Before August this year, fans kept out a casual eye for news of the next Metallica album. It's been eight years and for a while all we had to go off of was a song called "Lords of Summer." Then the band dropped the news that Hardwired…to Self-Destruct was on its way along with a single that invigorated long-time fans and surprised skeptics. Of course, a new Metallica album was going to be an event even if it turned out to be a Coldplay covers album. But Metallica managed to stoke the flames of hype, and now their newest album is being hailed as a return to form and is number one on the Billboard 200. Their first five albums are also on the Billboard, including another 6,000 units sold for The Black Album. So, whatever you might wanna say about 2016, it's been a good year for Metallica.
Metallica return with a vengeance, ranking as the best rock debut in two and a half years and the third best debut of the year.
The band's sophomore album has an excellent debut following their first album's quiet but steady flow of sales.
This has a slightly lower debut than Vol. 1, which came out back in April.
Lamb of God's first EP lands in the top 40.
This is Disturbed's first live album. Don't worry, Immortalized is still on here too.
After testing out a Bandcamp subscription model, Protest the Hero has collected all six songs for a new EP release.
Ion Dissonance's fifth album is their first album in five years.
The band's second album sold a little less than its predecessor.
This is the band's fourth album. Diabolus In Musica is Slayer's eighth studio album. Coincidence? Absolutely!
The band's ninth album makes its debut.
This may have a lower chart position, but it actually got a sales boost of 23%.
A small 2% boost. For a fascinating look at how touring works for the two versions of TSO, check this out.
Can't suffer after a 41% boost.
A big 68% boost is unleashed.
Not only did their new live album have a good debut, but Disturbed's over a year old album got a 53% boost.
A 13% boost. Looks like we'll be getting another album from these guys soon.
Selling well after a 10% boost.
This drops by 75% in week two. Also, they're gonna need a new bassist soon.
A slight drop by 9%.
After dropping off last week, this got boosted back up by some people that decided they weren't going to take it – they were going to buy it instead.
A 46% drop after last week's giant boost.
A 14% drop slips by like a snake.
A 35% drop doesn't resonate so well.
A 34% drop into shadow.
A 71% second week drop.
A 31% drop. Maybe people looking for Star Wars tickets will stumble on this one?
Sales surge after fans learn the band isn't dead.
This has popped back up again as well.


Charleston, SC and Surrounding Area..
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text:
Chorale Prelude on "St. Hugh" (Lord, teach us how to pray aright)
Chorale prelude on "Vater Unser im Himmelreich" BWV 737
Uploaded by: unclegally
Organ: AVO great romantic demo
Toot Suite (S. 212°): II O.K. Chorale
Uploaded by: ReinerS
Composer: Bach, P.D.Q.
Organ: Steam Calliope
Chorale for Mortals Op. 5
Uploaded by: loekjehe
On an Old Dutch Chorale (Gammel nederlandsk koral) (1979)
Composer: Elgarøy, Jan
Organ: Laurenskerk - Transept Organ - 1959 Marcussen & Son
Four chorale preludes (dry version)
Uploaded by: takatsa
Organ: AVO - Stahlhuth positive dry version
Prelude on the "Old 137th Psalm"
Composer: Wood, Charles
Organ: Hereford Cathedral Willis Organ
Sing Praise To God
Uploaded by: Dr. Perky
Composer: Johann J. Schutz
Be still, for the presence of the Lord
Uploaded by: Wibo
Composer: Sanderman, Dick
Passion, Op. 145, No. 4
Composer: Reger, Max
O wondrous type! O vision fair
Composer: Knapp, William
Uploaded by: Agnus_Dei (03/01/17)
Composer: Rowley, Alec
Sample Producer: Lavender Audio
Sample Set: Hereford Cathedral Willis Organ
Genre: Mid-20th century
Alec Rowley was born in London on 13 March 1892, teacher, composer, organist, pianist, lecturer and writer, who studied at the RAM with Frederick Corder and where he won sundry scholarships and prizes. He was an organist at several London churches including, during the Second World War, St Margaret's, Westminster. As a pianist he often broadcast duets with Edgar Moy. He died on 11 January 1958. Many of his organ solos are brief and simple: chorale preludes, genre pieces, toccatas, marches and voluntaries suitable for the small organ and less experienced player. Sometimes he brought out more ambitious recital pieces, like the Heroic Suite of 1921, the Sonata in A minor and two symphonies in B minor and F major published late in his life, but we do not encounter these nowadays.
Today is Ash Wednesday, the first day of Lent.
Rowley composed several sets of Chorale Preludes based on Famous Hymn Tunes. The first volume deals with "Lent," and it is from this collection that these preludes are taken.
The first work in the collection is "Chorale Prelude on 'St. Hugh'" (Lord, teach us how to pray aright). It's an interesting one which puts the rather unfamiliar melody in the pedals. It's there in long notes, but the effect is still a subtle one. The work is highly romantic, and moves around quite a bit. It's almost as if the penitent is struggling to find WHICH WAY to go in his prayers!
The tune itself was composed by Edward J. Hopkins (1818-1901), who was organist of the Temple Church in London from 1843-1898.
The text was composed by James Montgomery (4 November 1771 – 30 April 1854) who was a Scottish-born poet, hymn writer and editor. He was concerned with humanitarian causes such as the abolition of slavery and of exploitation of child chimney sweeps.
The score is attached below, as well as photos of Rowley, Hopkins, and Montgomery.
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text:
Master of Finance - Beijing
Master of Management Analytics - Toronto
Global Master of Management Analytics
Master of Management in Artificial Intelligence
Master of Management Innovation & Entrepreneurship
Master of Finance - Toronto
Graduate Diploma in Accounting
Graduate Diploma in Business
PhD - Doctoral Program in Management
MSc - Master of Science in Management
"The MFin program provided me a valuable platform to take advantage of opportunities in an expanding market which operates with a different cultural mindset. Through this program I was able to gain an understanding of finance in Asia and gain insights from academics from two top-tier universities in Canada and China."
Chun Him Cheung, MFin
"Studying abroad allowed me to fully immerse myself in a different culture and experience the world from a completely new perspective, all while gaining the skills and knowledge necessary to compete in the global financial markets."
Sasha Ghafir, MFin
Senior Portfolio Analyst
Real Property Branch
"The program provided hands-on learning opportunities of various finance roles, which will reassure employers that I am a qualified candidate. The program's strong industry-focus and advanced financial knowledge has helped me build a solid foundation for a career in finance."
Rong (Candice) Chen, MFin
Zhong Capital
"The MFin program served as a platform for me to make a smooth transition from my legal background into the financial industry. I was impressed with the passionate teaching of the faculty members who always pushed us beyond our limits and prepared us to tackle the challenges of the industry today."
Shannon Gong, MFin
Product Research Analyst
Invesco
"It was a great chance to improve my skills and expand my opportunities. Queen's has an excellent reputation and the program opened up many new doors. I had a unique life experience while also expanding my finance background."
Ryan Danyluik, MFin
EPCOR
"There's a very integrated, close-knit quality to the social dynamic here. The alumni and school resources provided me access to top-caliber executives and events organized by both foreign and local societies."
Christine Wang, MFin
China Hua Neng Group Hong Kong Ltd
The Renmin-Queen's Partnership
Admissions and Fees
Your Key to a Career in Finance in Asia
A one-year program starting in September. Earn a Master of Finance from Queen's University and a certificate from Renmin University of China while living in Beijing. Request our brochure
This program is offered to qualified Chinese and non-Chinese candidates. The MFin program is also offered to qualified candidates in Toronto, Canada.
8:30 am - 4:30 pm EDT
Canada and China have a long history of co-operation in education, and extensive business connections. The Master of Finance – Beijing program is offered jointly by the renowned Smith School of Business at Queen's University, Canada and the prestigious Hanqing Advanced Institute of Economics and Finance at Renmin University of China in Beijing. The program was approved by China's Ministry of Education in 2013 as an official foreign collaborated master's program in China.
Advanced Curriculum
The program develops critical skills needed to thrive in the finance sector today and for the future: strong technical expertise in management concepts, best practices, analysis and strategies, and the ability to lead effectively in a management role. Delivered by outstanding faculty and sector specialists from Smith and Hanqing, the program uses both theory and real-world examples. Our International (Early Career) section is taught exclusively in English, while our Executive-level section for senior working professionals is taught in Chinese.
All applications for entry into the International (Early Career) section must be made through Smith School of Business at Queen's University. Applicants must possess an undergraduate university degree. Relevant work experience is an asset, but not mandatory. As well, students must meet the English language requirements of the program. Application Advisors will work with you through every step of the application process. For the Executive-level section, please apply through the Renmin University website.
The Opportunity for Chinese Students
The Master of Finance - Beijing program provides an outstanding opportunity to earn a world-class graduate degree in finance from Canada's Smith School of Business. Because classes are held on weekends and weekday evenings, you may complete the program while you continue to work, making this option an outstanding value compared to other full-time programs in China or North America. There is also the option to travel to Canada for one of the Smith-led courses.
While our International (Early Career) section features classes taught in English, our Executive-level section is taught in Chinese for more senior working professionals.
The Opportunity for Non-Chinese Students
(Canadian and Other Nationalities)
The Master of Finance - Beijing program provides an outstanding opportunity to earn a world-class graduate degree in finance from Canada's Smith School of Business at Queen's University. Classes are held in the evenings and on weekends, so you can live and work in China while advancing your education and skills, making this option an outstanding value compared to other full-time programs in China or North America.
"The Must-Have Degree"
The Financial Times describes the Master of Finance as the "must-have degree" for a career in investment banking or asset management. This specialized degree signals to employers a depth of knowledge and understanding of the sector.


