If you are a parent, you know how challenging the entire back-to-school process can be. Now, imagine that your child has celiac disease or non-celiac wheat sensitivity (NCWS). Currently, parents are confronting the reality of sending their gluten-free children back to school, and I know from experience just how intimidating and frustrating it can be.
Our first priority must be to take care of our children.
We have launched our 2016 Back-to-School Challenge Campaign to help. Our new, free Back-to-School and 504 Plan Guide and webinar give parents the tools to successfully implement a 504 Plan to assure their children receive the school accommodations to which they are legally entitled, from elementary school through college.
In addition, our 2016 Back-to-School Challenge Campaign provides training and materials to help school health workers manage and identify celiac disease and NCWS, and recommend testing for the hundreds of thousands of children who are still undiagnosed. Through your gifts, we have been able to train more than 2,000 school health workers since 2014. I wish this program had been in place during those 10 school years of suffering it took before my son was diagnosed.
We need your help right now to support our children and their families.
Our 2016 Back-to-School Challenge Campaign goal is $20,000 by October 1. Make a tax-deductible gift today and it will be matched dollar-for-dollar by a generous donor.
Our children have the right to safe accommodations in school. Our children have the right to an accurate diagnosis and to live their lives without suffering. Your gift, doubled by our generous donor, will help CDF make this a better Back-to-School season for thousands of children and their families.


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We are looking for a Shift Team Leader to join the Operations Team for their new Gasification Power Plant, located near Belfast Airport, this is a great opportunity for someone with Power Generation & Supervisory experience.
This plant utilises Gasification / Advanced Thermal Treatment Technology, combined with a Steam Turbine, to generate ~15MW which is enough to power around 14,500 homes. As an Energy from Waste plant using Refuse Derived Fuel, the plant will also be reducing approximately 180,000 Tonnes of waste from heading to a landfill on an annual basis.


An national company of 2,000 staff across 40 location needed a fast and reliable way to generate a printable phone directory.
Each month an update was required to the company phone directory. The update took several days' of effort finding out who had started, changed positions and left the organisation. They wanted a simple process which could be run by an office administrator in minutes to create a beautiful phone directory.
Each month an update was required to the company phone directory. The update took several days' worth of effort finding out who had started, changed positions and left the organisation. They wanted a simple process which could be run by an office administrator in minutes.
Luckily for us we had already been engaged on another project which cleansed the content in their Active Directory. This project setup processes to ensure all staff were created with accurate details in the correct Organisational Units. As we already had a good trusted source of data, we only had to decide on the creation approach of the phone directory.
As the process was going to be run by an office administrator we decided that Microsoft Word should be that main program from which the phone directory could be printed.
We reviewed their existing phone directory to determine what properties should be extracted from Active Directory to the printable version. The directory was laid out based on location. Each location had a customised header containing site details, emergency numbers and internal codes. Under the header the office staff were listed alphabetically displaying their preferred name, job title, office phone and mobile.
A Visual Basic Script was developed to extract all valid user accounts from Active Directory to a spreadsheet. Once in the spreadsheet the data was sorted by site and staff member for inclusion in the Word document. Lastly a Word template was created that included pre-formatted tables extracted from the spreadsheet containing the details of all staff at the site.
The phone directory creation process is now run in minutes to generate a Word document that can be converted to PDF or printed. Staff now know AD is used to populate the phone directory. If details are wrong, this is now maintained which has added benefit of keeping linked systems up to date.


