text:
HomeNewsNorway's Hammerfest LNG Plant Extends Outage until May 27
Norway's Hammerfest LNG Plant Extends Outage until May 27
(Reuters) — Norway's Hammerfest LNG plant is now expected to restart on May 27, four days later than the previous plan and further delaying operations since a fire in 2020, Norwegian gas system manager Gassco said on Sunday.
It was the second postponement in less than a week. On May 16, operator Equinor said a minor fault had been discovered on a compressor, which had to be replaced, and that the restart would thus be delayed until May 23.
The additional delay was caused by some final tests to be performed, the company said.
"Some final tests are remaining on the compressor," an Equinor spokesperson told Reuters on Sunday.
Europe's only large-scale LNG plant, at Melkoeya island just outside the Arctic town of Hammerfest, can process 18 million cubic meters of gas per day when fully operational.
Restarting operations would be welcome news for Europe, which is scrambling to find alternatives to Russian gas supplies in the wake of the war in Ukraine.
The LNG plant represents around 5% of Norway's overall gas export capacity.
At Melkoeya, gas is piped in from the offshore Snoehvit field, 160 km (100 miles) away in the Barents Sea. The field was forced to shut as a result of the plant's closure.
In January, Equinor said more than 22,000 components had undergone checks since the fire, and that 180 km of electrical cables had been replaced.
The partnership includes Equinor, Norway's Petoro, TotalEnergies, Neptune Energy and Wintershall Dea.
Pertamina Still Discussing Plan to Take Over Shell's Abadi LNG Stake


text:
Q: Magento 2 - Backend custom module 404 error I'm trying to create my custom module in the back-end, I followed a lot of tutorials, but I continue to get 404 error when I try to access to my controller. The only thing that work fine is the menu option, but when I go to http:/admin_host/macrocategorie/config/ I get Page not found 404
I have already tried to run this command:

*

*php bin/magento setup:upgrade

*php bin/magento setup:di:compile

*php bin/magento cache:clean

*php bin/magento cache:flush
But nothing change.
I have used below code :
Vendor\Module\registration.php
<?php      \Magento\Framework\Component\ComponentRegistrar::register(
\Magento\Framework\Component\ComponentRegistrar::MODULE,
'Vendor_Module',
__DIR__    );

Vendor\Module\etc\module.xml
<?xml version="1.0"?><config xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="../../../../../lib/internal/Magento/Framework/Module/etc/module.xsd">
<module name="Vendor_Module" setup_version="2.0.0"/></config>

Vendor\Module\etc\adminhtml\routes.xml
<?xml version="1.0"?><config xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="urn:magento:framework:App/etc/routes.xsd">
<router id="admin">
    <route id="macrocategorie" frontName="macrocategorie">
        <module name="Vendor_Module" before="Magento_Backend"/>
    </route>
</router></config>

Vendor\Module\etc\adminhtml\menu.xml
<?xml version="1.0"?><config xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="../../../../Magento/Backend/etc/menu.xsd">
<menu>
    <add
            id="Vendor_Module::macrocategorie"
            title="Macrocategorie"
            module="Vendor_Module"
            sortOrder="100"
            parent="Magento_Backend::stores"
            resource="Vendor_Module::macrocategorie"
    />
    <add
            id="Vendor_Module::config"
            title="Configura Macrocategorie"
            module="Vendor_Module"
            sortOrder="105"
            parent="Vendor_Module::macrocategorie"
            action="macrocategorie/config/"
            resource="Vendor_Module::index"
    />
</menu></config>

Vendor\Module\Controller\Adminhtml\Config\Index.php
<?php namespace Vendor\Module\Controller\Adminhtml\Config; use Magento\Backend\App\Action\Context; use Magento\Framework\App\ResponseInterface; use Magento\Framework\View\Result\PageFactory; class Index extends \Magento\Backend\App\Action {

protected $resultPageFactory;

public function __construct(
    Context $context,
    PageFactory $resultPageFactory
)
{
    parent::__construct($context);
    $this->resultPageFactory = $resultPageFactory;
}

/**
 * Dispatch request
 *
 * @return \Magento\Framework\Controller\ResultInterface|ResponseInterface
 * @throws \Magento\Framework\Exception\NotFoundException
 */
public function execute()
{
    die("Controller backend");
    $resultPage = $this->resultPageFactory->create();

    return $resultPage;
} }

Thank's for the support

A: It's probably because you're missing the ACL for your route.
You need to create etc/acl.xml with the following content:
<?xml version="1.0"?>
<config xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance" xsi:noNamespaceSchemaLocation="urn:magento:framework:Acl/etc/acl.xsd">
    <acl>
        <resources>
            <resource id="Magento_Backend::admin">
                <resource id="Magento_Backend::stores">
                    <resource id="Vendor_Module::macrocategorie" title="Macrocategorie" sortOrder="80">
                        <resource id="Vendor_Module::index" title="Configura Macrocategorie" sortOrder="80">
                    </resource>
                </resource>
            </resource>
        </resources>
    </acl>
</config>

And then you need to add the following to your action class:
protected function _isAllowed()
{
    return $this->_authorization->isAllowed('Vendor_Module::index');
}

A: you try to change namespace from "SaturTheme\Configuration" to "Vendor\Module" in your Controller and then clear cache

A: Replace your Index.php controller file code.
<?php
namespace Vendor\Module\Controller\Adminhtml\Config;

class Index extends \Magento\Backend\App\Action {

    protected $resultLayoutFactory;

    public function __construct(
        \Magento\Backend\App\Action\Context $context,
        \Magento\Framework\View\Result\LayoutFactory $resultLayoutFactory
    )
    {
        parent::__construct($context);
        $this->resultLayoutFactory = $resultLayoutFactory;
    }

    /**
     * Dispatch request
     *
     * @return \Magento\Framework\Controller\ResultInterface|ResponseInterface
     * @throws \Magento\Framework\Exception\NotFoundException
     */
    public function execute()
    {
        die("Controller backend");
        $resultPage = $this->resultPageFactory->create();

        return $resultPage;
    }
}

Now working for you, Let me know if you have any issue with.

A: Like Raphael's answer, the acl file seems missing.
Also, the menu does not need the second add node and this could break the first node that seems good enough to me.
the _isAllowed function is mentioned in Raphael's post but I can't see any update in your post.
I have added a module in a public repo that shows a backend screen. Please take a look at backend screen

redpajama_set_name: RedPajamaStackExchange


text:
International Space Station U.S. National Lab and National Science Foundation Announce Transport Phenomena in Space Funding Opportunity
Up to $4 million in funding from the National Science Foundation will be available for fluid dynamics, particulate and multiphase processes, combustion and fire systems, and thermal transport research aboard the International Space Station U.S. National Laboratory
Kennedy Space Center, FL (November 7, 2018) — The International Space Station (ISS) U.S. National Laboratory and the National Science Foundation (NSF) today announced a "Transport Phenomena" joint solicitation wherein researchers from the fluid dynamics, particulate and multiphase processes, thermal transport, and combustion and fire system communities will have the ability to leverage resources onboard the space station. Up to $4 million will be awarded for multiple research investigations to support flight projects to the ISS National Laboratory. Previously, the ISS National Lab and the NSF partnered on two fluid dynamics/multiphase processes solicitations, and one funding opportunity focused on combustion and thermal transport. This new funding opportunity will combine the previous scientific disciplines for researchers in an effort to provide a broad range of research applications within the microgravity environment of the space station.
Through this partnership, the ISS National Lab and NASA will facilitate hardware implementation and on-orbit access to the microgravity research platform. NSF will fund the selected projects to advance fundamental science and engineering knowledge. NSF supports transformative research to help drive the U.S. economy, enhance national security and maintain America's position as a global leader in innovation.
The unique high-quality and long-duration microgravity environment on the ISS National Laboratory has many benefits for the study of fluid dynamics, multiphase processes, thermal transport and combustion and fire systems. Many processes that affect the behavior of fluids on Earth, such as convection, sedimentation, hydrostatic pressure, and buoyancy, are absent in microgravity.
Through this solicitation, the ISS National Lab and NSF seek proposals that will evaluate phenomena such as, but not limited to, capillary flow, diffusion, interfacial behavior, multiphase flow, separation, surface tension, combustion, and phase change.
Prior to submitting a full to proposal to NSF, all interested parties must submit a Feasibility Review form to the ISS National Lab, which will determine the operational feasibility and terrestrial benefit of the proposed project. The ISS National Lab will notify the proposer of a passing or failing review score within 4 weeks of the Feasibility Review form being submitted. The deadline to submit the Feasibility Review form is January 4, 2019. Only projects that pass the Feasibility Review will be invited to submit a full proposal to NSF. The notification of a passing score must be included in the full proposal submission. NSF will close this grant solicitation on March 15, 2019.
Information on the Feasibility Review can be found at: https://www.issnationallab.org/research-on-the-iss/solicitations/transport-2018/
To learn more about the funding opportunity, view the full solicitation via the Division of Chemical, Bioengineering and Environmental Transport Systems (CBET) in the NSF Engineering Directorate.
About the International Space Station (ISS) U.S. National Laboratory: In 2005, Congress designated the U.S. portion of the ISS as the nation's newest national laboratory to maximize its use for improving quality of life on Earth, promoting collaboration among diverse users, and advancing science, technology, engineering, and mathematics (STEM) education. This unique laboratory environment is now available for use by non-NASA U.S. government agencies, academic institutions, and the private sector, providing these customers access to a permanent microgravity setting, a powerful vantage point in low Earth orbit, and the extreme and varied environments of space. The ISS National Lab is managed by the Center for the Advancement for Science in Space, under agreement with NASA.
About the National Science Foundation: The National Science Foundation (NSF) is an independent federal agency that supports fundamental research and education across all fields of science and engineering. In fiscal year (FY) 2018, its budget is $7.8 billion. NSF funds reach all 50 states through grants to nearly 2,000 colleges, universities and other institutions. Each year, NSF receives more than 50,000 competitive proposals for funding and makes about 12,000 new funding awards.
ISS National Lab:
Patrick O'Neill
PONeill@issnationallab.org
NSF:
Sarah Bates
sabates@nsf.gov