Chefchaouen is the perfect site for hiking tours in the neighborhood. Accompanied by a guide and mule, let yourself be guided to the national park of Talassemtane, a valley of the monkeys; reach the summit of Mount Lakraa and then enjoy the Mediterranean coast. An intact region invites you to take advantage of its enormous wealth.
Welcome at Tangier's airport/port, and then transfer to Chefchaouen, guided tour in the Medina. Half board accommodation in Casa Hassan or similar hotel.
Early in the morning a traditional breakfast, after that we continue our hike on the way to Jbel Lakrra, the highest summit of the province 2159m. We stop at Cave Baroud, a wonderful place for camping. We will have the chance to see the macaques in the area. Picnic lunch will be served and then exploring the surrounding. Dinner and overnight in cave Baroud at Jbel Lakraa meadow.
Breakfasts then we continue our exploration of the Park and its villages. We visit Douar Abu Bnar that is known for his marabou "Sidi Jellal". In this valley you will discover beautiful scenery of the mountains and have panoramic view of the fir forest (more than 2000 hectares). We arrive to Taourate village at the heart of the mountains where we will spend the night with a rural family in full board accommodation.
We leave Azilane after breakfast, overlooking fir trees (Abies maroccana) Jbel Tissouka and Jbel Lakraa. You continue towards Imizzar village and cross Ain Danou source which comes out of Oued Farda. It is a major resurgence of water that comprises the entry of a cave of the same name. Oued Farda is a small torrential stream characteristic of the Rif that creates refreshing water excursions.
We finally find God's Bridge, a true natural and spiritual curiosity. The bridge of God is a huge natural arch shaped over time by Oued Farda. We will take our lunch at the bridge of God, and then we continue towards Douar Ouslaf where you can discover the traditional surroundings. Finally we reach Akchour where we spend the night in half board accommodation in a refuge.
Today's hike will be the discovery of the waterfalls of Akchour, a hidden treasure in the heart of the Rif Mountains. After 4 hours of walk, we will take lunch on Oued Farda River's boards. We return back to Akchour after 3 hours trek; half board accommodation in a rural house.
Breakfast and then we drive to the Mediterranean coast. Lunch will be in a local restaurant in Oued Laou. Free time on the beach then transfer to Chefchaouen. Half board accommodation in a charming Guesthouse.


I started with WRAP ten years ago. My community mental health provider had it as a class. No one had ever told me I could make a plan to help me stay well or about things I could do to help myself when things start breaking down. At first I had a hard time coming up with any positive statements about myself. The other group members had to tell me what was positive about myself.
The only things that I knew that really helped was to have a dog with me and use music. I was glad we had got started. Then we lost out trainer due to illness.
They didn't have a good replacement so I had to find a new place to get it done. I ended up doing my WRAP plan individually. It took me twelve weeks of meeting with the new trainer to complete that first plan.
In my first plan I ended up including things like using the dog, using music to help change my mood, reading, baking bread from scratch, swinging on swing sets, gardening, taking medication properly, and support groups as a daily plan.
My plan for days that were starting to break down included adding more phone calls, telling someone I was having a difficult day, trying to eat mini meals four times a day, going to an extra support group meeting, going to a state park, and hiking.
My plan for things really getting bad was requesting an appointment with my doctor to adjust medicine, calling my dad, keeping the dog extra close and my plan and included key words, "not actionable", so supports would know if I still had enough control of myself to be treated at home. It also included what word, "actionable", meant I could not contact to keep myself safe and needed to go to a hospital for help. It also included how I was to get to a hospital, what would make things worse and contacting my dad who had keys to my place and knew what would need to be done for me such getting the rent paid, caring for my dog, visiting me and notifications to volunteer work that I would be out for a bit.
That first plan helped, but two years later I re-took the training, in a group, to help me update my WRAP plan. Due to physical issues hiking had to come off and I also made some additions such as making things with leather. I did my first medical and psychiatric forms so there would be a record of my health care decisions.
Four years later I repeated the training once more with a new group of people. My dad had died and my physical health had gotten to be more challenging, I now used a service dog full time, some of my medical decisions had changed, I am not willing to retry any of the almost thirty medicines that I have reacted to. The people I want to be there for me had changed, I listed to people who are not to have any input into my care and a hospital I am not to be admitted to and I had moved again so it was time to redo my WRAP plan. Since then I sit alone one more time.
I now have several limiting medical issues so current plan includes music, reading, necessary medications, church, phone calls, tv, cards, support groups, cooking, service dog, window shopping, and using technology/media to help me stay connected to other people and several ways to test my ability to function in a positive way.
Since I started using WRAP plans, I spend a lot less time in crisis. When things are breaking down, I know what to do to help myself. When crisis happens, I usually can get myself to a hospital for professional help. This is true of both my mental health and my physical health. I use WRAP for both. I strongly encourage WRAP plans, not just for mental health but also for physical health self care.


Join ACI for the Legislative Focus event.
At the event, ACI's membership will review and approve the legislative priorities for the upcoming 2019 legislative session. ACI's government affairs team will present the policy positions and priorities proposed by ACI's member-driven policy committees. The policy agenda adopted by the membership at Legislative FOCUS will direct ACI's advocacy efforts through the 2019 legislative session.
We are excited to announce that House Minority Leader Representative Jim Townsend will join us as one of our keynote speakers at Legislative FOCUS.
Additionally, we are excited for Land Commissioner-elect Stephanie Garcia Richard to be featured as a keynote speaker at Legislative FOCUS.