text:
"OH, LISTEN TO THE BAND" - a Rudyard Kipling speech
By JOL Admin | 24 March 2015
Military band of the 15th Battalion, 4th Infantry Brigade at Enoggera Camp, Queensland, 1914, John Oxley Library, State Library of Queensland Image. 6163-0001-0002
Military band of the 15th Battalion, 4th Infantry Brigade at Enoggera Camp, Queensland, 1914
On the 24th March 1915 The Northern Miner (Charters Towers) published an article by Arthur Mason, London representative of the Sydney Morning Herald. Mr Mason reported a meeting at Mansion House on the 2nd February, convened by the Lord Mayor of London, at which a number of eminent writers, actors and musicians gave speeches, including five greats of British music - Edgar, Parry, Parratt, Stanford and Bridge.
from http://nla.gov.au/nla.news-article79080358
Mr Rudyard Kipling was the principle speaker, and he took the opportunity to argue the case for bands as a necessary accompaniment to the Empire's military preparations. Mr Kipling argued for 'an end of the present curious arrangement by which our soldiers go marching here, there, and everywhere….miles of training preparation with no sound of music save that of their own singing and whistling', and he urged the value of the band as a recruiting agent.
In Kipling's view, 'a few drums and fifes in the battalion mean at least five extra miles in a route march'. He suggested that 'a band can swing a battalion back to quarters happy and composed in its mind, no matter how wet or tired its body may be. Even when there is no route marching, the mere come and go, the roll and flourishing of drums and fifes around the barracks, are as warming and cheering as the sight of a fire in a room'.
Mr Mason commented on the eloquence with which Kipling spoke, and included a number of other quotes from his speech: 'No one, not even the adjutant, can say for certain where the soul of the battalion lives, but the expression of that soul is most often found in the band'.
Page 22 of the Queenslander Pictorial, supplement to The Queenslander, 5 June, 1915, John Oxley Library, State Library of Queensland Image. 702692-19150605-0022
Page 22 of the Queenslander Pictorial, supplement to The Queenslander, 5 June, 1915
'Twelve thousand men whose lives are pledged to each other must have some common means of expression, some common means of conveying their thoughts of themselves and their world. The band feels the mood, and interprets the thoughts'
'We are a tongue-tied brood at the best. The bands can declare on our behalf, without shame and without shyness, something of what we all feel'.
Procession of soldiers from the 42nd Battalion, Brisbane, 1916, John Oxley Library, State Library of Queensland Neg. 159144
Procession of soldiers from the 42nd Battalion, Brisbane, 1916
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text:
(Per)Forming Art
Performance as Research in Contemporary Artworks
(Per)Forming Art 2015
(Per)Forming Art Symposium 2015 was funded by the Royal Musical Association. The event took place on Sunday 20th September, 2015 at the University of Leeds, England, and welcomed delegates from Belgium, Denmark, England, Italy, the Netherlands, Scotland, and Thailand.
Registration: 09:30-10:00 (tea/coffee/biscuits served in the foyer)
Session 1: 10:00 – 11:20 (CCCH); Chair: Connor Stanford
10:00 – 10:40: Marina Liontou Mochament (Leiden University, Orpheus Institute), 'Enhancing inspiration: Metric modal improvisation as a tool for composition in contemporary modal music'
10:40 – 11:20: Dr James Wyness, 'performing sound-as-sound – an investigation of complexity'
Break: 11:20 – 12:00 (tea/coffee/biscuits served in the foyer)
Session 2: 12:00 – 13:20 (CCCH); Chair: Magdalena Halay
12:00 – 12:40: Jacopo Gianninoto (Assumption University of Thailand), 'Renaissance Redux // Recercare Performing Project'
12:40 – 13:20: Adilia Yip (Royal Conservatoire Antwerp), 'Inventing new compositional process via oral transmission practice'
Lunch (and an opportunity to browse the academic posters on display!): 13:20 – 14:40
Session 3: 14:40 – 15:40 (CCCH); Chair: Harley Johnson
14:40 – 15:20: Dr Maria Kallionpää (University of Oxford), Dipl.-Psy. Mag. Hans-Peter Gasselseder (University of Aalborg), 'Beyond the Piano: the Super Instrument. Widening the Instrumental Capacities in the Context of the Piano Music of the 21st Century'
15:20 – 16:00: Paul Wolinski (University of Huddersfield), 'If in Doubt, Make It Loud: Exploring the Composer/Audience Relationship in Live Computer-Based Music Performance'
16:55: pre-concert talk about the RMA by Katy Hamilton (Royal Musical Association) in CCCH
Concert (as part of the (Per)Forming Art Concert Series): 17:00 – 18:30 (CCCH)
This concert will comprise music composed and/or performed by selected candidates. The proposed programme structure is as follows:
17:00-17:10: Paul Wolinski
17:10-17:20: Dr James Wyness, abdecedarian menuiseries
17:20-17:30: Dr Maria Kallionpää, Trinity Mania (2010)
17:30-17:50: interval (tea/coffee/biscuits served in the foyer)
17:50-18:00: Adilia Yip, Inner Sight Etudes (2015)
18:00-18:10: Jacopo Gianninoto, 'Renaissance Redux // Recercare' Performing Project
18:10-18:20: Marina Liontou Mochament
The (Per)Forming Art Symposium and evening concert will take place in the School of Music, University of Leeds on the 20th September, 2015.
Jacopo Gianninoto (Assumption University of Thailand), 'Renaissance Redux // Recercare Performing Project'
"Cercare" in Italian is the verb "to search" so "Ricercare" or "Recercare" could be interpreted as "to search again".
Starting from a background in Lute studies and the usual "historical performance practice" combined with an interest for improvisation and composition the project brings the Renaissance spirit and compositional approach, with regard to the improvisational practices being the fundament for the written music left into the various manuscripts available nowadays, into a contemporary context.
The performer engage in the extemporary creation of pieces in the Renaissance style by improvising on the typical musical forms of the period being dance forms from the different European traditions such as Canario, Passacaglia, Gaitas, Jota, Gigue and so on or counterpoint based forms such as the "fantasie" and "ricercare".
The result is what the author believe being the real "historical performance practice" given the fact that according to the available sources there is plenty of evidence that composers of instrumental music back then would mostly rely on improvisation and even if they did published some books of tablature they would rarely play such music by following the score as strict as we might do today in the so called "classical music" world.
Instrumental music in the Renaissance was mostly improvised and very often the published scores, written with the tablature system, would be prepared not my the author himself but by other people, bring his students or admirers, in the spirit of preserving the work of those great masters for the future.
Hence to play strictly from the score is a debatable approach if the objective is that of achieving an authentic performance of that period music.
Renaissance Redux is a music performance based on Renaissance music forms newly improvised with an original instrument (Renaissance Guitar) and what is considered to be – according to the musicological studies – to be the original technique.
Dr Maria Kallionpää (University of Oxford), Dipl.-Psy. Mag. Hans-Peter Gasselseder (University of Aalborg), 'Beyond the Piano: the Super Instrument. Widening the Instrumental Capacities in the Context of the Piano Music of the 21st Century'
Thanks to the development of new technology, musical instruments are no more tied to their existing acoustic or technical limitations as almost all parameters can be augmented or modified in real time. An increasing number of composers, performers, and computer programmers have thus become interested in different ways of "supersizing" acoustic instruments in order to open up previously – unheard instrumental sounds. This leads us to the question of what constitutes a super instrument and what challenges does it pose aesthetically and technically? Our presentation explores the effects that super instruments have on the identity of a given solo instrument, on the identity of a composition and on the experience of performing this kind of repertoire. The super instrument comes to be defined as a bundle of more than one instrumental lines that achieve a coherent overall identity when generated in real time. On the basis of our own personal experience of performing the works discussed, super instruments vary a great deal but each has a transformative effect on the identity and performance practice of the pianist. This discussion approaches the topic from the viewpoint of contemporary keyboard music, showcasing examples of super instrument compositions of the 21st century. Thus, the main purpose of this practise based paper and lecture concert is to explore the essence and role of piano or toy piano in a super instrument constellation, as well as the performer´s role as a "super instrumentalist". We consider these issues in relation to case studies drawn from our own compositional work and a selection of works composed by Karlheinz Essl.
Marina Liontou Mochament (Leiden University, Orpheus Institute), 'Enhancing inspiration: Metric modal improvisation as a tool for composition in contemporary modal music'
This lecture-recital will present my work-in-progress on the subject of metric modal improvisation and modal composition.
Considering improvisation and composition as two sides of the same coin, I am currently focusing on the creative influence of metric improvisation practice on compositional practice. Through researching, analysing and decoding of improvisational practices in the field of modal improvisation in the wider area of the Mediterranean, I am configuring ways, tools and techniques that can provide material to 'enhance inspiration' in compositional practice.
The proposed lecture – performance will demonstrate the above process. Starting with the performance of what now is one of my finished works, I will 'de-compose it', showing the step-by-step process and the influence of the improvisation practice that led me to the work, depicting through the medium of performance the symbiotic relationship and the iterative process that inextricably connect improvisation and composition practices. Finally, I aim this way to raise a fruitful discussion on the role and the influence of improvisation on composition practice in contemporary modal music.
Paul Wolinski (University of Huddersfield), 'If in Doubt, Make It Loud: Exploring the Composer/Audience Relationship in Live Computer-Based Music Performance'
The live performance of computer-based music has inherent complications relative to more traditional modes of music performance. Unlike the explicit human gestures of a punk band thrashing at their guitars or the bow of a solo violinist rising and falling as it creates a melody, the computer musician does not always have the means to so tangibly tie sounds they are making to physical action. In the privacy of the studio, this abstraction of sound from gesture is no kind of limitation, but live, electronic music at all scales is still often represented in the form of a performer crouched behind a laptop whilst all manner of detached noise erupts around them. The study of contemporary popular music composition and performance has produced much on processes available to composers and ways of making performances of electronic music 'more live'; what has been less discussed is ways of composing that better harness the potential of a live show beyond considering the direct actions of the performer. For example, how is the phenomenological experience of an audience altered by a performer making 'really live' music on a laptop rather than simply pressing play on iTunes if the audience's view is the same in both instances?
In this lecture-recital, I focus primarily on possible approaches to remedy the lack of visible expression in electronic music performance. Part of this is an autoethnographica examination of the time I have spent in the band 65daysofstatic, an instrumental electronic/noise/guitar group which began with the conviction that no matter how exciting electronic music might be, in terms of 'the live show', no electronic artist we had ever seen was ever as exciting as a band of people behind guitars and a drum kit. I also draw on ideas from Don Ihde, Marian Dura, Denis Smalley, Nicola Dibben amongst others to discuss the phenomenology of a live show from the point of view of the audience, and how that influences composition and performance.
Nobody can choose exactly how the audience will interpret their music, but by considering the phenomenological aspects of how it is presented in a live environment, you can try and guide them in the desired direction. Lights, visuals, volume and the action (or lack of) on stage all play a role in the audience's subjective experience. I perform songs from my current live show (http://tinyurl.com/paulw-live, built as part of my PhD research) to demonstrate an attempt of the practical application of these phenomenological ideas by developing synchronised visualisation alongside compositions, discuss how 65daysofstatic approach this in a different way, and suggest that the sinister forces of lowest common denominator Electronic Dance Music are way ahead of us all in learning how to bludgeon audiences with full-spectrum, military-grade phenomenological manipulation.
Dr James Wyness, 'performing sound-as-sound – an investigation of complexity'
Referring specifically to electroacoustic performance-as-composition, music is defined as an investigation of the complexity of sound-as-sound rather than sound-as-sign, a personal definition based on research into semiology, anthropology, the origins of language development, social and cultural theory, morphology, determinism/randomness and evolutionary biology. Complexity refers to the shape of sounds – morphogenesis and morphology – and to how sounds combine and coalesce. More generally the author agrees with Xenakis in considering music as acoustical energy. The problem of composition, and indeed performance, lies in how best to use that energy. Developing the idea that meaningful composition can result from the careful preparation of a performance's constituent parts, performance is considered as a set of techniques and processes for composing music. A practice-based research which guides the eventual composition is implicit throughout both preparatory processes and performance. The lecture-recital is supported by slides and excerpts from a new work for 4-channel sound, Unmasking Cryptic Variation. The underlying research question is this – is the proposed performance-as-composition process (compared to a studio process resulting in a fixed medium outcome) as effective in creating exciting, innovative and ambitious new music, of sufficient complexity to engage a listener, yet accessible to the kind of audience prepared to bring something of its own to the table? The workflow begins with the generation and gathering of material (itself a performative procedure, recursively embedded into the larger form) typically from one source or similar sources undergoing related physical processes. This material, recorded, is shaped, again performatively, to create multiple layers of homogeneous sound. These composed layers, by means of submixing, are 'packed' into single channels, separated and balanced, creating 'blocks' of up to sixteen channels of dense elements to be further articulated through performance in the studio from laptop and mixing desk, then distributed to loudspeakers. In concert conditions the performance will work from sixteen software channels to eight at the desk to four loudspeakers.
The performance constitutes the composition by virtue of energy invested into the complexity of the 'back-story'. What remains is the articulation of homogeneous elements in Euclidian space – a composition is in one sense fixed with respect to the elements but flexible in its articulation and distribution throughout the performance space, as defined by the positioning of the loudspeakers. Any subsequent fixed medium composition is a separate though related enterprise.
This personal methodology, as practice-based research, could be described as qualitative, offering a way of perceiving things, rather than quantitative, producing physical objects or specific actions. It is intended to be of interest, alongside the unorthodox research base, within the more general context of musical composition, offered as an example of building a niche and staying consistent from beginning to end. As an investigation of complexity the resulting music shouldn't be understood as necessarily complicated. Aesthetic simplicity can derive, when valid and profound, from inner complexity.
Adilia Yip (Royal Conservatoire Antwerp) 'Inventing new compositional process via oral transmission practice'
In this project, compositional process is inspired by the oral tradition observed in the African balafon music, which gives insights to both composer and performer to enrich their compositional and performing techniques. The new composition, Inner Sight Etudes(2015)is an experiment and a duo game between the composer and the performer, anew compositional process that follows a pragmatic approach in four steps:
observe the means of communicating music—score reading in Western classical music and oral tradition in African balafon music;
compare the music practice of score reading and oral tradition of communicating music between musicians;
test sessions for new means of communicating music ideas, excluding the visual perception—the "decoding" between composer and performer; and
build a performance that reflects the cognitive experience of the above creative processes
Out of different perspectives of performance experience, we specifically look into the dilemma of the use of notation score as the medium of communication between composer and performer. In classical music, the score is the preferred medium between composer and performer, as score reading has brought ease in communicating and recording music, and for instance, the ability of sight-reading. The cognitive process of score reading is highly depending on visual perception, which neglects the representation and communication of sound and sound-producing movement. What is music and where does it reside? Is it embedded in the score, in our visual representation or in the notation software? Auditory and tactile perception are the fundamental senses in music performance, but paradoxically barged by our overly reliance to score reading. As such, both composer and performer in this project would like to work together to search for other medium of communication in music, rather than score reading.
Inner Sight Etudes is a sensory performance consists of eleven pieces for marimba solo and duo, a reflection of the cognitive experience of the performer learning balafon music orally during her field study in West Africa. The performer follows only the verbal and sonic instructions of the composer, without using conventional music notation score. Communication between composer and performer is made viable through the following "decoding" methods (non-visual "scores"):
Tactile medium
Recalling the memory of various moments and emotions of life events
Movement pattern
Aural reaction game
Literature texts
Midi sound files
Some stylistic qualities of the balafon music are also adapted in Inner Sight Etudes, i.e. pentatonic scale and polyrhythm; and the use of special settings, i.e. blindfolded, hand gloves, harmonic effects and theatrical lighting effects. These parameters can expand the compositional possibilities on marimba, and add extra theatrical and sonic experience to the audience to witness the compositional process.
The new compositional process contributes to the artistic practice of both composer and performer. By leaving the conventional classical practice of score reading, the musicians explore new means of communicating music that shed light on the compositional process; and likewise, the new process brings insights to deepen the performance technique – improvements in aural ability and internalization of music.
The (Per)Forming Art Concert took place in the Clothworkers Centenary Concert Hall at 5pm
Paul Wolinski
James Wyness, abdecedarian menuiseries
Maria Kallionpää, Trinity Mania (2010)
Interval (tea/coffee/biscuits served in the foyer)
Adilia Yip, Inner Sight Etudes (2015)
Jacopo Gianninoto, 'Renaissance Redux // Recercare' Performing Project
Marina Liontou Mochament
Concert Programme Notes
One part of my research has led me to begin an ongoing project that is exploring game-engines as a means to compose with (and through) physics and virtual space. My initial step for this was to create reactive 3D environments based on material from my 2014 album Full Bleed to explore the ways in which sounds can be connected to space. Although not primarily designed as a performance tool, the visuals also lend themselves to being a way to deal with the eternal problem of playing laptop-based music 'live'. My evening performance will highlight some of this ongoing work.
audio: hand-made bowed psaltery, electronic bows, spring steel rods, tempered steel bandsaw blade, steel tubes, iron nails, ferrite rods, metal files, stones, coal, stone floors, concrete, vibrating devices, arabic duffs, fm radio, fans, ducts,
basal and abdecedarian menuiseries drawing on minds of gizan provenance and, yes, ancestry
flatus of muscat oils but not yet dragged, beaten, abused nor penned in cages of the late 20th century's new ages
flint-knapping cuneate and trichotomous, yet planate along one axis, inspirited by powers of ulfberht or katana, more locally peddled along the cheviot range, haggled over in hen gymraeg
seen to fruition by a proclivity as old as the taung child, kbs tuff or sibling encased in koobi fora ash, stylistically a self-imposed suffering as if under the siege of harfleur, studied with the patience of a koyukon bear-hunter.
un nouveau vernaculaire
to understand the generators of formal properties look on the façade of the musée d'orsay from a vedette for the demon of one of these. Then all resemblance to linearity broken in favour of robbe-grillet's bicycle wheel on the voyeur's island or flaubert's helicoid as emma b, tasting of encre noir, prepares to fit her (undoubtedly) lily-white sarcophagus.
The main idea of Trinity Mania is to combine three different instruments (piano, toy piano and electronics) into one "super instrument". Instead of forming separate identities, each instrument is supposed to complete the others. The presence of only one performer underlines this approach: the pianist is in charge of all the instrumental lines simultaneously. The composing process of this work started during my residency period in Benin, West Africa, where I got inspired by the rhythmic structures of African music. I was particularly interested in using complex and controlled polyrhythmic patterns and at the same time maintaining improvisational freedom. Although not directly based on African music, Trinity Mania is an abstract and subtle study of these characteristics.
Inner Sight Etudes (2015) is a sensory performance consists of eleven pieces for marimba solo, a reflection of the cognitive experience of the performer learning balafon music orally during her field study in West Africa. The performer follows only the verbal and sonic instructions of the composer, without using the conventional music notation score. The communication between composer and performer is made viable through the following "decoding" methods (non-visual "scores"):
Movement patterns
Some stylistic qualities of the balafon music are also adapted in Inner Sight Etudes, i.e. polyrhythm, and the use of special settings, i.e. blindfolded, hand gloves, harmonic effects and theatrical lighting effects. These parameters can expand the compositional possibilities on marimba, and add extra theatrical and sonic experience to the audience to witness the compositional process.
How does it feel to be inside the circle?
Moving and at the same time still.
A three-part composition for ud
Proditio
(Per)Forming Art in Pictures


