With its continued commitment to the environment, Tretford is launching a new environmentally friendly eco-tile for the contract flooring market.
Architects, designers and specifiers the world over are demanding more environmentally sound products and services. After years of research and trials, Tretford has created the new Tretford ECO-Tile, which will replace its original tile format.
The new Tretford ECO-Tile now comes with a unique, felt backing replacing the old PVC backing. It can be loose laid or stuck down.
The Tretford ECO-tile is the same price as the old tile format – offering environmentally sound solutions at no extra cost.
The ECO-tile is the ideal choice for environmentally conscious architects, designers and specifiers. It creates a healthy indoor environment and is easy to lay, robust and exceptionally durable.
The use of natural and sustainable materials has been a trademark of Tretford ?ooring for more than 50 years. The Tretford ECO-tile consists of 70% cashmere goat hair and 30% nylon.
Cashmere goat hair from Mongolia is the main component in Tretford carpets. Tretford uses the long, top layer of hair from the cashmere goat, which is cut with great care. This raw material is responsible for the unmistakable quality as well as the brilliance of the colours. Cashmere goat hair is soil resistant and naturally very robust. This makes Tretford ?ooring extremely durable, long-lasting and very easy to care for.
The new Tretford ECO tile is available in a wonderful array of 35 colours.


text:
\section{Timer\+Message Class Reference}
\label{classTimerMessage}\index{Timer\+Message@{Timer\+Message}}

{\ttfamily \#include $<$Timer\+Message.\+h$>$}

Inheritance diagram for Timer\+Message\+:\begin{figure}[H]
\begin{center}
\leavevmode
\includegraphics[height=5.000000cm]{classTimerMessage}
\end{center}
\end{figure}
\subsection*{Public Member Functions}
\begin{DoxyCompactItemize}
\item
{\bf Timer\+Message} (const {\bf Mailbox\+Address} \&source\+Address, unsigned int version\+Number, A\+C\+E\+\_\+\+Time\+\_\+\+Value timeout, A\+C\+E\+\_\+\+Time\+\_\+\+Value restart\+Interval=A\+C\+E\+\_\+\+Time\+\_\+\+Value\+::zero, unsigned int source\+Context\+Id=0, unsigned int destination\+Context\+Id=0)
\item
virtual {\bf $\sim$\+Timer\+Message} ()
\item
A\+C\+E\+\_\+\+Time\+\_\+\+Value \& {\bf get\+Timeout} ()
\item
A\+C\+E\+\_\+\+Time\+\_\+\+Value \& {\bf get\+Restart\+Interval} ()
\item
void {\bf set\+Expiration\+Time} (A\+C\+E\+\_\+\+Time\+\_\+\+Value expiration\+Time)
\item
A\+C\+E\+\_\+\+Time\+\_\+\+Value \& {\bf get\+Expiration\+Time} ()
\item
virtual unsigned short {\bf get\+Message\+Id} () const
\item
string {\bf to\+String} ()
\end{DoxyCompactItemize}
\subsection*{Protected Attributes}
\begin{DoxyCompactItemize}
\item
A\+C\+E\+\_\+\+Time\+\_\+\+Value {\bf timeout\+\_\+}
\item
A\+C\+E\+\_\+\+Time\+\_\+\+Value {\bf restart\+Interval\+\_\+}
\item
A\+C\+E\+\_\+\+Time\+\_\+\+Value {\bf expiration\+Time\+\_\+}
\end{DoxyCompactItemize}
\subsection*{Additional Inherited Members}

\subsection{Detailed Description}
\doxyref{Timer\+Message}{p.}{classTimerMessage} is the base class implementation for all system timer messages.

All system software Timer Messages (that can tolerate the Msg\+Mgr concurrency latency) must inherit from this class. The exception to this rule is that this class can be created concrete--If an application has no need for passing parameters/values along with the Timer, then it can use this generic/concrete class to get an expiration time.

High resolution or hardware timers (sub-\/microsecond) must register or schedule themselves manually.

Because the \doxyref{Timer\+Message}{p.}{classTimerMessage} has the capability to be automatically recurring (that is, it can automatically re-\/schedule itself), the application developer needs to take special notice. This class does not automatically inherit from \doxyref{O\+P\+M\+Base}{p.}{classOPMBase}. If a \doxyref{Timer\+Message}{p.}{classTimerMessage} subclass is required to be \doxyref{O\+PM}{p.}{classOPM} pooled, then it will need to do multiple inheritance from both \doxyref{Message\+Base}{p.}{classMessageBase} (or \doxyref{Reusable\+Message\+Base}{p.}{classReusableMessageBase}) and \doxyref{O\+P\+M\+Base}{p.}{classOPMBase}.

\begin{DoxyEnumerate}
\item If the Timer\+Messages are pooled by the \doxyref{O\+PM}{p.}{classOPM}, then no special handling is required as the Msg\+Mgr framework will handle the release of the timers back into their respective \doxyref{O\+PM}{p.}{classOPM} pools after their handler has completed.
\item Otherwise, the \doxyref{Timer\+Message}{p.}{classTimerMessage} will behave like a \doxyref{Reusable\+Message\+Base}{p.}{classReusableMessageBase} if a non-\/default \textquotesingle{}Restart\+Interval\textquotesingle{} parameter is given to make the Timer periodically recurring. In this case, the application has the responsibility to delete the \doxyref{Timer\+Message}{p.}{classTimerMessage} when it is no longer needed. Otherwise, if Restart\+Interval is defaulted, then the \doxyref{Timer\+Message}{p.}{classTimerMessage} will behave like a \doxyref{Message\+Base}{p.}{classMessageBase} and be deleted by the Msg\+Mgr. Note\+: A \doxyref{Timer\+Message}{p.}{classTimerMessage} can be changed to be \textquotesingle{}no longer reusable\textquotesingle{}, after which it will behave like a regular \doxyref{Message\+Base}{p.}{classMessageBase} after the expiration handler is complete (or if the Timer is canceled).
\end{DoxyEnumerate}

Also note that if a restart\+Interval is specified to periodically restart the Timer, then it is N\+OT necessary to re-\/post the Timer Message. All other reusable messages must be posted again in order to reuse them.

\begin{DoxyParagraph}{Author}
Stephen Horton
\end{DoxyParagraph}
\begin{DoxyParagraph}{Revision}
1
\end{DoxyParagraph}

\subsection{Constructor \& Destructor Documentation}
\index{Timer\+Message@{Timer\+Message}!Timer\+Message@{Timer\+Message}}
\index{Timer\+Message@{Timer\+Message}!Timer\+Message@{Timer\+Message}}
\subsubsection[{Timer\+Message(const Mailbox\+Address \&source\+Address, unsigned int version\+Number, A\+C\+E\+\_\+\+Time\+\_\+\+Value timeout, A\+C\+E\+\_\+\+Time\+\_\+\+Value restart\+Interval=\+A\+C\+E\+\_\+\+Time\+\_\+\+Value\+::zero, unsigned int source\+Context\+Id=0, unsigned int destination\+Context\+Id=0)}]{\setlength{\rightskip}{0pt plus 5cm}Timer\+Message\+::\+Timer\+Message (
\begin{DoxyParamCaption}
\item[{const {\bf Mailbox\+Address} \&}]{source\+Address, }
\item[{unsigned int}]{version\+Number, }
\item[{A\+C\+E\+\_\+\+Time\+\_\+\+Value}]{timeout, }
\item[{A\+C\+E\+\_\+\+Time\+\_\+\+Value}]{restart\+Interval = {\ttfamily ACE\+\_\+Time\+\_\+Value\+:\+:zero}, }
\item[{unsigned int}]{source\+Context\+Id = {\ttfamily 0}, }
\item[{unsigned int}]{destination\+Context\+Id = {\ttfamily 0}}
\end{DoxyParamCaption}
)}\label{classTimerMessage_a666c742c0b8c6e58d35960ef18c77051}
Constructor
\begin{DoxyParams}{Parameters}
{\em timeout} & time interval after which the timer will expire \\
\hline
{\em restart\+Interval} & time interval after which the timer will be automatically rescheduled. If this parameter is defaulted, then the \doxyref{Timer\+Message}{p.}{classTimerMessage} will behave like a \doxyref{Message\+Base}{p.}{classMessageBase}; otherwise, if it is non-\/default, then it will behave like a \doxyref{Reusable\+Message\+Base}{p.}{classReusableMessageBase}. If a non-\/default restart\+Interval is specified, it is N\+OT necessary to re-\/post (by calling schedule\+Timer() again) the message to restart the Timer. \\
\hline
\end{DoxyParams}

References Message\+Base\+::is\+Reusable\+\_\+, and Timer\+Message().

Referenced by Timer\+Message().

\index{Timer\+Message@{Timer\+Message}!````~Timer\+Message@{$\sim$\+Timer\+Message}}
\index{````~Timer\+Message@{$\sim$\+Timer\+Message}!Timer\+Message@{Timer\+Message}}
\subsubsection[{$\sim$\+Timer\+Message()}]{\setlength{\rightskip}{0pt plus 5cm}Timer\+Message\+::$\sim$\+Timer\+Message (
\begin{DoxyParamCaption}
{}
\end{DoxyParamCaption}
)\hspace{0.3cm}{\ttfamily [virtual]}}\label{classTimerMessage_af447f8ff18888b1557b73977c0d4f74f}
Virtual Destructor

\subsection{Member Function Documentation}
\index{Timer\+Message@{Timer\+Message}!get\+Expiration\+Time@{get\+Expiration\+Time}}
\index{get\+Expiration\+Time@{get\+Expiration\+Time}!Timer\+Message@{Timer\+Message}}
\subsubsection[{get\+Expiration\+Time()}]{\setlength{\rightskip}{0pt plus 5cm}A\+C\+E\+\_\+\+Time\+\_\+\+Value \& Timer\+Message\+::get\+Expiration\+Time (
\begin{DoxyParamCaption}
{}
\end{DoxyParamCaption}
)}\label{classTimerMessage_ac807460da02843727a01908316bd2d38}
Retrieves the \textquotesingle{}actual\textquotesingle{} time that the Timer Expired. This value is set by the Msg\+Mgr framework, and it is provided to the applications so that it can be used to \textquotesingle{}judge\textquotesingle{} the amount of latency introduced by the Timer sitting inside the mailbox queue.

References expiration\+Time\+\_\+.

