text:
Alain Perez
Alain Pérez is a young Cuban bassist and multi-instrumentalist living and working in Spain. He has worked as a sideman for Paco De Lucia and Jerry Gonzalez, and recently released his debut as a leader, En El Aire.
The young Cuban musician who is writing a new chapter in the history of his country's music history learned the lessons of his native land's deep-rooted cultural traditions at an early age -- listening to his grandfather sing tonadas and guarachas while he relaxed in a hammock. Today, 29-year old Alain Pérez is forging a new direction in modern Cuban jazz, building on the contributions of several generations of world class artists who preceded him and putting his distinctive stamp on a sound that has seduced millions around the globe since the 1920s.
With the release of En El Aire for the Barcelona-based Ayva Musica label, Pérez's multiple talents are on full display and are dazzling fans from Cuba to Spain and beyond. Whether playing electric bass, keyboard or percussion, singing, or contributing compositions and arrangements, Pérez's combination of natural abilities and finely honed skills have set the stage for a new revolution in contemporary Cuban music. Already renowned for his contributions as a sideman for flamenco guitar icon Paco de Lucia and Latin jazz great Jerry Gonzalez and as a producer of albums by Celia Cruz and Habana Abierta, Pérez finally gets an opportunity for the spotlight to shine squarely on himself and his impressive artistry. As Enrique Morente, one of Spain's most revered flamenco singers and composers, puts it, "Alain Pérez is a marvelous discovery. He is going to have a huge impact. He is great, superb."
Born Alain Pérez Rodríguez in 1977 in Manaca Iznaga, a small town in the province of Santi Spiritus, he recalls as a young child being raised in a family that took extra care to acquaint him with the major customs and traditions of his land. "My musical life began at the hands of my parents," he recalls, "singing at family parties and fiestas in the town. My father, Gradelio Pérez, discovered my musical instincts when he took me to one of the carnavales in the city of Trinidad, and I instantly started to dance!" Several years later, by the age of seven, he was playing on the guitar punto guajiro and guarachas, two traditional styles from the Cuban hinterland. Within a short while, he was accompanying poets and vocal improvisers at gatherings staged at sugar plantations. "It went on for five days without stop," he recalls. "It was my first important and most heartfelt influence in music and in life."
In 1988, he began studies at the Conservatorio de Música Manuel Saumell de Cienfuegos (The Manuel Saumell Conservatory of Music of Cienfuegos), taking classes for classical guitar and piano. Five years later, he transferred to Havana, where he continued his guitar studies at the prestigious Escuela Nacional de Arte, Cuba's esteemed National Arts School. "Learning classical guitar served me very well," Pérez recalls today. "I extended the technique to the bass." It was noted salsa singer Isaac Delgado who encouraged him to begin playing bass. At just the age of 17, he received a call to sing and play with what he rightly calls "the major Latin jazz group of the country and the world," Irakere, led by pianist and composer/arranger Jesús "Chucho" Valdés. "I was seated at the side of Miguel "Angá" Diaz (the famed conga drummer who recently died at the age of 45), and I heard, day after day, the brass section. It gets into your heart. I was absorbing the language of generations of the most important musicians in Cuba."
As a bassist, Pérez was initially influenced by such Cuban greats as Feliciano Arango, Carlos del Puerto and Israel "Cachao" López. "My interest grew, and I listened to and studied Jaco Pastorius (to whom he is often compared), as well as John Patitucci, Victor Wooten and Ron Carter," he adds. "I had the sense to reproduce these experiences with my own particular voice and personality and to express my roots and the currents of jazz and world music."
Ending up in Spain was, as he puts it, not premeditated. "I arrived in the country with Issac Dalgado, and we recorded the album La Primera Noche here. Later, I recorded my first album, El Desafío. Then I fell in love with flamenco, and began working with artists like Niño Josele, Enrique Morente and Javier Limón. Later came my work with Paco de Lucia. Flamenco is one of the strongest music cultures in the world. It is so packed with feeling."
"Todo bajista necesita una fuente de vida tan natural y real como Markbass," says Alain: "Every bass player needs a source of life as real and natural as Markbass."
Alain Perez on the Alexis Valdes show


text:
Catopsis juncifolia is a plant species in the genus Catopsis. This species is native to Central America and southern Mexico.

References

juncifolia
Flora of Central America
Flora of Mexico
Plants described in 1904

redpajama_set_name: RedPajamaWikipedia


mt DECO series, a variety of patterns are available including popular polka-dots, stripes, borders and grid paper. Width: 15mm // Length: 10m. MT is the pioneer of Japanese washi paper masking tape, produced by the 100 years old company, Kamoi Kakoshi, a specialized Japanese manufacturer of masking tapes used in a variety of applications including industrial and decorative. Other than the cute and stylish designs, the specialty of mt is the uniqueness of Japanese washi paper – strong yet thin. The adhesive is not only fantastic; the tape can also be removed easily without leaving residue and can be easily tear by hand. MT is semi-transparent so it can be especially pretty when it's layered, it's also easy to write on so it's handy for making notes or messages.


Did you know Pinterest is a fast way to start your new brand? Why? Because it allows you to collect a variety of imagery quickly to help articulate what you have in mind for your 'yet-designed' logo and branding. Daley Progress invited me to guest blog on the subject, which resulted in this two-part mini series.
I'll be covering the costs, features and how easy it is to add these solutions to WordPress. I'm not just going to talk about WooCommerce, but also 4 other options in selling your services, digital or physical products.
Before you dive into selling items online, there are – a lot- of questions you need to answer, even before you look at the tech behind it. In this LunchPress, I cover considerations everyone should make, regardless if you're selling physical, digital, service-based or subscription-based products.
I want to gush to you all about the many amazing services of iThemes. From training to plugins, they have remained one of my favourite WordPress companies that allow me to keep sites in tip top shape!
When is it appropriate to ask for gender? How do we insure we're properly capturing correct data? How does that affect our users, and how can be be more effective in how we code forms and surveys?
LunchPress #21 Automation: Make your life easier!
Your website should always work its hardest for you, and sometimes a little automation can go a long way! Watch a video on how to start thinking about ways to optimize your daily website tasks.
All the hard work is done with your WordPress site, and you're ready to launch! Not so fast – watch this video to make sure you have a solid plan to triple-check you're ready to flip the switch.
In all the other hubbub of working on sites, sometimes we forget about the little details. Especially when we change page names… the internet needs you to tell it that happened.


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Q: Nagios check_log reset to OK after notification Fail2ban is installed on one of the servers, I'm able to ban every IP that try to log in.
I'm using the check_log plugin of Nagios to capture the last line of the fail2ban.log, it compares to the fail2ban.log.old and report the Warning state when detects the word  "ban".
It works, thing is I can't let it do one check only and reset to OK state after. It keeps sending me email (and showing me warning) about the same banned IP, (which now is not banned anymore).
I created on Nagios server a service called  log-service just for this, where
passive_checks_enabled 0
is_volatile 1
max_check_attempts 1
retry_check_interval 2

It does check the service every 2 minutes, but it's always reporting a warning state (and I collected 19 emails for now).
Can somebody tell me what is wrong? Or a better method if mine is not the best?
I don't think there is need to post any log but if you ask I'll just post it.
EDIT:  The service definition (re-Edited)
define service{
        name                            log-service
        active_checks_enabled           1       ; Active service checks are enabled
        passive_checks_enabled          0       ; Passive service checks are enabled/accepted
        parallelize_check               1       ; Active service checks should be parallelized (disabling this can lead to major performance problems)
        obsess_over_service             1       ; We should obsess over this service (if necessary)
        check_freshness                 0       ; Default is to NOT check service 'freshness'
        notifications_enabled           1       ; Service notifications are enabled
        event_handler_enabled           1       ; Service event handler is enabled
        flap_detection_enabled          0       ; Flap detection is enabled
        process_perf_data               1       ; Process performance data
        retain_status_information       1       ; Retain status information across program restarts
        retain_nonstatus_information    1       ; Retain non-status information across program restarts
        is_volatile                     1       ; The service is not volatile
        check_period                    24x7    ; The service can be checked at any time of the day
        max_check_attempts              1       ; Re-check the service up to 1 time in order to determine its final (hard) state
        check_interval           2      ; Check the service every 2 minutes under normal conditions
        retry_interval            2     ; Re-check the service every two minutes until a hard state can be determined
        contact_groups                  admins  ; Notifications get sent out to everyone in the 'admins' group
        notification_options            w,u,c,r ; Send notifications about warning, unknown, critical, and recovery events
        notification_interval           0       ; Re-notify about service problems every hour
        notification_period             24x7    ; Notifications can be sent out at any time
        register                        0
        }

redpajama_set_name: RedPajamaStackExchange


XianJu Crown Arts & Crafts Co.,Ltd.
Industry Focus: Shenzhen Honward Industrial Limited specializes in lighting products and their related import/export services.
Industry Focus: Trading agency, international transpotation, Daily supplies, Toys, Gifts and Crafts, Ladies items, Stationery and Bags etc.


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Марта Хант (; родилась 27 апреля 1989, Уилсон) — американская топ-модель. С апреля 2015 года один из «ангелов» компании Victoria's Secret.

Ранние годы
Родилась в 1989 году в штате Северная Каролина. В юном возрасте была замечена модельным агентом и приглашена на кастинг, после прохождения которого уехала в Нью-Йорк, где подписала профессиональный контракт с агентством IMG Models.  На высоком подиуме впервые появилась в 2007 году на показе Issey Miyake в рамках недели высокой моды в Париже.  Марту часто сравнивают с такими моделями, как Кейт Мосс и Джемма Уорд.

Карьера
Начиная с 2009 года с различной периодичностью появляется на обложках ведущих мировых модных журналов, среди которых можно выделить: Vogue, Harper's Bazaar, GQ, Marie Claire.

В различное время принимала участие в показах: Givenchy, Oscar de la Renta, Christopher Kane, Tom Ford, Ralph Lauren, Carolina Herrera, Kenneth Cole, Louis Vuitton, Balmain, Atelier Versace, Stella McCartney, Gianfranco Ferré, Prada, Dolce & Gabbana, Etro, Marni, Missoni, Victoria's Secret, Giambattista Valli, Chanel, John Galliano, Jason Wu, Cushnie Et Ochs, Tome, Vionnet, Marc Jacobs, A Détacher, Badgley Mischka, Chado Ralph Rucci, Fisico, Graeme Armour, John Richmond, Lela Rose, Luca Luca, Naeem Khan, Nanette Lepore, Nicole Miller, Parah, Simonetta Ravizza и другие.

