide variety of industries. The medical industry uses them to create detailed models of organs. The movie industry uses them to create and manipulate characters and objects for animated and real-life motion pictures. The video game industry uses them to create assets for video games. The science sector uses them to create highly detailed models of chemical compounds. The architecture industry uses them to create models of proposed buildings and landscapes. The engineering community uses them to design new devices, vehicles and structures as well as a host of other uses. There are typically many stages in the "pipeline" that studios and manufacturers use to create 3D objects for film, games, and production of hard goods and structures.
Many 3D modelers are designed to model various real-world entities, from plants to automobiles to people. Some are specially designed to model certain objects, such as chemical compounds or internal organs.
3D modelers allow users to create and alter models via their 3D mesh. Users can add, subtract, stretch and otherwise change the mesh to their desire. Models can be viewed from a variety of angles, usually simultaneously. Models can be rotated and the view can be zoomed in and out.
3D modelers can export their models to files, which can then be imported into other applications as long as the metadata is compatible. Many modelers allow importers and exporters to be plugged-in, so they can read and write data in the native formats of other applications.
Most 3D modelers contain a number of related features, such as ray tracers and other rendering alternatives and texture mapping facilities. Some also contain features that support or allow animation of models. Some may be able to generate full-motion video of a series of rendered scenes (i.e. animation).
Commercial packages
A basic comparison including release date/version information can be found on the Comparison of 3D computer graphics software page. A comprehensive comparison of significant 3D packages can be found at CG Society Wiki and TDT3D 3D applications 2007 comparisons table..
3ds Max (Autodesk), originally called 3D Studio MAX, is a comprehensive and versatile 3D application used in film, television, video games and architecture for Windows and Apple Macintosh. It can be extended and customized through its SDK or scripting using a Maxscript. It can use third party rendering options such as Brazil R/S, finalRender and V-Ray.
AC3D (Inivis) is a 3D modeling application that began in the 90′s on the Amiga platform. Used in a number of industries, MathWorks actively recommends it in many of their aerospace-related articles[1] due to price and compatibility. AC3D does not feature its own renderer, but can generate output files for both RenderMan and POV-Ray among others.
Aladdin4D (DiscreetFX), first created for the Amiga, was originally developed by Adspec Programming. After acquisition by DiscreetFX, it is multi-platform for Mac OS X, Amiga OS 4.1, MorphOS, Linux, AROS and Windows.
Animation:Master from HASH, Inc is a modeling and animation package that focuses on ease of use. It is a spline-based modeler. Its strength lies in character animation.
Bryce (DAZ Productions) is most famous for landscapes and creating 'painterly' renderings, as well as its unique user interface.
Carrara (DAZ Productions) is a fully featured 3D toolset for modeling, texturing, scene rendering and animation.
Cinema 4D (MAXON) is a light (Prime) to full featured (Studio) 3d package dependant on version used. Although used in film usually for 2.5d work, Cinema's largest user base is in the television motion graphics and design/visualisation arenas. Originally developed for the Amiga, it is also available for Mac OS X and Windows.
CityEngine (Procedural Inc) is a 3D modeling application specialized in the generation of three dimensional urban environments. With the procedural modeling approach, CityEngine enables the efficient creation of detailed large-scale 3D city models, it is available for Mac OS X, Windows and Linux.
Cobalt is a parametric-based Computer-aided design (CAD) and 3D modeling software for both the Macintosh and Microsoft Windows. It integrates wireframe, freeform surfacing, feature-based solid modeling and photo-realistic rendering (see Ray tracing), and animation.
Electric Image Animation System (EIAS3D) is a 3D animation and rendering package available on both Mac OS X and Windows. Mostly known for its rendering quality and rendering speed it does not include a built-in modeler. The popular film Pirates of the Caribbean[2] and the television series Lost[3] used the software.
form•Z (AutoDesSys, Inc.) is a general purpose solid/surface 3D modeler. Its primary use is for modeling, but it also features photo realistic rendering and object-centric animation support. form•Z is used in architecture, interior design, illustration, product design, and set design. It supports plug-ins and scripts, has import/export capabilities and was first released in 1991. It is currently available for both Mac OS X and Windows.