\index{Timer\+Message@{Timer\+Message}!get\+Message\+Id@{get\+Message\+Id}}
\index{get\+Message\+Id@{get\+Message\+Id}!Timer\+Message@{Timer\+Message}}
\subsubsection[{get\+Message\+Id() const }]{\setlength{\rightskip}{0pt plus 5cm}unsigned short Timer\+Message\+::get\+Message\+Id (
\begin{DoxyParamCaption}
{}
\end{DoxyParamCaption}
) const\hspace{0.3cm}{\ttfamily [virtual]}}\label{classTimerMessage_a9379475034122f7ad2405e13176b5075}
Returns the unique message identifier for any subclass of \doxyref{Message\+Base}{p.}{classMessageBase}. Message\+Id\textquotesingle{}s must be registered in \doxyref{common/\+Message\+Ids.\+h}{p.}{MessageIds_8h_source}

Implements {\bf Message\+Base} \doxyref{}{p.}{classMessageBase_a0910c23e94ea98b7a4e11631c9068311}.

Reimplemented in {\bf Resource\+Monitor\+Timer\+Message} \doxyref{}{p.}{classResourceMonitorTimerMessage_ac1ae5674792f21e7397cf9e10eb3c7dd}.

\index{Timer\+Message@{Timer\+Message}!get\+Restart\+Interval@{get\+Restart\+Interval}}
\index{get\+Restart\+Interval@{get\+Restart\+Interval}!Timer\+Message@{Timer\+Message}}
\subsubsection[{get\+Restart\+Interval()}]{\setlength{\rightskip}{0pt plus 5cm}A\+C\+E\+\_\+\+Time\+\_\+\+Value \& Timer\+Message\+::get\+Restart\+Interval (
\begin{DoxyParamCaption}
{}
\end{DoxyParamCaption}
)}\label{classTimerMessage_acd148d44c670efae691925e83cae3e6d}
Return the time interval after which the timer will be automatically rescheduled

References restart\+Interval\+\_\+.

Referenced by Mailbox\+Owner\+Handle\+::schedule\+Timer().

\index{Timer\+Message@{Timer\+Message}!get\+Timeout@{get\+Timeout}}
\index{get\+Timeout@{get\+Timeout}!Timer\+Message@{Timer\+Message}}
\subsubsection[{get\+Timeout()}]{\setlength{\rightskip}{0pt plus 5cm}A\+C\+E\+\_\+\+Time\+\_\+\+Value \& Timer\+Message\+::get\+Timeout (
\begin{DoxyParamCaption}
{}
\end{DoxyParamCaption}
)}\label{classTimerMessage_a1a9904c364e8ecbc6da1e64542f7d9a2}
Return the time interval after which the timer will expire

References timeout\+\_\+.

Referenced by Mailbox\+Owner\+Handle\+::schedule\+Timer().

\index{Timer\+Message@{Timer\+Message}!set\+Expiration\+Time@{set\+Expiration\+Time}}
\index{set\+Expiration\+Time@{set\+Expiration\+Time}!Timer\+Message@{Timer\+Message}}
\subsubsection[{set\+Expiration\+Time(\+A\+C\+E\+\_\+\+Time\+\_\+\+Value expiration\+Time)}]{\setlength{\rightskip}{0pt plus 5cm}void Timer\+Message\+::set\+Expiration\+Time (
\begin{DoxyParamCaption}
\item[{A\+C\+E\+\_\+\+Time\+\_\+\+Value}]{expiration\+Time}
\end{DoxyParamCaption}
)}\label{classTimerMessage_af641052be5004f9b93f02938300235b5}
Sets the time that the Timer actually expires. This is called by the Msg\+Mgr framework. Applications should N\+OT call this method

References expiration\+Time\+\_\+.

Referenced by Mailbox\+Base\+::handle\+\_\+timeout().

\index{Timer\+Message@{Timer\+Message}!to\+String@{to\+String}}
\index{to\+String@{to\+String}!Timer\+Message@{Timer\+Message}}
\subsubsection[{to\+String()}]{\setlength{\rightskip}{0pt plus 5cm}string Timer\+Message\+::to\+String (
\begin{DoxyParamCaption}
{}
\end{DoxyParamCaption}
)\hspace{0.3cm}{\ttfamily [virtual]}}\label{classTimerMessage_ac12b035bd69e8e9d41fddbccdf7f81a2}
String\textquotesingle{}ized debugging method \begin{DoxyReturn}{Returns}
string representation of the contents of this object
\end{DoxyReturn}

Implements {\bf Message\+Base} \doxyref{}{p.}{classMessageBase_a7946fdcef86bfd67ad1df2ede8ed671d}.

Reimplemented in {\bf Resource\+Monitor\+Timer\+Message} \doxyref{}{p.}{classResourceMonitorTimerMessage_a697653c1cbd9759cd7db6b0c683ce20e}.

\subsection{Member Data Documentation}
\index{Timer\+Message@{Timer\+Message}!expiration\+Time\+\_\+@{expiration\+Time\+\_\+}}
\index{expiration\+Time\+\_\+@{expiration\+Time\+\_\+}!Timer\+Message@{Timer\+Message}}
\subsubsection[{expiration\+Time\+\_\+}]{\setlength{\rightskip}{0pt plus 5cm}A\+C\+E\+\_\+\+Time\+\_\+\+Value Timer\+Message\+::expiration\+Time\+\_\+\hspace{0.3cm}{\ttfamily [protected]}}\label{classTimerMessage_a5b7463024af39b629da6d86af6fc60d5}
Records the \textquotesingle{}actual\textquotesingle{} time that the Timer expired

Referenced by get\+Expiration\+Time(), and set\+Expiration\+Time().

\index{Timer\+Message@{Timer\+Message}!restart\+Interval\+\_\+@{restart\+Interval\+\_\+}}
\index{restart\+Interval\+\_\+@{restart\+Interval\+\_\+}!Timer\+Message@{Timer\+Message}}
\subsubsection[{restart\+Interval\+\_\+}]{\setlength{\rightskip}{0pt plus 5cm}A\+C\+E\+\_\+\+Time\+\_\+\+Value Timer\+Message\+::restart\+Interval\+\_\+\hspace{0.3cm}{\ttfamily [protected]}}\label{classTimerMessage_af4cc043749a2365e2aad36e77cbf4c5b}
Time interval after which the timer will be automatically rescheduled

Referenced by get\+Restart\+Interval().

\index{Timer\+Message@{Timer\+Message}!timeout\+\_\+@{timeout\+\_\+}}
\index{timeout\+\_\+@{timeout\+\_\+}!Timer\+Message@{Timer\+Message}}
\subsubsection[{timeout\+\_\+}]{\setlength{\rightskip}{0pt plus 5cm}A\+C\+E\+\_\+\+Time\+\_\+\+Value Timer\+Message\+::timeout\+\_\+\hspace{0.3cm}{\ttfamily [protected]}}\label{classTimerMessage_a6c7b31263a841de8ba972bb6d7087c84}
Time interval after which the timer will expire

Referenced by get\+Timeout().

The documentation for this class was generated from the following files\+:\begin{DoxyCompactItemize}
\item
Timer\+Message.\+h\item
Timer\+Message.\+cpp\end{DoxyCompactItemize}

redpajama_set_name: RedPajamaGithub


Bosi is specialist in employment law and in labor law, with solid practice in public civil actions, class actions, and negotiations with unions. He has extensive experience in the development of high complexity individual and class defense arguments, in addition to providing consultancies and issuing opinions. Bosi engages further activities in labor due diligences in M&A processes of national and international companies.
He provides legal assistance in the development of new defense arguments, acting before regional courts and before the Superior Labor Court in high complexity cases, as well as in preparing and implementing compensation plans, stock options, hiring expatriate employees, and in the assignment of employees abroad.
Bosi has previous experience in the areas of knowledge of food and beverage, automotive, banking, civil construction, specialized advisory, information technology, pharmaceutical, cellulose, and retail.
University of California – Berkeley (EUA) – LL.M. – Masters of Laws, 2017.
University of California – Berkeley (EUA) – Graduate Course in Business Law, 2017.
Universidade de São Paulo (USP) – Masters of Labor Law, 2015.
Universidade de São Paulo (USP) – Graduate Course in Labor Law, 2013.
Pontifícia Universidade Católica of São Paulo (PUC-SP) – Graduate Course in Labor Law, 2011.
Pontifícia Universidade Católica of Campinas (PUC-Campinas) – Bachelor of Laws, 2008.
Serious illnesses that cause stigma or prejudice and the employment relationship - job security?


text:
Legionella anisa — вид бактерий рода легионелл. Этот вид является вторым наиболее часто выделяемым из образцов воды после Legionella pneumophila. Один из патогенных для человека видов легионелл, связанный с редкими формами заболеваний, особенно Понтиакской лихорадки и легионеллёза.

История
Этот вид был впервые выделен из воды во время вспышки внутрибольничной инфекции в Соединённых Штатах между мартом 1980 и июнем 1981 года. Серологический тип штамма L. anisa — WA-316-C3 (ATCC 35292).

Первым документально засвидетельствованным случаем заболевания, вызванного этой бактерией была пневмония у пациентки в штате Виктория (Австралия). Подобно другим видам рода Legionella не была показана возможность передачи данной бактерии от человека к человеку.

Характеристика
Как и другие виды рода легионелл, Legionella anisa тонкая, аэробная, плеоморфная (изменяющая форму), имеющая жгутик, не спороформная, грамотрицательная бактерия. Отличительной чертой является способность колоний излучать сине-белый автофлюоресцентный свет под ультрафиолетовой лампой. Таким образом, Legionella anisa вместе с несколькими другими видами Legionella иногда называют «Сине-белой легионеллой».

Обнаружение
Legionella anisa обычно обнаруживается, используя те же методы культивирования, что и другие виды рода Legionella. Однако некоторые исследования предполагают, что L. anisa может требовать ко-культивирования с амёбами, что увеличивает шансы на обнаружение загрязнения этими бактериями. Более широкое использование этого метода может изменить имеющуюся картину распространения этой бактерии в окружающей среде и в клинике.

Аналитические методы, на основании геномных проб, могут быть особенно полезными в случае L. anisa, так как в исследовании изолятов из Франции указывает на то, что геномные вариации у этого вида более ограничены, чем у других видов Legionella. Вдобавок, такие методы позволяют значительно уменьшить время, необходимое для получения результата.

Симптомы
Инфекция может проходить бессимптомно и поражает в основном дыхательную систему. Ранние симптомы включают жар, насморк, головную боль, одышку, кашель, тупую и острую мышечную боль, слабость, потерю аппетита, мокроту с кровью, тошноту, раздражение или воспаление носа, горла и лёгких.

