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The Queensboro Plaza station (originally named Queensboro Bridge Plaza station or simply Bridge Plaza station) is an elevated New York City Subway station at Queens Plaza (originally called Queensboro Bridge Plaza or simply Bridge Plaza) in the Long Island City neighborhood of Queens. It is near the east end of the Queensboro Bridge, with Queens Boulevard running east from the plaza. The station is served by the 7 and N trains at all times, the W train on weekdays, and the <7> train rush hours in the peak direction.

Queensboro Plaza was originally built in 1916–1917 as part of the Dual Contracts between the Brooklyn–Manhattan Transit Corporation (BMT) and the Interborough Rapid Transit Company (IRT). The station initially had eight tracks to allow BMT and IRT passengers to transfer between the Astoria, Flushing, and Second Avenue elevated lines. The northern section of the station was closed in the late 1940s and demolished in 1964. Queensboro Plaza now contains only four tracks: two each for the IRT Flushing Line () and the BMT Astoria Line ().

Today, Queensboro Plaza is the only station in the entire system to provide cross-platform transfers between "A" Division () and "B" Division () trains. While the station is near the Queens Plaza underground subway station, which serves the IND Queens Boulevard Line, the two stations are separate and do not allow free transfers.

History

Dual Contracts

The New York Public Service Commission adopted plans for what was known as the Broadway–Lexington Avenue route (later the Broadway Line) in Manhattan on December 31, 1907. A proposed Tri-borough system was adopted in early 1908. Operation of Manhattan's Broadway Line was assigned to the Brooklyn Rapid Transit Company (BRT, subsequently the Brooklyn–Manhattan Transit Corporation or BMT) in the Dual Contracts, adopted on March 4, 1913. The Dual Contracts also included opening the Steinway Tunnel, an incomplete tunnel between the New York City boroughs of Manhattan and Queens. The Steinway Tunnel would be operated by the Interborough Rapid Transit Company (IRT).

The Dual Contracts negotiations had been intricate and sometimes fractious. The IRT had initially been loath to let the BRT operate its Broadway Line through Midtown Manhattan, but relented when negotiators offered the BRT all of the proposed lines in the planned dual system. In Queens, which heretofore had no subway service, two lines had been proposed, both extending from an interchange station (later Queensboro Plaza) in Long Island City. The shorter Astoria Line would run to Astoria in northwestern Queens, while the longer Flushing Line would be built initially to Corona, and eventually to Flushing, in north-central Queens. As part of the Dual Contracts, the IRT was given ownership of both lines, but the BRT was given trackage rights over the routes, allowing both companies to share revenue from their Queens operations.

The Queensboro Plaza station was built as an eight-track station, with four tracks across two levels. Each company took two tracks on each level. The southern half of the station, which opened on November 16, 1916, served trains of the IRT. The northern half of the station opened on February 1, 1917, serving BMT trains. In general, BRT trains were wider and longer than those on the IRT, and the Queens lines were built so that they could only fit the narrower IRT trains. The IRT had direct service into Manhattan via the Steinway Tunnel, as well as via the Queensboro Bridge to the Second Avenue elevated line. However, BRT trains from the 60th Street Tunnel and the Broadway Line in Manhattan could not run north or east of Queensboro Plaza, as they were wider. Consequently, BRT trains from Manhattan had to terminate on the northern side of the station, where cross-platform interchanges were available to narrower BRT shuttle trains that could run in Queens.

The city government took over the BMT's operations on June 1, 1940, and the IRT's operations on June 12, 1940. In 1942, the IRT Second Avenue Line closed, and the upper portion of the north side was abandoned.

The service on the Flushing and Astoria lines east of Queensboro Plaza was shared by the IRT and BMT until 1949. BMT trains on the Flushing Line were designated 9, while IRT services on that line were designated 7 on maps only. BMT and IRT trains on the Astoria Line were both designated 8. The IRT routes were given numbered designations in 1948 with the introduction of "R-type" rolling stock, which contained rollsigns with numbered designations for each service. The route from Times Square to Flushing became known as the 7.

Service changes and station modifications
On October 17, 1949, the $1.375 million renovation of the station was completed which allowed the rerouting of trains between Manhattan and Queens. As part of the project, the Astoria Line platforms were shaved back to allow BMT service to operate through to 60th Street, and new connections were built between the 60th Street Tunnel approach and the west tracks at the east (former IRT) platforms, and the west (former BMT) platforms were closed. Once the project was completed, the IRT started using the Flushing Line only and the BMT started using the Astoria Line only. With the station's renovation, it became easier for passengers to transfer between the IRT and BMT lines. Instead of having to climb between the upper and lower level platforms, passengers were able to use cross-platform transfers. There was a crossover just west of the station which allowed the Astoria trains to access the Steinway tunnels. This was removed directly after the joint operation ceased in 1949. Much of the mezzanine was rebuilt as part of the project, including the pedestrian bridges leading to either side of Queens Plaza. On the north side of the lower level, a new window wall was constructed.

After the end of BMT/IRT dual service, the BMT's Astoria Shuttle was replaced with service from the 2 Fourth Avenue Line (later the RR train, then the R train), operating from Astoria–Ditmars Boulevard to Bay Ridge–95th Street in Brooklyn at all times. the New York City Board of Transportation announced that platforms on the Flushing Line would be lengthened to 11 IRT car lengths. With the exception of the Queensboro Plaza station, which was already  long, the platforms were only able to fit nine 51-foot-long IRT cars beforehand. The platforms at the other Flushing Line stations were extended in 1955–1956 to accommodate 11-car trains. However, nine-car trains continued to run on the 7 route until 1962, when they were extended to ten cars. With the opening of the 1964 New York World's Fair, trains were lengthened to eleven cars.

In 1964, the abandoned northern half of the Queensboro Plaza station was demolished. One set of crossovers remains on the upper level as the Flushing Line's only connection to the rest of the system. This connection is used for non-revenue moves, specifically to transfer subway cars to the Coney Island Shops for repairs, to transfer new cars to the Flushing Line, or to move rolling stock to or from the Flushing line.

In 1981, the MTA listed the station among the 69 most deteriorated stations in the subway system. The R train's northern terminal was swapped with that of the N in 1987, so the N went to Ditmars Boulevard and the R went to 71st Avenue. This station was renovated in the late 1990s, and the contract for the project's design was awarded in May 1994. The W train started serving the Astoria Line, including the Queensboro Plaza station, in 2001. The W was discontinued in June 2010 and replaced with the Q until November 2016, when the W was restored.

In 2018, it was announced that the Queensboro Plaza station may receive elevators as part of a process to expand the New York City Subway system's accessibility. , funding had been committed to accessibility renovations at the Queensboro Plaza station. Accessibility improvements at Queensboro Plaza were approved in December 2021, and the MTA began preliminary work shortly afterward, with plans to complete the project in 2024. The work will include a new elevator from the south side of Queens Plaza to the mezzanine and a second elevator from the mezzanine to the platforms. In addition, the overpass to the northern exit will be widened, and the mezzanine will be extended  east. The elevator from the platform will lead to the mezzanine extension. The project will also install new platform edges with ADA boarding areas, an ADA ramp at mezzanine level, additional digital information screens, and new CCTV and public address systems. Separately, in February 2022, developer Grubb Properties filed plans for a 26-story apartment tower at 25-01 Queens Plaza North; the project will include an elevator between the north side of Queens Plaza and the mezzanine.

Station layout

This two-level station has two island platforms (one on each level) and four tracks. It stands over the south (railroad east) side of the roadway, but formerly spanned the whole plaza. Trains running into Queens stop on the upper level and Manhattan-bound trains below. On both levels, the BMT Astoria Line (which to the south joins with the 60th Street Tunnel Connection and heads through the 60th Street Tunnel to the BMT Broadway Line) uses the north track and the IRT Flushing Line uses the south track.

In 2014, the station was renovated by NYCTA employees (as opposed to an outside contractor). A computer assisted tower was installed on the south end, as part of the IRT Flushing Line automation.

Track layout

In the original configuration, the station had eight tracks and four tracks per each level. Originally, the IRT used both sides of the current platforms, and the BMT used now-demolished platforms north of the current platforms, also double-decked. The south side of the IRT platforms was used by the Flushing Line, as today. The north side was used by Astoria trains, but instead of going through the 60th Street Tunnel, they went over the Queensboro Bridge to the elevated IRT Second Avenue Line. Double crossovers south (lower tracks) and north (upper tracks) of the platforms allowed trains from either side to switch to the other line after leaving the station.

At the BMT half, the south track served subway trains to Manhattan and the BMT Broadway Line. By 1924, trains came from Manhattan on the upper level, continued north to a merge with the lower level, and then returned via the lower level. Before that, trains reversed direction using a double crossover south of the platforms. Since the platforms were IRT-size, the BMT used its own elevated cars to provide service on the lines, with a required transfer at Queensboro Plaza. Shuttles from Astoria came in on the west side lower track and then reversed direction to head to Flushing; Flushing trains came in on the upper track and reversed direction towards Astoria.

