text:
alternate Action 642 – Green Lantern/Superman – Legend of the Green Flame
I made an error earlier, I said this was intended for Action 635. In fact, it was for 642. I had assumed it was the earlier of the two crossover issues, simply based on the line-up that appears in the story – none of the post-635 series are included. But the ending makes it clear that it was for the latter issue.
Neil Gaiman's script was rejected by John Byrne. At the time, it was a hard and fast rule that no one knew Superman's identity, and Gaiman insisted on the characters meeting as Clark and Hal. Neither would budge, and the script got set aside. The story was finally published in 2001.
This special also has a large art team, divided chapter by chapter. Eddie Campbell, Mark Buckingham, John Totleben, Jim Aparo, Kevin Nowlan, Jaosn Little, Michael Allred, Eric Shanower, Terry Austin and Arthur Adams.
The story begins with a prologue in Berlin, shortly after the end of World War II. Blackhawks Janos Prohaska and Weng Chan go rooting through rubble, searching for a lost weapon. They come across the remains of the Justice Society of America, although they do not realize who these people are. We see Sandman, and the remains of Hawkman's wings, but it's Alan Scott's lantern that grabs Weng's interest, and he takes it with him.
Jumping to the present day, Hal is feeling lost and alone, and turns to Clark for a shoulder to cry on. Lois Lane wrangles the two into attending a gallery opening that night.
Catwoman makes a cameo, running into Hal. But the catkin emerald she was interested in is not there, so Selina leaves. Exploring the gallery, Hal comes across the lantern, on display. He is fascinated. It's a Green Lantern lantern, but not one he recognizes. He uses his ring to scan it.
Deadman comes across the confused heroes, and tells them they are dead. They aren't. Not quite. But they have been pulled into the magical, somewhat sentient flame that powers Alan Scott's lantern, and are between being alive and dead.
The Flame's burst of energy draws the attention of the Phantom Stranger.
He convinces Hal that he does have the willpower to tame the wild magic of the flame, and get it back into its battery, dormant.
The final page makes it clear that this was intended for issue 642. The story printed there uses a similar marquee in its background.
Eric Shanower
John Totleben
Kevin Nowlan
Legend of the Green Flame
Mark Buckingham
Michael Allred
Terry Austin
Weng Chan
Action 642 – Action Comics Weekly ends


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.Text;
using System.Threading.Tasks;

namespace Sentence_Split
{
    class SentenceSplit
    {
        static void Main(string[] args)
        {
            var inputLine = Console.ReadLine();

            var delimiter = Console.ReadLine();

            Console.Write("[");
            Console.Write(string.Join(", ",inputLine.Split(new[] { delimiter},StringSplitOptions.None)));
            Console.WriteLine("]");
        }
    }
}

redpajama_set_name: RedPajamaGithub


Course information: Mass Media and Society explores the development of newspapers, magazines, radio, film and television, with emphasis on the impact of mass communication on readers, viewers and listeners.
Course objectives: This course is intended to provide students with an overview of the media of mass communications in the United States. Some attention will be given to comparative media and media origins to lay a foundation for understanding their contemporary status and the issues they confront. Recurring concerns include the economic forces that shape media content, the effects of the media on audiences, and media responsibilities, especially in regard to minorities, ethics and law. Students should become better prepared to explore mass communications in more depth and they should be better media consumers.
This course will be split about evenly between lectures and discussions that explore the impact of the media on society. To a large extent you will be in charge of your own learning in this course. You are encouraged to explore topics that interest you and reflect on your media experiences. You will be responsible for researching and presenting one media issue to the class for discussion. Your findings and the classroom discussion will be summarized in a written report. You will be assigned readings and exercises designed to increase your participation in the course discussions.
Because a significant portion of your grade will be based on in-class work, attendance is strongly encouraged. If any personal or health problems occur during the semester, see me about arranging extra help before getting behind on assignments. Complete the reading assignments before the class day for which they are assigned.
All work is to be submitted to Blackboard in the appropriate assignment folders. You will also use Blackboard's Journal to record your media experiences. You will be expected to check the class site on Blackboard regularly for announcements and assignments.
I DO NOT tolerate plagiarism or fabrication of any kind. This includes failing to attribute quotations and information gathered from sources you interview and information gathered from the Internet. You may not gather quotations published in other sources and pass them off as your own. Instances of academic dishonesty will result in a failing grade on the assignment and no chance for a re-do.
Wednesday, Sept. 1: Discussion: Should books ever be banned? Is an e-book a book?
Monday, Sept. 13: Discussion: Is democracy served best by objective journalism?
Monday, Sept. 20: Discussion: The relationship between editorial content and advertising.
Discussion: Is Hip Hop a bad influence on kids?
Discussion: What has been lost and what has been gained in the splintering of TV viewership?
Monday, Oct. 25: Watch Epic 2015.
Discussion: Net Neutrality. Should the internet be free of government and commercial controls?
Wednesday, Nov. 3: Discussion: Can the media be trusted? Do the media exhibit political bias?
Wednesday, Nov. 10: Discussion: What is the difference between nationalism and patriotism?
Discussion: Devising a PR response to a problem.
Wednesday, Dec. 8: Are video games harmful?
Normal media usage day. On this day, make note of all the times you use the mass media—radio, Internet, TV, newspapers, magazines, etc. Note the time spent using each and the kinds of information you received.
Look at books that have been banned (Media Literacy Exercise, pg. 331).
Discuss: Will blogs and other Internet news services replace newspapers?
Discuss whether newspaper chains are good or bad for the future of journalism?
What is your favorite magazine? Does it define you as primarily as a consumer or as a citizen? Why?
Listen to a talk radio host such as Rush Limbaugh or Tavis Smiley for an hour and record your impressions.
Choose five—and only five—single songs to include on the Soundtrack of Your Life. Describe why you picked them.
Interview one person from each of the following five age groups: (a) 12–17, (b) 18–24, (c) 25–34, (d) 35–49, and (e) 50–65. Ask each individual to rate his or her top five networks or cable channels and then return to class with the data.
from your Description step and that you have chosen to examine.
works as high art or as popular culture.
Watch a movie in a foreign language with subtitles that you have never seen before. Write a 500-700 word essay describing your experience. Before you begin, jot down your expectations of what you think the film will be about. After watching the movie, describe its plot and characters. In what way was the story similar or different from what you would normally find in a Hollywood film. Was there anything about the film that surprised you? Reflect on why you think foreign films are not very popular in the U.S., right now.
Do some research using alternative search engines such as Kosmix, Powerset, and Anoox. How is your experience different than searching on Google. What are the advantages and disadvantages of these search engines?
Watch the Daily Show or read the Onion. Do such satirical news sources make us more cynical about politics? Do they help or hurt democracy?
Analyze coverage of the Maryland gubernatorial race by reading 8 stories that appear in newspapers, on news Web sites and in television news cast. Do you detect a political bias in the stories? Chart each story, and note whether it is positive, negative or neutral for each candidate. What, if any trends do you see?
A lot of times we mistake the meanings of patriotism and nationalism. However, the two are often diametrically opposed.
Waving a flag is nationalism.
"My country, right or wrong," and "USA: Love it or leave it" is nationalism.
Pointing out dangerous flaws in government policy is patriotism.
move to France" is not patriotism, it's nationalism, and the antithesis of democracy.
Analyze the rhetoric of the political campaign which you see in advertisements, on TV and in print. Do you see examples of patriotism? Of nationalism? Give examples of each and discuss why they are different.
Can you spot a press release? Look through one or two weeks' worth of articles in your local paper. Which articles do you think were spawned by a press release? Why do you think so? How much do you think the reporter did to alter the release to make it pass as news?
Take a look in your closet and list all the branded clothes, shoes and accessories you've purchased. What patterns emerge and kind of psychographic profile do these brands suggest about you? Why did you buy each particular product? Was it because you thought it was superior quality? Was it cheaper? Was it because your friends have these brands? Have you ever purchased clothes without brands or removed logos once you bought the product? What is good and bad about brand names in our culture?
Watch a recent movie. Do you see examples of product placement? Count how many products you see and describe what they are.
To what extent were you immersed in Disney culture? Consider recent Disney animated movies. Possible films include The Little Mermaid (1989), Aladdin (1992), The Lion King (1994), Toy Story (1995), The Hunchback of Notre Dame (1995), Tarzan (1999), Toy Story 2 (1999), Finding Nemo (2003), and Ratatouille (2007). What do you think about the culture that Disney creates around these kinds of movies? Is this synergy blatant overcommercialization that exploits children and their parents, or does it create a worthwhile shared culture for children and adults?
Think of an issue that media industry and academic researchers should study together. Describe that issue and how you would go about studying it.


The Fletcher Pilates® Program of Study is the most comprehensive and definitive international Pilates educational program of its kind. The Fletcher Pilates continuing education program derives from the physical conditioning method developed by Joseph and Clara Pilates in the 1920s and expands to include its evolution and ongoing interpretation by Pilates Master Ron Fletcher. The multi-dimensional Fletcher Pilates Program of Study includes 80 hours of prerequisite student teacher study prior to application into the Comprehensive Program, which is designed to be completed in 12 to 15 months.
Fletcher Faculty are a uniquely talented, highly experienced group of individuals who are selected by the Fletcher governing body to guide students through each step of the educational process.
As a Fletcher Faculty Member, Jen Mapalad, Owner of Body Temple is authorized to teach the entirety of the Fletcher Pilates® Program of Study including the Comprehensive Program, the Preparatory Course, and our Continuing Education and Licensing Courses.
Calling all teachers, fitness professionals, or clients who want to deepen their understanding of Pilates Mat principles!
We will be hosting a Fletcher Pilates Licensing Course this November, and the early bird registration is live.
This course will change the way you move! Even if you've been practicing or teaching Pilates for years, you won't believe the in-depth teaching this course provides.
Fletcher Pilates® Matwork is based on correct alignment, precise initiation and spinal articulation - foundational concepts and principles of the Pilates method. Participants will gain a deeper understanding of the Pilates Matwork through an in-depth focus on the Fletcher Fundamentals™ and Percussive Breath™ technique. Our Pilates Matwork Course covers the full matwork syllabus, with an emphasis on the Fletcher Fundamentals and Pilates Movement Principles, and a focus on spinal mechanics, movement progressions and creative transitions. Participants will earn PMA and ACE CECs.


text:
name             'mithril-cluster'
maintainer       'ModCloth, Inc.'
maintainer_email 'external.tools+mithril-cluster-cookbook@modcloth.com'
license          'Apache v2.0'
description      'Installs/Configures mithril-cluster'
long_description IO.read(File.join(File.dirname(__FILE__), 'README.md'))
version          '0.2.0'

supports 'ubuntu'

suggests 'golang'
suggests 'modcloth-stingray-exec'
suggests 'travis-buddy'


text:
Сэм Кре́йги (, род. , ) — английский профессиональный снукерист. Младший брат Стивена Крейги.