text:
Heavy rainfall to hit most parts of country today
Strong monsoon winds penetrating central, lower parts of country
Samaa Web Desk Aug 18, 2022
The Pakistan Meteorological Department (PMD) on Thursday forecast thundershowers for Sindh, Balochistan, Punjab, Khyber-Pakhtunkhwa, Kashmir and Gilgit-Baltistan during the next 24 hours.
A local media outlet said heavy showers are also likely at scattered places in Sindh, eastern Balochistan, south Punjab and southern K-P during the period.
According to the synoptic situation, strong monsoon currents were penetrating in central and lower parts of the country.
During the last 24 hours, thundershowers with isolated heavy falls occurred in all the provinces.
According to the meteorological office, parts of Balochistan and Sindh can receive approximately 100-150 mm of rainfall. Indus River may get flooded too.
National and provincial agencies for dealing with natural disasters have also directed the administration of the respective districts to take necessary precautions and to avoid unnecessary travel by taking precautionary measures.
monsoon rains


text:
This article contains records and statistics for the Melbourne Storm Rugby League Club who have played in the Australian National Rugby League competition since 1998. Statistical information on this page is for NRL games only and does not take into account games against non NRL teams e.g. World Club Challenge games.

This article is current as the end of the 2022 NRL season.

Sources of information: Rugby League Project  and Rugby League Tables

Melbourne Storm Win–loss record

Club honours

NRL Premierships

NRL Runners Up

NRL Minor Premierships

NRL Under-20s Premierships

World Club Challenge Titles

Finals Appearances
1998, 1999, 2000, 2003, 2004, 2005, 2006, 2007, 2008, 2009, 2011, 2012, 2013, 2014, 2015, 2016, 2017, 2018, 2019, 2020, 2021, 2022

Club Records

Winning Games

Top 10 Biggest Wins

Top 10 Highest Scores

Most Consecutive Wins
19, Round 4 (2 April 2021) - Round 23 (19 August 2021)

Biggest Comeback

Recovered from a 22-point deficit.
Trailed Cronulla-Sutherland Sharks 22-0 after 32 minutes to win 36–32 at Shark Park (16 March 2003).

Losing Games

Top 10 Biggest Losses

Top 10 Highest Scores Conceded

Most Consecutive Losses
6, Round 7 (27 April 2002) - Round 13 (8 June 2002)

Worst Collapse
Surrendered an 18-point lead.
Led Canberra Raiders 18-0 after 29 minutes to lose 22–18 at Melbourne Rectangular Stadium (17 August 2019).

Individual Records

Games for club
 NRL Games only
 Players that have played 150+ games for the club

Try Scoring Records

Top 10 Most Tries For Club

Most Tries In A Match

Most Tries In A Season
Current Record in Bold

Points Scoring Records

Top 10 Most Points For Club

Most Points In A Season
Current Record in Bold

Top 10 Most Points In a Game

Most Goals In A Game
11, Matt Orford - July 2, 2004 vs Penrith Panthers at Olympic Park

Age Records

Oldest Player Fielded
37 years and 129 days, Cameron Smith - October 25, 2020 vs Penrith Panthers at Stadium Australia

Youngest Player Fielded
17 years and 347 days, Israel Folau - March 16, 2007 vs Wests Tigers at Olympic Park

Discipline

Players sent off

Most sin bins - career
 5 — Cameron Munster - 2017 R20, 2017 QF, 2018 R23, 2018 GF (twice)

Longest suspensions

Honour Roll

Captains
This is the complete list of all players that have captained the Melbourne Storm Rugby League club in an NRL game since 1998. Order is dictated by the year and round in which each player first captained the team. Between 2006 and 2007 the club had a rotating captains policy, so there were a large number of players listed as captain during this time. Cameron Smith, the club's longest serving captain, captained his first game during this period (Round 3 2006) even though he did not become the permanent Captain until Round 18 in 2007, this makes him the clubs 11th Captain. Following the retirement of Smith, the club announced that they would use co-captains instead of a single captain during the 2021 and 2022 seasons. Since February 2023, the incumbent captain is Christian Welch.

Source:

Coaches

NRL

NRL Under-20s

Chair

CEOs

Life Members
Starting in 2005, Melbourne Storm has recognised significant figures in the history of the club, by awarding them life membership.

Individual Competition Honours

NRL

NRL Hall of Fame
Inducted for their contribution to the rugby league in Australia and New Zealand.
2008 – Glenn Lazarus (95th Inductee)

Clive Churchill Medal
Awarded to NRL Grand Final Player of the Match
1999 – Brett Kimmorley
2007 – Greg Inglis
2009 – Billy Slater
2012 – Cooper Cronk
2017 – Billy Slater
2020 – Ryan Papenhuyzen

Dally M Medal
Awarded to NRL Season Player of the Year
2006 – Cameron Smith
2011 – Billy Slater
2013 – Cooper Cronk
2016 – Cooper Cronk
2017 – Cameron Smith

Preston Campbell Medal
Awarded to NRL All-Stars Player of the Match
2020 – Brandon Smith

State of Origin

Wally Lewis Medal
Awarded to State of Origin series Player of the Year
2007 – Cameron Smith
2009 – Greg Inglis
2010 – Billy Slater
2011 – Cameron Smith
2013 – Cameron Smith
2016 – Cameron Smith
2018 – Billy Slater
2020 – Cameron Munster

Ron McAuliffe Medal
Awarded to Queensland State of Origin Player of the Year
2005 – Cameron Smith
2007 – Cameron Smith
2009 – Greg Inglis
2013 – Cameron Smith
2015 – Cameron Smith

Brad Fittler Medal
Awarded to New South Wales State of Origin Player of the Year
2005 – Matt King
2014 – Ryan Hoffman

State of Origin Man of the Match
Awarded at the end of each State of Origin game.
1998 (Game 2) – Rodney Howe
2004 (Game 2) – Billy Slater
2007 (Game 1) – Cameron Smith
2008 (Game 2) – Greg Inglis
2008 (Game 3) – Israel Folau
2010 (Game 3) – Billy Slater
2011 (Game 1) – Cameron Smith
2011 (Game 3) – Cameron Smith
2013 (Game 2) – Cameron Smith
2015 (Game 1) – Cameron Smith
2016 (Game 2) – Cameron Smith
2017 (Game 3) – Cameron Smith
2018 (Game 3) – Billy Slater
2020 (Game 3) – Cameron Munster
2022 (Game 1) – Cameron Munster

International

Golden Boot Award
Awarded to World's Best Rugby League Player of the Year
2007 – Cameron Smith
2008 – Billy Slater
2009 – Greg Inglis
2016 – Cooper Cronk
2017 – Cameron Smith

Rugby League International Federation Player of the Year
Awarded to World's Best Rugby League Player of the Year
2008 – Billy Slater
2011 – Billy Slater
2012 – Cameron Smith

World Club Challenge Medal
Awarded to World Club Challenge Player of the Match
2000 – Brett Kimmorley
2010 – Cameron Smith
2013 – Cooper Cronk
2018 – Nelson Asofa-Solomona

NRL Nines Team of the Tournament
2016 – Tohu Harris
2017 – Cameron Munster & Brodie Croft

Other Awards

Rugby League Players Association

 2006 Best Back – Greg Inglis
 2006 Men's Academic Player of the Year – Matt Geyer
 2013 Men's Academic Player of the Year – Bryan Norrie
 2014 NYC Academic Player of the Year (Education) – Christian Welch
 2017 NYC Player of the Year – Harry Grant
 2015 Rookie of the Year – Cameron Munster
 2017 The Players' 13 Dream Team – Cameron Smith
 2018 The Players' 13 Dream Team – Cameron Munster & Nelson Asofa-Solomona
 2019 The Players' 13 Dream Team – Cameron Munster, Cameron Smith & Kenny Bromwich
 2020 The Players' 13 Dream Team – Cameron Smith
 2021 The Players' 13 Dream Team – Justin Olam & Brandon Smith
 2022 The Players' 13 Dream Team – Justin Olam & Cameron Munster

Sprit of ANZAC Medal
Awarded to the Michael Moore Trophy Player of the ANZAC Day Match against the New Zealand Warriors.
2009 – Adam Blair
2010 – Cooper Cronk
2012 – Kevin Proctor
2013 – Ryan Hoffman
2016 – Tohu Harris
2017 – Nelson Asofa-Solomona
2018 – Billy Slater
2019 – Cameron Smith
2021 – Jahrome Hughes
2022 – Ryan Papenhuyzen

National Youth Competition

Jack Gibson Medal
Awarded to National Youth Competition Grand Final Player of the Match
2009 – Luke Kelly

NRL Under-20s Player of the Year
2017 – Harry Grant

Melbourne Storm Pre-Season

I Don't Quit Iron Bar
Awarded to the best newly recruited player during pre-season boot camp and nominated by military facilitators.

