text:
Movie Review – Harry Potter & The Order Of The Phoenix
March 4, 2010 Rodney Twelftree
Order Of The Phoenix isn't exactly a great film. Let's be honest, it's really just a precursor to the films we want to see: The Deathly Hallows, which will deal with Voldemorts actual return. Here, as with Goblet Of Fire (and The Half Blood Prince), we're only seeing the bit-players jostling for position in the new order, a vague psuedo-political theme running through this film from start to finish. The problem with the Potter films is that they're building up to something greater, always building, never really giving us a true payoff emotionally. Order's finale, in which Voldemort and Harry, as well as a reluctant Dumbledore, battle each other in the very heart of the Ministry of Magic, is awesome to watch, but holds very little real tension due to the serialised nature of the story. Order's story elements are merely window dressing to the big showdown.
– Summary –
Director : David Yates
Cast : Daniel Radcliffe, Rupert Grint, Emma Watson, Michael Gambon, Imelda Staunton, Gary Oldman, Helena Bonham Carter, Alan Rickman, Richard Griffiths, Jason Isaacs, Helena Bonham Carter, Robbie Coltrane, Brendan Gleeson, Fiona Shaw, Maggie Smith, David Thewlis, Emma Thompson, Julie Walters.
Year Of Release : 2007
Length : 140 Minutes
Synopsis: Voldemort is coming. With the Ministry Of Magic refusing to acknowledge this fact, Harry, Ron and Hermione must raise their own army from the students within Hogwarts, all without the permission of Dumbledore. As the return of the dark lord moves close, the pawns and players all make a move to position themselves in the right place for battle, for victory, for defeat.
Review: Stepping up to the plate, director David Yates delivers a genuinely enthralling installment in the Potter franchise. There are moments of triumph and despair, all encircling Harry in a much more adult storyline in keeping with the maturing of our characters in this, their fifth year at Hogwarts. The film still can't throw off it's literary origins, but is entertaining as a piece of cinema nonetheless.
The fifth installment in the Harry Potter franchise takes us into darker and darker places than anything that's come before it. When Harry and his cousin Dudley are attacked by Dementors from Azkaban, Harry saves him from certain death by using his magic: something which is forbidden in the real world by the Ministry Of Magic. Placed on trial, and defended by Dumbledore, political motivations running deeper within the Ministry seem to indicate a change of power balance at Hogwarts in on the cards.
From here on in kids, it get's a little darker…
As I've previously mentioned in other Harry Potter reviews, I've never read any of the JK Rowling books on which this series is based. Which allows me to look purely at the films subjectively, without the imaginative colouring of the books in the back of my mind. So I come to Order Of The Phoenix expecting a darker, more adult Potter than previous entries, only to discover not only that my expectations have been met, but exceeded. The film deals with substantially more adult themes this time around, especially in light of Cedric Diggory's (Twilight's Robert Pattinson) untimely demise at the hands of Voldemort in the Goblet of Fire. Voldemorts underlings are starting to position themselves in readiness for the return of the dark lord, and those who can see this happening are unable to do anything about it due to the Ministry of Magic's reticence to believe He-Who-Must-Not-Be-Named is actually coming back.
To counter the Ministry's belief that Dumbledore is raising a secret army to battle Voldemort, they send Dolores Umbridge to the school to undermine and counteract this insurgency. The bulk of the film is taken up with Harry, Ron and Hermione's battle to keep Umbridge from completely ruining Hogwarts, as she becomes increasingly more paranoid whilst there, removing teachers and putting up Ministerial decrees that make a mockery of freedom and common sense. Dumbledore grows increasingly distant, almost aloof from the evident Ministry interference, so Harry decides to build up an army from his fellow students to battle Voldemort upon his return.
Ahh yes, the old crew are back…
Order Of The Phoenix isn't exactly a great film. Let's be honest, it's really just a precursor to the films we want to see: The Deathly Hallows, which will deal with Voldemorts actual return. Here, as with Goblet Of Fire (and The Half Blood Prince), we're only seeing the bit-players jostling for position in the new order, a vague pseudo-political theme running through this film from start to finish. The problem with the Potter films is that they're building up to something greater, always building, never really giving us a true pay-off emotionally. Order's finale, in which Voldemort and Harry, as well as a reluctant Dumbledore, battle each other in the very heart of the Ministry of Magic, is awesome to watch, but holds very little real tension due to the serialised nature of the story. Order's story elements are merely window dressing to the big showdown.
The quality of the acting and production values in each successive Potter film have followed the same upwards trajectory, and Order is no different. The young tyro cast are now more comfortable in their characters' skins as well as performing in front of the camera, and director David Yates gives us an "interpretation" of the Potter mythos, rather than series' original director Chris Columbus' more slavish versions. What I was most impressed with with Yates' direction was his refusal to open and close each scene cleanly. What do I mean by that? Watching Columbus' first entries, Philosophers Stone and Chamber Of Secrets, and you get the sense that he takes every scene as one of momentous importance. A wide establishing shot opens each scene, cut to the action, and then a wide closing shot to go out on. Each scene, almost edited in template format, copy and paste each time. Yates, however, eschews the explanatory stuff and just dives into the action. There's no set-up, just go for it. Which was a shock at first, but enjoyable once I got used to it. No doubt driven by a compulsion to somehow get a thousand page novel into an audience-friendly length film, Order never lags or becomes slow during it's running time. It's a film containing only meat: there's no story fat to be found here. Which is a commendable effort on Yates' behalf.
The order unleashed…
Nicholas Hoopers re-working of John William's original themes for the music is solid, evolving into a darker, more melancholy score befitting the direction this film goes. Alongside DOP Slawomir Idziak's stunning lensing of Orders dark moments, and the aforementioned editing with Mark Day, this film is a production stunner.
Since I'm a critic (of sorts) I guess I should try and find something to complain about with Order Of The Phoenix. After all, I did say it wasn't a great film. If I had any complaints, it's perhaps the increasingly maddening stunt casting this franchise has stuck with, and it's hits home here. Gary Oldman look like he's mistaken Harry Potter for quality drama, and now wishes he'd recanted his agreement to appear as Sirius Black in the series. His performance reeks of "couldn't be bothered", and this bothers me. Helena Bonham Carter has performed the same type of role in a dozen other films (usually ones directed by eternal gloomy guts Tim Burton) and it's starting to get old. The rest of the series stalwarts do an admirable job, even if they're given very little to do here (Gambon especially seems bored with the whole thing now) and play second fiddle to the three main leads. Mind you, this is all really just nit-picking, and doesn't detract from the film overall.
You want to run that past me AGAIN??
About the only people who won't enjoy this film are those who go into it cold, without seeing the previous instalments. But let's face it, there won't be too many of those! Order Of The Phoenix feels exciting, if only for the fact that it's great to see this story starting to get to the meat of Rowlings epic story. It does lack real emotional depth, due perhaps to it's serialised nature, but on the whole is an entertaining trip into the darker side of the Potter universe.
10 Parallels Between Harry Potter and Education Reform
History of Beatrix Potter's Peter Rabbit
Harry Potter and the Order of the Phoenix (2007): original Telegraph review
12 Post-Potter Revelations J.K. Rowling Has Shared
The Potter Perceptions: The Deathly Hallows – Part 1 (2010)
FlixChatter Review – The Hunger Games: Catching Fire
Previous Movie Review – International, The
Next Movie Review – Defiance


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Maureen Daschel M.A.T. '87 has been named Outstanding Classroom Teacher by the Oregon Science Teachers Association. Dashel currently chairs the St. Mary's Academy science department, where she leads two of the school's most innovative science programs.


text:
package org.apereo.cas.adaptors.gauth;

import lombok.AllArgsConstructor;
import lombok.extern.slf4j.Slf4j;
import org.apereo.cas.adaptors.gauth.token.GoogleAuthenticatorToken;
import org.apereo.cas.otp.repository.token.BaseOneTimeTokenRepository;
import org.apereo.cas.otp.repository.token.OneTimeToken;
import org.springframework.data.mongodb.core.MongoOperations;
import org.springframework.data.mongodb.core.query.Criteria;
import org.springframework.data.mongodb.core.query.Query;

import javax.persistence.NoResultException;
import java.time.LocalDateTime;

