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Category Archives: Advice for Authors
On Writing: Plotting Advice from Tim Weaver
For a reader, there's nothing better than a book that twists, turns and surprises you – all tied up nicely with a satisfying end. It's fair to say that while books like that are easy to read, they're certainly not easy to write. So in this instalment of our On Writing series, we talk to Tim Weaver, whose ingenious plots never let a reader down, and ask him how he keeps the reader guessing to the very end.
I Am Missing by Tim Weaver is out on 27th July – get it here
What's your starting point when coming up with a plot?
All of my books are about weird, unexplained disappearances, so because they're part of a series, I suppose I have a slight advantage, in as much as I know they're going to begin with someone going missing. But, even if you're not writing a series, the theory's pretty much the same: you come up with a hook, something that's going to jump-start the novel and immediately get readers interested. Once you have the hook – a man gets onto a Tube train but never gets off again; a family vanish midway through dinner, leaving the table set and the food cooking on the stove; a man with no memory searches for himself – you have the foundation on which to build a novel.
But the hook is only a foundation. I think a mistake that's often made is to believe that one cool idea is enough. Sometimes, in very rare circumstances, it is; very occasionally, you can hold an entire novel together with one amazing concept. However, most of the time, you need to work harder than that. So many thrillers run out of gas in the last third because they've been built on just a single, neat idea that has already run its course by the midway point.
Your plots are very intricate, with real surprises. How do you make sure you're always one step ahead of the reader?
Meticulous planners will definitely disagree with this – I'm thinking of people like Jeffrey Deaver here, who writes plans almost as long as the finished novel – but, for me, a lot of staying ahead of the reader comes from consciously not planning. Of course, ultimately, you have to approach a novel in the way you find most comfortable: planning gives you a terrific overview of the book from the very start of the writing process; not planning is a terrifying leap into the unknown. But where a lack of a plan starts to make an impact, I believe, is when it comes to delivering effective twists, avoiding over-used thriller tropes and – most importantly – constantly surprising and exciting the reader.
At a basic level, if you're writing a twist that you never thought about until you got there – in essence, if you've surprised yourself, because something you've written was never part of any plan – there's a very good chance you'll surprise the reader too. And these moments can only come from that organic approach. If you know a twist is coming a mile off because it's been in your plan from day one, the novel will be bent and shaped in preparation for that twist, giving readers a hint – consciously or not – of what's coming down the line (Remember, crime and thriller readers are smart. They read more thrillers than you do, so they know all the tricks. Outwitting them is very hard, which is another reason why there are benefits to a less formulaic approach.)
Sometimes, of course, none of that matters because your twist's so mind-blowingly good no amount of set up can ruin it, but a great twist has to make sense, and it has to remain true to the story you've told, so you have to lay the groundwork for it, and in that groundwork, there will be some foreshadowing. There will be, because there has to be. So there's definitely a lot of value from being more free and easy with your approach to plotting – in theory, because it's more spontaneous, it helps disguise some of that groundwork.
Of course, as I've already hinted, this is also a scary and frequently very stressful way of working, because you're never 'ahead' of the story – you're discovering what the characters are like, up to, the decisions they're making and the consequences of those decisions at the same time as they are. And, again, it's important to underline that my method might not be for everyone. Some authors may argue that it's actually detrimental to the writing process because it adds an extra layer of stress and anxiety to the mix. But I'm already a very anxious writer, constantly trapped in a whirlpool of doubt and self-inflicted stress, so what's a little more?
Do you have any methods for keeping track of all the aspects of the plot and how they fit together?
It's possible that I'm the worst person in the world to ask this too, because I do so little planning. I may write a couple of pages of set-up at the start – covering, say, the first 10-20,000 words – and I'll always have a relatively clear idea of where it's going to finish, but everything in between is up for grabs. At about 70,000 words, as the book slowly begins to make a turn towards the finale, I may start to write out important things to remember on Post-It notes and stick them up, but at no stage will I commit anything to a proper plan. Those last 30, 40, 50,000 words are huge: this is when you deliver on everything you've set up, so those great, umprompted moments are even more important now, because they will be what readers remember.
Normally, if you've grown your book organically like this, it means – when you're done – you've got things that don't quite tie up or fit together, and that's fine. I normally do a second run-through, fixing loose ends and tightening those twists (sometimes changing them completely!). It isn't a rewrite, not even a second edit, just a really focused attempt at ensuring the book keeps readers on their toes. (This lack of drafting, or rewrites, or whatever you want to call it, is a consequence of another weird habit of mine: I can't move on to the next chapter until I've got the current one as perfect as possible. If you're a speed writer, who prefers to get a first draft done quickly and then go back and edit, edit, edit, this will obviously be different.)
Of course, at the end of the writing process (it takes me 10 months to write a book), it's very hard to judge how effective anything in the book is – I'm lucky that I have an agent and an editor to help me – so once you think you've done as much as you can, it's definitely worth giving it to someone you trust to read. Ask them to be honest. Honesty, as much as it can sometimes hurt, really is the best policy. However good you think you are, you can always be better.
Have you ever painted yourself into a corner, plot-wise? If so, what steps did you take to tackle the issue?
This, unfortunately, is one of the worst parts about not planning. Very often, you will write yourself into corners, and won't be able to see a way out. When this happens, I normally take a day or two off to clear my head. I go walking, which is often where I do my best thinking, or I'll do really boring things like admin, or VAT returns, or really great things like answering reader emails. Basically, anything but the book itself. The worst thing you can do, I think, is chain yourself to the desk and keep writing. Often, in a ten-month project, I'll have moments where I don't have a clue where I'm supposed to go next, but I always, always find a solution. It might not come straight away, but it will come. So don't panic – this is a perfectly normal part of being a non-planner.
There will also end up being lots of times when you're really trying to make a character arc or a storyline work, but in your heart of hearts, you just know it's not happening. The reason a lot of people don't turn back from there is because they look at all the words they've wasted – sometimes thousands of them – and feel frightened/guilty/dismayed about all the hours they've ploughed in and see the culling of those efforts as dispiriting and reductive.
Cull them. If you don't think it works, it's because it probably doesn't. If you're going to avoid rigid plans, you have to accept this will happen and factor it into your writing time. However, even if you don't end up using what you've just spent a couple of weeks writing, never throw it away. I've re-used tons of stuff I cut from one novel in the next, or the one after that. Sometimes what I cut at the time I absolutely loved (though most of the time I didn't!), but even if you've written something gorgeous, ultimately it has to adhere to the world you've built in this novel. That's one of the most important things: not trying to shoehorn in something you like because you can't face dumping it. Nothing is ever wasted, even if you decide never to use it again, because writing itself is a constant learning process.
I Am Missing is published on 27th July by Michael Joseph PRH. Follow Tim on Twitter: TimWeaverBooks
This entry was posted in Advice for Authors, On Writing and tagged author advice, how to plot a novel, how to write a novel, how to write a thriller, I Am Missing, novel writing tips, penguin books, sunday times bestseller, Tim Weaver, top ten bestseller, Who Is Richard Kite, writing tips, writing tips for authors on July 25, 2017 by darleyblog.
On Writing: The Magic in Storytelling with Polly Ho-Yen
Do you remember those stories that used to make you feel like you could do anything? The magic that was sprinkled in your world from the chapters of books like Matilda, A Little Princess, Tom's Midnight Garden or the Chronicles of Narnia?
Today's instalment in our On Writing series is from Polly Ho-Yen and examines the art of magic in storytelling.
Polly is a critically-acclaimed and Carnegie nominated author who writes especially wonderful middle grade fiction. Her books, whilst real world set, are peppered with magic and the extraordinary.
As her latest novel, Fly Me Home, has just been published, we wanted to share Polly's tips for creating those extra-special magic moments in children's fiction…
Your novels always include an element of wonder – why do you think it is important to have this in books for children?
Children are full of wonder. They are curious, amazed and fascinated by the world. I'm always reminded by this when I spend any time with my young nephew (who is captivated at the moment by switching a lamp on and off.) Writing an element of wonder into my books for children is something that has happened quite naturally for me and not exactly by design. It is though perhaps heavily influenced by being part of many wondrous children's lives as a primary school teacher and now, as an auntie, and I see its importance in its reflection of its audience.
I like to throw around the idea of stories happening in a world that is just like our own, but with one thing that's different. I then explore how that one thing has a knock-on effect on everything and everyone around it. Having this is in mind has also led me to delving deeper into wonder – and so perhaps it's particularly important as a way of investigating difference.
Does the magical element of storytelling need to represent something more significant or can it be there purely to entertain?
I'm often surprised when I'm reading over what I've written how themes and issues are interwoven throughout the story that I made no conscious decision to put there. I might think that a magical aspect of a story I'm writing is merely entertaining. I might believe that it is designed to engage the reader (and I hope it is!) but when I look back on it, with the benefit of perspective, I realise what my unconscious was really trying to do. I then see the representation, and its significance – the message that lay hidden, even to me!
Are there any books/authors in particular that inspire or influence your work? What do they do well?
Too many to list! I'm always grateful to the authors who wrote the books that I've reread and reread and never tire of – To Kill a Mockingbird, The Diddakoi, Northern Lights are just a few. Reading the current (and brilliant) work of authors writing currently – Patrick Ness, Kate Atkinson, Neil Gaiman, Meg Rosoff – made me itch to pick up a pen and get going myself. I think what they all do fantastically well is creating a world and characters that feel incredibly real to me.
Is magic just for kids?
Magic is for anyone who has an imagination and likes to use it.
Fly Me Home was published by Random House Children's Books on 6th July. Make sure to follow Polly on Twitter: @bookhorse
This entry was posted in Advice for Authors, On Writing and tagged aspiring authors, author advice, Carnegie nominated, fly me home, magic for children, magic in storytelling, On Writing, Polly Ho-Yen, Random House Children's Publishers UK, writing for children, writing tips on July 7, 2017 by darleyblog.
On Writing: Pace and Tension with Tom Bale
The latest instalment in the On Writing series, which features our authors who are no longer debuts, examines the art of pace and tension. Tom Bale is well on his way to becoming a classic thriller writer. In his signature style, he takes ordinary people, often families, and throws them into extraordinary and terrifying situations -the bestselling All Fall Down is a particularly scary but brilliant one!
On the publication day of his latest nail-biting thriller, Each Little Lie, we wanted to ask the seasoned author just how he keeps the reader on the edge of their seat…
Are you consciously structuring the pace and tension in the first draft of the novel or is this something that you consider more in your editing?
My first drafts tend to be quite messy and unwieldy, but fortunately I love the process of getting stuck into a really intensive rewrite! For me, the twin priorities of the first draft are to get the story down in a coherent way and bring the characters to life. Having said that, I do pay attention to pace and tension from the start, because these components are so fundamental to the success of a thriller. One of the clearest indications that I'm falling short is if I find myself losing interest in a particular scene or a storyline – that means it's time to back up and change something.
During the editing stage, a lot of work can be done to speed up the pace and increase tension, and this is where some of the famous screenwriting tips come in handy: start each scene as late as possible, cut away anything that doesn't move the story forward, etc.
Are there particular techniques you use to heighten the tension, or pace? If so, what are they?
If you're writing thrillers, the essential thing is to create both empathy and suspense. The reader has to fear that something bad is going to happen to someone they care about. To that end, there are various techniques that can be employed. The key is to withhold information, introducing a series of little mysteries or questions and then gradually revealing the answers. It's a delicate balancing act: release too much information and the tension is lost, but not enough and the reader may become frustrated or bored.
Even if you're aiming for a breakneck pace, it's important to have some variety. The slower moments give the reader time to breathe, and these scenes are a great opportunity to build character. Interest can be maintained by introducing new questions, or perhaps a little foreshadowing of what is to come. One of my favourite ways of raising tension is to allow the reader to know something the protagonist doesn't about the dangers that lie ahead.
What is your signature masterstroke in creating real tension that shocks and grips the reader?
I'm not sure if I have any masterstrokes as such, but I do always try to introduce a few twists or setbacks that come out of nowhere. Even if a novel has been plotted in detail, new ideas tend to pop up during the writing and I've learned to trust my instinct and go with them, even if I have no idea how they'll tie in with the main storyline. It could be an entirely new character, or perhaps an element of someone's backstory – and it's a wonderful feeling when I approach the final quarter of the book and suddenly see how the random idea I introduced two hundred pages earlier can dovetail neatly with the climax of the novel. Of course, it doesn't always happen that way, but any extraneous additions can be removed during the rewrites.
What storytellers do you consider to be the greatest at creating and controlling pace and tension?
There are many writers that I admire in this respect, but I'd say Lee Child is an absolute master. Even during the quieter sections there's an absolute compulsion to turn the page, and I think a lot of that comes from his prose. The sentences are so perfectly formed, and build on each other with such a compelling rhythm, that it's almost impossible not to get drawn in: "Just one more line, one more paragraph, one more chapter…" and then you realise you've stayed up half the night to finish it.
Each Little Lie is published by Bookouture today. Be sure to follow Tom Bale on Twitter: @t0mbale
This entry was posted in Advice for Authors, On Writing and tagged aspiring authors, author advice, bestseller, bookouture, each little lie, how to write a thriller, On Writing, pace and tension, tom bale, top tips on writing, writing thrillers on June 29, 2017 by darleyblog.
On Writing: Olivia Levez and The Second Book
For a debut author, the publication of your first novel feels like a dream come true. An exciting and very rewarding end to, possibly, years of blood, sweat and tears.
But now you must write your second novel which comes with a stricter deadline and the added pressure of living up to the hype and enthusiasm of your first. It's known to some authors as Second Book Syndrome. So what are the some of the problems you come up against? And how do you deal with them without pulling all your hair out and eating every single thing in the fridge (including the mystery condiments)?
In the second part of our On Writing series, Olivia Levez talks about her experiences writing The Circus, the follow-up novel to the critically acclaimed The Island.
P.S. Olivia really had nothing to worry about as The Circus is an exceptional YA novel with a truly distinctive voice – check it out!
Olivia at the launch for The Circus
Writing a second book is hard. Really hard. The first one is written for yourself, with the freedom to explore, to be creative, to find your own style, to dip in and out of different writing methods, to lose yourself in words. That feeling of being in the zone, utterly at one with your writing and your passion. No one's looking over your shoulder, not really.
Then comes the second, and the deadline looms just as you're in mid publication frenzy for your first ever published book. This time it's different: as well as writing the thing, you have your daily life to maintain, complete with job, (in my case lesson planning, teaching, exam marking), and family commitments and all of the tiny things that make up your daily existence. Eating. Food. That sort of thing. But this time, there's another set of pressures, because now you have to learn how to be a self promotion guru, a whizz at keeping up with the white noise and nuances of social media; an organiser of events, school visits, trips to London, split train tickets, best Premier Inn offers; an arranger of school assemblies, book tours, book sales.
And somehow, in the midst of all of this, you have to try to find the time and head space to write another book. You have to keep your head clear as reviews come in, news of others' successes, triumphs, fellow authors who all seem to be doing bigger and better things than you. You have to not cringe as you post yet another promo author post on Facebook, wondering whether your friends are truly sick of the sight of you and your damned book yet.
It's hard. And scary.
I hit the wall three times at 30,000 words with The Circus and each time had to start from scratch. It got so that I started to sweat as my word-count crept up to the 27,000 mark, wondering when that truly awful blankness and book hatred would strike. And it did. Every time. By far my best circus act with this one was Hitting The Wall: a death defying feat of pure unperformance and inaction.
Slam. Three times.
What should I do? My deadline was scarily close, and all I really had to show for it was a girl named Willow and a few nicely described circus scenes. What did she want? I wasn't sure. Why was she running away? I didn't really know. Where was she actually running to? Nope. Didn't know that one either.
I did have her voice though. I knew she had a story to tell, if I could only access it and stop panicking. In the end I took a deep breath and sent my agent, Clare Wallace, an email with the header: HELP!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!!
She phoned me straight away and listened calmly as I hiccupped my way through all of my worries and frets. Within the hour she had got my deadline extended, offered practical help with my upcoming launch and reassured me that she got this a lot from debut authors and I wasn't alone. Immediately the huge burden had lifted and I was able to focus on enjoying the publication of The Island.
Clare gave me permission not to write anything at all for a few weeks. And paradoxically, because I wasn't supposed to be writing, the ideas came flooding in. I grabbed the dog, took myself off to my caravan and sat outside the pub with a pint of SA, staring over unspeakably beautiful Cardigan Bay, daydreaming.
And that's when it came to me. Willow needed a friend. Of course she did. She needed someone to complement her spoilt selfishness and lighten up the darker moments of her experience of being on the streets. I thought about my favourite film, The Midnight Cowboy, the poignant tale of a naïve country boy seeking his fortune in New York City, starring Jon Voight as Joe Buck and Dustin Hoffman as his trickster friend, Ratso. That was it:
Willow Stephens needed her Ratso.
So Suz was born, Willow's companion through all of her adventures. She was already present in my story, although I hadn't realised it. In an early scene I had a brief description of a homeless girl feeding ham to the pigeons in Charing Cross, and this girl grew to become Suz, Willow's friend and circus manager.
Next, how to fix the setting? Originally, The Circus was set in Plovdiv, Bulgaria, an evocative town which manages to be seedy, magical, squalid and glamorous all at the same time. I'd visited Plovdiv the previous autumn as part of my research and watched children throwing each other up into the air on trampolines outside its Cirque Balkanski. Miniature ponies pulled at trampled grass in the circus grounds – a carpark outside Lidl. I sat in our hire car, scribbling notes and watching. I loved the juxtaposition between the tawdry and the surreal. Those descriptions made their way straight into my circus adventure, but I kept drawing to a halt every time I tried to get Willow there. How to get a runaway to Bulgaria? I didn't have enough technical information, hadn't had time to travel by train to follow her possible journey.
I tried setting it in Paris, made her a stowaway in a coach (that was the second draft that grinded to a half at 30,000 words). No good. Panic.
Then I visited my brother in Hastings. Immediately I stepped off the train I knew I had found my setting. Hastings has it all: edge, street performers, a creative vibe, down-at-heel bits, upmarket bits, tattiness, an ineffably lovely seafront and plenty of weird and wonderful places for Willow to stay as she attempted to find the circus and herself.
Suz. Hastings: the missing ingredients. The rest was a whizz to write, a breeze after all of the juggling acts, the tightrope walk, the knife edge.
Ultimately, there was the final performance: an amazing book launch at my school, complete with talented student and staff performers!
What have I learnt about writing book two? What I've always known, what all writers know in their hearts. You'll get there. Just keep doing what you're doing, one wobbling step at a time.
The Circus was published by Oneworld on 4 May 2017. Follow Olivia on Twitter: @livilev
This entry was posted in On Writing and tagged aspiring writers, critically acclaimed YA, how to write a novel, novel writing tips, olivia levez, On Writing, Oneworld, The Circus, top tips on writing, writing tips 2017, writing tips for authors on June 12, 2017 by darleyblog.
On Writing: Cesca Major talks Plot
For any writer, first time or otherwise, you are inevitably going to come up against some issues with your plot: Is there enough drama in the second half? How do I get from A to B in an exciting and original way? Who should I kill off next?
In the first of our 'On Writing' blog posts, Cesca Major, author of the evocative and beautifully written The Silent Hours and The Last Night gives you 3 Top Tips on how to get yourself out of a plotting rut.
The Last Night is out in paperback on Thursday 4th May.
This entry was posted in On Writing and tagged aspiring writers, cesca major, how to plot a novel, plotting tips, submissions, the last night, writing tips on May 2, 2017 by darleyblog.