В 2013, 2014 и 2015 годах была приглашена на итоговый показ компании Victoria's Secret. С 2015 года является «ангелом» Victoria's Secret.

В 2015 году снялась в музыкальном видео «Bad blood» своей подруги Тейлор Свифт и участвовала в шоу-показе Swim Special. Представляла линейку одежды  Free People.

В 2017 году приняла участие в съемках клипа на композицию Paris американского электронного дуэта The Chainsmokers.

Личная жизнь
C 2015 года состоит в отношениях с Джейсоном МакДоналдом. В январе 2020 года пара обручилась. 6 ноября 2021 года у Хант и Макдоналда родилась дочь, которую назвали Эмери.

Фильмография

Примечания

Ссылки

 Профайл на Fashion Model Directory
 Профайл на models.com
 Instagram

Фотомодели США
Модели IMG Models


Special Presentation - The Campaign for College Opportunity (time certain 3:45 pm): The Board will hear a presentation about the proposed 4th year of high school math for CSU admissions.
ASI Internal Committee Appointments: The Board will consider action on Environmental Affairs Committee applicants.
Auxiliary Organization Audit Services Selection: The Board will be presented a summary of the audit service interviews and recommendations.
Full-Time Staff Performance Appraisals: The Board will hear an update regarding the status of the evaluations and next steps.


How do I enter steps? – Need help?
From Day 2 of the 100 Day Journey you will be able to enter your steps. To enter steps, log in to your Global Challenge account and go to your Step Entry page. Here you can enter your steps for the day as recorded on your device. If you have been extra active, you can enter other activities using the step conversion tool. The Step Entry page is accessible on the website, as well as the iPhone and Android apps.
If you have not connected your device, you will be required to manually enter your steps. If your device is connected, your step count will automatically appear on the Step Entry page but you will still have to manually add other activities.
To add any other activities, click "Add other activity," make a section then enter the duration (in minutes).
For the website, click on 'Step Entry' at the top of the page.
The Step Entry page will load, allowing you to enter your steps and other activities.
To add any other activities, click "Add activity," make a selection then enter the duration (in minutes).
Click 'submit' at the bottom of the page.


We are fun and organized, and we love our job!
What other DJ service has DJs who are all veterans and/or college grads?
A special thank you to Nieto Photography for this shot!
A lot of our clients say "I've never hired a DJ before, so I don't know what to ask!" The best advice that I can give you when hiring a DJ is to look for a professional that is trustable, easy to contact, easy to work with, and gets back to you in a timely manner. Nothing is more frustrating than trying to contact a vendor for your event and feeling like they have something better to do. We DJ full-time, every single week, and this is our career and passion, so you can always reach us by e-mail, phone, text, or Facebook. We are proud to say that we have become friends with many of our clients and regularly stay in touch with them. It is our goal to earn your friends' and family's business when they are looking for their DJ too. Our services are not limited to merely DJ'ing. We are able to provide photo booth services, event lighting, and custom sound solutions if you have something different and difficult. You can count on us to provide excellent planning help too. Your DJ will always contact the other vendors and important people to coordinate the details.
We are proud to say that DJ Eric X Hodgden is a member of the NC Wedding Ring!
A special thanks goes out to Joe Payne Photography for these great photos!


text:
Go to the shop »
Cynthia Nourse Thompson
Panelist: Experimental Junctures in Typography – Expanding the Canon
Cynthia Nourse Thompson has served six years as Associate Professor and Director of the MFA Book Arts & Printmaking program at University of the Arts in Philadelphia. Additionally, Thompson served as Curator and Consulting Visual Arts Director for the Joy Pratt Markham Gallery at Walton Arts Center [WAC] in Fayetteville, Arkansas. Recently, she was Guest Curator for the WAC exhibition, "MIRROR, MIRROR: The Prints of Alison Saar from the Collections of Jordan D. Schnitzer and His Family Foundation."
Thompson was previously Associate Professor of Printmaking and Curator of Exhibitions at University of Arkansas in Fayetteville, Arkansas. She also served for twelve years as Professor of Paper, Print and Book Arts at Memphis College of Art, Chair of the Fine Arts Department and Curator of Exhibitions and Director of Visiting Artist Lectures. Thompson has been visiting faculty at University of Georgia's study abroad program in Cortona, Italy; Santa Reparata International School of Art in Florence, Italy; Haystack Mountain School of Crafts and Penland School of Craft.
She has been awarded numerous residencies including Yaddo, Columbia College Chicago Center for Book and Paper Arts, Women's Studio Workshop, Visual Studies Workshop, Minnesota Center for Book Arts, and a 2021 Maker-Creator Fellowship at Winterthur Museum. Thompson and her artistic collaborator, David Charles Chioffi, have been invited as visiting distinguished academic scholars to the Bodleian Bibliographical Press, Oxford, England, in May of 2021.
Thompson has a BFA in Printmaking from the Maryland Institute College of Art and an MFA from Rutgers University. Thompson has worked at Dieu Donné, Harlan & Weaver Intaglio and the Rutgers Center for Innovative Print and Paper, now the Brodsky Center at PAFA.
Shani Avni
Mark Barbour
Zenab Bastawala
Sandro Berra
Mary Bruno
Alessandro Colizzi
Alexander Cooper
David Charles Chioffi
Lesley Dill
Rick Griffith
Jim Hamilton
Tim Hutchinson
Grendl Löfkvist
Geri McCormick
Bree McMahon
Jim Moran
Chris Mulford
Judith Poirier
Joanne Price
Dana Rice
Stuart Sandler
Rob Saunders
Catherine Schrenker
Paul Shaw
Maya Thomas
David Wolske

redpajama_set_name: RedPajamaCommonCrawl


A CHANGE is coming for real estate agency Caporn Young.
From the initial logo and style seen in its ad in the March 19, 2002, edition of Western Suburbs Weekly, the company has regularly updated its brand and chief executive Richard Young said it was on the verge of unveiling a completely new look.
"We've evolved as a company in the last few years, so it was important for us to develop a new visual identity," he said.
"The new look is sophisticated and elegant, reflecting the beautiful properties we represent.
The company has fully redesigned its suite of marketing tools, including property signboards and brochures, its weekly e-newsletter and magazine.
It last updated its brand in 2008.
"It's always been important to us to stay ahead of the curve and do things differently," Mr Young said.
"For us, a rebrand was a logical next step as we wanted to introduce a new phase in Caporn Young's evolution.
Mr Young established the company in 2001, initially operating out of his home.
He said at the time the local real estate industry was firmly stuck in the 'dark ages'.
"Properties were listed with uninspiring advertisements in The West Australian's classifieds section and auctions were nearly unheard of," Mr Young said.
The goal of the fledgling agency was to change the status quo and the market embraced its approach.
"We sold some cracking properties in those early days and we built our rent roll organically, starting from nothing," Mr Young said.
Within three months, the company was able to take out a lease on office space in Claremont.
Within a year, the team had outgrown that office and moved into larger premises on Stirling Highway.
A major catalyst for the agency's growth occurred in 2003, when it was invited to become a founding member of the Real Estate Results Network.
This opened the door for collaborations, ideas sharing and coaching with major eastern states-based agencies such as Marshall White.
More growth occurred when Steve Currie joined Caporn Young as a director in 2007.
He was a driving force behind the opening of the Fremantle office, followed by the Applecross office in 2013.
From a starting point of just two people in 2001, the team now numbers more than 60 people across its three offices.


text:
Q: "How to fix 'java.lang.IllegalArgumentException: Font has already been added' error in Android Q?" I have to try new features in Android Q (Hyphenation is off by default in Android Q and AppCompat v1.1.0) and I have also read the document. When I follow the instructions which are in the Android blog it works fine, but when I try to follow the document I found the error.
I just use an only single font family. The code below is running:
tvTest.typeface = Typeface.CustomFallbackBuilder(
            FontFamily.Builder(
                Font.Builder(resources.assets, "aguafina_script.ttf").build()).build())
        .addCustomFallback(FontFamily.Builder(
                Font.Builder(resources.assets, "Font_Solid_900.otf").build()).build())
        .build()

But when I try to add multiple font families that time I got the error.
  Font regularFont = new Font.Builder("regular.ttf").build();
  Font boldFont = new Font.Builder("bold.ttf").build();
  FontFamily family = new FontFamily.Builder(regularFont)
      .addFont(boldFont).build();
  Typeface typeface = new Typeface.CustomFallbackBuilder(family)
      .setWeight(Font.FONT_WEIGHT_BOLD)  // Set bold style as the default style.
                                         // If the font family doesn't have bold style font,
                                         // system will select the closest font.
      .build();

Above code is given in the document
        https://developer.android.com/reference/kotlin/android/graphics/Typeface.CustomFallbackBuilder.html
So can you please help me to solve that error?