SelectedWorks - Samuel D. Gruber, Ph.D.
Samuel D. Gruber, Ph.D, accomplished researcher, author, teacher, curator and consultant, is the founder and managing director of Gruber Heritage Global (GHG) - a cultural resources consulting firm. GHG includes the Jewish Heritage Research Center (JHRC), which he has directed since 1995, and also serves the not-for-profit International Survey of Jewish Monuments (ISJM). Gruber Heritage Global serves as consultant and adviser to numerous organizations, institutions, private foundations, government agencies and individuals.
Sam has taught part-time in the Jewish Studies Program at Syracuse University since 1994. His courses on Jewish art, architecture and cultural studies are often cross-listed by the History of Art, Religion, Architecture, History and English (ETS) Departments and Schools. Sam has also taught at Binghamton, Colgate, Columbia, Cornell and Temple Universities and Cazenovia and LeMoyne Colleges where he has offered courses on medieval, Renaissance and Baroque art, architecture and urbanism; Jewish art and architecture; Holocaust art; and the history of plastics.
For more than twenty-five years he has been a leader in the documentation, protection, preservation and presentation of Jewish cultural heritage sites around the world. He has written two books about synagogue architecture; American Synagogues: A Century of Architecture and Jewish Community (2003) and Synagogues (1999), and has contributed many chapters, articles and conference papers to other publications. For many years he edited the newsletter Jewish Heritage Report and since 2008 he has written a popular blog "Samuel Gruber's Jewish Art and Monuments".
In 1990, he organized the first international conference on the preservation of historic and cultural Jewish sites and curated an accompanying exhibition, "The Future of Jewish Monuments". Subsequently he either chaired or served on the organizing committees for follow-up conferences in Paris (1999), Prague (2004) and Bratislava (2009). In April 2013 he was the keynote speaker at the conference "Managing Immovable Jewish Heritage in Europe" held in Krakow, Poland and in 2014 keynoter of the Southern Jewish Historical Society annual meeting in Austin, Texas. He has been an invited speaker at conferences and seminars in Israel, Lithuania and Germany in 2016.
Sam served for a decade as Research Director of the U.S. Commission for the Preservation of America's Heritage Abroad (1998-2008), for which he planned and supervised more than a dozen major countrywide surveys of cultural heritage sites of ethnic and religious minorities. Many of the reports he wrote and/or edited are published and have served as the foundation for national endeavors to protect Jewish and other historic religious and cultural sites.
from 1988 to 1996, as founding director of the Jewish Heritage Council of the World Monuments Fund (WMF), and subsequently as consultant to WMF, Sam planned and oversaw historic preservation projects in over a dozen countries, including major documentation, planning and restoration projects. Completed projects in which played a key role include the Tempel Synagogue in Krakow, Poland; the Etz Hayyim Synagogue in Hania (Crete)Greece; and synagogues in Mad, Hungary; Plovdiv, Bulgaria; Pfaffenhoffen, France; and elsewhere.
He has a B.A, in Medieval Studies from Princeton University (1977), and M.A, M.Phil. and Ph.D. Degrees from Columbia University in Art History and Archeology with a specialization in the the history of architecture. His M.A. Paper (1984) was a first-hand analysis of Early Medieval Italian masonry techniques, he has maintained a research interest in construction materials and technology - from field stone to plastics.
His Ph.D. dissertation (1998) is a study of the architecture and urbanism of medieval Todi, Italy, where among other topics he addressed what he termed the "incremental urbanism" of medieval hill towns, which has gradually replaced previous ideas about their "organic" development. He has published several articles about medieval urbanism and in recent years has researched medieval Jewish settlement patterns and architecture. He earned a certificate in surveying and measured drawing from Cornell University (1981). Sam is a Rome Prize winner (1986-87) and Fellow of the American Academy of Rome, and has received numerous research grants and has participated in many grant-funded team projects.
Sam has participated in many archaeological excavations in the United States, Israel and Italy, including supervisory work at the medieval Italian monastic site of San Vincenzo al Volturno in Molise, Italy. He is presently an adviser to many archaeological projects in Europe and the Caribbean, about which he is writing a book.
In Syracuse, Sam is past president of the Preservation Association of Central New York (PACNY) and is active in local history and architecture efforts where he continues to assist many local community organizations, offers popular neighborhood walking tours, and writes the blog "My Central New York". He is PACNY's only recipient of both the Wilma Auer Volunteer Award (2010) and the Jasena Foley Education Award (2014). He also serves as a volunteer on boards and advisory committees of many cultural organizations in America and abroad.
About Samuel D. Gruber, Ph.D.
Discusses representations of Jews, especially the representation of the Vilna Gaon, in the sculpture of Vilnius, Lithuania.
Brief illustrated account of history, architecture and historic preservation of the Choral Synagogue in Vilnius, Lithuania.
Announces the planning of an upcoming online exhibit by the College of Charleston.
A remembrance of Latvian researcher of Jewish historic and religious sites Meijers Melers.
Book review of Kabbalah in Art and Architecture by Alexander Gorlin (Pointed Leaf Press, 2013).


Rest up and feel the relief of a same day massage in your Hialeah home or hotel with a Zeel Massage!
A massage therapist will come to your Hialeah home, hotel, or office in as little as an hour, or schedule in advance.
Relax and recuperate with a spa-quality massage in the comfort of your Hialeah home.
There are over 9,000 massage therapists in the Zeel network nationwide. Here are a few that are available for in-home massages in Hialeah.
LMT Caroline has over ten years of experience practicing massage therapy. She graduated from Florida College Of Natural Health in 2001 and has been employed with Journey's Day Spa and Pleasing Touch Body Works since then. She has worked on and healed thousands of clients over the years and sees Massage her main passion in life. She is experienced in Swedish, deep tissue, myofascial, and sports massage, as well as trigger point therapy, lymphatic drainage, stretching, trigger point therapy and reflexology.
Having graduated from Educating Hands School of Massage in 1984, Marcy has over 30 years of massage therapy experience. Over the course of her career, she has worked in a variety of spas and hotels, including the Ritz Carlton and Emena Spa, in addition to working with private clients. She has also participated in local events such as the WTA Sony open. Marcy specializes in Swedish, deep tissue, sports, and prenatal massage, as well as reflexology, stretching, and trigger point therapy.
Gene is a licensed massage therapist who provides massage to clients in the comfort of their own homes in Miami-Dade county and Broward county. He has over six years of experience in the field and received his degree in massage therapy from the prestigious National Massage Therapy Institute located in Falls Church, VA. Gene is an excellent communicator and great at catering his massage style to individual client needs.
Book a Zeel mobile massage in Hialeah today for quick relief and a no-hassle experience. Residents and visitors taking care of business at Westland Mall or stores like Target, Best Buy, Walmart, Lowe's, and The Home Depot can order a well-deserved, stress-relieving massage on the way home – and all it takes it just a few taps on your smartphone. No need to commute to Downtown Miami or West Palm Beach for a high-quality massage:Zeel provides the best Hialeah, FL massage in-home, at-work, or in-hotel in as little as an hour.
Whether you prefer Swedish massages, deep tissue massages, sports massages, couples massages, or prenatal massages, Zeel Message Therapists in Hialeah, FL are here to provide muscle relief. Book with just a few taps on the Zeel Massage app 7 days a week. We are always on call, and we are here to make your life easy. You can even schedule up to 30 days in advance. Zeel Massage Therapists come to you, providing in-home, at work, and in-hotel massage, delivering comfort and quality when you need it most. Look no further for the "best massage near me" or the "best Hialeah massage" – we have you covered. Plus, it's simple. Book a Zeel mobile massage today right from your phone.
Zeel provides Swedish massage, deep tissue massage, prenatal massage, sports massage, couples massage, and chair massage in Hialeah.


text:
'It's a nightmare': Man stabbed to death by step-granddaughter during family quarrel in their Bronx apartment
The weirdest, wackiest and most wondrous fact about each of the states
Marco Rubio mixes up John Lewis and fellow late Black lawmaker Elijah Cummings in tweet
By Dave Goldiner
(L) Republican presidential candidate Marco Rubio speaks at the NHGOP First In The Nation Town Hall January 23, 2016 in Nashua, New Hampshire. (R)House Oversight and Government Reform Committee ranking member Rep. Elijah Cummings (D-MD) speaks during a news conference at the U.S. Capitol May 17, 2017 in Washington, DC. (Getty)
Sen. Marco Rubio tried to pay tribute to the late John Lewis Saturday — by posting a photo of Elijah Cummings.
In an embarrassing mix up, Rubio (R-Fla.) posted the photo of himself with Cummings, a Black civil rights leader like Lewis.
The Baltimore lawmaker died last October at age 68. Lewis did Friday at 80.
"John Lewis (was) a genuine & historic American hero," Rubio wrote in a message along with the incorrect photo. "May the Lord grant him eternal peace."
Rubio deleted the tweet after commentators on Twitter pointed out the mistake. He later posted a photo of himself with Lewis.
Sen. Dan Sullivan (R-Alaska) made the same blunder later Saturday. He is up for reelection in November in a race that a recent poll has shown is tighter than expected as Republicans struggle against headwinds caused by President Trump's unpopularity.


text:
Weather in Domaso, IT
Avg. wind speed 5.7 km/h 4.9 km/h 4.7 km/h 4.4 km/h 4 km/h 3.5 km/h 7.5 km/h
Avg. wind speed 4.7 km/h 4.4 km/h 4 km/h 3.5 km/h 7.5 km/h 7.7 km/h 5.8 km/h 5.3 km/h
Avg. wind speed 4.9 km/h 4.7 km/h 4.7 km/h 4 km/h 9.1 km/h 9.7 km/h 6 km/h 5.7 km/h
Avg. wind speed 5.8 km/h 6 km/h 5.3 km/h 4.6 km/h 11.1 km/h 12.8 km/h 7.5 km/h 5.5 km/h
Avg. wind speed 5.5 km/h 4.9 km/h 4.9 km/h 3.5 km/h 11.9 km/h 11.7 km/h 7.8 km/h 5.8 km/h
Data provided by reference station for severe weather Roveredo (GR), 305m (16.8 km)
+17 km - Grono
+20 km - Chiavenna
+23 km - Bellinzona
+26 km - Castasegna
Weather in Domaso, 19.07.2019
On Friday it will be fair until late evening. During the night we can expect variable cloudy, but mostly dry weather. Morning temperatures will be around 18 °C. During the day they will reach a maximum of 30 °C. Low temperatures at night will be around 18°C. Northerly winds are weak.
On Saturday it will be mostly sunny, occasionally cloudy for a while. In the evening clear weather will prevail. Morning temperatures will be around 18 °C. During the day they will reach a maximum of 28 °C. Low temperatures at night will be around 19°C. Northerly winds are weak.