GPure is a software to prepare scene/meshes from digital mockup to multiple uses
Grome is a professional outdoor scene modeler (terrain, water, vegetation) for games and other 3D real-time applications.
Houdini (Side Effects Software) is used for visual effects and character animation. It was used in Disney's feature film The Wild.[4] Houdini uses a non-standard interface that it refers to as a "NODE system". It has a hybrid micropolygon-raytracer renderer, Mantra, but it also has built-in support for commercial renderers like Pixar's RenderMan and mental ray.
Inventor (Autodesk) The Autodesk Inventor is for 3D mechanical design, product simulation, tooling creation, and design communication.
LightWave 3D (NewTek), first developed for the Amiga, was originally bundled as part of the Video Toaster package and entered the market as a low cost way for TV production companies to create quality CGI for their programming. It first gained public attention with its use in the TV series Babylon 5[5] and is used in several contemporary TV series.[6][7][8] Lightwave is also used in a variety of modern film productions.[9][10] It is available for both Windows and Mac OS X.
MASSIVE is a 3D animation system for generating crowd-related visual effects, targeted for use in film and television. Originally developed for controlling the large-scale CGI battles in The Lord of the Rings,[11] Massive has become an industry standard for digital crowd control in high-end animation[citation needed] and has been used on several other big-budget films. It is available for various Unix and Linux platforms as well as Windows.
Maya (Autodesk) is currently used in the film, television, and gaming industry. Maya has developed over the years into an application platform in and of itself through extendability via its MEL programming language. It is available for Windows, Linux and Mac OS X.
Modo (Luxology) is a subdivision modeling, texturing and rendering tool with support for camera motion and morphs/blendshapes.and is now used in the Television Industry It is available for both Windows and Mac OS X.
Mudbox is a high resolution brush-based 3D sculpting program, that claims to be the first of its type. The software was acquired by Autodesk in 2007, and has a current rival in its field known as ZBrush (see above).
Mycosm is a high-quality virtual world development engine software that uses the open source Python programming language and currently runs on Windows using the DirectX engine. The software was released in 2011, and allows photo-realistic simulations to be created that feature physics, atmospherics, terrain sculpting, CG Foliage, astronomically correct sun and stars, fluid dynamics and many other vanguard features. Mycosm is created by Simmersion Holdings Pty. in Canberra, the capital of Australia.
NX (Siemens PLM Software) is an integrated suite of software for computer-aided mechanical design (mechanical CAM), computer-aided manufacturing (CAM), and computer-aided engineering (CAE) formed by combining the former Unigraphics and SDRC I-deas software product lines.[12] NX is currently available for the following operating systems: Windows XP and Vista, Apple Mac OS X,[13] and Novell SUSE Linux.[14]
Poser (Smith Micro) Poser is a 3D rendering and animation software program optimized for models that depict the human figure in three-dimensional form and is specialized for adjusting features of preexisting character models via varying parameters. It is also for posing and rendering of models and characters. It includes some specialized tools for walk cycle creation, cloth and hair.
PYTHA 3D-CAD is a modeler that contains functions and tools for creating and editing 2D and 3D objects. Pytha is used in many industries including millwork, interior design, architecture, exhibition design and much more. Pytha also has the ability to produce CAM information as well as photo-realistic renderings.
RealFlow simulates and renders particle systems of rigid bodies and fluids.
Realsoft3D Real3D Full featured 3D modeling, animation, simulation and rendering software available for Windows, Linux, Mac OS X and Irix.
Rhinoceros 3D is a commercial modeling tool which has excellent support for freeform NURBS editing.
Shade 3D is a commercial modeling/rendering/animation tool from Japan with import/export format support for Adobe, Social Worlds, and Quicktime among others.
Silo (Nevercenter) is a subdivision-surface modeler available for Mac OS X and Windows. Silo does not include a renderer. Silo is the bundled in modeler for the Electric Image Animation System suite.