redpajama_set_name: RedPajamaCommonCrawl


text:
Paul van Gennip
Paul van Gennip (NL) is deputy director at Kunstinstituut Melly since the institute's very first days in 1989. Before that time, from 1985 to 1989, he worked at the Rotterdam Art Foundation. From 1983 to 1985, he worked at the Lijnbaancenter, a presentation institute in Rotterdam.
Rotterdam Cultural Histories #22: Hortus Botanicus
9 September 2022 — 26 February 2023


text:
info@nelhsf.org
410 S Main St, Providence, RI 02903
THE NEW ENGLAND LABORERS' HEALTH & SAFETY FUND (NELHSF) understands that the health and safety of workers is crucial in the success, productivity, and future of our union members, employers and signatory contractors. Today, the New England Laborers' Health & Safety Fund is an industry leader in pushing the development, enactment, and monitoring of safety and health programs that advance and protect the livelihood of union members throughout the New England Region. In order to protect union members and their families.
• Identifies, collects and studies information about the health and safety risks associated with the construction industry.
• Develops programs to prevent or minimize disease, injury and premature death
• Improves the flow of information and communication among LIUNA, its New England District Councils, locals and signatory employers concerning health and safety matters.
The New England Laborers' Health & Safety Fund not only promotes, protects and ensures the safety of our union members and their families, on and off the job, but continues to be at the forefront of advancing health and safety within the construction industry as a whole.
NELHSF STAFF
The New England Laborers' Health and Safety Fund is located at 410 South Main Street, Providence, Rhode Island. The Fund's staff is comprised of the following personnel:
Raymond C. Coia,
John J. Anatone,
LIUNA Tri-Fund Field Coordinator
John D. Caprio,
Field Health & Safety Specialist
Gary S. Garafano,
Brianna R. Sabitoni,
Health & Safety Program Coordinator
Sherri L. Santo,
David P. Scorpio,
Joseph R. Torti,
Health & Safety Strategic Coordinator
Jane C. Viscolosi,
Health & Safety Professional
Noell C. Woolley,
Medical Program Director
NELHSF is governed by a board of Labor and Management Trustees that embodies the partnerships necessary to get the job done in today's construction market. The Trustees bring a wealth of experience and knowledge that has proven invaluable in steering NELHSF's operations in a way that provides joint benefits for the New England Region of LIUNA, its members, and signatory contractors. The five current trustees representing the Union are:
LABOR TRUSTEES
Armand E. Sabitoni, Chairman
LIUNA New England Regional Office
General Secretary-Treasurer & New England Regional Manager
MANAGEMENT TRUSTEES
John D. O'Reilly, III, Secretary
O'Reilly, Grosso, Gross & Jones,
P.C. Attorney at Law
Vincent R. Masino
LIUNA Vice President & New England
Assistant Regional Manager
Donato A. Bianco, Jr.,
LIUNA International Representative
Michael F. Sabitoni
RILDC & Local Union 271 Business Manager
Joseph C. Bonfiglio
M&NNELDC Business Manager
Stephen A. Cardi (Sr.)
Cardi Corporation Secretary/Treasurer
David F. Rampone
Hart Engineering Corporation President
Rodney G. Frias
S&F Concrete Contractors, Inc Chief Operating Officer
Thomas J. Gunning
BTEA Boston & Eastern MA Executive Director
Since its inception, we recognized that the health and safety of LIUNA members would be a necessary component to address within our relationship as labor and management partners. A safe work environment and a healthy work force affect every aspect of our industry. Bringing together research, science, and industry expertise to create solutions that work for our mutual growth has reaped many benefits over the years.
The value of our New England Laborers' Health and Safety Fund's (NELHSF) work has directly translated into a more productive and competitive workforce. This in turn assists our contractors to have a competitive edge as they grow their business. Our Fund has helped lower injury rates; increase awareness of safety issues on the jobsite and provided a resource for contractors with our innovative programs designed to assist in maintaining a safe workplace and a healthy workforce.
By promoting a healthy lifestyle for Laborers, identifying safety risks particular to our craft, accessing cutting edge research, developing educational programs and improving the flow of information from jobsite to the highest levels of the industry, the NELHSF has engaged all stakeholders in understanding the critical mission of continual advancement in health and safety.
In addition to working within our industry, the NELHSF has played an important role in educating the public about the importance of safety on the job, wherever that job may take us. This is particularly important when the work zone is a highway or abuts an area of public access. Educating the public is also important when we assist our sister funds with information they need to help enact laws that promote proper regulation and safe work environments.


We are writing you from the city of Bethlehem, where the Prince of Peace, Jesus Christ was born. The city of diversity where Christians and Muslims live side-by-side and peoples of all faiths and cultures are welcomed. Bethlehem is now facing unprecedented danger.
As citizens of this Holy city, we welcome you to witness the new and sad facts. The city is completely encircled by the wall and the bypass roads. We would like to provide you with some facts about the reality of the city.
• Israel claims that it built the wall to ensure security for its citizens.
• The claim for security is nullified by the fact that the wall is NOT being built on the internationally recognized 1949 Green Line boundary between Israel and the West Bank. The wall is on Palestinian land that according to international law must be returned to Palestinians.
• The direct effect of the wall is that 10% of the West Bank will be confiscated and Palestinians will be isolated from each other and from the world in prison-like zones.
• The current wall is at least 360 km long (3 times as long and twice as high as the Berlin Wall); once completed it will reach over 700 km, completely encircling and dividing the West Bank.
• 295,000 to 400,000 Palestinians will be isolated from the West Bank because their homes will fall between the Wall and the Green Line.
• Rural populations will be walled off from primary urban centers where essential services are available, such as hospitals, schools, markets and places of worship.
• The wall has two forms: cement and/or a fenced road. The cement wall ranges between 6-9 meters in height. The fenced roads range from 40-100 meters wide. Sniper towers, trenches, trace roads, patrol roads, gates, footprint detection fields, sensors, and cameras support both forms.
• A system of "special permits" for Palestinians will be set up by Israel to allow for passage through the check points at the wall. Israel will have total control on the movement of the inhabitants and will seek their total "obedience" in order to get permits.
• Seven villages (approximately 19,000 Palestinians) lie between the Green Line and Bethlehem will be completely isolated. These villages are the main vegetables and meat providers to the Bethlehem governorate.
• The United Nations is already feeding over 1,100 families in the Bethlehem area through direct food aid. This number is likely to increase if subsistence farming declines due to restricted access to farmlands.
• The route of the wall will insure that all settlements' clusters fall on the Israeli side together with most of the Palestinian agriculture land and underground water.
• About twelve to fifteen Palestinian residential buildings at the entrance of Bethlehem are under threat of evacuation or demolition, in addition to the Armenian Church property and an Islamic cemetery.
• After the completion of the wall, we expect percentage of migration to get higher to endanger the historical existence of the Christian community in Bethlehem. As of this publication, more than 200 Palestinian Christian families have migrated to other countries.
This map was prepared by Negotiation Affairs Department.
On the fourth anniversary of the bombing of the ancient Palestinian-Christian Shrine to Saint Barbara by the Israeli army, aides to US Congressman Michael McCaul prepared a resolution purporting to act on behalf of Palestine's Christian community. The resolution before Congress blames the crisis threatening the erasure of the oldest Christian community in the world on the Palestinian Authority.
The resolution was drafted without consulting any Palestinian body, whether spiritual or civic. Yet they reflect a deeply entrenched view in the US that Christians and Muslims cannot share the same space.
Whether through naivety or premeditation such claims feed the myth that Israel's brutal military occupation is no more than a sectarian conflict.
At Open Bethlehem we will do everything in our power to address such misconceptions. It is important to remember that these misconceptions are not the result of a worldwide conspiracy. They are the fruit of interested parties, pursuing their own agendas and seizing the opportunities that democracies offer. With openness and transparency on our side, we can more than match the success of the pro-Israeli lobby - and we will. We invite all our friends to join us.
Open Bethlehem has joined the calls from the heads of the Churches in Palestine, civil society organisations and laity bodies in urging Congress to dismiss a resolution presented by Rep. Michael McCaul (Texas) which misleads members of the house on the real threat to the Christian community in Palestine. The resolution relies wholly on information supplied by Israel's Jerusalem Centre for Public Affairs, a think-tank dedicated to the promotion of Israeli concerns.
On June 17, 2006 I published "The Christian Exodus" -posted under Editorial on WAWA homepage. Here is the ONLY coverage I have seen from the MSM on this topic.
On June 19, two young members of Congress received an extraordinary letter from Jerusalem. On behalf of Christian churches in the Holy and, they were told a House resolution they were circulating blaming the Palestinian Authority for Christian decline there "is based on many false affirmations." The Very Rev. Michael H. Sellers, an Anglican priest who is coordinator of Jerusalem's Christian churches, said the real problem is the Israeli occupation -- especially its new security wall.
conservative Republicans) for their resolution. Sellers' communication was followed two days later by a letter from Rep. Henry Hyde, House International Relations Committee chairman. He told the two congressmen their claim of systematic persecution by the Palestinian Authority is "inaccurate and incomplete."
McCaul and Crowley put their resolution "on hold" going into the long Fourth of July recess. So apparently ends an audacious effort by Israeli public relations to place full blame for the Christian exodus from the Israeli-controlled Holy Land on Muslims. Instead, problems caused by the security wall have been highlighted once again.
The House was pulled into this issue by Justus Reid Weiner, an Israeli lawyer with the Jerusalem Center for Public Affairs. Weiner, who long has blamed Christian misfortunes on the Palestinian Authority, contacted Ari Stein, a staffer in McCaul's congressional office. Stein in turn brought in Crowley, a prominent Democrat, through his staffer, Gregg Shelowitz.
asserted: "If we do not act now, Christians around the world risk losing control of and access to the most ancient and holy sites in Christendom."
the Palestinian Authority" in its annual report on human rights violations. The resolution immediately picked up 16 Republican co-sponsors and five Democrats.
This process was slowed by Sellers' letter from Jerusalem. He said Christian churches in the Holy Land that he represents can take care of any problems with Muslims and "are not seeking your interference in their internal problems." Where Congress could help, he added, was influencing Israeli government policy: "Your support for the Christian presence in the Holy Land will best be served by helping to remove the separation wall (which has converted all the Palestinian towns into big prisons for Christians and Muslims alike) and by helping to bring occupation to an end with all its inherent types of oppression and humiliation."
After his letter to McCaul and Crowley, Hyde made an unscheduled appearance last Friday at an International Relations subcommittee hearing on the plight of religious minorities. He argued the problem for the Holy Land's Christians is not Muslims but Israel. Long a steadfast supporter of Israel, Hyde testified: "I have been unable to understand how the currently routed barrier in Jerusalem -- which rips asunder the existential poles of Christian belief, the Nativity and the Resurrection, and encloses 200,000 Palestinians on the Jerusalem side of the barrier -- will improve the security of Israel's citizens."
Hyde was followed at the hearing by the Rev. Firas Arida, the 31-year-old Roman Catholic priest in the West Bank village of Aboud. Asserting that the Israeli security wall causes his parishioners to lose water and olive trees, he said "the Israeli occupation must end," and "there must be no more settlements on Palestinian land."
McCaul and Crowley did not attend Friday's hearing and surely have not been to Aboud. Both Catholics, they might well visit the village and talk with Firas' flock while prudently keeping their ill-considered resolution on hold.