Начал играть в снукер в возрасте 6 лет. Тренируется вместе с братом.

Дважды был чемпионом Англии для игроков не старше 16 лет, выигрывал юношеские чемпионаты Англии в возрастных категориях до 11 лет, до 14 лет, до 15 лет.

В 2010 году стал победителем чемпионата мира по снукеру в возрасте до 21 года, проходившего в Леттеркенни, Ирландия. В финале Сэм Крейги переиграл Ли Хана со счётом 9:8. А в полуфинале одержал верх над старшим братом — Стивеном. На этом турнире Сэм установил также высший брейк — 139 очков. Всего на его счету на этом турнире 4 сенчури брейка (2 в финальном матче). Эта победа дала Сэму Крейги право на участие в мэйн-туре в сезоне 2011/12.

В настоящее время Сэма тренирует Терри Гриффитс.

Примечания

Ссылки
 Профиль на Global Snooker

Снукеристы Англии

redpajama_set_name: RedPajamaWikipedia


text:
using System;
using System.Windows.Forms;
using System.Net;
using System.Net.Cache;
using System.IO;
using System.Diagnostics;
using Microsoft.Win32;
using System.Drawing;

namespace EarthLiveSharp
{
    static class Program
    {
        [System.Runtime.InteropServices.DllImport("user32.dll")]
        private static extern bool SetProcessDPIAware();

        /// <summary>
        /// 应用程序的主入口点。
        /// </summary>
        [STAThread]
        static void Main(string[] args)
        {
            if (System.Environment.OSVersion.Version.Major >= 6) { SetProcessDPIAware(); }
            if (File.Exists(Application.StartupPath + @"\trace.log"))
            {
                File.Delete(Application.StartupPath + @"\trace.log");
            }
            Trace.Listeners.Add(new TextWriterTraceListener(Application.StartupPath + @"\trace.log"));
            Trace.AutoFlush = true;

            try
            {
                Cfg.Load();
            }
            catch
            {
                return;
            }
            if (Cfg.source_selection ==0 & Cfg.cloud_name.Equals("demo"))
            {
                #if DEBUG

                #else
                DialogResult dr = MessageBox.Show("WARNING: it's recommended to get images from CDN. \n 注意:推荐使用CDN方式来抓取图片,以提高稳定性。", "EarthLiveSharp");
                if (dr == DialogResult.OK)
                {
                    Process.Start("https://github.com/bitdust/EarthLiveSharp/issues/32");
                }
                #endif
            }
            //if (Cfg.language.Equals("en")| Cfg.language.Equals("zh-Hans")| Cfg.language.Equals("zh-Hant"))
            //{
            //    System.Threading.Thread.CurrentThread.CurrentUICulture = new System.Globalization.CultureInfo(Cfg.language);
            //}
            Cfg.image_folder = Application.StartupPath + @"\images";
            Cfg.Save();
            Scrap_wrapper.set_scraper();
            Application.EnableVisualStyles();
            Application.SetCompatibleTextRenderingDefault(false);
            Application.Run(new mainForm());
        }
    }

    public static class Scrap_wrapper
    {
        public static int SequenceCount = 0;
        private static IScraper scraper;
        public static void set_scraper()
        {
            scraper = new Scraper_himawari8();
            return;
        }
        public static void UpdateImage()
        {
            scraper.UpdateImage();
        }

        public static void ResetState()
        {
            scraper.ResetState();
        }

        public static void CleanCDN()
        {
            scraper.CleanCDN();
        }
    }

    interface IScraper
    {
        void UpdateImage();
        void CleanCDN();
        void ResetState();
    }
    public class Scraper_himawari8 : IScraper
    {
        private string imageID = "";
        private static string last_imageID = "0";
        private string json_url = "https://himawari8-dl.nict.go.jp/himawari8/img/FULL_24h/latest.json";

        private int GetImageID()
        {
            System.Net.ServicePointManager.SecurityProtocol = SecurityProtocolType.Tls12;
            HttpWebRequest request = WebRequest.Create(json_url) as HttpWebRequest;
            try
            {
                HttpWebResponse response = request.GetResponse() as HttpWebResponse;
                if (response.StatusCode != HttpStatusCode.OK)
                {
                    throw new Exception("[himawari8 connection error]");
                }
                if (!response.ContentType.Contains("application/json"))
                {
                    throw new Exception("[himawari8 no json recieved. your Internet connection is hijacked]");
                }
                StreamReader reader = new StreamReader(response.GetResponseStream());
                string date = reader.ReadToEnd();
                imageID = date.Substring(9,19).Replace("-", "/").Replace(" ", "/").Replace(":", "");
                Trace.WriteLine("[himawari8 get latest ImageID] " + imageID);
                reader.Close();
            }
            catch (Exception e)
            {
                Trace.WriteLine(e.Message);
                return -1;
            }
            return 0;
        }

        private int SaveImage()
        {
            System.Net.ServicePointManager.SecurityProtocol = SecurityProtocolType.Tls12;
            WebClient client = new WebClient();
            string image_source = "";
            if (Cfg.source_selection == 1)
            {
               image_source = "https://res.cloudinary.com/" + Cfg.cloud_name + "/image/fetch/https://himawari8-dl.nict.go.jp/himawari8/img/D531106";
            }
            else
            {
               image_source = "https://himawari8-dl.nict.go.jp/himawari8/img/D531106";
            }
            string url = "";
            string image_path = "";
            try
            {
                for (int ii = 0; ii < Cfg.size; ii++)
                {
                    for (int jj = 0; jj < Cfg.size; jj++)
                    {
                        url = string.Format("{0}/{1}d/550/{2}_{3}_{4}.png", image_source, Cfg.size, imageID, ii, jj);
                        image_path = string.Format("{0}\\{1}_{2}.png", Cfg.image_folder, ii, jj); // remove the '/' in imageID
                        client.DownloadFile(url, image_path);
                    }
                }
                Trace.WriteLine("[save image] " + imageID);
                return 0;
            }
            catch (Exception e)
            {
                Trace.WriteLine(e.Message + " " + imageID);
                Trace.WriteLine(string.Format("[url]{0} [image_path]{1}", url, image_path));
                return -1;
            }
            finally
            {
                client.Dispose();
            }
        }

        private void JoinImage()
        {
            // join & convert the images to wallpaper.bmp
            Bitmap bitmap = new Bitmap(550 * Cfg.size, 550 * Cfg.size);
            Image[,] tile = new Image[Cfg.size, Cfg.size];
            Graphics g = Graphics.FromImage(bitmap);
            for (int ii = 0; ii < Cfg.size; ii++)
            {
                for (int jj = 0; jj < Cfg.size; jj++)
                {
                    tile[ii,jj] = Image.FromFile(string.Format("{0}\\{1}_{2}.png", Cfg.image_folder, ii, jj));
                    g.DrawImage(tile[ii, jj], 550 * ii, 550 * jj);
                    tile[ii, jj].Dispose();
                }
            }
            g.Save();
            g.Dispose();
            if (Cfg.zoom == 100)
            {
                bitmap.Save(string.Format("{0}\\wallpaper.bmp", Cfg.image_folder),System.Drawing.Imaging.ImageFormat.Bmp);
            }
            else if (1 < Cfg.zoom & Cfg.zoom <100)
            {
                int new_size = bitmap.Height * Cfg.zoom /100;
                Bitmap zoom_bitmap = new Bitmap(new_size, new_size);
                Graphics g_2 = Graphics.FromImage(zoom_bitmap);
                g_2.InterpolationMode = System.Drawing.Drawing2D.InterpolationMode.HighQualityBicubic;
                g_2.DrawImage(bitmap, 0, 0, new_size, new_size);
                g_2.Save();
                g_2.Dispose();
                zoom_bitmap.Save(string.Format("{0}\\wallpaper.bmp", Cfg.image_folder),System.Drawing.Imaging.ImageFormat.Bmp);
                zoom_bitmap.Dispose();
            }
            else
            {
                Trace.WriteLine("[himawari8 zoom error]");
            }

            bitmap.Dispose();

            if (Cfg.saveTexture && Cfg.saveDirectory != "selected Directory")
            {
                if (Scrap_wrapper.SequenceCount >= Cfg.saveMaxCount)
                {
                    Scrap_wrapper.SequenceCount = 0;
                }
                try
                {
                    File.Copy(string.Format("{0}\\wallpaper.bmp", Cfg.image_folder), Cfg.saveDirectory + "\\" + "wallpaper_" + Scrap_wrapper.SequenceCount + ".bmp", true);
                    Scrap_wrapper.SequenceCount++;
                }
                catch (Exception e)
                {
                    Trace.WriteLine("[can't save wallpaper to distDirectory]");
                    Trace.WriteLine(e.Message);
                    return;
                }
            }
        }