Большинство людей, вдохнувших бактерию, не заболевают. Риск заболеть возрастает с возрастом, у курильщиков, а также людей с ослабленной иммунной системой. Многонациональное исследование показало, что менее 3 % из зарегистрированных инфекций легионеллой вызваны L. anisa.

Примечания

Дополнительные ссылки
 Public Health England Culture Collection — Legionella anisa.
 Right Diagnosis — Legionella anisa infection.

Легионеллы

redpajama_set_name: RedPajamaWikipedia


text:
Q: Dynamic wordpress background Based on Slider images I am using nivoSlider on wordpress and I want the background of my homepage to change based on the current slide image!
I have no experience in javascript nor jquery but im good in php / html5 / css3.
Thanks.

A: The WordPress nivo slider does not have the ability to edit callbacks on slider change (unless you edit the plugin, thus breaking compatibility with future versions). But the general jQuery plugin allows you  to do just that. You would do something like this when setting up the slider:
$('#slider').nivoSlider({
    // [snip]
    afterChange: function(){
        // Get the currently active image
        var active_image = $(".nivo-controlNav .active");
        // Change the class on your element and style that element with CSS
        // E.g. by fetching some attribute with $(active_image).attr()
    },
    // [snip]
});

redpajama_set_name: RedPajamaStackExchange


The MIT X Consortium was established in January 1988 by the Massachusetts Institute of Technology (MIT) as a non-profit, member-funded vendor group to guide the development of the X Window System in a manner that represented both commercial and educational interests.
The X Window System (often abbreviated as just X) is the dominant system for managing GUIs (graphical user interfaces) on single computers and networks of computers running Unix-like operating systems. It was initially conceived at MIT in 1984 as part of Project Athena. This project was a joint effort by the MIT Laboratory for Computer Science and Digital Equipment Corporation (DEC), then a leading computer manufacturer, to provide easy access to computing resources for all the students and to allow the existing assortment of incompatible workstations from different vendors to work together. As MIT was not willing to purchase all the workstations needed to create a homogeneous system and because no single vendor appeared willing to donate them, the obvious solution was to develop a platform-independent graphics system to link together its various, heterogeneous systems.
In 1987, with the success of X becoming increasingly apparent, MIT decided to relinquish its stewardship of X and let the consortium stand on its own strengths. However, at a meeting with nine major computer vendors in June of that year, the vendors emphasized that a neutral party was required to prevent X from fragmenting into multiple, incompatible versions in the marketplace, such as had occurred with UNIX.
In 1992, MIT and the membership decided it was in their best interests to move the consortium out of MIT and create an independent organization. The non-profit X Consortium, Inc. was formed in 1993 in Cambridge, Massachusetts (the same Boston suburb as MIT) as the successor to the MIT X Consortium, with a primary goal of increasing the acceptance of X in the marketplace. MIT transferred all rights to X to the new organization on January 1, 1994, and the latter released version X11R6 (Version 11 release 6) in May of that year. X11R6 is the sixth and final major version of the current protocol (X11), and it is still the standard major version today, although it has been updated to X11R6.8.2.
The X Consortium was financially self-supporting through membership fees. There were no license fees associated with the use of the standards and code that it developed. Membership was open to any organization willing to sign and abide by a membership agreement.
In 1995 the X Consortium was named prime contractor for development of the next release of the Motif widget toolkit and the Common Desktop Environment (CDE) for UNIX systems. A widget is a graphical object such a button, checkbox or window, and a widget toolkit is a collection of widgets for building GUIs. The Motif toolkit is designed for use under X on Unix-like systems. CDE is a proprietary (i.e., commercial) desktop environment based on the Motif widget toolkit.
In mid-1996 the X Consortium announced that it would transfer responsibility for X to The Open Group at the beginning of 1997. The Open Group is an industry consortium that was formed in 1996 by a merger of the Open Software Foundation (OSF) and X/Open Company, Ltd (X/Open) for the purpose of establishing standards in software engineering.
With regard to this transfer, it was pointed out that X had become a mainstream technology and that it had matured to the point where a dedicated consortium was no longer essential to support it. It was also stated that X and the computer industry as a whole would benefit greatly by continuing and accelerating the convergence of X, Motif and the CDE. The CDE-Motif project had already been operating under the auspices of The Open Group.
The X Consortium was dissolved at the end of 1996, producing a final revision, X11R6.3, and all rights to the X Window System were transferred to the Open Group.


text:
Le sigle PHM, ou phm, est une abréviation pouvant désigner :

 l'Épître à Philémon, dans le Nouveau Testament
 le phimbi, une langue bantoue
 , le pronostic de défaillance, en maintenance  industrielle
 Paul-Henri Mathieu, joueur de tennis professionnel français,
 le code AITA de Boeblingen, en Allemagne
Pierre-Henri Menthéour (cyclisme)

Dans le domaine maritime

 la classe d'Estienne d'Orves, ou Patrouilleur de Haute Mer, une classe d'avisos de la Marine française, reclassés en patrouilleurs ;
 la classe Pegasus ou , une classe d'hydroptères de l'US Navy ;
 le « Projet d'hélicoptère maritime » des Forces armées canadiennes.

Homonymie


text:
Now displaying: July, 2016
Ep. 7 - Darknet (2013) 0
Canada is home to unspeakable horrors in the short-lived anthology series DARKNET, about a YouTube-like website that hosts videos of real-life violence. The six-episode show tells the stories behind these proto-creepypastas, an interconnected series of of tales. Some of them are terrifying, and some of them... well, let's just go with "not," shall we?
But was DARKNET canceled too soon? Your hosts William Bibbiani and Witney Seibold are joined by Rebekah McKendry from Blumhouse.com and the Shock Waves podcast to examine every episode of this sometimes great, sometimes-not horror series. Together they also peel back the veil of internet film criticism, so get ready for our biggest episode yet!
Ep. 6 - Hot Springs Hotel (1997) 0
At the height of the "Skinemax" boom of the 1990s, HOT SPRINGS HOTEL reigned supreme. It was a sitcom about oversexed jerks who ran a hotel and solved every problem (that they usually caused themselves) by having sex with it. Constant, very vanilla intercouse abounds as the cast of HOT SPRINGS HOTEL lives out their weird fantasies in their one and only season on Showtime.
But was HOT SPRINGS HOTEL canceled too soon? Your hosts William Bibbiani and Witney Seibold investigate this very strange Skinemax phenomenon, and sit through some very un-erotic episodes as they try to unlock the many mysteries of HOT SPRINGS HOTEL. It's our weirdest episode yet, and you won't want to miss it!

redpajama_set_name: RedPajamaCommonCrawl


Heat wok with 2 tbsp. of cooking oil, add cooked rice and carrot cube. Stir fry for few second. Follow by cabbage. Continue stir fry for a minute.
Make a well in the middle of the wok, crack the egg in. Let it set for few second. Then continue stir fry by spreading the rice over the wok, return to center and spread it again. Do this for few times.
When the rice started "jumping" around. Then add the crispy mushroom slices, salt and white pepper powder to taste. Dish out.
Top with roasted seaweed. Ready to serve.


It looks more and more like that leaked character list is right on the money through every passing roster reveal trailer. The latest is a third-party cyborg ninja from Metal Gear Rising, Raiden. Watch him hack, slash, slice, and dice his way through opponents as if they were nothing. Better think twice before engaging this seasoned fighter.


This website is provided "as is" without any representations or warranties, express or implied. 41Square LLC makes no representations or warranties in relation to this website or the information and materials provided on this website.
These limitations of liability apply even if 41Square LLC has been expressly advised of the potential loss.
You accept that, as a limited liability entity, 41Square LLC (HappySchools.com) has an interest in limiting the personal liability of its officers and employees. You agree that you will not bring any claim personally against officers or employees in respect of any losses you suffer in connection with the website.
Without prejudice to the foregoing paragraph, you agree that the limitations of warranties and liability set out in this website disclaimer will protect all officers, employees, agents, subsidiaries, successors, assigns and sub-contractors.
None of the information provided on 41Square LLC (HappySchools.com) is to be construed as legal advice. Despite our best efforts, we are not responsible for errors or outdated materials. Please seek legal counsel from a qualified immigration attorney regarding your specific case. In no event shall Immigration Road be liable for any damages or losses incurred (including incidental, consequential or special damages) as a result of, or in any connection with, your use of this blog. By using this site you accept the User Agreement and its terms set forth below.
41Square LLC (HappySchools.com) makes money from every page on this blog.
Links on this blog at times could be affiliate links.
Money is made when you read a page, click on the link or buy products via affiliate links.
We're very glad you're here, and can't wait to see what you've got to say about the strategies, information, ideas, principles, and practices that we write about nearly everyday.
Before you write your comments, please take a moment to look over the helpful guidelines below.
I posted comments my mistake, can you delete the following comment at this page?
Nope. We don't go back to delete any comments. Think twice before posting the comment.
Can you atleast edit, remove my name in the comments?
No editing or removing comments after your comment is approved and published.
The information in this blog is provided "AS IS" with no warranties and confers no rights. This weblog does not represent the thoughts, intentions, plans or strategies of my employer. It is solely my opinion. Feel free to challenge and/or disagree with me, or tell me I've lost my mind in the comments section of each blog entry, but I reserve the right to delete any comment for any reason whatsoever – so keep it polite, please!