The 36th Annual Manassas-Bull Run Christmas Bird Count on December 17, 2017 was very successful. The day turned progressively warmer as 116 people scoured woods, lakes, fields and ponds counting 87 species and 33,465 birds (highest number ever). Much of the increase in bird count came from lots more American Robins (an all-time high, 50% higher than the previous high count) and European Starlings (not an all-time high, but twice as many as any count since 2003). We did record the Northern Shrike again this year. Also the first Common Golden-eye in 26 years, the first Rough-legged Hawk in 24 years, and the first Mute Swan in 17 years. Seven all-time high sightings were recorded (Gadwall, Red-shouldered Hawk, Yellow-bellied Sapsucker, Northern Flicker, Pileated Woodpecker, American Robin, and White-throated Sparrow). Among the other interesting birds were American Kestrel, Tundra Swan, American Woodcock, Eastern Meadowlark, American Tree, Chipping, Savannah and White-Crowned Sparrows, Merlin, Red-headed Woodpecker (numbers down to 9 from 55 in 2015 and 23 in 2016), Gray Catbird, Palm Warbler and Northern Harrier.
Copies of the full results for the count are available here.


text:
Previous "Discoteca Analitica" at Fri Art Kunsthalle, Fribourg
Next Jacopo Benassi "Bologna Portraits" at Palazzo Bentivoglio, Bologna
Richard Baquié, Epsilon, 1986, installation view at Halle de la Courrouze as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Photo: © Aurélien Mole
Jesse Darling, A fine line, 2018; Kudzanai-Violet Hwami, Hosanna ! Hosanna !,, 2018, installation view at Halle de la Courrouze as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Julie Béna, Who wants to be my horse?, 2018,installation view at Halle de la Courrouze as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Julien Creuzet, (...) Me sens tu par terre, petit jeux, cheveux dans la poussière. Source solaire, je suis sorcière. Tête dans les airs, vénère, endocrinien androgyne, sans ovaire, j'ai rdv à 9h, douceur du coeur, à 9h, j'ai des attentes à 9h, mésentente à 9h, j'ai des humeurs à 9h, sueur fureur à 9h. À 9h ou à n'importe quelle heure (...), 2018, installation view at Halle de la Courrouze as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Senga Nengudi, Revery-R, 2011; R.S.V.P Performance Piece, 1978/2014, installation view at Frac Bretagne as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Richard Baquié, Autrefois il prenait souvent le train pour travestir son inquiétude en lassitude, 1984 Un jour ici ou là, 1991; Mierle Laderman Ukeles, Touch Sanitation,, 1977-1980/2017; Touch Sanitation Performance: 10 Sweeps Maps, 1980, installation view at Frac Bretagne as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Yves Laloy; Raymond Boisjoly; Jean-Charles de Quillacq, installation view at Frac Bretagne as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Sondra Perry, IT'S IN THE GAME '17 or Mirror Gag for Vitrine and Projection, 2018, installation view at Frac Bretagne as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Paul Maheke, Dans l'éther, là, ou l'eau, 2018, installation view at Galerie Art & Essai - Université Rennes 2 as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Kenzi Shiokava, installation view at Musée des beaux-arts de Rennes as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Oreet Ashery,Revisiting Genesis, 2016- installation view at Musée des beaux-arts de Rennes as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Madison Bycroft, dead pan ham, 2018 installation view at Musée des beaux-arts de Rennes as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Raymond Boisjoly, Between and Beyond, 2018 installation view at Musée des beaux-arts de Rennes as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
Dan Walwin, Bridge with sound, 2018 installation view at Musée des beaux-arts de Rennes as part of "À Cris Ouverts," 6th edition of Les Ateliers de Rennes - Contemporary Art Biennale
With Wide Open Screams / or Crisis / or Verse / or Green: The 6th Edition of Les Ateliers De Rennes
Céline Kopp interviewed by Isabella Zamboni
À Cris Ouverts—title of the 6th edition of Les Ateliers de Rennes – Contemporary Art Biennale—sounds to the French ear other than it reads: "with wide open screams / or crisis / or verse / or green." Keeping with the investigations carried out by the Biennale's previous editions on the links between art and economy, this editionfocused on artworks defined as acts of resistance, aiming to act "beyond the established vision of a world ruled by domestication." Céline Kopp—who curated the event along with Étienne Bernard—talks here of organizational openness, new year's greetings, delaying language, and how to resist a generalized domestication.
ISABELLA ZAMBONI: Before committing to a defined exhibition typology for the biennial, you engaged in a shared discussion with the participating artists. I am curious to know how exactly this process took place and in which ways it affected how the exhibition functions.
CÉLINE KOPP: We are both directors of what we call "centre d'art" in France (Passerelle, in Brest, for Etienne Bernard, and Triangle France, in Marseille, for myself), a model of publicly funded, noncollecting visual arts institution. We both usually work in close dialogue with artists, often accompanying the production of projects from beginning to end, and this is a big part of who we are as curators. It was the first time in ten years of existence of the biennial that the board turned towards curators who are also committed to small to midsize institutions. There was no reason for us to change our practice because of an increase in scale and a pressure in time. The methodology we used for the biennial was, from the start, natural. We just agreed we were going to find ways to work within this format with the same sense of care we use in our venues. Besides conversations, it also involves the way in which the biennial generally addresses people, and it extends to structural organization: what kind of language is used, what timeline, priorities, partners, contracts, artists' fees. Beyond the result, actually, the process was meant to be interesting: Could we challenge methodologies set to respond to an event-based economy? Could we question professional habits and operate organizational changes in order to align with the politics of the works we were going to show? Could a biennial initiate long-term shifts within a given professional context? We approached it as a sort of trajectory, aware the questions asked should not be shut with the opening of the project.
IZ: In which sense did the curatorial approach intend to reflect the premises and outputs, the politics, of the works it showed?
CK: Beyond our interest in organizational processes, openness and dialogue were a necessity. When you collaborate with artists whose work interrogates our current regimes, and look beyond our forms of order, normativity, and conventions, you cannot move forward and just duplicate structural forms of hegemony that might be precisely what the artists invited question. Language was an important element to adjust all along: we tried to be as inclusive as possible, gender neutral, to name localities rather than nationalities, to address the artists' needs individually… With this project, we gathered people from a lot of different generations—some of them, like Kenzi Shiokava, whose work has been neglected by institutions. This is also a context that needed to be taken into consideration. How—if possible—to avoid contributing to a quick institutional consumption and appropriation? We searched for fresh approaches and language to meet all of the artists with sincere support. It took time and more attention than just sending an invitation to participate. However, in the end, what you need to see or experience is the work, in an environment where the methodology is invisible but which makes the work happy, lets it resonate and enact its agency. It means that the format and process do not contradict, utilize, mute, conflict, or displace the work. Institutionally, historically, and in practice, it is easier said than done…
IZ: Indeed, how was this modus operandi concretely done, put into practice?
CK: The answer is not easy to formulate because it is all in the details and in a quotidian practice, rather than new rules to be followed. For Etienne and I, it meant that we tried to listen and question the power dynamic of each situation as much as possible while still moving forward. We also tried to avoid defining things in language as long as possible. And honestly, sometimes it was hell!
Our first official text, at the beginning of 2018, asked a lot of questions instead of making assertions and made clear to the artists that we were not sending a statement. We were welcoming answers and dialogue. We were really expected to send a formal curatorial statement back then—something definitive. So, instead it took the shape of a Happy New Year letter to everybody. We shared a lot of thoughts we were hoping to address through the biennial. And beyond the cute aspect, this was a very conscious gesture: using a form of greeting to evoke a sense of futurity we were seeing in the works. It was a way to address everybody as a group and show that we were gladly welcoming each voice in the shaping of the biennial. We also needed a bit of optimism as we were entering the new year; 2017 was registering as the most economically prosperous year ever, and these metrics surely felt dystopian in regards to the general feeling of anxiety surrounding us. See, when I explain this as an isolated detail, the example might come across as a bit funny. Like, we're seriously talking about methodology and organizational changes, and I am speaking of new year's greetings! But this is a good example. In practice, it meant that we committed to "no system or rule to be followed" besides trying to align and work with respect and understanding of the content and with artists. So we had to embrace the unknown and walk a fine line. Since the beginning, we also met with friends and amazingly generous people whose conversations and work helped us a lot, like Fred Moten, Jack Halberstam, Jeffrey Stewart, Hugo Hopping… Yet it would be utopian and suspicious to say that we met and exchanged with each artist in the same capacity. You cannot seriously expect everybody to be comfortable with the same level of engagement, and that is, of course, okay.
IZ: What was the next step after the new year's greetings?
CK: We invited everybody to gather and exchange for four days in Rennes, exactly six months ahead of the opening. We called it "l'Assemblée." At that point, individual projects were in motion, and we had delayed fixing the language around the project as much as possible in order to give a real shot to the possibility of a co-construction—hoping we could discuss a common grammar for the event. The gathering was not public. It was a safe space with artists, friends, staff from all of the venues who were going to support the biennial, education workers also (who tend to get content when everything is wrapped for interpretation, even though they are nevertheless the ones in daily contact with audiences). Everybody was at the same level. People contributed in their own way: Madison Bycroft, Julien Creuzet, Jean-Charles de Quillacq performed. There was some improvisation also. Jack Halberstam spoke about wildness and disorder. We also invited performers like Jamika Ajalon, academics like Eva Rodriguez, people who had been working in the fields of economy and ecology, curators like Natasha Marie Llorens, or artists such as Virginie Jourdain who had practical experience with the enactment of feminist methodology. Some people remained silent because that is what they wanted: just to listen. Some people did not come.