A: This error shows up in Android 10 with androidx.core (or core-ktx) version 1.2.0 and higher when you try to register multiple fonts with the same style and weight into the same font family.
Although your example is creating the font family programmatically, most developers will run into this error when using the font XML, so let's start with that.
In the font XML, we can't have more than one font element with the same fontStyle and fontWeight attributes. For example, the following XML would cause this error, because both font elements have the same values for the style and weight:
<?xml version="1.0" encoding="utf-8"?>
<font-family xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:app="http://schemas.android.com/apk/res-auto">
    <font
        android:font="@font/gibson_regular"
        android:fontStyle="normal"
        android:fontWeight="400" />
    <font
        android:font="@font/gibson_bold"
        android:fontStyle="normal"
        android:fontWeight="400" />
</font-family>

Even though the value of font is different (@font/gibson_regular vs @font/gibson_bold), the fontStyle and fontWeight are the same, so this causes the error.
Also, note that if you do not provide the fontStyle or fontWeight attributes, they default to normal and 400 respectively, so this next example also fails:
<?xml version="1.0" encoding="utf-8"?>
<font-family xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:app="http://schemas.android.com/apk/res-auto">
    <font
        android:font="@font/gibson_regular"
        android:fontStyle="normal"
        android:fontWeight="400" />
    <font
        android:font="@font/gibson_bold" />
</font-family>

To fix the issue, make sure that the combination of fontStyle and fontWeight for each font element is unique. For example, if we properly set the fontWeight for the gibson_bold font, we will avoid the error:
<?xml version="1.0" encoding="utf-8"?>
<font-family xmlns:android="http://schemas.android.com/apk/res/android"
    xmlns:app="http://schemas.android.com/apk/res-auto">
    <font
        android:font="@font/gibson_regular"
        android:fontStyle="normal"
        android:fontWeight="400" />
    <font
        android:font="@font/gibson_bold"
        android:fontStyle="normal"
        android:fontWeight="700" />
</font-family>

Now, when building this out programmatically, as you are above, the same rules apply. It looks like the API docs that you're referencing haven't been updated to match what the source code is actually doing. Here's how your example should look now:
val regularFont: Font = Font.Builder(resources.assets,"regular.ttf").build()
val boldFont: Font = Font.Builder(resources.assets, "bold.ttf").build()
val family: FontFamily = FontFamily.Builder(regularFont).addFont(boldFont).build()

val typeface: Typeface = CustomFallbackBuilder(family)
    .setStyle(FontStyle(FONT_WEIGHT_BOLD, FONT_SLANT_UPRIGHT))
    .build()

When writing it programmatically like this, it appears that Android properly notes the weight and style of the fonts when loading them in via the Font.Builder, so as long as regular.ttf and bold.ttf differ in their weight and style, this code will work fine.
But you can still get this exception if the two fonts have the same weight and style, or if you manually specify the font and style to be the same, such as if you were to call setWeight(400) on the bold font.
In summary, when using the font XML, always specify the fontStyle and fontWeight for each font. And regardless of whether you're writing things with XML or building them out programmatically, make sure that the combination of weight and style is unique for each font in a font family.

A: Disclaimer: My case wasn't the same as yours, but the error was the same. I just want to help whoever lands to this question, because it's the only one that the error is mentioned. Maybe it helps the OP, too.
As it turns out, the culprit was my font-family xml file. Even though my file was perfectly functional for Android 9 and below, it was failing for Android 10(Q). The reason was that I was defining more than one fontStyles as "normal":
<?xml version="1.0" encoding="utf-8"?>
<font-family xmlns:app="http://schemas.android.com/apk/res-auto">

    <font
        app:fontStyle="normal"
        app:font="@font/dosis_regular"/>

    <font
        app:fontStyle="normal"
        app:font="@font/dosis_bold"/>

    <font
        app:fontStyle="normal"
        app:font="@font/dosis_light"/>

</font-family>

After I changed it to only one of them being "normal", it worked just fine.
<?xml version="1.0" encoding="utf-8"?>
<font-family xmlns:app="http://schemas.android.com/apk/res-auto">

    <font
        app:fontStyle="normal"
        app:font="@font/dosis_regular"/>

    <font
        app:fontWeight="700"
        app:font="@font/dosis_bold"/>

    <font
        app:fontStyle="italic"
        app:font="@font/dosis_light"/>

</font-family>

A: 1)click app as the root folder, right click on it and select : New -> Folder -> create assets Folder,
You would get a Dialog : Create a source root for assets
2)include the .ttf files in your assets folder

3) use in your activity or fragment like this
TextView name = (TextView) findViewById(R.id.tv_date);
    Typeface pick_text = Typeface.createFromAsset(itemView.getContext().getAssets(),  "fonts/OpenSans-Semibold.ttf");
    name.setTypeface(pick_text);

    TextView desc = (TextView) findViewById(R.id.tv_orderid);
    Typeface desc_text = Typeface.createFromAsset(itemView.getContext().getAssets(),  "fonts/NevisBold-KGwl.ttf");
    desc.setTypeface(desc_text);


The importance of a good photographer cannot be overlooked when capturing the memories if it is an important event in your life. We took the process of finding a photographer for our upcoming wedding reception very seriously. We started to hear great things from a couple of sources about (K's Photography) Kazuko Wohlers. She has won some photography awards and is highly recommended. We soon found out why. Kazuko put together the best pictures of us we had ever seen! She shot our engagement pictures on location at Pt. Defiance, and Owen beach. The beach pictures were unbelievable! The beach was crowded with kids, Frisbee throwers and barbequers, but looking at the photos you would think they were taken at a remote island paradise! Her pictures were so good that people often ask if the beach pictures we took in Tacoma, Washington were taken in Hawaii! Kazuko did a masterful job of organizing both of our large families for our group photo shoots at our wedding reception at the Landmark convention Center. We had a big Okinawan wedding complete with performances from a Okinawan dance troupe. Her pictorials captured the essence of our event. She took shots of the guests, food, atmosphere, dance performances, and key moments throughout the night.
I requested to write a letter of reference for Kazuko Wohlers because our experience with her and her photography were phenomenal and this gives me the opportunity to encourage and support an exceptional business.
My husband and I came to Kazuko as a referral from a friend who had really enjoyed her wedding photos. The first time we met with Kazuko we felt very much at ease and were impressed by the professionalism and creativity of her photography. At the time we were looking for a photographer for our wedding and wanted to explore all our options. So, we met with multiple other photographers and they did not come close to the combination of quality and cost that we found with Kazuko. Needless to say, she was our #1 choice! During both the wedding preparation and the wedding, Kazuko presented herself in a professional, friendly, confident manner. We felt very comfortable during our photo shoots and we were relaxed and natural in our pictures. One thing that was extremely important to us was how she conducted herself during the pre-wedding photos, ceremony and reception. Kazuko not only impressed us, but many people in our wedding party mentioned how great she was. Kazuko created an environment that was relaxed yet efficient. It is easy for things to get tense right before the ceremony, but Kazuko conducted the photo shoot with so much grace that everyone felt at ease. Her non-obtrusive style allowed the congregation to really enjoy the wedding ceremony itself and not be distracted by the photographer. She also did an amazing job with a very hyper 3 year old, distracting him with toys and whistles was fun for him and we were able to get our group photo!


CMOS technology advancements have clearly helped to reduce the energy and power consumption per operation through each technology node. However, this gain in power reduction is far overcompensated by the market demand and economical necessity to increase the performance and functionality of Systems on Chip (SoC). Consequently the design community is challenged to significantly reduce the energy consumption for mobile applications, to reduce the power consumption and heat dissipation for high performance designs as well as to reduce the on-chip currents to solve reliability issues. Solutions for these challenges need to be applied during all phases of the design process and at all levels of abstraction starting from the Electronic System Level to the Layout Level. The design process has to be supported by respective EDA tools which consider the interdependence of power, energy, timing and area in order to ensure a design closure with a minimal number of design iterations. The presentation will discuss several techniques for power optimization at different levels. EDA solutions will be presented supporting the designer in analyzing and optimizing SoCs for low power. Several of these techniques and their efficiency will be demonstrated based on a case study.


This organisation began in 1995 and is primarily involved in runnig music and dance events at Kinnersley Castle in Herefordshire, England.
The objective of eMade is the promotion of traditional dance and music styles of Europe. This is achieved through the running of educational workshops in music and dance during the day and revisiting the workshop material during the evening.
e.Made is a voluntary sector company limited by guarantee. It is non profit sharing and run by a management team of non-salaried directors. All costings are designed to achieve, as near as prudence allows, 'break-even' at the conclusion of each financial year.
The main event, the Winter Festival, a ten day extravaganza which takes place every other year in February, attracts many participants from all over Europe and beyond. This rich event provides a solid foundation upon which the music and dances learnt can be transmitted to a wider audience by those who attend.
More details are presented at other locations within our web page.