During the early period of dual service on the Astoria and Flushing portions, IRT and BMT trains had their own stopping marks on the platforms and the sections of the platforms were separated. Passengers had separate entrances to the platforms depending on which service they wanted. This set-up prevented free transfers between the trains of the two companies. This arrangement had to end when the IRT lengthened trains. The two companies worked out an agreement in which the revenue collected on those stations was shared.

After 1949, the track layout around the station was greatly simplified. Only the original southern side of the Queensboro Plaza station remains in service, with two tracks on each level. Queens-bound trains use the upper level, while Manhattan-bound trains use the lower level. BMT trains use the northern tracks on each level and IRT trains use the southern tracks. A double crossover remains on the upper level.

Exits
The station's only exits are through a mezzanine located below the lower level (and formerly connected to the now torn-down BMT platforms to the west). From the mezzanine, there is a concrete ramp across Queens Plaza North to the second floor of a building. There is also an overpass leading to Queens Plaza South.

In popular culture

Queensboro Plaza is featured in a defining moment in the film Beneath the Planet of the Apes. The protagonist astronaut ("Brent") unknowingly enters the ruins of an underground station; upon seeing the words "Queensboro Plaza" in tiles, and finding an advertisement for the New York Summer Festival, he realizes that he is indeed on Earth and not another planet, and that New York City has been destroyed in a nuclear war. In reality, Queensboro Plaza is an elevated station and has no tilework.

The station is also featured in the Seinfeld episode entitled "The Cigar Store Indian", as the location of a renowned gyro stall, and again incorrectly depicted as an underground station, on an IRT Lexington Avenue Line  train.

The station is also incorrectly depicted as an underground station in an episode of Brooklyn Nine-Nine.

The station and nearby MetLife Plaza were a regular CG composite as location shots between scenes in ABC series Ugly Betty.

The station also appears briefly in the season 2 opening sequence of HBO political drama The Newsroom.

The station is also shown in the TV show The King of Queenss theme song, which shows a Redbird 7 train entering the station's upper level.

The station also appears on Sesame Street in a looking for triangles film with Maria (Sonia Manzano).

A shot of the station appears in the 2020 Pixar movie Soul.

Gallery

References

External links

 The Subway Nut — Queensboro Plaza Pictures
 MTA's Arts For Transit — Queensboro Plaza
 Queens Plaza North entrance from Google Maps Street View
 Queens Plaza South entrance from Google Maps Street View
 Upper level from Google Maps Street View
 Lower level from Google Maps Street View

IRT Flushing Line stations
BMT Astoria Line stations
New York City Subway transfer stations
New York City Subway stations in Queens, New York
Railway stations in the United States opened in 1916
Railway stations in the United States opened in 1917
Long Island City
1916 establishments in New York City
1917 establishments in New York City


My name is Maxine Claudelle and in December 2015 I finished a two-year certificate program to learn the art of perfume making, this blog is about my journey with The Perfumery Art School and beyond . Read the full bio to discover how how this blog is set up to help you learn more about the art or what else we might have in common.
I was born in British Guyana, my family immigrated to Canada when I was four, visited Austria, Germany and Italy by the time I was 16. Yes, I speak German and Italian fluently, along with some French. I studied Spanish in school but can't remember a thing to save my life. I moved to Italy when I was 18, married an Italian at 23, became a mother at 24, divorced at 29, left Italy to move back to Canada. Two books that I have written have been independently published and also did some personal life coaching. When I re-met the only man to make my heart sing at 43 I decided to move back to Italy at 44, we were married a year later and here I am! Phew!
I first started this blog back in May 2013 I had no idea that this commitment would end up lending form and flow not only to my days but to how I create perfumes — it was much more than I expected!
I didn't always desire to be a perfumer, that's not how things started for me. I began as an author of two books that I'm very proud of The Naked Millionaire and The Organic Entrepreneur. When I moved back to Italy I knew I wanted my life to take a different direction; but I was also very much aware that I could no more cease writing than I could breathing. I love to write — hell, I need to write to feed my Soul. When I first began I started to fill a need within myself. What I mean is there were plenty of open and closed forums on perfume making, some felt more like gated communities than places for open sharing. There were also a ton of perfume blogs where you could find reviews of all kinds of perfumes as well as some really insightful interviews but very, very few, that are dedicated to the art of perfume making, to those wanting to learn more about formulation. So, I began writing these lines as much for me as for you the reader.
The journey of becoming a perfumer – from the beginning of not knowing what a dilution is to when I sell my first bottle of juice and beyond that's what this blog is about. The life of a perfumer can be very solitary and in-ward looking though, which is what attracts me to the craft, there was an urgency to balance it out with something quite social and at the time I became super interested in photography which has become a secondary passion, and I use it now to explore other creative aspects of my life and character and it gives me the freedom to use my own images.
When I moved to Italy in 2009 to be with Lodovico (known as LV throughout the blog) I was really lucky that my daughter Dalma had also just met and fell in love with another Italian and decided to move to Italy after her undergrad studies. Yeah me! Even though we're four hours apart it's great to have her here that we can keep each other company. Italy is a very unique country, alive with so many juxtaposing concepts and customs, so rich with history and so raw that at times it feels like a powder keg, teaming with unbridled energy that seems to want to consume it from within. Living here also gives me the often exasperating experience of having to deal with EU and IFRA perfume regulations, customs clearance and shipping of perfume and perfume related materials. That, is not bliss! But it does teach me how to create in a restrictive environment, how to invent and apply my imagination with greater ability.
To say that I'm passionate about teaching is an understatement, and I have to say modestly, that I'm quite good at. Motivating others to find and live their greatness (yes, we've all got our thing) is what gets me really excited. I love living, being, being the change I want to see in the world (did I say it was easy?). I love, love, love personal style, which of course is different than fashion, that doesn't attract me at all, but seeing someone shine in their personal style, now that's beautiful to see. Right. Since photography is one of my passions 99% of the photos on this site were either taken by me, or Lodo (yes, I've got to eventually get around to adding a signature to all the photos, groan!). On those odd occasions where that is not the case credit is always given in the article.
So, what's a typical day like for me? Even before I get out of bed in the mornings I try to challenge myself to think of as many things I can that I am profoundly thankful for – most days I thank as many of my body parts as I can for functioning in optimal form every day. Then I imagine my day the way I want it to flow, seeing myself putting love forward in all I do. Before I hit the hay, very early I must admit (Lodo says I go to sleep with the chickens) but I can't help it I'm a morning person, I write a list of 10 things that I feel super blessed to have experienced during the day and why. Then the next day, at any time I feel I need an energy boost, I re-read the list out loud with feeling. I share this only because you will find impressions of this throughout my writing.
It is my goal each month to post about a quote that really affects the way I see things, an important lesson I'm learning in my perfumery adventures, a detailed evaluation of how my nose perceives a particular perfume ingredient from my growing collection of (currently 300+) raw materials. I profile natural aromatics (essential oils, concretes and absolutes), synthetic aromatics, natural identicals, natural isolates and tinctures. Each of these is grouped in categories with the exception of nature identicals and isolates simply because I haven't gotten around to them yet.
The chemistry of essential oils and aroma chemicals is one of my passions and I share this in each post on Aromatic Profiles with a little blurb on the chemical composition of that ingredient. You won't find it heavy on scientific terms as I'm not a chemist nor do I claim to be an expert in that field, but I thought it interesting to open the budding perfumers' eyes to the fact that there is a chemical side to even the natural ingredients and it's important to be aware not afraid of them.
You'll see in Aromatic Profiles that along with natural raw materials I include synthetics as well. This is because I have chosen to use synthetics or aroma chemicals as they are sometimes called, in my perfume making because it allows for greater freedom of olfactive and emotional expression. This is simply my personal choice and belief that I do not wish to limit myself in anyway – try to be as free as I can be in my life and I'm certainly not going to adopt a limiting approach in my art form simply because all natural is trending now. This does not mean that the perfumer out there who chooses to use only naturals is wrong – absolutely not – it's all a matter of choice, personal philosophy and conviction. There is a need for all types of perfumes and there is room for everyone.
The way I choose the quote for the month is I pick it based on how I resonate with it in that moment and then I live with it for a few weeks looking for signs for how it applies to my life, constantly keeping myself open to see examples of the quote in action.
Please keep in mind that I ma not an expert, nor a master perfumer. At the end of the day the pages of this perfumer's diary are my process, just my opinion, hence the name. Making perfumes is such a private, individualistic art and as an independent perfumer there is enormous freedom to create but it's also a complex art because the irony is while there are rules to follow to give form to one's olfactive "vision" there are no rules. I'll let you figure that one out. These pages are written to inspire you, the aspiring perfumer, and to shed some light along your scented path so you can make perfumes to inspire the world.
Thanks so much Kerry, much appreciated. You know, when I was reading your blog I had a thought that if we ever make it over that now I'd have a fellow perfume lover to meet with!
I just have to say that I actually can't stand perfumes (sorry!). It's too overpowering/claustrophobic/smelly for me (can't do scented candles, bath oils, etc.). HOWEVER inspite of all that, I'm still compelled to follow the blog b/c your writing is great and the blog is intriguing. Kuddos.
Pointes, your comment had me howling! I take your comment as a wonderful compliment. I find it very interesting that it's grabbed your interest in spite of your dislike of perfume, wonderful! I hope you and your family enjoy your new home in Grosse Point. Cheers!
Well, I love cooking and herbal medicine, and your perfume-making has similarities to both!
I have just discovered your blog and have to say that I'm quite envious by the fact that you're a perfumer in training.
I'll add you to my blogroll.
Thanks Lucas! I love your site and am honoured to be added to your blogroll :). Thanks too for the support. I believe in letting our dreams guide us, don't stop aspiring!
That's very sweet of you. I had no idea you know my blog. I found your site because in my admit panel it showed that someone entered my blog clicking at the link at yours.
You're welcome, Lucas. It was a no-brainer. Your site's really helpful to perfume amateurs like myself :).
Hello and thanks for commenting on the blog :). The tips and hints are very, very few really. The most important is to write from the heart. Write about what moves you about what you love and believe me, even over the internet people can feel it. The other is to write for yourself. I know we're all writing a blog and we know that people will read it, heck, that's a big reason why we do it, but don't loose sight (or your mind) of the fact that the main reason why we write is for ourselves. Period. The last is if you don't like something, anything, or everything about your blog, change it! It must please you first and foremost. Those are the most important tips I can give you, hope you find them helpful, and all the best blogging!