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New Music Monday: Brant Bjork
Brant Bjork formed his first band with his high school buddies, a group that would later become desert/stoner rock legend, Kyuss. He left...
New Music Monday: King Buffalo
King Buffalo is a heavy psych band headquartered in Rochester, NY comprised of Sean McVay on guitar and vocals, Dan Reynolds on bass,...
New Music Monday: Calypso Rose
The legendary "mother of Calypso," Linda McCartha Monica Sandy-Lewis, a.k.a. Calypso Rose, is back with Forever. The 82-year-old singer...
New Music Monday: Greg Loiacono
Greg Loiacono steps out from The Mother Hips, his band of 30-plus years, for the third time on his latest solo recording, Giving It All...
New Music Monday: Travie McCoy
Taking leave of Gym Class Heroes, the rock-rap group he co-founded in high school (1997) and taking stock in himself, Travie McCoy has...
New Music Monday: Party Dozen
Party Dozen is an explosive Australian duo that creates an almost inconceivable sound since it's coming from only two people. Kirsty...
New Music Monday: Greg Puciato
Greg Puciato has had a long career in metal, fronting the Dillinger Escape Plan, the Black Queen, and Killer Be Killed. His second solo...
New Music Monday: Tijuana Panthers
When three buddies from Long Beach, CA decided to form a band, it wasn't a huge surprise their genre of choice was surf-heavy garage/punk...
New Music Monday: FKJ
FKJ was featured on the first Twofer Tuesday spotlight when playMYmusic.FM's site launched. Four years have passed, and we decided it was...
New Music Monday: Banditos
Right On How do you get a garage/country/folk band? You take a popular live sextet from Birmingham, AL, move them to Nashville, and let...
New Music Monday: Leyla McCalla
Singer/cellist Leyla McCalla has embraced many musical traditions during her career. After leaving the Carolina Chocolate Drops, a...
New Music Monday: False Heads
False Heads have released "Day Glow," a new single from their upcoming album Sick Moon (September 2022). playMYmusic.FM featured the...
New Music Monday: Horojo Trio
Set The Record Ottawa's Horojo Trio was born at a local jam session which was apparently so smokin' that the guys decided to stick...
New Music Monday: Binker & Moses
Feeding the Machine Drummer Moses Boyd and tenor saxophonist Binker Golding have teamed up again. The duo's new record, Feeding the...
New Music Monday: Elephant Stone
Le voyage de M. Lonely dans la lune J'aime la musique psychédélique. I remembered enough from high school French to write that myself...