text:
Phases and Phase Leaders
Letters Home and Useful Documents
Letters Home and Important Documents
Lunchtime Support Assistants
Busy Bees and Early Birds
Data and Assessment Results
Friends of Carclaze
Keeping your child safe online - guides and advice
Parent Pay Information
Pupil Premium and Sports Premium
Safeguarding and Online Safety
Carclaze School Governors
CELT Governance
Governor Code of Conduct
Letter from Chair 27/9/19
Percuniary Interests / Governor Attendance
Curriculum Statements of intent, implementation and impact
Garden Tidy Up Team
Parent Gardening Team
Bird Studies Club
School Green Team/ Green Awards
Carclaze School Governors CELT Governance Governor Code of Conduct Letter from Chair 27/9/19 Percuniary Interests / Governor Attendance
CELT Code of Conduct for Governors
1.The role and purpose of the Local Governing Body
1.1 The Trust Board is the Peninsula Learning Trust's accountable body and is responsible for furthering the objects and vision of the Trust. The Trust believes learning should be enjoyable, purposeful and a preparation for living in modern Britain; and schools should be happy, caring and safe places. A well-informed, supportive and challenging LGB is an essential prerequisite for a successful Academy. Its core purpose is to implement the strategic aims and vision of the Academy through delivery, monitoring and evaluation of progress of the annual improvement plan.
1.2 The Local Governing Body will: Hold the Headteacher to account for:
 the educational achievement of all students in the Academy including progress and attainment of all groups of students
 the quality of teaching and learning and the curriculum
 standards of behaviour and attendance
 leadership and management: performance management; staff development; safeguarding
 delivery of the budget
Take decisions on pay for all staff in accordance with the Trust pay policy and within the Academy budget.
Produce regular reports to the Board.
2. Corporate governance responsibilities
The Local Governing Body is a corporate body which means:
 No governor can act individually, except when the LGB has given them delegated authority to do so.
 All governors accept collective responsibility for all decisions made by the LGB and will not speak against majority decisions outside LGB meetings.
 The overriding concern of all governors has to be the welfare of the school as a whole regardless of how they were appointed.
3. Application of this Code
3.1 This Code applies to all Governors of the Trust when exercising any of the Board's powers delegated to them under the articles.
3.2 By accepting appointment to their LGB, each Governor agrees to accept the provisions of this Code together with the Trust's articles of association.
3.3 Governors will sign the Code annually.
3.4 The Trust Secretary will be responsible for ensuring that this Code is reviewed annually.
4. The role and responsibilities of a Governor
4.1 Commitment
 We are aware of and will comply with the Nolan Seven Principles of Public Life and the Good Governance Standards for Public Life.
 We will always be mindful of our responsibility to maintain and develop the ethos and reputation of the school. Our actions within the Trust's schools, the local community and when using social media and email will reflect this.
 In making or responding to criticism or complaints affecting the school we will follow the procedures established by the Trust Board.
 We acknowledge that accepting office as a Governor involves the commitment of significant amounts of time and energy including reading emails and papers, responding to requests, attending meetings and training sessions.
 We are committed to actively supporting and challenging the Chair of the LGB.
 We will get to know the school well and respond to opportunities to involve ourselves in school activities.
 We agree to undergo an enhanced disclosure DBS Check and will resign from the LGB immediately if any convictions, cautions, reprimands or final warnings are disclosed which conflict with our role as a Governor of the school.
4.2 Relationships
 We will strive to work as a team in which constructive working relationships are actively promoted.
 We will express views openly, courteously and respectfully in all our communications with other Governors.
 We will support the Chair in their role of ensuring appropriate conduct both at meetings and at all times.
 We will seek to develop effective working relationships with the Headteacher and staff, governors and the community, other trusts and relevant agencies.
4.3 Confidentiality
 We will observe complete confidentiality when matters are deemed confidential or where they concern specific members of staff or pupils.
 We will exercise the greatest prudence at all times when discussions regarding school business arise outside a LGB meeting. Official statements to the media should go through the Chair of the Trust or the CEO.
 We will not reveal the details of any LGB vote.
4.4 Conflicts of Interest
 We will follow the principles and procedures laid out in the Trust's Conflicts of Interest policy.
 We will act in the best interests of the Trust as a whole and not as a representative of any group or school.
4.5 Change of circumstances
 We will inform the Clerk to the LGB as soon as possible should any changes to our circumstances occur during our term as a Governor, including if:
- there are any changes to the interests which have been declared - we become, or cease to be, a company director, board member or trustee of another company or charity - we move house.
5.Breach of this Code
5.1 Every Governor is under a duty to report any breach of this Code or any grounds for believing that a breach of the Code has occurred to the chair (and if the allegation is about the Chair, to the Vice Chair).
5.2 Failing to report a breach of the Code is itself a breach of this Code.
5.3 Any breach of this Code will be treated extremely seriously by both the LGB and the Trust and may result in suspension or removal from the LGB.
5.4 In the event of a breach of this Code each Governor agrees to participate fully in any investigations procedure instigated by the Board or LGB and to abide by any sanction that may be imposed on them by the Board or LGB for such breach.
---------------------------------------------------------------------------------------------------------------- The Trust Board of the Peninsula Learning Trust adopted this Code of Conduct on 23 April 2015.
Undertaking: I agree to abide by this Code of Conduct. As a member of the Local Governing Body I will always have the well-being of the children and the reputation of the school at heart; I will do all I can to be an ambassador for the school, publicly supporting its aims, values and ethos; I will never say or do anything publicly that would embarrass the school, the Local Governing Body, the Head or staff.
Signed: ......................................................................................................................
Printed name: ............................................................................................................
Date: ..........................................................................................................................
(updated September 2019)
Appendix A The seven principles of public life.pdf
Appendix B Good Governance.pdf
Tel: 01726 74194 Follow us
Content provided by Carclaze Community Primary School. All rights reserved. 2020
St Pirans Close, St Austell, Cornwall, PL25 3TF


Potassium thioglycolate is an organic salt. It is used as depilating agent, hair-waving/straightening agent and as reducing agent in cosmetics.
Prenol is a natural alcohol. It is one of the most simple terpenes. It has a fruity odor and is used occasionally in perfumery. It occurs naturally in citrus fruits, cranberry, bilberry, currants, grapes, raspberry, blackberry, tomato, white bread, hop oil, coffee, arctic bramble, cloudberry and passion fruit. It is also manufactured industrially as an intermediate to pharmaceuticals and aroma compounds.
Pripure 3759 is biomimetic skin lipid with excellent spreading and moisturising properties, imparting a soft silky, velvety feel.
Pripure 3759 is a biomimetic skin lipid with excellent spreading and moisturising properties, imparting a soft silky, velvety feel.
ProLipid 141 is a lamellar gel former that moisturizes and promotes healthy skin by strengthening the skin's natural barrier function. It can be used in anti-perspirants and deodorants, body care, color cosmetics, face and body washes, and facial care applications. The benefits are it provides slightly drier rubout with shorter playtime and further it masks undesirable sensory properties, such as oiliness.
Procas H3 is fully saturated alternative for castor oil. Excellent emollient for lipsticks, glosses and salves where it imparts glossing benefits and a pleasant afterfeel. Also serves as a solvent for dyes and aids dispersion of insoluble pigments.
Procetyl AWS is a effective emollient, superfatting agent, emulsifier, solubiliser, wetting agent and plasticiser. Imparts glossing benefits to hair styling products and reduces static flyaway when used in shampoos and conditioners. Dispersing agent in antiperspirants and effective wetting agent for pigments.
Propionitrile is a colorless liquid with an ether-like odor,used as an chemical intermediate and solvent for perfumes and pharmaceuticals.It is also used as a solvent, and to make other chemicals.
Propofol is an intravenous anaesthetic agent used for induction and maintenance of general anaesthesia. Propofol is used to sedate individuals who are receiving mechanical ventilation. It may be used prior to diagnostic procedures requiring anaesthesia, in the management of refractory status epilepticus, and for induction and/or maintenance of anaesthesia prior to and during surgeries. Its action of propofol involves a positive modulation of the inhibitory function of the neurotransmitter gama-aminobutyric acid (GABA) through GABA-A receptors.
Propyl benzoate is an organic chemical compound used as a food additive. It has a nutty odor and sweet fruity or nut-like taste, and as such, it is used as a synthetic flavoring agent in foods. It also has antimicrobial properties and is used as a preservative in cosmetics. It occurs naturally in the sweet cherry, in clove stems, and in butter.


Categories: Automotive Chargers, Chargers and Inverters, Victron Energy. Tags: Automotive, Charger, Victron.
Until the battery is fully charged, the red LED CHARGE will be on. After completion of the charge process, the red LED FULL will be on. In case of reverse polarity connection, the red LED ! will be on If the red LED STANDBY remains on, even after pressing the MODE button, the connection to the battery is interrupted. The charger always starts in STANDBY mode when connected to the AC supply.


text:
BEYOND BORDERS
May 27th 6:00pm | People's Building Aurora
June 1st 7:00pm | Colorado Ballet's BlackBox Theater
June 2nd 2:00pm | Colorado Ballet's BlackBox Theater
Thomas Dance Project and Gregory Walker Collaborate to Perform 'Beyond Borders'
Original music and dance show inspired by the migrant crisis in Europe
The Alliance Française de Denver is proud to present 'Beyond Borders', a collaborative performance with original music and choreography. Three-time recipient of the AFD Cultural Project Scholarship, the Thomas Dance Project has interpreted the migrant crisis in Europe through dance. Inspired to serve a greater purpose the ballet troupe dances to inspire their community. The choreographers strive to evoke the struggles, hopes, pain and joy of ordinary humans pushed from their homes. The migrants' yearning for a better life and search for refuge is portrayed in each step, twist and turn. 'Beyond Borders' not only represents this fictional story, but immigrants throughout the world attempting to cross borders both physical and spiritual.
This live tableau of migrants making their way across Europe will be accompanied by the original compositions of Greg Walker with the support of the University of Colorado's College of Arts & Media. Walker uses a mix of classical, electronic, and traditional African music to put sound to this journey and humanitarian crisis. The Altius String Quartet, Central African-American musician Rich L'Or Nachrist and percussionist David Hinojosa will join Walker to perform live alongside the dance. These original songs are inspired by the challenging journey of migrants and the plight of those pushed from their homes, cultures, and families.
'Beyond Borders' premiers as a free performance on May 27th 2019 at the People's Building of Aurora. The six o'clock show has a capacity for 190, allowing the Thomas Dance Project to reach a greater audience with their evocative message. A preview teaser will be held at the Echo d'Afrique Festival on May 11th where the choreographer and composer will discuss their inspiration and internalization of the migrant crisis. The AFD looks forward to presenting this collaborative performance and is proud to bring so many diverse artists together on the same project.
Reserve a spot here.
The Thomas Dance Project will then perform 'Beyond Borders' back-to-back evenings at the Colorado Ballet's BlackBox Theater along with guest choreographer Edgar L. Page. Edgar L. Page is originally from Detroit, MI where he began his dance training through the Detroit Public Schools System. A former member of the Dayton Contemporary Dance Second Company, Mr. Page spent the greater part of the last decade touring and performing with the world-renowned Cleo Parker Robinson Dance Ensemble. Mr. Page has since shifted his focus to enriching the Denver dance community while curating his own work. Thomas Dance Project is honored and excited to perform alongside Mr. Page on June 1st and 2nd!
Buy your tickets here.
Thomas Dance Project:
Founded in 2016 by Kevin Gaël Thomas, Thomas Dance Project is a dance company which serves a greater purpose by inspiring their community through creative choreography. Thomas, a native of France, studied at the prestigious Rosella Hightower's ballet center in Cannes, France before graduating with honors from the acclaimed Canada's National Ballet School, and is currently an international ballet soloist with the Colorado Ballet. The Thomas Dance Project has choreographed several shows for the AFD and Denver metro; 'Riviera' (2017), 'Holocaust by Bullets' (2018), 'HOME' (2018), this year's show will be 'Beyond Borders'.
More information: https://thomasdanceproject.com/about
Greg Walker:
Greg Walker is an American composer, violinist, and guitarist currently teaching music and entertainment studies at University of Colorado Denver. Artistic director of the Colorado Next Music Fest and former concertmaster of the Boulder Philharmonic Orchestra, Walker is an American Academy of Arts and Letters Fellowship recipient and International Musician cover artist.
More information : http://ow.ly/50fV50sq0eB


Remember when getting home and changing meant putting on your favorite jeans? That's still appealing, but not as much as getting home and taking off your jeans to put on your yoga pants. Talk about a versatile wardrobe piece. Some other workout gear is now "yoga inspired." This means running pants now can have that "yoga-look" with the performance you need to hit the pavement. Let's be honest, while "weekend wear" in a magazine is cute and casually chic, for most of us it has evolved to cute and comfy workout wear that you can breeze around in. Weekend trip to the mountains or beach: you better have some yoga pants to throw in.
Instead of loading up at Target, find some that you love and spend a little on them. You're going to wear them about 500 times before you are ready to pass them on, so get the ones that feel the best and make you look the best in them!
Lucy Harmony Pant on sale for $39.99. Comes in 3 colors, including black.
It is not uncommon to see yoga pants paired with cashmere sweaters and Uggs in the winter, tank tops and flip flops in the summer. So stock up!


text:
Q: The minimum distance from the circle $x^2+(y+6)^2=1$ to parabola $y^2=8x$? What are the coordinates of the points on the parabola $y^2=8x$ which are at the minimum distance from the circle $x^2 + (y+6)^2=1$?