Learn How The Miracle Drug CBD Saved My Sons Life!
On March 3rd, 2017, my beautiful baby boy, Maverik Dean, was brought into this world. I was so happy and blessed to have this little boy in my life. My life changed forever, and for the better! Maverik had to stay in the hospital for an extra week because he was having respiratory problems. I had noticed my son was twitching a little bit during that week, and I had asked the doctor if that was normal. They said it was nothing I needed to worry about so I blew it off. I was so excited to go home, but I was so nervous at the same time. I was a single mother, but thankfully my mother, Lisa, came and stayed with us for the first month.
The first month went by super fast.
All three of us really just stayed at home all the time, and once a week we would take Maverik to see the doctor for a check-up. Maverik and I were so blessed to have my mother stay around and help us for that month. I personally had no idea what I was doing. When the second month came around, my mother had to go back to her family and her career. Maverik and I were super bummed that she had to leave us, but we understood.
The second month I started to take Maverik out a little bit more to see family, friends, and sometimes to the store. I noticed once in awhile my son would have these twitching moments in his car seat, and it really freaked me out. Immediately I made a doctor's appointment, but the doctor told me that everything was okay. I had a gut feeling that she was wrong but maybe I'm the one wrong, after all, she was the doctor, not me.
The third month came and there were about two weeks straight he had 3 strong episodes of him twitching extremely bad.
One minute we would be laughing, smiling, having a great time, and all of the sudden his eyes would stare off into space, and he would just start twitching all over, and his body would get extremely overheated. Maverik was drenched in sweat. These episodes lasted about 5 minutes each. I remember I would undress him, and sit in front of a fan to cool him off and try to make him more comfortable. I knew something was wrong, so I took him to the doctor again and she told me she wanted to get a video of my son having an episode. Are you serious? This woman was tripping if she thought I was going to let this just pass by again. So I found a doctor in Kansas City about an hour drive from where we live.
So I took Maverik down to his first appointment with this new doctor.
That first visit I was so nervous. Waiting in the waiting room was the longest wait of my life. We got in to see the doctor. She really took in everything I said. She asked us to come back in about a week so she could do some research with the information I had shared with her. Maverik and I came back a week later and the doctor finally had some news for us. Maverik has been having Febrile Seizures. When the doctor told me that my heart started to rush, and I began to cry my eyes out like a baby. Soon I started to blame myself for being a bad mother. I kept asking myself what did I do wrong, and what could I have done differently, I felt like a really bad mother for "giving" my son this condition. The doctor calmed me down, and she started to go over what exactly this condition was.
Febrile seizures are rare in children.
It commonly occurs on the first day of a fever. It may last a few minutes and it's harmless. Symptoms include staring, severe shaking/twitching, or tightening of the muscles. The child could lose consciousness. This condition usually only happens in newborn children to age six. Usually, the seizure only happens once, but studies have shown it can happen more than once. In Maverik's case, he had a more serious case. When the doctor told me all of this information I was feeling more blessed. One thing I was super worried about was Maverik having brain damage, but that was not going to be a problem. I asked the doctor what the next step was to get my son treated for his seizure.
The doctor we had, had recommended CBD to us. She told me there was a CBD Store right down the street from the doctor's office. She told me to ask for the manager and to get his idea of a dosage and then to come to see her in a couple weeks. The doctor was so confident about this store. So I did what any mother would have done and I rushed to the store.
I talked to the manager, and he was just amazing!
He even played with Maverik, and they had a lot of giggles and laughter together. He recommended a bottle to Maverik, and he said to just put about four drops in Maverik's bottle of milk once or twice a day. The other option was to drop it under Maverik's tongue, but with him being so young I knew that was going to be a battle. The first bottle the manager actually gave it to us for free and told me to come back if it didn't work, but he knew we would be back to buy more. He was so confident, and it felt so good to have someone help us and he really did care about Maverik's health. I was also really thankful that there was a cure for my son in our state, and we didn't have to drive somewhere else to get my son the help he needed.
Two weeks passed and my son didn't have a single episode.
We followed up with the doctor, we followed up back at the store, everything was great! We were so blessed! I was so happy that we didn't have to go through anything worse to find out what was wrong with Maverik. I was so happy we found a medicine to help him right away. Maverik is about nine months now, he has not had a single episode, and he is up to date on all his milestones. I want to say thank you to everyone that helped us get through this tough time in our lives. Thank you for helping my son get the medicine he needed. CBD is truly a miracle drug.
I recommend purchasing CBD from this store located in North Carolina. Shipping is cheap. The quality of their products is some of the best I have ever used!
Previous post Self-care Mommy Bath!
Next post Maverik's Busy Board!
First time heard of CBD.. It's really glad to hear that it's able to save one's life.. must b a precious product..
I always hear how helpful this is! I'm so glad it helped your son. I need to learn more about this.
heard the first time about CBD, Want to know more about the drug. Thanks for sharing.
Also read another article last week on CBD and the benefits it has, I need to look more into it.
I believe in and love CBD oil. I'm so glad it has helped your little guy. Awesome!!
It's really stressful as a new parent to have a baby with complications and health issues at such a young age. Glad the there is a medication that can help your son get better. I will definitely need to look into this to see if my kids can benefit from it.
You have no idea how happy I am that CBD was able to help your son so much. It really is a miracle, I've been using CBD for just about everything, like insomnia, anxiety, muscle recovery and more.
I am so happy you enjoyed this post! I am even happier that you use CBD! Check out my blog posts about the CBD. I found proven studies about how CBD has helped people I also have a giveaway going on for CBD products! Check it out on my homepage.
This is great! I've heard wonderful things about CBD oil. I don't think it's available in my area yet though.
i believe you can order online!
So happy to hear this worked for your little one. I know some families are quick to dismiss CBD, but I'm glad you took the chance and gave it a try.
I'm so glad you and little Maverick got the care you needed and found a solution for his challenges. I know I would have been one worried momma!
Learn something new everyday! I am so happy that you found something natural that works for you guys. He's adorable I hope he continues to live great life. Thanks for sharing.
it was very scary but everything is better now!
I'm so happy that CBD has worked for you and your little one, i've heard really about good things about CBD oil.
Wow… what an amazing story. I'm so glad that this worked for your son.


text:
Test Match Special Australia v England
First Test from the Woolloongabba Ground. Brisbane
Commentary on the last hour of the first day's play by BRIAN JOHNSTON , ALAN MCGILVRAY Summaries by LINDSAY HASSETT
(It's a great week for sport: page 4)
Play By: Brian Johnston
Play By: Alan McGilvray
Unknown: Lindsay Hassett
BBC Radio 3 is a radio service which began broadcasting on 30 September 1967. It replaced Third Programme.
Feedback about Test Match Special Australia v England, BBC Radio 3, 8.04, 27 November 1970
Please leave this link here so we can find the programme you're referring to: http://genome.ch.bbc.co.uk/178dfeb37ad546e7932bac3f08290d4e


text:
UK: Dagenham Studios gets the greenlight
The facility is set to be the largest in London, sitting on a 22-acre site
Dagenham Studios – set to be the largest film facility in London – looks set to go ahead after unanimous planning approval was granted at a Barking and Dagenham council meeting last night (6 July).
Councillor Darren Rodwell, leader of Barking and Dagenham Council (LBBD) tweeted the news, saying: "Thumbs up for £110million proposals Dagenham film studios unanimously agreed by LBBD last night…
"…It will mean thousands of jobs, educational opportunities and a bright future for local people. Where once Dagenham was known for Ford and factories, we will be making films."
The 22-acre, former Sanofi site will comprise: one sound stage of 140,000 sq ft and five of 22, 000 sq ft; accommodation for production offices, hair and make-up or dressing rooms; conversion of two existing buildings into workshops for set construction and auxiliary activity; pre and post-production space with room for other creative businesses.
It is estimated that 1200 jobs will be created in the studios and associated supply chain, with sustainability measures including green roofs.
Rodwell described the decision as 'momentous'. He added: "This is a huge decision for the borough. It gives the green light to what will be London's largest film studios, so it's a major milestone in the renewal of a part of London badly hit by de-industrialisation and austerity.
"The new Dagenham studios sit alongside one of the largest data centres in the UK and the UCL's innovative PEARL project, and there are also plans to relocate the City of London's wholesale markets to a site nearby. This will mean thousands of jobs and educational opportunities for local people.
"So, where once Dagenham was known for Ford's and factories, we will be making films and a new bright new future for our borough and its residents."
The Council's planning committee agreed the reasons for approval and delegated to grant planning permission subject to any direction from the Mayor of London and the completion of a Unilateral Undertaking under Section 106 of the Town and Country Planning Act 1990.
Be First, on behalf of the council, is in discussions with potential interested parties to determine whether to secure a joint venture agreement, a land sale or for Be First to build the studios and lease the site to an interested party.
Pat Hayes, managing director of Be First, said: "We've had a great deal of interest in the site and with planning permission secured the interest will intensify. With the ever growing demand for studio space in the UK, we're in a very good position to take this project forward."
Adrian Wootton OBE, chief executive of Film London and the British Film Commission, said: "I am delighted to see Dagenham studios get the green light. Prior to the COVID-19 pandemic, the UK screen industries were enjoying an exceptional boom time and we're committed to driving the sector's recovery.
"Following our publication of the UK's British Film Commission production guidance, as we get back to work safely and production starts shooting again, I am confident that we shall return to that level of growth, and exceed it, in coming years.
"So, it's crucial we continue to develop our world-class infrastructure. This cutting-edge proposal will further bolster London's studio offer, supporting economic growth and creating new jobs. It's important for Dagenham, it's compelling for London and it's a significant addition to the UK's world-leading film and TV sector."
The original backer in place to develop the site, Pacifica Ventures, pulled out around nine months ago over Brexit concerns.
Image via BeFirst.
Artist's impression via London Borough of Barking and Dagenham/BeFirst
Netflix expanding presence in Korea with two new studios
UK lockdown 3: Production can continue
Sponsored by: kftv.com
UK and European Union agree Brexit trade deal


In coastal Ecuador, tourism is an important part of the local economy. Prone to earthquakes and tsunamis, community members have made it a priority to keep tourists safe from natural disasters during their visit.
In the Santa Elena province, through the Latin America Risk Reduction Activity (LARRA) project, the American and Ecuadorian Red Cross teach residents of all ages first aid, lifeguarding skills, and search-and-rescue skills so they can keep people safe every single day and be their own first responders. The communities in Santa Elena are often isolated and located far from hospitals, and first aid skills have proven to save lives. Local women shared the story of a surfer whose life was saved by a teenager trained by the Red Cross. In addition, the Red Cross has helped towns to identify evacuation routes and meeting points in case of tsunamis—there are now colorful billboards erected all over town – aimed at both local residents and tourists, that clearly mark the way to safety. The Red Cross has also helped towns to install early warning systems, so everyone knows when it's time to evacuate. Some towns use high-tech sirens when it's time to evacuate; others have a horn that can be heard from a half mile away.
Local business owners have also teamed up with the Red Cross to ensure that tourists understand and follow emergency procedures. Local seafood shacks use the placemats provided by the Red Cross and USAID so that kids can play games and learn safety procedures at the same time. Even the buses that transport tourists from nearby cities show short, 4-minute Red Cross videos about staying safe in case of a natural disaster.
In the eight months that the LARRA project has been working in the Santa Elena province, the Red Cross has made significant strides in integrating its disaster preparedness activities such as first aid training, and public awareness around evacuation routes and other safety procedures into the tourist economy. By focusing on the tourism industry, and reducing risks for both residents and tourists, the Red Cross has been able to build a strong initiative for all community members. The recognition that tourists are important to the region, and must be included in contingency and safety planning and activities, is an important way of thinking about preparedness.
Disaster Preparedness and Response are everyone's responsibility – engaging local businesses and residents in life-saving activities foster a culture of readiness and collaboration.
Disaster Preparedness and Response work does not need to entail standalone activities – integrating key messages and information into routine community practices allows for residents and tourists alike to know what to do in the event of a disaster.
How are you helping local tourism prepare for disasters?