/**
 * This is {@link GoogleAuthenticatorMongoDbTokenRepository}.
 *
 * @author Misagh Moayyed
 * @since 5.1.0
 */
@Slf4j
@AllArgsConstructor
public class GoogleAuthenticatorMongoDbTokenRepository extends BaseOneTimeTokenRepository {
    private final MongoOperations mongoTemplate;
    private final String collectionName;
    private final long expireTokensInSeconds;

    @Override
    public void store(final OneTimeToken token) {
        this.mongoTemplate.save(token, this.collectionName);
    }

    @Override
    public GoogleAuthenticatorToken get(final String uid, final Integer otp) {
        try {
            final Query query = new Query();
            query.addCriteria(Criteria.where("userId").is(uid).and("token").is(otp));
            final GoogleAuthenticatorToken r = this.mongoTemplate.findOne(query, GoogleAuthenticatorToken.class, this.collectionName);
            return r;
        } catch (final NoResultException e) {
            LOGGER.debug("No record could be found for google authenticator id [{}]", uid);
        }
        return null;
    }

    @Override
    protected void cleanInternal() {
        try {
            final Query query = new Query();
            query.addCriteria(Criteria.where("issuedDateTime").gte(LocalDateTime.now().minusSeconds(this.expireTokensInSeconds)));
            this.mongoTemplate.remove(query, GoogleAuthenticatorToken.class, this.collectionName);
        } catch (final Exception e) {
            LOGGER.warn(e.getMessage(), e);
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
The Cornell Daily Sun (https://cornellsun.com/2003/09/12/keeping-the-net-goal-free/)
Keeping the Net Goal-Free
In the women's soccer team's final league game against Princeton last November, goaltender Katie Thomas collided with another player while making a save in the second half. The hit left her with a concussion. But, dizzy and nauseous, she played the final 25 minutes anyway and finished with nine saves. That's just her style.
Despite Thomas' efforts, the Tigers won that contest, but the then-sophomore netminder was determined not to let the loss or a throbbing headache interfere with her main focus: winning the next game.
"I felt disappointed that we weren't able to pull off a victory," she said. "But I was extraordinarily proud of the intensity and courage our team played with for the entire 90 minutes. We'd just have to do better next time."
Now entering her junior year and a new season, Thomas hopes to help the women's soccer team improve on its 9-6-2 record from last year. And she has the talent, charisma, and mindset to do it.
In high school, the Northridge, Calif. native was the best in the business. In addition to playing for the Chaminade College Prep team, Thomas also tended goal for a club program that won the National Women's Open Cup Championship in 2000.
Can't top that? She also earned outstanding defensive player of the year honors for the entire state of California.
Those impressive credentials had schools around the country pining for her to join their program. But Cornell head coach Berhane Andeberhan knew he had to get her to choose Cornell.
"I was hired rather late for the year's recruiting cycle, which made it difficult," he recalled. "But when I got her to come, it gave us instant quality on the field and instant credibility in recruiting."
Thomas immediately made an impact for the Red. In her first fall on the Hill, the goalie played every minute of every game, recording 104 saves and maintaining a 1.25 goals against average. Those numbers netted her Ivy League Rookie of the Week twice, the team's Rookie of the Year Award, and All-Ivy honorable mention. Last year, she continued to improve, posting an .840 save percentage and dropping her goals against average to 0.96.
Presence of mind during games has contributed significantly to such successful campaigns. To those who don't know soccer well, it may appear that Thomas has a lot of dead time in between saves. On the contrary: she's always working.
From her vantage, she has a view of the entire field, which gives her the unique ability to direct the team as a whole. In offensive situations, she constantly communicates advantages to her teammates in the field who can't see the same picture. When the ball comes across half, however, her talents truly show. Thomas must constantly scan the field to make sure opponents are marked and that her teammates maintain their positions. She does all of that while keeping track of the ball and poising herself to cut off crosses and to stop shots from any angle.
"Katie is simply an excellent goalkeeper," said Andeberhan. "She rises to the occasion in games as well as any keeper I have coached."
But to Thomas, stats don't matter much; her team does.
"I'm completely flattered by any recognition I've received in the past two years, and I truly appreciate it," she said. "However, I know that any success I've had has also been a result of working with players who give everything they have all season to help me keep the ball out of the net."
Perhaps that modesty is why she has become such a popular leader — during games and off the field.
"She's a bright intellectual on the field, and when she makes great saves, she has a way of inspiring the whole team, and the level of play picks up," said Andeberhan. "Off the field, her friendliness, sense of humor, and love of cappuccino yogurt are a source of smiles."
Athleticism, humor, and exquisite culinary taste, too. What a package. And that's just what her coach thinks.
"I wouldn't trade her for all the tea in China."
Archived article by Everett Hullverson
Thousands Wait in Line for Hockey Tickets
One of the most highly anticipated events of the Cornell year was again marred with controversy this past weekend, as over 2,000 students lined up for the chance to purchase hockey season tickets Friday afternoon. This line, originating on Alumni Field, was the longest in history, according to Gene Nighman '81, director of athletic tickets and events. Despite an official announcement last week that the line would not begin until 4:45 Friday afternoon by Nighman, students began waiting as early as Wednesday evening in anticipation of the distribution. "It's definitely gone smoother than ever in terms of time it started until now," Nighman said Saturday night. There appeared to be a different opinion among those waiting in line though. "I believe that it was a little more organized last year. I don't understand why there's not a police officer here when it's only an hour and a half before the actual line starts," said Dan Schudroff '05. Around 4 p.m. Friday, several students began to rope off a section along the fence of Alumni Field adjacent to the Biotechnology Building. These students, led by Gabe Heafitz grad, did so in an attempt to control the traffic at the front portion of the line. Heafitz drew notoriety among the crowd with an impromptu speech he delivered urging students to join together in preventing others from entering the front of the line late in the day. "Now that we have the rope up, if anyone crosses that rope," he said. "I don't care if its your friend, I don't care if it's my mother. If she crosses this rope, I want you to look her right in the eye, and say, 'Simone, not on my watch.'" In addition, students near the front of the line loudly berated perceived intruders as the unofficial line began to lengthen to the far side of Alumni Field. For the most part, students seemed willing to cooperate with self-appointed line leaders such as Heafitz. There was, however, a fair amount of dissension to these same individuals. As the number of students in line increased Friday, some fans began to compile an unofficial list of those waiting in line. This attempt failed early Friday afternoon, as an unidentified student, pretending to add his name to the list, took the list and ran to a car waiting on Tower Road. The student was pursued by at least three line waiters. Other students expressed tremendous frustration at the fact that those who arrived closer to the pre-announced start time of 4:45 were turned away. The students controlling the line were also met with some resistance from others on the line. "I don't understand who these grad students are who are going through here trying to police it," Schudroff said. At 4:45, the front of the line shifted to the door behind the Ramin Room, and line numbers were distributed by the Cornell University Police Department to any student who was able to squeeze into a single-file line around the fence, This distribution was done regardless of the order in which the students arrived at the line. Line numbers were given to the first 800 people on the line, after which students were turned away. "We gave out a card holding a spot in line, and that prevented anyone from budging the line," explained Nighman. "It was a little token that if you didn't have this, we wouldn't give you a line number." Each line number entitled the holder to purchase up to two tickets, which left those beyond the 800 student cutoff to case the line looking for students who planned to only purchase a single ticket. Throughout the remainder of Friday evening, ticket office employees shifted students waiting outside at Alumni Field to inside the Ramin Room, where they would spend the night. Once inside, many students spread out chairs and coolers, while others laid out blankets and pillows to relax. Within an hour of the Ramin Room opening, a handful of living room couches and futons were sprinkled around the room. Even more televisions and stereos were powered by long extension cords throughout the room. Some televisions were connected to VCRs, others to DVD players and the rest to video game systems. A hockey theme pervaded many of the televisions, with The Mighty Ducks playing on one television and hockey video games on several others. Many students opted for popular movies, such as Gladiator or Ferris Bueller's Day Off. After the first line check, approximately 7:00 p.m., groups of students seemed to settle into their own routines. Lots of dinner deliveries were made, which left a large pile of pizza boxes and take-out containers around garbage cans placed around the Ramin Room. "We probably delivered 30 orders to the fieldhouse the first night alone," said Tim Carman, a D.P. Dough employee. Cornell hockey fans seem to have a preference, "I'd say the Buffalo Zone was the most popular with that crowd," Carman added. A Sports Illustrated photographer circled the room, occasionally snapping photos of students for an upcoming issue. Simultaneously, a band that featured a saxophone player and some acoustic guitars opened their set with a rendition of Stevie Wonder's "Superstition." The band played most of the time before the second line check at 9:00 p.m. After the third line check at 11:00 p.m., the crowd was allowed to leave before the checks resumed at 8:00 a.m. the next morning. Some students chose to spend the night instead of rising early to return the Ramin Room. The first line check on Saturday occurred just after 8:00 a.m. Ian Wang '04 had the early shift for his group of friends, "it was actually pretty nice in there early in the morning. It was really quiet since there wasn't as much action as the night before." Saturday unfolded much as Friday evening ended, with students settling into routines of watching various movies and playing card, board and video games. For much of the day, a bake sale was run along the side of the Ramin Room by Cornell cheerleaders. Members of the women's hockey team also circulated throughout the room selling hockey t-shirts to raise money for their team. Line checks continued roughly every two hours throughout the day. Around 2:30 in the afternoon, the men's hockey team performed a skating demonstration on special treadmills for the crowd. Senior captains Ryan Vesce and Ben Wallace were introduced to an appreciative audience by head coach Mike Schafer '86. The captains, in turn, introduced the rest of the team, which then dispersed to shake hands and pose for pictures with the crowd. The displeasure that permeated the line on Friday had largely abated by this point, and the crowd waiting in the Ramin Room was marked by decorum and calm. "From everything I've heard, the kids here have been pretty pleased with the process," said Nighman. The greatest issue that arose from the weekend was how to manage the large number of people who arrived earlier than the pre-announced official start time. "Cornell Police is not willing or authorized to disband any student gathering that is basically peaceful in nature. For the most part it was peaceful, and it was a large gathering," said Nighman. "The people who were getting in the line at [approximately] 4:30 [and] 4:45 were in effect causing a disruption in the student gathering. They were the people that the police would have had to take action against. It's a real complex situation." Many students, however, felt that the best way to solve the problem of the crowd was to just arrive early. Andrew Keisner '05 was the
first person on line for the second consecutive year. He arrived at Alumni Field at 6:00 p.m. Wednesday, and was asked to leave Thursday morning. "People were complaining that it didn't happen the way that Cornell publicized it. If they would have had faith and stuck it out, they would have not have been stuck at the back of the line," he said.Archived article by Owen Bochner
White Hall: 21st Century Renovation
With the snip of a decorative ribbon, President Jeffrey S. Lehman '77 officially opened the newly renovated White Hall to the public last Friday. The $12 million restoration of the historic building added a new central atrium, additional office space and various structural enhancements to the interior, while leaving the historic face of the building relatively untouched. Also among the additions are fully-equipped seminar rooms, central air conditioning and redesigned space intended to allow for more cross-department collaborations. "The renovation of the building is spectacular," said Prof. Ross Brann, chair of near eastern studies. The improved facilities have become the new home for the government, near eastern studies, English for Academic Purposes and art history departments. Those departments which relocated from other buildings are already up and running in their new location, as much of the move took place during last year's winter recess in order to allow for a smoother and less disruptive transition. The work on White is part of "a long term effort to bring together, around the Arts Quad, a set of core departments in the humanities and social sciences," said G. Peter LePage, interim dean of the College of Arts and Sciences, during last week's dedication ceremony. White is the third major Arts Quad building to receive such treatment. Prior renovations have focused on both Goldwin Smith and Lincoln Halls. Philip Lewis, former dean of the College of Arts and Sciences, made the restoration of White a central issue for the college during his years as dean. The actual work of the reconstruction began in 2001 and was carried out by the architectural firm Peter Gisolfi and Associates. White, which is situated near the northwest corner of the Arts Quad, shares with neighboring McGraw Hall and Morrill Hall the distinction of being one of the oldest buildings on campus. Collectively referred to as Stone Row, these buildings were built with stone quarried from the nearby base of Libe slope and comprised the very earliest incarnation of the University. Because of its historical significance, planners were unwilling to alter White's exterior stone walls, but were eager to update what Prof. Valerie Bunce, government, referred to as the "aesthetically challenged … inside." LePage praised the renovation as "faithful to the 19th century soul of the building while providing the infrastructure for a 21st century education." White was originally conceived as three separate buildings, two dorms flanking a central classroom area, which were separated by two impassable fire walls. Prior to the renovation students had to walk outdoors to travel from one side of the building to the other, an inconvenience that Lehman remembered vividly from his undergraduate days at the University. "We had to run down the stairs, out into the Quad, in the other stairs and up to move a total of about fifteen feet," said Lehman. The building was officially dedicated last Friday, in a short ceremony on the Arts Quad. Attendees gathered in a tent for remarks from faculty members, while the Cornell Trombone Choir provided a fitting tribute with a musical rendition of "Achieved Are the Glorious Works." Archived article by Jeff Sickelco