        private void InitFolder()
        {
            if(Directory.Exists(Cfg.image_folder))
            {
                // delete all images in the image folder.
                //string[] files = Directory.GetFiles(image_folder);
                //foreach (string fn in files)
                //{
                //    File.Delete(fn);
                //}
            }
            else
            {
                Trace.WriteLine("[himawari8 create folder]");
                Directory.CreateDirectory(Cfg.image_folder);
            }
        }
        public void UpdateImage()
        {
            InitFolder();
            if (GetImageID() == -1)
            {
                return;
            }
            if (imageID.Equals(last_imageID))
            {
                return;
            }
            if (SaveImage()==0)
            {
                JoinImage();
            }
            last_imageID = imageID;
            return;
        }
        public void CleanCDN()
        {
            Cfg.Load();
            if (Cfg.api_key.Length == 0) return;
            if (Cfg.api_secret.Length == 0) return;
            try
            {
                HttpWebRequest request = WebRequest.Create("https://api.cloudinary.com/v1_1/" + Cfg.cloud_name + "/resources/image/fetch?prefix=https://himawari8-dl") as HttpWebRequest;
                request.Method = "DELETE";
                request.CachePolicy = new RequestCachePolicy(RequestCacheLevel.NoCacheNoStore);
                string svcCredentials = Convert.ToBase64String(System.Text.Encoding.ASCII.GetBytes(Cfg.api_key + ":" + Cfg.api_secret));
                request.Headers.Add("Authorization", "Basic " + svcCredentials);
                HttpWebResponse response = null;
                StreamReader reader = null;
                string result = null;
                for (int i = 0; i < 3;i++ ) // max 3 request each hour.
                {
                    response = request.GetResponse() as HttpWebResponse;
                    if (response.StatusCode != HttpStatusCode.OK)
                    {
                        throw new Exception("[himawari8 clean CND cache connection error]");
                    }
                    if (!response.ContentType.Contains("application/json"))
                    {
                        throw new Exception("[himawari8 clean CND cache no json recieved. your Internet connection is hijacked]");
                    }
                    reader = new StreamReader(response.GetResponseStream());
                    result = reader.ReadToEnd();
                    if (result.Contains("\"error\""))
                    {
                        throw new Exception("[himawari8 clean CND cache request error]\n" + result);
                    }
                    if (result.Contains("\"partial\":false"))
                    {
                        Trace.WriteLine("[himawari8 clean CDN cache done]");
                        break; // end of Clean CDN
                    }
                    else
                    {
                        Trace.WriteLine("[himawari8 more images to delete]");
                    }
                }
            }
            catch (Exception e)
            {
                Trace.WriteLine("[himawari8 error when delete CDN cache]");
                Trace.WriteLine(e.Message);
                return;
            }
        }
        public void ResetState()
        {
            last_imageID = "0";
        }
    }

    public static class Autostart
    {
        static string key = "EarthLiveSharp";
        public static bool Set(bool enabled)
        {
            RegistryKey runKey = null;
            try
            {
                string path = Application.ExecutablePath;
                runKey = Microsoft.Win32.Registry.CurrentUser.OpenSubKey(@"Software\Microsoft\Windows\CurrentVersion\Run", true);
                if (enabled)
                {
                    runKey.SetValue(key, path);
                }
                else
                {
                    runKey.SetValue(key, path); // dirty fix: to avoid exception in next line.
                    runKey.DeleteValue(key);
                }
                return true;
            }
            catch (Exception e)
            {
                Trace.WriteLine(e.Message);
                return false;
            }
            finally
            {
                if(runKey!=null)
                {
                    runKey.Close();
                }
            }
        }
    }
}


text:
Primedrivers
iLifeHIS
iLifeDMR
iLifeAyur
iLifeLIS
Welcome to InfoLife media room.
Please find latest information on Infolife Business Activities Globally in this section.
We hope this site is a valuable tool for you to learn more about InfoLife, our products and our customers. We appreciate your interest in our organization and look forward to being an excellent resource for you.
Infolife Partner CSE-COMPUTER & SYSTEMS ENGINEERING COMPANY- Saudi Arabia.
Infolife Technologies Pvt. Ltd, a Bangalore based a leading provider of Healthcare Software solutions, will partner with CSE – "Aldukheil Group" (AG). It is one of the leading providers of Management, Financial, Economic and IT consulting services and solutions. Founded in 1979 by Dr. Abdulaziz Aldukheil, AG has emerged as the largest consulting house in the Kingdom of Saudi Arabia. For over twenty nine years AG has provided services to the most prestigious organizations in the Kingdom as well as numerous ministries and government agencies. Providing "International experience with local expertise", the philosophy of AG is based upon professionalism, impartiality, and integrity. AG through its affiliates, the Aldukheil Financial Group (AFG), Consulting Center for Finance & Investment (CCFI), Quantitative and Qualitative Measurement Co. Ltd.(QYAS) and Computer and Systems Engineering Company(CSE) has proven to be among the foremost centers of knowledge and an important player in the Kingdom's economic development.
The new Development partnership will provide the Healthcare product platform for implementing Infolife's Hospital IT projects @ KSA and Development and supporting projects by facilitating the Bangalore Development Centre for CSE.
Infolife Launches New Advanced Version of iLifeHIS-Hospital Information System
Bangalore, India - 2012: Infolife Technologies, a leading provider of Healthcare Software, announced the launch of a new advanced version of its Hospital Information Management System (iLifeHIS) with ENHANCED Modules and business functionalities.
The new version of the iLifeHIS has been developed by Core Development team of Infolife and is specially designed to cater to the future needs of large Healthcare providers, Group of Hospitals, Government Hospitals, Clinics, and Diagnostic centers in India and Middle East.
The iLifeHIS software automates the Total Hospital managed activities, clinical, Digital Medical Records (DMR), administrative and Inventory functions, thereby enabling increased operational excellence, effectiveness, reduction in costs & medical errors, while raising the quality of patient care.
Speaking from the desk, Infolife Management, on the occasion, said "With the growth of specialty healthcare and focus on providing the best of patient care, our new solution – web based iLifeHIS provides a powerful, comprehensive product to healthcare providers that will aid them in their efforts to exceed patient expectations in quality healthcare."
The new features include seamless collaboration, strengthened control of Front office, Patient management on billing and inventory, LIS- Laboratory Information system compliance with statutory & government regulations and standards, enhanced quality of clinical documentation, and online access to medical records to take appropriate decisions. Among the new modules are Patient Administration System, Clinical Management System, Billing and Receivables, Operations and Support Services,Pharmacy and Inventory Management System.
The solution which is the result of two years of extensive research is available in two versions – iLifeHIS Enterprise and iLifeHIS Standard. The earlier version of EasyHMS has been in the MARKET for over 14 years and has over 100 customers across India and other regions.
Hospital management solution launchedby Infolife Technologies
Hospital management solution launched Deccan Herald - Bangalore, India. Date: 2002/05/20
Bangalore-based Infolife will soon introduce its product-EasyHMS, a software solution for hospital management, in the Middle-East region, DHNS reports from Bangalore. The company, which launched the product about two years ago, has already implemented the solution in seven hospitals including Sevakshetra Hospital, P D Hinduja Sindhi Hospital and Chinmaya Mission Hospital in Bangalore, India.
"After the successful launch here, we want to enter the international MARKET and plan to foray into the Middle-East region as announced by Infolife.
Infolife develops `EasyHMS'
By Our Staff Reporter - The Hindu,Bangalore, India
Infolife to expand presence in overseas
Indian Express Group (Mumbai, India).
EHM team –Bangalore, India.
Easy way to manage hospitals
Times News Network - Bangalore, India.
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Home › News › Trade shows
Daliya Galieva
Kirill Ilichev of the Moscow Export Center on helping Russian designers become international entrepreneurs
The Mode: Moscow showroom on Castiglione street, two steps from Paris' luxury thoroughfare Place Vendôme, was where 27 Muscovite labels presented a diverse array of collections for this season. The showroom was organized by the Moscow Fashion Association created earlier this year by journalist and Russian presidential candidate Ksenia Sobchak, along with fashion professor Anzor Kankulov with the support of the Moscow Export Center.
Attesting to the growing influence of Russian labels, the fledgling showroom attracted a buzzing crowd of international press, fashion socialites and top luxury buying directors to its launch party on September 24. The day after, FashionNetwork.com met with the young CEO of the Moscow Export Center, Kirill Ilichev, to talk about the showroom, its European buyers and the work of the Moscow Export Center.
Kirill Ilichev, right, with Russian model and influencer Elena Perminova
FashionNetwork.com: Could you tell us more about the Moscow Fashion Association, created in April?
Kirill Ilichev: Our organization, the Moscow Export Center, created by the Moscow Government to help entrepreneurs from the Russian capital enter foreign markets, of course, supported the creation of the association. We help to provide support for any associations of entrepreneurs with common goals, because the system works [to support] the community, rather than individual designers. But our fashion community is one of the most fragmented. For example, today there are 27 very different brands at the showroom. And if we hadn't organized it, many would not even know that [some of them] exist.
FNW: How did your colleagues react to the fact that the Export Centre would support the fashion industry? Was there any surprise about it considering that this is not considered the most pressing problem for Muscovites?
K.I.: There was. It's no secret that we [Russians] have a special feature in our mentality - to criticize. Some people wonder why we should maintain the fashion industry if there are social problems. It all started with a request from fashion professionals after a meeting with Moscow Mayor Sobyanin, where industry representatives asked the city for help, since this sphere, despite there having been some occasional initiatives, did not have a support system. After this appeal, we started making some steps progressively. For us this field is important firstly as an entrepreneurial industry. All the brands represented in this showroom are Muscovite companies who pay taxes into the city budget; Muscovites work for them. And our main goal is that fashion design, from being a "creative hobby", as it is perceived in Russia, becomes a business, so that designers can become entrepreneurs.
The space, showcasing the labels Alena Akhmadullina, Izeta and Tegin - Daliya Galieva/FNW
FNW: What have you already done as part of the Fashion Association?
K.I.: Last year, even before the association was founded, we organized a collective booth of Muscovite designers at the CPM tradeshow (the biggest fashion tradeshow in Russia and the Eastern Europe), in which 13 brands participated. This year there were 20. In addition, in early September we held the first Moscow Fashion Summit, which, for example, was visited by the chairman of the British Fashion Council, Caroline Rush. After the event we agreed with her that the MEC and the British Fashion Council would cooperate. So, we organized three major projects: a stand at CPM, the Moscow Fashion Summit and the showroom Mode:Moscow.
FNW: What is the main purpose of the Mode: Moscow event?
K.I.: The primary goal is the sale of the collections that we brought to Paris. To do this, we have organized buying sessions: there is a schedule of buyers' visits, including those from Galeries Lafayette, Printemps, Saks and others. And there are not only French or European buyers, yesterday (during the cocktail party) there were buyers from Shanghai and some Japanese ones. The second goal is to see how people work here. Since this is also new for me, I watched how they behaved, what they were looking at. Before they left I tried to get feedback from everyone. For many of them, the evolution of a brand is very important. One of the buyers pre-ordered three labels, she was interested in [the future development of] two more. But we of course do not expect a 'wow-effect' right away. We brought everything for the first time and we understand that this is a gradual process. Yesterday we agreed with Printemps to sell one of our designers, and then buyers from other stores will come to Printemps, and so this is how this wheel begins to turn slowly.
Carine Roitfeld with Oksana Bondarenko, the founder of one of Russia's first showrooms - Photo: KCD
FNW: Do you notice the difference in working styles between people from different countries, for example, Russians and French?
K.I.: I work in different fields, but in Russia - and in fashion this is particularly evident - a lot depends on the personality and on who communicates with whom. For example, one of yesterday's buyers is friends with a TSUM [Russia's biggest department store] buyer, and she came with a very positive attitude.
FNW: How do you evaluate the work of the showroom over the first two days?
K.I.: We are absolutely expecting to be successful, because we have attracted international experts. Yesterday I was pleasantly surprised that Carine Roitfeld came, she stayed for a long time and went through all the designers! We are very pleased that international stars are paying attention on us.