redpajama_set_name: RedPajamaCommonCrawl


NOTE: This print is sold by the panel. Each panel measures approximately 35" x 44". If you purchase multiple quantities of this panel, it will be cut as 1 continuous piece.
each print measures approximately 12-1/2" X 16-7/8"
this print is sold by the panel, which measures approximately 35-1/2" x 44"


What Does 'a la Plancha' Mean in Spanish Cuisine?
In Spanish cooking, a la plancha (pronounced ah-la-plahn-chah) means "grilled on a metal plate." Recipes that are a la plancha are traditionally cooked on a round, flat metal plate. This device originated in Spain and is considered to be the first flattop grill.
This flattop grill is like a griddle but instead of having a square or rectangular shape, it is round. The circular shape changes the way heat is distributed by allowing it to spread out in a radial manner. The result is a very hot cooking surface.
Typically, plancha griddles are plated with chrome. This eliminates any reactions between the food and the metal surface.
Cooking food on a plancha sears the meat or fish better than any other cooking surface can. It creates a browned, slightly crispy exterior while sealing in the juices. At the same time, it leaves the interior of the meat or fish moist, tender, and juicy.
Cooking a la plancha is a rustic preparation. The seasoned surface and high heat mean the ingredients need no enhancements, allowing the flavors of the food to shine through. For this reason, it's best to make sure you choose the freshest ingredients available.
It is also a very low-fat and healthy way to cook. You don't need any added fats to assist in the cooking process because the intense heat does all of the work. Whereas a traditional American griddle cooks at 350 F, a plancha reaches 450 F or higher. This reduces the cooking time required. A plancha is also much easier to clean than a grill or even pots and pans.
A la plancha is often used to cook seafood. It's the ideal method since seafood is often best with quick, high-heat cooking. In Spain, you can often find planchas set up right next to the docks and ready to immediately cook up the daily catch.
Meat is also a popular ingredient to cook a la plancha, and vegetables are absolutely delicious cooked this way. Whatever you choose to grill a la plancha, expect beautiful caramelization and a touch of char.
It may be challenging to find a traditional circular plancha in the United States. Even in online stores, you're more likely to find griddles when searching for a plancha. This makes sense since plancha is Spanish for "griddle."
Most of your options include somewhat affordable square or rectangular "trays" that are placed on top of your grill grates. You'll also come across more expensive rectangular electric griddles. They may not radiate the heat the same way as a Spanish plancha, but they will achieve that signature high heat and do the trick.
Your other option is to simply search for a "round griddle." These are easier to find in a variety of materials and price ranges. The shape should radiate heat in the same way as an authentic Spanish plancha.


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The Chosen Strikes Back, Offensive Line Leads 32-23 Victory Over All-Madden
February 23, 2014 by Aaron Taylor
The Chosen football squad returned to San Quentin and came away with a win, 32-23.
"I want to thank the offensive line mostly, as well as the entire team," said Dante Perez, quarterback for The Chosen. "Everybody did their part."
At halftime, the score was 15-14, with All-Madden leading the way after coming from behind.
In the second half, The Chosen began to take advantage of the All-Madden defense. "We made a couple of adjustments," said Tyson, who finished the game with nine receptions for 166 yards and two touchdowns. "We saw that the middle linebacker kept leaving the middle of the field open. We wanted to exploit that."
The Chosen brought a new player with them, Cameron Marshall, a recent graduate of Arizona State University, who also played tailback for the school's football team.
On The Chosen's first possession, Perez threw an interception to defensive back Malcolm Jones. All-Madden's first possession ended with a turnover on downs. On the sixth play of The Chosen's second possession, they scored first with a 30-yard pass over the middle to Marshall, 6-0.
On All-Madden's second possession, Royce "Gator" Rose ran up the middle for 21 yards; on the same drive, A. "Alias" Jones scored his first touchdown of the day on a 12-yard sweep right. The score was 7-6.
On The Chosen's next possession, Marshall received the handoff and exploded up the middle for a 52-yard touchdown. Following a successful two-point conversion, the score was 14-7.
Then on All-Madden's next possession, Rose found A. Jones streaking up the right sideline and threw a beautifully arced spiral pass for a 62-yard touchdown strike, followed by a two-point conversion.
The Chosen scored on its first possession of the second half as Tyson ran a deep slant from the left side. As the defense shifted, he waited for the linebacker to slide right, and then adjusted his route to occupy the space vacated by the middle linebacker, Cleo Cloman. It resulted in a 30-yard touchdown pass. The Chosen retook the lead, 20-15.
All-Madden gave the ball back after an eight-play drive that resulted in no points. On the fifth play of The Chosen's following possession, Perez threw an interception to Rose, who brought his offense back to the field and threw a 22-yard catch and run to Dwight "Sleepy" Kennedy that scored a touchdown. Charles "Pookie" Sylvester converted the two-point play and All Madden retook the lead, 23-20.
After a pass interference call by M. Jones, Perez threw a tight spiral, low and inside, to a sliding Andre Jackson for a three-yard touchdown and The Chosen led again, 26-23. After a quick four and out by All Madden, Perez hit Tyson on a delayed in-route, where he slipped once again behind the middle linebacker. Tyson caught the 40-yard touchdown that sealed the victory for The Chosen, who played their last game of the season.
Final score: 32-23, The Chosen.
"I didn't do enough," said A. Jones after the game. "It doesn't matter what my individual numbers are. We still lost."
Filed Under: Sports