IZ: How did meeting six months ahead, spending time together, inform the way the biennial operated?
CK: It definitely informed the biennial on many levels.It generated collaborations, between Julie Bena and Jamika Ajalon, for example. We decentered the conversations, since so far the artists were only involved in conversation with us. It automatically expanded the field of ideas and viewpoints. It allowed to disagree, identify, and address points of friction. The experience also made visible the economy of presence and mobility occurring in the art world, which emergedin the exhibition on different levels. We had stressed the fact that we were not expecting everybody to feel obligated to join, for reasons as diverse as the carbon footprint of such a gathering. For example, Erika Vogt decided to come but refused to ship any of her work and chose to produce everything on site. In the end, some people decided not to come, such as Raymond Boisjoly, who is an indigenous artist based in Vancouver, of Haida descent. He talked about contingencies, artists' economy, family, and localization and decided to contribute by using communication technology and making his absence the center of his contribution. His works were focused on making us aware of time, distance, and the modification of content depending on contexts. Some other artists who wanted to be with us were not able to, mobility being something they had no easy access to (because they were caretakers, because of visas, or disabilities). It also allowed us to ask who the biennial was for and see how we could answer practically. Obviously, the answer has many levels and temporalities. Beyond the exhibitions to be planned, we hoped to trigger questions with lasting local and/or personal effect… questions relating to social justice and subjects that we should not put to rest in our professional field.
IZ: The Rennes biennial has, for ten years, explored the possible links between art and economy. This edition focused on artworks defined as acts of resistance, operating "beyond the established vision of a world ruled by domestication." Can you elaborate more on your perception of economy and resistance in 2018, while and/or before preparing the show? For example, what brought you to the choice of those thirty artists invited?
CK: This edition of the biennial opened almost exactly ten years after the collapse of Lehman Brothers in September 2008. The global economic downturn that followed the financial crisis has changed so many things… We knew we did not want to treat the possible links between art and economy as a subject to be illustrated in an exhibition. The opposite: we started with the immediate desire to think with artists, beyond a vision of the world ruled by orthodox economics, which strangely continues to demand and shape our civilizational lens. The belief in the accumulation of flux and capital, for example, continues to be followed, even though it is now clear that our regimes are deteriorating from their metric and material failure—basically, their unsustainability. This is something that Jesse Darling, for example, has been articulating through a critique of whiteness, describing "the libidinality of the investment through which we allow violence to continue. Whiteness as automated, as traumatic reenactment." This idea really was at the heart of our project. It explains the interest in time, repetitions, and life cycles visible throughout the exhibitions, since it is pretty clear that we are "at the end of a rotten epoch whose whole project was to banish death," as Jesse would say again. One of the entry points of the biennial, the Musée des Beaux Arts, was clearly about this. Showing works in which the measure of time wasn't centered on our own bodies and our desire to control our surroundings. Embracing the unknown,or wildness, as Jack Halberstam would say. Many of the works on display there were introducing disorientation as far as our usual indicators: linearity, legibility, scales, or centers. You'd start with the wonderfully powerful wooden assemblages and carvings by Kenzi Shiokava, in dialogue with the photographic work of Basim Magdy, then walk through a new commissioned work by Dan Walwin, conceived like a passage, before facing the fragility of our bodies with Oreet Ashery's Revisiting Genesis(2016‒in progress). The idea was to think together with artists and look at works that are or have been trying to carve other ways of being with and to the world. At the museum, you would walk through the great gallery, which is generally the place where history is being constructed in the classical French museum typology. The space was left empty, yet the walls were totally filled by Raymond Boisjoly's new commission, called Between and Beyond (2018). This introduced a reversal in balance. A work, conceived from an indigenous perspective, attempting to think through a loss of legibility, as something to be embraced, a poetic disruption displacing boundaries and content, a space of possibility. Then, after going through Raymond's work, you'd discover the baroque visual explosion of Madison Bycroft's world: nonspeciesist, entangled, and transformative. The biennial showed a lot of resonance and echoes across generations and geographies instead of a linear genealogy leading to 2018.
IZ: With the exhibition, you also explicitly link economy to ecology.
CK: "The environmental" is an all-encompassing subject, de facto, just like economy.It is about the way we inhabit the world. And for sure, artists have not been waiting for 2018 or even 2008 to suggest alternative ways of being to the world, and these alternativescan be loud but also quietly shown through quotidian gestures or discrete acts disturbing the fabric of hegemony. This was visible in many different ways in the exhibitions. When you look at the etymology of the root "eco," which takes you back to ancient Greek, it refers to the management and sustainability of an extended family unit, meaning the house, the family, the land, the pets, the property, including slaves. What we wanted to address was as much about dwelling spaces (as in the bliss of a home) as about social structures: power, race, class, gender. Basically, an intersection where children, labor, food, land, and the distribution of energy are understood as elements of an intended operational system. In other words, we wanted to ask how our resources translate into the future reproduction of ourselves—i.e., survival. The biennial's thematic background encouraged us to consider the logic of value, its representation, material, and idea. And from there, of course: the fears of its loss, distortion, or abstract gain, which causes so much anxiety as we are looking at necessary transitions. All of these subjects are present in different ways in the works of the artists we invited for the biennial. Whether they interrogate our sexuality like Julie Bena's work, or the current economy and language surrounding our reproduction (Anne Le Troter), or our value systems in terms of maintenance and labor (Mierle Laderman Ukeles), all of the artists we invited are somehow practicing noncompliance, improvising new visions or intersectional outlooks that are shaping new, transient values. In many ways, they are asking how to live through transformative or fugitive trajectories.
IZ: Can you expand on the concept of "domestication" you bring into play?
CK: The concept of "generalized domestication," to think through all of this, was like an epiphany for us. It put words to something that we were trying to tackle intuitively. This concept has been developed by Ghassan Hage, a Lebanese Australian scholar, in his recent book Is Racism an Environmental Threat?—domestication being, according to him, by no means the only human way of ecologizing, of making ourselves at home in the world. Ghassan Hage argues (and let's quote him since his words will be more precise than our paraphrases) "that the classifications and the practices that constitute colonial racism and the practices that have generated the destruction of the natural environment are mutually self-reinforcing because they share a common root: they have a common mode of existence—a manner in which we humans are inserted, and deploy ourselves, in the world—that works as their generative principle." This is what he refers to as "generalized domestication": a way to inhabit the social and natural world where extraction seems to be the only way to survive and create value. Ghassan Hage speaks about waste management also, and the way in which the vocabulary used to speak about refugees is comparable to the one used to speak about nonrecyclable waste. He speaks about basic fears and Islamophobia as a sort of "becoming-wolf" of the Muslim other. In our opinion, the artists we gathered for this biennial were all, in their own way, operating spaces of aperture outside of this core principle of our capitalist modernity, which continues to be driven by a patriarchal, racist, and speciesist urge to colonize the world.
JINGART, Beijing and Art021Contemporary Art Fair, Shanghai
All Things Texan: Will Boone
Shaping Grand Cultural Narratives: Guy Ben-Ner
Gravity at Play: Woody De Othello
Design, Reset: Studio Formafantasma
Mousse 70
Votive Forms: Julien Creuzet


As you may have seen from my Instagram feed on the first week of September I went on a Srprs.Me trip to Vienna for a couple of days. It was really fun and as the trip was a surprise it meant that we could not plan ahead, which was actually really fun!
There are so many things to do at Prater. The vintage funfair has some bizarre and mad rides! Look out for the Train Carriage Ferris Wheel! Find out more about Prater here.
When you visit Vienna, you must try the cakes! No excuses. The Sachertorte was the most pristine cake I've ever seen.
Schönbrunn Palace & Zoo has to be visited! A beautiful palace with beautiful surrounding gardens, maizes, fountains and architecture. A true feast for the eyes. They even have a zoo, which has: Pandas, Hippos, Polar Bears and lots of Penguins!
A lovely place to visit, albeit bloody hot! Some really lovely plants and butterflies in a big, beautiful greenhouse.
There are a tonne of museums to visit in Vienna, so if you're only there for a limited time be make sure to pick and choose. We really like Modern Art so we opted to visit Mumok, which did not disappoint. The Mumok gift shop was a real life Aladdin's Cafe!
A tonne of bars/eateries, ice cream shops and a mini beach! What more could you want? Look over the Danube whilst sipping a huge Gin & Tonic. We also saw some adorable boats that you could rent out.
One of my favourite meals of the holiday. Rinderwahn didn't disappoint! Delicious burgers, fries and milkshakes.
Vienna's Imperial Palace is one of the biggest palace complexes in the world. The oldest parts date to the 13th century!
Check out my Instagram and Instagram Highlights to see more from our trip.


☺ The former Lotus Team Bedford OWB Transporter was sold to the Cornwall Garage & Eng. Co Ltd. Team which worked with Lotus Eleven cars and also entered the F2 championship in 1959 with Cooper T43 F2 (Diver John Campbell-Jones).
Available to order as 1/43rd scale kit or finished model.
Copyright 2019 Merrymeet Model Cars.