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The Bridge: Sync Is Both Stranger and Shameless
Slate podcast transcripts are created by Snackable using machine-learning software and have not been reviewed prior to publication.
Chris Molanphy: Hey, everybody, this is Chris Molanphy, host of Hit Parade Slate's podcast of Pop Chart History. Welcome to the Bridge. This is burning bridges. A 1971 hit by the Mike Curb congregation, a large scale vocal group formed by a future California lieutenant governor and music business impresario Mike Kirk. The emcee was a regular guest on the CBS TV variety show, The Glen Campbell Good Time Hour. The sunshiny vocal group performed Burning Bridges on Campbell's show, complete with choreography.
Chris Molanphy: That TV exposure, combined with its appearance in the 1970 Clint Eastwood movie, Kelly's Heroes pushed Burning Bridges to number 34 on the hot 100. In February 1971, the Mike Curb congregation would continue to make appearances on the Glen Campbell good time hour until the show was canceled in 1972.
Speaker 2: The U.S.. For me this.
Chris Molanphy: By the way, you might say Burning Bridges had TV in its lineage. It was co-written by Lalo Schifrin. The man more famous for writing the theme to the espionage thriller series Mission Impossible. Burning Bridges was a very different kind of TV and movie tune, and you might say was a bridge to the next phase of Shiffrin's celebrated career. And these mini episodes, bridge are full length monthly episodes. Give us a chance to expand on those episode topics and enjoy some trivia. This month, I'm joined by a good friend and expert in her field who knows quite a lot about the mysterious world of TV and movies, Sync writes.
Chris Molanphy: Mara Kuge is president and founder of Superior Music Corporation. Cookie has spent close to two decades in music publishing with extensive experience in both A&R and Sync. She has placed hundreds of songs in various media, including The High Strung The Luck You Got as the theme to Showtime's Shameless and projects like Killing Eve Succession and The Twilight series. She has also signed dozens of major songwriters to publishing deals, including the National Grizzly Bear and Sleater-Kinney Mara Kuge. Welcome to the Bridge.
Speaker 3: Thank you for having me.
Chris Molanphy: Oh, it's a pleasure to have you and briefly to kick this off. This whole episode was inspired and, you know, switched out at the last minute note to my slate plus listeners because of what happened with Kate Bush on Stranger Things. So running up that hill was the jumping off point for this episode.
Speaker 2: And make a deal with God. And I'd go to small town places.
Chris Molanphy: And I just want to ask you off the top before we get into some deeper details, are you as surprised as me that it's doing so well or as a sync expert? Does this sort of feel inevitable to you?
Speaker 3: I am not surprised. There has been quite a demand for sinks from the catalogue for quite a while. There's a few factors at play here, I think, which is that a lot of music supervisors have a lot of familiarity with the eras of the eighties and nineties, you know, from a couple decades ago, because that is when they grew up and they're kind of getting in the into the place where they're in positions where they can play some music that they loved growing up.
Speaker 3: The other thing is that there's just immediate feedback now from the viewing audience. They can shazam a song. They can stream it immediately because even ten or 15 years ago, if there was a song that somebody heard that they liked, they would have had to find a way to get a copy of it, you know, go to the record store, go to iTunes and download it. You don't have to pay for it. But now that's not a factor. You can go to Spotify immediately and raise those chart numbers so fast with just the touch of your finger.
Speaker 3: Right. So I'm not surprised that those two things have come together, but I am pleasantly surprised, to be honest, at some of the less mainstream sinks that I've seen pop up thanks to tick tock, you know, things like Pylon being used in a car commercial. It's really been a second life for a lot of these songs, and it makes me happy.
Chris Molanphy: Well, and it makes you happy because, of course, this is your business. And I wanted to ask you a little bit about your inspiration. So so what made you want to do what you do? And, you know, as a sidebar, you and I have met in person several times because I've seen you deejay your soft rock sundaes. And I know you like to DJ. So do you see music placement as a kind of, I don't know, disc jockey in for visual media?
Speaker 3: It kind of is in some ways, but disc jockeys have a lot more freedom as to what ultimately gets selected, because music supervisors really do have to run through a gauntlet of producers and investors and directors. And the producer might have a nephew who's band is hot, hot, hot, and they want to make sure they get a placement which does happen, or they just have a song that they like or something else as a, you know, a different vibe. So in some ways it is being like that and in some ways it's also being a psychologist trying to figure out what your producer is really talking about. When they say they want something that sounds more blue.
Chris Molanphy: And you're like blue, that's a color. What does that mean exactly?
Speaker 3: Yeah. Do they mean the blues or do they just feel, you know, a little synesthesia?
Chris Molanphy: That's so interesting. So there's like a psychological component to what you do, where you're there asking for your help. These producers, and sometimes they have don't know what they want. And it's partially your job to help guide them to what they want. Am I right about that?
Speaker 3: Exactly. I do both music supervision and music pitching with my company, Superior Music Corporation. So I kind of see both sides of how it works. As a pitching person, I'm trying to get them to use the songs that are in my catalog that I think are a good fit, which means I have to go through my catalog, select what I have, and select what I think that that supervisor is going to think is a good fit for with the info they've provided to me. And music supervisors have to go through all the submissions they received, everything they've picked out on their own to try to figure out what their boss is want that's going to make it through to the final project. And plus, there's budgets to be considered, which is something a deejay would never have to think about, right?
Chris Molanphy: I mean, when you say a gauntlet, the word you use before you really mean it's like getting over hoops and hurdles left, right and center right.
Speaker 3: It really is. I mean, for every song that gets placed, I could pitch hundreds of songs by that artist and just get one placement. And it's just a big, you know, trying to figure out who is looking for what and what is going to fit their budget. A lot of times producers got into producing because they love film or they love TV and they don't know much about music, but they know that they love A Day in the Life by the Beatles, and that's the song they want for their opening title. But they only have $5,000 bills.
Speaker 4: My. Then it's gone.
Chris Molanphy: Something tells me they're not getting a day in the life for that price.
Speaker 3: It's really, really, really unlikely. So it is the job of the music publishers and the pitching people and the supervisors to come up with some lower budget options, clearer options that are going to work with the budget that they have. It's a combination of budgeting, papering, a lot of things that are less exciting than just picking out songs.
Chris Molanphy: I mean, not to be too cute. You just use the phrase a day in the life, but can you walk us through a typical day if there is such a thing as president of a music publishing company? Like are you interacting mostly with artists or other entities like TV and movie producers? Little of everything.
Speaker 3: Well, yeah. I deal with the music supervisors much more frequently than the producers. And there's a network of music supervisors that, you know, it's a lot bigger now than it used to be. But there's supervisors and pitching people who kind of know each other and people work with their trusted sources. But on a day to day basis, I'm doing a lot of client service, a lot of artists who have new releases coming out. They have new songs to be set up. They have noticed something is wrong on ASKAP or BMI or C sack. Not necessarily that there's anything wrong with any of those, but something may have been submitted incorrectly by a prior publisher or publishing administrator. You know, things like that.
Speaker 3: People want to be set up with co-writes, you know, different TV shows. They're hoping their songs could be pitched to certain shows. And I'm doing a lot of papering, a lot of negotiating of deals, trying to find songs to help fit people's budgets and sending options to them. Sometimes music supervisors just want the hot new stuff that they can pitch for their projects. Sometimes it's so specific, like we need songs released before August 22nd, 1976, and they must clear for this amount and they must, you know, have this tempo. It really, really depends.
Chris Molanphy: Right. And the specificity, I mean, speaking of stranger things, to go back to that example, I mean, this current season is set in 1986, so the first song is a late 85 song is right on point and people notice when you're anachronistic or out of time. So these details matter. If you're talking about a period movie or a period TV show.
Speaker 3: They absolutely do. I just worked on placing a song in Angelyne, which was Bates Motel's Dedication, Bates Motel. If you saw the Sparks documentary, they were the band that met Sparks at the farmer's market and then joined Spark.
Speaker 2: This allegation last night below me.
Speaker 3: Wow. So they had the song dedication that they had not yet recorded, but were playing live in the clubs before 1978 when this scene took place. So interesting. Yes. So I had to make sure that they were out and about playing that song in this venue during that time period. And if you look at the Angelyne playlist, if you if you see what they used, I mean, they were just spot on with everything time wise, you know, songs that would have been played in Los Angeles. Like they did a very thorough job on that.
Chris Molanphy: So since this is a chart show Hit Parade, I'd love to know if turning placed songs into hits is part of your overall mission, or is it just too hard to engineer that and it's something you don't even think about?
Speaker 3: I would love it if it happened, but I have so little control over getting it into the circumstances in which it could be a hit. So I would say it's a nice cherry on the top when it happens. But for a while I really did have to do a lot of client expectation management regarding that because a lot of managers were hoping that they could get a placement that would coincide for a specific single in a specific timeframe. And that is just not something that from my side I could ever guarantee. And if I get it, it is just a really, really lucky bonus.
Chris Molanphy: And to use the word you used before, it's a gauntlet, right? I mean, think of all the things that can go wrong. Netflix decides to wait six extra months to drop the show. You can't perfect these things or time these things down to the week.
Speaker 3: Not even close. And, you know, a lot of times you can have a great placement and they'll just cut the whole scene from the show, which has happened before, and it's happened the night before the show. So I always say I don't believe any placement has actually happened until I hear it on the TV show or see it in the film itself, because so many things can really even change from the editing room till it makes it onto the screen.
Chris Molanphy: I was going to ask you if you have any good war stories, a story or two you can tell about landing a song in a high profile TV show or movie that you didn't think would happen or, you know, surprised you or whatever.
Speaker 3: I hope you don't mind my using one that you mentioned, but the high strung is the luck you got was just one of the biggest joys of my life as far as my career. I mean, that band was working so hard. They were touring, no exaggeration. Probably 250 dates a year and kind.
Chris Molanphy: Of, wow.
Speaker 3: Playing the same venues every time. They weren't really getting any bigger. I had gotten them some smaller sinks, nothing that was too groundbreaking for them. There was a movie where Eva Longoria was a ghost and I got them a background placement and that. But then when I pitched them, I actually had pitched them just for some general usages in Shameless. And the music supervisor for Shameless and Klein came back to me and said, You know, this could be great for our theme song. You think the band would be up for it? And I was just like, Probably.
Chris Molanphy: You guys. And meanwhile you're like jumping up and down on the inside, right?
Speaker 3: Yeah. I mean, it's it was pretty exciting. But, you know, you don't know what they're going to be offering and you don't know maybe the band for some reason is against something or other. But anyway, that one, we were able to negotiate successfully, but it's made a really significant difference in that band's life. And, you know, Josh Malaman, who is the singer and one of the really the primary songwriter for the high strung, has had time now to pursue his second career as a very successful horror author. And Wow, Bird Box was actually written on the high strung tour bus while they were touring. Yeah, that was pretty cool. So now he has had clearly time to get his writing career up and going and is tremendously successful in that field.
Chris Molanphy: So like that placement is like the proverbial butterfly flapping its wings that has like effects that you can't possibly even predict, including on this one author's life, right?
Speaker 3: Yes, except I do think that no matter what, Josh would have been successful because he was just so good. But it did give him a little bit of freedom to just have some money that was going to come in and the rest of the band too, which is nice because they were really working hard. I mean, they I you can only keep up that touring lifestyle for so many decades.
Chris Molanphy: I also wanted to ask you, looking outside of your immediate purview, about favorite song placements that you've admired, maybe they're outside of your shop.
Speaker 3: Valley Girl had actually a Sync that I represent, which is two thirds of which is a million miles away by the slim souls. Now, I didn't place it because I was in high school or junior high when this film came out. But I do like the usage of a million miles away in Valley Girl by the poem Souls.
Speaker 3: But this is one where I don't represent the band. This is Sparks and there is a placement of Eaten by the Monster of Love. I don't want to give any spoilers for a 40 year old movie, but it's just a scene where a kid comes home and it's playing Eaten by the Monster of Love as the main soundtrack. And he walks upstairs and you just expect something is going to happen and the song ends in something different and kind of better has happened. And I just think that's a really, really fantastic usage of a song. It just fits the pace so well of the scene. It just gets you excited about the song and the song is just great. So that's probably one of my one of my favorites.
Speaker 2: It's hard to fight it off. Much for Harry Truman and Bob Dole by the most, though.
Chris Molanphy: I also love the way you describe what you like about it. It isn't just that the song is awesome and the movie's awesome. It's like the usage is important. This is a point I was trying to make in my episode is that when viewers, whether it's a movie or a TV show, fuse with what's happening on the screen, their attachment to the song just grows. That's stronger, right?