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'Black Mirror: Bandersnatch' map shows every possible path in Netflix film
You don't need to watch 'Black Mirror: Bandersnatch' a million times to see every possible outcome.
Black Mirror: Bandersnatch is a seemingly never-ending puzzle.
There are tons of easter eggs and choices that lead to different results in the interactive film that fans can't help but obsess over.
Read more: Travis Scott, Big Boi confirmed to perform at 2019 Super Bowl with Maroon 5
Now, someone has made a complete map of every outcome and all the possible routes a viewer can take in the film. Thankfully, if you're curious about the different paths, you can just consult the map. It definitely beats having to watch the film a hundred times to see what might happen.
The map includes every individual choice and how that affects the overall path. It also shows which choices are dead endings that make the viewer go back and choose a different option.
You can spend a good amount of time inspecting the map for yourself below or download it here.
Netflix released Black Mirror: Bandersnatch on Dec. 28. Previously, many people believed that there would just be one "choose your own adventure" episode in the series. However, Netflix developed an entire spinoff film instead.
Netflix came under fire this week for the Black Mirror film as they are being sued for possible trademark infringement.
Chooseco, publisher of the children's' "Choose Your Own Adventure" book series, is suing Netflix for using the phrase in Bandersnatch. The film, a spinoff of the popular TV series, allows for the user to make choices that determine the ending.
The company claims they negotiated with Netflix in 2016 about the phrase being used for the series. However, they say Netflix never got the license to use it.
"Netflix has no license or authorization to use Chooseco's trademark and, upon information and belief, used the mark willfully and intentionally to capitalize on viewers' nostalgia for the original book series," the lawsuit states. "The film's dark and, at times, disturbing content dilutes the goodwill for and positive associations with Chooseco's mark and tarnishes its products."
See more: 11 most emo snacks of all time


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nozzle and amount by timing the rate of spray along the opening/ bar space.
•          Prepare 50% sugar syrup (eg. 1 kg of sugar in 1 L of water).
•          Add 35 g of *oxalic acid dihydrate *crystals to 1 L of syrup.
•          Agitate the solution by stirring vigorously or shaking.
the crystals must be  dissolved.
•          1L of the oxalic acid solution will treat 20 colonies.
the winter the same day.


An explosion at a coal-fired power station in South Korea on August 8 left one worker dead and four others injured, the Yonhap agency reported. The blast occurred at the plant of energy company GS E&R in the city of Pocheon, about 50 km northeast of Seoul. Police believe that combustible dust could have caused the explosion.
The power plant, which runs on bituminous coal and generates 550 tons of steam per hour and 169.9 megawatts of electricity, is owned by GS E&R, an energy provider which operates Korea's largest combined heat and power (CHP) plants in Gumi, North Gyeongsang, and Ansan, Gyeonggi.
Permission to build the CHP plant in Pocheon was granted to the company in October 2015, and construction broke ground in December of that year. The plant supplies steam to the nearby Jangia industrial complex as well as electricity.
According to Koreajoongangdaily.com, the blast took place during a test run at the newly-built plant. Police and fire authorities said the 45-year-old subcontractor employee named Kim was killed when a conveyor belt in the plant's basement carrying coal to the furnace suddenly blew up.
Four other workers suffered burns and are being treated at local hospitals, with one of the victims suffering first degree burns on his body. Kim and two of the injured were in the basement when the explosion occurred, while the other two were above ground.
The exact cause of the blast is still under investigation, but police suspect that combustible dust around the conveyor belt may have ignited. The fire department pointed to an electric spark as the likely cause.
Neighbours protested at the plant's construction because of concerns about the impact on the environment - including fine dust creation. Last year, some local residents blocked trucks carrying building material from entering the construction site for over a month.
After the explosion, Gyeonggi Governor Lee Jae-myung sent one of his deputies to review the accident site and ordered an immediate halt to all operations at the plant until safety concerns are fully addressed.


text:
Тамаш (Томи) фон Марффи-Мантуано (, ) — венгерский хоккеист (хоккей на траве), нападающий. Участник летних Олимпийских игр 1936 года.

Биография
Томи фон Марффи-Мантуано родился 20 марта 1907 года в Риме.

Играл в хоккей на траве за «Мадьяр».

В 1936 году вошёл в состав сборной Венгрии по хоккею на траве на летних Олимпийских играх в Берлине, поделившей 7-9-е места. Играл на позиции нападающего, провёл 2 матча, забил 1 мяч в ворота сборной США.

Умер 21 марта 1969 года в Лондоне.

Примечания

Хоккеисты на траве Венгрии
Хоккеисты на траве на летних Олимпийских играх 1936 года

redpajama_set_name: RedPajamaWikipedia


text:
Anderson Cooper Shocks Elizabeth Warren When He Says This About Her Claims of Racism by Trump Admin [VIDEO]
06 Dec, 2016 by	Terresa Monroe-Hamilton
Anderson Cooper really tries to be fair and balanced. I disagree with him frequently, but he's one of the few journalists out there that calls it as they see it. He's a professional. So, when Fauxcahontas called President-elect Donald Trump a racist and a bigot, he took exception with that. But where he really nailed Elizabeth Warren, was when she called Steve Bannon a white supremacist. I have seen no evidence of that being true and neither has Cooper who told her as much. Good for him.
I am not the biggest fan of Steve Bannon, but all this crap trying to tie him to the KKK is just ridiculous. There are some fringe types that hang around Bannon and Trump… but there are those types that hang around Clinton and Warren as well. And guess what? The KKK may have endorsed Trump, but they also endorsed Clinton. That doesn't mean anything and Bannon certainly did not ask for or condone their support. It's one thing when you call someone on something you can prove… it's quite another when you throw slurs around and don't back it up with anything. Warren is known for doing that.
From the Independent Review Journal:
Anderson Cooper interviewed Massachusetts Sen. Elizabeth Warren last week to discuss the election results and President-elect Donald Trump's cabinet nominations.
Like other media personalities, Cooper is no stranger to criticism from Donald Trump. Still, he put his foot down when he heard a possible misrepresentation of facts.
Cooper asked Sen. Warren what she thought of Trump's cabinet nominations. She said approved of Trump's rumored decision to retain Preet Bharara as Manhattan U.S. Attorney, but so far, she isn't happy:
"Well, look, so far, what we have seen is that Donald Trump has doubled down on racism and bigotry. He's got as his strategic adviser, a person who is a white supremacist and he's now doubling down…"
Cooper quickly interrupted her answer to correct her facts:
"Wait a minute. There's no evidence he's a white supremacist. He obviously — you know, there's people who are white supremacists who support Donald Trump and who support, like Breitbart or Steve Bannon. But…"
Warren doubled down on the slur. Do I need to remind anyone this woman was a raving moonbat at the Democratic Convention in 2012? She's nuts. Oh, and a liar on multiple fronts. I don't know why anyone would believe a thing she says or insinuates. Warren gave faint praise to Trump on getting rid of lobbyists and for some of his cabinet appointments. But come on… this woman is a stone cold Marxist. She doesn't have room to say anything about anyone. This is Warren's attempt to stay relevant. Fail.
Warren is beside herself because not only did Donald Trump win the presidency, sending Hillary Clinton into obscurity, Republicans also control the Senate and House. She's throwing a political fit for nothing and trying to smear anyone she can. Anderson Cooper at least had the spine to call her on it.
Terresa Monroe-Hamilton
Terresa Monroe-Hamilton is an editor and writer for Right Wing News. She owns and blogs at NoisyRoom.net. She is a Constitutional Conservative and NoisyRoom focuses on political and national issues of interest to the American public. Terresa is the editor at Trevor Loudon's site, New Zeal - trevorloudon.com. She also does research at KeyWiki.org. You can email Terresa here. NoisyRoom can be found on Facebook and on Twitter.
More articles by Terresa Monroe-Hamilton


text:
Q: Convert Objecttype for DML update Trying to update a child object from a parent object using the Objecttype returned form a getReferenceTo() but getting errors as Method does not exist or incorrect signature: How can I convert the ObjectType to an sobject?
Would appreciate insight on this.
getRefernceTo is returning the MSTR detail field from the child object as seen in the debug here.
DEBUG|GetReferenceTo for child : (Claims_Client_Risk_Assessment__c)
DEBUG|GetReferenceTo for child[0] : Claims_Client_Risk_Assessment__c
this.CCRA = (Claims_Client_Risk_Assessment__c) controller.getRecord();

        public PageReference saveOverride(){
            try{
               Database.update( CCRA );
               this.LOB_NonStdAuto = queryLOB_NonStdAuto(record.Id);
               update LOB_NonStdAuto.Claims_Client_Risk_Assessment__r;
            }
            catch( Exception ex ){
                ApexPages.addMessage( new ApexPages.Message( ApexPages.Severity.ERROR, ex.getMessage() ));
                return null;
            }