A: Here is a hint:  the point on the parabola that is closest to the circle is also the point at which the normal line to the parabola passes through the center of the circle.  But since you did not show any of your own effort to answer your question, and only asked the question with the expectation of someone else giving you a complete answer, I will not elaborate further.


text:
Elevator Constructors Revamp 101 California
By Jacob Bourne, Contributing Writer and Photographer
Local 8 elevator constructors employed by Otis Elevator Company have been busy working on a modernization job for 101 California Street, a 48-story office tower located in the Financial District. The building was constructed in 1982 with the existing elevator system just as old, put in during a building boom of an earlier era. With other upgrades planned for the tower, a complete overhaul of all the elevators was overdue, and the Local 8 crew was ready for the formidable task of replacing 32 cars.
The modernization project has involved installing a brand new technology called SkyRise for high-rise elevator systems, and represents the first time the system has been used in San Francisco. The new technology ensures greater reliability and smoother function, employing a motion-controlled algorithm. With both apprentices and veterans of the trade on the job, using the latest technology means everyone is in the learning trenches together. Many long days of troubleshooting are followed by a shared satisfaction borne from the successful team efforts.
With the building still occupied, the work has been done in sections to minimize disruption until fall when the job should be complete. Art work adorns elevator entrances not in use, while ample time is taken for the finer details such as equipping all elevator entrances within the tower with comprehensive braille way-finding signage.
–Voices From the Union–
Kevin Wright
Most of the work I've done in San Francisco has been high-rise mod work. This is the fist mod in San Francisco with this new SkyRise product, so there's been a learning curve, but it's coming along well and it's more user-friendly because there's less wiring. There are 29,000 different inputs and outputs. You can do anything with this product in terms of functionality and features you want to turn on or off. It also makes for a faster installation with less wiring. It's a nice product — no glitches.
I started with Local 8 in 1982, it's a great trade. I'm the vice president of Local 8 and have been for about 12 years. What I'd like to see is more membership participation. We're trying to see if we can spark more interest by moving the meeting location around a little bit.
I teach apprenticeship classes on Monday nights so I'm trying to get those guys involved, but it's tough working for eight hours and then going to school for four hours — but it's important to give back to what provides for you and your family.
Back in 1982 there was a lot of work and everyone was shorthanded. Now we're shorthanded again. Crew turnover has been high and that's been a challenge, but these guys are new mechanics and they're doing a fantastic job.
John Fresquez
Before I was with Local 8, I was in Local 104 Commercial HVAC Installers. I ended up working there for a year and a half and found out there was an opening with the elevator constructors, so I gave it a shot and here I am. I have family in the trade but it's still something new for me and didn't know a lot about it. I'm currently taking electrical courses that are very detailed.
I love Local 8. Being a member has given me opportunities I didn't have before. There's great pay, great benefits and I would recommend it to anyone interested in the trade. I'm very happy.
I'm a helper for one of the new mechanics. I switched from new construction to modernization recently, so I'm in the process of learning how to do a car from the beginning to end. I've been able to apply some of the things I learned working on Salesforce Tower to this job but mod is more detailed, you have to think a bit more than with new construction. You can run into certain issues on one car and then things can be completely different on another car.
All the men in my family are elevator constructors — my father, my brother, my two cousins, both uncles, my grandfather and his older brother. I got in because I wanted to do something I knew I would be proud of and there's a lot of pride in putting an elevator together; there's so much work that goes into it. It has a bit of every trade in it and there's a lot to learn. I love to learn new things.
I make it out to every meeting to stay involved with the Union. Being a member gives you the assurance that you're not going to get taken advantage of. You're going to get paid a fair wage for the work you do, plus you get health and dental benefits and are taken care of. The thing that I think is the most important is that the Union makes sure that we're safe — no employer is going to have us cut corners and put our lives in danger. Local 8 is especially really big on that, and they go out of their way to make sure we're safe.
Stuart Johnson
I was a union carpenter for 10 years before becoming an elevator constructor. I've been with Local 8 for three and a half years. I wanted something a bit more hands-on, more technical. I have a friend who's been with Local 8 for about 20 years now and he had told me about the apprenticeship opportunity.
The apprenticeship is excellent. They're providing more practical instruction beyond just written material, which I like. The class I'm in now has hydraulic simulations and we had to tear down hydraulic valves so it's very hands-on. We also have a lot of good teachers.
The benefits of being a Local 8 member are great. I go to meetings every other month because I enjoy the sense of camaraderie and have networking opportunities. It's a really solid union — there's so much support.
Chris Machado
I originally got into the trade just before the Recession hit and was then laid off and ended up working for the Union Pacific Railroad — something I had always wanted to do. I just came back last November. This is a better trade. I have to do all the schooling over again because things have changed so much, the technology has changed big time. Overall I think that things have improved.
In addition to helping me provide for my family, the competitive pay helps for surviving in California. It also gives me the opportunity to do something I enjoy. As long as you're willing to learn, there's someone who's willing to help you. For this job I've been putting up all the braille for the blind — it's on about 400 openings; I'm on my last rise.
Eric Salado
I've been with Local 8 since 2013. My brother and I heard about the trade and we went for it and applied. The Union has definitely treated me well this past year. The benefits are outstanding. I try to make it out to meetings when I can because it's important to stay current on necessary information and get feedback.
I got started on this job last year and it's the first high-rise I've ever done. We're upgrading all the old equipment and putting in everything new for the whole building. We're using new equipment that I've never worked with before so there's a lot to learn every day. I'm a new mechanic, and this job has been very different — you never stop learning.


"I'll echo the other reviewers - this show was absolutely outstanding. I love these guys and have been lucky enough now two years in a row to see them on the tour closer in my home town. These guys just take it to another level."
"yea so Marc is spot on, this is a sick show, download now..."
"I went to this show hoping that it could come close to the quality of the prior night's performance at The Wiltern (3/24), which was a very good concert. Instead, this show blew the doors off the venue. Absolutely superb performances by everyone, and the band was having a very good time with this close-out of the 2018 Winter Tour. This is definitely a show worth the download."
"Went to this show hoping that it could come close to the quality and power of the 3/24/2018 show (previous night) at The Wiltern. It wasn't close--this show in San Diego blew away the L. A. show, and I'm pretty sure that UM knew that they were firing on every cylinder with a turbocharger kicked in at maximum boost. Powerful, playful, and quite possibly the best UM show I've seen or heard."


Boston Sunday Globe, May 20, 1979. Photograph by Gil Vasquez. Copyright unknown.
Social theorist, welfare rights activist, and political science professor Frances Fox Piven was born in 1932 in Calgary, Alberta. Raised in New York, she was naturalized in 1953, the same year she received a BA in city planning from the University of Chicago. After receiving an MA (1956) and a Ph.D. (1962) from that institution, she moved to New York where she worked as a city planner and then as a research associate for one of the country's first antipoverty agencies, Mobilization for Youth (MFY) on New York's Lower East Side.
In 1965 Piven and her MFY colleague Richard Cloward began a career of formulating the theoretical underpinnings of anti-poverty and welfare rights movements with the publication of a paper entitled "Mobilizing the Poor: How It Can Be Done".
Article and photograph: "No cloistered academic"
Syllabus for "Movements of the Poor"
Cloward and Piven "apply social analysis to organizing strategy" to find ways to take advantage of changing social, economic, and political conditions to benefit the poor. Their work was instrumental in the founding of such organizations as the National Welfare Rights Organization and HumanSERVE, a voter-registration project that culminated in the "Motor-Voter" Act of 1994. Piven has taught at Columbia University (1966-72), Boston University (1972-82), and the City University of New York (1982-). With Cloward, she has co-authored numerous articles and nine books including Regulating the Poor: The Functions of Public Welfare (1971), Poor People's Movements (1977), and Why Americans Don't Vote (1988).
The Frances Fox Piven Papers, consist of 72 linear feet and are primarily professional papers. Included are correspondence with colleagues, students, and friends; teaching materials; organization and subject files; and speeches and writings, reflecting her involvement as both academic and activist concerned with the welfare state and urban economic conditions.


text:
Q: Turn off auto indent in sublime text 2, but Right now in sublime text 2 when I start an if statement in Coldfusion and hit enter it will automatically indent the next line like this:
    <cfif this eq that>
        |

When I turn auto indent off it will leave the cursor back at the far left, which would be great, but a lot of times my code is already indented:
    <cfif this eq that>
|

What I want is it to leave it where it is currently indented to, no more, no less. Like this:
    <cfif this eq that>
    |

Any suggestions? Thanks!

A: There may be other ways to make this work for you.
But, you can edit the regex string in ColdFusion.tmPreferences file under
<key>increaseIndentPattern</key>

Just add cfif and cfelse to the list
|link|meta|param|cfif|cfelse

When there is an update to the ColdFusion package though, you may have to edit again.
Edit: Make sure to update the package to the latest version. The single line tags like cfargument should not indent as expected in the updated version.

A: Although what you would like does not seem to be possible at the moment, see ST2 forum (maybe you posted that?)
A slightly absurd workaround that may work for you, (seems to work for me). Go to View>Syntax>Java now the auto indention should do as you please - you may lose bracket tag matching (+other things?), syntax checking may be a bit nuts (you can always flip back if necessary, try other syntax stuff), and the colour scheme will change a little, but it seems to work.

A: Take a look at the settings in Sublime, there is one called 'smart_indent'.
The description for this setting is:

Makes auto indent a little smarter, e.g., by indenting the next line
  after an if statement in C. Requires auto_indent to be enabled.