redpajama_set_name: RedPajamaCommonCrawl


Australia has the unique ability to combine sleek cosmopolitan urbanization with wide open beaches and deserts. The country is as much famed for cities such as Sydney, Melbourne, and Brisbane, as it is for "the bush" and "the Outback." What do you get when these two conflicting landscapes come together? A country that has the second highest Human Development Index (HDI) in the world, taking into account life expectancy, literacy, education, standards of living, and quality of life.
Interning in Australia is guaranteed to be a fun and exciting experience. Not only are the opportunities endless, the culture is fascinatingly multicultural. In Australia, your time outside of the office will be just as much of a learning experience as your time in the office.
Australia is a big country with a varied economy, increasing the chances of you finding the perfect internship that fits your career goals.
Environmental Science Research: Australia is known for its unique variety of wildlife and ecosystems, which makes it a great place for those interested in zoology, microbiology, and ecology. Internships can be found at different universities and research labs across Australia. The experience you gain during your research will undoubtedly enhance your resume and background for future job, research, and schooling applications.
Marketing and Public Relations: With internships in Australia available at top advertising, marketing, or public relations firms and departments, you will be able to expand your international work experience and knowledge. At your internship, you will learn through hands-on experience about creation, execution, evaluation, and transmission of various advertising media. Depending on your skills and interests, your tasks and projects could include promotions, sales, copywriting, or graphic design.
Fashion: In Australia, young and upcoming individuals in the fashion industry are welcome and celebrated. As a fashion intern in Australia, you will be exposed to a variety of tasks and projects, including merchandising, showroom prep, design, production, social media, trend research, marketing, and PR. Whatever part of the fashion industry you are trying to break into, Australia is the place to do it.
Information Technology: The Internet has definitely made the world a lot smaller. If you are looking into a career in computers or the web, international work experience is highly valuable. While interning in Australia, you can find opportunities for working on web design, social media, web development, programming, software updates, and systems engineering.
Internships in Australia are available throughout the year and all around the country. More business-oriented internships will be found in major cities such as Sydney, Melbourne, Brisbane, Adelaide, and Perth. If you're interested in wildlife or environmental research, you may find an internship by the Great Barrier Reef or in Western Australia.
In order to intern in Australia, you will need to obtain an Occupational Trainee Visa. This visa is specifically designated for visitors who wish to gain work experience in a structured workplace training program while in Australia. To apply for this visa, you will need your employer to sponsor and nominate you. Your employer must be a lawful Australian organization, a government agency, or foreign government organization. For more information, visit the website of the Department of Immigration and Citizenship. Be sure to pay close attention to the listed for both the sponsor and applicant.
With a large country such as Australia, the cost of living can vary quite a bit in different cities and parts of town. Overall, your cost of living will be higher in bigger cities such as Sydney, Melbourne, Brisbane, Adelaide, and Perth - especially in the center of these cities. On average, the rent per month for a one-bedroom apartment in the center of a large city in Australia is about AUD$1,500. On the other hand, rent for a one-bedroom apartment in the suburbs averages around AUD$1,000. Be sure to check out the ; the Australian Government's internationally competitive, merit-based scholarship program!
Etiquette: Australians are known for being very down-to-earth; they value sincerity, honesty, and modesty. A sense of humor is also usually helpful in Australian society. Greetings are casual and usually consist of a handshake and a smile. While it is common for Australians to greet each other with "G'day" or "G'day mate," it may seem patronizing from foreigners. The Australian business culture is quite straightforward and direct.
Language: In Australia, the main language is English. However, the Australian vocabulary, slang, and accent can take some getting used to. In fact, the Australian Government has a page dedicated to the . The page includes how many phrases came about and some useful links to help you while in Australia.
Networking: Since Australia has a relatively small population, relationship building is quite important. Networking in Australia is usually informal; it may occur during work hours or during lunch or dinner. However, there are also networking organizations such as and .
Internships in Australia are generally known as "work experience." Be sure to watch out for unpaid internships; these are legal but must include benefits for you and commercial gain for the company, and may not last longer than certain periods of time in some regions.