                //Get reference To NonStdAuto child object:
                Schema.DescribeFieldResult dfr = CCRA_LOB_NonStdAuto__c.Claims_Client_Risk_Assessment__c.getDescribe();
                List<Schema.sObjectType> child = dfr.getReferenceTo();
                    System.debug('GetReferenceTo for NonStdAUTO : ' + child );
                    System.debug('Point to Field using GetReferenceTo for NonStdAUTO : ' + child[0] );

             saveChildren(child[0]);

                PageReference pageRef = null;
                pageRef = new PageReference('/' + this.CCRA.Id);
                pageRef.getParameters().put('inline', '0');
                pageRef.setRedirect(true);
                return pageRef;
        }
    //**********************************************************

        public void saveChildren(sObject child ){
            try{
                 Database.update( child );
            }
            catch( Exception ex ){
                system.debug( 'Error saving child: ' + ex.getMessage() );
            }
        }

    //**********************************************************
    Private CCRA_LOB_NonStdAuto__c queryLOB_NonStdAuto(Id CCRA_ID) {
        LOB_NonStdAuto = [
            SELECT
                Id
                ,Claims_Client_Risk_Assessment__c
            FROM
                CCRA_LOB_NonStdAuto__c
            WHERE
                IsDeleted = false
                AND
                Claims_Client_Risk_Assessment__c = :CCRA_ID
            ORDER BY CreatedDate DESC NULLS FIRST LIMIT 1
       ];
            return LOB_NonStdAuto; }

A: The sObjectType is a "token" that represents a "type" of record (e.g. Account.sObjectType represents an Account token). Instead, you should query the record you want to update, then you can update the record. The sObjectType token is primarily used to (a) determine if an sObject is a specific sObjectType, (b) create an instance of a specific sObject type, and (c) get describe information for the sObjectType.
In order to update a record, you need to have an sObject, not an sObjectType. This is typically done by either creating a new record in memory (e.g. new Account(...)) or by querying a record (sObject record = [select ... from ... where ...]). Without seeing more of your code, I'm not sure how we can help you, but generally speaking, you just need to query the related record.

redpajama_set_name: RedPajamaStackExchange


text:
/ VoxEU
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VoxEU Column Development Labour Markets Migration
Winners, losers and future prospects: The economic geography of transition countries
Nathaniel Young
David Krisztian Nagy
Dzhamilya Nigmatulina
Klaus Desmet
The economic geography of transition economies has changed dramatically over the last quarter century, with large urban areas growing fast and many smaller places facing declining populations. Using a high-resolution spatial growth model, this column projects the transition economies as a whole to perform economically well over the next decades, especially the region's densest places. Large-scale infrastructure projects such as the Belt and Road Initiative will have a positive impact, but not more so than modest reductions of general trade frictions.
Spatial inequality, as epitomised by the urban-rural divide, has become a major policy concern in recent years. The shifting fortunes of different geographic regions affect employment opportunities (Moretti 2012), political polarisation (as apparent from the 2016 US presidential election and the Brexit referendum; see Becker et al. 2017), and health outcomes (Chetty et al. 2016). In a recent article on the changing landscape of opportunity, The Economist (2017) argued that frictions to relocation inflict damage on already vulnerable segments of society. Eastern Europe and Central Asia are no strangers to these global trends – in a World Bank report, Cadavid et al. (2017) showed how cities with better geographic connections to important markets gained population, while other municipalities shrank.
Which forces shape these shifting economic fortunes across space? And what can they tell us about how the future economic geography might look like? In Chapter 4 of EBRD's Transition Report 2018-19, we examine the impact of geographic changes on economic outcomes across Europe, Central Asia, the Middle East and North Africa (Desmet et al. 2018b). Newly available and highly disaggregated geographic data enabled us to describe the changing spatial distribution of population and economic activity. More importantly, using a quantitative spatial growth model, we projected how the region's economic landscape is likely to evolve in the next decades.
In the last quarter century, Western Europe and the EBRD regions have experienced important changes in the spatial distribution of population.1 The rising red bars in Figure 1 indicate 10 km by 10 km grid cells where population has increased over the period 1990-2015. Population gains have concentrated in metropolitan areas and cities. Coastal regions have also gained population, as has much of Western Europe, North Africa, the Nile River and Delta, and the Mediterranean edge of the Middle East. Meanwhile, other regions, such as the Baltic States and Central and South Eastern Europe, have rapidly lost population, as illustrated by the descending grey bars in the same figure.
Figure 1 Population shifts from 1990 to 2015
Source: European Commission (Joint Research Centre) and Columbia University (Center for International Earth Science Information Network) GHS population grid, derived from GPW4, multitemporal (1975, 1990, 2000, 2015); authors' calculations.
Notes: Based on 100 km2 grid squares for the period 1990-2015. Bar heights convey population changes, with red bars denoting population increases and grey bars indicating decreases. Beige areas without bars are places with population changes of less than 200 people.
To further identify 'winners' and 'losers', we construct for each square kilometre a localised population density measure.2 We find that in 45% of the countries in the EBRD regions, more than half of all people live in locations today where the localised population density has declined since 2000. While many people have moved to dense cities, a substantial number remain in areas being left behind. When comparing cities of different sizes across the EBRD regions, the ones with a population above half a million have grown fastest. Of the approximately 375 million people living in urban areas, around 60% reside in those large cities. For those living in cities with a population below half a million, at least half of their residents have experienced moderate to severe declines in their average localised density.
The shifting fortunes of different locations reflect changes in economic productivity across space. When plotting the relation between GDP per capita and population density at the 1° by 1° level for several regions of the world, we find a positive correlation (Figure 2). For the EBRD regions, a doubling of population density is associated with an approximately 5% higher output per capita. Further yet, places gaining density faster also increase their productivity at faster rates. Using nightlight data at a finer geographic resolution suggests these findings hold true for cities as well.
Figure 2 GDP per capita and population density
Source: G-Econ dataset and authors' calculations.
Notes: Each dot represents a 1° by 1° cell in the regions from 2005 data.
The positive relationship between density, productivity and growth is not surprising – people relocate to dense and productive areas in search of economic opportunities. Likewise, firms locate in these places to benefit from large talent pools (such as Amazon opening offices in Long Island City, NY and Arlington, VA), to be nearer to their input sources and potential buyers, and to hopefully take advantage of knowledge spillovers as ideas diffuse. Innovation and infrastructure benefit from the populace packing closely together, as investments in these locations reach a higher share of the public. Yet, density and productivity do not comprise the entire story. Higher population density often comes with well-known nuisances: pollution, congestion and high rents.
The above evidence suggests that in the EBRD regions the positive effects of density (agglomeration forces) tend to outweigh the negative effects (dispersion forces). At a fine geographic resolution, there is some heterogeneity in this trade-off. Figure 3 shows changes in localised density by square kilometre for Western Europe and portions of the EBRD regions for the period 2000-2014. When focusing on the zoom-in windows, Moscow (right) demonstrates dominant agglomeration forces, whereas Warsaw (left) shows dominant dispersion forces in the city centre. This heterogeneity across and within cities, possibly driven by changes in local infrastructure and commuting patterns, does not alter the basic finding: density is an important driver of productivity growth.
Figure 3 Changes in localised population density, 2000-2014
Notes: Localised population density is a measure of the number of people living within 5 km of a person, discounted by distance. The unit of change is the number of people in a 5 km radius.
Despite identifying relevant patterns, the data presented so far cannot speak to how spatial growth patterns are likely to evolve in the future. This is relevant for policymakers interested in using infrastructure investments and trade policy to affect spatial growth. Maybe more importantly, the data are unable to say whether geographic shifts are welfare-enhancing or not. While agglomeration forces driving innovation create economic opportunities and generate aggregate growth, the places losing people face intensified challenges as their markets shrink.
To examine the growth and welfare prospects of the different EBRD regions, we need a dynamic spatial model that can be taken to the data. To that end, we use the framework developed in Desmet et al. (2018a), and solve the model quantitatively after incorporating economic data at the 1° by 1° level and estimating trade costs based on roads, railroads and waterways.
We find that places in the EBRD regions with the greatest population density today are projected to achieve the greatest gains in well-being in the relatively near future. The productivity gains from density in these areas, which feed into higher incomes and greater consumption, are estimated to outweigh the toll taken on amenities as local populations increase. On balance, the EBRD region is projected to perform relatively well, with growth rates of productivity, real GDP per capita and welfare outpacing the corresponding global averages by around 1 percentage point per year through 2040.
We also use the model to carry out counterfactual policy analysis. For example, we assess the expected economic impact of road and rail investments in the Western Balkans in the last years. We also consider the possible effect of the Belt and Road Initiative (BRI) and of reductions in trade costs across EBRD countries and nearby neighbours. The most interesting finding, perhaps, arises from comparing scenarios. While expansive investments along specific routes produce major reductions in transport costs along them, to the benefit of localities near these projects, much more modest reductions in existing trade costs across the entire region have the potential to provide comparable benefits to growth.
Our analysis suggests that the broad geographic changes occurring in Europe and the rest of the EBRD regions create opportunities for productivity growth and overall economic gains. The forces behind the evolving patterns of population concentrations across space are deep and pervasive. While overall positive in their effects, these changes also leave segments of the population behind in areas that become increasingly sparsely populated. As those areas lose density, their local opportunities recede as well. Policies to soften their landing, while attempting to ignite some of the agglomeration forces on which they've missed out, could be their best chance for achieving growth and maintaining well-being. Investments to improve local amenities such as the provision of water, healthcare and energy, and investments in local education opportunities may work well in these areas. Such policies must be implemented with caution, as they may have negative effects in the aggregate. Alternatively, measures that incentivise geographic mobility may help to improve the opportunities of residents in left-behind places.
Becker, S, T Fetzer and D Novy (2017), "Who voted for Brexit? A comprehensive district level analysis," Economic Policy 32(92): 601-650.
Cadavid, P, G Cineas, L Quintero and S Zhukova (2017), Cities in Eastern Europe and Central Asia: A story of urban growth and decline, World Bank Report No. AUS12288.
Chetty, R, M Stepner, S Abraham, et al. (2016), "The association between income and life expectancy in the United States, 2001-2014," JAMA 315(16): 1750–1766.
Desmet, K, D Nagy and E Rossi-Hansberg (2018a), "The geography of development," Journal of Political Economy 126: 903-983.
Desmet, K, D Nagy, D Nigmatulina and N Young (2018b), "Chapter 4: Geographic transition," Transition Report 2018-19, EBRD.
The Economist (2017), "Left behind," 21 October.
Moretti, E (2012), The new geography of jobs, Houghton Mifflin Harcourt.
[1] The EBRD regions comprise 38 countries and territories across Central Asia, Eastern Europe and the Caucasus, Russia, South-eastern Europe, Southern and Eastern Mediterranean and Turkey.
[2] To smooth the granular data, this measure captures the number of people residing in the own cell and in all geographically nearby cells, discounting people living in more distant cells.
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Principal Economist European Bank for Reconstruction and Development (EBRD)
Junior Researcher Centre de Recerca en Economia Internacional (CREI)
Assistant Professor of Economics HEC Lausanne
Research Fellow Centre for Economic Policy Research; Professor Southern Methodist University
Spatial inequality
Transition economies
21st Annual GEP-CEPR Postgraduate Conference
27 Apr 2023 - 28 Apr 2023 in Nottingham, United Kingdom
Agglomeration effects in a developing economy: Evidence from Turkey
Cem Özgüzel
Adapting to flood risk: Evidence from global cities
Vaidehi Tandel
Somik Lall
Rajat Kochhar
Sahil Gandhi