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Rachel: Portraits of the 14th Street Y
Home » Blog » Rachel: Portraits of the 14th Street Y
Bridget Badore, Photographer & Social Media Coordinator | SAT, DEC 16, 2017
It's a really great community. I didn't grow up with a lot of Jewish community as a kid and it was interesting to dip my toes into that with it still feeling in sync with my life. I really appreciate the diversity of the After School staff, and it's just nice to work somewhere that reflects the greater New York City that we live in. I think it's a good group of people doing good stuff.
I do feel like I found a real community when I started working here, because I found real people that exist in the city and are from the city rather than the liberal elite bubble where I went to college. Community for me is where I can show up and be the most legitimate form of myself and feel comfortable and feel celebrated. And I do feel that way here. I can literally just just bring me, and people are like, 'weird,' but they get on board with it. A lot of it is here. Some of that is in the comedy community, but a lot of that is here at the Y. I think it's also with my roommates and where I live. It can feel very split up because I feel like spaces provide you with different things and satisfy different parts of yourself.
I really like doing the Jewish programming here because it includes meeting people where they're at. It's how I was taught as a kid. We serve a community that isn't all the way Jewish. It's really rewarding when I can make Judaism accessible for people. For me it makes sense that I'm in this position, because as a kid I didn't grow up in very Jewish spaces. I was mostly, in a way, playing spokesman for Judaism… with limited knowledge on the subject, but really talked about it with confidence.
I didn't get Bat Mitzvahed or anything like that. Honestly as a kid being Jewish was mostly just celebrating the high holidays with my very dysfunctional family–which was only just my family. It was still such a big part of my identity and something I held on to, and something I will always hold onto in my life. It's cool to be in a position where I'm supposed to investigate this part of myself that's always existed, but also having it make sense for people that don't have it as part of themselves–finding a way for it to make sense for them. I think Shabbat is really fun because it literally is chilling, eating, and celebrating–who isn't going to get on board for that. It's fun songs and it's cool to see that dawn on people. It's not just weird and super religious–we're not talking about G-d every five minutes. It's a lot of just talking about general good here. It's connecting to families and life.
I think that especially with things that I've brought into Shabbat programming like 'Mensch shout outs' and being able to have kids talk about nice things people have done for them is really good. It gets them thinking outside of themselves. Mensch is just a Jewish word for 'good person,' so it's a very universal idea that people can latch onto, but being learned through a Jewish lens. You know, I think Jewish culture is a minor culture, less so in New York. I start with a Shabbat check-in and I present a Hebrew word that just means 'being a good person' or 'doing something nice' and it makes sense in any language. But here it is in Hebrew to kids that wouldn't otherwise have that Jewish association. It's good to think about and good to believe in. It's awesome to see them get excited about Jewish things.
This one girl, Emily, is obsessed with Shabbat and her mom came up to me the other day and said: "She has me buying Challah, it's so cute!" And they're not a Jewish family. Emily just loves Shabbat and Shabbat check-in. It's those type of things that are so nice to see.
Portraits of the 14th Street Y is a photography project by Bridget Badore that tells the stories behind the many faces of the 14th Street Y community, including members, staff, teachers, trainers, artists, caregivers, families, and local business owners. Each year, the unique stories of more than 20,000 New Yorkers is woven into the fabric that makes the 14th Street Y a Downtown home for all.
Learn more about this exciting photography series here. You can also follow along and support the Downtown Stories on Instagram, Facebook and Twitter.
Join us for eight days of Hanukkah celebrations here at the 14th Street Y!
We're also honoring the Jewish tradition of Tzedakah, which in Judaism is simply an act of justice and righteousness–the act of giving back to our community and those in need because it is the right thing to do.
We urge you to join us for 8 Days of Giving as we aim to raise $18,000 by December 31!
Your generous support helps us provide programs at reduced rates to those in need. No matter what holiday you celebrate, we hope you'll join us in the spirit of giving this year to help us keep our doors open to everyone in our beloved Downtown community.
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Mindful, Kind Kids: World Kindness DayA Portrait's Worth a Thousand Words

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If you've managed to plan your projects so you're doing inside work in winter, good for you. But since that's not always possible, it's essential to know how to keep workers safe when the mercury dips.
Chances are you've worked through many winters before, but it can't hurt to remind yourself — and your employees — of best practices.
Don't rely on "common sense." You can't depend on everyone having the same idea of common sense when it comes to safety in cold weather, especially since everyone has a different definition of "cold," and some workers may be new to cold weather. During your toolbox talks or safety meetings, talk about the hazards of cold temperatures and explain the signs and symptoms of frostbite and hypothermia. The Occupational Safety and Health Administration recommends making cold-weather awareness part of a safety plan.
Have snow cleared before work begins. Give crews a safer work area by clearing snow and de-icing before work begins. If snow continues to fall throughout the day, don't let it pile up; a shovelful of damp snow can weigh more than 20 pounds. If you have workers clear snow by hand, the Snow and Ice Management Association (SIMA) recommends clearing it after every few inches of snowfall and pushing rather than lifting the snow to reduce strain. See SIMA's website for other shoveling tips.
Have workers dress for the elements. It's best to wear at least three layers when working at, near or below freezing, avoiding cotton and anything tight. Start with a thin wool, silk or synthetic layer next to the body to keep moisture away from skin. A wool or synthetic (for example, fleece) middle layer provides insulation even when wet. An outer shell should provide wind or rain protection and preferably allow some ventilation. Insulated boots and gloves, glove and sock liners, a hard hat liner and face mask all provide extra warmth. Moisture increases heat loss, so workers should keep extra clothing on hand to change into if they sweat.
Provide warmth and beverages. Use heaters when necessary and find ways to shield work areas from wind. Make sure there's a warm break area and allow time for breaks. Provide cold or hot beverages (not caffeinated coffee). Dehydration puts workers at a greater risk of hypothermia by reducing blood volume. Breathing dry, cold air can make the body use as much as an extra gallon of water per day according to the University of Toledo Medical Center.
Mark hidden hazards. The last thing you want is a worker twisting an ankle after stepping on an object covered by snow. Clean up the worksite before a snowfall to avert hidden hazards. If there's snow on the site while employees are working, find and mark any covered-up objects until the snow is cleared.
Protect people on the ground during snow and ice removal from elevated surfaces. For instance, create a safety zone to keep workers out of the immediate area.
Make smart use of daylight. As days get shorter, schedule tasks that require bright light for the middle of the day, or install supplementary lighting.
Schedule heavy work during the warmest part of the day. Exhaustion happens sooner in very cold temps.
Remind workers to use extra care with ladders. Ice, cold and wind magnify the risks of ladder use. Make sure workers remove all ice and snow before using a ladder and place it on a surface clear of snow and ice. It's always smart to keep three points of contact (for example, two hands and a foot) with the ladder. According to OSHA, workers should not use a snow rake or shovel while on a ladder because of the significant risk of falling.