2009 – Ryan Hinchcliffe
2010 –
2011 –
2012 –
2013 – Matt Duffie
2014 –
2015 – Dale Finucane
2017 – Brandon Smith
2018 – Tom Eisenhuth
2019 – Aaron Booth
2021 – Josh King
2022 – Tyran Wishart

Melbourne Storm Player of the Year Awards
The below awards are all handed out at the annual Melbourne Storm Player of the Year Awards night held at the conclusion of the NRL season.

Cameron Smith Player of the Year
Award renamed "Cameron Smith Player of the Year Award" as of 2022 Melbourne Storm Awards Night.
1998 – Robbie Kearns
1999 – Brett Kimmorley
2000 – Rodney Howe
2001 – Richard Swain
2002 – Rodney Howe (2nd)
2003 – Robbie Kearns (2nd)
2004 – Matt Orford
2005 – Cameron Smith
2006 – Cameron Smith (2nd)
2007 – Cameron Smith (3rd)
2008 – Billy Slater
2009 – Billy Slater (2nd)
2010 – Ryan Hinchcliffe
2011 – Cameron Smith (4th)
2012 – Cameron Smith (5th)
2013 – Cameron Smith (6th)
2014 – Jesse Bromwich
2015 – Jesse Bromwich (2nd)
2016 – Jesse Bromwich (3rd)
2017 – Cameron Smith (7th)
2018 – Cameron Munster
2019 – Dale Finucane
2020 – Cameron Smith (8th)
2021 – Jahrome Hughes

2022 – Cameron Munster (2nd)

Members' Player of the Year
2007 – Billy Slater
2008 – Billy Slater
2009 – Billy Slater
2010 – Cooper Cronk
2011 – Cooper Cronk
2012 – Ryan Hoffman
2013 – Cameron Smith
2014 – Cooper Cronk
2015 – Cooper Cronk & Jesse Bromwich
2016 – Cameron Smith
2017 – Cameron Smith
2018 – Cameron Munster
2019 – Cameron Smith
2020 – Ryan Papenhuyzen
2021 – Jahrome Hughes
2022 – Cameron Munster

Billy Slater Rookie of the Year
Award renamed "Billy Slater Rookie of the Year Award" as of 2018 Melbourne Storm Awards Night.
1998 – Ben Roarty
1999 – Matt Rua
2000 – Tasesa Lavea
2001 – Steven Bell
2002 – Michael Russo
2003 – Cameron Smith
2004 – Matt King
2005 – Brett White
2006 – Adam Blair
2007 – Israel Folau
2008 – Aiden Tolman
2009 – Kevin Proctor
2010 – Matt Duffie
2011 – Gareth Widdop & Jesse Bromwich
2012 – Mahe Fonua
2013 – Tohu Harris
2014 – Kurt Mann
2015 – Cameron Munster
2016 – Suliasi Vunivalu
2017 – Curtis Scott
2018 – Brandon Smith
2019 – Ryan Papenhuyzen
2020 – Tino Fa'asuamaleaui
2021 – Dean Ieremia
2022 – Tyran Wishart

Most Improved Player of the Year
2005 – Jake Webster
2006 – Cooper Cronk
2007 – Jeff Lima
2008 – Sika Manu
2009 – Aiden Tolman
2010 – Dane Neilsen
2011 – Kevin Proctor
2012 – Sisa Waqa
2013 – Kenny Bromwich
2014 – Jordan McLean
2015 – Tim Glasby
2016 – Cameron Munster
2017 – Felise Kaufusi
2018 – Christian Welch
2019 – Tui Kamikamica
2020 – Justin Olam
2021 – Nicho Hynes
2022 – Marion Seve

Back of the Year
2005 – Matt King
2006 – Greg Inglis
2007 – Billy Slater
2008 – Cooper Cronk
2009 – Greg Inglis
2010 – Cooper Cronk
2011 – Billy Slater
2012 – Cooper Cronk
2013 – Cooper Cronk
2014 – Cooper Cronk
2015 – Cameron Munster
2016 – Cooper Cronk
2017 – Will Chambers
2018 – Billy Slater
2019 – Jahrome Hughes
2020 – Ryan Papenhuyzen
2021 – Ryan Papenhuyzen
2022 – Ryan Papenhuyzen & Nick Meaney

Forward of the Year
2005 – Dallas Johnson
2006 – Ryan Hoffman
2007 – Dallas Johnson
2008 – Jeff Lima
2009 – Cameron Smith
2010 – Cameron Smith
2011 – Ryan Hinchcliffe
2012 – Ryan Hoffman
2013 – Jesse Bromwich
2014 – Cameron Smith
2015 – Cameron Smith
2016 – Cameron Smith
2017 – Jesse Bromwich
2018 – Dale Finucane
2019 – Cameron Smith
2020 – Brandon Smith
2021 – Brandon Smith
2022 – Harry Grant

Cooper Cronk Feeder Player of the Year
Award renamed "Cooper Cronk Feeder Player of the Year Award" as of 2017 Melbourne Storm Awards Night.
2010 – Jesse Bromwich
2016 – Joe Stimson
2017 – Brodie Croft
2018 – Scott Drinkwater
2019 – Harry Grant
2020 – Isaac Lumelume
2021 – Marion Seve
2022 – Sua Fa'alogo

Darren Bell U20's Player of the Year
Award renamed "Darren Bell Under 20's Player of the Year Award" after the death of the Melbourne Storm Recruitment Scout in 2011.
2008 – Louis Fanene
2009 – Gareth Widdop
2010 – Tohu Harris
2011 – Slade Griffin
2012 – Young Tonumaipea
2013 – Pride Petterson-Robati
2014 – Nelson Asofa-Solomona
2015 – Latrell Robinson
2016 – Louis Geraghty
2017 – Harry Grant
2018 – Trent Toelau
2019 – Trent Toelau
2021 – Antonio Sanele
2022 – Cole Geyer

Greg Brentnall Young Achievers Award
Award named after chairman of Victoria Rugby League, Greg Brentnall and presented to the most outstanding under 18 year old.
2009 – Lucas Grech
2010 – Richard Kennar
2011 – Mahe Fonua
2012 – Young Tonumaipea
2013 – Brandon Manasei
2014 – Charnze Nicoll-Klokstad
2015 – Aaron Teroi
2016 – Ben Nakubuwai
2017 – Jordin Leiu
2018 – Haele Finau
2019 –
2021 – Jay Natapu
2022 – Jared Nauma

Best Try of the Year
2014 – Young Tonumaipea Round 6 vs St George Illawarra
2015 – Marika Koroibete Round 19 vs Penrith
2017 – Kenny Bromwich Qualifying Final vs Parramatta
2018 – Josh Addo-Carr Round 8 vs New Zealand
2019 – Josh Addo-Carr Semi Final vs Parramatta
2020 – Ryan Papenhuyzen Round 12 vs Newcastle
2021 – George Jennings Round 18 vs Newcastle
2022 – Ryan Papenhuyzen Round 7 vs New Zealand

Stadium records
For consistency due to continual sponsorship changes over time, stadiums are listed as their official or most well known name

Primary Home Grounds used by the Storm

Secondary Home Grounds used by the Storm

Attendances
NOTE: From 2016–18 Melbourne Storm played one "home" fixture per year at Suncorp Stadium in Brisbane as part of a Double Header. These statistics have not been included on this table below as the Suncorp Stadium capacity is significantly higher than home venues in Melbourne and crowd numbers are distorted due to the games being double headers because it is not known how much of the crowd is there for the Storm games and how many are there for the other featured game.