Speaker 3: That's exactly the element. Yeah, I agree. I mean, there are songs that people associate with the Sync decades later, like Layla in Goodfellas, that ending piano part. It's just every time I hear that, I associate it with that scene, even though I had heard the song hundreds and hundreds of times before.
Speaker 4: Jimmy was cutting every link between himself and the robbery, but it had nothing to do with me.
Speaker 3: But a good Sync just really has that power. It's kind of a little bit of a monoculture. Again, you know, where a lot of people are watching the same show and hearing the same Sync and going to the same music services to download and listen to it. And we're all on the same page, or a lot of us are on the same page about this song from the Eighties by Kate Bush.
Chris Molanphy: This is a bit of a nitty gritty question, but for you, is getting a song placed on a TV show ultimately better for a career than a movie? Because I imagine if you score the show's theme as in your example with Shameless, that can be quite lucrative, right?
Speaker 3: It can. But a lot of theme songs are owned by the studio and created for the studios as a work for hire. So it's actually not that frequent that an existing song gets licensed for an opening title. Plus, opening titles have gotten pretty short lately. So it just really depends. I mean, there still are some good syncs that I, you know, that happen lately from existing songs. But I actually think a TV show or a film or even a commercial can still have a really big impact or a video game can have a big impact.
Chris Molanphy: Great point. Do you see the rise of streaming TV as a net positive or negative for what you do? Because I imagine the monetary rewards are more limited when seasons are shorter. But then again, there's just so much content now that's hungry for your artist songs. Where do you come out on that?
Speaker 3: It tends to be more placements for less money. There's more projects out there. But, you know, whenever any kind of new media launches, two things happen. One is it's used for porn. Two is that people try to get the licensing fees down. It happens all the time. And with streaming for a while, you know, there was kind of a lot of, well, look, you know, it's streaming, it's the Internet. It's not really the same thing as TV. That argument has clearly gone out the window now, but there still are a lot a lot of shows out there.
Speaker 3: I think expectations have changed in the past ten years. And it really was an expectation that people were going to break brand new bands via commercials or big placements. Sync is the new radio, but I haven't heard anyone say Sync is the new radio since Spotify came around, which is fine by me because then there's less expectations that I'm going to break a new hit and there's a lot more happiness when I get a placement for a band that has been broken up for 45 years and they've all moved on to new jobs. Most of them own studios or they're producing, but a lot of them have just gone on to other careers. The real estate agents, they haven't thought about their bands in a while, and I'm really happy when I can get a placement for somebody from a band that they were in, in high school or a band they were in forever ago. And everybody's happy about it. People like discovering new bands and people like having their bands discovered.
Chris Molanphy: That seems like a wonderfully happy way to wrap this up. I just want to say thanks again, Mara, for taking the time to talk with us. What's the best way for folks to keep up with you and the goings on at Superior Music Corporation?
Speaker 3: I have a website, Superior Music Pub, pub dot com and a lot of my placements and just general news can be found on my Instagram which is at m a r a underscore. K u g Mara Kuge.
Chris Molanphy: Thanks so much for joining us for Hit Parade The Bridge.
Speaker 3: Thank you so much for having me.
Speaker 5: When you walk through the garden, you got to watch your back. Well, I beg your pardon. Walk the straight and narrow tread.
Chris Molanphy: Now comes the time in Hit Parade, the bridge where we do some trivia. And joining me all the way from London is Johnny. Hey, Johnny, how are you?
Speaker 4: Hey. Fantastic to be here.
Chris Molanphy: Fantastic to have you. Thank you so much for joining us from across the pond. Now, I understand you just got back from Glastonbury, and I think you and I have something in common because I think you saw a former Beatle, as did I.
Speaker 4: I did. Absolutely. This is an unbelievable this is the best Glastonbury ever, in my view. We had Paul McCartney doing this set of his life. Bruce Springsteen came on as a special guest. Dave Grohl. We had Diana Ross. We had Billie Eilish. We had Megan Thee Stallion, Kendrick Lamar.
Speaker 2: Be humble. Hey, sit down. If you sit down, just sit down. Be humble.
Speaker 4: And you know, it couldn't have been better, in my view. It was an unbelievable lineup.
Chris Molanphy: That has a very wide ranging lineup. It sounds fantastic.
Speaker 4: Yeah, they did a brilliant job. Unfortunately, I'm now sick with COVID, but I think it was worth something to infect anyone else. Then it's absolutely worth it for that line.
Chris Molanphy: Well, yeah. I mean, as long as you're on the road to recovery and.
Speaker 4: I'd say I'm getting my my excuses in early for my failure in the trivia.
Chris Molanphy: But fair enough. I myself saw McCartney at the Meadowlands a couple of weeks ago and I to Springsteen come out during that performance. I'll only throw this in because I know it will delight certain hit parade listeners. But it should be noted that during the performance by Sir Paul, another certain New Jersey rocker came out very briefly. He did not get to perform any of his songs, nor was he asked to pick up a guitar and chime in the way Bruce was. So this this man whose initials are JB J and who will otherwise go unnamed, was only allowed to sing Paul A Happy Birthday, The Happy Birthday Song and not even the Beatles birthday song. So as far as I'm concerned, Paul McCartney and I share opinions about which New Jersey rocker is more valuable. But I'll just leave it at that.
Speaker 4: As long as you didn't have to storm out, that's fantastic.
Chris Molanphy: I will confess that I did sit down briefly and say, Ah, but then, you know, when he was done singing Happy Birthday, he was off. So, you know, thank heaven for small favors.
Chris Molanphy: Now, honey, we're going to do our trivia round. I, first of all, as I always do every month, want to thank you for being a Slate Plus subscriber, because, of course, we only open these trivia rounds to plus members. And if you plus member would like to be a trivia contestant, just visit Slate.com slash hit parade, sign up. Now, the other thing I want to mention, because we did something unusual in the month of June, we change topics at the last possible minute. Normally, we split our trivia round into recap trivia and preview trivia. But this month, all three of our trivia questions are going to be callbacks to our TV and music episode. And then, of course, at the end, as usual, you'll get to turn the tables and ask me a question. So, honey, are you ready for some trivia?
Speaker 4: As ready as I'll ever be.
Chris Molanphy: Question one What show spawned TV's first ever number one soundtrack on Billboard's album chart? A Peter Gunn. B Miami Vice. C High School Musical. Or D Glee.
Speaker 4: Oh, gosh, I think it's B, is that right?
Chris Molanphy: And I'm sorry, the correct answer was A Peter Gunn. Henry Mancini. And his orchestra is the music from Peter Gunn. LP spent ten weeks at number one. It was later beaten in terms of longevity by the Miami Vice soundtrack, which spent 11 weeks atop the album chart in 1985 and 86. But Peter Gunn was first. All right. Oh, for one, here's the good news. We're not switching to preview trivia. We're just doing two more questions about our most recent episode. So if you're ready, I'm going to move on to some more trivia about TV and music.
Speaker 4: Great. Let's do it.
Chris Molanphy: Question two In the hot 100 era, what was the first TV theme song to reach number one? A The Monkees theme from The Monkees. B The Ventures, Hawaii Five-O. C MFC. B T, ASCAP, The Sound of Philadelphia. Or D, John Sebastian. Welcome back.
Speaker 4: So the Monkees is definitely before. Welcome back. I know. Welcome back. Was was a chart topper. But when I think of the Monkees, I think of Last Train to Clarksville. Being that the number one, I'm not sure that their theme song was a number one single. What were the other two options?
Chris Molanphy: B was the Ventures, Hawaii Five-O and C was MF. SB with the sound of Philadelphia or TSA?
Speaker 4: I think it might have been the sound of Philadelphia.
Chris Molanphy: And you are correct. You puzzled it out. The correct answer is cts0p. Not counting the pre hot 100 number one hit Ballad of Davy Crockett. And that FSB's mostly instrumental theme to Soul Train was the first TV theme to top the big chart in 1974. By the way, MFC B, which is Philadelphia International Records House Band stands for Mothers, Fathers, Sisters, Brothers, and the minimal vocals on the track were by the girl group The Three Degrees. All right, one for two. Are you ready for question three?
Speaker 4: Let's go for it.
Chris Molanphy: All four of these artists had an old song revived by a TV show. Which of them did not achieve a higher hot 100 chart position as a result of this exposure? A Billy Viera and the Beaters. B The Bo Deans. C Journey or D Kate Bush.
Speaker 4: Hmm. So Kate Bush did have a higher placing. I think it's actually the rest of them. I just couldn't tell you. So let's plump for the bodies. Let's give that a go.
Chris Molanphy: And I'm sorry, the correct answer was C journey. And this is a little counterintuitive, really. While Don't Stop Believin did surge in downloads after its exposure in The Sopranos, it only a. And on Billboard's Digital Songs chart, not the Hot 100 Billie Vera song that was featured on Family Ties, the Bodin song from Party of Five. And of course, Kate Bush's song in Stranger Things All Experienced Hot 100 rebirths.
Chris Molanphy: All right. One for three. I'm glad you got that middle one. But now here's the fun part. You get to turn the tables and ask me a question. So, honey, do you have a question for me?
Speaker 4: So this is the sort of trans-Atlantic trivia quiz. So I'm going to love it if I can. You've obviously destroyed me in with your question, so let's see if I can trip you up by taking you out of your comfort zone. And fair enough, I'm giving you something a little bit trans-Atlantic. So many artists have topped the singles charts in both the UK and the US. All of the following artists have many hot 100 chart toppers. However, one of them holds the distinction of being the artist with the most U.S. number one singles. Never to top the charts in the UK. Huh? Okay, I like this. So a asha. B Janet Jackson. See The Supremes or D. Taylor Swift. Wow.
Chris Molanphy: You're going to stop me because none of these is intuitive at all. Like, I can easily guess that any one of those would have topped the UK chart. All right, so it's Usher, Janet, Supremes, and Taylor. Yeah, I know Diana Ross topped the UK chart with an unusual single in 71 that was nowhere near a top 40 hit in America. But I'm wondering if perhaps the Supremes by some fluke didn't topped the UK charts. So skip all of the more recent artists and go with the Supremes.
Speaker 4: Well, that's nicely worked out, but I'm afraid you're wrong.
Chris Molanphy: Fair enough.
Speaker 4: It's actually Janet Jackson.
Chris Molanphy: No kidding.
Speaker 4: Usher has nine American and four British chart toppers. The Supremes got 12 stateside, but only one in the UK. Baby love. Baby Love. Taylor Swift has eight, but only one in the UK. And Janet Jackson has never topped the UK singles chart, despite a career that boasts ten hot 100 number ones. There you go.
Chris Molanphy: Okay. So a couple of follow up questions. You stumped me fair and square. That is a spectacular question. First of all, what's Taylor Swift's only number one in the UK?
Speaker 4: It's her worst song. It's Look what you made me do. Yeah. Yeah.
Chris Molanphy: That's not a great Taylor hit. And I and I am a Taylor fan, but that is not a great hit. Yeah. And what is the highest Janet's ever gone off, you know, on the UK chart?
Speaker 4: I don't know. She certainly has had many. I think she's got to number three. Maybe, maybe she's had a runner up, but she's never got to number one. She's she's certainly had a successful career, but nothing has quite, you know, overtaken some of the artists that we've got in the UK. I think she's been a little bit unlucky. Clearly, Michael of course, has had eight, you know, that she's never she's never done it.
Chris Molanphy: So listeners, I pulled my book of British charts off the shelf to double check this. And of course, honey is not only correct, we've confirmed that Janet has had two number, two UK singles, at least 324, which is how far this book goes. And they include The Best Things in Life Are Free, which is a somewhat forgotten duet she did with Luther Vandross. And then the very next year, her American number one hit, That's the Way Love Goes, also got to number two. But yeah, no number ones, which is just remarkable because she does have a slew of top ten hits in the U.K. so go figure. Well, honey, I think we both are winners and losers this go round in the best sense. I really don't mind taking it on the chin with that question because it was such a good question. I learn something from that question and I hope by getting one out of our three allows you to have some bragging rights.
Speaker 4: I don't feel embarrassed. I feel quite well beaten and I'm very happy.
Chris Molanphy: Well, honey, thanks so much for joining us on Hit Parade The Bridge.
Speaker 4: It's been fantastic and I've really enjoyed it.
Chris Molanphy: Cheers.
Chris Molanphy: So normally this is the part of the show where I'd be telling you that those last two trivia questions are a preview of our next episode. Of course, as you all know, if you've been listening, our most recent episode was not the freestyle episode that I previewed in our May episode of Hit Parade, The Bridge, but rather our TV and music episode. And as you can guess, this was a last minute decision by me and the production team at Slate to pivot our topic for June.
Chris Molanphy: Given the exciting chart happenings surrounding Kate Bush, Stranger Things and Running Up That Hill. To be precise, we didn't find out until Memorial Day weekend that running up that hill was even in Stranger Things. We didn't find out it was affecting the iTunes and Spotify charts until sometime in the middle of the first week of June. And we didn't find out until the following Monday, the first Monday of June, that running up that hill was debuting all the way up in the top ten. This is truly remarkable and to some extent unprecedented, at least for a song used in a TV show to debut in the top ten like that.
Chris Molanphy: It was so remarkable and there was so much attention surrounding Kate Bush and her feet that we decided at the last possible moment, literally with about a week to go before we had to deliver the episode to change topics and switch to TV themes, which is a topic that I'd been considering for Hit Parade for at least a couple of years. So I had a little bit of background in it, but this was a last minute decision that we threw together. And the upshot, because we're now in the part where I preview the next episode as we are still working on that freestyle episode, and our goal is to make it our July episode. So do listen for that and the next couple of weeks. This episode of Hit Parade The Bridge was produced by Kevin Bendis. And I'm Chris Molanphy. Keep on marching on the one.