Eco King did a great job. They were very nice, not pushy and our carpets look awesome and they were dry within 30 minutes. They got every stain out and their prices were way lower than every other organic chemical company we had looked into. Its been 2 months now and they still look great. I would definitely recommend them.
These guys were great. Prompt service, very friendly and did a great job. I only needed one room done, and I was on an EXTREMELY tight schedule for the day. These guys worked around my schedule so I could get them in and out and handle the rest of my errands for the afternoon. They got out all the spots in my son's room, and left it looking brand new. I will definitely be calling these guys again in a few weeks when the carpet needs a re-clean!
Why choose Eco King over other cleaners?
Our powerful cleaning system coupled with our all natural, organic, and eco friendly cleaning agents allows you to enjoy your carpets and upholstery like they are new. No truck mounted hot water extraction systems out there get your flooring or fabrics as clean or have them dry as quickly as Eco King does.
To show our level of commitment to making sure your carpets are the cleanest they can be, we offer a 100% spot free guarantee for the first 30 days. That means if there is an accident that causes a spot within 30 days of us cleaning your carpet, we will come and clean the spot for free… no questions asked. Does not include pet stains of any kind.
100% no Soap left behind means you can have the peace of mind that your home will be left allergen free for you and your family to enjoy.Other companies use cleaning soaps and harmful cleaning agents that are forced to the under-layer by gallons and gallons of hot water only to leave the residuals behind to attract and act as glue to dirt. Our proven system leaves nothing; it just pulls out dirt and all other unwanted residues.
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A quick "hey!" to you all between fending of a puppy with a lot more energy and protecting his poor cousin from being pounced. Yes that's right, Ferbie is on the mend!
Pup is barking away so I'd better go rescue cousin Fern!


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Ян Захар ( 1 грудня 1936) — чехословацький футболіст, що грав на позиції нападника та півзахисника. По завершенні ігрової кар'єри — словацький футбольний тренер.

Кар'єра
Грав за «Тржинець», з яким у сезоні 1963/64 виступав у вищому дивізіоні в чемпіонату Чехословаччини, де зіграв у 24 матчах і забив 1 гол, втім команда вилетіла назад до другого дивізіону.

Після закінчення ігрової кар'єри став тренером. Він зробив собі ім'я під час роботи в клубі «Фрідек-Містек», яку 1976 року вивів вперше в історії до вищого дивізіону.

Після цього працював тренером у «Тржинці» (1978—1980), «Татрані» (1981/82) та в «Збройовці» (1984/85), а в сезоні 1985/86 керував столичною «Спартою», з якою став віце-чемпіоном країни.

У наступних сезонах очолював братиславський «Слован» (1986—1988), після чого знову повернувся до роботи в «Тржинець».

У 1993—1995 роках очолював словацькі «Кошиці», а у сезоні 1995/96 працював у чемпіонаті Чехії з «Баніком» (Острава).

Влітку 1999 року Захар повернувся до «Кошиць», де попрацював до кінця року, після чого завершив тренерську кар'єру.

Примітки

Література

 Luboš Jeřábek: Československý fotbal v číslech a faktech — Olympia 1991
 Jindřich Horák, Lubomír Král: Encyklopedie našeho fotbalu — Libri 1997
 Radovan Jelínek, Miloslav Jenšík a kol.: Atlas českého fotbalu — Radovan Jelínek 2006
 Antonín Zabloudil, František Čapka: 100 let fotbalového klubu FC Zbrojovka Brno — CERM 2013

Посилання

Чехословацькі футболісти
Футболісти «Тржинеця»
Народились 1936
Народились 1 грудня
Словацькі футбольні тренери
Чехословацькі футбольні тренери
Тренери ФК «Татран»
Тренери ФК «Збройовка»
Тренери ФК «Спарта» (Прага)
Тренери ФК «Слован» (Братислава)
Тренери ФК «Кошиці»
Тренери ФК «Банік» (Острава)

redpajama_set_name: RedPajamaWikipedia


Nothing works as well as flattery.
I fall for it, flatly, each time.
Some weeks ago I had this lovely comment on my latest (then) blog.
"I enjoy your pics and words alike. Thought I will express it this way..."
on to me an award, which had been passed on to her from a blogger, in turn to be shared with ten other bloggers.
The award is the Liebster award, and I quote from her post.
* Nominate 10 bloggers whom you feel are deserving of more subscribers & pass the award on to them.
or pretty tokens, sorry, just the award.
Next come the questions I have to answer. My answers in italics.
Occasions when I have been unintentionally rude to people.
2 One act of kindness that you encountered.
When a co-blogger chose me for an award and kick started me into blogging again.
Always, for what He has given me.
Only enough to make it interesting.
6 Which one of these two you do faster: thanking people or apologising?
7,. Ageing gracefully' – What does this mean to you?
8. If you are allowed to make one change to the ways of the world, what would you like to change?
Eradication of illness of any kind.
. 9. What constitutes a balanced life?
. Happiness through good health and sufficient wealth.
10. Has the internet globalised the world or polarised it?
Definitely made it a smaller place.
1. What would you do to improve the condition of women in India?
2. An opportunity you regret missing?
3. If you were asked to choose one book as your companion for life?
4. If you were asked to control prices of foodstuff where would you begin?
Let me see if I am able to maintain the pace.
My granddaughter Samyukta, all of four-and-a-half, has a story to tell. She drew the illustrations, and her mother wrote down the words as she narrated them. Proud me wants to share it with you .
It was supposed to be the best view we could have of the midsummer night's moon as it rose, closest to the earth than any other day this year.
It was a pleasant day, and we packed a picnic dinner, and off we went to Magnuson Park to catch the moon.
There were too many clouds, however, and we missed the moon, but in the west was a glorious kaleidoscope of shifting clouds, catching the brilliant hues of the evening sun at nine o'clock.
On our way back, we caught this view of the moon, over the cottage.


text:
Q: Journalctl seems to be ignoring since and until I'm trying to get the logs of a problem that's been happening for over a week by this point.  I'm trying to use journalctl to print the logs but it doesn't seem to give me anything more or less than the past 5 days.  I've tried using since/until but it doesn't change anything.
(0) $ sudo journalctl --since='2018-11-01' | head -n1
-- Logs begin at Mon 2018-12-03 09:17:53 CST, end at Fri 2018-12-07 18:27:14 CST. --
(0) $ sudo journalctl --since='2018-12-05' | head -n1
-- Logs begin at Mon 2018-12-03 09:17:53 CST, end at Fri 2018-12-07 18:27:23 CST. --
(0) $ sudo journalctl --until='2018-12-04' | head -n1
-- Logs begin at Mon 2018-12-03 09:17:53 CST, end at Fri 2018-12-07 18:28:40 CST. --

What;s especially weird is I can't even shrink the date range, so it's not an issue with logs not being stored back that far.  Does anyone know why journalctl would seem to ignore these flags?
Some system information:
(1) $ journalctl --version
systemd 232
+PAM +AUDIT +SELINUX +IMA +APPARMOR +SMACK +SYSVINIT +UTMP +LIBCRYPTSETUP +GCRYPT +GNUTLS +ACL +XZ +LZ4 +SECCOMP +BLKID +ELFUTILS +KMOD +IDN
(0) $ uname -a
Linux linux-01 4.9.0-8-686 #1 SMP Debian 4.9.110-3+deb9u4 (2018-08-21) i686 GNU/Linux

redpajama_set_name: RedPajamaStackExchange


Berlin is one huge city, but at the same time not so huge. Hard to explain. We rode the ungrounded a lot because the U2 was right out the door of our hotel, but we also realized what was 2 underground stops away was just under a mile away. It really felt like you were going to much farther.
We bought the ABC pass for 5 days and it was unlimited and could be used for buses, trams, trains and underground. If Berlin has it, it's included. Don't use the sightseeing buses, use public transportation.


text:
Электра Начиос (), обычно называемая лишь по имени Электра — героиня (хотя в прошлом к ней были применимы определения суперзлодейка и антигероиня) комиксов компании Marvel. Она была создана Фрэнком Миллером и впервые появилась в комиксе о Сорвиголове Daredevil #168 в январе 1980 года.

Электра — куноити и наёмная убийца, традиционно использующая в качестве оружия два сая. Она — гречанка по происхождению и своё имя получила от Электры, героини греческих трагедий, дочери Агамемнона и Клитемнестры.

Собственные серии комиксов
Электре посвящено несколько серий комиксов: 2 продолжительные и 10 коротких.