Top 5 Home Attendances (Regular Season) - Home Games played in Melbourne

Top 5 Home Attendances (Finals)

Uniform sponsors and manufacturers

Notes

References

National Rugby League lists
Records
Melbourne sport-related lists
Australian records
Rugby league records and statistics

redpajama_set_name: RedPajamaWikipedia


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The meeting hall was filled with stony silence. For a period of time, there was only the hissing, cracking sound of flames in the braziers, and the irregular breathing of the people around him.
Almost everyone was stunned by the king's announcement in that instant.
They remained speechless for five seconds, until a childish voice belonging to a boy broke the silence.
All the attention, including King Nuven's profound gaze was directed to the Prince of Constellation, Thales Jadestar. He was standing in a corner with a flabbergasted expression on his face.
Putray faked a cough behind the prince and the dazed Thales then realized what he had done. He quickly flashed an apologetic, awkward smile.
Nevertheless, no one minded a foreign prince's gaffe at the moment.


text:
Monday | December 23rd, 2019
Heisman Mention Stocks Food Bank's Shelves
After winning the Heisman Trophy in historic fashion, Louisiana State University (LSU) quarterback Joe Burrow thanked numerous people, from teammates to coaches to family, getting emotional several times in his speech that lasted roughly seven minutes during the ceremony on Dec. 14. About half way through, Burrow briefly referenced his hometown of Athens, Ohio:
"Coming from southeast Ohio, it's a very impoverished area. The poverty rate is almost two times the national average, and there's so many people that don't have a lot. And I'm up here for all those kids in Athens and Athens County that, you know, go home to not a lot of food on the table, hungry after school. And you guys can be up here too."
Those remarks lasted barely 30 seconds but they were enough to raise almost a half-million dollars within days for the local food pantry. Athens High School and Ohio University graduate Will Drabold created a Facebook Fundraiser the morning after the Heisman ceremony with a $1,000 goal. That goal has been revised multiple times after raising $150,000 within a day and after four days exceeding $400,000 from more than 12,000 people, including donations from Louisiana. As of this morning, 13,313 people have donated $479,365 to the fundraiser.
Drabold designated the fundraiser for the Athens County Food Pantry, which last year raised $100,000, according to its annual federal Form 990 tax form. Barely one day later, the fundraiser surpassed the organization's total revenue over the past three years combined — $250,000. The fundraiser also has spawned smaller Facebook Fundraisers for neighboring food banks, as well as food banks in the Baton Rouge, La., area. Facebook Fundraisers no longer charge processing fees, however, donors must opt in to share contact information with a nonprofit.
In a message the food pantry staff posted to Facebook on Dec. 16, they thanked Burrow's supporters and fans. "For the fundraisers inspired by Joe Burrow, we are simply overwhelmed by the generosity of so many people! Our board will be having in-depth conversations about the best ways to use these funds. This is very new to us. We have never received an outpouring of financial support of this magnitude."
The organization asked for patience from those trying to contact it since it's been swamped by many messages and phone calls. In its statement on Facebook, the food pantry said Athens County faces many challenges, among them poverty and hunger. Athens County is the poorest in the state and the food insecurity rate of 20 percent is the highest in the area and likely in the state. "Low-wage jobs and transportation issues add to the problem as well. Our all-volunteer organization has worked for 40 years to address hunger, an issue that continues to plague our community," the organization said, serving 400 families in November.
Burrow, who transferred from The Ohio State University two years ago, won the Heisman as college football's best player by a record margin. He also set new marks for percentage of points available received and percentage of all ballots in Heisman voting. Burrow will next play on Saturday when No. 1 LSU takes on No. 4 Oklahoma in the College Football Playoff semifinal in the Chick-Fil-A Peach Bowl at Mercedes-Benz Stadium in Atlanta.
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New EBRD and FAO study reveals bioenergy potential in Turkey and Egypt
By Franka Klingel
The study is an important step towards identifying sustainable ways for turning bio-wastes into energy
Turning waste into wealth – this old dream of mankind – is actually possible. As a new study by the EBRD and FAO shows, the combined biomass of Turkey and Egypt could generate enough electricity to supply 700,000 homes and renewable fuels to replace more than 2 million tonnes of oil each year. These findings are good news for two countries that are facing similar, and significant, energy challenges.
Turkey's renewable energy plan
Economic growth and urbanisation in Turkey has resulted in a steady increase in electricity consumption, which is almost entirely met by imported fossil fuels. To reduce this dependency and decrease the budget deficit, the country has adopted ambitious targets including raising the share of renewable energy from a level of 13.5 per cent in 2013 to 20.5 per cent in 2023.
In this context, the study shows that more than 25 million tonnes of crop residues – mainly from sunflower, maize and cotton – and an indicative 150 million tonnes of livestock residues from cattle buffalo and layer chickens could generate more than 1 GW of electricity, or 100 per cent of the national target for renewable energy from biomass. Cotton stalk residues in particular have enormous potential – if 20 per cent alone of the stalk residue were used to produce briquettes and pellets, an additional 1 million tonnes of oil equivalent (Mtoe) could be produced each year. This is equivalent to 30 per cent of the biomass heating and cooling targets set out in the Turkish Renewable Energy Action Plan. Overall, the identified bioenergy potential could result in greenhouse gas (GHG) emission reductions of 6 million tonnes of CO2 equivalent each year, which is equal to the emissions from more than 1.3 million passenger cars.
Potential of biomass in Egypt
Egypt ranks amongst the 11 fastest growing greenhouse gas emitters in the world. In recent years, energy subsidies have led to a high budget deficit which the government is addressing through a reform that aims to decrease subsidies to 0.5 per cent of GDP by 2019. Meanwhile, an ambitious renewable energy target has been set: increasing renewable energy installed capacity from 3,385 MW in 2012 to 11,320 MW by 2020, or 20 per cent of the country's energy mix.
The estimated availability of 5 million tonnes of crop residues and 14 million tonnes of livestock residues could unlock an energy potential of more than 750 MW, which is equivalent to 7 per cent of the above target. The biofuels' potential is estimated at about 1.8 Mtoe per year, or 30 per cent of the annual liquefied petroleum gas consumption of the country. These residues are mostly concentrated in the Governorates of Behera, Sharkia, Dakahlia and Kafr-El Sheikh, all in the Middle Delta region. Overall, emissions could be reduced by 6.5 million tonnes of CO2 equivalent (the same as 1.4 million cars on the road) annually.
While the study reveals the potential for biomass use, it also acknowledges challenges. A lack of awareness and understanding about where potential exists and how it can be exploited are currently limiting the scaling-up of biomass use. Markets for technologies in this area are still nascent in both countries and there is also scope to improve the policy environment. In addition, the infrastructure and logistics required to develop the biomass supply chain are also very underdeveloped.
The study is an important first step towards the identification of sustainable ways for turning bio-wastes into energy. It provides a clear mapping of resources that are not related to the food chain and priority locations where these resources can be collected. It also gives an initial idea of the most effective utilisation routes under different market conditions. The study is highly relevant for public and private sector stakeholders including market and policy makers, project developers and investors.
The EBRD intends to build on the results of the study and the network of professionals and government representatives created during this cooperation with the FAO to promote (and possibly finance) sound investment projects in the bioenergy space. This will include working with the relevant authorities to improve policies and regulations and with sector and market players to develop the supply chains for residues as well as bioenergy production and utilisation platforms.
Full reports: Turkey and Egypt


Irrational Games' co-founder and BioShock creator Ken Levine is taking a short break from video games to make the jump to Hollywood. His first screenplay? The Hollywood remake of the 1976 cult classic science fiction film Logan's Run.
Logan's Run tackles the issue of population control as humans living in a utopia are exterminated at the age of 30 in a celebration known as passing into "Carrousel" and being "renewed." Of course, some people simply don't want to go to Carrousel, so a squad of police known as Sandmen hunt down these Runners and execute them.
One Sandman, known as Logan 5, stumbles across the conspiracy and is set to be "renewed" four years early. He becomes a Runner himself and must allude his former cohorts.
It's an excellent pre-Star Wars sci-fi film with some great ideas, but it's ultimately held back by low production values and a cheesy screenplay. Ken Levine has described the screenplay as a "passion project," and he has no doubt been influenced by Logan's Run given that both BioShock and BioShock Infinite also take place within utopian cities gone bad.
A remake has been in the works since 1994, and nothing has materialized in that time. Most recent rumors pointed to Ryan Gosling starring as Logan 5, and it would reunite him with Drive director Nicolas Winding Refn. However, Gosling dropped from the project in October 2012, so unless it picks up another star, seeing Levine's screenplay in action on film is still a long shot.
Levine will continue at Irrational Games in the meantime while writing.
Remakes are all the rage in Hollywood these days, so yet another new lifeless sci-fi remake of a film I love does not sound like an interesting proposition. With Levine being attached though, it could become something I wouldn't mind paying to see. If it ever gets made, that is.


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text:
My Piece of Paradise
Saying Goodbye Quotes
letting go is, simply put, not anything close to moving on
Let's say goodbye, the hundreth time, and then tomorrow we'll do it again- My Chemical Romance (Drowning Lesson)
Why does tonight have to end? Why don't we hit restart, and pause it at our favorite parts. We'll skip the goodbyes.- Matchbook Romance (Tiger Lily)
I'll miss you forever, I'll miss you always, Goodbye is so hard, but I'll say it anyways-Social Code (Miss You)
Screw hello, you had me at goodbye- Wakefield (Goodbye)
we laughed until we had to cry, we loved right down to our last goodbye, but over the years we'll smile and recall, for just one moment - we had it all
She wanted to change, to get away from her usual life, but how is she supposed to tell the people in her usual life she doesn't need them anymore?
If saying goodbye hurts so much, why do we say goodbye? Because it hurts so much more to keep holding on to something that isn't there. Like you're hanging off a ledge and someone is jumping up and down on your hands but you still can't let go. Like when you're little and you're being tickled...you shout for it to stop because it's torture, but then you go back for more, because somehow being tickled makes you feel safe and special. Holding on is like that...but the torture is painful...and it doesn't make you smile. That's why we're supposed to say goodbye. That's why we're meant to let go-punkfairydude (on bolt)
For every dream that's reborn, there's a dream that dies. For every hello you say, there's a sad goodbye
You hug him good-bye like it's nothing... While all you want to do is hold on forever. But you let go, smile and walk away. Then cry all the way home, because you know it will never be the same. Because, try as you might, you can't make someone love you. Sometimes you have to let them be free. And letting go... That is when love hurts the most of all
Goodbyes hurt the most when people leave without saying them
What is this feeling? It just seems like everything is getting smaller and smaller. It's all still there, but I can't touch it. I think it's called goodbye.
Oftentimes we say goodbye to the person we love without wanting to. Though that doesn't mean that we've stopped loving them or we've stopped to care. Sometimes goodbye is a painful way to say I love you.
I knew that this moment would come in time. That I'd have to let go and watch you fly. I know you're coming back so why am I dying inside? Are you searching for words that you can't find? Trying to hide your emotions but eyes don't lie. Guess there's no easy way to say goodbye.
Sure, you're supposed to have total recall of who won the Battle of Hastings and what motivated Hamlet. And probably you should be able to label all five Great Lakes. Perhaps you can...Perhaps it's easier to remember that first kiss. Or the time you and your friends couldn't stop laughing in math class. Or your locker combination or cafeteria mystery meat or the scintillating scent in the air when you-know-who glided past your desk... Or maybe it's easier to remember the thrill of passing the final or the fun of the last homecoming game or hugging your best friends in the world goodbye and knowing you'd be in touch forever... But still, wondering just a little...Will we always remember?
And so it comes just as it is, a day no longer here. And through my trembling fingertips, the memories of the year I try not to wave farewell to all our dreams, I will forget you never, I wonder if the crazy times will stay with you forever? But as I cry in pain of losing you, my dear and such good friend, I will not close the book and say farewell, this is the end For goodbyes create swift hellos, and days from now you'll see, That though it hurts to say goodbye, your friend I'll always be.
Sometimes there are things in our life that aren't meant to stay. Sometimes change may not be what we want. Sometimes change is what we really need. And sometimes saying goodbye is the hardest thing you think you'll ever have to do, but sometimes it's saying 'hello again' that breaks you down and makes you the most vulnerable person you'll ever know. Sometimes change is too much to bear, but most of the time change is the only thing saving your life.
It's weird...you know the end of something great is coming, but you want to just hold on, just for one more second just so it can hurt a little more.
Don't want to leave, but we both know sometimes it's better to go. Somehow I know we'll meet again, not sure quite where and I don't know just when you're in my heart, so until then, smile, don't want to cry saying goodbye.
I've learned that goodbyes will always hurt, pictures never replace having been there, memories, good or bad, will bring tears and words can never replace feelings.
This is our last goodbye...it's over, just hear this and then I'll go: you gave me more to live for than you'll ever know
Home | My Blog | About Me | Everything Fall Out Boy | More Than Friends Quotes | Love Quotes | Broken Heart Quotes | Funny Quotes | Growing Up Quotes | TV Quotes | Movie Quotes | Quotes By Me | Music Quotes | Depression/Pain Quotes | Loneliness/Missing You Quotes | Life Quotes | Happiness Quotes | Saying Goodbye Quotes | Friendship Quotes | Misc. Quotes | 30 Things Guys Should Know About Girls | Rhyming Poems | Nonrhyming Poems | Contact Me