text:
Daily Archives: 17 March 2015
The Budget 2015 – The announcements we'll be looking for
17 March 2015 Scope's Blog
On Wednesday the Chancellor George Osborne will deliver the last budget of this Parliament with some commentators arguing that with this statement "the general election will kick off in earnest".
There has been a lot of speculation about the Chancellor's statement and here at Scope we will be following the Budget closely to see what it will mean for disabled people and their families. We'll be looking out for announcements in the following three areas:
Halving the disability employment gap
A key theme of the Chancellor's speech is expected to be jobs and growth.
We know that disabled people want the same opportunities to work as everyone else and nine in ten disabled people are in work or have worked in the past. But for the Chancellor to achieve his aim of "full employment", more must be done to address the disability employment gap.
Access to Work supports disabled people to stay in work and progress in their careers. The Chancellor could strengthen Access to Work, to make sure more disabled people can benefit.
He could build upon the Minister for Disabled People's welcome announcement last week about the introduction of personal budgets for Access to Work. This will give disabled people more control over how they access the support which enables them to work.
However, we are concerned about new proposals to cap the amount of funding each individual can receive through Access to Work. A cap could mean that disabled employees, such as those who require British Sign Language interpreters, could lose their support and would be unable to continue working.
We'll also be looking to the Chancellor to use his focus on regional growth to create programmes specifically aimed at improving employment rates amongst disabled people.
Protection of DLA and PIP
Life can cost more if you are disabled. The extra costs faced by disabled people can have a significant impact on disabled people's living standards, who spend on average £550 per month on costs related to their disability. Disability Living Allowance (DLA) and Personal Independence Payment (PIP) are payments that are designed to contribute towards these extra costs.
Welfare spending is also likely to be a key theme of the Budget. Last year the Chancellor announced in his speech at the Conservative Party Conference that a future Conservative Government would protect DLA and PIP in any freeze on benefits. We'll be looking to the Chancellor to commit to this in the Budget.
This month's Extra Cost's Commission interim report highlighted the need to tackle the underlying drivers of the extra costs disabled people face. One area that the Commission identified was the need to improve online access for disabled people. Thirty per cent of disabled people have never used the internet, compared to seven percent of non-disabled people. This prevents disabled people accessing appropriate financial products and getting some of the best deals on goods and services.
Anything the Chancellor announces to improve digital inclusion should consider how to support more disabled people to get online.
Investment in social care
Social care supports disabled people to live independently, work and play an active part in the community.
With the Budget taking place just two weeks before the landmark Care Act comes into force, The Chancellor must take steps to introduce a sustainable funding settlement for social care.
Much focus has been placed on whether the Chancellor will commit to investing £2bn per year in the NHS, as set out in NHS England's Five Year Forward View. However, investment in the NHS cannot be looked at in isolation from social care funding. Last week the Care and Support Alliance published the findings of a survey of over 800 English GPs which found that almost nine in ten believe reductions in social care services have contributed to pressures in their surgeries.
The Chancellor should use his final Budget before the election to prioritise investment in the social care system so that the ambition set out in the Government's Care Act in this Parliament can be realised in the next.
DLAemploymentnew and politicsPersonal Independence Payment (PIP)social carethe budget
Disability Innovations: How magic is helping children with hemiplegia grab life with both hands
17 March 2015 Foresight and Innovation
Disability Innovations is a blog series that gathers some of the most interesting new products and services that aim to make disabled people's lives easier. We hope it will inspire more innovation in the disability field.
Breathe Magic
Breathe Magic is a creative approach to traditional therapy which uses magic tricks to put the fun back into children's recovery and rehabilitation. They run 'Magic camps' in the school holidays for children aged 7 to 19 with hemiplegia, teaching children specially selected and scalable magic tricks as part of a fun and effective intensive therapy programme. The two week programme focuses on learning to use two hands by combining magic, circus skills, costume design, fabrication and theatre production in a targeted way, to improve motor skills and hand function.
At the end of the two weeks the children have the chance to show off their new skills to family and friends in a performance at a professional theatre. After the camp the budding magicians attend a once per month Saturday club for six months to help sustain their new skills, provide an ongoing peer support network and ensure lasting impact of the progress made.
The Secret Behind the Magic
Breathe's approach to intensive motor therapy is well-researched and has shown clear clinical benefits and improved outcomes for participants. delivers clear clinical benefits and improved outcomes for participants. The programme is also in line with the National Institute for Clinical Excellence (NICE) guidelines for the management of spasticity in children, as it follows the HABIT (Hand-Arm Bi-manual Intensive Training) model which is a task focussed intensive bi-manual therapy.
Over the 10 days (60 hours) children work together with magicians, Occupational Therapist's and physiotherapists on a one to one basis within a group setting, to learn and practice magic tricks which develop motor and bi-manual skills. Every trick requires the children to practise precise movements that incorporate the rehabilitation exercises therapists often ask children with hemiplegia to do to improve hand and arm function. Time old tricks such as the 'cups and balls' trick require the young magicians to turn a cup over in their hand and to pick up the ball using the thumb and forefinger. This helps to develop essential movements such as forearm rotation, grasp and release, and co-ordination. Similarly, rope tricks involve stretching movements and movements to increase dexterity.
The real magic is that these tricks can only be mastered with plenty of repetition – practice makes perfect! The repetitive nature of practising magic tricks helps to build up the child's strength and dexterity in their weaker hand/arm. Every child has their own 'Magic Diary' to record the tricks they learn each day, and the tricks they should practice at home each evening. Although children know that the camp is designed to improve hand function, the real focus is always on learning magic and having fun, rather than doing the 'boring repetitive exercises' that children usually associate with therapy.
What are the results?
Turning the exercises into magic tricks helps children stay motivated and engaged, meaning exercises are no longer a chore but something children look forward to doing. And the results found are pretty impressive.
The programme shows sustained benefits across functional motor and psychosocial outcomes for the young people. The programme also addresses additional associated problems such as; parent/child relationships, psychosocial difficulties and self-esteem. The young people are often able to do daily living activities for the first time in their lives after completing the programme, such as getting dressed independently and cutting up their own food. This increased independence resulted in parents and carers reporting a 50% reduction in extra time needed to support their child, equating to up four hours each day! The research results from the programme have been published in peer reviewed medical journals and presented at conferences around the world.
The performance skills taught as part of the camp are designed help to increase the children's communication skills, self-esteem and general emotional wellbeing. Children and parents also reported increased confidence and a more positive outlook, which resulted in numerous additional benefits, such as improved performance at school.
Breathe Arts Health Research was founded in 2012, and is the social enterprise behind Breathe Magic. It is run by a small team of staff, which includes clinicians, academics, artists and business professionals. The team work together with frontline staff, patients and their families to deliver new healthcare programmes which bring the arts and science into healthcare to improve health outcomes.
Breathe Magic has now been commissioned as a clinical service by the NHS Lambeth Clinical Commisisoning Group and NHS Wandsworth Clinical Commissioning Group, they are piloting adapted versions for children with mental health problems and adult stroke patients. Other Breathe projects include bringing music and poetry into hospitals, clinical healthcare settings and community centres, as well as putting on high quality performing arts programmes in hospitals in partnership with leading cultural organisations such as the National Theatre and the Royal Academy of Music.
We love how Breathe AHR combines magic and fun with therapy – words you rarely see in the same sentence! It not only has clinical benefits, but giving children magic skills also hugely boosts their confidence by teaching them they can use weaker limbs for tricks which even their friends at school can't do! The magic camps 'can do' and fun approach to therapy focuses not on a child's impairment but on talent and potential, teaching children to grab life with both hands!
To tell us about a Disability Innovation, please email innovation@scope.org.uk.
ChildrenDisability Innovationslearning and skillsmobilityYoung people
Campaigns, Real life stories
The system's not about people, it's about money – #100days100stories
17 March 2015 sarahjdavison	1 Comment
When Kenneth moved into a care home, he imagined gaining independence and the chance to learn new skills. What he got was a very different situation. Kenneth shares his story as part of our 100 days, 100 stories campaign.
I left home when I was 19. Like anyone else, I wanted independence and my own space. I wanted to choose what time to get up in the morning, what to have for lunch – simple stuff like that.
I moved into a bungalow with three other young disabled people. We had staff on site 24 hours a day to support us. I thought it would be great, I really did. My dream was to make friends and have a social life. Maybe go on holiday with my new housemates.
After a few weeks, I realised something didn't feel right. For a start, everyone was in bed by 8.30pm. Why would you go to bed so early every night? It turned out my new housemates had no choice – they were being 'put' to bed early, even if they didn't want to go.
Nobody was listening
I wasn't getting the support I needed either. I wanted to cook my own dinners and to get out more in my car, but that wasn't happening. I felt powerless because nobody was listening to me.
The days were long. I work so I could get out of the house but the others spent a lot of time watching TV. I remember coming home to find one of my friends, a girl who uses a wheelchair, sitting at the kitchen table with nothing to do. She'd just been left there on her own. Another time I came home to find two of my housemates with their wheelchairs facing the wall. I don't know how long they had been like that – hours maybe.
A modern day institution?
When people think about institutions, they imagine these big old buildings with lots of residents sitting around doing nothing. But we were living in a brand new, purpose built bungalow and it was just as bad. It's not how it looks on the outside; it's how it's run on the inside that matters.
Despite my mum and social worker getting involved, nothing changed at that place and I moved out. Now I live in another bungalow with 24-hour support. It's not perfect but it's a lot better.
In the future, I'd like to live on my own and have a personalised budget so I can choose the care I need. I'd like live-in support workers so I can do what I want, when I want. Personalised budgets are available where I live but disabled people are still getting stuck in homes because it's the cheaper option.
Less choice over our lives
The system is so wrong. It's not about people – it's about money. Our social care and benefits have been slashed which means young people like me have little choice over our lives. Through my job at Change.org, I met Norman Lamb MP, the Minister of State for Care and Support. As I told him about my experiences, I started crying. I couldn't help it. I hope what I told him has got through. Something has to change.
Find out how you can get involved in our 100 days, 100 stories campaign and read the rest of our stories so far.
100 storiescare homesdisabilityGovernmentIndependent livingPersonal Independence Paymentsocial careYoung people