SketchUp Pro (Google) is a 3D modeling package that features a sketch-based modeling approach. It has a pro version which supports 2D and 3D model export functions among other features. A free version is integrated with Google Earth and limits export to Google's "3D Warehouse", where users can share their content.
Softimage (Autodesk) (formerly Softimage|XSI) is a 3D modeling and animation package that integrates with mental ray rendering. It is feature-similar to Maya and 3ds Max and is used in the production of professional films, commercials, video games, and other media.
Solid Edge ( Siemens PLM Software) is a commercial application for design, drafting, analysis, and simulation of products, systems, machines and tools. All versions include feature-based parametric modeling, assembly modeling, drafting, sheetmetal, weldment, freeform surface design, and data management.[15] Application-programming interfaces enable scripting in Visual Basic and C programming.
solidThinking (solidThinking) is a 3D solid/surface modeling and rendering suite which features a construction tree method of development. The tree is the "history" of the model construction process and allows real-time updates when modifications are made to points, curves, parameters or entire objects.
SolidWorks (SolidWorks Corporation) is an application used for the design, detailing and validation of products, systems, machines and toolings. All versions include modeling, assemblies, drawing, sheetmetal, weldment, and freeform surfacing functionality. It also has support for scripting in Visual Basic and C.
Spore (Maxis) is a game that revolutionized the gaming industry by allowing users to design their own fully functioning creatures with a very rudimentary, easy-to-use interface. The game includes a COLLADA exporter, so models can be downloaded and imported into any other 3D software listed here that supports the COLLADA format. Models can also be directly imported into game development software such as Unity (game engine).
Swift 3D (Electric Rain) is a relatively inexpensive 3D design, modeling, and animation application targeted to entry-level 3D users and Adobe Flash designers. Swift 3D supports vector and raster-based 3D animations for Adobe Flash and Microsoft Silverlight XAML.
Vue (E-on Software) is a tool for creating, animating and rendering natural 3D environments. It was most recently used to create the background jungle environments in the 2nd and 3rd Pirates of the Caribbean films.[16]
ZBrush (Pixologic) is a digital sculpting tool that combines 3D/2.5D modeling, texturing and painting tool available for Mac OS X and Windows. It is used to create normal maps for low resolution models to make them look more detailed.
3D Canvas (now called 3D Crafter) is a 3D modeling and animation tool available in a freeware version, as well as paid versions (3D Canvas Plus and 3D Canvas Pro).
Anim8or is a proprietary freeware 3D rendering and animation package.
Art of Illusion is a free software package developed under the GPL.
AutoQ3D Community is not a professional CAD program and it is focused to beginners who want to make rapid 3D designs. It is a free software package developed under the GPL.
Blender (Blender Foundation) is a free, open source, 3D studio for animation, modeling, rendering, and texturing offering a feature set comparable to commercial 3D animation suites. It is developed under the GPL and is available on all major platforms including Windows, OS X, Linux, BSD, Solaris and Irix.
Cheetah3D is proprietary freeware for Apple Macintosh computers primarily aimed at amateur 3D artists with some medium- and high-end features
DAZ Studio a free 3D rendering tool set for adjusting parameters of preexisting models, posing and rendering them in full 3D scene environments. Imports objects created in Poser and is similar to that program, but with fewer features.
DX Studio a complete integrated development environment for creating interactive 3D graphics. The system comprises both a real-time 3D engine and a suite of editing tools, and is the first product to offer a complete range of tools in a single IDE.
Evolver is a portal for 3D computer characters incorporating a human (humanoid) builder and a cloner to work from picture.
FaceGen is a source of human face models for other programs. Users are able to generate face models either randomly or from input photographs.
Geist3D is a free software program for real-time modeling and rendering three-dimensional graphics and animations.
K-3D is a GNU modeling, animation, and rendering system available on Linux and Win32. It makes use of RenderMan-compliant render engines. It features scene graph procedural modelling similar to that found in Houdini.