My latest exhibition which was held at the Lounge in Lemming ton spa, has now come to an end, Thank you for everyone who showed great enthusiasm and interest in my artwork.
If you missed out on your change to take home one of my Original Hatchling sculptures, don't worry, you can still contact Gallery squared for a list of my available art pieces.
It is also that time of year again, The Coffee art project will be returning for 2014 after the amazing sucess of last years exhibition on brick lane and at the London coffee festival.
Thank you to everyone who voted for me, I was so happy to win second place, and I'm coming back for more, with some brand new coffee inspired artwork.
which will taking place on the 26th February 2014.


… I ran across a color flashing video for the Sony PSP. I used the same video to try and fix my first PSP, but it didn't work. I figured it was worth a shot though. I let it run for about 30 minutes to no avail. I also read about massaging the area so I gently rubbed the spot a little but that too did not do anything.
I have read it is not unusual LCD will have stuck (or bright) pixel. So knowing those two methods will be handy.
You can download the color flashing video on his site as well.


The Radziwill Manor in the village of Polonechka is an architectural monument in the style of classicism, which was started at the end of the 18th and beginning of the 19th century by the order of Matei Radziwill (famous composer and playwright, author of the opera "Agatka, or Arrival of the Pan"). For a model of the palace was taken Villa Trivulzino on Lake Coma in Italy.
With its first owner, the estate in Polonechka becomes a cultural center, to which celebrities of that time liked to come. For example, there was a Russian writer and playwright D.I. Fonvizin.
During the sections of Polish-Lithuanian Commonwealth, when the Radziwill family estate became the property of the army of the Grand Duchy of Lithuania, this place lost its former significance and fame. The second flourishing of Polonechka was received when Constantine Radziwill became the owner of the manor. By his order, the palace was heavily modified and acquired distinctive features of the Empire style.
The palace was surrounded by a park that was divided into regular (French) and landscape (English). Feature of the first part of the park were originally trimmed trees and shrubs. And the landscape included four terraces, which descended to the bank of the river. Before the palace, a sundial was installed, and the central alley led to a wooden chapel-tomb.
To the two-storeyed palace on one side adjoin one-story wings. The front entrance is decorated with tetrahedral columns (herms), at the top of which there are sculptural images of the head of the ancient Greek hero (partially preserved) or the philosopher.
In the 20th century, a boarding school was located here for a long time, at this time the building is empty and is in a dilapidated state. Nearby is the Church of St. George, erected in the 18th century, as well as the ruins of a water mill in 1819.