 Elektra Saga (1983) #1-4 (серия была собрана из раннее издававшегося материала)
 Elektra: Assassin (1986) #1-8
 Elektra Lives Again (1990) #1 (графический роман Epic Comics)
 Elektra: Root of Evil (1995) #1-4
 Elektra Megazine (1996) #1-2 (переиздание)
 Elektra (серия 1996 года) #1-19
 Elektra (серия 2001 года) #1-35 (Marvel Knights)
 Wolverine & Elektra: The Redeemer (2002) #1-3
 Ultimate Daredevil and Elektra (2002) #1-4
 Elektra: Glimpse & Echo (2002) #1-4
 Elektra: The Hand (2004) #1-5
 Ultimate Elektra (2004) #1-5
Elektra (серия 2014) #1-11
Elektra (серия 2017) #1-5

Биография
Электра Начиос, дочь греческого посла, будучи подростком, изучала боевые искусства. Находясь в США с отцом, она начала исследования в области политологии в Колумбийском университете Нью-Йорка. Там она познакомилась с другим студентом, Мэттью Мёрдоком, который позже станет Сорвиголовой. Мёрдок открыл ей, что он обладает сверхчеловеческим чутьём, компенсирующим слепоту, и они полюбили друг друга. Год спустя Электра и её отец были взяты в заложники террористами в здании на территории университета. Используя платок в качестве маски, Мёрдок с помощью Электры победил террористов. Тем не менее, полицейские приняли отца Электры за одного из террористов и застрелили его. Эмоционально разбитая Электра решила, что она больше не верит в закон и хочет уйти от мира. Героиня покинула Америку и Мёрдока.

Она уехала изучать боевые искусства в Японии, где вскоре примкнула к тайной организации боевых искусств, возглавляемой Стиком, который также был сэнсэем у Мёрдока. Электра провела там год и значительно развила свои навыки в боевых искусствах. Но Стик попросил её выйти из группы, потому что её по-прежнему переполняет боль от смерти отца и она испытывает ненависть к миру. Электра уходит к своему старому сэнсэю.

Будучи преисполненной решимости проявить себя, Электра проникает в Руку, секретную организацию ниндзя, преданных убийству и господству через страх. Она намеревалась подорвать их деятельность, но вместо этого Рука обманом вынуждает её убить своего сэнсэя. Электра служила Руке некоторое время, но воспротивилась ей и бежала из Японии.

Электра провела годы, работая охотницей за головами и наёмной убийцей. Во время работы в Нью-Йорке её пути пересеклись с Сорвиголовой, который, как она обнаружила, был Мэттом Мёрдоком, её старой любовью. Сорвиголова был категорически против её деятельности, но они по-прежнему любили друг друга. Они вместе сражались против Руки, но затем Электра была нанята Уилсоном Фиском. В этой роли она боролась с Сорвиголовой, ей было приказано убить лучшего друга Мэтта и его партнёра Франклина «Фогги» Нельсона. Тем не менее, она не смогла пойти на убийство, когда Фогги узнал её «Электру, девушку Мэтта». Вскоре после этого она боролась и была убита Меченным, который стремился восстановить своё прежнее положение у Кингпина. Электра умерла на руках Мэтта Мёрдока, казалось бы, навсегда.

В конце концов Электра была воскрешена членом ордена Стика Стоуном, хотя процесс был инициирован Рукой, и она снова стала наёмной убийцей. На протяжении многих лет она скрывала от Мёрдока, что жива, хотя их пути пересекались несколько раз, поскольку Электра помогала ему в экстренных случаях. Несмотря на то что она долго пыталась избежать тёмного влияния Руки, в конце концов, Электра становится лидером этой организации. Именно в это время она была заменена Скруллом и вернулась только после их Тайного вторжения, сорванного героями Земли.

Версия Ultimate
Электра начинала карьеру студенткой университета, изучающей боевые искусства и являющейся фанаткой Брюса Ли. Её мать умерла от рака груди, а отец пытался зарабатывать деньги в прачечной. Она была простой и милой девушкой, готовой ради близких пойти на что угодно, даже на убийство. В университете её преследовал студент Трей Лангстром вплоть до того момента, как она начала давать отпор. Он ответил ей, разрушив прачечную её отца, а Электра в ответ ранила его и заставила признаться в содеянном. В сюжете Электра встречалась Мэттом Мёрдоком, также у неё был роман с его альтер эго. Но рассталась с ним, после того как узнаёт, что Сорвиголова и есть Мэтт Мёрдок.

Электра обратилась к своим кузенам-бандитам, чтобы финансово помочь отцу. Она выследила их бухгалтера, который угрожал сдать их, и вернула доказательства прежде, чем Меченый убил его. В следующий раз она стала работать убийцей на злодея Кингпина. Тогда она перестала быть той доброй девушкой. Во время сражений с Чёрной Кошкой, Человеком-Пауком, Твердолобом и Лунным Рыцарем последний ударил ей в голову полумесячным лезвием, не дав ей убить Чёрную Кошку, позже Чёрная Кошка выкинула её тело из окна. Но выяснилось, что Электра была в коме.

Способности и оружие
Электра является спортсменкой и гимнасткой олимпийского уровня, обладающей силой, скоростью, ловкостью, рефлексами и выносливостью на вершине человеческого развития. Она является прекрасным мастером боевых искусств.

Основным оружием Электры являются два сая, длинных кинжала с тонкими острыми лезвиями и двумя зубцами по бокам. Электра может использовать это оружие как режущее, для ударов, также может выбросить их с убийственной точностью. Она владеет катаной, боевым посохом и другими видами оружия.

Электра вне комиксов

Фильмы

 В фильме «Сорвиголова» 2003 года Электра Начиос, роль которой исполнила Дженнифер Гарнер, была возлюбленной Мэттью Мёрдока (Сорвиголовы). Её отец был убит Меченым, который подставил в этом убийстве Сорвиголову. Электра занималась карате и обучалась обращению с саями, собираясь отомстить Сорвиголове. В бою с ним Электра пригвоздила Сорвиголову саем к стене, но прежде, чем убить его, захотела увидеть его лицо. Сняв с него маску, она к своему удивлению обнаружила под ней Мэтта Мёрдока. После этого она узнала, что Меченый является убийцей её отца. Электра сражалась с ним, но Меченый нанёс ей смертельное ранение, и она умерла на руках Сорвиголовы.
 В 2005 году на экраны вышел фильм «Электра», который являлся продолжением «Сорвиголовы». В нём Электру после её смерти воскресил старик по имени Стик и обучил боевым искусствам «Пути Камогури»: способность контролировать время, будущее, жизнь и смерть. Чтобы защитить девочку Эбби и её отца, Электра вступила в борьбу с организацией под названием «Рука». В последней битве она узнала, что лидер «Руки» — тот человек, который убил её мать. Узнав об этом, Электра пронзила его сердце одним из своих саев и столкнула его в колодец.

Кинематографическая Вселенная Marvel

 В 2016 году на Netflix вышел второй сезон сериала «Сорвиголова», где одним из главных героев выступила Электра Начиос в исполнении Элоди Юнг. Она кратко упоминалась в первом сезоне, в сцене Мэтта Мёрдока в колледже. Во втором сезоне она возвращается в Нью-Йорк, чтобы Мэтт помог ей разобраться с преступной организацией «Рука». Было показано, что она, будучи ребёнком, воспитывалась Стиком и обучалась боевым искусствам, пока не была признана слишком опасной. Стик отдаёт её в семью посла Греции, чтобы держать в безопасности. Позже она была отправлена Стиком манипулировать Мэтью Мёрдоком, но заканчивается тем, что она влюбляется в Мэтта. Они расстаются, когда Электра заходит слишком далеко, захватив человека, убившего отца Мэтта, и давая Мёрдоку возможность убить его, что Мэтт отказывается делать. В основное время действия сезона Мэтт пытается убедить её, что она не принадлежит к войне Стика и может жить своей жизнью. Один из ниндзя отследил местоположение дома Мэтта и нападает на него, стреляя в него отравленными стрелами и после этого пойдя в рукопашную; Мэтту удалось одолеть ниндзя и связать. Оказалось, что этот ниндзя является подростком, но позже Электра перерезает горло молодому ниндзя «Руки», говоря, что он представляет опасность. После такого поступка Мэтт выгоняет Электру. В аэропорту Электра, пытаясь улететь из Нью-Йорка, подвергается нападению одного из убийц, но убивает его сама. Перед убийством она узнаёт, что убийцу нанял Стик. Затем Электра находит самого Стика, чтобы отомстить, но Сорвиголова останавливает её. Во время их противостояния появляются ниндзя Руки и похищают Стика. Когда они приходят спасти его, то узнают, что Электра была предназначена, чтобы быть лидером Руки, известной как «Чёрное небо», но Мэтт убеждает её, что она может выбрать свой собственный путь, и они сбегают. Они противостоят Нобу и его ниндзям на крыше в финальной битве, где Электра жертвует своей жизнью, чтобы спасти Мэтта. После похорон её могила была выкопана «Рукой», а её тело помещают в большой контейнер, оставив её судьбу неизвестной.
 В 2017 году на Netflix вышел сериал «Защитники», где Электру воскрешает клан «Рука» для использования в своих целях. При воскрешении у Электры пропадает память и её называют «Чёрное небо».