MakeHuman is a GPL program that generates 3D parametric humanoids.
MeshLab is a free Windows, Linux and Mac OS X application for visualizing, simplifying, processing and converting large three dimensional meshes to or from a variety of 3D file formats.
NaroCAD a fully fledged and extensible 3D parametric modeling CAD application. It is based on OpenCascade. The goal of this project is to develop a fully fledged and extensible 3D CAD software based on the concept of parametric modeling of solids, comparable to well known solutions.
OpenFX is a modeling and animation studio, distributed under the GPL.
Seamless3d NURBS based modelling and animation software with much of the focus on creating avatars optimized for real time animation. It is free, open source under the MIT license.
trueSpace (Caligari Corporation) is a 3D program available for Windows, although the company Caligari first found its start on the Amiga platform. trueSpace features modeling, animation, 3D-painting, and rendering capabilities. In 2009, Microsoft purchased TrueSpace and it is now available completely free of charge.
Wings 3D is a BSD-licensed, subdivision modeler.
3Delight is a proprietary RenderMan-compliant renderer.
Aqsis is an free and open source rendering suite compliant with the RenderMan standard.
Brazil is a rendering engine for 3ds Max, Rhino and VIZ
FinalRender is a photorealistic renderer for Maya and 3Ds Max developed by Cebas, a German company.
FPrime for Lightwave adds a very fast preview and can in many cases be used for final rendering.
Gelato is a hardware-accelerated, non-real-time renderer created by graphics card manufacturer NVIDIA.
Indigo Renderer is an unbiased photorealistic renderer that uses XML for scene description. Exporters available for Blender, Maya (Mti), form•Z, Cinema4D, Rhino, 3ds Max.
Kerkythea is a freeware rendering system that supports raytracing. Currently, it can be integrated with 3ds Max, Blender, SketchUp, and Silo (generally any software that can export files in obj and 3ds formats). Kerkythea is a standalone renderer, using physically accurate materials and lighting.
LuxRender is an unbiased open source rendering engine featuring Metropolis light transport
Maxwell Render is a multi-platform renderer which forgoes raytracing, global illumination and radiosity in favor of photon rendering with a virtual electromagnetic spectrum, resulting in very authentic looking renders. It was the first unbiased render to market.[citation needed]
mental ray is another popular renderer, and comes default with most of the high-end packages. (Now owned by NVIDIA)
NaroCAD is a fully fledged and extensible 3D parametric modeling CAD application. It is based on OpenCascade.
Octane Render is an unbiased GPU-accelerated renderer based on Nvidia CUDA.
Pixar's PhotoRealistic RenderMan is a renderer, used in many studios. Animation packages such as 3DS Max and Maya can pipeline to RenderMan to do all the rendering.
Pixie is an open source photorealistic renderer.
POV-Ray (or The Persistence of Vision Raytracer) is a freeware (with source) ray tracer written for multiple platforms.
Sunflow is an open source, photo-realistic renderer written in Java.
Turtle (Illuminate Labs) is an alternative renderer for Maya, it specializes in faster radiosity and automatic surface baking technology which further enhances its speedy renders.
VRay is promoted for use in the architectural visualization field used in conjunction with 3ds max and 3ds viz. It is also commonly used with Maya.
YafRay is a raytracer/renderer distributed under the LGPL. This project is no longer being actively developed.
YafaRay YafRay's successor, a raytracer/renderer distributed under the LGPL.
← Automotive industry	Asal Mula Film Cartoon-Animation →


3D Reconstruction of Simulated Bridge Pier Local Scour Using Green Laser and HydroLite Sonar.