All Californians have something they care about – kids, seniors, the environment, family, the homeless, the arts, animals or other community issues. All Californians need is a way to find out how they can help.
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* Video of Jessica Chaikof presenting her thesis
University Faculty Experience in Supporting Students with Disabilities
By Jessica Chaikof, Wheaton College (Norton, MA) Senior Thesis in Sociology
Studies on accessibility and disability in higher education have focused primarily on the student experience within the college classroom. A limited number of studies have highlighted the faculty experience with accommodating students with disabilities. More research is needed to better support faculty in higher education and understand their perception of accessibility in the classroom.
According to the most recent report from the National Center for Educational Statistics (2015), as of 2011-2012, 11% of students attending college nationwide have accessibility challenges. Accessibility plays a fundamental challenge in the higher education classroom despite national legislation aimed at promoting access such as the Americans with Disabilities Act (ADA) and Section 504 of the Rehabilitation Act. I focused my research on this question, "What do faculty understand about accessibility in their classroom?"
Definitions of Disability
Disability can be defined by two models: social and medical. The medical model tends to focus on disability as an individual problem and what is "wrong" with the person rather than addressing his or her needs. The social model argues that people are disabled due to the barriers in society. For example, a person in a wheelchair is unable to reach an item off the shelf of a food store despite the store having a wheelchair-accessible ramp. Therefore, it is society's job to remove the barriers and obstacles that people with disabilities face (Collins, Azmat, and Rentschler 2018; López Gavira and Moriña 2015; Waldschmidt 2018).
Joan Acker (2006) coined the term, "inequality regimes" after examining specific organizations through the lens of racial, gender, and class identity. Inequality regimes involve "interrelated practices, processes, actions, and meanings that result in and maintain class, gender, and racial inequalities within particular organizations" (Acker 2006:443). Inequality regimes are systematic disparities between individuals, who are in power and have control over goals, resources, and outcomes. Inequality regimes function as barriers to accessibility, relating them to the social model. Therefore, persons with disabilities are hidden within the organizational structure because the organization is not made accessible to them.
While Acker's (2006) concept of inequality regimes focuses on organizational structure, Wingfield and Alston (2014) established a different term—racial tasks—that centers on the work that is completed by minorities. Racial tasks involve work that is completed by minority groups to uphold whites' position of power in the hierarchal structure. An example of racial tasks can include, a black worker managing a diversity program that offers internships and special trainings for workers of color.
While racial tasks focus primarily on race, I decided to alter this concept by creating the concept of ability tasks. Ability tasks are tasks that actively serve to build and/or maintain a culture where abled-bodied-ness is normalized and treated as standard. An example of an ability task can include a student being removed from the classroom because he or she has distraction-reduced testing as an accommodation. The student is accommodated but the environment is not changed. Thus, the environment still assumes that students are abled-bodied.
Initially I thought there might be a difference across different disciplines and divisions in terms of accessibility and providing accommodations to students. Therefore, I interviewed three to four faculty members (a total of 11 interviews) from four different divisions: Social Sciences, Languages, Arts/Humanities, and STEM. The interview questions focused on their experience with accessibility in the classroom ranging from providing accommodations, challenges they have faced, adaptations they have made, dealing with certain disabilities, and receiving support from the school. After all of the interviews were completed, I searched for common themes and challenges that recurred in the interviews. Three central challenges emerged:
The need for students to disclose their disability to receive accommodations (many do not disclose)
Certain disabilities such as chronic illnesses create unpredictable challenges
Classroom practices to accommodate everyone through Universal Design (UD) are not widely known.
Need to Disclose the Disability to Receive Accommodations
In order to receive academic supports and accommodations under the law, students need to disclose their disability status to the institution. According to previous studies, students reported they did not disclose for a variety of reasons such as: the need to achieve normality, the desire for ownership of their identity, the complex registration process, and the cost required for the testing (Grimes et al. 2018). Faculty are often left wondering whether their student has an undisclosed disability. As one faculty member stated, "There are some people where I've wondered based on the types of errors they're making, I'm consistently [thinking] that there may be an undocumented learning disability." About 30% of faculty interviewed reported and described incidents, where they have felt or wondered are there some students who either did not self-identify or disclose their disability status. Additionally, they reported some students have felt the necessary testing for appropriate documentation was not worth the money or did not feel comfortable speaking to his or her professor. Therefore, a significant barrier in terms of class exists because the testing is only available to those who can afford it. Consequently, faculty are not fully aware of the struggles, the frustrations, or additional changes they can make to create a more accessible classroom. Accessibility issues at the university level are invisible because abled-bodied people may not fully understand accessibility until they have experienced it.
Faculty face challenges both inside and outside of the classroom when providing accommodations to students with disabilities. Despite these challenges, most strive to make adaptations that may help. Faculty have reported attendance and participation to be a significant challenge, especially when someone has a chronic illness. A faculty member from the social sciences stated that she places "very [heavy] emphasis on participation" in her class and expects students to attend. However, if a student is in attendance but not feeling well, they may not participate to the best of their ability. Therefore, faculty are not sure how they can grade a student without penalizing them for an issue they cannot control. Faculty reported other issues besides attendance and participation such as group work and classroom discussions because a student may feel isolated, have difficulty participating because of emotional issues, or not be able to fully access information. While faculty have faced difficulty accommodating students with disabilities, they have been paying more attention and making subtle changes to make the classroom more accessible. These adaptations have included utilizing closed-captioning, creating PowerPoints, and using visual materials such as graphs and diagrams.
Classroom management focuses on how faculty manage their classroom daily such as creating a syllabus that includes assignments, projects, exams, and papers. A faculty member stated, "I also try to design my test so that they can be completed in less time than the class time necessary. So those that don't have [accommodations] should still be able to take their time and finish." For a fifty-minute class, a professor has designed a thirty-minute exam; therefore, everyone regardless of accommodations, would have an additional twenty minutes to finish. Faculty are using more take-home exams for their own and students' convenience.
While exams play a substantial role in classroom management, faculty often have to think about safety in lab-based classrooms such as chemistry, physics, biology, and art sculpture because "safety has to come before even the sort of success part, unfortunately." Lab-based classrooms often include using dangerous chemicals, materials, and tools to complete various tasks such as experiments or creating a new 3-D sculpture; hence, safety is necessary for everyone regardless of ability. Faculty use a variety of approaches for learning, so students are more likely to be strong in one or another approach.
Barriers Remain
Despite ongoing efforts to accommodate students with disabilities, barriers remain. Identified barriers include testing expense, reluctance by some students to disclose their disability, and a lack of faculty access to information and training on accessibility. Faculty desire more information on working with students with disabilities such as a document briefs on best practices for providing access for those with hearing, vision, or mobility impairments or a resource for people with different disabilities because one-size does not fit all. Faculty want help in not only predicting the potential barriers in advance, but also in how they can overcome these barriers. Consequently, there is a need for faculty to have a way to as much information on accessibility as possible.
Acker, Joan. 2006. "Inequality Regimes: Gender, Class, and Race in Organizations." Gender & Society 20(4):441–64.
Anon. n.d. "The NCES Fast Facts Tool Provides Quick Answers to Many Education Questions (National Center for Education Statistics)." Retrieved October 9, 2018 (https://nces.ed.gov/fastfacts/display.asp?id=60).
Collins, Ayse, Fara Azmat, and Ruth Rentschler. 2018. "'Bringing Everyone on the Same Journey': Revisiting Inclusion in Higher Education." Studies in Higher Education 1–13.
Grimes, Susan, Erica Southgate, Jill Scevak, and Rachel Buchanan. 2018. "University Student Perspectives on Institutional Non-Disclosure of Disability and Learning Challenges: Reasons for Staying Invisible." International Journal of Inclusive Education 1–17.
López Gavira, Rosario and Anabel Moriña. 2015. "Hidden Voices in Higher Education: Inclusive Policies and Practices in Social Science and Law Classrooms." International Journal of Inclusive Education 19(4):365–78.
Waldschmidt, Anne. 2018. "Disability–Culture–Society: Strengths and Weaknesses of a Cultural Model of Dis/Ability." Alter 12(2):65–78.
Wingfield, Adia Harvey and Renée Skeete Alston. 2014. "Maintaining Hierarchies in Predominantly White Organizations: A Theory of Racial Tasks." American Behavioral Scientist 58(2):274–87.
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Now that Apple no longer attends Macworld, the once-huge event focuses on add-ons and enhancers for iPads, iPhones and iPods as well as the venerable Mac, and still features great sessions taught by the top experts on everything Apple.
The iRig guitar amp and effects rig system for the iPhone, iPod touch and iPad.
The iGrill Bluetooth thermometer can connect with the iPhone or iPad.
The modulR iPad case and cover.
A screenshot from SuperSync, a program designed to help manage your iTunes collection.
SAN FRANCISCO — Apple is enjoying its greatest levels of success, and customers are buying record numbers of products in almost all of its major categories.
So why isn't Macworld 2011 — more commonly known as Macworld Expo — commensurably larger and more successful than the fairly small show that ran this week in San Francisco?
Where once the show occupied both massive underground chambers of Moscone Convention Center, this year everything was housed in the smaller (but in my opinion, much nicer) Moscone West building.
One reason, of course, is Apple's decision in 2009 to stop exhibiting at Macworld. Although the company was never the only attraction at the show, it was always the bright star that drew people in and provided the gravity around which the rest of the Mac ecosystem twirls.
People came to see the latest hardware and software they couldn't see elsewhere: The original iPhone, announced in 2007 and not due to ship until six months later, sat in a guarded, elevated glass cylinder for people to crowd around. There wasn't a similar main attraction this year.
But perhaps the biggest difference was in the tone and content of the show. It more accurately reflected the current Apple customer, who is no longer Mac-focused, or perhaps has come to the Mac by way of the iPhone, iPod touch or iPad. One of the most interesting statistics from Apple's quarterly earnings calls has been the fact that roughly half of the people buying Macs from Apple retails stores are new to the Mac.
This is reflected in the products that appeared on the show floor. There were a lot of iPad cases and iPad mounts on the expo floor this time around — rather impressive, considering the iPad had just been announced at this time last year. However, with nearly 15 million iPads sold since they became available in March, I suppose that shouldn't come as a surprise.
Among the array of iPad cases, one promising standout is the ModulR case. Made of plastic with a rubberized edge to hold the iPad securely, the ModulR also includes four attachment points that accept accessories such as a wall mount, hand strap (for more easily holding the iPad when reading, for example), shoulder strap, or even a strong magnetic bracket where you can mount the iPad onto your refrigerator or other metal surface. I also liked that the case doesn't bulk up the iPad. ($49 for the case, extra for mounts and accessories: (www.modulrcase.com/).
Another iPad and iPhone-focused product of interest was the iRig and AmpliTube software from IK Multimedia (www.ikmultimedia.com/irig), which turn the device into a portable guitar amplifier. With GarageBand on the Mac, I thought it was great to be able to use a laptop as a portable amplifier that could simulate all kinds of guitar sounds. But now a MacBook seems too large. Plug a guitar's cord into the iRig ($39.99), which also plugs into the headphone port on the iPhone or iPad. And then use AmpliTube ($19.99; free version also available) for either device to simulate amps, apply effects and record tunes.
Then there was the iGrill (www.igrillinc.com/), a $99 temperature sensor that communicates with an iOS device via Bluetooth to keep track of cooking temperatures and times. It's geared toward cooks who need precise measurements but who don't want to hang out next to the grill or oven the whole time food cooks.
Bluetooth is also a key component of the iFusion ($149, www.theifusionphone.com/), which gives you a telephone handset for your iPhone. When the iPhone is in range, you can set the iFusion as the audio source (just as you would with a Bluetooth in-ear headset) and talk on a handset, which many people find more comfortable than holding the iPhone up to their ear. The iFusion can also act as a speakerphone, or a speaker for listening to music. The iPhone mounts into a standard dock connector that can charge the phone or sync with a computer via USB.
For the Mac, one of the more interesting products I saw was SuperSync 4.0 ($29 for a 2-pack license, currently available for $20 as a Macworld show special; supersync.com/), an ambitious application that keeps multiple iTunes libraries in sync across computers on your network or even remotely. If you find yourself with multiple iTunes libraries in your house and want to make it easier for everyone to enjoy the same music and movies, it's definitely worth downloading the demo and trying it out.