text:
"A Free and Open Pacific"
Admiral Philip Davidson, Commander of U.S. - Indo-Pacific Command, speaking at the LANPAC Conference in Honolulu, Hawaii on May 22, 2019.
"I believe we are facing a serious threat to all of us. A fundamental divergence in values that leads to two incompatible visions of the future when we speak of the People's Republic of China especially. Through fear and coercion our adversaries are seeking to bend break and replace the existing rules-based international order. In its place they seek to create a new international order, one that is closed and authoritarian. One where which nations large and small subordinate their own sovereignty to the interest of just one country. An outcome that displaces the stability and peace of the Indo-Pacific that has endured for some 70 years now." – Admiral Philip Davidson, Commander of U.S. Indo-Pacific Command, speaking at the LANPAC Conference in Honolulu, Hawaii on May 22, 2019
China's massive development and deployment of missiles, the cutting edge technology of hypersonic maneuvering cruise, hypersonic glide vehicle (HGV), and standoff delivery platforms are being utilized to create anti-access and area denial (A2/AD) zones and overmatch of U.S. and allied forces in the Pacific region. This strategy aligns and is in parallel with the Chinese military strategist Sun Tzu's "the supreme art of war is to subdue the enemy without fighting." The Chinese goal is the dominance of the Pacific and its sea lanes that move $3 trillion worth of goods a year to the supremacy of an area and its resources that covers half of the Earth from Bollywood to Hollywood, and from the Arctic to the Antarctica.
The United States will not challenge China alone for a free and open Pacific. The area encompassing the economic highways through the Pacific are inhabited by U.S. allies that, like America, have Western norms and values that respect human rights while abiding to international law to preserve freedom of operation, navigation, and safety on all domains against an imposing threat. Only by working, training, and developing together to create an interoperable system will these Pacific allied coalitions be able to deter and succeed in any event.
"India's global strategic partnership with the United States has overcome the hesitations of history and continues to deepen across the extraordinary breadth of our relationship. It has assumed new significance in the changing world. And, an important pillar of this partnership is our shared vision of an open, stable, secure and prosperous Indo-Pacific Region." – Prime Minister Narendra Modi, Prime Minister of India, speaking at the Shangri La Dialogue on June 1, 2018
In the realm of the reemergence of great power competition, it is essential that the United States and allied coalitions exhaust every means of power and leverage that they can muster, including major conduits of power such as diplomatic, economic, cyber, and military capabilities. Imposing one of these instruments of power alone will not be able to properly ensure the safety of travel and navigation for land, air, sea and space forces, as all four will instead need to work together to produce a positive outcome and environment for a free and open Pacific.
"The DOD and army will procure new capabilities develop new concepts and enhance our capacity, but we will only be lethal if we have the readiness and ability to employ these alongside our allies and partners. That means we need compatibility, interoperability, and combined training to ensure our interdependence in armed conflict should deterrence fail." – Admiral Philip Davidson, Commander of U.S. Indo-Pacific Command, speaking at the LANPAC Conference in Honolulu, Hawaii on May 22, 2019
China's overmatching amount of short- to medium-range ballistic and cruise missiles have been deployed and continue to evolve in quantity and capability so that it can unilaterally impose and project power in this region. The United States and its Pacific allies will never match these mass numbers with defensive interceptors in capacity and cost of doing so to negate their influence and projection of power into the region. While being one of China's greatest strengths, these mass amounts of missiles also highlights one of its greatest vulnerabilities and opportunities to change the cost curve and exponentially increase deterrence in a regional environment. U.S. offensive capabilities fully integrated by command and control, with the use of artificial intelligence to fuse the best Intelligence, Surveillance, and Reconnaissance (ISR) and the best sensors for tracking and fire control instantaneously together, with both deployed defense and offensive strike/long distance fires effectors, can ensure an extremely effective "left of launch" game changing strategy. This integration of long-distance fires and offensive strike across domains, that is capable to strike deep on the mainland and target land, air, ship and even space platforms while simultaneously negating their missile threat with missile defense systems deployed in the region changes the calculus a Chinese military advantage to preserve peace and stability in the region.
The U.S. Army is working diligently to integrate its land-based air defense artillery into its long-distance artillery/fires, fusing its best sensors with its best shooters throughout the region to provide the best efficiency, effectiveness, and reliability solutions. The Army's own hypersonic strike development, coupled with the United States Navy, on a land-based launcher is one of many new long distance fire strike weapons being developed. The Integrated Air and Missile Defense Battle Command System (IBCS) forms a single air picture of air and missile threats and selects the best shooter to engage cruise missiles, ballistic missiles, and air breathing threats as well as the best offensive shooters in its long distance fires portfolio to negate the source. IBCS has struggled as the initial requirement for the system came in 2009 and has yet to be Initial Operational Capability (IOC) and deployed. Regardless of the challenges IBCS faces in its development to become operational, it is too big, too vital, and too important to fail. For the national security of the nation and its allies, the stability of the Pacific as well as the rest of the world has to have this capability in place as the proliferation and evolution of the threats continue to expand. The United States Army will force functional changes in leadership, in acquisition, in vendors, and development to make IBCS initial operational capable, as a generational cost curve changer that is an effective and efficient weapon system that provides the land-based solution for left and right of launch.
The U.S. Navy already has a fused sensor and shooter architecture to leverage engage and shoot on remote sensors and platforms. It uses the Cooperative Engagement Capability (CEC) to integrate sensor data and fire control capability to form a single air picture of air and missile threats and select the best shooter to engage threats in its defense of its Aircraft Carrier Battle Groups. The Navy CEC and its fire control processors, its effectors and its sensors need to be interoperable and shared where it can to the Pacific Allies Navy Forces.
The stage has been set and the curtain revealed, it is clear where China is putting emphasis to solidify its influence economically, diplomatically, cyber, and military over its neighbors, making all roads lead to China, it is now up to the United States and its Pacific Allies.
"And just as the way the rifle and the tank changed the way the army fought in the last century; land forces today must adapt to equally significant changes in the environment of the 21st century. And as our threats evolve we must be able to deter respond dominate and win." – Admiral Philip Davidson, Commander of U.S. Indo-Pacific Command, speaking at the LANPAC Conference in Honolulu, Hawaii on May 22, 2019
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Hello my name is Balder, and I'm an almost 8 yr old Rottweiller. (My birthday is this month) I have an obsession with licking. I can't help myself. Its something I have to do day or night. The urge just runs rampant thru me, and what ever is within licking distance, gets a good bath. The problem is my obsession drives my mom crazy. She is so patient with me, she never screams, or threats me with what ever might be within grabbing distance. But today I think I might have made her rethink her layed back behavior. I honestly think I seen a hair on her head start to turn grey before my very eyes. It was amazing. Spectacular. I also think she may have a bald spot on the side of her head where she keeps twisting it, to control her anger.
What brought all this on. I don't know, but when I get excited, I have to lick. If I go outside, no matter what the weather is, I come in and just have to bathe from head to toe. I mean, I'm NOT a dirty dog! Besides grass, snow, dirt under my nails just drives ME crazy. Hmmmph, and SHE gets mad. Well I guess I could just track it all thru the house then. Heres what makes me mad! When the compusion comes over me, and my drool gets going, an the tongue is about to lick between my toes, she'll say, Nei Balder, you don't want to have sores on your feet. Yes I do! I love to lick my toes. Then when I start to lick my bed, the walls, my toys, and i can't help it, I really can't, but hair gets caught in my throat an I start to choke. Well SHE gets scared. Hmmmph, like I don't. But i can't just help myself. Then she starts to bake, ahhh the smells, drives me wild, an the drool starts to build, an I have to,,,, well you understand. But will someone make her understand!! She puts this crate around my head, then rubs my ears, an calls me her little buttercup. Hola Cripes Woman!!! I'm 8yrs old an 160 lbs,, little buttercup my,,,patootie. So she will take it off because I have mastered the eyes. Its all in the look. hee hee. I got her fooled alright. So I start to lick my feet again. This time she tells me "Thats it!! Your in the dog house now!" So I get up on her bed, and she puts that,,,dang,,,crate on. When will I ever learn.......its a dog life.
Poor, misunderstood Balder. Just doin' what a dogs gotta do and gettin' in trouble for it.
Rambo has that form of OCD also. He goes outside then comes in an starts cleaning between his toes. He has hairy paws so it takes a Looooooooong time to get them clean.
So I guess Balder is keen on licking then Biita? :) Cute blog entry.
I'm Toffee, a 7 year old bunny that is convinced that there's something wonderful and special that my mommy is hiding from me beneath the linoleum in the kitchen. I keep digging, and she keeps picking me up and telling me "no!". Recently, she got these terrible wax things to put over my claws to stop the digging. Lucky for me I've got eyes AND super-cute floppy ears that I can twitch in just the right way to make her feel bad and take them off again!
OC pets unite,,lol.. thats funny. He drives me crazy sometimes. I guess it was just a bad day for him, an me both. but today seemed like he went beyond what he normally does.
thanks Frank, i'm trying different approaches to writing.
Poor Toni,,, i do have ear plugs you can borrow,,,lol.
:lol: Poor Balder! Glad you've got the eyes then.
I certainly like the new style of writing. Great reading. Lovely idea.
You know Biita, my dogs do the same, every night they have to clean their paws, between the toes and LP even goes on to clean Snoopy's face. I am sure it is a case of 'Obsessive Compulsive Dogs' unite. I am sure they are in cahoots.
Love the blog and I also understand Balder can't help himself and neither can Chance or Toffee.Oreo has a compulson of having to take a toy to bed with him .He has favorites that have to be in our bed every night.Thank goodness its a kingsize.
Enjoyed hearing Balder's side of the story! We almost got a Rott last time, but I chickened out and didn't want to take a chance that the dog wouldn't be social. We live in an area where all the dogs run around and play together, and everyone I know that has one says they can be difficult with other dogs.
So we got our third Newfoundland instead. I've known some absolutely wonderful Rotts, though, and may go for it the next time around. Do you ever take him on your early morning walks? It would be great if you could post a picture of Balder!
Rotties are great, very social, they love children, play well, are very loyal, and very loving dogs,, Balder thinks he's a lap dog...Its all in how the dog is raised. You have to occasionally put them thru the training just to let them know who the master is,, just like any dog tho, they will try to get away with anything they can. lol.
As far as Balder going on walks,, well he loves it. but not until later in the day. i try to get him up an out, but he loves to sleep past noon. lol. then he gets up, and goes out, an is ready for anything. so i usually take him on a walk then. or i just let him go roam on the farm. I have posted some of him in the pet forum. but i can put another one up sometime.
Thanks everyone for reading an i loved hearing about everone elses OC animals,, makes me feel better..lol.
I just checked the pet forum. I love big dogs, and Balder's a beaut. He seems to like the snow as much as our two do.