Only a lack of maintenance prevents Gassan Khuntan Golf and Resort from being pretty much perfect. Located in the forested mountains an hour south of Chiang Mai, Gassan Khuntan Golf and Resort is without question the best (and most challenging) of the three major Gassan courses. With the waterfalls and the famous railway bridge of the Doi Khuntan mountains providing a stunning backdrop, it's easy to be distracted from the substantial challenges that the course itself has to offer. The large clubhouse is a pleasant place to be, featuring spacious locker rooms with a grand feel and a restaurant that makes best use of the spectacular views over the course. While there has been the odd complaint about caddies lacking knowledge of golf etiquette, this was not something we experienced and it is certainly not a complaint that could be leveled at the friendly and helpful staff in the clubhouse and the 63-room hotel.
How to play Gassan Khuntan Golf and Resort?
With its sharp dog-legs, island greens and deep bunkers, this is a layout to match any world class championship course, and thus not one for the feint of heart. To give you a flavour, the island green on the 163 yard par-3 5th would be tricky enough to land on were the landing zone not substantially reduced by greenside bunkers that practically ensure dropped shots should you end up in one; at the standout 9th, water running down the entire left hand side of the hole makes for a nervy tee shot to a frighteningly narrow fairway featuring bunkers on the right. If you can avoid these dangers, the approach to a sand-protected elevated green is equally tough. At least on these two holes you can see where you are hitting - there are plenty of blind tee shots where you must rely on the thankfully knowledgeable caddies to guide you.
While it is green and lush during the rainy summer months, the course itself suffers during the dry season when a more comprehensive maintenance programme would be of benefit. This is perhaps the one issue detracting from what is otherwise a hugely enjoyable, if tough course.
How to book tee times for Gassan Khuntan Golf and Resort?
Like the sound of this course? Secure a tee time and take advantage of the discounted green fees on offer by adding Gassan Khuntan Golf and Resort to your Chiang Mai golf holiday package.


A sublime blend of rums from Guatemala and the Caribbean with natural toasted coconut flavours.
Muddle mint, lime and syrup at the bottom of a tumbler.
Add crushed ice and Aluna Coconut and stir. Top with soda and stir again.


Executive produced by Mark Rylance, Sink concerns Micky Mason, a skilled manual worker who, since the financial crisis, can find nothing but menial, zero-hours jobs. He takes a course of action that is completely out of character, but it's the only solution he sees to keep his family together. Warm tender and funny, though set against a backdrop of anguish and despair, this is a potent film about survival.


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Bugatti Veyron Grand Sport Vitesse Cristal Edition
Bugatti has recently presented the last of the total of 450 copies of Veyron model, Veyron Grand Sport Vitesse La Finale, but before that, for a Chinese client was made this unique specimen named Cristal Edition. In short, the Veyron Grand Sport Vitesse Cristal Edition was ordered by Zheng Ting, for his girlfriend, with pink elements on the exterior and in the interior. The car comes with the inscription "De Cristal 1 Edition 1".
In a brief news is not stated the price of the car, only it was announced that the Veyron Grand Sport Vitesse Cristal Edition will be shipped to the buyer in January.


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Time to Plug in with Chibi-Robo! Zip Lash
Swinging into action on October 9th was of course Chibi-Robo! Zip Lash, and despite being undecided on whether or not to give it a go, I bit the bullet and gave it a try, after all, it's not every day you get to go to a place called Oceania, a name that brought a smile to face mainly because a few years back I made my own trading card game named Oceania, but we're not talking cards, we're talking about Chibi, so let's get to it.
In this side-scrolling adventure, the lovable robot is back and he is ready to teach the invading aliens a lesson or two by introducing them to his whip. Now I love whip games, it's a great weapon to use in battle and sadly, since Castlevania 64 I have never played another game where I can run riot with a whip, beating my enemies mercilessly. The hours spent whipping vampires and werewolves, and hurling axes are hours I won't forget, so just being able to do that here was great, especially when you go Indiania Jones up and use your plug whip to go from platform to platform.
It, as a 3DS game, made great use of the associated amiibo as the amiibo makes Chibi, Super Chibi-Robo with a powered up and longer whip to lash out with and as well as moving faster than normal Chibi, by leveling up your amiibo, you can also unlock other characters and well, that's always a winner. Now as for the story, aliens have come to earth and are only stealing the earth's natural resources (those damn aliens!) So with the aliens up to no good, it is time for the small statured hero to see an end to their wicked plans and with a zip lash that can unleash a powerful throw, ricochet off walls and smash through any obstacles in its way, Chibi's adventure is easily off to a good start, but be sure to not just race to the end of each stage as there are plenty of hidden areas to be discovered in the 35+ stages. Chibi-Robo's quest will have him exploring the world and his taking us with him as he meets new friends and finds some real-world foods.
Now other than plenty of collectibles and interesting concepts that we just didn't see a lot of in action, this game has no real puzzles as such, and doesn't halt continuous gameplay, but then again, as a seasoned gamer, of course it wouldn't plus being of the older audience, the nature of the game is well known and easy to navigate, but as a younger gamer, someone who is making their first Chibi adventure, or even just their first videogaming adventure, it is a little challenging. The puzzles are actually puzzles and not what we would consider as an obstacle. Also where its effect and experience does dull to someone of the older crowd, to a younger gamer the effects of the game is a lot longer lasting, if not infinite, until game completion. Even the action is very basic, slow paced and more than easy to just pick off enemies and take out the bosses and as for collecting everything, you will need to complete some levels first, just to replay so you can go back and get the other collectable, an aspect that only really applies to those devoted to the game, or those who are just completionists.
Jeez is it that time already? It's only time to bust out the Pros & Cons:
-Great use of the amiibos, because, including the Chibi-Robo amiibo, 57 amiibos are compatible with the game.
-There are enough levels, character unlocks and collectables to keep you playing for a while.
-If you like whipping things and Castlevania, well this is a kids friendly Castlevania, minus the vampires, wolves and overall dark elements we know and love that series for.
-It has a very good message, one that I am totally behind and that is recycling and clearing up rubbish to ensure the world is a better place.
-There are more than enough levels to have you playing for hours and let's be honest, who doesn't love video games with plenty of hours of gameplay? No one that's who.
-Not once did I ever get tired of seeing Chibi-Robos victory dance and because I just mentioned it, now I have to go and see it again. (Thanks for that!)
-It is a good game, great for children, but despite the few things it has really going for it, the game is left with a questionable future regarding its series.
-Replay value is very important when it comes to games, and some of the levels are known to leave you with a "Do I really need to play that one again?"
-It can lose interest and value a little too quickly due to unchallenging puzzles and easy to defeat bosses.
-Nintendo are phenomenal at 2D platforming games, but sadly we just don't have it here, as the graphics are somewhat lacking compared to the standard we associate with Nintendo.
Enjoyable until it starts to lose its edge, makes you start to learn new gameplay only to ditch it on the next one, but other than that, as a handheld game that incorporates the use of amiibos, Nintendo did hit the nail on the head with this one and that is why it lands a solid 7.6/10.0 whip beaten enemies. If you're thinking of buying the game just for yourself, it's a pleasant experience, but if you're buying this game and have a couple of little ones to also play it, then it really is worth the purchase, especially considering as how this could be the little four inch high, robot's final adventure, ending a five game, ten year series. The least we can do is see him off.
As always, the thoughts and opinions expressed here are those of my own and it is encouraged for you to make your own.


With the holidays around the corner, politics are sure to be brought up.
You can't choose your family, but with these questions, you can at least choose what's talked about. These ten questions with answers are sure to spark a debate, but in a good way.
Read the questions aloud, and then guess what the other person would answer. If it moves into argument territory, just move onto the next question!
1. Which do I agree with the most about major media outlets during election season?
1. All have a biased agenda toward one side or the other.
2. All are just focused on the ratings.
3. They're a logical way to stay updated.
4. I trust the major outlet that leans toward my views.
2. What about the presidential election would I most want to get rid of?
2. Only having two viable choices.
3. The Department of _______ position of the Cabinet would best suit my personality.
2. Health and Human Services.
4. Which is the most annoying thing to me that people do after a presidential election win?
1. Say they want to move to Canada.
2. Protest the results in the streets.
3. Call the whole thing rigged.
4. Not have a care or worry in the world.
5. What would make me the most nervous when doing door-to-door campaigning for a candidate?
1. Person who answers is an angry supporter of the opposite side.
2. Not getting enough signatures and letting the candidate down.
3. The time off from working/social obligations.
4. Talking to strangers in general.
1. Take money from places they shouldn't.
2. Are just in it for themselves.
3. Frustratingly refuse to work with both sides.
4. Are good, hardworking people who really care.
7. This Internet political convenience appeals to me the most.
1. Having access to every perspective on every issue.
2. Being able to stay incredibly up-to-date on what's happening.
3. Being able to quickly fact check.
4. Seeing where your friends and family align.
8. I would have the toughest time doing this if I were a politician.
1. Knowing that people are looking into my past/daily life.
2. Compromising on the issues.
3. Saying no to bribes or special treatment.
9. Could I date someone who doesn't (at least mostly) agree with my political views?
1. Yes, absolutely. Opposites attract.
2. Yeah, but I also have to based on where I live.
3. Maybe, and that's a big maybe.
10. When am I most likely to bring up politics in person?
1. With close friends I know agree with me.
2. Whenever someone says something I disagree with.
3. When the alcohol starts to pour.
4. Never. Or at least that's my goal.
Any conversation about politics that goes well gives everyone hope. How did it go, or how do you think it'll go? Share the hope by commenting below!
Nice! We might just try this on Thanksgiving–but it seems to still be an open wound for some so it could still be tense. Hard not to slide into opinion on the candidates.


This neat and tidy 4 bedroom, 2 bathroom home is the perfect starter or potential investment. Perfect for those seeking a relaxed coastal lifestyle, this lovely home is moments to Bunbury best beaches and spectacular walks. Wonderfully quiet yet super convenient, this home is just a short drive to local schools, beach and Bunbury CBD.