text:
Red Bull: A Bit of Messing Around Held Everyone Up
Alex Albon: "Although I'm still learning what the car needs to be really quick, it felt good before the final run in Q3. I was fighting for P4 or P5 on the grid but then we got the red flag and the lap was compromised. On the second lap it was more of a priority for us to put in a good time but the guys who had already done a lap could afford to be a bit slower. Everyone came out too late because no one wanted to be in front as we all wanted the slip steam and that created a delay. These cars have quite a lot of drag so getting a tow can gain you an extra two or three tenths which you need to get up the field. I was trying to pass the other cars but because everyone was weaving down the straights to keep the tyre temperature up as we were going so slow, it got backed up and it became impossible to overtake. I realised by Turn 4 that it was going to be difficult to make it. When we all knew time was running out everyone suddenly picked up their pace, so we were almost flat out by the end of the lap. We should have taken less risk on the second run, but we were fighting for a top five position. It's frustrating as getting a good position in qualifying would have made tomorrow's race a lot easier but I had good pace yesterday so there is everything to fight for."
Max Verstappen: "Qualifying didn't exactly go to plan. I wanted to go out and do one lap to see how competitive we were in Q1, even though we are starting at the back because of the penalty, but out of Turn 2 I felt a loss of power and we chose to abort the lap. I'm not worried about the power unit for tomorrow as we haven't seen problems in the race before and the upgrade seems to be working well in terms of performance as you could see from our times in FP3. In the dry it will be pretty tough tomorrow as the leaders should be able to pull away quickly in the first few laps and there are a lot of cars that look competitive around here. On a track where there aren't many corners and the lap times are so similar it is harder to close that gap, but in the wet the differences are normally a bit bigger and then we can definitely move to the front. Rain tomorrow would give us a better chance but even in the dry we have a good race car so it should be fun and I'm aiming for the top five."
Christian Horner, Team Principal: "Going into qualifying Max was always due to take a penalty so he only attempted one run in Q1 as per the plan, but he experienced a spike in revs on the kerb at Turn 2 which meant he felt a loss of power and as a precaution he aborted the lap. Alex progressed through Q1 without any issue and in Q2 he looked to have reasonable pace in the car. In Q3 Raikkonen spun causing a red flag during Alex's first run while he was around half a second up on his previous best so he did not record a time. A bit of messing around from many drivers on the out lap of the final run in Q3 held everyone up meaning Alex was unable to record a lap which is frustrating as he had good pace in the car today."
auto racingcircuitf1formula 1formula onegrand prixitalian gpitalian grand prixMonzamotorsportqualifyingred bullreportround 14round fourteenseasontrackweekendworld championship
Alfa Romeo: We Could Have Achieved More
Mercedes: We Are in a Good Position


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Our main goal here at LocalPortaPotty.com is to connect customers with the best local portable sanitation providers. We only partner with local porta potty companies who have a track record of offering affordable products and reliable service.


text:
package control

import (
	"io/ioutil"
	"os"
	"path/filepath"

	log "github.com/Sirupsen/logrus"

	"github.com/codegangsta/cli"
	machineUtil "github.com/docker/machine/utils"
	"github.com/rancher/os/config"
)

const (
	NAME string = "rancher"
	BITS int    = 2048
)

func tlsConfCommands() []cli.Command {
	return []cli.Command{
		{
			Name:      "generate",
			ShortName: "gen",
			Usage:     "generates new set of TLS configuration certs",
			Action:    tlsConfCreate,
			Flags: []cli.Flag{
				cli.StringSliceFlag{
					Name:  "hostname, H",
					Usage: "the hostname for which you want to generate the certificate",
					Value: &cli.StringSlice{"localhost"},
				},
				cli.BoolFlag{
					Name:  "server, s",
					Usage: "generate the server keys instead of client keys",
				},
				cli.StringFlag{
					Name:  "dir, d",
					Usage: "the directory to save/read the certs to/from",
					Value: "",
				},
			},
		},
	}
}

func writeCerts(generateServer bool, hostname []string, cfg *config.CloudConfig, certPath, keyPath, caCertPath, caKeyPath string) error {
	if !generateServer {
		return machineUtil.GenerateCert([]string{""}, certPath, keyPath, caCertPath, caKeyPath, NAME, BITS)
	}

	if cfg.Rancher.Docker.ServerKey == "" || cfg.Rancher.Docker.ServerCert == "" {
		err := machineUtil.GenerateCert(hostname, certPath, keyPath, caCertPath, caKeyPath, NAME, BITS)
		if err != nil {
			return err
		}

		cert, err := ioutil.ReadFile(certPath)
		if err != nil {
			return err
		}

		key, err := ioutil.ReadFile(keyPath)
		if err != nil {
			return err
		}

		cfg, err = cfg.Merge(map[interface{}]interface{}{
			"rancher": map[interface{}]interface{}{
				"docker": map[interface{}]interface{}{
					"server_cert": string(cert),
					"server_key":  string(key),
				},
			},
		})
		if err != nil {
			return err
		}

		return cfg.Save() // certPath, keyPath are already written to by machineUtil.GenerateCert()
	}

	if err := ioutil.WriteFile(certPath, []byte(cfg.Rancher.Docker.ServerCert), 0400); err != nil {
		return err
	}

	return ioutil.WriteFile(keyPath, []byte(cfg.Rancher.Docker.ServerKey), 0400)