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Carvoyant Is Ready To Put Your Car In The Cloud
Carvoyant, a startup that's been busy developing a platform that will tell you exactly what's going on with your vehicle's general health (and what that blasted "check engine" light means), is today ready to start shipping its devices to early adopters and developer testers. It has also signed a couple of agreements with auto dealer partners, who will be the first to distribute the system more broadly to potential customers.
For those unfamiliar, the system Carvoyant offers is somewhat similar to companies like CarMD, for example, as it also involves a transmitter that's plugged into the car's onboard diagnostic port (OBD) in order to capture and analyze the data stream from the car's computer. This is how Carvoyant knows what it means when warning lights on a car's dashboard appear, but it will also go a step further. The company wants to help you proactively prevent problems, too, by alerting you to issues like a battery that's about to die, for example, or even a teenager who's driving too fast.
However, unlike other companies operating in this space, like CarMD, or AutoMD, or apps like RepairPal, Carvoyant isn't about building just a gadget and/or an app; it's about developing a platform. On that front, the company is today also opening up early access to developer partners, who could use Carvoyant data in their own third-party applications – including those listed above, for that matter.
While there have been a lot of announcements related to the "connected car" coming out of this week's CES event in Las Vegas, Carvoyant founder and CEO Bret Tobey tells us his team skipped the big show. "We chose not to go to CES, and stayed home and started shipping instead," he says. "That's been working out well. We've been selling to dealers for a couple of months now, and those rollouts are in progress."
While he doesn't yet have permission to announce Carvoyant's early auto dealer partners, he does have a total of 400 units committed to two dealers currently, and is in various stages of discussion with others, ranging from the initial introduction to the nitty-gritty of detailed deployment discussions.
"When we looked at Carvoyant, we knew that in order to really grow an economy around connected cars, we needed three things: obviously, we need drivers. We need developers. And we need the distribution channel. And automative dealers – that's the natural point of aggregation of most services," says Tobey.
The company now has a Jumpstarter page where interested users and developers can sign up to receive one of Carvoyant's devices, which will begin shipping in March (or sooner, if enough critical mass occurs ahead of that time). The devices plug into the OBD port, and then share data over the cellular network directly with Carvoyant. This is a bit different from the company's first implementation – an Android app that synced with the device, then communicated only when your car was parked within range of your home's Wi-Fi network.
The new devices are offered at $149, but if there happens to be a dealer sponsor in your area, you might be able to receive a full or partial discount, in exchange for opting in to data-sharing with that business. That decision is entirely under your control, however, and it's more about you telling that data partner about your check engine light, or other issue, as opposed to them spamming you. Tobey insists that Carvoyant's goal is to build an open platform where users and developers are in control.
The company's tagline even reiterates this: "your car, your data, your control." (For developers, it's "your API," instead.) Carvoyant has also been working with MIT's CloudCar.mobi initiative, which is about creating a true open framework for vehicle data through better standards.
The signup page has just gone live here.
Carvoyant previously had seed funding from Tampa Bay-based incubator Gazelle Lab, but has now raised a partial seed round of around $300,000 with investors who include SK Ventures (SK is Eric Norlin and Paul Kedrosky), Stage 1 Ventures, and other angels.