I live in PA, but a big Yankee fan! How do they improve their situational hitting for 2019?
Average batting averages, leaving runners in scoring position and strikeouts. Read where the Yankees had more strikeouts than hits and had 135 less hits than the Red Sox for the season. Hit a lot of home runs, but leave more than their share of RISP. Is it the hitting coaches? Keep up the good work!
Thank You for the Email. Some of this is just bad luck. How many times did Greg Bird, and Gary Sanchez hit the ball right at someone? Next year some of those balls will drop in for hits. That is Just a product of luck. Another way to do it is to stay healthy I'm sure if Torres doesn't get hurt he doesn't drop off as much as he did when he returned. Also If Judge doesn't get hurt these numbers are a bit better as well. Yes judge strikes out to but he would have plated some of those runners. Yes they had 135 less hits then the Red Sox but let's take also take the time to remember when Judge was out the Yanks used Shane Robinson for a good amount of time. So again if Judge doesn't miss a month plus, and the Yanks use someone other then Robinson that number is closer to 95 rather then 135. If Torres is not hurt for the period of time he is add a few more hits for the time off, plus the fact he most likely doesn't come back cold and that number is down to 70? Add in the above mentioned Sanchez and Bird the number is most likely down around 45? Now some may say Bird is what he was this year, so then I'd say as Voit or any other 1st baseman and that number is now down to about 10-15 ? I mean the Yankees got nothing out of 1st baseman almost all year until Voit got there. So maybe the answer is just as simple as a productive 1st baseman, and if that's the case plus everything I mentioned above maybe it's the Yankees with 135 more hits then the Sox. Also keep in mind this man lost some time due to injury this year as well...... Sir Didi not getting hurt also helps that cause. Anyways we won 100 games wouldn't worry the Red Sox had 135 hits more then we did. Plus if they add Manny or Bryce if not both that gap is definitely smaller. Also adding one or both of the above what is the HR total then? The Yankees hit more hits then any other team in the history of the game, That number will grow no matter what as long as Judge stays healthy. That being said I don't think it's the Hitting coaches as it was just more bad luck. Maybe a contact hitter to add to the lineup rather then another power only hitter? But Bryce and or Manny will also help there. I wouldn't worry to much again 100 wins and the most home runs ever as a team these young guys are just going to get better with time. Upgrade the pitching and most of the above doesn't matter anyway. Give up less runs and we would be have won 10-15 more games and people might be asking Boston who?
Reach me at JamesCPalma@Yahoo.Com and you too may find your Email live here at The Greedy Pinstripes.


More quick and easy elf on a shelf ideas! sweet c#039;s designs. 5 easy #039;elf on the shelf#039; ideas that will wow your kids.
Random bits. 30 funny easy elf on the shelf ideas! thegoodstuff. Easy elf on the shelf ideas mommysavers. Easy and quick elf on the shelf ideas that still rock. Easy ideas for the elf on the shelf fspdt.


Anyway, I'm looking at the Tarptent Double Rainbow and between space and weight, it looks very inviting.
But since I'm no pro and have never seen one in person, this is where I need your help: It looks complicated and time consuming to set up. The bottom looks like an open invitation for water to come in and have a party with my down sleeping bag. I am NOT fond of the thought of being visited by bugs and snakes while sleeping. And if the wind blows too hard, it looks like it would rattle inside and out.
These are only my inital visual perceptions of it, however the word seems to be that they're sweeter than candy so please educate me on how they really work. Thanks.
I don't have the tarptent you mentioned but I do have the Squall. Mine has the built in floor and mesh around the sides. I use a down bag and haven't had any problems with it getting wet. Tarptents are great IMO.
Okay here's the concept: A tent has solid walls that are sewn to a solid floor. There may or may not be a second tent on top (a "rainfly") that keeps the water off.
A tarptent is lighter and airier than a tent, but easier to set up and more protective than a flat tarp. With practice, you should be able to pitch the Rainbow in less than a minute.
Note also that the silicone nylon fabric of a Tarptent doesn't absorb any water. You can shake or wipe most of the water off after it rains, unlike many tents made of polyurethane coated fabrics.
The downsides are: more wind comes through under the walls, so it can be colder. (That's an upside in warm weather, of course.) The single wall design can have more condensation inside under certain conditions. Finally, some people get the heebiejeebies if they can see outside when they are sleeping in the woods. Those people can't use any sort of tarp.
I have the squall 2 and love it... 2 pounds for everything I wanted - bathtub style floor (would definitely recommend), protection from bugs, protection from rain.
Because you want to encourage ventilation, the temp inside your tent is often going to come close to matching the outside temp (in a tent that doesn't encourage air flow the temp inside your tent can be around 10 degrees higher than outside temps as your body heats the interior up), so keep that in mind when deciding on the temp rating you want for your sleeping bag (see how these systems inter-relate?).
I have not found my tent to be difficult to pitch. I don't know about your model, but my Virga II just takes 4 stakes, one multi-link curved pole to thread through a seam, and 2 straight poles (you can get by with one straight pole, and adjustable trekking poles can substitute for separate tent poles) in normal conditions, but you can add two more stakes to billow out the sides a bit more and make the tent more stable in significant winds. Also, by using different staking configurations, you can lower the silnylon wall significantly (decreasing the chance for rain to get in) if you are anticipating driving rain.
Finally, though they are called "tarp tents," with a sewn-in floor they are much closer to a tent than a tarp. But they are still very light weight (though not as light as a tarp), because the tent material is siliconized nylon, the same light weight material most tarps use these days.
I hope this eases your mind, some. I've found my tarptent to be a very good product for three season hiking.
Edit: Bigcranky is a faster typer than I am! He covered very well a lot of what I just said.
The tarptent rainbow is new. The new feature is that you can set it up as a free standing tent.. There are a few times you might want to do that on the AT.. I had the tarptent squall 2. I felt that it was complicated at first but really after just a couple of times it becomes second nature.. Several times on the trail I set it up in what seemed like seconds to beat a quick moving storm. The concept is that you have a bathtub floor with some mosquito netting around the sides back and at the door..
The only drawback is that with a single wall tent if there is a big difference in temperature between the inside and the outside then there can be condensation.. I had this a couple of times untill I figured out that if you don't bundle up so much you reduce the temperature difference..
Also It is important for the tent to catch some breeze. This is good for reducing condensation and to help you keep cool in the Summer.. The tent is Excellent for keeping bugs out... One night I spent on the trail, I call the night of a thousand spiders. I had to race into the tent and kill a few. But once in and zipped up I was completely secure from the creepy crawlies! The tent offers a bunch of room and I cooked several times in the rain under the vestibule. One night in MD a big storm came up, I stealth camped. It rained four inches! I stayed completely dry and waited out the storm till the next mid morning in the Tarp tent... It stayed completely dry inside!
The single wall design can have more condensation inside under certain conditions. Finally, some people get the heebiejeebies if they can see outside when they are sleeping in the woods.
AGREE!! I love my Double Rainbow!!!!
Don't be sorry, you've done the right thing in my opinion. You'll get more responses to each question that way.
The only potential downside to the Rainbow 2 is the size of a tentsite for it. That is also a bonus as you can have 3 folks pretty easily in it, and two with gear quite well. In summer, it can still be a pretty hot tent, but no one suggested Henry add an air conditioner. I've been in snow and pretty good cold (low 20's) without any problems.
That said, if I were hiking solo, I'd still consider a hammock and tarp cover for comfort. It will weigh more, but is a really good sleep.
I think the option of no floor doesn't get enough respect. Having a large "floor" but not sewn in allows you to tuck it under the edges of the bug net all around to seal the tent against most things, but also to untuck it if you need to (eg., for reaching outside to cook, taking a leak in the middle of the night, etc. I may the only one who has and likes this option, since I so often see recommendations for the sewn in floor.
I can vouch for the regular (single-person) Rainbow. Think of it as a fly, a floor, and a band of mesh fabric connecting the two -- it goes all the way around the floor and connects the outer edges of the floor to the fly. The mesh isn't under tension, but the floor and fly are.
The tent goes up in about 2 minutes. Put the pole together. Push the pole through the ridge sleeve, hook it into the grommets at either end. Now insert four stakes, two at each end. Two more stakes guy out the sides.
I have an 8' x 10' tarp I sometimes use in the fall. It is nice but sometimes a bit wet in widy-driven rain.
I bought a tarptent, which is basically a tarp cut and sewed to shape so that it hangs like a tent, and there is some mesh at the edges, and a lot of mesh in front where you get in.
So to me, a tarptent is a tent=shaped tarp.
Most people have tarptents with sewn in floors, but I never understood why they are call "tarptents" in stead of simply "tents." To me there is no difference bewtween these and single-walled tents.
I have gotten wet in my north fact tadpole.
go for the lighter weight and drier tarp/tent. It's a wise move.
tents with sewn in floors, but I never understood why they are call "tarptents" in stead of simply "tents." To me there is no difference bewtween these and single-walled tents.
The difference (to me, anyway) is that a single wall tent has the walls sewn to the floor. A Tarptent doesn't. That makes a huge difference in wind protection and ventilation. It also makes a difference in how much I can see -- if I lie down in my Tarptent I can see out in all directions under the tarp. Again, in a single wall tent this isn't possible.
There are Tarptents with floors, and Tarptents without floors. Most models can be bought either way. Tarptents are "single-walled" ... but the vestibule side of the Rainbow is not much different from any double-walled tent I've seen. Ie., there's a mesh inner wall, and then, a few inches further out, a waterproof nylon outer wall.
I am NOT fond of the thought of being visited by bugs and snakes while sleeping.
but you do like to hang out with mice while sleeping?
I have a Double Rainbow and a Squall 2. Both have sewn-in floors with bug mesh. I've never had flooding or bugs. I've been through some very extended t-storms with buckets of water raining down and high winds. Never an issue. I can't imagine how anyone could get waterlogged in this tent, unless they staked themselves out in a flood plane! The DR's clip-in liner feature is a great 2nd ceiling. Both are easy to set up and light. I'm very happy that I bought the DR. Now I've got extra headroom, as well as space inside for me and gear. Also, Henry's great at customer service.
Ray Jardine's book The Ray-Way Tarp Book is an excellent resourse on this subject. It also has directions on how to make one. I constructed one and am happy with it. I have slept in the rain a few times and have stayed dry.