}

func writeCaCerts(cfg *config.CloudConfig, caCertPath, caKeyPath string) (*config.CloudConfig, error) {
	if cfg.Rancher.Docker.CACert == "" {
		if err := machineUtil.GenerateCACertificate(caCertPath, caKeyPath, NAME, BITS); err != nil {
			return nil, err
		}

		caCert, err := ioutil.ReadFile(caCertPath)
		if err != nil {
			return nil, err
		}

		caKey, err := ioutil.ReadFile(caKeyPath)
		if err != nil {
			return nil, err
		}

		cfg, err = cfg.Merge(map[interface{}]interface{}{
			"rancher": map[interface{}]interface{}{
				"docker": map[interface{}]interface{}{
					"ca_key":  string(caKey),
					"ca_cert": string(caCert),
				},
			},
		})
		if err != nil {
			return nil, err
		}

		if err = cfg.Save(); err != nil {
			return nil, err
		}

		return cfg, nil // caCertPath, caKeyPath are already written to by machineUtil.GenerateCACertificate()
	}

	if err := ioutil.WriteFile(caCertPath, []byte(cfg.Rancher.Docker.CACert), 0400); err != nil {
		return nil, err
	}

	if err := ioutil.WriteFile(caKeyPath, []byte(cfg.Rancher.Docker.CAKey), 0400); err != nil {
		return nil, err
	}

	return cfg, nil
}

func tlsConfCreate(c *cli.Context) {
	err := generate(c)
	if err != nil {
		log.Fatal(err)
	}
}

func generate(c *cli.Context) error {
	generateServer := c.Bool("server")
	outDir := c.String("dir")
	hostnames := c.StringSlice("hostname")

	return Generate(generateServer, outDir, hostnames)
}

func Generate(generateServer bool, outDir string, hostnames []string) error {
	cfg, err := config.LoadConfig()
	if err != nil {
		return err
	}

	if outDir == "" {
		if generateServer {
			outDir = "/etc/docker/tls"
		} else {
			outDir = "/home/rancher/.docker"
		}
		log.Infof("Out directory (-d, --dir) not specified, using default: %s", outDir)
	}
	caCertPath := filepath.Join(outDir, "ca.pem")
	caKeyPath := filepath.Join(outDir, "ca-key.pem")
	certPath := filepath.Join(outDir, "cert.pem")
	keyPath := filepath.Join(outDir, "key.pem")

	if generateServer {
		certPath = filepath.Join(outDir, "server-cert.pem")
		keyPath = filepath.Join(outDir, "server-key.pem")
	}

	if _, err := os.Stat(outDir); os.IsNotExist(err) {
		if err := os.MkdirAll(outDir, 0700); err != nil {
			return err
		}
	}

	cfg, err = writeCaCerts(cfg, caCertPath, caKeyPath)
	if err != nil {
		return err
	}
	if err := writeCerts(generateServer, hostnames, cfg, certPath, keyPath, caCertPath, caKeyPath); err != nil {
		return err
	}

	if !generateServer {
		if err := filepath.Walk(outDir, func(path string, info os.FileInfo, err error) error {
			return os.Chown(path, 1100, 1100) // rancher:rancher
		}); err != nil {
			return err
		}
	}

	return nil
}


When it comes to good steak, there is no such thing as too much. I can't help it, I love the stuff. I was raised on it, and I mean that literally. I spent the first 7 years of my life on a beef cattle farm in Ontario, where my parents, both city kids by birth, raised cows and showed horses. When asked as a young child what my favourite food was, my answer was inevitably steak. I asked for steak every year for my birthday dinner, and although I was a tiny child and a very picky eater, I could pack back a 12 ounce, medium-rare steak in a matter of minutes. I still can. It's one of my rare hidden talents.
It wasn't until later in life that I marveled that my parents were adventurous enough as newlyweds to purchase a farm and set about learning how to run one. The cattle part was probably fairly straightforward…feed them enough grass and hay, pasture them during the day, and make sure they were warm at night and during the long Canadian winters. But the showing horses part always makes me shake my head with wonder. I am sure they had ridden horses when they were younger, but they not only raised and rode the horses on the farm, they actually trained them and entered them in horse shows all over Ontario and parts of the US. And got very proficient at it, my father at one time being the Barrel-Racing champ of his Paint Horse Association. My summers were spent running in packs with other kids on the dusty grounds of horse shows, watching races and generally wreaking havoc. The freedom we had back then was astonishing.
And then we moved into the city and I became a city kid through and through. I still am a city kid, and I can't for the life of me imagine taking on the responsibility of running a farm and raising cows and horses. Nor would I want to. But I admire my parents greatly for their sense of adventure in doing so. It sometimes makes me see them in a different light, to imagine them as young 20-somethings, tackling a lifestyle so different from the one they grew up with. Amazing, truly.
And if I have one lasting legacy from my days on the farm, it is my love of steak. This recipe is a delicious way to serve leftover steak…if you have any. If I was in your family, there would never be any leftovers. Although I might be able to make an exception for this. I adore steak salad, and top it with a browned butter sauce with mushrooms and sage? Heavenly.
Sprinkle steak with salt and pepper, and grill or broil to desired doneness (medium or medium-rare).
In a large skillet over medium heat, melt butter and cook until it is just beginning to brown, about 3 to 4 minutes.
Add mushrooms and sage, and saute until fragrant and sage is crispy, 4 minutes more.
Divide spinach between 2 large plates and arrange sliced steak over top.
Pour mushroom sauce over each and sprinkle with salt and pepper, if desired. Serve immediately.
Serves 2. Each serving has 7 g of carbs and 3 g of fiber. Total NET CARBS = 4 g.
This too funny. I actually have leftover steak, mushroom and spinach salad packed for my work lunch today. It was a restaurant filet; I finished mine, my big husband did not, and now its mine, lol. I could probably eat a 16 oz. steak. If I had access to a stove at work, it wouldn't be blue cheese dressing in my dressing container. This is absolutely inspired!
We love steak salads for dinner…I never thought about using mushrooms and browned butter..omg, over the top!
This salad looks delicious!! And I love the story about your parents.
Brown butter is always the best way to cook mushrooms. Oh this looks so good!
mushrooms and steak is perhaps my favorite combination in the world. I like to make a quick pan sauce with cream, garlic and mushrooms, but I will definitely be trying out your sage brown butter mushrooms. Sage is such a great, earthy herb!
This whole things works for me Carolyn! I love steak salad!
Wow, your timing is impeccable! I have leftover steak from grilling last night, and it's just a tad dry, so I've been wondering what would make a good sauce to moisten it up a bit. This is perfect – thank you!! How did you know?
Hubby would love to have a farm and raise cattle if it wasn't for all the hard work involved. Kudos to your parents for embracing that lifestyle. It's tough. I'm with you on the steak love all the way through that 12-ounce medium rare piece. I can't get enough of it. Topping it with mushroom brown butter? Wow.
This sounds delicious! I love the story about your parents, that's a gutsy move to take on that responsibility..
Carolyn, this looks so good! I think I will share it with my husband so he can cook it for me!
I am making this for dinner tonight, and I can't wait to eat it!


Born in Sydney, Adamson played college baseball at Angelo State University in Texas, USA, and earned First Team All-Lone Star Conference honours in 2010 after hitting .407 that season. While playing for the Rams, Adamson was also a two-time NCAA Division II All-American, the second He was also named to Angelo State's all-decade team in March 2014, as a part of celebrating the tenth anniversary of the school's baseball program.
A longtime member of the Bite, 2014/15 marks Adamson's fourth season in Adelaide, where he has a lifetime .226 batting In addition to filling in behind the plate this season, Adamson will serve on manager Brooke Knight's staff as bench coach as he transitions his career from player to coach. When not on the diamond, Adamson also works alongside Bite teammate Darren Fidge at the Australian Institute of Fitness, as a Fitness Course Crusader for Adelaide.


text:
Ryanair share price suffers sharp drop after it releases pessimistic traffic outlook
©Ryanair
Shares in Ryanair tumbled 8% as a consequence of Europe's largest low-cost carrier announcing that it has reviewed its annual passenger target downwards by 25%, despite the figures for the lockdown quarter of April-June coming through at better-than-expected levels.
Having cut 99% of its capacity as a consequence of the COVID-19 pandemic, the carrier posted a post-tax loss of €185 million (US$216.54 million) for the April-June quarter, the company's first financial quarter for 2021-22.
Projections now show the carrier anticipates to fly 60 million passengers by March 31 2021, as opposed to a previously estimated 80 million, both figures massively down from the 149 million passengers it flew last year.
"Our full-year guidance of 60 million passengers is tentative at this point in time and it could go lower," Group Chief Executive Michael O'Leary announced in a video presentation. "A second wave of COVID-19 cases across Europe in late autumn … is our biggest fear right now," he added. In addition to hub closures at Frankfurt, Dusseldorf and Berlin, unless cuts are agreed by staff, Spain and Italy hubs will also close.
The latest changes to British quarantine regulations in relation to passengers returning from Spain has further hit Ryanair. Revenue was down 95% in the first quarter, while costs were down by 85%, but it anticipates flying 60% of its normal schedule in August and 70% in September, while operating at 70% capacity for the months of August and September, according to O'Leary.
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The culmination of the International Conference for Free Speech and Human Rights on July 9 2012 was the reading and signing of the Brussels Declaration.
The Declaration sets up a global strategic line of action against the worldwide Islamic enforcement program for Shariah Law.
In the video below, Alain Wagner introduces the document, after which I read the text of the resolution, and then Elisabeth Sabaditsch-Wolff reads the eight requirements demanded of our governments.
The signing of this document marks the beginning of the Brussels Process, an ongoing initiative which aims to protect free speech and individual liberty from being undermined by proponents of Shariah Law.