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Super-fast mobile broadband access would offer a boost to Nottingham businesses, city council chief Jane Todd has said.
Nottingham City Council (NCC) boss Jane Todd has highlighted the potential benefits that would be seen if the location is chosen as the first in the UK to get a 4G mobile broadband service.
The local authority is one of ten city councils applying for the government's Urban Broadband Fund, which will provide public money to subsidise the rollout of super-fast fixed-line and mobile broadband services in areas that are set to miss out on private sector deployments.
All UK cities with more than 150,000 dwellings are able to bid for a share of the £100 million fund.
Speaking to the Nottingham Post, Ms Todd said the impact of next-generation digital infrastructure on the local economy should not be underestimated.
The NCC chief executive commented: "How exciting would it be for Nottingham to be the country's first 4G city?"
Businesses would be able to take advantage of improved connectivity and increased efficiency if the mobile broadband technology was rolled out in the area, putting Nottingham in a "much stronger position" to cope with future business requirements, she declared.
Alex Ball, executive assistant responsible for housing and regeneration at NCC, explained several organisations - from property development firms to IT companies - are working with the council on its application.
"This isn't just a city council bid, this is a total Nottingham bid, so we are really pleased to be working with partners all the way across the spectrum," he said.
"We are all coming together because we know this is a really big thing for Nottingham."
The successful applicants for Urban Broadband Fund cash are set to be announced by Chancellor George Osborne in next month's Budget speech. The ten core cities are bidding for the money, while the UK's four capitals - Belfast, Cardiff, Edinburgh and London - are all guaranteed to receive a share of the funding.


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Alibi 3-in-1 Web Cam, Speaker, and Microphone BWC001 Give the ultimate executive gift by offering this fun, yet functional technology item as a giveaway to meeting attendees. The 3-in-1 device captures video and sound which can be played, stored and shared on a computer. The pop-up web cam tilts and swivels to capture images in any direction. USB cable, sound cable, and CD-ROM software included. Includes 1-piece black gift box. Dimensions: H 7.5" x W 3.5" x L 3.5"
Give the ultimate executive gift by offering this fun, yet functional technology item as a giveaway to meeting attendees. The 3-in-1 device captures video and sound which can be played, stored and shared on a computer. The pop-up web cam tilts and swivels to capture images in any direction.


Finished Size: Approximately 45″ x 60″ MATERIALS Worsted Weight Yarn, approximately: Color A (Blue) – 17 ounces, (480 grams, 1,165 yards) Color B (Gold) – 14 ounces, (400 grams, 960 yards) Color C (Ecru) – 12 ounces, (340 grams, 825 yards) Crochet hook, size H (5.00 mm) or size needed for gauge GAUG.E SWATCH: 4″ x 31/2″ Ch 18 loosely. Work same as Afghan for 9 rows. Finish off. With Color A, ch 178 loosely. Row 1: Sc in second ch from hook and in next ch, ch I, * skip next ch, sc in next ch, ch 1; repeat from * across to last 3 chs, skip next ch, sc in last 2 chs: 90 sc and 87 ch-I sps. To work treble crochet (abbreviated tr}, yo twice, I insert hook in st or sp indicated, yo and pull up a loop (4 loops on hook), yo and draw through 2 loops on hook) 3 times. To work Shell, (tr, ch 1) 4 times in next ch-I sp] Row 2 (Right side): Ch I, turn; sc in first sc, ch 1, skip next ch-l s p, work Shell, * skip next ch- 1 sp, sc in next ch-l sp, ch 1, skip next ch-I sp, work Shell; repeat from * across to last 3 sc, skip next 2 sc, sc in last sc; finish off: 22 Shells. Note; Loop a short piece of yarn around any stitch to mark last row as right side. To work Cluster, ch 3,. yo, insert hook in third ch from hook, yo and pull up a loop, yo and draw through 2 loops on hook, yo, insert hook in same ch, yo and pull up a loop, yo and draw through 2 loops on hook, yo and draw through all 3 loops on hook. Row 3: With wrong side facing, join Color C with sc in first sc * (ch 1, sc in next tr) twice, work Cluster, (sc in next tr, ch 1) twice, sc in next sc; repeat from * across; finish off: 22 Clusters. Row 4: With right side facing, join Color B with slip st in first sc, ch 4 (counts as first tr, now and throughout), * dc in next sc, ch 1, sc in next sc, ch 1, keeping Cluster to front, sc in next sc, ch 1, dc in next sc, tr in next sc; repeat from * across: 111 sts and 66 ch-I sps. Row 5: ch 1, turn; sc in first tr and in next dc, ch 1, (sc in next sc, ch 1) twice, * sc in next dc, ch 1, skip next tr, sc in next dc, ch 1, skip next ch-1 sp, (sc in next sc, ch 1) twice; repeat from * across to last ch-l sp, skip ch-I sp, sc in last 2 sts: 90 sc and 87 ch-I sps. Row 6: Ch 1, turn; sc in first sc, ch 1, skip next ch-l sp, work Shell, * skip next ch-l sp, sc in next ch-I sp, ch 1, skip next ch-I sp, work Shell; repeat from * across to last 3 sc, skip next 2 sc, sc in last sc; finish off: 22 Shells. Row 7: With wrong side facing, join Color C with sc in first sc, * (ch 1, sc in next tr) twice, work Cluster, (sc in next tr, ch 1) twice, sc in next sc; repeat from * across; finish off: 22 Clusters. Row 8: With right side facing, join Color A with slip st in first sc; ch 4, * dc in next sc, ch 1, sc in next sc, ch 1, keeping Cluster to front, sc in next sc, ch I, dc in next sc, tr in next sc; repeat from * across: 111 sts and 66 ch-I sps. Row 9: Ch 1, turn; sc in 'first tr and in next dc, ch 1, (sc in next sc, ch 1) twice, * sc in next dc, ch 1, skip next tr, sc in next dc, ch 1, skip next ch-I sp, (sc in next sc, ch 1) twice; repeat from * across to last ch-I sp, skip ch-1 sp. sc in last 2 sts: 90 sc and 87 ch-l sps. Row 10: Ch I, turn; sc in first sc, ch 1, skip next ch-I sp, work Shell, * skip next ch- 1 sp, sc in next ch-I sp, ch 1, skip next ch-I sp, work Shell; repeat from * across to last 3 sc, skip next 2 sc, sc in last sc; finish off: 22 Shells. Rows 11-153: Repeat Rows 3-10, 17 times; then repeat Rows 3-9 once more; at the end of Row 153, do not finish off. EDGING Rnd I: ch I, turn; slip st in first sc, ch 2, (slip st in next ch-I sp, ch 2) across to last 2 sc, skip next sc, (slip st, ch 2) twice in last sc working in end of rows, skip first row, * [(slip st in next row, ch 2) twice, skip next row] 2 times, slip st in next row, ch 2, skip next row; repeat from * across; (slip st, ch 2) twice in free loop of ch at base of first sc working over beginning ch, (slip st in next sp, ch 2) across to last 2 chs, skip next ch, (slip st, ch 2) twice in free loop of last Chi working in end of rows, skip first row, slip st in next row, ch 2, skip next row, [(slip st in next row, ch 2) twice, skip next row] 2 times , repeat from t to t across, slip st in same st as first slip st, ch 2; join with slip st to first slip st. Rnd 2: Slip st in first ch-2 sp, ch 1, do not turn, sc in same sp, ch 1, * (sc in next ch-2 sp, ch 1) across to next corner ch-2 sp, (sc, ch 2, sc) in corner ch-2 sp, ch 1; repeat from * around; join with slip st to first sc. Rnd 3: * (Slip st in next ch-I sp, ch 2) across to next corner ch-2 sp, (slip st, ch 2) twice in corner ch-2 sp; repeat from * around to last ch-I sp, slip st in last ch-I sp, ch 2; join with slip st to first slip st, finish off.