Видеоигры
 Электра выступает первым боссом игры «Daredevil» 2003 года по мотивам одноимённого фильма.
 Электра в числе других известных героев комиксов Marvel является одним из игровых персонажей в игре «Marvel Nemesis: Rise of the Imperfects» от Electronic Arts.
 Электра также входит в число игровых персонажей в игре «Marvel: Ultimate Alliance» от Activision. Хотя в этой игре она не отличается высокой силой, её превосходная скорость (лучшая среди игровых персонажей) и смертоносные атаки саями компенсируют этот недостаток.
 В игре «Marvel Heroes» Электра является суперзлодейкой.
 В мобильной игре «Marvel: Future Fight» Электра является играбельным персонажем.
 В игре «LEGO Marvel Super Heroes» Электра является боссом, а также одним из играбельных персонажей.
 В мобильной игре «Marvel: Contest of Champions» Электра является играбельным персонажем.
 В игре LEGO Marvel Super Heroes 2 можно поиграть за нуар-версию Электры.

Примечания

Ссылки
 Биография Электры на Marvel.com
 Электра на Marvel.wikia.com
 Электра на Comicvine.com

Персонажи комиксов, появившиеся в 1981 году
Персонажи, созданные Фрэнком Миллером
Персонажи Сорвиголовы
Суперзлодеи Marvel Comics
Мастера боевых искусств Marvel Comics
Персонажи-сироты Marvel Comics
Вымышленные женщины-убийцы
Вымышленные наёмные убийцы
Вымышленные ниндзя
Вымышленные студенты
Вымышленные фехтовальщики
Агенты Щ.И.Т.
Персонажи фильмов
Киноперсонажи Marvel Comics


Nightly Rates are available 3 nt min.
Decked Out is Brand New 4BR or 7BR Gulf Shores Vacation Home Rental Property with Pool and is now available! You may rent Decked Out 3 and Decked Out 4 to provide 7 BR and 4.5 Bathrooms. We call this property DECKED OUT because of it has 5 decks. I huge deck on the back of the house over-looking the Little Lagoon! Check out our photo album at www.deckedout4.com. Also, you may check out our up to date calendar or book online at www.deckedout4.com Decked Out 4 features 4 Bedrooms. There are 2 King Beds, 1 Queen Bed, 2 Twin Beds and a Pullout Queen Sleeper Sofa! This Gulf Shores vacation home rental can sleep 10. Decked Out opened a brand new pool in June 2008. Decked Out has a fully configured kitchen and is ready with all the dishes, cookware and appliances needed to prepare a gourmet feast. Wi-Fi and Cable TV are provided at Decked Out! The largest deck in the area with fantastic views!!


Premier have managed to retain a compact shell size in keeping with the original 70's helmet without compromising safety. There are no vents and the visor is retained by two screws and friction plates, when closed it is secured by press studs (again in keeping with the original). The visor will not seal like a modern visor, the helmet is trying to stay true to the style of the original rather than provide a host of modern technical features.


The 3rd-5th grade competed in the Noetic Learning Math Contest last week. Congratulations to our top students who will go on to compete nationally.
 Our Pearl Prep Open House is this Thursday, April 11th. The classrooms will be open from 6:30 p.m.-8:00 p.m. Each student will have a check list to complete to make sure you don't miss anything. Plan at least 30 min. per each child's classroom.
PAL is planning a Disney Themed Teacher Appreciation Week coming up on April 29th. PAL has planned some fun activities for the week. Look for a flyer following Easter Vacation.


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Fünf Regenten steht in der japanischen Geschichte für:

 Fünf Könige von Wa, Herrscher im antiken Japan (5. Jahrhundert)
 Fünf Regentenhäuser, japanische Adelsfamilien (12. bis 19. Jahrhundert)
 Rat der Fünf Regenten, Rat zur Regierung von Japan (um 1600)

Siehe auch:
 Urkaiser Chinas #Die Fünf Kaiser


text:
Home Tech Gaming Diablo Immortal Is Part Of A Wider Mobile Strategy, Activision Says
Diablo Immortal Is Part Of A Wider Mobile Strategy, Activision Says
Diablo Immortal, the mobile spin-off Diablo game, is still in the works despite lots of blowback from fans, and Activision Blizzard has spoken more about it in the context of their mobile strategy. As part of second quarter calendar 2020 results conference call, CFO Dennis Durkin has spoken about Activision's mobile slate, citing the success of Call of Duty Mobile as a good model.
PC Gamer picked up on the comments from Durkin, who said that "there's a lot more to come" for Activision's mobile releases. "CoD Mobile is off to a really great start, but we're just scratching the surface of what that franchise can be on mobile," he says, in direct response to a question about Diablo Immortal and how Call of Duty has impacted it.
Durkin says that the success of Call of Duty on mobile serves as a good indicator of the success of franchise releases on mobile. "And it certainly applies to a lot of other franchises that we have," he says. "We see that our current players really want more ways to engage with their favorite IP, be it through mobile or other platforms, and that offering authentic and really deep experiences on new platforms can drive much much higher engagement."
"And to your question, it's not just Diablo, but it's also across all our franchises, and our teams see an opportunity to drive a greater reach, engagement, and player investment, greater than ever before, across our franchises," he added.
The company has previously said that it is looking at all of its franchises and thinking about how mobile versions could work.
In Activision Blizzard's PowerPoint presentation of these results, they said that internal testing with expand in the coming weeks, with a wider test happening across the company. Earlier this year, before COVID-19 struck, regional alpha tests were being planned for mid-year.
New footage from Diablo Immortal recently debuted. There's an early BlizzCon coming in early 2021, where we'd expect to find out more about Diablo IV.
Top New Game Releases On Switch, PS4, Xbox One, And PC This Month — August 2020
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Our dedicated team has years of experience, extensive training, and exceptional knowledge of both natural grass and synthetic turf maintenance, and we're accustomed to handling sports complex and multi-sport park projects. Our custom-designed maintenance programs will save you labor and material costs while giving you a facility that is second to none. Our ability to structure long-term agreements coupled with our national buying power affords you, our client, the economy of scale that can be achieved only by the largest of customers.
We're committed to being your maintenance provider for life. That's why empowering customers with all the information they need to maintain the highest level of play on their fields is so important to us. Head to our Ask Fields page for answers to many of the most common maintenance-related questions we receive by sport and by surface type. If your question is more in-depth, reach out via phone or email. We'd be happy to talk further and schedule a site visit.
Michael Wear has spent more than 15 years working in landscape maintenance and construction, and six years in facilities maintenance. As the Maintenance Superintendent at Sports Force Parks at Cedar Point Sports Center, he oversees all aspects of maintenance for the park's landscaping, fields and buildings.
Working with Payson High School in Utah, Michael designed and implemented a restoration plan for the school's football field in collaboration with the team coach and industry professionals. He helped them implement an annual maintenance plan to follow moving forward. The field received recognition from the state for safety and playability. He has a passion for the industry and uses this to drive him in maintaining all aspects of the park to the highest standard.


Antivirus vendors are concerned that FBI software reportedly designed for covert keystroke monitoring could fall into the wrong hands.
'I think the biggest risk is exploitation by hackers,' said Sandra England, executive vice president for business development and strategic research at Network Associates Inc. of Santa Clara, Calif., which sells McAfee antivirus software.
The FBI will not comment on the keystroke-monitoring software, dubbed Magic Lantern, but reports say that it could be distributed like recent Internet worms to replace law enforcement surveillance tools that must be physically installed on a suspect's home or office computer under court order. Distributing Trojan back-door software over a network could eliminate the court oversight.
Antivirus software is designed to detect and block such a covert program, which vendors are hesitant to accommodate. Once released, they say, it could be exploited for mischief.
'We have no way of knowing if it was written by the FBI, and even if we did, we wouldn't know whether it was being used by the FBI or if it had been commandeered by a third party,' said Graham Cluley, senior technology consultant for Sophos Anti-Virus Inc. of Wakefield, Mass. Sophos released a statement saying it would not leave holes in its software for Magic Lantern.


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"The Lonely Herdsman" is an episode of the BBC sitcom, The Green Green Grass. It was first screened on 9 November 2007, as the second episode of series three.

Synopsis

When Marlene drags Boycie and Tyler to visit her mother Dora, the battle lines are drawn. Spending the day away from the farm gives the staff freedom – well, more than they usually have to sit around doing almost nothing. The only exceptions being Bryan trying his hand at poetry to stop him feeling lonely and Mrs Cakeworthy surfing the net to help him find a solution.