text:
Remember When Sonic Youth Appeared On Gilmore Girls?
2006 was a weird time for everyone, wasn't it?
Video not playing? View on YouTube
For a set of vanguard-dwelling iconoclasts, Sonic Youth were never too averse to engaging with the mainstream; occasionally emerging from the ether to appear in The Simpsons or christen a side project after Madonna's surname or whatever. Perhaps their most surreal encounter with full-bore popular culture arrived in a performance on the US TV show, Gilmore Girls, a series about a rich teen with non-problems (there was once an entire season story arc about how frustrating it is when your grandparents won't stop buying you nice things, for instance) that rich teens with non-problems seemed to really enjoy.
Kim Gordon and Thurston Moore made the cameo in 2006 alongside their then 11-year-old daughter Coco, who plays bass and was a massive fan of the show. For some reason, there appears to be another three or four people just kind of hanging out playing acoustic guitars simultaneously in the main square of Stars Hollow, a name that seems to ring with an odd amount of despair, doesn't it? The stars being ancient symbols of adventure, comfort, possibility and hope but burning hollow and empty here in this town full of smart-mouthed children and buskers filling the night air with three or four different songs at once, a horrible cacophony of sentimental discordance.
Anyway, the song is a stripped down version of What a Waste from the album Sonic Youth would go on to release that year called Rather Ripped. Watch the clip right here:
And check out the rest of Rather Ripped, here:
tv appearancesSonic Youth
The 20 Best Songs Specifically About Halloween
To celebrate the greatest night of the year, here are 20 tracks about Halloween proper.
A love letter to the Judgment Night album
One writer remembers the impact the Judgment Night soundtrack had on rock.
The 50 Best Albums From 1990
From Pixies and Jane's Addiction to Entombed and Slayer, we rank the greatest rock and metal albums released in 1990
Sonic Youth's Kim Gordon: "#MeToo Is Symptomatic Of A Culture Of Women Feeling Repressed, But The Music Industry Was Always Sexist"
Kim Gordon discusses punk rock, Nirvana, New York and her multitude of artistic endeavours
Kurt Cobain's 50 favourite albums
From The Breeders to Butthole Surfers to David Bowie, these are the 50 best albums ever according to Nirvana's Kurt Cobain.
The 15 loudest bands in the world
Discover the science and stories behind 15 of the loudest bands in the world…
Journey Into The Desert: Inside Josh Homme's Rock'N'Roll Odyssey
Plus, Sonic Youth, Dream State, All Time Low, Deafheaven, Alcest, Toothgrinder, Saves The Day, Sleep Token and loads more!
This Movie About the SoCal Desert Punk Scene in the '80s Looks Wild
Desolation Center, a film featuring Perry Farrell, Sonic Youth, Meat Puppets, Mike Watt, and more, is all about the SoCal desert punk scene in the '80s.


We will be exhibiting at the Country Homes Exhibition at The Millennium Hotel, Mayfair on Thursday 25th June.
This exhibition is organised by our London associates, John D Wood & Co., and a wide selection of counrty properties will be featured. The Millennium Hotel is set in Mayfair, in the heart of prime central London. Experienced representatives from John D Wood & Co. and 12 other associated companies from across the south of England will be on hand to discuss a move to the country.
If your are considering selling, this exhibition will widen the marketing of your property to London buyers looking to move out.
For further information please contact your local branch to find out more about how your property can feature and how our extensive marketing is designed to achieve the highest sale price.