Since I have been reviewing a couple of very popular adventure games that are known by a lot of older gamers, I decided to tackle a franchise that is one of the most popular and iconic adventure game series of all time, Monkey Island! Originally created by LucasArts with a design team consisting of Ron Gilbert, Dave Grossman, and Tim Schafer, this was and still is one of the most if not, most popular adventure game series ever. It was filled with creative puzzles, memorable characters, great jokes, fantastic music, and the overall experience is satisfying for any gamer looking for a good adventure game. Well, except for the first 3D game in the franchise. Moving on, I decided to review my favorite entry of the series. It should be no shock or surprise when the title of this review shows which game I am reviewing, The Curse of Monkey Island. This was the last of the LucasArts adventure games to use the popular ScummVM game engine, which the company used for a majority of their games. It's easily one of the top five LucasArts games, and that is saying something since a majority of the adventure games made by them are fantastic. Grab your peg leg, eye patch, and a bottle of grog, and let us continue with the master piece of adventure gaming, The Curse of Monkey Island.
The story stars our main hero Guybrush Threepwood, voiced by Dominic Armato. He is stranded in the ocean after the events of the second game and is writing in his journal about the previous events. As he floats along the ocean waves, he comes across an epic battle is happening between a seaside castle and a ghost ship filled with undead pirates! The pirate captain leading this fight is the antagonist of the series, LeChuck, voiced by Earl Boen. LeChuck is attacking this seaside castle because that is where Guybrush's love Elaine Marley, voiced by Alexandra Boyd, who Lechuck is in love with is located. With some puzzle solving and witty humor, Guybrush defeats LeChuck, and with a ring he found in LeChuck's ship, asks Elaine to marry him. Unfortunately for the new couple, the ring is cursed and turns Elaine into a golden statue. Guybrush must travel across a couple of islands, fight pirates with insults, not tell you anything if you ask him about Grim Frandango, and save Elaine.
Of course, Guybrush will also have to deal with cannibals, obnoxious insurance men, devious pirates, a snooty cabana boy, a couple of barber pirates, and a newly revived LeChuck to save the life of his love. The story itself is the best part about this game. While Guybrush is more of a normal guy with some witty humor here and there, his best strength is when he works off the silly cast of characters that he encounters. LeChuck is, by far, the character with the best lines. There is just something both intimidating and absolutely hilarious about his lines and how he acts. For example, in one scene he will want to kill Guybrush, but in another, he complains about how they never give you enough coleslaw in value meals. Or in another scene he says he will show Elaine how much he loves her by blasting her with a voodoo cannonball. For the majority of the game, the story is entertaining from beginning to end.
The Curse of Monkey Island is obviously an adventure game. You will be wandering around a couple of different islands solving puzzles by finding items wherever you go. The way you pick up items, observe objects, or talk to people is done in a very similar fashion of games like Full Throttle. You will have a circular icon that will represent your command menu. You will also have a separate inventory screen where all the items you have accumulated throughout your adventure will be stored. Sometimes, to solve certain puzzles, you will need to combine items that you find, and the items that you need are not always obvious the first time around. This is definitely an adventure game where you need to stretch that thing you call a brain to really know how to solve the puzzles. Don't worry, this game doesn't have a lot of dead ends like in other adventure games. The other big mechanic in this game are the sword fighting bits called "insult sword fights". During the mid-way point of the game, you will need to fight a couple of different pirates and will need to learn a huge assortment of insults. You win each fight by having an insult that rhymes with the insult thrown at you. You won't win your first couple of fights, but once you get a laundry list of insults from some early insult sword fights, you will get through these fights later on easier. The game can range in difficulty, since the harder difficulty ramps up the puzzles and their solutions. I would say that you can beat this game in about 3 hours if you know what you are doing.
Graphically, this is one of the reasons why this game is my favorite game of the series, the art style. I love this Disney-look to the characters, and the cut scenes are well animated, detailed, and look really good for a PC game from 1997. Sure, some of the characters might not look as smooth as they did back in 1997, but this game's engine really holds up compared to game engines of today. The voice work is phenomenal. The main cast does a great job with their roles, but the supporting cast is what holds it all together. You have actors like Gary Coleman, Alan Young, Neil Ross, Tom Kane, and Glenn Quinn. They bring with them great performances and execute the humor perfectly. The music is also extremely catchy as I found myself humming the main theme after I played the game. The composer was Michael Land, who I have said before in other reviews, worked on a huge number of LucasArts adventure games.
So, what complaints do I have with this game? Well, while the overall game is amazing, funny, and a worthwhile experience, you get the feeling that they rushed the ending. The ending of the game happened so quickly that I was disappointed. You take so much time in the beginning and middle part of the game solving these puzzles that will help you solve other puzzles, and yet, you just solve two puzzles at the end and then the game is over. The ending cut scene is nice and all, but I wish there was a bit more substance at the end of this game. I also thought some of the puzzle solutions on the harder difficulty, while challenging, could be very farfetched at times. For example, one of the puzzles in the later part of the game required dog hair, whipped cream, and shaved ice to make a potion that turns you into a man. I prefer it when inventory based puzzles have a great overall flow to them and don't keep you from progressing. An example of this would be when you meet this fortune teller character and you have to get five cards of the same kind. You need to do this because it will help you solve another puzzle later on. I didn't know about this until I found out I needed the cards for a poker game. I then went back to a previous island just to get the rest of the cards needed for the poker game.
Final Verdict: A treasure worth looking for!
What else can I say about this game that I already haven't? This is my favorite game out of the franchise, and even though Ron Gilbert, the original creators of the franchise, had nothing to do with this entry in the franchise since he left LucasArts after the second game, the people behind the game showed that they knew how to make an overall high quality product. I got my copy for about $12, and I could easily recommend it at any price point you can get it for, complete in box or not. It's a shame that the series went downhill after this game was released, as Escape from Monkey Island was not as well received as the previous games and halting the series for quite some time. Either way, you should really check this game out and have some grog. This is one treasure you will want to plunder.
Memorable characters, a fantastic sense of humor, interesting puzzles, and an incredible soundtrack.