Episode cast

References

British TV Comedy Guide for The Green Green Grass
BARB viewing figures

2007 British television episodes
The Green Green Grass episodes


A unique Museum–School partnership egaging CPS students and teachers in STEM opportunities.
Audience: Nearly 400 HS students from freshman to senior year, more than a dozen teaching and administrative staff members, as well as museum staff and STEM professional mentors.
In December 2009, the Adler Planetarium launched a five-year pilot of the Air Force Academy High School Aerospace Education Partnership (Adler/AFAHS Partnership). The intent was to have a profound impact on AFAHS students, on the school culture and on the museum's teen science, technology, engineering and math (STEM) programs.
The Adler/AFAHS Partnership was conceived as a STEM pipeline program, intended to move students along interest-driven pathways towards future careers as STEM professionals. The result was a diverse suite of programs, which serve different segments of the AFAHS population according to their needs and readiness.
To provide students with essential life skills such as public speaking, personal confidence, punctuality, and professional appearance through volunteer and internship opportunities, as preparation for success in college and future careers.
The Adler/AFAHS Partnership was co-designed alongside AFAHS faculty and staff, engaging them closely in the work both at school and in the museum. Teachers received professional development, access to museum resources, and both classroom and extracurricular support. In return, they helped to shape programs and curriculum. School administrators, including the school principal, were regularly consulted, provided guidance and support, and invited to fully participate in the work.
Over five years, the program directly engaged over a half-dozen Adler team members in this work, and indirectly impacted museum staff from around the entire building. Programs developed for the Adler/AFAHS partnership became the foundation of the Adler's Teen Programs, Adler Teens, and the STEM Mentor volunteer program.
In the first year of the Adler/AFAHS Partnership, Adler staff, AFAHS staff, and AFAHS students first became acquainted. AFAHS was a new school that had accepted it's first class of freshman. The focus of that year was to build trust and a shared understanding of expectations, establish foundational programs and activities, and collect formative feedback on expectations and initial experiences for program model adjustments and next-step design.
Increasing or decreasing the amount of staff time spent at AFAHS as a classroom teacher, enrichment provider, or in teacher professional development.
Adjusted student support services at the Adler to better address the school's social, emotional, and educational needs.
By the end of three years, initial evaluation trends demonstrated improvement in measured student outcomes with increased student engagement at the museum. Program evaluation, feedback from participants, and internal reflections between staff and students was used to identify programs that were most and least effective in achieving the program's overarching partnership goals.
These included direct and indirect assessments of student performance (artifacts, attendance, participation, badges, appraisals, etc.), regular student and teacher feedback surveys, anonymized and randomized interviews, and anecdotal evidence. In addition to user experience data collection, the Adler/AFAHS Partnership programs also directly engaged participant voice in both the program experiences and in the program design. For example, seniors at AFAHS were invited to join an Adler Youth Leadership Council, where teens worked as conduits between their peers and museum staff.
Evaluation and assessment continued to demonstrate positive outcomes into the fourth and fifth years of the program during which critical issues of scale and sustainability were being addressed. Through careful integration with fundamental museum functions and prioritieis (logistical, programmatic, and fundraising), streamlining and refining program delivery, and addressing relevance to school-side, classroom priorities, the Adler/AFAHS Partnership was able to achieve a highly-integrated approach for sustainability.
Students at all levels of engagement, from freshman field trips to summer internships reported a positive learning experience and interest in the programs.
Students with increasing levels of engagement reported increasingly positive attitudes towards museums and STEM career possibilities.
Students with increasing levels of engagement with the museum started to visit the museum independently with family and friends.
Seniors reported that the relationship between their school and the Adler had a direct, beneficial impact on their and their peers' attitudes towards museums and STEM.
STEM teachers felt supported by the Adler Partnership and meaningfully engaged in Adler student activities while developing as professionals.
STEM teachers were inspired to access the museum independently, in most cases for the first time in their lives.
STEM teachers reported that Adler student programs were meaningful in the development of their students' academic and social-emotional goals.
STEM teachers reported that volunteering and internship opportunities were the most effective in the development of their students' academic and social-emotional goals.


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Home > Reference > Indian Literature > Indian Literary Personalities > Amrita Pritam
Amrita Pritam, Indian Writer
Amrita Pritam was a popular Indian writer and a leading Punjabi language poet. Amrita Pritam was able to carve a niche for herself in modern Indian literature.
Amrita Pritam, born on 31st August 1919, is considered as the first renowned poet, essayist and novelist of Punjabi literature. The work of this popular Indian poet and writer is equally loved by the people of both India and Pakistan. Amrita Pritam, who was the first women prominent poet of Punjabi literature, migrated to India from Lahore after India and Pakistan partition in the year 1947. She was the only child of a poet and school teacher, Kartar Singh Hitkari. Her mother died when she was very young. After that they moved to Lahore and they stayed there until partition. She started writing at a very early age. When she was 16 years old, her first collection of poems titled 'Amrit Lehran' was published. She started off as a romantic poet but soon changed her gears and actively participated in the Progressive Writers' Movement. Amrita Pritam also worked at the Lahore Radio Station for some time before shifting to India.
Literary Life of Amrita Pritam
Amrita Pritam began her career as a romantic poet. She is widely remembered for her emotional poem 'Aj Aakhaan Waris Shah Nu' (Today I invoke Waris Shah - 'Ode to Waris Shah'). It was an expression of her agony over the violent massacres that took place during the partition of former British India. One of the most noted works of Amrita Pritam was 'Pinjar' (The Skeleton). This novel portrays the violence against women and loss of humanity. This novel has been wonderfully transformed into an award winning film with the same name in the year 2003. After her divorce in the year 1960, her work became visibly feminist. In fact, most of her work depicted the unhappy experiences of her marriage life. Her various works including her autobiography 'Black Rose and Revenue Stamp' have been translated into other languages like English, Japanese, Danish, French, Urdu and many more. A number of her works have been made into films like 'Dharti Sagar te Sippiyan' as 'Kadambar' (1965) and 'Unah Di Kahani' as 'Daaku' (Dacoit, 1976). For several years, Amrita Pritam also edited a monthly Punjabi literary magazine titled 'Nagmani'. Later on, she also wrote introductions for various books based on Osho and it includes 'Ek Omkar Satnam'. She also produced several works on the theme of spirituality and it includes books like 'Agyat Ka Nimantran' (Call of the Unknown) and 'Kaal Chetna' (Time Consciousness). Amrita Pritam also published several autobiographies namely 'Kala Gulab' (Black Rose), 'Rasidi Ticket' (The Revenue Stamp) and "Aksharon kay Saayee" (Shadows of Words).
Feminism and humanism are the main themes used by Amrita Pritam in her write-ups. Her style of writing is deeply influenced by the folk-poetry of Punjab and her work for a decade or more for the broadcasting media had given her a command over the common man's language. Through her work she always tried to portray the realism of society. She presented her views with extreme clarity and boldness. Feminism and various aspects of feministic ideas got reflected through her novels. In Punjabi literature, she is popularly known as the most significant voice of the women. Work of Amrita Pritam included poetic quality. Like for instance there are moments of ecstasy, great joy fraught with great-sadness; there are moments of lonely soliloquies and almost spiritual despair and despondency in her works. Amrita Pritam had a flourishing career for more than six decades. In her career, she penned down 28 novels, five short stories, 18 compilations of prose and 16 prose volumes. The most popular short stories written by Amrita Pritam are "Kahaniyan jo Kahaniyan Nahi", "Stench of Kerosene" and "Kahaniyon ke Angan mein".
The admired novels of Amrita Pritam are given below -
* Pinjar
* Kore Kagaz, Unchas Din
* Doctor Dev
* Rang ka Patta
* Sagar aur Seepian
* Terahwan Suraj
* Dilli ki Galiyan
* Yaatri
The anthologies of poems by Amrita Pritam are as follows -
* Amrit Lehran (Immortal Waves) (1936)
* Jiunda Jiwan (The Exuberant Life) (1939)
* Trel Dhote Phul (1942)
* Gitan Valia (1942)
* Badlam De Laali (1943)
* Lok Peera (The People's Anguish) (1944)
* Pathar Geetey (The Pebbles) (1946)
* Punjabi Di Aawaaz (1952)
* Sunehray (Messages) (1955)
* Ashoka Cheti (1957)
* Kasturi (1957)
* Nagmani (1964)
* Ik Si Anita (1964)
* Chak Nambar Chatti (1964)
* Uninja Din (1979)
* Kagaz Te Kanvas (1981)
* Chuni Huyee Kavitayen
Awards Received by Amrita Pritam
Amrita Pritam, throughout her career, received several prestigious awards. She is the first woman in Punjabi literature to win the esteemed Sahitya Akademi Award for her composition 'Sunehray'. In the year 1982, she also received the Jnanpith Award, which is one of the highest literary awards of India, for 'Kagaz Te Canvas' (The Paper and the Canvas). Then again, in the year 1969, she was awarded the Padma Shri Award and after that in the year 2004, she received the second highest civilian award of India that is the Padma Vibhushan Award. She also received the "Sahitya Akademi Fellowship" for lifetime achievement by the Sahitya Akademi (India's Academy of Letters).
Amrita Pritam remained extremely popular even after her migration from Pakistan. This prominent writer and poet of India tried to portray the sufferings of the people of both the countries after the partition through her writings. In the year 2007, renowned lyricist Gulzar released "Amrita recited by Gulzar", an audio album of the poems of Amrita Pritam recited by him. Her work reflects a headstrong, revolutionary and rebellious approach that inspires the readers to break-off the contradictions of life. Amrita Pritam died on 31st of October, 2005 in Delhi at the age of 86 years.
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A secondary efficacy end point, normalized total atheroma volume (TAV), was calculated as follows:TAVnormalized = Σ (EEMarea − lumen area x median no. of no. of images in pullbackimages in cohort. For TAV, the summation of the EEM area minus the lumen area is performed first. This value is divided by the number of images in the pullback and then multiplied by the median number of images in the cohort. The average plaque area in the pullback was multiplied by the median number of images analyzed in the entire cohort to compensate for differences in segment length between subjects. The efficacy end point of change in normalized TAV was calculated as the TAV at 104 weeks minus the TAV at baseline. Regression was defined as a decrease in PAV or TAV from baseline.
Consider that the changes seen in the trials were only a few per cent on average. What do you think you would do yourself if somebody were to put a long catheter all the way from your groin up to your heart and into your coronary vessels? If you are not a stuntman or an astronaut I think that you probably would have gripped the nurse's hand or something else very tightly.
Also, drugs which relax the coronary vessels, and which are used by almost all coronary patients, may have disturbed the study. In the trial Dr. Brown and his coworkers were aware of that problem. The use of such drugs was "duplicated as exactly as possible." This can't have been too easy because the level of any drug in the blood depends on a large number of factors, which are difficult to standardize. And Dr. Brown and his colleagues didn't write anything about duplicating possible handgrips or anxious feelings because such duplication is, of course, impossible. So, any factor which may influence the state of the smooth muscle cells in the coronary vessels may have influenced the vessel diameter much more than the possible appearance or disappearance of a tiny amount of cholesterol.
There are more uncertainties. Dr. Seymor Glagov and his colleagues from University of Chicago studied the hearts of 136 deceased individuals and found that when vessels become sclerotic, they widen to compensate for the narrowing brought about by the deposition of cholesterol in their walls (2). In fact, this widening overcompensates for the deposition, until the cholesterol deposits occupy about 40 per cent of the area beneath the muscle wall. Only thereafter does the vessel become steadily narrower. In other words, an increase of vessel diameter may be due to disappearance of cholesterol in a highly sclerotic vessel, but also to a compensatory widening during the first stages of cholesterol deposition. How could the trial directors know whether the increase of vessel diameter was due to a disappearance of deposited cholesterol, or to a compensatory widening due to an appearance of deposited cholesterol or due to less anxiety at the second angiography?
2. Glagov S and others. Compensatory enlargement of human atherosclerotic coronary arteries. The New England Journal of Medicine 316:1371-1375, 1987.
Dr. Nissen, receiving consulting fees from Eli Lilly, grant funding from AstraZeneca, Pfizer, Novartis, Karo Bio, Novo Nordisk, Takeda, Resverlogix, and Omthera, and support for travel, accommodations, or meeting expenses from Novo Nordisk, Takeda, Karo Bio, Eli Lilly, Pfizer, Novartis, and Amgen.
It is a sad fact that this report has been accepted for publication in The New England Journal of Medicine considered the leading medical journal in the world. Either the editors and referees did not do their jobs, are not qualified for their tasks, or they have been blinded by Mammon.
Should children lower their cholesterol???