This entry was posted in BLOG, Praise and Worship and tagged grace, happiness, joy, love, mercy, peace, woeship. Bookmark the permalink.
When we truly grasped all He has done for us, it is impossible not to have an attitude of gratitude. May we all share our gratitude with someone else today so they can hear how God is working in our lives. Blessings!
Oh that we could all learn to live in this space! Blessings Shelly.


Flowers for the Immaculate Conception (Just be an insect edition) | ARISE! LET US BE GOING!
Situational awareness for flowers for the Immaculate Conception demands that one be like an insect. An insect like the one above is always aware of flowers for the Immaculate Conception. It's just built into their nature. But we have free will. Situational awareness is a matter of choice. Walking (flying) with the Holy Family is also a matter of free will with the grace of God.


← Why do they make it so hard?
Beware the "Blue" Crabs . . .
A young man who lived in poverty and the ghetto was determined to climb out of his negative situation and spent all his free time reading, studying and doing homework. His neighbourhood friends thought he was a bit odd and teased him endlessly.
One day he went to his grandfather in tears, telling him about his dreams to be somebody, to get out of the ghetto. He also told him about the teasing.
An executive strategy retreat is a very interesting event, with much skepticism going in and when done well a great deal of optimism and enthusiasm on the final day when the strategy comes together. The logic is sound, the market studies robust and the strategy seems to fly off the page as if it were a team of wild horses ready to bolt across the horizon.
But, not too long after the workshop the reality of execution begins to sink in and some people become concerned, insecure and even frightened at all the work required to move the new strategy forward. And that's when the "Blue" Crabs appear! One or two senior executives begin to "wonder out loud" about the veracity of the strategy and suddenly come up with numerous logical and well-reasoned arguments why we should go slow, or have a rethink, or make a few changes in the steep objectives in the original plans. Then more "blue crabs" grab hold and start pulling the strategy apart and dragging down those who have begun to execute and implement their respective action items.
All strategies are hard to implement! It's up to the CEO to keep everyone's eye on the prize and not on the obstacles. Difficult, yes; impossible, no. Not if the team works together, shares information and resources, and everything is transparent. Hidden problems are the hardest to solves, but those that are transparent tend to attract solutions!
Understand the "blue crabs" for what they represent, insecurity and fear. Then redouble your efforts and focus on execution, execution, execution.
This entry was posted in consulting, leadership, strategy execution and tagged Blue Crabs, bullying, ghetto, poverty, teasing, upward mobility. Bookmark the permalink.


2018 was almost an entire year of a crypto bear market, and so it comes to no real surprise that Q1 of 2019 has given the best return since Q4 2017, a 10.91% gain. In addition to Bitcoin's most productive quarter since 2017, the last few weeks have seen sporadic bullish moves from various altcoins. These have often come as a result of strong fundamental announcements from the respective projects. It is important to remember that, throughout the bear market, there has been constant positive fundamental news coming out, almost daily. However, with prices only seemingly headed in south during this time, it will fill investors with confidence that when the market does reverse, many altcoins are currently considered undervalued by many market traders, primarily due to their significant progress since the bull-run of 2017-2018.
BTC's price has been relatively steady recently, climbing from $3800 towards and above $4000. The strong return from Q1 in 2019 does not necessarily signify the beginning of a much anticipated bull-run, but it may be indicative of some bearish exhaustion.
Q2 has now begun with a very unexpected surge above a key psychological level of $5,000, breaking the Feb 24th high of approximately $4,200. This level was seen to hold key resistance by market traders for a significant time. All eyes will now be on whether this momentum can sustain and more importantly hold above $5,000 or will it merely return to the $4,000's.
The strong start to the quarter was seen throughout the market. Many altcoins also saw double-digit percentage gains within 24 hours, not unseen in the cryptocurrency market; however, a sea of green has become a rarity in recent times. Whether this is just another manipulated pump of the market will only be determined within the coming weeks. The only thing that remains consistent is the unpredictable nature of the entire cryptocurrency market.
Use Cryptocurrency to Pay for ..


You love your pooch, but you know it's true! He is as regular as a factory! Everyone with a furry friend will agree and love this dog poop factory costume. This funny dog costume is made from poly-foam and shaped like a factory with smoke stacks. Simply strap the costume on the dog and let him go to work! Large fits dogs 24-32 lbs, 13-16 inch neck, 19-22 inch chest, and 16-18 inch back length.