Found some more info in the Sublime Documentation.


text:
Q: cmp and subcc/others in assembly SPARC assembly has a cmp instruction, which compares two numbers (using subtraction, if I understand correctly). It also has subcc, addcc, andcc, and others. What is the difference between comparing two numbers using cmp and setting condition codes after performing a calculation? I'm having trouble wrapping my mind around the concept.

A:
What is the difference between comparing two numbers using cmp and setting condition codes after performing a calculation?

Generally (e.g. on x86 or 68000 type processors), cmp only sets the status flags, without modifying the operands or storing the result anywhere.
sub etc. are also changing the destination operands (they need to store the result somewhere ), which is not necessary when doing comparison operations.
In essence, cmp is a sub operation where the result is simply discarded (probably saving instruction cycles). When doing comparisons, you do not need the result, you only need to know whether the result is zero or not, and whether it is negative or not.
On SPARC, in particular, cmp is a "synthetic instruction" provided for better readability which is eventually converted by the assembler into a subcc instruction. See "Synthetic instructions" at http://moss.csc.ncsu.edu/~mueller/codeopt/codeopt00/notes/sparc.html.
So, cmp  %reg1,%reg2 is converted to subcc   %reg1,%reg2,%g0 by the assembler. This subtracts the two registers, and effectively also discards the result by storing it into register %g0. %g0 is a register which always returns 0 when read, and does not change when being written to. So, on an instruction level, there is no difference at all between cmp and subcc (in other words, SPARC does not have a separate cmp instruction, but uses subcc with a special destination register for comparison).


"Shoot me if I ever consider taking on another alliance team," moaned Sharon, who had recently left her job as an alliance Co-Leader on a commercial product team, formed as the result of a strategic alliance.
Unfortunately, Sharon's glum view of life on an alliance team is not all that unusual. Anyone who has ever worked on an alliance is keenly aware that success does not come easily. In fact, research indicates that the rate at which alliances underperform or fail is still hovering at around 70%!! And yet, more and more companies are relying on alliances to play a bigger role in their business strategy. What's wrong with this picture?
Let's start by looking first at just what is an alliance? It is some form of organizational structure that covers a broad range of collaborations and partnerships involving shared risk, rewards and control. The alliances we work with are engaged in a variety of contractual arrangements involving at least two organizations. They have decided to align with each other because there is something missing from their individual organization's strategic capabilities. For example, a strong marketing and sales company may need to enhance its product offerings. And another company, who has spent years developing a product, may now need the help of that first-rate marketing and sales company. They may decide that together they will make a strong team in the marketplace and decide to form an alliance in order to realize their mutual value proposition.
The other thing that distinguishes an alliance from a merger or acquisition is that in an alliance each organization retains its own independence and identity. However, if the alliance is going to work out successfully for both parties over time, there needs to be, first, an understanding and acceptance of the other's business strategies and culture. Prospective alliances are researched and identified as potential business partners by a 'deal team' who proceeds to perform due diligence on the best candidates and takes the process through to final contract negotiations. Historically, these deal teams are made up of business development staff, subject matter experts, lawyers and finance staff. However, recently alliance managers and human resources professionals have been included on these teams. Alliance managers will be executing the alliance and many of the issues faced will be cultural, so companies are beginning to recognize the importance of their perspectives before the deal is signed.
Once the contract is in place the real fun begins. Teams are formed and business plans are prepared. Goals and roles are spelled out and joint processes for managing the work are developed. If the alliance is complex, there is a multi-level governance structure put into place to provide oversight and manage conflicts, when, not if, they arise. Sounds pretty straight-forward. So why the 70% disappointment rate?
Continuously measure and monitor their mutual value proposition. I often find myself reminding my alliance teams that there really was an important business reason why the alliance was formed in the first place. Often times that mutual value proposition has been forgotten or there were never any metrics established to ensure that the value for each company and the alliance as a whole was continuously being monitored. One of the best alliances I worked with would meet face- to- face every month to review business performance and jointly decide on strategies to improve results.
Make an effort to understand and accept the business strategies and culture of their alliance partner. This process should be started in the due diligence phase, however, when the deal is tossed over the wall to the people who need to work together, often times they jump into the work itself without engaging in a 'getting to know you' phase. In an alliance one of the reasons for due diligence is to find out what you are getting into with this potential partner. Sometimes that is not always uncovered until you start 'living together'. Unfortunately, too often I hear, "Why can't they do things the way we do". However, successful alliances find ways to compromise and accommodate to the culture and processes of each other.
Formally and jointly develop an alliance team charter. Most alliance teams operate virtually, meaning that much of the work and meetings are not done face-to-face. However, if there is one meeting that should be done face-to-face it is the full alliance team's onboarding or chartering session. This 1-2 day session should include some 'getting to know you' exercises, but the majority of time is spent on setting out joint goals, establishing roles and accountabilities, identifying 'rules of engagement' for communications, decision-making, etc. The decisions made during this session and the relationships that are formed jump-start the team for success.
Don't let tough decisions or conflict fester. Facing tough decisions and becoming embroiled in disagreements are just a part of doing business for alliances. The most innovation comes from alliance teams who see things from different perspectives and can get through the rough waters that are inevitable. The worst alliance teams let conflicts fester and avoid making tough decisions. They pay the price in missed opportunities and loss of confidence and trust in the team. Alliance team sponsors' need to convey the message that they expect the team to work through its issues to mutual satisfaction. However, they also make it clear that if this is not possible, they expect a joint escalation to the next level of governance (not each part of the team running it up their own company's flag pole).
Keep stakeholders out of the alliance 'sandbox'. I was called in by two alliance co-leaders (one from each company) who on our first call jointly told me: "The problem isn't with the alliance team itself. They all seem to get along and we make joint decisions that focus on what is best for the alliance. The problem is that when each team member goes back to their respective organizations, their bosses question and openly disagree with the alliance team's decisions. The solution: they developed an escalation process that required stakeholders to stop sending decisions back to the alliance team, but instead forced them to send their complaints/requests for reversals up the governance chain. Guess what happened to stakeholder interference?
Conduct periodic 'health checks' to determine if , in fact, the alliance is driving alliance team members crazy or sailing along pretty smoothly. One alliance team I was called upon to help was extremely dysfunctional, from the top-down. Nothing seemed to be working right. So one of the first things we did was to conduct a survey of everyone on the alliance team, including the governance sponsors to try to identify where the most critical 'points of pain' were. And then we pulled the team off-site, presented the results and facilitated the development of a Plan of Action. We attended all of the monthly governance meetings, and held semi-annual 2 days planning sessions, including reviewing the results of the current health check survey. This went on for 2 years. Today, there are no longer comprehensive surveys done, but the alliance team continues to be known as a high performing team in the industry. Not all health checks need to be as frequent or as comprehensive. However, successful alliance teams periodically take time-outs to assess not just what they are doing but how they are doing it.
The percentage of underperforming or failing alliances can be reduced by embracing and undertaking new approaches to structuring and nurturing alliances. If they were important enough to enter into in the first place, then they are important enough to invest in their start-up and their ongoing development. You may not need to set up a formal alliance management function, but the old, ad hoc approach to signing the deal and crossing your fingers should be thrown out the window and as former New York City Mayor, Rudy Giuliani once said: "Change is not a destination, just as hope is not a strategy".