Sankt Moritz, realization of interior and exterior Photorealistic rendering in HD.
To achieve this, in Sankt Moritz, we specialize in photorealistic images of excellent quality production, we manage the entire creative process, from design and 3D reconstruction of environments and scenes, their realistic three-dimensional display with lights, shadows and materials to achieve a high level of realism.
The study, in Sankt Moritz, offers real estate marketing solutions for 3D presentations of the project, architectural studies or feasibility studies.
In Sankt Moritz we realize photorealistic rendering, after Preliminary processing of the complete scene, begins the phase of render that adds texture bitmap or procedural texture, lighting, bump mapping, and positions relative to other objects. The result is a complete image that you can see.
Sankt Moritz, modeling in ArchiCAD or AutoCAD, rendering with 3ds max + vray, postproduction with Photoshop.
The study provides, in the province of Sankt Moritz, a professional service of creating interior and exterior photorealistic 3D Render (interior and exterior) in HQ, we specialize in the effective presentation of the projects, to help the customer, be it architectural firm or private, to obtain a product easy to sell and greater visual appeal.
Sankt Moritz 3D render Photorealistic render interior and exterior vray.


text:
Music Platform Color Red Is Chronicling Denver's Jam Scene
Elle Carroll
| Business |
Elle Carroll | March 6, 2019 | 2:55am
Matador! Soul Sounds records at Color Red.
Jim Mimna
"The title of the article should be, 'Hard to get him to sit still.'"
It's a sunny, slushy afternoon in February, and Color Red co-founder Zachary Bloom is in the mood to editorialize. He's referring to fellow co-founder Eddie Roberts, who has just sprung from his chair to let members of the Mike Dillon Band into Color Red's house-slash-headquarters just north of City Park on Colorado Boulevard.
It's all happening very last-minute, though that's not unusual for Color Red. The previous night, Roberts offered a bedroom to a touring DJ at Cervantes' who found himself snowbound. Between three bedrooms upstairs and a kitchen and dining room on the main floor, there's plenty of space. The beating heart of the music distribution company, aka the control room and recording studio, is located in the basement.
Blake Brown & the American Dust Choir Look for the Light
Firstimers' Love Affair With the Lion's Lair
Jam in Splendor at Leftover Salmon's Boogie at the Broadmoor
Color Red headquarters.
It's all close together, and it's all intentional. Roberts's vision for Color Red centered on a space where musicians could not only write and record, but also stay the night. Recent guests include members of Freekbass, who collaborated with Roberts for the second half of a forthcoming album. Roberts engineered and produced the session, then ended up playing guitar on several tracks.
If retro soul has a look, Eddie Roberts fits the part. He's tall, with coiffed hair and a neatly trimmed beard. On stage, he wears paisley shirts and tailored blazers behind his 1965 Gibson 330. He left his native Wales in 1989 at age eighteen to study jazz at Leeds College of Music, started the first incarnation of the Mastersounds. In 1999 he recruited fellow Leeds scenesters to create the New Mastersounds, initially meant to complement DJ sets at the Cooker.
Twenty odd years and a slew of studio and live records later, Roberts and company — a core lineup of four players, plus a rotating cast of guest musicians — are settling nicely into musical middle age. Roberts is the only member living stateside, and he commutes between Denver and Washington, D.C., where his wife is studying law at Georgetown University. He jokes that he's merely a dutiful house husband while in D.C., though he's sincerely grateful for the time away to focus on mixing and mastering.
"It's quite nice being able to go into D.C. right now and step out of it for a second. I don't know anyone there, which is great. I know too many people here," he says with a laugh.
Nevertheless, members of the New Mastersounds remain individually and collectively prolific, having just released a full-length followup to 2016's live-in-studio album The Nashville Session. Their forthcoming record, which the band debuted live and in its entirety at an Ogden show last December, is currently being mixed. Once released, it will be the New Mastersounds' first full-length album on Color Red.
But Color Red isn't just a vehicle for Roberts's music. When he moved to Denver four years ago, he was gobsmacked to discover the quality and breadth of the jam community — and subsequently determined to harness it off stage.
The Color Red control room.
Mike Tallman
"I saw all this amazing stuff going on, and there was nobody capturing it. There was nothing representing the scene here," he says. "I just thought it was something that the world should see, should hear."
So he consulted Bloom, then living in New York and working as a product manager at TuneCore, a digital music distribution and publishing firm. Bloom agreed to move to Denver and handle the digital side of things. "I wouldn't have even attempted this if I didn't have Zach," says Roberts. "I know how to make good music, I know how to make it quick, I've got a great network, I've got good ideas and visions for it, but in terms of getting it out, how to monetize YouTube, I have no clue — and I don't want to have a clue."
With Bloom officially on board, Roberts forged ahead with his idea: to create a full-fledged media platform of original soul and funk releases available to stream and (in certain cases) purchase on vinyl, accompanied by in-session video, interviews and behind-the-scenes featurettes. There are no exclusive contracts, Roberts signs off on every single release, and Color Red maintains a steady stream, dropping one new track each week.
As for a model, Roberts's strategy for Color Red is akin to that of longstanding jazz establishment Blue Note Records or Jack White's Third Man Records, distinguished in that their fan bases revolve around a trust in the label's taste over any individual roster artist's work.
"We're trying to sell music on the strength of the label and the brand so that people recognize Color Red as quality, as a go-to, as a tastemaker kind of label," Roberts says. "You go into a store and you see a Blue Note record. You buy it because it's a Blue Note record. You go, 'Yeah, I've never heard of this sax player.' Then you put it on and it's amazing, of course, because it's Blue Note Records."
Like Blue Note, Color Red is branding itself through deliberate aesthetic unity, both visual and aural. Every single Color Red release is recorded straight to a Tascam 388, an eight-track tape recorder with a cult following among producers. Roberts claims it captures the immediate live feeling inherent to great funk while rounding out the drum sound.
Mike Tallman, the company's creative director, designs the record covers, with the sleek Color Red logo, bold typography, '60s and '70s color palettes, and retro design schemes. Analog Son's Funky Mother channels the psychedelic concert posters of the Summer of Love, while Bobby's Boogaloo, by W.R.D., a collaboration of Roberts, Break Science drummer Adam Deitch and Greyboy Allstars keyboardist Robert Walter, mimics the classic Christmas album covers of the '50s.
Beyond one-off releases, Roberts is expanding the brand into special long-term projects released over a series of months. The first, Death by Dub, brings together a local reggae supergroup including musicians from Elephant Wrecking Ball and the Motet. The second, Electric Beethoven, is a Reed Mathis-helmed thought experiment reimagining Beethoven's work as though the composer were alive, well and working in a contemporary jam scene. Each project puts out one track per month.
Roberts says these projects are just the beginning. In the pipeline: live events, remixes from international producers meant to meld the worlds of electronic and funk, more special series and possibly some version of a subscription model for committed listeners. Not that Roberts got into this business to get rich.
"I don't think you can ever make music with the idea of making money. You make music because you want to make music. And if you make money out of it, so be it," he says. "I've done well out of it. I've sustained a great living for 25 years. But I've done it by focusing on making music, not focusing on making money. We'll see if I manage to run this company."
Elle Carroll is a writer and photographer based in Denver. She has written for Westword since 2016.
Twitter: @itsellecarroll
Instagram: mosh_spice


text:
is een Japans voormalig voetballer die als aanvaller speelde en voetbaltrainer.