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Home » Racing » F1 Drive to Survive 'shows the truth' of Williams' 2019 testing failures
F1 Drive to Survive 'shows the truth' of Williams' 2019 testing failures
02/29/2020 Comments Off on F1 Drive to Survive 'shows the truth' of Williams' 2019 testing failures
The plight of Williams and its failure to start last year's pre-season testing on time set the tone for the worst year in the team's history.
The team with 16 Formula 1 championships to its name endured a miserable 2019 as it collected just one point all season with a car way off the pace of its rivals.
Netflix was with the Williams team ahead of last year's testing and the agonising scenes as bosses realise the car would be late are played out in series two of its Formula 1: Drive to Survive documentary.
Deputy team principal Claire Williams believes the episode "allows us as a team to tell a version of events that we may not otherwise have had the opportunity to".
She told Autosport : "[It allows us] to really show the blood, sweat and tears, and the pain that really goes on behind a situation.
"People can sometimes just see a situation and not truly understand it and make a judgement. I hope that our episode really shows the truth behind the scenes and how painful it was for all of us."
What happened to Williams
Testing began in mid-February, more than a month before the first race of 2019.
Williams was the only team that failed to make it on time, not running until the third day of the four-day session.
F1: Drive to Survive captures the moment Claire Williams is given the list of issues that are delaying the completion of the car, the most excruciating of which is the admission the team hasn't even "got any wheel nuts to hold the wheels on".
Once the car is on track the number of issues become apparent.
Nine races into the season driver George Russell gives a damning verdict, describing the situation as "a joke".
"It's all over the place," he tells them while trailing last in the British Grand Prix. "Understeer is atrocious, these brakes aren't improved.
"We're gonna have to stop, it's getting to the point of danger. We really, really need to sort this out."
Despite the brutal words spoken and … scenes unfolding, Claire Williams was full of praise for the Netflix team.
"You ignore [the cameras]. They're very good, the Netflix team are fantastic. "We've obviously worked with them for two years now, and they've always been very mindful and conscious of where they are and where they've put themselves.
"Having cameras around doesn't necessarily bother us because we understand the long-term impact of what those cameras are doing."
Will 2020 be any better?
Testing ahead of F1 2020 started last week at the Circuit de Catalunya in Spain.
Williams made it on time and, in an act of defiance, made sure its car was the first one on track.
Testing has also suggested the car is also more competitive ahead of the season opener in Australia on March 13-15.
British GrNetflixWilliams F1
Lewis Hamilton delivers qualifying verdict as Mercedes struggle at British GP
Rosberg 'hopeful' of repairing Hamilton friendship before 'crazy' Verstappen comments
Daniel Ricciardo returns to Red Bull for 2023 as Mercedes lose out
Ferrari threaten to pull out of Australian Grand Prix over coronavirus fears
Saudi Arabian GP could be 'in jeopardy' as doubts raised after huge explosion near track
Ex-Tottenham boss Mauricio Pochettino spotted at the Emirates with Arsenal hero Ian Wright
Jose Mourinho: Harry Kane was right to start Champions League final despite injury concern


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Sémalens – miejscowość i gmina we Francji, w regionie Oksytania, w departamencie Tarn.

Według danych na rok 1990 gminę zamieszkiwało 1651 osób, a gęstość zaludnienia wynosiła 148 osób/km² (wśród 3020 gmin regionu Midi-Pireneje Sémalens plasuje się na 218. miejscu pod względem liczby ludności, natomiast pod względem powierzchni na miejscu 1005.).

Bibliografia

Miejscowości w departamencie Tarn

redpajama_set_name: RedPajamaWikipedia


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Feature, Issue #16
nonsite.org - Feature - Issue #16
By Clement Greenberg
Friedel (Friedebald) Dzubas has been a superior painter for a long time. There are watercolor landscapes, done almost 40 years ago, whose limpid grays, grayed blues and greens ravish my eyes. Reminiscences of German Romantic art don't take away from their originality, modest though that may be. Dzubas has always been original, in a surreptitious way that's fooled everybody, including myself as well as such a good critic as Michael Fried. In his most discouraged moments Dzubas has remained—as we say in America—his own man. But it's as though he's tried to hide that, as though he's tried to confuse the viewer—and himself too—on that scene [sic].1
At the end of the 1940's he'd become part of the Abstract Expressionist "movement." By the mid-1950's he was ready to become one of its masters, a junior one, but a master nonetheless. That readiness is visible in the Dzubas of 1955 that the Whitney Museum in New York owns; it stands up to the Whitney's Pollock and does more than stand up to its de Koonings and Kline. But it should have done still more than that. As Friedel himself recognized, he couldn't keep himself from filling the picture out, fastening down all four corners of it with paint marks, when the whole urge of it was towards a certain emptiness on one side or the others, [sic]2 toward an indeterminate spaciousness. This boxing-in belonged to the notion of a well-made picture, from Cimabue and Giotto to Picasso and Pollock. (Even Hans Hofmann, in all the mastery he had won after 1950, still undermined many of his pictures with an excessive concern for the spelling out of their four corners.)
I pay special attention to this moment in the course of Dzubas's art because it marked a "gran rifiuto." Then and there, in the mid-50's, he might have risen still more visibly than he did above the ruck of Abstract Expressionism in its dying throes. Not that he didn't do good painting then and all through the later 50's, but he didn't drive it home, and didn't make the fact that he was going against the tide—as he was—more evident. Then and there he could have entered the Promised Land with great, not just good, paintings.
He went along, eventually, with the linear, "hard-edged" art of the 1960's, again producing good works, some of them may be [sic]3 better than before. At several group shows pictures of this [sic]4 startled me in the way they stood out, but each time I failed to recognize the picture as a Dzubas, for all my familiarity with his art. (Thus his canvas in the Guggenheim Museum's collection in New York, which is one of the very best postwar items that the museums owns.) The value of a work of art doesn't depend on the recognizability of its source, of course. But in Friedel's case this lack of recognizability spoke for a failing on his part that lay in the failure to follow up his achievements and achievedness, the failure to put them together. He let it all lie scattered as it were. It was as though he was reluctant to take himself seriously, to settle into the way of success (I mean real artistic success, not the worldly kind). It was a though he wanted to stay in a state of promise, as though fulfillment, success, and all that would close out his options, take away the disponibilité of promise. And as it happened, and happens, people who did see how good Dzubas's art could be did somehow sense his attitude towards himself and did therefore hesitate to take his art more seriously than he took himself. That is, they hesitated to conclude anything about the value of his art or his stature as an artist. I presume to say that it's his own fault, almost entirely, that he hasn't been a world-famous artist these twenty years back.
Well, all this changed with the beginning of the 1970's, or has been on the way to changing since then. I wouldn't want to say whether Dzubas is linear or painterly (malerisch) by native inclination. But I do say that there's a vein of the malerisch deep inside him and that vein, after being more or less suppressed during most of the 60's, finally and forcefully welled up in 1971. That was sudden. But it didn't overcome his linearity; instead, a synthesis formed (to use Kenworth Moffett's term). Dzubas had no conscious say in the matter: the synthesis just came. From that synthesis has issued the ripest and most consistently successful, and certainly the most original art he has produced. That's saying a lot. Friedel has settled into his enduring self.
He used to wonder whether these new paintings of the 70's didn't look a little "old-fashioned," too 1950-ish, out of phase with the times. Who cares? Artists will bother themselves about things like that. So Monet's "Lilly Pads" were out of phase with the 1920s. (Curious: some of Dzubas's newest paintings run into Monet. I say "run into" advisedly; it's a case more of convergence than of influence; the malerish in Duzbas insists on itself more and more, to break up shapes, and to break up background too.)
But I don't want to put too much emphasis on these pictures of the 70's. Pictures from all stages of Dzubas's art since the 40's will in time to come thrust themselves increasingly into attention: enough of them to establish him once and for all where he belongs, which is on the heights. The art press, Kunstkompass, and other such awful manifestations of art-world opinion don't indiate that yet. So what? Had Kunstcompass been present around 1900 it would have shown ever so many artists as ranking above Cézanne in point of popularity and exposure, not to say journalistic attention….
In the meantime I'm waiting for some more of Friedel's dark pictures. His command of gray, black, and of hues that approach these is unique in my opinion. But he hasn't yet let himself go full-blast in that direction. It's as though he were waiting, again, to be possessed—possessed by himself even more than he is now.
Clement Greenberg, "Friedel Dzubas," Friedel Dzubas Gemälde (exh. cat., Kunsthalle Bielefeld, Bielefeld, December 18, 1977-January 15, 1978), 7-9. This is the first publication of the uncollected piece since 1977.
Permission to publish Clement Greenberg's 1977 essay "Friedel Dzubas" in its entirety was granted by Janice Van Horne, who graciously shared with me her fierce intelligence in a frank discussion of the relationship between her late husband, Clement Greenberg, and the artist. I extend to her my heartfelt thanks for her generosity on all counts. [—P.L.G.]
1. In the typescript of essay, Greenberg originally ended the sentence after the word "too" with a period, but then added two dashes and "on that score." The published version, which appeared in the catalogue, was paired with a side-by-side German translation by Eleonore Winter, with German on the left and the original American on the right.↑
2. Greenberg blackened out what he had originally typed and handwrote "one side or the other," to be inserted in the sentence.↑
3. Greenberg has typed "maybe."↑
4. Greenberg has typed "his."↑
5. There is no date in the typescript, but the letter to Dzubas accompanying the typescript carries the date November 9, 1977.↑
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