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Eva Saks, Editor. A Sundance Film Festival filmmaker and student Academy Award winner, Saks has extensive writing and directing credits for television, film, theater, and the Internet (Disney, Nickelodeon, PBS, Discovery UK, Lincoln Center Theater Directors Lab, Sesame Street, ComedyNet, CBS, etc.). She was Editor-in-Chief of Casting Call Magazine, a founding editor of The Yale Journal of Law & the Humanities, and an editor of The Yale Law Journal (she went to Yale Law School and practiced in NY and California). Saks has sold articles to publications ranging from Playboy to The Riverdale Press to Raritan to Johns Hopkins Theater Journal. As well as undergraduate and law degrees from Yale University, she has a Master of Fine Arts from New York University Film School. An animal-loving director, she has worked with dogs, ducks, zebras, rats, elephants, horses, chickens, raccoons, rabbits, monkeys, goats, and an insolent cow. Saks is deeply committed to animal rescue. She produced and directed Unbridled, a documentary short about rescued horses and rescued horse women. She is actively involved with dog rescue, especially Shetland Sheepdog rescue. Her first dog was a rescued Sheltie, the great Momo (Essex My One & Only). For the story of this extraordinary dog, click on the Editorials tab above and read the entry of May 6, 2011. Currently, she is the proud owner of three rescued Shelties: 3-year old Hobby (Essex My Sunny Valentine), 4-year old Sally (Ha-Dar Center Stage), and 10-year old Buddy (Essex Welcome Waggin'). She invites you to friend her and ALTERNATIVE PET on their Facebook pages.
ALTERNATIVE PET was founded by Eva Saks and Leslie Rugg in 2010 to address topics too controversial for advertiser-driven, mass-market publicatons. Saks and Rugg first worked together in 2007 on two Public Service Announcements for no-kill animal shelters starring Laddie, the 9th generation Lassie, who was managed by Rugg. Saks wrote and directed, and Rugg wrangled the star. Rugg and Saks found they had common interests in canines, culture, and critical inquiry. They began writing together and published fifteen articles in one year. Their work appeared in AKC Gazette, Animal Wellness, The Bark, and Fido Friendly – as well on the websites of The Bark and Tigertail Foods. (To read these articles, click on the Publications tab above.)
Together, Rugg and Saks have several book projects in the works, including:
* The Dog Ate My Cookbook! Tasty Meals You and Your Dog Can Share
* The Name Game: The 21st Century Guide To Naming Your Pet
* Petiquette: A Manners Guide For The Discerning Dog Owner
* Men Are Dogs / Women Are Bitches: How to Find a Mate as Nice as Your Dog
Leslie Rugg, Contributing Editor. Rugg published, co-edited, and wrote for two canine specialty magazines, Rare Insight (about rare dog breeds) and The Collie Review. She also wrote for mass market/pet magazines and all-breed/show world magazines, including AKC Gazette, AKC Family Dog, Dog & Kennel, Cat & Kitten, and Bird Times. Other credits include five co-authored novels (Pocket Books/Simon & Schuster). Rugg appeared in the Animal Planet/ Discovery special "Hollywood's Top Dogs" as an expert on canines and on the internet/radio program Animal Talk Naturally, speaking on "What is the Right Food for our Pets?" For several years, she managed Laddie, the 9th generation Lassie, and his trainer, Bob Weatherwax. Her nuclear and extended family pets have included 12 rough Collies, 2 smooth Collies, 7 Poodles, 5 German Shepherds, 1 Weimaraner, 1 American Cocker Spaniel, 1 red Golden retriever, 1 Brittany Spaniel, 1 Shepherd-Husky mix, 1 Papillon, and 1 Pomeranian; 1 Siamese cat and an assortment of other cats; 1 Dutch hare and a few Hooded rats. Her Collies have competed in Conformation and participated in Herding, Obedience and Agility. She is an active member of South Bay Collie Fanciers and has volunteered for Southland Collie Rescue. She has a BA in English from UCLA and completed her MA class requirements in English and American Literature from Claremont Graduate School. Her current Collies, Kipling and Kirby, reflect her literary bent.
Eva Saks with her first dogs: Hobby, Momo, and Brome
Leslie Rugg with her first dogs:
Prince Blackjack and Merryoaks Bruce


Misfortune doesn't inform you before making a visit, but you can make sure that at least your patients do. Organize your business effectively with PrintStop's medical appointment cards. A tangible doctor's appointment card will help you schedule your appointments in a better manner.
These small appointment cards can become good business tools for you. You will not only be in a position to allocate your precious time well, but also be able to promote your brand with these Customized appointment cards. You take care of us; we will take care of your printing needs.
You don't need an appointment to get your Customized appointment card printed at PrintStop. The task is so much simpler. You don't even have to settle for whatever we have in store for you. We can even design a unique appointment card for you that will set you apart from the crowd.
In getting your appointment cards printed, you can either upload appointment card design, or get cards designed from Pehchaan, our professional designers. Creativity knows no bounds at PrintStop so get appointment cards that reflect your and your patient's unique needs in a bright and creative manner.
Appointment cards are very helpful for certain business owners such as doctor clinics, salons & spas, dental clinics and many more business organisations. These appointment cards are filled with many benefits. They help the client to recall about an important meeting or an appoinment in case he or she forgets the time. Especially, doctor appointment cards are the most useful. Sometimes, people forget the address of the clinic and the appointment card helps them find it. Also, there are many other benefits of your appointment cards. These cards indirectly advertise your business or clinics as there are your organisation's details imprinted on your appointment cards. This is because of customised appointment cards.
With PrintStop, you can get customised appointment cards with your company name, brand logo and additional information like your contact details, clinic address and other treatments that you provide to your patients. We design personalised appointment cards for you that hold the ink so it isn't difficult for your patients to wirte something on the card. Our custom printed medical appointment cards are a great marketing tool for you as they're professional and help your patients use them as reference in between their appointments. Also, now you don't have to call your patients all the time to fix their appointments.
We know your time is of great importance and we value your work. That is why we provide doorstep delivery to you. You can upload your own design of appointment cards online, but we would suggest that you get it custom designed from our design team 'Pehchaan'. You focus on healing people, we are here to provide you all printed products you need. Our custom printed medical appointment cards are the best and of high durability.


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Úmrtí
 30. dubna – Marcus Annaeus Lucanus, římský básník (* 3. listopadu 39)
 Lucius Annaeus Seneca, římský filozof a politik
 Poppaea Sabina, druhá manželka římského císaře Nerona (* 30/32)

Hlavy států
 Papež – Petr? (cca 30 – 64/65/66/67) » Linus? (64/65/66/67/68/69–77/78/79)
 Římská říše – Nero (54–68)
 Parthská říše – Vologaisés I. (51–77/78)
 Kušánská říše – Kudžúla Kadphises (30–90)
 Čína, dynastie Chan (206 př. n. l. – 220 n. l.) – Ming-ti

Externí odkazy

1. století

als:60er#65


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Q: SIP Client not sending OPTIONS request I am having an Asterisk server running and my two SIP clients are connected to this server correctly. The server sends OPTIONS request to SIP clients on periodic intervals when option qualify is turned yes. I would like to know why the SIP clients is not sending OPTIONS request to server and what need to be done to accomplish this. I am using free SIP clients in Android phone.

A: The soft-phone uses certainly a lightweight keep alive method 'crlfcrlf' , go to the NAT keep-alive configuration of the softphone to activate OPTION method.

redpajama_set_name: RedPajamaStackExchange


JOB DESCRIPTION: Deal cards in an honest, accurate and professional manner to Table Games Guests.
Performs dealing services at assigned tables to gaming Guests in accordance with established policies and procedures.
Provides prompt, courteous and accurate dealing at assigned table.
Maintains a continuous inspection of cards, ensuring the security of assigned games at all times.
Exchanges guests' currency for gaming chips and deposit currency in drop box.
Provides guests with assistance to ensure adherence to established rules, policies and procedures.
Keeps Floor Supervisors aware of any unusual play, i.e., bet swings, possible cheats, etc.
Follows without question any instructions given by supervisors.
Enforces table rules and limits.
Entertains guests while enforcing policies and procedures.
Must pass Leech Lake Gaming approved Dealer's Training Course; or provide documented verification of equivalent training.
Pleasant personality and excellent guest services.
Able to endure positioning and standing for long periods of time which could cause stress to mental concentration.
Able to withstand positioning which can cause stress to various parts of the body.
Knowledge of State Gaming Compact, Leech Lake Gaming Internal Controls and Casino house rules.
Physically capable of remaining on feet for long periods of time.
785 Table Games Dealer in White Oak Casino, Deer River, Mn.
345 Table Games Shift Supervisor in Palace Casino & Hotel, Cass Lake, Mn.
785 Table Games Dealer in Palace Casino & Hotel, Cass Lake, Mn.


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Uwe Ludewig (* 26. Juni 1967 in Helmstedt) ist ein deutscher Agrarwissenschaftler insbesondere der Pflanzenphysiologie und Direktor des Instituts für Kulturpflanzenwissenschaften an der Universität Hohenheim.

Leben und Wirken
Dem Schulbesuch in Braunschweig folgte das Studium der Physik insbesondere der Biophysik an der TU Braunschweig und der Georg-August-Universität Göttingen, das er 1992 mit seiner Diplomarbeit am Max-Planck-Institut für biophysikalische Chemie, Abt. Membranbiophysik, abschloss.

Ein Aufbaustudium Molekularbiologie an der Universität Hamburg (1997) und die Promotion zur Funktion und Struktur von Chloridkanälen bei Thomas Jentsch schloss er mit dem Dr. rer. nat. 1996 ab.

Nach einem Auslandsaufenthalt mit einem EMBO-Postdoc-Stipendium an der Universität Sevilla, Spanien bei Jose Lopes-Barneo, wechselte er an die Universität Tübingen zu Wolf Frommer.

2002 wurde Ludewig Juniorgruppenleiter am Zentrum für Molekularbiologie der Pflanzen, der Universität Tübingen  mit Habilitation 2007, und der Venia legendi für Pflanzenphysiologie. 2009–2010 übernahm er eine Vertretungsprofessur an der Technischen Universität Darmstadt, 2010 folgte er dem Ruf als Professor für Ernährungsphysiologie der Kulturpflanzen im Institut für Pflanzenernährung der Universität Hohenheim. Seit Umbenennung in Institut für Kulturpflanzenwissenschaften ist er geschäftsführender Direktor des Institutes.

Mitgliedschaften und Engagements
Deutsche Gesellschaft für Pflanzenernährung (DGP, Beiratsmitglied)
Deutsche Botanische Gesellschaft (DBG)

Forschung und Publikationen
Ludewig forscht und lehrt in der molekularen Pflanzenernährung. Dieses Forschungsfeld beschäftigt sich mit den genetischen und molekularen Grundlagen der Aufnahme und Verteilung von Nährstoffen in der Pflanze. Zentrales Interesse gilt der Aufnahme, Perzeption und Regulation des Ammoniumtransports, der Stickstoff- und Phosphornutzung in Kulturpflanzen und der besonderen Rolle einzelner Mikronährstoffe.