Carrière
Horii begon zijn carrière in 1971 bij Yanmar Diesel, de voorloper van Cerezo Osaka. Met deze club werd hij in 1971, 1974, 1975 en 1980 kampioen van Japan. In 16 jaar speelde hij er 204 competitiewedstrijden en scoorde 46 goals. Horii beëindigde zijn spelersloopbaan in 1987.

In 1986 werd hij bij Yanmar Diesel assistent-trainer. Hij tekende in 1996 bij Gamba Osaka. In 2001 werd hij bij Kawasaki Frontale trainer.

Externe link
J.League

Japans voetballer
Japans voetbalcoach

redpajama_set_name: RedPajamaWikipedia


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U.S. Figure Skating is the national governing body for the sport of figure skating in the United States. It is recognized as such by the United States Olympic & Paralympic Committee "USOPC" under the Ted Stevens Olympic and Amateur Sports Act and is the United States member of the International Skating Union ("ISU"). Although the name of the organization is "the United States Figure Skating Association" it is now known as and conducts business under the name "U.S. Figure Skating." Founded in 1921, U.S. Figure Skating regulates and governs the sport and defines and maintains the standard of skating proficiency. It specifies the rules for testing, competitions, and all other figure skating related activities. U.S. Figure Skating promotes interest and participation in the sport by assisting member clubs, skaters, and athletes, appointing officials, organizing competitions, exhibitions, and other figure skating pursuits, and offering a wide variety of programs.

Athletes and officials who represent the United States at international figure skating competitions are selected by U.S. Figure Skating.

The Association is a non-profit organization.

History

In 1921 the United States Figure Skating Association was formed and became a member of the International Skating Union. At the time of its formation, the Association was composed of seven (7) charter member clubs including: Beaver Dam Winter Sports Club, The Skating Club of Boston, Chicago Figure Skating Club The Skating Club of New York, Philadelphia Skating Club and Humane Society, Sno Birds of Lake Placid, and Twin City Figure Skating Club (which became the Figure Skating Club of Minneapolis in 1929).

Since its inception through 1947, the governance activities of the Association were centered in New York City. The annual Governing Council meetings, as well as the annual Executive Committee meetings, were all held in New York City. In 1949 the Association transferred its offices to Chicago, Illinois. The offices were again moved, this time to Boston, in 1950. In 1979, the Association moved into its current headquarters in Colorado Springs, Colorado. This followed the USOC's move to Colorado Springs a year earlier in July 1978.

In the 1930s, the Association made an effort to increase the number of competitive events by creating the three sectional championships, Eastern (1938), Midwestern (1933), and Pacific Coast (1936).

In 1959, the Eastern and Pacific Coast Sections expanded their qualifying competitions by adding three Sub-Sectionals Championships each. The Eastern Section created the New England, North Atlantic, and South Atlantic Regions, while the Pacific Coast Section established the Central Pacific, Northwest, and Southwest Pacific Regions. It wasn't until 1962 that the Midwestern Sectional finally added their regional championships to the qualifying competition cycle.

The abbreviated name, "USFSA" was first used in April 1921 and trademarked in 1972. The distinctive shield logo was adopted in 1964 and used until 2003 when U.S. Figure Skating instituted its current logo.

In 2006, the Executive Committee was eliminated. At the same time the Board of Directors was reduced to sixteen members from its previous 29 members.

As of May 5, 2007, the Association officially adopted the name "U.S. Figure Skating" and dropped the abbreviated name of "USFSA".

Governance
U.S. Figure Skating is an association of clubs, governed by its members and its elected officers at national, regional and club levels. As of June 2011, U.S. Figure Skating had 688 member, collegiate, and school-affiliated clubs and a membership of 180,452. Each member club may send delegates to the annual Governing Council meeting.

Governing Council
U.S. Figure Skating has a representational government. Clubs and individual members appoint delegates. The number of delegates representing a club and the individual members depends on the prior year's paid registered member. Athlete delegate representation is required to be 20 percent of the prior year's registered delegate and proxy votes. Collectively these delegates meet annually (typically early May) to review, amend and ratify the actions taken by the Board since the prior year's Governing Council. This annual meeting of the appointed delegates is called the Governing Council.

Board of Directors
The Board of Directors is charged with the management of the business and affairs of U.S. Figure Skating. It is currently composed of sixteen (16) members including: the president, three (3) vice presidents (one from each section), the secretary, the treasurer, four (4) group coordinators, two (2) coaches, and four (4) athletes.

Presidents
Samuel Auxier is the current president of U.S. Figure Skating. He began his term in 2022. The prior presidents are listed below.

Past presidents

Committees
Committees, in particular the Permanent Committees, are responsible for proposing and enforcing the rules of the U.S. Figure Skating. Other special committees may undertake other projects, such as nominations and other ad hoc matters.

Permanent committees
The following table shows the Association's permanent committees:

Mission statement
"As the national governing body, the mission of the United States Figure Skating Association is to provide programs to encourage participation and achievement in the sport of figure skating on ice."

Operations

Executive Director
The Executive Director is responsible for the day-to-day operations of U.S. Figure Skating. Mr. David Raith is currently serving in that capacity and has done so since 2005. He is charged with carrying out the policies, programs, and goals of the association as approved by the Board of Directors.

Departments
The departments that support U.S. Figure Skating's operations reside at its headquarters in Colorado Springs, CO. These departments are staffed by full-time employees. They administer and manage the association's day-to-day affairs.

Finance
The Association is a non-profit organization. As of June 30, 2011, U.S. Figure Skating had revenue, support, and gains of approximately $24.9 million derived primarily from dues, admissions and activity fees, skating events, sponsorships, broadcast and licensing, publications, grants, and other sources.  The association expended approximately $12.9 million on its various programs and services plus an additional $2.4 million on management and general administrative expenses, under which the departments listed under the "Operations – Departments" are included.

Officials
Member clubs arrange to hold test sessions and competitions. The competitions are conducted under the supervision and authority of U.S. Figure Skating appointed officials. The member club (for competitions, the club is sometimes called the local organizing committee or "LOC") is responsible for many of the ancillary functions of the test session or competition (registration, transportation, event monitoring, hospitality, messengers, copying, etc.). For national and international events, U.S. Figure Skating headquarters staff also provides logistics and event support. The officials are responsible for actually running the test sessions, competitions, and associated individual events. All the officials at test sessions and competitions are unpaid volunteers.

Officials receive their appointments from U.S. Figure Skating after demonstrating a certain level of proficiency, and in some cases, after trialing or taking written examinations. In most cases, officials are appointed at three (3) levels; regional, sectional, and national.

Below is a list of officials at a typical large competition. For the 2012 U.S. Figure Skating Championships, 70 officials were assigned along with over 50 alternate officials. The parenthetical number is how many people were assigned to the respective positions. If there is no number, only one person was assigned.

Organization
U.S. Figure Skating's members, clubs, and qualifying competitions are divided into three (3) geographical sections, that are further divided into nine (9) regions.

Eastern Section

1Erie, PA
2excluding Erie, PA

Midwestern Section

1excluded for Synchronized only
2Upper Peninsula
3Lower Peninsula
4excluding Kansas City and St. Joseph's
5excluding Chattanooga
6Kansas City and St. Joseph's

Pacific Coast Section

1all cities north of and including Visalia
2for Synchronized only
3all cities south of Visalia
4Las Vegas
5excluding Las Vegas

Types of membership
U.S. Figure Skating has nine (9) types of membership:

U.S. Figure Skating programs
U.S. Figure Skating offers many programs to accommodate a wide range of skill and interest levels.