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Q: Loop vectorization I'm applying the filtering function in the frequency domain. Because I am working with large amounts of data, I want to vectorize the for loop shown below. Any help would be appreciated.

N = 2^nextpow2(length(signal));
Y = fft(signal,N);

df=1/(N*dt);
freq=0:df:N/2*df-df;
ff=freq./fccutlow;

H=zeros(1,length(N));
for i=2:length(ff)

    H(i)= sqrt((ff(i).^(2*nOrder)))./sqrt(((1+ff(i).^(2*nOrder))));
    Y(i)= Y(i).*H(i);
    Y(length(Y)-i+2)=Y(length(Y)-i+2).*H(i);
end
Y1= (real(ifft(Y,N)))';
Y1=Y1(1:length(signal));
filt_signal(1,:)=Y1;

A: For vector arithmetic on whole matrix you do not need any indexing, only use array operators, .*, ./, .^. But when only a part of array is used as operand, you need to use one of indexing methods. Keep in mind that all input and output ranges of arrays should be of compatible sizes.
Check parentheses again, but it is something like this:
H = sqrt((ff.^(2*nOrder)))./sqrt(((1+ff.^(2*nOrder))));
Y= Y.*H;
Y(end-((1:length(ff))+2))=Y(end-((1:length(ff))+2)).*H;

An example: Note that it does not matter if the matrices themselves do not have same sizes, but the operands must have compatible sizes:
A = 1:4;         % 1x4
B = magic(3);    % 3x3
C = zeros(3, 1); % 3x1

C([1 3]) = A(3:end).*B(1:2, 2)';

Although in this example A, B and C have different sizes, but A(3:end) and B(1:2, 2)' are both 1 by 2 and the code runs with no problem. Try to run it and evaluate different parts of code to see how indexing works.


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Biografia
Armani ha origini italiane, più precisamente toscane.

Carriera

Squadre di club
Cresciuto nelle giovanili del Club Atlético Central Córdoba, passò poi nel vivaio dell'. Passato in prestito al  nel 2007, esordì tra i professionisti con questa squadra.

Per la stagione 2008-2009 si trasferì al , dove fu il portiere di riserva nel campionato di Primera B Metropolitana (la terza divisione), totalizzando 2 presenze nell'annata della promozione in Primera B Nacional, la seconda divisione.

Nel 2010 passò ai colombiani dell'Atlético Nacional di Medellín, compagine in cui militò per otto stagioni, affermandosi come portiere titolare. Insieme a Sebastián Pérez è il calciatore dell'Atlético Nacional che ha vinto più titoli nella storia della squadra, ben dieci, tra cui la Coppa Libertadores nel 2016.

Nel gennaio 2018 tornò in patria per blindare la porta del , con cui firmò un contratto triennale, rinnovato per un altro anno nel maggio seguente. Nel marzo 2018 fu eletto uomo-partita nel match di Supercopa Argentina 2017 vinto per 2-0 contro il  nel derby di Buenos Aires.

Nella seconda giornata del campionato argentino 2018-2019, riesce a toccare quota 800 minuti di gioco consecutivi senza subire reti, battendo il record di Amadeo Carrizo (788 minuti nel 1968) e stabilendo un primato nella storia del club. La striscia sarà prolungata sino al 1º settembre, arrivando a 965 minuti e collocandosi al secondo posto tra le sequenze di imbattibilità per un portiere del campionato argentino, dopo quelle di Carlos Montoya (825) e Jorge Traverso (842). Ha vinto la Coppa Libertadores 2018, la Copa Argentina 2018-2019 e la Recopa Sudamericana 2019.

Nazionale
È stato convocato dal CT argentino Jorge Sampaoli per il campionato mondiale 2018 nonostante non avesse mai giocato una partita con la Selección. In precedenza aveva ricevuto un'offerta dal CT argentino della nazionale colombiana José Pekerman per rappresentare la Colombia.

Ha debuttato con la nazionale maggiore argentina il 26 giugno 2018, nella terza partita della fase a gironi del mondiale (decisiva per il passaggio dell'Argentina agli ottavi), scavalcando nelle gerarchie Willy Caballero dopo gli errori di quest'ultimo contro Islanda e Croazia. Armani ha fornito una buona prestazione nella partita vinta dalla selezione sudamericana per 2-1 contro la , per poi giocare anche l'ottavo di finale, al termine del quale gli argentini sono stati estromessi dal torneo dalla , futura vincitrice del torneo.

Con la selezione argentina ha poi giocato due edizioni della Coppa America, quella del 2019 e quella, vittoriosa, del 2021, nel corso della quale ha disputato una partita.

Statistiche

Presenze e reti nei club
Statistiche aggiornate al 1 luglio 2020.

Cronologia presenze e reti in nazionale

Palmarès

Club

Competizioni nazionali

Atlético Nacional: 2011-I, 2013-I, 2013-II, 2014-I, 2015-II

Atlético Nacional: 2012, 2013

Atlético Nacional: 2012, 2016

River Plate: 2017, 2019

River Plate: 2018-2019

River Plate: 2021

River Plate: 2021

Competizioni internazionali

Atlético Nacional: 2016
River Plate: 2018

Atlético Nacional: 2017
River Plate: 2019

Nazionale

Brasile 2021

Finalissima 2022

Note

Altri progetti

Collegamenti esterni

Scheda su bdfa.com

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