The Hermiston Downtown District is inviting the public to a pre-parade event on Saturday, Aug. 4 on Hermiston's new Festival Street.
The event will help kick off the 2018 Umatilla County Fair and Farm-City Pro Rodeo. Hermiston's Dallin Puzey will entertain at the Festival Street from 4:15 to 6:15 p.m., prior to the parade's 6:30 p.m. start.
For more information, call the chamber at 541-567=6151.


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Comments Off on Sheriffside 2014 season
The project was designed to undertake research and excavation on enclosures and hillforts in the Lammermuirs as part of the overall Rampart Scotland aims, to provide a corpus of data to compare and contrast with the existing information. The Sheriffside enclosure is located in a silage field, immediately to the north of Sheriffside Farm, Gifford, East Lothian (NT 55505 67739). The enclosure is located on the south eastern edge of a low southwest–northeast ridge.
This project aimed to add detail to the existing rectified aerial photograph (first recorded in the 1980s by the RCAHMS ) and to provide an assessment of the nature of the surrounding archaeological remains and a date for it.
We had already carried out a successful keyhole excavation in 2012 – and this season expanded on the zone of massive ditches and palisades.
Trench 4 was excavated by hand to provide a larger sample of the features identified in 2012 – the work revealed four palisade features and three ditches one of which contained an assemblage of Iron Age pottery within a charcoal rich tip layer.
Five sondages (A, B, C, D & E) were excavated across features identified within Trench 4;
Sondage A was orientated East-West 2.8m by 3.8m and was intended to explore Ditches 1 and 2.
Sondage B was an irregular shape and measured up to 2m wide and 7.5m long and was intended to characterise Ditch 4.
Sondage C was orientated North-East South-West and measured 0.25m by 2m and was intended to characterise Palisade 3 (Ditch 3 from the 2012 Season) and the relationship with Ditch 4.
Sondage D was orientated North-South and measured 1m x 1.50m and was used to investigate Palisade 3
Sondage E was orientated North-East South-West and measured 1m by 7m and was intended to identify the presence of Palisade 4.
The radiocarbon dates from both seasons indicate nine broad periods of activity:
c791-703 BC: Palisade 3;
c120 BC-AD 60: scooped settlement from 2011 season;
cAD 58-125: Ditch 4 tip lines on partly filled ditch (contemporary with occupational internal activity);
cAD 126-260: Ditch 4 upper fill – Ditch now completely filled;
pre cAD 211-384: Ditch 2, is cut and filled prior to Ditch 1 cut –currently undated;
cAD 211-384: Ditch 1, ditch cut before this point and filled after it;
after cAD 211-384: Palisade 4.
Slight overlaps in some of these periods make it possible that they represent one period of activity, although for the sake of argument it is assumed that they are not. On this basis, the dates clearly indicate a shifting pattern from light defence to open settlement to more heavily defended settlement, although both the duration and nature of the associated activity within the various phases of enclosure are unclear. There is of course a final phase of undated activity, the backfilling of Ditch 1., however, the discovery of palisade 4 now suggests that we have an early Medieval presence in teh5th century.
The overall sequence at Sheriffside contains many of the elements detected at other enclosed sites in East Lothian (Haselgrove 2009), for example Late Iron Age scooped settlement which could either be open or associated with an enclosure; Early to Late Iron Age defences; the refortification of existing sites in the Roman Iron Age. However, there are a number of key differences: for example the majority of the palisades excavated and dated in the Traprain Law Environs Project are Late Bronze Age in date, although the example from Standingstone did have an Iron Date that was dismissed by excavator as intrusive (op cit, 60). In addition, no single site appears to have had multiple phases of enclosures from the Early Iron Age to the Late Roman Iron. In addition, with the exception of Dunbar (Perry 2005, 25; Haselgrove 2009, 231), no other de novo ditches were dug in East Lothian during the Roman Iron Age. These differences do not contradict the established sequence but certainly establish the potential for previously unknown complexity to reside in unexcavated sites. Certainly more detailed examination of the comparanda reveals interesting patterns.
For example, the Dunbar ditch is less than half the size of Ditch 1 (Perry 2005, 25), presumably this can be taken to mean that Sheriffside was a significant location in the Roman Iron Age to Early Medieval period. The absence of Roman finds from the site, is echoed at other contemporary sites, with the exception of Traprain Law (Haselgrove 2009, 231), and certainly raises interesting questions about the function of the Sheriffside enclosure in this period.
We would like to thank Eric Glendinning for suggesting the site and allowing access onto his land, and volunteers of all ages who helped make this possible.
Sheriffside, East Lothian :: Full interim report 2014
Connolly D. and Cook M. et al, 2014, Rampart Scotland Project 003: Sheriffside, Gifford, East Lothian. Data Structure Report (pdf)
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HomeShopNonfictionRethinking Parkinson's Disease: The...
Rethinking Parkinson's Disease: The definitive guide to the known causes of Parkinson's disease and proven reversal strategies
Home / Personal Development / Rethinking Parkinson's Disease: The definitive guide to the known causes of Parkinson's disease and proven reversal strategies
Rethinking Parkinson's Disease: The definitive guide to the known causes of Parkinson's disease and proven reversal strategies quantity
SKU: 9781925736465 Categories: Nonfiction, Personal Development
Author: John Coleman
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Rethinking Parkinson's Disease: The definitive guide to the known causes of Parkinson's disease and proven reversal strategies traces known pathways leading to a diagnosis of Parkinson's disease, together with strategies to reverse each pathway. It includes the best evidence from Western allopathic medicine and complementary/alternative medicine in discovering how and why people with Parkinson's develop symptoms, the diagnostic process, standard treatments and prognoses offered by expert practitioners, and ongoing research. A major section of this work details strategies to create wellness and reverse the illness processes, many available to patients at little or no cost. There are sections on symptom control, complementary medical treatments and therapies to avoid.
The book is aimed at people with Parkinson's, families and supporters, and may be used as a self-help book. There are also suggestions and advice for both Western allopathic medicine and complementary/alternative medicine practitioners to enhance their care of patients with a Parkinson's disease diagnosis.
About the author: John Coleman ND, recovered from stage 4 (H&Y scale) Parkinson's disease in 1998 following over three years of hard research and work. His research and clinical experience since then has added invaluable knowledge to the treatment of neurodegenerative disorders. John is a recipient of a Tattersall's Awarded for co-founding Very Special Kids in 1984, an ANPA Award for Community Education and was a finalist in the Pride of Australia Medal in 2007.
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Word War II was the greatest mobilization of fighting men and machines that the world has ever seen; tanks and soldiers combined into a veritable tide of iron that changed the world. Now the largest and deadliest conflict in history comes to your tabletop in Fantasy Flight's game of World War II squad-level tactics!
Tide of Iron feature hundreds of detailed plastic figures, including soldiers, tanks, and other combat vehicles. The game rules focus on realistically simulating squad-level combat, but are streamlined enough to appeal to casual board gamers. Tide of Iron features a modular game board on which up to 6 players (divided into 2 teams) can test their tactical prowess in dozens of scenarios.
Tide of Iron joins the ranks of Fantasy Flight's runaway hits Twilight Imperium, Descent, and World of Warcraft in the epic sized box. With a box two feet wide and over ten pounds you know its full of World War II action!
Tide of Iron is a bit of a departure for Fantasy Flight as they are a company that is primarily releasing fantasy-themed games. One has to carefully peruse their catalog to locate a game that does not involve some type of fantastical creature or theme. Tide of Iron, however, brazenly departs the realm of fantasy and instead concentrates on a brutally historic topic: World War II.
What is the same are the high production standards that characterize their games. Tide of Iron is an impressive sight, filled with over two hundred highly detailed miniatures, including regular and elite infantry, machine gun and mortar crews, leaders, tanks, trucks and half-tracks. Twelve different double-sided boards can be arranged in a large variety of ways, and over two-dozen terrain overlays customize the layouts even further. The end result is a game that not only presents an attractive picture, but also offers players seemingly infinite potential in terms of possible scenarios and variations.
After selecting one of the six scenarios included in the game, players customize their squads based on the units provided by the scenario. Fantasy Flight points with great pride to what they consider a gaming innovation: the "base" method of forming squads and tracking their casualties and current strength. Miniatures snap into plastic bases, allowing players to custom-design their squads to support their strategies. As a squad takes casualties, individual units can be removed from the bases, which also reduces their strength without the need for cumbersome markers that clutter the board. This is clever, although it is a bit fiddly having to snap units in and out of the bases.
Game play follows a specific sequence, with players alternating actions as dictated by the scenario.
Action Phase. It is during this phase that most of the action and decisions are made. Players activate squads to perform various possible actions. Once activated, a squad is usually fatigued, and can perform no further actions during that turn. So, choosing which action a squad will perform is critical. Actions are generally movement or firing, although combinations can be performed, but usually at reduced firepower. Squads can also be ordered to sit-tight and prepare for enemy movement, at which time they can fire in an effort to halt an enemy advance. Much of the 40- page rulebook deals with these actions, as they are at the heart of the game.
Each action has its advantages, and a skillful commander must coordinate these actions amongst their squads in order to achieve the scenario's objectives. Often it is wise to advance units quickly so they can partake in bloody close assaults and grab valuable territory, while other times it is advantageous to launch long-range attacks with mortars and machine gun units. Strong and bold military tactics will often spell the difference between a glorious victory and an ignominious defeat … and you make the decisions!
Combat is handled in a fairly quick and relatively easy manner, but line-of-sight to the target must be established before an attack can be launched. The rules regulating line-of-sight can be difficult, with terrain and elevation factors playing a factor. If an attack can be made, the range and firepower of each unit must be examined. A number of dice equal to the units' cumulative firepower are rolled. The firepower can be increased or decreased depending upon the range, with adjacency causing the firepower to be doubled, while long-range attacks cause firepower to be halved. Other units within line-of-sight of the target that have not yet been activated may join in the attack, but their firepower is likewise halved. The defender rolls a number of dice equal to its "cover" benefit, which is derived from terrain and any fortifications such as trenches or pillboxes, as well as its armor, which is generally only applicable to vehicles. Depending upon the type of attack being conducted, hits are scored on rolls of 4 – 6, while the defender blocks hits with rolls of 5 or 6.
Attacks can be either "normal" or "suppressive". Normal attacks eliminate units from the targeted squad, while suppressive attacks cause a squad to become "pinned" or "disrupted". These conditions prevent a squad from performing any actions, and if disrupted, last for a subsequent turn. Leaders present in the same hex have the effect of reducing these effects. A player must choose which type of attack he is launching prior to rolling dice, and the decision is often critical depending upon a player's objectives.
Command Phase. Another aspect of the game involves the strategy and operations cards. As dictated by the scenario, each player receives a specific number to begin the game. Each card provides the specified benefit, but can only be activated by paying the required command cost. Command points are earned by controlling certain hexes on the board, which often drives a player's actions and assaults during the course of the game. Players draw a new card at the end of each round, but must usually choose between various types of cards. Again, this forces players to make critical decisions.
Initiative – which player moves first – can be vital. Players spend command points to gain the initiative. Command points are generally scarce, so there is conflict between spending them on the valuable strategy cards and on the struggle for initiative. Initiative is determined at the end of the Command phase.
Status Phase. This is the "clean-up" phase, wherein players draw new strategy cards, remove status tokens from the board, place units in "opportunity fire" mode, receive reinforcements, etc. If the victory conditions or end-game conditions listed in the scenario have not been achieved, a new round is conducted.
There is more than I've described here, with rules covering leaders, armored units, area attacks (mortars, off-board artillery), squad specializations (flamethrowers, engineers, anti-tank and medics), terrain, fortifications, minefields, smoke and more. In spite of an acknowledged effort to create a fairly simple squad-level based conflict game, Tide of Iron is quite involved and fairly complex. It clearly takes its inspiration from Avalon Hill's revered Squad Leader, a highly detailed game system that is widely hailed as the definitive simulation of squad-level combat. That game, however, is highly complex, and involves hundreds of pages of detailed rules covering just about every aspect of combat.