Show moreScour is the process of sediment erosion around bridge piers and abutments due to natural and man-made hydraulic activities. Excessive scour is a critical problem that is typically handled by enforcing design requirements that make the submerged structures more resilient. The purpose of this research is to demonstrate the feasibilities of the Optical- Based Green Laser Scanner and HydroLite Sonar in a laboratory setting to capture the 3D profile of simulated local scour holes. The Green Laser had successfully reconstructed a 3D point-cloud imaging of scour profiles under both dry and clear water conditions. The derived scour topography after applying water refraction correction was compared with the simulated scour hole, and was within 1% of the design dimensions. The elevations at the top and bottom surfaces of the 6.5-inch scour hole were -46.6 and -53.11 inches from the reference line at the origin (0,0,0) of the laser scanner. The HydroLite Sonar recorded hydrographical survey points of the scour's interior surface. The survey points were then processed using MATLAB to obtain a 3D mesh triangulation.
Show moreThe 3MT® competition celebrates the exciting research conducted by graduate students. Developed by The University of Queensland (UQ), the exercise cultivates students' academic, presentation, and research communication skills. The competition supports their capacity to effectively explain their research in three minutes, in language appropriate to a non-specialist audience. The first 3MT® competition was held at the University of Queensland in 2008 with 160 students competing. In 2009 and 2010 the 3MT® competition was promoted to other Australian and New Zealand universities and enthusiasm for the concept grew. Since 2011, the popularity of the competition has increased and 3MT® competitions are now held in over 170 universities across more than 18 countries worldwide.
50° conical opening penetrators for the Johnson-Sea-Link: MK V acrylic pilot sphere.
Show more9,11-secogorgosterol is a secondary metabolite from the gorgonian Pseudopterogorgia americana which acts as a chemical defense. The soft coral lives in a symbiotic association with unicellular algae known as zooxanthellae. A biosynthetic investigation, using in vivo and in vitro methods, has resulted in the identification of the metabolic precursor of 9,11-secogorgosterol as gorgosterol. This finding is significant as it indicates that the conversion of gorgosterol to 9,11-secogorgosterol is due to gorgonian metabolism. Since gorgosterol is known to be a product of zooxanthellae metabolism, this would be the first example of a defensive secondary metabolite being produced by two organisms living in symbiosis. A viable acetone powder has been generated from the crude cell-free extract and has demonstrated the efficient transformation of gorgosterol to 9, 11-secogorgosterol. This indicates possible future value as a synthetic tool for secosterol production.
?Una nacion afro-ecuatoriana? Un estudio de "Juyungo" y "El ultimo rio" de Adalberto Ortiz y Nelson Estupinan Bass.
Ramirez, Cyntia A., Florida Atlantic University, Horswell, Michael J.
Show moreEcuador is characterized by its variety of ethnic groups, including mestizos, Indians and African descendents that have formed a rich heritage of multiple cultures. Whereas much attention has been given to indigenous and indigenista literature, there is a large gap in Ecuador's literary criticism on its afro-Ecuadorian literature. This thesis examines two afro-Ecuadorian novels, Juyungo (1942) and El ultimo rio (1966). I explore the social and economic environment in which afro-Ecuadorians had to live during the beginning of the 20 th century. Whereas Ecuador's contemporary racial ideology and the social construction of the individual dates from the colonial times, the authors of these afro-Ecuadorian novels contest that discrimination and racism and propose a radically different conception of the nation, one more inclusive of its diverse cultures.
[C.F. Guyon], on the notepaper of Lake House in Lake George, N.Y. notepaper, to WJP [Will] Clarke.
[Charles Linkins-signature page missing], on Hotel Allen in Allenton, P.A., to Cap [Will Clarke], 1/10/1901.


This page lists kids health, fitness, yoga, zumbatomic, and crossfit classes. Listings also include programs for moms to work out with their kids present as well as gyms where kids can play while their care-givers work out or participate in health classes in the Clay County and Bradford County, Florida area.
BlackFin CrossFit Kids is a fitness program designed especially for children ages 3-17. We make fitness FUN!
Co-ed youth sports league offering football, soccer and agility training in Clay County.


Mostly level, half acre lot in Butler Twp. Great opportunity for building lot, starter home, or possibly rental. Newer Furnace and Hot Water tank. Plenty of off street parking. Laundry hookups on upper level. Convenient to Schools and Shopping.