text:
Science Fiction Studies
#128 = Volume 43, Part 1 = March 2016
ARTICLE ABSTRACTS
Paweł Frelik. Introduction: Digital Science Fictions(s)
Symposium on Digital SF
Lisa Swanstrom. External Memory Drives: Deletion and Digitality in Agrippa (A Book of The Dead)
Rebekah Sheldon. Spectrum Orders: Digital Science Fiction and the Corrected Present
David Higgins. Dreams of Accumulation: The Economics of SF Video Games
Lars Schmeink. "Scavenge, Slay, Survive": The Zombie Apocalypse, Exploration, and Lived Experience in DayZ
Lorenzo Servitje. H5N1 for Angry Birds: Plague Inc., Mobile Games, and the Biopolitics of Outbreak Narratives
Keren Omry. Bodies and Digital Discontinuities: Posthumanism, Fractals, and Popular Music in the Digital Age
Mark Young. Digital Aurality and the Science-fictional Public Sphere
Paweł Frelik.
Introduction: Digital Science Fiction(s)
In the last few decades, digital technologies have dramatically reconfigured not only existing modes of media production and dissemination but also cultural genres and their conventions. Science fiction has not been immune to these transformations, which extend far beyond simple enhancement of sound and vision. In fact, one might argue that, next to the genre's globalization, the technical conditions of composition, production, and distribution of various sf media that are responsible for their changed character have been at the core of most definitional and conceptual struggles around science fiction as a discourse. And yet their role in how science fiction is conceptualized and how it performs its cultural work has remained largely unexplored by sf scholars. Worse, an insensitivity to media specificity has led to negative assessments of numerous sf texts produced under the regimes of digitality. Science fiction as a literary genre is usually judged either by its texts' artistic proficiency in telling stories—ideally, suspense- and psychology-driven, formally sophisticated, and conceptually complex—or by their cultural resonance, their capacity to address contemporary issues and anxieties. John W. Campbell's tying of the genre to post-World War II technoscientific culture, the New Wave's formal and aesthetic experiments, and Darko Suvin's insistence on science fiction's political potential have all contributed to a bias favoring conceptually rich and artistically accomplished verbal storytelling as a privileged mode of sf. Historically, this metanarrative of what science fiction is and ought to be has suppressed critical recognition of the role of illustration, film, radio, and comics in the shaping of the genre. In the early twenty-first century, the frequent denigration of audiovisuality in general and digital audiovisuality in particular continues to complicate the reception of digital science fictions. Digital technologies have impressed themselves on virtually all older sf media. Film and television, in which special effects and non-linear editing have affected aesthetics as well as story-telling strategies, are the most obvious case in point. Driven by a database logic (Manovich 218-43), emphasizing visual spectacularity (King 1-15), and best understood as post-continuous (Shaviro), many such texts have been criticized for their dilution of rigorously scientific imagination and their lack of narrative originality. Similar charges have been made against sf video games, in which the centrality of traditionally understood narrative frequently stands in direct opposition to the character of digitality, which, as Andrew Darley notes, "endorses form over content, the ephemeral and superficial over permanence and depth, and the image itself over the image as referent" (81). This unresolved conflict between digital audiovisuality and traditionally conceived narrative will, very likely, continue to escalate. Although print, classically-influenced film, and long-form television drama remain as central to the genre as they have been for the last few decades, much contemporary science fiction, particularly texts produced within the regimes of digitality, is incidental, ephemeral, and fragmented. It also possesses a short expiration date—not because it is flimsy and paltry but because it is dispersed in the ever-expanding networks of remediation, insinuated in dynamic transmedia universes, and relentlessly overtaken by new texts. It is in this sector of the sf world that digital technologies and tools centrally underwrite discrete but no less vibrant media: independent games such as Constant C (2014) and game mods such as Wasteland Restoration (2011) and Fallout 3 (2008); cybertexts, such as Google Maps-based The LA Flood Project (2012); uncountable digital graphics, such as those hosted on DeviantArt or Imgur; short films such as New Media (2011) and the Futurestates series (2010-2014); music videos such as Jamie XX's "Gosh" (2015); and web series such as H+ (2012-) and Haphead (2015). Diverse and balkanized among various audiences, such texts share a number of common traits rooted in their digitality, but they are also deeply science-fictional, often openly acknowledging earlier genre influences and inspirations. The genre's traditional analytical apparatus, which has provided excellent readings of Forbidden Planet (1956), Neuromancer (1984), and Battlestar Galactica (2004-2009), is often insufficient when dealing with these texts, whose science-fictionality is conveyed in ways other than narrative emplotment. Indeed, many sf critics denounce texts that deprivilege narrative in favor of visuality or simulation. Digital media at large have already been theorized from multiple perspectives and angles, but, as noted earlier, there has been very little work on how digital tools and screens have affected cultural genres themselves. From this perspective, the current special issue of SFS blazes trails not only for our own discipline but also for the study of other genres. The articles in this issue are the first collective attempt at mapping the terrain of what—for lack of a better term—I have called digital science fiction, an already immense and ever-growing body of media texts that are firmly grounded in sf culture but which also transform the genre's themes and tropes through the influence of digital technologies, putting the very definition of science fiction in question. The order of the articles in this issue, to an extent, reflects the historical development of individual sf media as well as the degree to which they have been explored in critical writings. Lisa Swanstrom's article on William Gibson's conceptual hypertext Agrippa (A Book of the Dead) (1992) provides a media-archaeological insight into this important ur-text, illuminating the ways in which the then-new digital medium engaged much older questions of memory and forgetting. Connecting the worlds of pre-digital and digital media, Rebekah Sheldon's contribution investigates how new technological capacities have transformed the content and reception of the older sf media of film, television, advertising, and art installations. The next three articles engage various types of video games—arguably the most dynamically developing of all contemporary media, whose remediating voraciousness (already noted by Jay David Bolter and Richard Grusin in their influential Remediation: Understanding New Media [1999]) has been rivaled by their inventiveness. David Higgins examines mainstream massively multiplayer online (MMO) games and the ways in which they reflect and model our lived experience of economic systems, foregrounding complex real-world activities and the planned obsolescence of goods. Lars Schmeink analyzes the mod-cum-standalone game DayZ (2013) to demonstrate how this digital text challenges the genre's traditional commitment to historically derived narrative accounts. In the last article in this grouping, Lorenzo Servitje approaches mobile games, the youngest phylum of the gaming medium, analyzing Plague Inc. (2012) as a quintessentially science-fictional text that dehumanizes players by positing them as viruses and pathogens whose goal is unleashing a global pandemic. The last two articles focus on music, probably the least critically examined of major sf media. Keren Omry discusses Beck, Kutiman, Björk, and Amon Tobin, arguing that their artistic creations—both their music and its paratexts—manifest a decidedly posthumanist art whose roots can be found in the digital tools of production and dissemination. Closing the special issue is Mark Young's manifesto-like rumination on the sonic science-fictionalization of contemporary music publics and the ways in which this phenomenon challenges existing definitions of science fiction and science-fictionality. Navigating the uncharted waters of sf media, all seven articles provide close readings that ultimately illuminate specific texts as much as they do larger medial forms and their complex digital affordances and limitations. E-texts (Swanstrom), digital advertising and art installations (Sheldon), MMO games (Higgins), game mods (Schmeink), mobile games (Servitje), music videos, music apps (Omry), and music itself (Omry; Young) are, without a doubt, recent arrivals in the galaxy of science fiction, but they already account for a considerable percentage of the cultural production characterized as sf today. Learning how to engage critically with these texts—as well as others, such as digital graphics, virtual environments, short film, and installations—will be a major challenge for the field in coming years. I hope that the seven insightful articles collected in this issue will encourage other researchers to meet this challenge and continue this conversation about the new digital panorama of science fiction.
Bolter, J. David, and Richard A Grusin. Remediation: Understanding New Media. Cambridge, MA: MIT, 1999.
Darley, Andrew. Visual Digital Culture: Surface Play and Spectacle in New Media Genres. London: Routledge, 2004.
King, Geoff. Spectacular Narratives: Hollywood in the Age of the Blockbuster. London: I.B. Tauris, 2001.
Manovich, Lev. The Language of New Media. Cambridge, MA: MIT, 2002.
Shaviro, Steven. "Post-Continuity." The Pinocchio Theory. 26 Mar. 2012. Online. 3 Jan. 2016.
Lisa Swanstrom
External Memory Drives: Deletion and Digitality in Agrippa (A Book of The Dead)
Abstract. While William Gibson's cyberpunk fiction is fundamental for understanding the relationship between digitality and science fiction, I suggest that Gibson's most important "digital" work is neither cyberpunk, science fiction, nor even fiction. It is, instead, an autobiographical poem, Agrippa: (A Book of The Dead), published in 1992. Agrippa marks a pivotal point in Gibson's writing for its engagement with actual—as opposed to speculative—digital editing techniques, not merely in terms of the disk that contains the poem encoded within it, but in terms of Gibson's tendency to triangulate digitization, identity, and memory. Agrippa as a whole—that is, as a work of poetry, a printed book, and a self-effacing digital object—functions initially as a modernist monument to subjectivity at the very moment of its dismantling and, in this respect, is wholly consistent with Gibson's cyberpunk fiction, which tends to treat digital technology in analog terms. Yet in the twenty-plus years since its initial publication, Agrippa has continued to evolve, and a reading of this strange text today yields different possibilities. In what might be termed Agrippa's afterlife, a more fluid form of memory has emerged, one that is collective, participatory, collaborative, and much more in tune with the nature of digitality.
Rebekah Sheldon
Spectrum Orders: Digital Science Fiction and the Corrected Present
Abstract. This article examines the aesthetics of what Anthony Dunne calls "Hertzian space" or the electromagnetic flows that enable wireless communication devices through comparative attention to three contemporary transmedia universes: the BBC's Sherlock, SyFy's Alphas, and Fox's Touch. I argue that each of these shows uses the emerging conventions of neuro-atypicality in order to make visible and render as story the data streams whose omnipresence cannot be experienced as such by the human sensorium without first becoming meaningful. This need for translation from data to narrative disrupts a fantasy of effortless transduction. I contend that the difficulty is solved through the characters of Sherlock, Gary, and Jacob, who give us unmediated access to dataflows. By the same token, these characters intimate a new form of epistemic mastery and concomitant subjectivization.
Dreams of Accumulation: The Economics of SF Video Games
Abstract. Contemporary video games often function as digital science fictions that strive to manifest late capitalism's ultimate self-manifestation. In particular, many popular blockbuster games construct and deploy world systems that operate according to the economic principles late-capitalism proposes should, according to its fantasy vision, structure the fabric of modern economic life. These games manifest, in several perplexing ways, a variety of capitalist wish fulfillments and visions of how lived economic systems might work if capitalism were free from the limiting restraints of what some economists regard as the imperfect distortions of the real world. This article examines massively multiplayer online games (MMOs) in order to demonstrate how the planned obsolescence of goods is a mandatory and inescapable feature of economic life in many digital environments. In such games, ubiquitous obsolescence creates infinite demand which can always be met with increased profitable supply. Furthermore, these games often enact the fantasy that all property can be regarded as intellectual property; everyday objects like clothing items are licensed for limited use rather than purchased for permanent ownership. Even in MMOs that do not encode elaborate systems of planned obsolescence to manage demand, however, the principle of creative destruction is elevated to its free-market apotheosis in order to orient consumer play toward endless commodity consumption.
Lars Schmeink
"Scavenge, Slay, Survive": The Zombie Apocalypse, Exploration, and Lived Experience in DayZ
Abstract. In this article, I argue that the video game DayZ is an engaging representation of the zombie apocalypse, moreso than any cinematic or literary forms, specifically because of its status as digital medium and interactive simulation. The simulated space of the game foregoes sf-typical centering on historic narrative progression and accumulation of knowledge about the diegetic world for an active exploration of space and the accumulation of lived experience. By modeling a postapocalyptic world, the game forces players to make moral decisions regarding scarcity, survival, and social order. In adding the threat of a zombie attack, the game further emphasizes the existential nature of these decisions and foregrounds player agency as the determining factor for game experience. DayZ is noteworthy insofar as it rejects a moral baseline inherent in the diegesis; it denies players a pre-scripted narrative, instead relying on open-world mechanics that allow player interaction with little algorithmic limitation. In combination with the persistent game mechanics and the simulated hostile environment, the game becomes a lived experience of the sf trope of postapocalypse that is unlike any provided in film or literature.
Lorenzo Servitje
H5N1 for Angry Birds: Plague Inc., Mobile Games, and the Biopolitics of Outbreak Narratives
Abstract. Within its first week, Plague Inc. climbed to the top of Apple's App Store, effectively ending the ever-popular Angry Birds' reign as the top-selling iPhone game. The game's premise is simple: create a pathogen to kill every human on the planet. In this article, I examine the epidemiological images and structures in Plague Inc., suggesting that what Priscilla Wald has characterized as the "outbreak narrative" becomes reconfigured by the fictionalization of biosecurity in the biomedical imaginary according to the mobile game's media specificity. This digital mutation of the outbreak narrative speaks to the implications of mobile technologies in the apperception and expansion of biosecurity and biopolitical regulation. Within this framework, I explore how Plague Inc.'s narrative content and interactive functions hover somewhere between science fiction and science fact. Ultimately, Plague Inc. participates in the reinscription of anxieties relating to a bio-apocalypse and of the desire for the biogovermental process to control it. I suggest that analyzing the game's mechanics, narrative, and materiality, on the one hand, gives us a way to understand how the biopolitics of outbreak narratives work; on the other hand, we come to see the way the game also inculcates an acceptance of the biosecurity apparatus' regulating biopolitics.
Keren Omry
Bodies and Digital Discontinuities: Posthumanism, Fractals, and Popular Music in the Digital Age
Abstract. This article focuses on popular music by mapping out a shift in recent popular culture that has incorporated both the technologies and the discontinuities of our contemporary digital reality. While musicians from Sun Ra to Daft Punk have been interested in sf themes, I concentrate here on four musicians who move beyond thematic content or performative stance, and adapt their creative processes, the resulting outputs, and their overall aesthetic programs to accomodate changing relations between the body and creativity that are marked by contemporary technology. Amon Tobin, Björk, Beck, and Kutiman are all thoroughly enmeshed in the sf effects and aesthetics that pervade Western popular culture, acknowledging the inextricable penetration of technology, even in its most sophisticated forms, into the commonplace and the aesthetic. I claim that fractal geometry can provide a system of analysis through which current cultural, aesthetic, and political productions can be better understood. In turning to the fractal—literally, thematically, technically, and/or metaphorically—these musicians map out the geometry of a natural world in which the technological has become organic and is welcomed as a productive source of beauty in our posthuman and distinctly science-fictional era.
Digital Aurality and the Science-fictional Public Sphere
Abstract. This essay explores the sonic "science-fictionalization" of the twenty-first century public and the fundamental questions concerning its emergence: how might science-fictional practices of aurality challenge existing definitions of science fiction? what role does digitality play in the new regimes of production, distribution, and consumption of science-fictional aurality and its attendant technocultures? what aspects of the public sphere are shifting in response to these desires? and what potential for sonic resistance might emerge from portable, digital modes of science-fictional listening?


text:
TWITTER DELAYS UPGRADE, KEEPS IT AVAILABLE TO IRANIANS
June 16, 2009 | 6:30pm
Social networking service Twitter delayed a planned upgrade to avoid cutting daytime service to Iranians who have been using it to coordinate protests against a disputed presidential election.
Iran's top legislative body on Tuesday ruled out annulling the disputed presidential poll that has prompted the biggest street protests since the 1979 Islamic revolution but said it was prepared for a partial recount.
Websites such as Twitter and Facebook have become a focal point for young, urban Iranians opposed to President Mahmoud Ahmadinejad, who defeated Mirhossein Mousavi in Friday's election and whose government controls the state media.
Twitter Inc said in a blog post on its site a network upgrade had been planned for Monday night in the United States, which would have cut daytime service in Iran on Tuesday.
ad_icon
"… Our network partners at NTT America recognize the role Twitter is currently playing as an important communication tool in Iran," the blog post said. NTT America is a subsidiary of NTT Communications Corporation of Japan
The hourlong maintenance was moved to 5 p.m. EDT on Tuesday, corresponding to 1:30 a.m. on Wednesday in Iran.
Twitter is a website that allows users to post messages of 140 characters or less, known as "tweets," that can be seen by other users who choose to follow them. Many users post messages from smart phones allowing information to spread rapidly.
QUEENS DA: THREE EMPLOYEES BUSTED FOR STEALING MTA FORKLIF...