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Bize kan syfta på:

Geografi

Frankrike

 Bize, Haute-Marne, kommun i departementet Haute-Marne i regionen Grand Est,
 Bize, Hautes-Pyrénées, kommun i departementet Hautes-Pyrénées i regionen Occitanien,
 Bize-Minervois, kommun i departementet Aude i regionen Occitanien,

Robotskapade Frankrikeförgreningar


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Just a post to commemorate the Lovedrug concert I went to Wednesday, April 11, 2012 at the Bug Jar with my dear sister. Spent a good hour before the show chatting with the band, sharing stories about travel and music and bands and life and partying. Lent out a cigarette or two. Entirely likable gentlemen, not taking themselves too seriously but not spotlight-seeking.
All in all, enjoyable company. Hope I was too, though my sister told me I talked too much. I was drinking Jack and diets, so, my animation increased tenfold as dark liquor tends to do to me. Layer on talking about compression, and Taylor v. Martin, shady American suburbs and favorite musicians, and yeah, I'm in a pretty good mood.
I am past the point of being intimated by meeting musicians I look up to. At one point, sure, but the mystery of the traveling musician is just that, a mystery, and it's a complete fallacy when you get down to it. There is no magic potion, these are men and women with a lifestyle choice that has a number of conseqeuences most people don't want to take, or give up on. And it creates drama, intrigue, romanticism. Talent will do that to a soul. Hence the allure.
But, I digress. The show itself – a 50 minute rip through nine or 10 tracks old and new. Incredible. Pretty much everything sounded perfect, no technical difficulties, no notciable alterations to songs to make them easier. No kitchy audience banter, no smug prefacing. Just the tight live performance of modern American grunge-inspired and melody-laced rock and roll.
The Bug Jar is tiny – they may as well have been performing in my parent's basement, and I think if I asked them, they would – so keys and auxiliary sounds on albums were not replicated live. The setlist reflected this – no "We Were Owls" otherworldly intro, no piano-driven "Everything Starts Where it Ends" cuts. But that was OK, this was about silky guitars, eat-your-heart-out melodies and a really-fucking-tight rhythm section.
I was awestruck the whole time, really, too enraptured to notice the world around me. Any thought that dared enter my head unrelated to the performance in front of me quickly burned out, unable to compete. Before the show I wondered if they may have intentionally held back a bit, as they were playing in NYC the following night and clearly that's the crowd you want to impress coming off a new album, right? – but this concern was not validated. They played tight, they played well, the entetained the living daylights out of a small but devoted crowd, true troubadors to the end.
It can't be easy, weeks on end on the road, but what a challenge, when home is a memory, and friends and loved ones are scattered around the country. A meaningful moment is hardly replicated elsewhere, just replaced by a new one til it all blends together into one mess of snapshot recollections – meanwhile, your energy pours out on stage night after night, thretening to leave you stale if you push it that much harder. Human is human, right? Even at those times when we feel so much more – like when songs still your heart and mind, or when the blood in your fingertips delivers the pulse in your soul, or when the tiny fraction of a second between the last moment and the next one captures more meaning than you'd ever care to begin to unravel.
Oh yeah, that concert. Damn. "Wild Blood," "Dinosaur," "Pink Champagne," and "Great Divide" all made appearances, as did "Angels With Enemies," and "Blackout" which I was very excited to hear. "Blackout" in particular sounded amazing, fierce and imposing and frightening til the last foreboding lyric – "walk down the hall/and put yourself to bed." They closed with "Anodyne" and I was thrilled to hear it. Gorgeous, chilling song (see below for video worthy of equal adjectives, cut from cult b-list horror flick). The crowd, throughout the night, was incredibly responsive – Lovedrug fans are a devoted breed.
After the show I got my "Wild Blood" vinyl signed, without a shred of fangirl shame. I have so much respect for this band and every time I see that record I'm going to remember to never give up, always stay true to yourself, and don't be scared to show the truth – it's the only thing that counts.
I just fucking love this band.
Melissa M. Daniels
concert, Lovedrug


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« Fat-Shaming
Cancer/schizophrenia »
Fruit Juices Are Dangerous
The Fruit Juice Illusion
Obesity affects 40 percent of adults and 19 percent of children in Canada and accounts for more than 15 billion dollars in health care spending each year. Sugary beverages are thought to be one of the major drivers of the obesity epidemic. These drinks (think soda and sports drinks) are the largest single source of added sugars for Canadians, and contribute, on average, 145 added calories a day to our diets .For these reasons; reducing sugary beverage consumption has been a significant focus of public health intervention. Most efforts have focused on sodas.
But not juice. Juice, for some reason gets a pass. It's not clear why.
Canadians drink a lot of juice. The average adult drinks 6.6 gallons (over 26 litres) per year. More than half of pre-school age children (ages 2-5) drink juice regularly, a proportion that, unlike sodas, has not budged in recent decades. These children consume on average 10 ounces (300ml) a day, more than twice the amount recommended By the Canadian Association of Pediatric Medicine.
Parents tend to associate juice with healthfulness are unaware of its relationship to weight gain and are reluctant to restrict it in their child's diet. After all, 100 percent fruit juice—sold in handy individual servings—has been marketed as a natural source of vitamins and calcium. Health Canada guidelines state that up to half of fruit servings can be provided in the form of 100 per cent juice and recommend drinking fortified orange juice for the Vitamin D. Some brands of juice are even marketed to infants.
Government programs designed to provide food for children offer juice in their cafeterias. Researchers have found that children in school lunch programs are more likely to exceed the recommended daily fruit juice limit than those who are similarly poor but not enrolled.
Despite all the marketing and government support, fruit juices contain limited ingredients and tons of sugar. In fact, one 350ml glass of orange juice contains 10 teaspoons of sugar which is roughly the same as a can of coke.
Drinking fruit juice is not the same as eating whole fruit. While eating certain fruits like apples and grapes is associated with a reduced risk of diabetes, drinking fruit juice is associated with the opposite. Juices contain more concentrated sugar and calories. They also have less fiber, which makes you feel full. Because juice can be consumed quickly, it is more likely than whole fruit to contribute to excess carbohydrate intake. For example, research has found that adults who drank apple juice before a meal felt hungrier and ate more calories than those who started with an apple instead. Children who drink juice instead of eating fruit may similarly feel less full and may be more likely to snack during the day.
Juice may also be a "gateway beverage"—1 year olds who drank more juice also drank more sugary beverages, including more soda in their school-age years. Children's excessive consumption of juice has been linked to an increased risk of weight gain, shorter stature and cavities. Even in the absence of weight gain, sugar consumption worsens blood pressure and increases cholesterol.
It's tempting to minimize the negative contributions of juice to our diets because it's "natural" or because it contains "vitamins." Studies that support this view exist, but many are biased and paid for by the companies that actually manufacture the products.
And I doubt very much you would take a multivitamin if it contained 10 teaspoons of sugar.
There is no evidence that juice improves health. It should be treated like other sugary beverages which are fine to have once in a while if you want them, but not because you need them for your health. My grandfather used to say he drank alcohol for "medicinal" purposes. As a child, that always confused me.
Parents should try and give their children water instead of juice and try to increase their intake of whole fruit. Juice should no longer be served in day care centers and schools. Public health efforts should challenge government guidelines that equate juice with whole fruit, because these guidelines most likely fuel the false perception that drinking fruit juice is good for health.
It's much easier to prevent obesity than it is to reverse it. We need to teach kids how to eat healthier when they're young so that they develop good habits to carry on for the rest of their lives. In the past decade or so, we have succeeded in recognizing the harms of sugary beverages like soda. We can't keep pretending that juice is different.
Posted in Alkalinity, Diabetes, exercise, General Health, Government Regulations, Weight Los


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Velizar Simeonovski (; born 14 February 1968 in Borovan, Vratsa Province, Bulgaria) is a wildlife artist and zoologist from Bulgaria who is living and working in the United States. His main interest is the paleoart, the scientific illustration and artistic reconstruction of extinct species and the visualization of primeval landscapes. Simeonovski uses computer programs to create his drawings. He is married and has two sons. Since 2003, he works for the Field Museum of Natural History in Chicago, Illinois.

Career
In 2010, Simeonovski was a member of the artistic designer team of the exhibition Mammoths and mastodons: titans of the Ice Age in the Field Museum of Natural History in Chicago, where he created an artistic rendering of Lyuba, the currently most completely preserved woolly mammoth calf. In 2011, he illustrated the work Les petits mammifères de Madagascar: guide de leur distribution, biology et identification by Voahangy Soarimalala and Steven M. Goodman. In 2014, he illustrated the book Extinct Madagascar: Picturing the Island's Past by William L. Jungers and Steven M. Goodman about the fossil and subfossil mammal and bird fauna of Madagascar which was also a subject for an exhibition in the Field Museum of Natural History in Chicago that run from August 2014 to October 2015.

Simeonovski also provide illustrations and artistic reconstructions for species description's, including 2011 for Panthera zdanskyi, that same year for the Tsingy wood rail, in 2014 for Yoshi garevskii, and in 2016 for Calciavis grandei. In 2011, Lawrence R. Heaney and his team described seven new species of the mice genus Apomys from Luzon and Mindoro in the Philippines where Simeonovski made the illustrations.

External links
Official Facebook page by Velizar Simeonovski
The Wild Art of Velizar Simeonovski Official website

References

Living people
Bulgarian painters
Contemporary painters
Bulgarian emigrants to the United States
1968 births
Paleoartists
Wildlife artists