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Home Sports Olympic Games Holding qualifications for Teahupo'o Olympics in Huntington Beach slop called "act of...
Holding qualifications for Teahupo'o Olympics in Huntington Beach slop called "act of willful negligence bordering on sociopathy" by progressive legal thinker!
A classic story of sliding doors or how two men of equal ability and from the same beach can veer down wildly different paths.
During a business trip to Sydney in 2009, I went to Bondi to try to find my old friend, Ant Corrigan.
The town had changed quite a bit since my last visit in 1984—the pubs and their punters, the milk bars and their pinball machines, the junkies and their smack—all replaced by bistros, boutiques, and bankers.
Located less than five miles from King's Cross, Sydney's notorious red-light district, Bondi is the closest beach to the city center.
The horseshoe-shaped cove stretches roughly a kilometer from the pool at the Iceberg's Swimming Club at the south to the rocks at the north.
Unlike Sydney's more exclusive northern beaches, up until the 1990s, Bondi was an extremely diverse working-class town. It is lovingly referred to by its residents as "Scum Valley" due to its filthy, polluted water.
During the 1970s, after a bad storm, it was not unusual for the beach to be littered with faeces, used condoms and syringes.
I figured that the most logical place to begin my search for Ant would be at the Rip Curl wetsuit shop on Campbell Parade behind the beach park. After all, Ant in his custom made red and yellow wetsuits doing Larry Bertleman-like turns, on Micheal Cundith's Sky Surfboards, made him the alternative poster child of the 1980s.
The surfer behind the counter told me that Corrigan, like most of the old Bondi locals, had moved from the coast and that my best bet was to look for him after 4 p.m. in the Off-Track Betting section of the Royal Hotel on Bondi Road.
The Royal was one of the few remaining old school pubs in this now upscale area. I got there early, spotted some concrete, paint, and plaster-spackled surfers my age enjoying after-work schooners and approached them.
When I asked about Ant, it quickly turned into a reunion of sorts. A few schooners later, and one of my new friends was on the phone, putting out the word that "Corro's seppo [American] mate Pete was in town and looking for him."
Word got back to me that Ant worked for Qantas and was finishing up his shift at the airport but would meet me at the Royal the following night.
Ant Corrigan and I had shared some magical, carefree days surfing northern New South Wales in 1984 before the pressures of adult life encroached upon us.
More than one of Australia's greatest surfers, Ant was a classic Aussie larrikin who had more in common with Ned Kelly than the hipsters who had taken over his hometown.
Those who were born and bred in Bondi grew up fast.
"Skullduggery was common, so Southside surfers had to be apt and on their toes. Dealing with rioting, rapes and murders and cops and robbers, were all part of the city beach lifestyle," wrote Matt Ellks in his novel Scum Valley, "It was an area where street credibility went a long way. You could have all the money in the world, but if you didn't have street-cred, you were nothing. In this environment, your daily exploits were the measuring stick of who you were."
Long before the Fords, Corrigans, Horans, Crams and Webbers, there were iconic Bondi watermen like Keith "Spaz" Hurst, Jack "Bluey" Mayes, Kevin "The Head" Brennan, and the gladiators who manned the North Bondi Surf Lifesaving Association who would set the standards for generations of Bondi watermen to come.
World War II veterans like Adrian Curlewis, who survived three years as a Japanese POW in Burma, built the surf lifesaving associations along military lines, with "battalions," patrol captains, and served as the organization's president for forty years (1935-1975).
The first phase of Australian beach culture was defined by the volunteer groups that sprang up along the coast to reduce the number of drownings at the nation's treacherous beaches. These clubs gathered regularly for surf carnivals that featured swimming, paddling, running, surfboat, and surfski competitions.
The day usually ended with beer-soaked sausage-sizzles, the inevitable interclub "blues" (fights), and then truces sealed by more beer and laughs.
Founded in 1906, the North Bondi Surf and Social Club was much more radical than your typical surf club.
"North had all the characters," said former Australian surfing champ Robert Connelly, "The renegades who wouldn't do community service, wouldn't patrol beaches on a Sunday because they wanted to go surfing at South Bondi. They were more stage wrestlers and boxers. I'm talking 'Hollywood George', the wrestlers and the nightclub bouncers coming down to stay fit."
Qantas engineer Vic Corrigan was a member of the prestigious North Bondi rescue-boat crew. The punter's (bookie's) son grew up in Bondi in a house with racehorse stables. Corrigan married Maureen Hallahan, and by the early 1960s the couple had three children: Steve, Cathy, and Ant.
The young Corrigan family spent most of their free time at the beach. "We just loved the water," said Cathy Corrigan Clapoudis. "We used to go down to the Bondi baths all the time."
After Vic and Maureen divorced, the single mother moved into a friend's Bondi apartment, where Steve and Ant shared a room but spent most of their days surfing and skateboarding. When the Ford brothers formed the invitation-only Panache Surf Club, they invited Steve Corrigan, one of Australia's hottest up-and-coming surfers, to join.
The Ford brothers knew that some of Australia's best surfers were in nearby Narrabeen, and if the Bondi mob was to successfully compete against them, they had to measure themselves against them on a regular basis.
Although it was only eighteen miles north, Narrabeen was a world away.
"The Harbour Bridge, and the miles of road in between," wrote Ellks, "protected northside beaches from a lot of city heat."
Not only were the waves better, but there was also a hotbed of surfing talent where some of Australia's greatest surfers—Col Smith, Terry Fitzgerald, and Simon Anderson—were all about to make their marks in Hawaii, South Africa, and California in the new sport of professional surfing.
The Ford brothers bought a VW van, and before dawn each morning, they filled it with Bondi's best surfers and drove to Narrabeen.
Two of the surfers who were usually in that van were Steve Corrigan and his diminutive, toe-headed brother.
"I used to surf most mornings, Monday to Friday, before primary school," Ant recalled, "Those trips were unbelievable. I was surfing with the best surfers in the world. It was like a competition every morning. I was privileged to be a part of it."
Ant Corrigan got so good so young, that it would take many years for his peers to catch up.
"The name, Corrigan, say from 1973 to 1977, over the course of two brothers, meant a ton to the hopes and dreams of surfers everywhere," wrote Derek Hynd, "The Corrigans were a strong representation of why things burned for a whole generation of career-destined Australians down the track."
Bondi's surfing population exploded in the early 1970s, and there were now three main factions: the Hill Crew, the Wall Crew, and the Rock Crew.
The elite "Hill Crew" occupied the grass hillside overlooking the beach.
According to Cheyne Horan, one of Australia's greatest professional surfers, "If anyone walked up the hill, they had to have a reason. So, if they weren't with the crew, you'd pelt them with milk cartons."
In the water, the surfing hierarchy was even stricter.
"In those days," recalled Horan, "we weren't even allowed to speak to the older guys. You weren't allowed to paddle out the back. Bondi had a big thing like that. We weren't even allowed to surf in the south corner if they were in the water. They paddled out and guys just paddled in."
1974 was a big year for Australian pro surfing, and many had high hopes for Steve Corrigan when he traveled south to Torquay to compete at the Bells Beach Rip Curl Pro. Although his competitive performance was mediocre, word of his free-surfing and his roundhouse-loop cutback spread quickly.
"Surfing wouldn't draw the lines it draws now without Steve Corrigan. Mick Fanning, Kelly Slater, Tom Curren!" exclaimed Cheyne Horan, "all those guys have got a bit of Steve Corrigan in them."
While some criticize the Fords for being straight and square, there is no denying their success in turning Bondi into a breeding ground for competitive surfing talent.
At the 1976 New South Wales Championships, Bondi surfers took 1st through 3rd places in every division. At the Australian Titles, Bondi also swept every division with Ant Corrigan winning the under-15 division and Cheyne Horan winning the under-19.
"So it turned out that this hot little crew of guys in Australia are possibly the best kids in the world," recalled Horan with pride.
Although Cheyne was slightly older than his doppelgänger, Ant Corrigan, they became fast friends. The pair surfed together all day, every day, their only breaks being for what Horan described as the "really dodgy sandwiches, worse than 7-Eleven."
In true Bondi fashion, Ant figured out a way to remove their lunch from the vending machine in the pool hall across from the beach without paying.
"We'd get a couple of tasties, a couple of free drinks," recalled Corrigan, "and then fuck off."
When the pair wasn't surfing, they were skateboarding, which Horan believes accelerated their surfing progression.
"We tried to do things that the old guys couldn't comprehend. That's where Ant and I got into 360s and different things like that."
After Horan won the Australian Titles in December of 1976, he decided to pursue his dream of becoming a professional surfer. In order to do this, he needed a bankroll and approached Steve Corrigan, who worked as a plumber, for an apprenticeship.
Corrigan told Horan that he could start the following week after he returned from a ski trip to the Snowy Mountains. Tragically, Steve fell asleep driving home from the mountains, and got into a head-on collision with a bus. His two passengers survived, but Corrigan died from his injuries.
While Bondi's tight-knit surfing community was shattered by the loss of their most promising surfing son, nobody took it harder than Ant.
"After Steve passed, it really affected him," said Ant's sister Cathy. "They shared a room and it was very hard on Ant. He often stayed with other friends and family who sort of adopted him after the accident. Mum was so beside herself, she was happy if he was happy."
"It was just a devastating time, a really sad time for everybody," recalled Horan. "To me it was the start of manhood as us grommets set aside childish ways to face the realities of life. From that day on, my brother and I, we took Ant on as a brother. We were always there for him. We forged that brotherhood, more than just a friendship."
After his brother's death, Ant took a more Dionysian view of life, and the city became his playground. At sixteen Corrigan doctored his birth certificate so he could work at the Chevron Hotel in Kings Cross where his friend's mother ran the notoriously raucous bar with an iron fist.
"Everyone had a lot of respect for her, she wouldn't take any shit from any sailors," Ant recalled. "My boss was a gay bloke and she just said to him straightaway, 'Keep your hands off him, Barry, if I see you go near him, I'll rip your nuts off!' Barry didn't look at me twice after that."
When the U.S. Navy ships docked in Sydney Harbor, they were bussed straight from their ships to the giant pub and nightclub where a platoon of Sydney's heaviest bouncers were always ready for battle.
"The Yanks would come when their ships landed," said Corrigan. "There was a bit of friction between us and the Yankees at the time. I saw some heavy brawls at that joint."
By the end of his 16th year, Ant knew the working girls in the Cross by name and enjoyed après-work nightcaps at Bourbon & Beefsteak, the CIA's haunt in Sydney.
Ant was still one of Australia's best surfers, but unlike his friend Cheyne Horan, he was neither enamoured nor impressed by pro surfing.
Seventeen-year-old Horan, in only his second year on the fledgling International Professional Surfing tour, was ranked second in the world. Horan and Corrigan's sponsor, Rip Curl wetsuits, convinced Ant to enter the Rip Curl Pro at Bells Beach.
Cheyne Horan got up in the dark on a cold Victorian morning to cheer on his friend, but when he got to the beach, Ant was nowhere to be found.
"They're calling out his name, I'm waiting at the contest for him," said Horan, "and he doesn't show up. That's typical Ant. I know Ant and I know that he doesn't really care about the contest scene as much as we do."
Horan figured that his friend had gotten drunk or met a girl, and just let it slip by.
More than a decade later, he asked Ant about that fateful day at Bells. Although Corrigan made it to his hotel in nearby Torquay, his ride to the contest site never showed up.
"So that's how Ant Corrigan missed out on being a pro surfer—the guy not showing up to take him to the beach," said Horan, who then drew a deeper meaning from the missed ride. "It's nature taking its course. It was never going to be his destiny and it wasn't."