Compared to Squad Leader, Tide of Iron is, indeed, easier to understand and play. But, be warned: it is still quite a bit beyond the norm in terms of complexity and detail. There is an abundance of rules to digest and understand. Even with years of "war gaming" experience and armed with a well-written set of rules, I was frequently forced to consult the rules during the course of play, which causes the game to bog down and drag. Only with repeated and regular play will the rules be learned to a sufficient degree to allow games to flow smoothly and quickly. Tide of Iron is not for the casual gamer.
However, for gamers who are ready to step beyond Axis & Allies and similar games, Tide of Iron offers the next logical step. It offers a decent degree of combat simulation, yet it is not too complex to overwhelm. The combat system is fast and fairly easy to understand, and the game is filled with important decisions that test the players' armchair general skills. Players are free to implement various strategies and tactics, yet none are foolproof as the uncertainties of combat are fairly represented by the roll of the dice. Fantasy Flight promises to intensely support the game system with expansions and new scenarios, all in an effort to provide more and more detail and options and prevent the game from growing stale. That is good news for fans of conflict simulation games, who will find much to like in Tide of Iron.
Knowing from friends that this game was rule intensive didn't dissuade me from picking up this game, though I didn't realize how detailed the rules were. this isn't my first rodeo, but I still had to take plenty of time to learn these rules, but in the end, I was immensely satisfied with the experience that this game provides.
I love pieces! And this game does not disappoint with the abundance of armor and infantry pieces and great cardboard tokens. This game reminds me a lot of an older game "Panzer General" but it's not a clone at all.
The first interesting concept is unit customization. you can choose who is in the squad and, if the scenario has it, what specializations they posses, such as medics, anti-armor, flamethrowers etc. this adds a lot of depth and character to the game that i feel defines a lot about this game.
The combat system is simple, though it still takes in to account terrain, distance from target, and how well entrenched the enemy is. And you can choose from standard fire to suppressive fire, which allows you to make key decisions, such as kill your enemy, or make it so they can't react to your advance of the rest of your soldiers. A 5 star combat system.
There is a copious amount of material I could cover, but I'll leave it on this. A LONG game (taking a few hours at best) with a great combat system to make this game a strategy intensive, and wholly gratifying experience. I'd strongly recommend this game for anyone who has the patience to learn the rules and teach them to others. Worth buying!
I think it's safe to say that Tide of Iron (Fantasy Flight Games, 2007 – John Goodenough) is one of the most anticipated games of 2007. It seems to be the culmination of a dream that many gamers have had for a long time – a solid wargame with beautiful components (including plastic pieces). Of course, a game of this magnitude is certainly going to fall under heavy scrutiny. There is the chance that heavy wargamers will probably not be satisfied with the quality of the wargame, while gamers who prefer lighter fare may find the rules to be too overwhelming. Coupled with the gigantic enormity of the undertaking (the massive box will dominate any shelf it's on), Tide of Iron certainly has a lot to live up to!
I'm not a wargamer, although it seems to me that I play a lot of light wargames these days. So I was curious myself to see what my reaction to the game would be – wondering if it the plastic pieces and beautiful scenery would ease me into what seemed by description to be a heavier game. But I honestly found the game fairly easy and enjoyable! It may not be as accessible as other light wargames, such as Memoir '44, but it is the first tactical wargame that I've played that I had quite a bit of fun with. The rules weren't overbearing, and the game allows one to ease into them in the scenario book. Tide of Iron is easily expandable, but the base game itself allows for hundreds of possible interesting scenarios.
1.)	Components: The game comes with a massive amount of pieces, including 216 plastic figures and hundreds of tokens and cards. However, the box, which is the one of the largest available on the market right now, could easily hold all the components in half of it. I assume the larger size is to allow for the large amount of expansions promised by the company. The plastic figures themselves are very nicely designed (actually begging to be painted, I think), and are large enough to be easily handled on the board. The tokens for the game are all very clearly printed, and most are easily definable with no language dependence. There are piles of tokens that are needed for the game – but surprisingly enough, the game still feels a lot less "fiddly" than other games with piles of counters. The entire affair – from the board to the plastic pieces to the scenery – really brings each battlefield to life.
2.)	Board: Each scenario takes place on a map created from twelve or less double-sided boards that fit together to form a hex grid. Each board has a variety of scenery printed on it, but there are also twenty-eight double-sided overlay pieces that can be used to modify the boards. This is a very effective, quick way to build a huge variety of scenarios. My boards were slightly warped, but Fantasy Flight has announced that they will be delaying the production of the game until the boards are fixed – so this is a non-issue.
3.)	Rules: The large rulebook has forty-seven pages and is chock full of illustrations, examples, pictures, and the like. I wasn't overwhelmed by the rules, but only because of many of the concepts I've dealt with in other games. The game certainly takes no chances on newcomers not understanding the rules, however, and explains everything in great detail. It's a wonderfully put together rulebook – with terms explained, and the sections clearly delineated. Whenever I was confused about a rule, it was fairly easy to look up. Two reference sheets are also included in the game, which cover enough of the basic rules that I was able to use them for the majority of the game rather than constantly consult the rulebook. As to teaching new players, the game comes with some basic scenarios that allow a player to ease into the game. While not for everyone, I really do think most of the rules are intuitive.
4.)	Men and Tanks: I certainly like the feel of little soldiers on the board. It's reminiscent of the times I set up all the plastic army soldiers as a child, and now there is a solid rules set to back it up! The tactical feel of the game is rather intuitive, and the feel of the troops moving across the field certainly comes through because of the aesthetics of the game. I remember hearing about the Advanced Squad Leader starter kits, and the excitement that tanks might someday be added to the game. With Tide of Iron, the tanks are there from the beginning, and they certainly add something to the table! In fact, I often found myself concentrating on the tanks as the main part of my battle force. Still, the combat squads are also incredibly important, and each piece has a different "feel". Especially the German Tiger I tank – what a powerful vehicle!
5.)	Scenarios: I was slightly disappointed that only six scenarios are included in the game, although there is work on a program to design your own – and I expect dozens of them to show up on the internet shortly. Still, the six scenarios included are completely different – each with a unique feel. I'm fairly certain that they aren't perfectly balanced – but that's something that doesn't bother me much, and I like asymmetrical games anyway. The scenario book is very helpful explaining how to set up each mission; but between the large amount of pieces needed for a game, along with a decent amount of customization, setup takes a good amount of time – maybe up to thirty minutes.
6.)	Squads: Any game that allows me a degree of customization always makes me happy. The scenarios allow this to a degree, both with cards and the squad themselves. Each scenario gives a certain amount of troops that can be put in different combinations on the squad bases. There are mortar troops, machine gunners, leaders, and more – and can be combined in several different ways – hopefully for maximum effect. I will say that the removing of a troop from a squad can severely affect the performance, helping drive home that aspect of the theme. Each squad also has a place at their base, which allow a token to be placed in, giving them another feature – such as flamethrower or anti-tank. Now, honestly, you can only mix and match so much in each scenario, but the ability to have that slight degree of customization adds more replayability and gives the player a feeling of more control.
7.)	Cards: Tide of Iron is NOT a card driven game. Yet there are some cards involved that help give it a unique feel – one of the strongest points of the game. There are some Operations cards, which players may receive at the beginning of a scenario, allowing them to have a special ability, or showing the effects of weather, etc. However, more importantly are the Strategy card decks. There are several of these decks included with the game, such as Morale I, Ground Support I, German Reinforcement I, etc. The scenario will dictate which decks each player uses, and how many cards they start the scenario with. For example, in the Crossroads scenario, the Americans get the American Reinforcements I and Artillery I decks, and start with four strategy cards, which can be drawn from either or both decks. These cards are placed face up in the player's play area and can be activated over the course of the game to give the player special abilities. The decks' cards will typically have the abilities to match the name of the deck (i.e. the Reinforcement deck brings in extra troops, the Artillery deck bombards the board, the Supply deck upgrades troops, etc.) These cards are not game-breakingly powerful, but they are important enough that a player cannot ignore them and add yet another bit of customization to a player's army.
8.)	Command Objectives: In each scenario, there are several command objectives scattered over the board – some for the Americans, some for the Germans, and some for either player. If a player controls any of these points at the end of each game turn, they will receive command tokens equal to the sum of the number on the objectives they control. These command tokens can be used to purchase new strategy cards to use on future turns, or to take the initiative on future turns. They also often correspond directly to victory conditions, making them invaluable. They give each scenario a bit of focus, and much of the battle will center on taking and holding these points.
9.)	Actions: I really am not fond of games in which a player can move their entire army, then the next player goes, etc. Tide of Iron takes care of that by giving a player a certain amount of actions per turn (usually three) that a player can take before passing to the other player. The game comes with piles of fatigue markers that are used to mark units that have already moved and/or fired. When taking actions, players can move a unit, fire with that unit, prepare OP fire with the unit, fire AND move (although penalties apply), assault with a squad, use one of their Strategy cards (most have a one time use), or take some other action. This helps keep the game flowing and keeps downtime to a minimum, since players are only moving at most three units on their turn. I thought that this gave Tide of Iron a faster pace and was another high point of the game for me.
10.) Wargame stuff: Line of site, OP fire, suppressive fire, combined attacks, assaults and more are all included in the rules – but all are fairly intuitive, especially to people who have used them in the past. I especially enjoyed that tanks are rarely destroyed in one shot – but, instead, take damage and still have some capabilities. OP fire is also heavily used in the game, and terrain has a huge bonus for defenders, meaning that a player cannot ignore it. The actual combat system is fairly easy –one that involves a lot less stats than many games – one player rolls both offensive and defensive dice, making combat quick and simple. The game certainly rewards strategy and punishes tactical mistakes – as I have found out to my chagrin!
11.)	Other games: I have received a lot of questions about Tide of Iron's comparison to Memoir '44 and Combat Commander: Europe. The Memoir comparison is made because both games are based on World War II and have plastic figures. But honestly, that is where the comparison should end, because the games have a completely different feel. Memoir is a card driven game that simulates large battles in a slightly more abstract way. Tide of Iron is more nitty-gritty, causing one to care about each troop and vehicle under their command and taking a more hands-on approach. It's more complicated, longer, and will appeal to those who want a lot of realism involved in their games. After much thought, I think I like Memoir better, if only for it's simplicity – but it's really hard to compare the two at all. Combat Commander: Europe on the other hand is much close in feel. The main differences between the two are that Combat Commander doesn't have all the pretty bits, uses cards more heavily, and emphasizes squads and leadership more. Really, I'm not sure it's worth having both if you are simply looking for a fun, tactical WW2 game. While CC: E is an excellent game, I think I am swayed towards Tide of Iron if only because it has much better components, a high "toy" factor, tanks, and was a bit simpler.
12.)	Expandability: If you watch the video about Tide of Iron at the Fantasy Flight website, which also gives a brief overview of many of the game concepts, they mention that they are planning expansions to the base game. This is also emphasized by the large space available in the box. I think that is a great idea, if only because the game has so many options that can easily be added to it – more scenarios, more strategy card decks, more units, etc.
13.)	Fun Factor: Tide of Iron was very enjoyable to me, if only to watch my plans unfold on the battlefield. It wasn't as rip-roaringly fun as other light wargames (such as Memoir), but could possibly be much more satisfying. I say this because the game lends itself to a story setting – as you care about each and every unit on the board. The rules complexity is about the upper limit of what I'm interested in; and while they were explainable, they will cause the game to be played in fewer situations. Most of my enjoyment of the game comes from the shear variability, the cool pieces, and how much the game feels like an exciting war scenario.