text:
published: 09 Jul 2013 in Personality profiles
John Brocklebank had the chance at a professional footballing career in the US but he chose to forego it and follow his life long passion for horses, firstly in the world of the quarter horse and then pinhooking thoroughbreds. BC3 Thoroughbreds made headlines this year when paying a record $5m for a yearling half-brother to Black Caviar, and the company he co-founded is now a major player in Australia and US and looking at further expansion.
JOHN Brocklebank's unique approach to developing racehorses was introduced into Australia more than five years ago. BC3 Thoroughbreds, which he had founded in partnership with Shane Chipman, had become a major player in the field of yearling to two year-old pinhooking in the United States when John's skills and the reputation surrounding him came to the attention of David Chester in his then role as managing director of Magic Millions.
"We had heard that John had a great eye and was a genius in selecting horses," David said. "We also knew that he had started out in quarter horses and then gone into thoroughbreds. With all that we decided to invite him out from America as our guest for the Gold Coast Yearling Sale in January 2008.
"We thought it would be a good move to invite him down to have a look at the Australian product and to see whether he had any fresh ideas that could help the sale along. Since then he has been coming to all our sales and he goes to most of the major sales in Australia. He has put together a really, really good track record and he is very highly respected right around the country."
However, by his own admission John's road to acceptance in this part of the world was not easy. "We decided to take our format to Australia after Melbourne businessman Bill Vlahos offered to buy BC3," he said. "At the time we considered the Australian market offered opportunities for our pinhooking style of operation.
"From what we could see the yearling-to-juvenile market was underused here, but we found some initial resistance from the more conservative Australian owners. I can say though, that with nearly 60 per cent of our runners through five years being successful, those concerns have since been quieted and I am really excited about the future."
That excitement has been fuelled by BC3 soaring to another level with a more aggressive attitude in the past two years. This change in approach was exemplified with the group's purchase of the Redoute's Choice-Helsinge half-sister to Black Caviar and All Too Hard for $2.6m last year and then the Redoute's Choice-Helsinge colt for a record $5m at this year's Inglis Australian Easter yearling sale.
"Obviously, to duplicate what their siblings have done on the racetrack is going to be a tough, tough feat," says John, who remains responsible for overseeing the buying and the preparation of the yearlings purchased. "I can say, right now, I like their possibilities because they have aced two of my most important tests for a potential star racehorse . . . conformation and attitude." While he can speak with the authority of a lifetime around horses, it is quite ironic that John should enter the world of racing from his hometown of Salt Lake City in Utah. The city, between Nevada and Colorado in America's southwest, became the headquarters of the Church of Jesus Christ of Latter-day Saints, founded by Mormon leader Brigham Young in 1847. With the accent of the area very much centred on religion, Salt Lake City does not have a racetrack or allow parimutuel betting. This has forced John and Shane to make do with stables and a circuit at one of the city's recreation reserves.
"I was born in Salt Lake City and I've lived there most of my life. It's a great place to live and I'm very comfortable there," John said. While horse racing and gambling tend to be frowned upon in Salt Lake City, which hosted the Winter Olympic Games in 2002, the residents are enthusiastic about their sports. "Being raised in such an environment when I was a kid, like the other kids, I played basketball, baseball and football. Although I participated in all the sports I had a real love for the horses, right from the beginning.
"The only shows you could watch when I was growing up were Ponderosa or Flicker or stuff like that, and I kinda got hooked. I think you either get hooked on horses or you don't and I had a severe fever for the horses, which has stayed with me my whole life."
John says he was able to "feed the fever" through the kindness of some neighbours. "We didn't live on a farm but my neighbours took me under their wing and that enabled me to do quite a lot of horsemanship in my early years. I'd go mow lawns so when I was old enough, probably about 16, I was able to buy myself a quarter horse."
A talented player, John was, around that time, offered football scholarships by a number of high profile out-of-state colleges but elected to remain in Utah so he could continue to develop his horse interests, which were a "work in progress". "I go to practice in the mornings then go to the horses, and after practice in the afternoon I'd go back to the horses. It eventually reached a point where I had to devote my time to the football or horses and the horses won out.
"My interest in the equine world ran right away with it. I really dove into them after that and devoted every waking minute to them . . . and maybe some sleepless nights. My first real success was with a mare named Miss Ponju, which I'd bought down in Caliente in Mexico. She was the one who started my racing career. "I took her down to La Boyse Park in Boiysie, Idaho, in 1977 and she won five races for me. I'd bought her for $1300 and I sold her for $6000 at the end of the summer. It kinda started my pinhooking and I realised that's what I wanted to do.
"It was two years after that I bought a little colt, for $5000, as a yearling. He was named Polpack and ended up being the World Champion Quarter Horse, and the guy I bought him for sold half of him for $2,250,000.
I got a small portion of that, so I dove deeper into the quarter horses. Another really good horse we had early on was Jumpin' Tack Flash. "I played the quarter horses for about 20 years, and by the time we were finished we had been able to acquire and sell three world champions. We won the triple crown and pretty well every futurity in the inner mountain region."
During the years all this had been happening, John had supplemented his passion by working as a deliveryman. He would go to the stables at 4.30 in the morning, do his deliveries, then go back to the horses in the afternoon and stay with them until about nine o'clock at night.
"I did that for 10 years until a gentleman by the name of David Payne, who I had bought Polpac for, hired me fulltime and I stayed with him for five years. Then I went out on my own pinhooking." Along the way he had talked to as many experienced trainers as he could as he put together his theories for the most beneficial way of conditioning young horses. "I also studied how human athletes trained," he said. "Even if a guy is running only over 60 yards he will train three hours a day. I kinda followed that pattern by building up the work of the horses every day.
"I have always been mindful that a horse is a herd animal so as you are conditioning them you want to instil in them a desire to be the top dog, but you have to appreciate that each and every one has its own recipe. The secret is, once you've asked them to stretch themselves you have to allow them the time to put everything back together again. You have to watch and work out exactly how to do that.
"I also expose them to speed very early on, as soon as they are comfortable after they've been broken in, but again you have to be careful. You don't want them to surrender or become cowards so I try every day to ensure they feel like they are a tiger on the track.
That way they keep wanting to do more . . . it's a kind of an art."
This formula evolved through hours and hours of attention to the movements and the psyche of horses in his care as well as a reflection on what "old timers" had told him as he worked through his quarter horse days into the thoroughbreds. "By the time we'd done pretty much all we could with the quarter horses I'd started taking an interest in thoroughbreds," he said. "I noticed that the juvenile market was really steaming along and so I decided that's where I should be headed."
He and Shane, who continued working out of Salt Lake City, co-opted the services of John's fiancée Tari Anderson. "Tari goes every step of the way with me at the sales, filing reports, making the short list and being an invaluable help."
The combination's expert judgement and ability to produce a fully educated, sound and fast product was welcomed within the industry. Luminaries such as D. Wayne Lukas and Bob Baffert bought their graduates with success and BC3's stocks rose even higher through the development of horses, such as Brother Derek, into stars. By Benchmark (Alydar) from the Siyah Kalem (Mr. Prospector) mare Miss Soft Sell, Brother Derek was bought by John for $US150,000 at Keeneland in September 2004 and sold on for $US250,000 at the Barretts sale in March the following year. With his wins featuring the Hollywood Park Futurity-Gr.1 (8.5f) at two and the Santa Anita Derby-Gr.1 (9f) at three, he amassed more than $US2.1m in prizemoney before going into retirement.
"In 2007 we actually led the nation in selling the highest per cent of stakes winners," John said. "We were also the highest profit company in the business.
It was the best of both worlds because we always felt it was vitally important for the next guy to do well out of his purchases. That made us kinda popular, but as we were growing the global financial crisis hit, which made it harder to keep the wheels on the wagon while we were dealing with a lot of horses."
Then fate played a winning hand for him when John was invited to the Gold Coast by the Magic Millions and met Bill Vlahos. It was a meeting of like minds with Bill immediately appreciating the skills John possessed. "Bill understood I had developed a way of ensuring purchases were ready to perform at their best by the time they were passed on. I think I've always had an acute eye for an athletic type and I've always believed in treating horses with the type of care and attention you'd give an Olympic athlete.
"I've also been a long time proponent of developing superior fitness in young horses. As far as training goes, I've always taken the view that I think you can make a coward out of a young horse if he is not prepared to handle what you want him to do. Because of that I've always looked at it as kind of cruel to not have a young horse properly trained and fit.
"I know some people are opposed to training young horses but you know the younger a horse is, the more bone density you can apply to him and there is only a certain window of opportunity to do that. It's the philosophy I've followed all my life and it's a philosophy Bill Vlahos also adopts, so it was all great."
Following the appointment in March this year of the highly credentialled Craig Cameron as chief executive officer, a position he previously occupied, Bill fills the role of chairman. As a result of this recruitment John feels BC3 is about to springboard to new heights.
"As well as being absolutely solid and very dependable Craig is a get up and go type of person. He is exploring the possibility of supplying horses to China, Singapore and places like that. We are getting back into pinhooking in the US and that's something I am very bullish about because the market there for juveniles is really picking up. In fact we are looking to buy and sell everywhere and Bill has submitted an application for a racing licence in Japan, so we can get our product out there."
Although the quality of yearlings BC3 is buying has risen dramatically in recent times, as the purchase of the siblings to Black Caviar and All Too Hard illustrates, the horses are still being put under the same program of development. "There is a different concept now though, because these horses are being raced by BC3 rather than being sold on. That means we don't have to move along at the same hectic pace as I did in the States," John said.
"When I was pinhooking at home I needed to have the horses ready by a certain date, but with BC3 racing these horses we have time on our side. Now, if they hit a speed hump, we can allow them time to catch their breath before we press on, which is obviously beneficial. Everything has been put into place so we can prepare our horses in what I consider is a high quality, scientific program based on the individual needs of the horses we have, and, hopefully the proof will be in the pudding in the years ahead."


Mad Hatter's Children's Chairty is dedicated to bringing smiles to the faces of children with special needs and disabilities across the Midlands.
Based in Solihull, the charity provides fun and exciting educational events and activities for over 2,000 children every year. Over the last ten years around 16,000 children have benefited from the charity's events and activities, and they regularly engage over 90 specials schools across the West Midlands.


Alex & Jack are coming up on their 1 year wedding anniversary, I can't believe it! We thought it would be a great opportunity to head out to the Arizona desert near the Superstition Mountains to shoot a beautiful session of them together in celebration. I'm so lucky to have these people in my life- they make my job too easy! I love the way Jack looks at Alex and one of my favorite things about Alex is her infectious, full laugh! When Alex showed up in this gorgeous Forever 21 dress, I thought it was PERFECT for an elopement session. The area we were shooting in was near the Superstition Mountain Museum, which has an adorable Elvis chapel from the filming of a variety of movies & shows featuring Elvis and was taken down piece by piece and reconstructed onto the museum property. They take wedding reservations as well!
Elopements strip away the extra "stuff" that planning a wedding adds- the stress of planning, the beautiful details, the venue and refocuses down to just the essense- a commitment & celebration of love between two people. They strip away the stress of planning a wedding and provide a lot of freedom. Want to get married on a mountaintop? Near a waterfall? In your own backyard? Where you got engaged or had your first date? The sky is the limit. Contact me if you're planning your elopement or want some gorgeous anniversary photos like these.
is there any availability and information that you could kindly send regarding an elopement wedding the week of april 24,25 or 26th. it would be small with two special witnesses but want it to be completely beautiful with emphasis on the beauty of the sunset on the mountains and desert.
thank you for any assistance in advance.