Testing
Testing allows figure skaters to demonstrate that they have achieved a certain level of skating proficiency. Tests progress in increasing difficulty and focus on power, strength, speed, quickness, flow, extension, and edge quality and control. Tests are conducted under the auspices of member clubs and administered during test sessions. Usually, three (3) test judges (the judge panel), of appropriate level, determine the outcome of the tests on a pass / retry basis. Tests up to a certain level may be judged by a single, sufficiently qualified, judge. Some higher-level dance tests require judges certified in dance judging to attend. The member club is responsible for reporting the results to U.S. Figure Skating. U.S. Figure appoints test judges at various levels (bronze, silver, and gold) based on trial judging and their judging experience. According to their level, test judges are qualified to determine the outcome of increasingly difficult tests. Test judges are invited by the member club to participate in a given test session. Skaters' testing levels passed determines at what level they may compete. For qualifying competitions, skaters must pass the free skate test at the level for which they intend to compete. U.S. Figure Skating still offers tests in compulsory figures, however, this discipline was last competed at a national championship competition in 1999.

Singles and adult skaters must show they are proficient at a given level by passing two (2) tests at each level, moves in the field ("MIF") and free skate ("FS"). Additional test are conducted in the pairs skating, free dance and pattern dance discipline. Each member of a synchronized skating team must pass the appropriate test of single's competitor.

Tests must be completed in the order of increasing difficulty. They may not be taken out of turn. However, a singles skater may take as many moves-in-the-field tests before taking any free skate tests. Once a free skate test is passed, a competitor may only compete at that level at qualifying competitions. There are four (4) test levels specific to adult figure skating. Adult skater must be twenty-one (21) years of age or older.

Standard track levels

1The test panel consists of three test judges of these levels or higher, appointed in single/pairs or dance for MIF or in single/pairs for FS.
2The test panel consists of three dance test judges of these levels or higher.
3A single bronze or higher test judge, appointed in single/pairs or dance for MIF or in single/pairs for FS, may also judge this level.
4A single silver or higher test judge, appointed in single/pairs or dance for MIF or in single/pairs for FS, may also judge this level.
5A single silver or higher dance test judge may also judge this level.

Adult track levels

1The test panel consists of three test judges of these levels or higher, appointed in single/pairs or dance for MIF or in single/pairs for FS.
2The test panel consists of three dance test judges of these levels or higher.
3A single bronze or higher test judge, appointed in single/pairs or dance for MIF or in single/pairs for FS, may also judge this level.
4A single silver or higher dance test judge may also judge this level.
5A single silver or higher test judge, appointed in single/pairs or dance for MIF or in single/pairs for FS, may also judge this level.

Pattern dance
The Compulsory dance was renamed pattern dance.

Each level of pattern dance, with the exception of international, consists of three or four individual dances. Preliminary skaters must pass the Dutch Waltz, Canasta Tango, and Rhythm Blues, while gold-level skaters must pass the Viennese Waltz, Westminster Waltz, Quickstep, and Argentine Tango. There are currently ten dances at the international level.

1The test panel consists of three dance test judges of these levels or higher.
2The test panel consists of one or three dance test judges of these levels or higher.
3A single bronze or higher dance test judge may also judge this level.
4A single silver or higher dance test judge may also judge this level.

Synchronized skating

Synchronized skating teams are not required to pass any tests as a whole. Each individual team member must have passed the appropriate moves-in-the-field test.

1Preliminary moves in the field, dance, or figure is also acceptable.

Qualifying and international competitions

Every year, U.S. Figure Skating sanctions numerous non-qualifying competitions, shows, and carnivals. In addition, it annually sanctions qualifying regional and sectional competitions, in various disciplines, that lead up to championship competitions. The Association also selects those athletes and officials that represent the United States at international competitions.

Regional competitions
The following regional competitions are held in singles skating:

Sectional competitions
The following sectional competitions are held in singles, pairs, ice dance, adult, and synchronized skating:

Championship competitions
The following championship competitions are held in singles, pairs, ice dance, synchronized, adult, and collegiate skating:

* Effective September 1, 2012, the U.S. Junior Championships (for Juvenile and Intermediate level competitors) was eliminated and those levels are held in conjunction with the U.S. Championships.

International competitions
U.S. Figure Skating selects the athletes and officials that represent the United States at international figure skating competitions (Team USA). These competitions include the ISU Junior Grand Prix, Four Continents Figure Skating Championships, the ISU Grand Prix, the World Synchronized Skating Championships, the World Figure Skating Championships, and the Olympic Games.  Although the participants for Worlds and the Olympics are most often the top placers at US Nationals, there have been several times when other skaters have been selected due to injuries preventing them from competing at Nationals; Nancy Kerrigan being selected for the 1994 Olympics over 2nd-place finisher Michelle Kwan is one example.  Most recently 2014 4th-place finisher Ashley Wagner was selected over 3rd place Mirai Nagasu ostensibly because of Wagner's more consistent international record; however because of Wagner's many endorsement contracts her selection has raised concerns about the fairness of the process (since U.S. Championships are not used as a straightforward Olympic trials).

Sponsors
U.S. Figure Skating has a number of sponsors, suppliers, and licensees that provide support to the association either financially or by supplying other goods and services. U.S. Figure Skating also makes available its logo and sanctioned content, primarily competitions, to various licensees.

Media
Skating magazine is the official publication of U.S. Figure Skating. Established in 1923, 11 issues are published annually.

The association also houses the World Figure Skating Museum and Hall of Fame in its headquarters building in Colorado Springs, Colorado.

U.S. Figure Skating maintains two Internet domains, usfsa.org, established in 1997 and usfigureskating.org, established in 2003.

U.S. Figure Skating also has Facebook, Twitter, and Myspace accounts as well and a YouTube channel and Flickr website.

The association has an RSS feed and can push alerts and content via text messaging.

Ice Network
In 2005, U.S. Figure Skating partnered with MLB Advanced Media to set up Ice Network, LLC. Ice Network, LLC is a wholly owned by U.S. Figure Skating. In 2018, Ice Network's website closed.

Memorial Fund

Formation and purpose
On February 15, 1961, the entire United States figure skating team was killed when Sabena Flight 548 crashed en route from New York City to Brussels, Belgium. The team was going to participate in the 1961 World Figure Skating Championships in Prague, Czechoslovakia. Among the team members that perished were 18 athletes, seven coaches and managers, three judges and referees, and six team family members. Within one week of the tragedy, the association announced the formation of a memorial fund in honor of the lost team members.

"The mission of the Memorial Fund is to provide qualified U.S. Figure Skating members in need of financial aid with monetary assistance to pursue their goals both inside and outside the competitive arena. The fund is committed to awarding skating and academic scholarships to those athletes who have demonstrated excellent competitive results and/or academic achievements, and who have potential in national and international competitions."

RISE
In 2009, U.S. Figure Skating commissioned the production of a full-length feature documentary film commemorating the 50th anniversary of the loss of the 1961 U.S. World Figure Skating Championship team and exalting figure skating in the U.S. The movie, RISE, was produced and directed by the Emmy-award-winning company, Lookalike Productions of Englewood, NJ. The film was released on February 17, 2011, for a one-night presentation through NCM Fathom. It was shown again for an encore presentation on March 7, 2011. Proceeds of the movie were used to further the mission of the Memorial Fund.

See also
 Sabena Flight 548

Footnotes

References

Further reading

External links

Web Site
 U.S. Figure Skating
 RISE - Can the end of one dream give rise to another?

Social media
 U.S. Figure Skating's Facebook Page
 U.S. Figure Skating's Twitter Page
 U.S. Figure Skating's YouTube Channel
 U.S. Figure skating's Flickr Photostream
 U.S. Figure Skating's Myspace Page
 U.S. Figure Skating's RSS Feed
 U.S. Figure Skating's Text Alerts

Figure skating in the United States
Figure skating organizations
Figure
Sports in Colorado Springs, Colorado
Organizations based in Colorado Springs, Colorado
Sports organizations established in 1921
National governing bodies for figure skating