Today I did the final activity of the holiday blogging challenge. For this activity, we had to create a Ven Diagram. Our Ven Diagram needed to show the differences between the New Zealand Harbour Bridge, and the Australian Harbour Bridge, and in the middle, show the similarities.
Hey Jack I really like your Venn Diagram and the the things you have decided to list on it. I also like how you linked the sites from you got your facts from. Your blurb for this blog post is very simple but enough for people to understand what you blog post is about. Awesome job!
Great job on finding all of these awesome facts! Although, did people really die whilst making the bridges? And also why do you think that the Sydney harbour bridge charges a toll?
Great work on doing this!
I like how you DLO is basic and simple. I think you should add bullet point or number to your sentence.
I enjoyed reading all your holiday blogging posts and chose to comment on this one because the facts you have included in your Venn Diagram are interesting. I can remember a long time ago when we crossed the Auckland harbour bridge we also had to pay tolls to use it. Don't forget to proof read your DLO to make sure you have checked the alignment and your tenses.
Great job on completing all of the PBS Blogging Journey posts Jack. How did the people die creating the bridges? Keep up the amazing work.
Hi Jack. You have done an excellent job on completing the entire PBS Blogging Journey. I really like your venn diagram because the facts you have provided are very interesting. I also found having to pay a toll to cross the Sydney Harbour Bridge interesting.


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Game of Thrones (3 3/4-inch): Jon Snow, Samwell Tarly, and Ygritte by Funko
It's Sunday and a lot of you are going to be going through Game of Thrones withdrawal tonight, so I decided to pop in with a fairly quick little Feature to take a look at Funko's new line of 3 3/4-inch Game of Thrones figures. Yes, in a weird turn of events, Funko has abandoned their rather decent 6-inch GoT Legacy Collection line and went for these 3 3/4-inch figures instead. To be clear, these aren't part of their ReAction line, but rather seem to be designed to stand as their own self-contained series. The initial assortment consists of six figures and all of them are focused on the War in the North. Unfortunately, that's the aspect of the series and books that interests me the least. As a result, I didn't go all in, but just picked up three to see what they are all about. And thank The God of Fire, for that, because these really suck!
Package presentation has never been one of Funko's problems. The packaging was often the best thing about their ReAction line and the collector friendly boxes used in the Legacy Collection were great. Here, we have a simple and clean presentation for a carded 3 3/4-inch line. The front of the card is generic and feature a large bubble that shows off the figure well. There's an insert at the bottom with the character's name, and the back of the cards has a screen capture of the character from the series. I would have preferred a "Collect Them All" sort of thing on the back, but whatever.
It's worth pointing out that I thought this line had a lot of potential. Game of Thrones features a rich universe of characters and while I really dig a lot of the 6-inch figures, this smaller scale was perhaps better suited for producing that wide number of characters. Obviously, these are not collector friendly, so let's rip them apart and take a quick look, starting with Jon Snow.
Aaaaaand, yup! The arm broke off at the shoulder right out of the package. It's actually possible it was already broken in there and the cape was just keeping it in place because it really does fit snug against the shoulders. How great a start is this? "You know nothing (of quality control) Jon Snow!" It's not even a ball joint or anything complicated, just a simple swivel. It's also one of only nine points of articulation on the figure. At this point, I was ready to bin the figure and scrap this Feature, but I decided to move on with a quick look…
Overall, this is a pretty soft sculpt without an over abundance of detail or paint. In fact, from the neck down there is some silver paint on the belt fixtures and nowhere else. I suppose the Black Watch garb is convenient as Funko didn't have to invest in many paint operations. The head sculpt is better than the ReAction stuff, and honestly not terrible for a figure in this scale, but it isn't great either. One of the straps for the cape seems like it was supposed to be attached, but it looks damaged and just hangs loose. All these figures have the same articulation. You get the standard vintage style in the shoulders and hips, with additional hinges in the elbows and knees. The heads are ball jointed. In the case of Jon Snow, the cape renders the shoulder articulation useless, but you can take the cape off by popping the head. It doesn't help much in my case since my figure is now missing his right arm. Snow comes with one accessory, his sword, which is fairly decent for the scale. I just hope he's left handed. Moving on to his buddy…
Samwell came out of his package without any limbs falling off, so that's a step up. He features a chunkier build and sculpted quilting on his tunic. Again, there's very little in the way of paint here. In fact, other than the flesh on his hands, there's no paint at all from the neck down. Once again, the drab costumes of The Black Watch work to Funko's favor and save money on paint. The head sculpt is about as passable as Jon's. Samwell comes with a crossbow, which he cannot hold in anything resembling a firing position. It's a pretty stupid accessory for him anyway. He should have come with a book or maybe a dragon glass dagger. Moving on…
And last up we have Ygritte. The sculpt here is super soft, and the costume is downright f'ugly, although some of that has to do with her just wearing a hodge-podge of furs, so I won't harp on it too badly. Here, Funko couldn't get away without some paint apps, but it's basically just gray and brown and some darker brown wash over the fur. The head sculpt here is easily the worst of the three, as it's a tad over-sized and there's no likeness to the actress at all. If these were still ReAction figures, I'd probably give it a pass, but seeing as how the other two at least resemble their screen counterparts, I'll dub this one a fail. The quiver is a separate piece and secured with a shoulder strap and she comes with her bow.
And there you have it… these are unfortunately pretty lame, and that's not all that unexpected. I've been on record praising some of Funko's stuff when they deserve it, but this is a weird line and I really don't know what they're going for here. They're clearly not in the same category as ReAction, but they aren't anywhere near good enough to be considered seriously as a legit 3 3/4-inch action figure line in the year 2016. At least only one of them broke, but that was enough to keep me out of this line in the future. Maybe there's some merit here to keep them carded and hang them on the wall, but even that's a reach. At ten bucks a pop, these would be a funny joke, if they weren't ripping people off. Between these and the horrible Fallout figures, I think it's time Funko abandon the action figure market and just go back to taking over the world with Pop Vinyls!
By figurefanzero • Tagged funko, game of thrones
3 comments on "Game of Thrones (3 3/4-inch): Jon Snow, Samwell Tarly, and Ygritte by Funko"
Yeah, not digging these that much at all. I can see the wisdom in going with a 1/18th scale but considering that Funko couldn't make the fairly nice 6 inch line work seemingly, it seems odd to assume that the issue was the scale.
banzaibobafb
I miss the Legacy GoT figures. Aside from some QC issues, I really dug the line.
figurefanzero
I think it was a great line too. I had mixed feelings when they announced these. I thought at least it would allow them to do tons of characters (which obviously never happened), but the few I bought were so bad, I was done before I even began.
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The floor beams went in today. Today the hot-rolled steel section floor beams went up. The roof beams should be next. The light guage floor joists will follow but I am not sure where in the sequence. Photos of today's activity are up on the 6030 House Flickr set.


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Despite the inauspicious start to my journey (where I was desperately sick from food poisoning on the way there, with me ending up literally crawling to the door of my suite at The Strand to open the door to the hotel staff who brought me some aspirin), my trip to Burma remains one of the more memorable trips I have ever taken. Our trip started in Yangon, the capital. Then we took the Road to Mandalay and on to the best part of the journey – Bagan.
1) Those of you who have read or know of Amitav Ghosh's The Glass Palace will find this photo familiar. It is the U Bein Bridge in Amarapura. We were on this bridge at dusk and it was just so beautiful. The is supposedly the longest teak bridge in the world. This photo hangs next to the one of the old lady with the cigar on our wall.
2) The Shwedagon Pagoda in Yangon. I can't remember exactly, but I think the guide mentioned that parts (or all?) of this pagoda were made of gold.
3) The palace. Sorry, I don't remember the name. I am assuming that this was part of a palace, because it was surrounded by a moat and I remember that we stopped here for quite a while and the guide was going on and on about something. This was in Yangon. That much I remember.
4) I do not remember the name of this place either. Sorry… pushing 40, childbirth, motherhood. All I remember is that this was on the grounds of a place with many, many pagodas. Here, you take off your shoes not only if you want to enter a pagoda, but you take them off at the entrance to the grounds itself. This is the same place where the photos from yesterday's post were taken, where the people were not wearing any shoes.
6) Bagan - The land of stupas. We were told by our guide that the word 'stupefied' came from the word 'stupa' –because when whoever-coined-that-word was greeted by this sight, he was struck dumb by what he saw --the many, many stupas dotting the land, as far as the eyes could see.
See that hint of rainbow?
If you are to visit only one place in Burma, definitely head for Bagan. Seeing all those stupas was just mind-boggling. The whole vista just breathtaking.
Woah honey, those shots are better than the ones you see in travel brochures. Gorgeous!
Glad you're better - and yes! These shots are lovely!
My mouth is hangin open. These shots are truly breathtaking. Indeed I am stupified. Just amazing!
Thanks for sharing your traveling adventures with us!
Beautiful images! They really look like postcards.
Thanks for commenting on my blog. I really appreciate it.
Are stupas temples? Sorry to hear that the beginning memory was one of having food poisoning. The pictures are breathtaking. I liked the one with the rainbow!
WOW... beautiful photos. looks like a pretty amazing place.
It's just absolutely breathtaking! I hope to do some extensive traveling at some point again!
These could be postcards. My favorite is the one with the rainbow. Gorgeous!
Those really are beautiful and what a gorgeous place to visit! I love looking at interesting buildings. The shot of the lady with the cigar is awesome too!
Beautiful photos! Thanks for letting us have a glimpse of those places too.
These are beautiful! We never see this side of Burma/Myanmar, only the ugly side that they show us on the news. Thanks for sharing.
Amazing!!!!!! You should add a little map on your sidebar, with all the places you've visited!!
Beautiful pictures! The buildings are all so amazing.
Wow! YOu have been to so many beautiful places!!! It does look breathtaking, and your pictures are wonderful!!!
Postcard perfect. You could bind these into a coffee table book!
Those are all beautiful!! Have you ever considered selling those pictures to a travel magazine or a website? Seriously, they are gorgeous pictures!
Beautiful sights! What a wonderful place.


and forth of brine, to save that which was sure to die.
Joanne Clement is a PhD candidate at Newcastle University where she is undertaking an ekphrastic investigation into the engravings of Thomas Bewick. The winner of a Northern Promise award in 2012, she writes in North Shields and was most recently short listed for the Melita Hume Poetry Prize.
Photo: "Whitby Harbour" by Paul Stephenson.