Seit dem Jahr 2000 ist das Institut an fünf EU-finanzierten Projekten beteiligt und beschäftigt Studenten und Doktoranden aus mehr als zehn Ländern. Ludewig ist ein vielfach nachgefragter Redner bei Fachkongressen und Mitglied im Biofector Leitungsgremium; zusammen mit seinen Mitarbeitern hat er mehr als 50 Publikationen verfasst.

Weblinks
Institut für Pflanzenernährung Hohenheim
 Institut für Kulturpflanzenwissenschaften Hohenheim

Einzelnachweise

Agrarwissenschaftler (20. Jahrhundert)
Agrarwissenschaftler (21. Jahrhundert)
Agrikulturchemiker
Hochschullehrer (Eberhard Karls Universität Tübingen)
Hochschullehrer (Technische Universität Darmstadt)
Hochschullehrer (Universität Hohenheim)
Deutscher
Geboren 1967
Mann


Despite the fact that this dietary cheesecake is cooked without flour and sugar - it tastes absolutely wonderful, very tender, moderately sweet due to raisins and honey. To all those who lose weight, refuse sugar and are simply eager for a healthy diet - welcome!
Pour boiling water to a bowl with semolina (stirring constantly) and leave for 15-20 minutes.
Melt and lightly cool butter.
In a deep bowl, mix cottage cheese, butter, semolina, honey and eggs, mix. If cottage cheese is granular or semolina is with lumps - blend all together to homogeneity.
Lay the bottom a baking dish with baking paper, oil the walls. Put the cottage cheese mass. Bake for about 35-40 minutes at 180ºC/350ºF/gas 4.


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Friday Rewind – Reflections on HART's West Tampa Transfer Center
September 29, 2017 October 4, 2017 hartride2012tampa
With only a week left before Hillsborough Area Regional Transit launches its Mission MAX system restructuring, I wanted to take a few moments to provide a personal reflection on the West Tampa Transfer Center. HART will be closing down the center permanently after Saturday, October 7, 2017 in favor of having an on-street transfer along Dale Mabry Hwy at Tampa Bay Blvd.
Tampa Bay Center Mall
The former bus bay on the former Tampa Bay Center property in 2006. Credit: HARTride 2012 (Public Domain).
While the current West Tampa Transfer Center will barely be 10 years old when it shuts down for good, the general transfer point has been around for much longer – perhaps even before the inception of HART in the early 1980s. During the 1980s, Tampa Bay Center was one of Tampa Bay's premier shopping destinations. The mall opened in 1976 and was anchored by Sears, Burdines (which was later absorbed by Macy's), and Wards (which opened in 1979 and was originally known as Montgomery Ward). During the early and mid 90s, my family took me to Tampa Bay Center on a regular basis and I was constantly wowed by the bright, open atrium, eloquent fountains, and the glass elevator by the food court.
Interior of the Tampa Bay Center mall and its vast atrium prior to the grand opening. Click on the image to view the source website.
The Original Transfer Hub
Like many transit systems across the nation, many of HART's early transfer points were situated at shopping malls, and Tampa Bay Center was no exception. Several canopies were set up near the Wards entrance to the mall and Routes 7, 11, 14, 15, 32, 36, 41, 44, & 45 all traversed the spot at one point or another. The original Route 11 was axed during the 2005 system restructuring, and Routes 14 & 15 were removed from the transfer hub. Route 44 was merged into Route 45 in 2007. Route 11 will make a return in 2019, but will not serve this section of West Tampa – instead serving the Main St corridor and International Plaza.
Brochures for Routes 7, 14, & 36. Scan by Orion 2003.
Maps of Routes 7, 36, & 39 as they were during the late 90s/early 2000s. Scan by Orion 2003.
Route 14 still follows this route, but the Tampa Bay Center leg was eliminated sometime in the early 2000s, likely to improve efficiency. I'm sure the downfall of the mall also contributed to the decline in public transit in that area. Scan by Orion 2003.
Relocating the Hub
As parts of the Tampa Bay region boomed, shopping preferences changed. Various demographic shifts and retail cycles, along with some misfortune during the 90s, ultimately led to the closure of Tampa Bay Center. By 2001, most shoppers and retailers were drawn to either the WestShore Business District, Brandon, or Citrus Park. Wards had gone out of business entirely – along with many other chains that have demised over the decades.
Sears was the final tenant to leave Tampa Bay Center, moving over to the former Dillards spot at WestShore Plaza. Dillards vacated WestShore Plaza to join the then-new International Plaza in 2001. The land that Tampa Bay Center sat on was then sold to the Tampa Bay Buccaneers for their new facility, and demolition of the mall commenced shortly thereafter. The HART transfer center canopies and large sections of the parking lot were the only relics left of the former mall.
The West Tampa Transfer Center looking east from Himes Ave.
With Tampa Bay Center gone for good, HART was left to ponder where to relocate its West Tampa bus hub. Many options were explored and likely included parcels in West Tampa, Drew Park, and even near WestShore. However, a parcel on the northeast corner of Himes Ave and Ohio Ave was eventually chosen for the new hub. The facility would include five sheltered areas for seamless transferring, plus a street-side stop on northbound Himes Ave for the northbound Route 36 buses, restrooms for both customers and employees, and vending machines. A ticket vending machine was added in 2013 to allow customers to purchase passes without having to make the trip to downtown.
Aspirations Never Realized
It was originally envisioned that the West Tampa Transfer Center would become a launchpad for expanded operations towards WestShore and Temple Terrace. Two additional bus bays were constructed just north of the central building to stage buses. The northernmost bay was constructed to eventually accommodate a 60-foot articulated transit bus should the East-West MetroRapid Bus Rapid Transit line be built. Longer-term plans discussed the possibility of adding a light rail corridor along Himes and Dale Mabry.
One of the additional bus bays at the WTTC – designed to handle an articulated transit bus.
The WTTC would have been served by MetroRapid East-West. The future of the line itself is uncertain due to funding constraints.
Not Really The Best Location
One of the good things about the old Tampa Bay Center Mall was that it was right across the street from the old Tampa Stadium (later called Houlihan's Stadium). What is now Raymond James Stadium replaced Tampa Stadium during the late 90s. While having the WTTC next to the old mall property was good for customers in the sense that they didn't have to go too far from the old stop to access the new one, the major sore spot was that stadium events forced the hub to shut down due to traffic and security concerns. Buses would have to stage along St. Isabel St by MacDill Ave during stadium events. This procedure inconvenienced many customers who didn't want to walk extra blocks to get to their bus.
The temporary staging area on St. Isabel St, behind St. Joseph's Women's Hospital.
I'm sure not a lot of people liked seeing this banner during stadium events.
The route 36 Southbound stop.
While an immediate closure of the WTTC wasn't on my mind prior to the announcement of Mission MAX, I knew that there was a good chance that the WTTC would not survive beyond 15 years due alone to the fact that it kept having to close during stadium events. I always thought that it would make more sense to have a transfer point along Dale Mabry because the highway rarely ever shuts down completely unless there is a major traffic incident or if the event at Ray Jay is significant enough to warrant a complete closure of the highway. Himes, on the other hand, is always closed during stadium events.
Another reason why I believed that the WTTC would not last much longer is the fact that transit agencies are gradually moving away from having fixed hubs and are transitioning to a more grid-based system where transfers are done at major intersections. HART made a major shift towards a grid system in 2005 and Mission MAX aims to get the system another step closer to a true grid. I fully realize that HART management back in the early 2000s was different and perhaps leadership back then had a different view of the system than current leadership does. I just never agreed that the current spot for the WTTC was the best place for a long-term transfer hub and believe that the funds to relocate the hub could have been better spent on a more robust location that would have provided a sound footing for expansion down the road.
While we cannot change the past, we can look forward to the future – and that is what HART is aiming to do with Mission MAX. While many of the changes that will become effective on October 8, 2017 were contentious amongst many riders, I can say that the decision to close the WTTC for good was a good decision.
Friday Rewind, HART MetroRapid, Hillsborough Area Regional Transit (HART) Leave a comment


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Daniel Richard "Dane" Cameron (* 18. Oktober 1988 in Glen Ellen) ist ein US-amerikanischer Autorennfahrer.

Karriere als Rennfahrer
Mit dem Gewinn der Formel Russell stieg Dane Cameron 2015 erfolgreich in den Monopostosport ein. Ein Jahr später folgte der Sieg in der Formel Palmer Audi, wodurch eine Karriere im Einsitzersport vorprogrammiert schien. Cameron bestätigte die Vorschusslorbeeren der Fachpresse mit dem Erfolg in der Indy Pro 2000 Championship im Jahr darauf.

Dane Cameron wechselte 2009 jedoch in den Sportwagensport und fuhr einen Mazda RX-8 in der Grand-Am Sports Car Series. 2014 gewann er auf einem BMW Z4 GT3 die GTD-Klasse der IMSA WeatherTech SportsCar Championship. Nach dem dritten Gesamtrang 2015 gewann der im Jahr darauf gemeinsam mit Eric Curren im Chevrolet Corvette DP von Action Express Racing zum ersten Mal die Gesamtwertung dieser Rennserie. 2019 wiederholte er diesen Erfolg mit dem Teamkollegen Juan Pablo Montoya als Stammfahrer beim Team Penske.

Mit dem Beginn der Rennsaison 2022 wurde Dane Cameron Werksfahrer bei Porsche und war einer der Testfahrer des neuen Porsche 963. Zur Vorbereitung auf die Renneinsätze in der FIA-Langstrecken-Weltmeisterschaft 2023 gab er 2022 sein Debüt beim 24-Stunden-Rennen von Le Mans und erreichte auf einem Oreca 07 den neunten Gesamtrang.

Statistik

Le-Mans-Ergebnisse

Sebring-Ergebnisse

Einzelergebnisse in der FIA-Langstrecken-Weltmeisterschaft

Weblinks

 Offizielle Website
 Dane Cameron bei der Driver Database
 Dane Cameron bei Porsce.com
 Cameron bei 24h en piste

Einzelnachweise

Rennfahrer (Vereinigte Staaten)
Rennfahrer der 12 Stunden von Sebring
Rennfahrer der 24 Stunden von Le Mans
Langstrecken-WM-Rennfahrer
US-Amerikaner
Geboren 1988
Mann