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County considers $2 fuel surcharge for cab rides, doubling gas pump help
Matt Blitz June 8, 2022 at 1:30pm
A taxicab in a parking lot (staff photo by David Taube)
As gas prices continue to rise, cab drivers in Fairfax County may be getting even more help at the pump.
The Fairfax County Board of Supervisors is looking at implementing an emergency $2 fuel surcharge on every trip starting later this month. That would double the current surcharge, which was implemented in April, as gas prices have climbed even compared to two months ago.
"The current emergency taxicab fuel surcharge of $1.00 only covers an increase in fuel cost up to $4.30 per gallon," the staff report notes.
The average gas price in Fairfax County is currently $5.02, according to the American Automobile Association.
"Taxicab drivers already operate on low margins, but they play an important role for many residents and visitors to Fairfax County," Board Chairman Jeff McKay said in a statement to FFXnow. "It is vital to keep them operational and, additionally, it is not fair for the taxicab drivers themselves to be impacted by devastating increases in fuel prices throughout the county. This is a temporary surcharge increase that we have the ability to rescind as gas prices hopefully fall in the future."
The initial $1 surcharge ordinance expires this Saturday (June 11). If approved, the new one would begin June 29 and last six months — essentially to the end of 2022 — "unless rescinded."
When it met yesterday (Tuesday), the county board approved a June 21 public hearing to discuss the increase. A vote on the measure is anticipated on June 28. If approved, it will be implemented the next day.
A number of neighboring jurisdictions have implemented similar fuel surcharges. Arlington's $1 charge went into effect mid-May and will be on the books for six months. The City of Alexandria's dollar surcharge began in March and could last up to a year.
Beyond those employed by the industry, keeping the taxi business afloat is important for a number of other county residents, according to the staff report.
"The on-demand availability of safe and reliable taxicab services…is important to the public well being, especially for those consumers unable to use public transportation and who rely on taxicab service for their basic transportation needs," it reads.
The county government and Fairfax County Public Schools work with cab companies for special-needs transportation, including providing nearly 3,000 wheelchair accessible trips in 2020.
Cabs are also part of the TOPS program, which provides subsidized transportation to eligible residents. The report says TOPS participants take about 134 taxicab trips per month, so the fuel surcharge is estimated to cost the county about $1,600 extra per month.
Approximately 90 students with disabilities and special needs use cabs to go to and from school. FCPS estimates that an extra $15,000 will be needed for the surcharge, but it will be able to absorb the extra costs into its budgets.
The ordinance leaves room for the surcharge to be extended, increased or rescinded "if prices fall significantly."
There's hope that the surcharge may actually increase the number of cab drivers in the county.
"The $2.00 per-trip emergency taxicab fuel surcharge will continue to provide relief to the taxicab drivers who are suffering an economic hardship from increased fuel costs," the report said. "This increase may also help retain current drivers and recruit new drivers."
Fairfax County Board of Supervisors gas Jeff McKay Reston taxi transportation Tysons
Aging Well: How you view aging can impact your futureVDOT tweaks 495 NEXT design as construction gets underway


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Q: If $X$ is separable space then $X^∗$ is separable in all topologies $\tau$ such that $(X^∗,\tau)^∗ =X$? Let $(X,\|.\|_{X})$ be a separable Banach space and the associated dual space is denoted
by $X^*$. By $w^*$ we shall indicate the weak$-*$ topology on $X^*$.
Let $B_{X^∗}= \{x^∗ \in X^∗ : \|x^∗\|_{X^∗}\leq 1\}$. Since $X$ is separable, the set $B_{X^∗}$ furnished with the relative $w^∗-$topology is compact (by the Alaoglu theorem) and metrizable (see Theorem I.5.85). Note that
$$
X^*=\bigcup_{n}{nB_{X^*}}
$$
hence $X^∗_{w^∗}$ (the space $X^∗$ furnished with the $w^∗-$topology) is separable.
Can we say that :  $X^∗$ is separable in all topologies $\tau$ such that $(X^∗,\tau)^∗ =X$?

A: Yes. Separability of a locally convex space is equivalent to the existence of a dense countable-dimensional subspace. All compatible topologies for a dual pair (i.e. those that give the same continuous linear functionals) agree on the closures of convex sets.


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WRJZ (620 AM) is a Christian talk radio station in Knoxville, TN that broadcasts with 5,000 watts in a non-directional daytime pattern and a five-lobed night-time directional pattern. It is owned by Tennessee Media Associates.

Programming
Bob Bell hosts the morning show.

Among the syndicated programs airing on Joy 620 are Focus on the Family, Chuck Swindoll's Insight for Living, In Touch with Charles Stanley, and other Christian teaching programs.

WRJZ also airs Carson-Newman College and Grace Christian Academy football games.

History
WRJZ is one of Knoxville's oldest radio stations. It signed on in 1927 as WNBJ, owned by Lonsdale Baptist Church and operating on 1450 AM. It moved to 1310 AM in 1930 under new owner Stewart Broadcasting Corporation. A year later, Stuart changed the calls to WROL. It moved to its current frequency in 1941.

The station's ownership group was part of a consortium that signed on Knoxville's first television station, WROL-TV, in 1953 on channel 6. Two years later, the call sign was changed to WATE AM-TV.

The two stations went their separate ways in 1971, with the television station retaining the WATE-TV calls while the radio station changed its calls to WETE. The station aired an adult contemporary format during for most of the 1960s and 1970s. In 1976, WETE-AM changed the call letters to WRJZ-AM, and began airing a top 40 format.

CP and Walker, Jeff Jarnigan, Adele (see below), Mark Thompson, Rick Kirk, John Boy, and J.J. Scott were some of the station's best-known personalities throughout the 1970s.

Adele Arakawa, the first female DJ in Knoxville, worked at WRJZ broadcasting Top 40  music for 5 years in the late 1970s.

Other DJs from WRJZ's late 1970s Top 40 era who became well-known were "John Boy" Isley, later of the "John-Boy and Billy Big Show" in Charlotte, NC. and Mark Thompson, later of "Mark and Brian", the FM drive team who have been on 95.5 KLOS for 20-plus years.

After several years as a popular Top 40 station but losing market share to FM station WOKI, WRJZ briefly switched to an adult contemporary format in 1981, then shortly thereafter to a country music format, then an oldies format, then shortly thereafter went dark entirely only to return to the air during the 1980s with a Christian talk format under the new slogan "Joy 62".

References

External links
Station web site

RJZ
RJZ

redpajama_set_name: RedPajamaWikipedia