While much has been made about the missed heat at Bells Beach, Corrigan's real denouement with pro surfing occurred a few years later at the 1979 Stubbies Pro at Burleigh Heads.
After a blistering 3rd place finish in the trials, Ant should have qualified for a spot in the main event. However, contest organizer Bill Bolman decided to give one of the overseas competitors his place.
"I surfed in trials to even get to the trials," says Corrigan. "They kept knocking me back until I ended up 16th reserve."
Toward the end of the championship heat between Hawaiian Dane Kealoha and Australian world champion Mark Richards, an angry Corrigan paddled out and waited in the channel for the contest to end.
The second the horn went off, he sprint-paddled deep into the lineup.
"I just knew where it was going to break, and this solitary 4-foot wave come out of nowhere."
In front of the giant crowd watching on the beach, Ant caught the wave of the day.
"I knew what I was going to do," he said. "I was gonna show right off! I start spinning roundhouse 360 after roundhouse 360."
When Corrigan got to shore, "I kicked me board up under me arm and marched up the beach. Me hair hadn't even gotten wet. People were going, 'Why weren't you in the contest? Why weren't you in the contest?' I said, 'Ask Bill Bolman!'"
Ant returned to Bondi and his job at the pub. Pro surfing was less disillusioning to him than it was boring.
"I had a gutful, I wasn't getting anywhere I wanted to go," he recalled, "I was a bit of a reb and free spirit and had more fun surfing with friends and probably got better waves than the pro surfers, just traveling with mates to secret spots and had a wonderful time with no hassles."
Ant's sister Cathy was always slightly amazed when she received her brother's postcards from exotic locales like Sri Lanka, Indonesia, Central America, and Hawaii.
Before I met Ant, I saw a photograph of him that is forever seared into my memory. Resplendent in his custom red and yellow, short-sleeved Rip Curl wetsuit and matching board, Corrigan is carving a perfectly timed bottom turn around the hollow section of a thick, overhead right.
Unlike Peter Townend's more famous and melodramatic soul arch, Ant's is closer to Terry Fitzgerald's functional "power arch."
Hands behind his back, right clutching left, eyes focused on the next section like a Formula One driver charting his line through the chicanes, Corrigan's posture is perfect, his rail is buried, and he has speed to burn.
There is no wasted movement; it is a photograph of mastery.
Corrigan's posture is perfect, his rail is buried, and he has speed to burn. There is no wasted movement; it is a photograph of mastery. Photo: Aitionn
The most famous image of Ant, however, was a 1977 Australian Surfing World cover shot that featured a Rolls Royce Silver Cloud with a quiver of single-fins strapped to the roof. Future world champion Tom Carroll, Cheyne Horan, and Ant sit in the front seat.
The caption reads: "The HOT generation—a new wave."
Tom Carroll would go on to win multiple world championships, Cheyne would have a remarkable pro career, and Corrigan walked away from it all.
Bondi's Ron Ford was probably referring to Ant when he wrote that Bondi and its neighboring beaches had "an abnormally high percentage" of Australia's best surfers, but for some their hearts were not in it, and many were pursuing "more traditional Aussie pursuits."
While Ant Corrigan's early competitive exploits spoke for themselves, his surfing fame was spurred by a series of Australian Surfing World magazine covers.
Unlike the American magazines of the time, Bruce Channon and Hugh's McLeod's magazine featured long, lavish, beautifully photographed stories about adventurous young Aussies exploring their continent's vast, untamed coastline.
For a California teenager like myself, who preferred long-range Baja expeditions and camping on coastal ranches to colored jerseys, these images spoke to me in a way that the American magazines did not.
Above all, they reminded me that surfing's frontier was alive and well.
I think that I was the only graduate from my posh West LA private school who did not go to college immediately after graduation.
Instead, I worked two jobs, one in construction and the other in California's underground economy, saved every penny, and planned to leave for the surfing safari of a lifetime that would officially begin on my nineteenth birthday.
Each morning I dragged myself out of bed at 4 a.m., looked at the Air New Zealand ticket pinned to my wall and reminded myself that this pain would only be temporary.
Days after my nineteenth birthday, I moved into shaper Michael Cundith's house at 8 Broken Head Beach Road and never looked back.
Cundith, then a surf-stoked 38-year-old bachelor, put me through a six-month crash course in single-man living that served me well until I married two decades later.
Felix Unger to neighbor George Greenough's Oscar Madison, the Santa Barbara expat had lived in Australia since the '60s and was a meticulous craftsman who shaped some of the most advanced surfboards in the world.
Although the triplane hull was popularized by Tommy Curren and Al Merrick's Channel Islands Surfboards, Cundith, Greenough, and Chris Brock had invented and perfected it many years earlier at Byron Bay's Sky Surfboards.
Cundith's small house/surfboard factory, conveniently located across the street from Broken Head Point, was a constant hive of activity during the 80s.
Surfers from all over Australia and the world congregated around his kitchen table and shared pre-surf "cuppas" (coffee or tea) and "cones" (bong hits), and post-surf "cold ones" (beers) and "hot ones" (joints).
A week before the 1984 Stubbies Pro at Burleigh Heads, Mike Cundith and I drove to the Byron Bay train station to pick up Ant who was MC's star rider at the time.
He would spend a few days with us dialing in his boards and then head to the Gold Coast, an hour north, for the contest.
When the overnight train from Sydney pulled into the station, a short, broad-shouldered man with blonde hair and a blonde mustache walked down the stairs and onto the platform.
Before Cundith could shake his hand, a pretty girl grabbed him by the arm, spun him around, planted a big kiss on his lips and asked, "Aren't you even going to say goodbye?"
Ant smiled, flashed us a cat-that-ate-the-canary grin, shook my hand, and said, "G'day Pete, now how are the banks at Broken?"
First impressions are rarely wrong, and during the week Ant Corrigan stayed with us he made quite an impression.
From Broken Head to Lennox, to Yamba and beyond, when Ant paddled into a surfing lineup, the former Australian cadet and schoolboy champion stood head and shoulders above the pack—really any pack—anywhere.
By the time I met him, he was a streetwise man of the people who stood outside and above surfing's caste system.
In the days leading up to one of Australia's most prestigious contests, pro surfers from all over the world descended on our house on their way up from Sydney to the Gold Coast.
One morning, I was roused before dawn by a loud commotion. I came out of my room and found a white-haired stranger wearing a black bowler hat who looked like a cross between one of the Droogs from Clockwork Orange and a Waffen-SS Obersturmführer hovering over Ant, who had been asleep on the floor.
Ignoring me, Hawaii's Tim "Tazzy" Fritz was loudly demanding a cup of coffee. The white Hawaiian had once placed in the Pipe Masters, and both in and out of the water he is remembered as one of the heaviest surfers of the 1980s.
"G'day big fella. What's this I hear about a cuppa?" Ant said as he stood up, extended his hand, and when he said, "Ant Corrigan," the menacing Aryan suddenly turned into a star-struck teen. "You're Ant Corrigan?" he gushed. "Australian Surfing World is my favorite magazine! I've been following your career for years."
We gathered around the kitchen table where the big Hawaiian chased his coffee with more powerful stimulants that he had smuggled in from home. Then, just as quickly as he had arrived, Fritz was gone.
He would bomb out of all the contests, but Tim Fritz would become famous with bouncers from Queensland to Victoria. Fritz died under mysterious circumstances at the age of 24 in 1986.
Although the waves Ant and I surfed during the week leading up to the contest were great, the afternoon pool games at the "RSL" (the Return Service League is the Australian version of VFW) and his crash course on Australiana were better.
Ant invited me to join him on the Gold Coast for the Stubbies contest. A few days later, we drove north in my VW van. Ant told me to stop at the first hardware store he saw and emerged with plastic tubing of various sizes.
Next stop, Woolie's supermarket.
As I filled our cart with our week's provisions—tea, instant coffee, cereal, milk, cordial syrup, Arnott's "bikkies" (cookies), cigarettes, and "Red Head" matches—Ant went to the pastry section to hunt down a cake decorating set.
"The metal tips," he explained, "make perfect cones" [bong bowls].
Our last stop was the bottle shop where we bought slabs (cases) of Tooheys New beer.
Our holiday flat overlooked the almost flat Burleigh Heads lineup. We had traded perfect, uncrowded surf at Broken Head for tiny waves clogged by the world's best surfers.
The serious pros like Tommy Curren and Tom Carroll were staying sharp by surfing nearby Duranbah, but Ant couldn't be bothered. Instead, he held court at our flat as old friends from Bali, Hawaii, and all over Australia, streamed into our flat at all hours, for their choice of a cuppa, a cone, or a cordial.
I pitied our neighbors, California's teetotaling Christian world champion Tommy Curren and his young, French wife, Marie. They had no choice but endure our noisy presence. Ant was the yang to the unflappable Curren's yin.
While I didn't realize it at the time, Ant was teaching me by example not to take a surfing contest more seriously than a reunion with your old friends.
"When Ant is one of your mates," said Cheyne Horan, "he's a great mate. He won't shirk on telling you that you need to wake up to yourself. He might say things sometimes to you that cut to the bone, but you need to know it. I think that's one of the things that I love about Ant. He's said things to me that no one else will ever say and that's what I've always appreciated about our friendship."
When we weren't entertaining guests, we were playing miniature golf and eating Big Macs at McDonalds, the only place in Australia at the time where hamburgers weren't covered with beets and mountains of shredded carrots.
Nighttime only meant one thing: The Playroom. Located on the Gold Coast Highway in Palm Beach, the Playroom was one of Australia's great music venues during the 1970s and 1980s where bands like INXS, Cold Chisel, Midnight Oil, Australian Crawl, Men at Work and many others got their start.
"If you fell on that carpet, you would probably need a tetanus shot," recalled one regular, "It was also so sticky with all the grog and who knows what was spilt on it."
In the early 80s, pro surfers did not travel with coaches and shrinks; it was a much more bacchanalian time. The Hawaiians had a hard time keeping up with the Aussies in the beer drinking department but more than made up for it when the inevitable "blues" (fights) punctuated the end of the night.
A few bleary days and nights later, the Stubbies Contest began in tiny, substandard surf.
Ant easily won his heat, but seconds after the final horn sounded, a set wave appeared on the horizon. He knew that if he rode the wave, he would be disqualified but took off anyway, and linked bottom and top turns all the way to the beach.
It was another Pyrrhic victory, but at this point in his surfing career, Corrigan couldn't have cared less.
"Them is the breaks, yeah, that's my life," Ant recalled, "It was unreal, we had a wonderful time."
Unlike many surf stars at the time, Ant was remarkably absent of ego.
In the ocean, he was one of the best surfers in the world, but once his feet touched the sand, he was just another bloke from Bondi. This was both a blessing and a curse.
(Editor's note: Peter Maguire is a surfer, war crimes investigator and author ofThai Stick: Surfers, Scammers, and the Untold Story of the Marijuana Trade (movie rights optioned by Kelly Slater), Law and War, Facing Death in Cambodia and Breathe, the new bio on jiujitsu icon Rickson Gracie. Ain't much ol Petey can't do. This story appears on Pete's substack Sour Milk, subscribe, it's free etc.)
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2010 nismo 370z
2009 Nissan 370Z Nismo debuts in New York
by Mashfique Hussain Chowdhury. April 9, 2009.
The 2009 Nissan 370Z isn't even out yet in most countries, and Nissan has already unveiled the NISMO 370Z, a heavily tuned version developed in-house for true enthusiasts. The limited-production features an upgraded 350 hp 3.7-litre V6, close-ratio 6-speed manual, special body-kit and interior styling, tuned suspension and super-lightweight 19-inch forged alloy wheels. Converted by tuners Autech Japan in collaboration with Nissan, it debuted at the 2009 New York Auto Show.
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