A tooth is essentially made up of the outer hard layer of Enamel, which supports the inner layer called Dentine. At the core of the tooth surrounded by Dentine, is a space filled with a soft tissue known as the Dental Pulp, which consists of blood vessels and nerves originating from the end of the root of the tooth. The channel that the pulp passes through in the root is known as the root canal.
Infections of the pulp can develop subsequent to decay, deep restorations, cracks or trauma. Typical indications of pulp damage include pain, prolonged sensitivity to heat or cold, discolouration of the tooth and swelling and tenderness in the nearby gums, although sometimes, there may be no symptoms.
Thus, Endodontics is a specialised area of Dentistry that focuses on retaining teeth affected by infective diseases of the pulp and the associated inflammation of the supporting structures.
Endodontists are Dentists with further specialised university training in this discipline. Endodontists' specialty further includes the diagnosis of oral and facial pain as well as the management of dental trauma. Although General Dentists are able to perform Endodontic treatment, patients are often referred to an Endodontist when the case proves more complicated than usual.


I have been Lecturer in Brazilian Studies at Queen's University Belfast since September 2012. My main research interests are in digital culture and the texts and practices of urban representation in Brazil. A central thematic and methodological concern in my work is the idea of circulation.
My doctoral research, completed at the University of Liverpool in 2011, examined the use of blogs and other internet platforms by Brazilian favela residents. Since then, I have worked on Brazilian webdocumentaries relating to urban change in Rio de Janeiro, in the context of the city's recent hosting of global sporting mega-events, and am currently researching data activism relating to armed violence and public security in Brazil.
A further area of interest is Brazilian documentary and audiovisual production, especially as it intersects with digital culture.
I take an interdisciplinary approach in my work, combining approaches from literary and cultural studies and the social sciences, and have broader interests in digital ethnography, and ethical and methodological issues in interdisciplinary research.
I am keen to engage a wider audience with the themes of my research, and currently do this via two cultural engagement initiatives, the Belfast Brazilian CineClub, which screens Brazilian documentaries in Belfast, and Other Registers, a collaborative sound installation about police violence in Rio de Janeiro, which has so far been staged in Rio de Janeiro, Belfast, London, and Sydney.
I am a member of the collaborative Digital Latin American Cultures Network, and one of the founders of REBRAC - European Network of Brazilianists Working in Cultural Analysis. At QUB, I am involved in the Latin American Studies Forum, the Centre for Documentary Research, the Centre for the Americas, and the New Methods for New Media Network.
As well as my PhD I also hold an MA in Area Studies (Latin America) from the University of London, with a final dissertation on internet cafés in Peru, and a BA (Hons) in Modern Languages (Spanish and French) from the University of Cambridge. Prior to undertaking doctoral study, I worked in London and Rio de Janeiro variously as a project coordinator, researcher, consultant, editor and translator specialising in the social, cultural and development uses of information and communication technologies.
My main teaching interests are digital and visual cultures in contemporary Brazil, and the representation of urban Brazil (particularly Rio de Janeiro and its favelas).
I contribute interdisciplinary teaching on cultural, social and historical aspects of Brazil, from the sixteenth century to the present day, to undergraduate modules in Portuguese and Introduction to Lusophone Studies. I also participate in Portuguese language teaching, with particular emphasis on translation into English and writing in Portuguese.
At Level 3, I also offer an optional module on 'Brazilian Digital Culture: Trends and topics' as well as a cursillo (mini-module) entitled 'Circulating Violence: Films about public security in Rio de Janeiro'.
At postgraduate level, I contribute teaching on ethical and methodological issues in digital culture research and in 2014-2015 offered an MA module on Brazilian non-fiction audiovisual production and circulation. I am available for MRes supervision on topics relating to Brazilian culture and society, particularly digital and audiovisual cultures. Please see the list for PhD supervision below.
I currently supervise PhD students working on documentary, digital technologies and urban change in Brazil (DEL Strategic Award in collaboration with Professor Cahal McLaughlin) and Lusophone African cinema (AHRC Northern Bridge studentship, co-supervised with Dr Maria Tavares). I was second supervisor for a PhD project on chicana literature, completed in 2018. I welcome enquiries about potential supervision - see below.


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Q: FFMPEG Concat result audio delay I am editing some old homemade videos and I would like to split the files (~2h long, 60 GB) to smaller chunks ~10-15 min long for archiving on different media.
Currently I am testing merge/concatenate of the files (segments) back to the full length video (source).
Source files are interlaced, constant 25 fps, lossless ff1v 3.4, yuv 4:2:2 with pcm_s16le 48kHz audio. I generate splitted files with demuxer "segment" with the following command:
ffmpeg -r 25 -i source.mkv" -force_key_frames "expr:gte(t,n_forced*60)" -map 0 ^
-c:v copy -c:a pcm_s16le -f segment -segment_time 00:01:00 ^
-segment_time_delta 0 -reset_timestamps 1 -break_non_keyframes 0 ^
"%%~out_part%%03d.mkv"

(-r, -force_key_frames can be omitted - result is the same)
Then I use VirtualDub2 to compare number of frames, frames at split positions and audio: the command generates segments which are identical to the source (frame numbers, audio delay etc.). So, this step seems to be OK.
With the concat command I concatenate these splatted files (segments):
ffmpeg -f concat -safe 0 -i list.txt -c copy D:\output.mkv

When comparing (VirtualDub2) the result of concat with the source I noticed that the result has a delayed audio (video frames are ok) - see image bellow.
Now, this is not a deal braker, since the delay is about 10 ms per segment, but I am still wondering if I am doing sth wrong.
It seems that delay is compounding: concat of 1 minute segments will generate more delay than concat of 5 min segments.
IMAGE of source vs Concat result (and segment), audio delay
With ffprobe (-show_format -show_streams) on segments I noticed that the audio stream has a property "start_time=0.001000", could this be a problem?
I ran "-f md5" hash and "-framehash -hash md5" on source and concat result but the hashes are equal. It could be VirtualDub2 itself…
Are there any parameters for concat or perhaps segment that can be used to mitigate this behavior?
Any suggestions are welcome.
Best Regards!

Info on source file:
Input #0, matroska,webm, from 'source.mkv':
  Metadata:
    ENCODER         : Lavf58.29.100
  Duration: 00:34:47.16, start: 0.000000, bitrate: 64117 kb/s
    Stream #0:0: Video: ffv1 (FFV1 / 0x31564646), yuv422p(bt470bg), 768x576, 25 fps, 25 tbr, 1k tbn, 1k tbc (default)
    Metadata:
      ENCODER         : Lavc58.54.100 ffv1
      DURATION        : 00:34:47.040000000
    Stream #0:1: Audio: pcm_s16le, 48000 Hz, stereo, s16, 1536 kb/s (default)
    Metadata:
      DURATION        : 00:34:47.161000000

A: As it turns out using concat in the way described above leads to audio issues.
Alternative is to generate .m3u8 file (segment list) with options copyts and start_at_zero. Additionally one should extract audio to separate file as a whole (not segmented).
Command for segmenting a file:
ffmpeg -i "source.mkv" -dn -sn ^
    -c:v copy -c:a copy -copyts -start_at_zero ^
    -f segment -segment_list "out.m3u8" -segment_time 00:05:00 "out_part%%03d.mkv" ^
    -dn -sn -vn -c:a copy "out.wav"

This should generate m3u8 file, video+audio segments and audio file in wav.
Concatenation: instead of using concat, we open the m3u8 playlist and audio file and merge segments with command:
ffmpeg -i "source.m3u8" ^
    -i "source.wav" ^
    -map 0:0 -map 1:0 ^
    -c:v copy -c:a copy "out_merged.mkv"

With command map we map appropriate streams to out_merged file.
In my limited testing the audio was ok even if I omitted generating separate audio file (and just merge audio in segments) but it seems to me this is better practice for archiving.
I am not knowledgeable enough in ffmpeg to know the difference with this approach and using concat like in OP (sth on killing timestamps maybe?). I got similar code and "inspiration" from the following answer: https://superuser.com/a/1536037/1147027 . It mentions distinction between "segment list file" and "concat file".
So big thanks to Eugen Rieck.

To add:
On some files there was a 1/4 of a frame audio delay but it seems that it was not compounding over the length of the video (2h) or due to shortening segment duration (1 min segments vs 5 min segments), like it does in the case with concat in OP. This was true while merging segmented audio or audio in a separate file.
The merged file is somewhat smaller than the source (~700 B on 30 GB video) but md5 hash of audio/video is the same.
The interesting thing is that if the merged file is segmented and merged again (source > segment -> merge > segment2 > merge2) there is no audio delay in merge2 vs merge (even if there was in source vs merge) and the files are the same size. md5 hash stays the same.
Moreover I tested segmentation and concatenation on generated video+audio clip. It represents some simple colors and sine wave audio with added "beeps" for easy detection of anomalies between segments:
ffmpeg -v "verbose" ^
    -f lavfi -i color=white:640x480:d=720 ^
    -f lavfi -i color=red:640x480:d=900 ^
    -f lavfi -i color=blue:640x480:d=420 ^
    -f lavfi -i "sine=f=25:b=100:r=48000:d=2040" ^
    -filter_complex "[0][1][2]concat=n=3:v=1:a=0,format=yuv420p[v0]" ^
    -map "[v0]" -map 3:a -shortest ^
    -c:v ffv1 -c:a pcm_s16le sample_source.mkv

redpajama_set_name: RedPajamaStackExchange


NATURE LOVERS' PARADISE! PRICED TO SELL! This is a MUST SEE property and includes a FARMHOUSE, OUTBUILDINGS, AND 130 ACRES! It is perfect for hunting, fishing, farming, ranching, hiking, canoeing, bird watching, or just relaxing a short distance away from the city. The 100 YEAR OLD FARMHOUSE is 2,096 sq.ft. and was RESTORED and UPDATED with an eye to retaining character and improving function. ORIGINAL WOODWORK has been retained throughout. The two original fireplaces have been renovated with Vermont Country Stove inserts offering warmth and charm. The home features a LARGE OPEN KITCHEN with butcher block counters. THREE BEDROOMS include a large master with en-suite downstairs and two large bedrooms upstairs. Additional home and 25±ac available.


Sesamoiditis is an inflammatory condition of the sesamoid bones and surrounding tissue. It causes pain and discomfort in the ball of the foot behind the big toe.Sesamoiditis normally progresses over a long period of time as a result of stress on the foot (i.e. from footwear like high heels).However, it can also be a result of sudden trauma.