For the couple, a passion for orphan ministry didn't come as the result of a compelling sermon or by reading a book. "We were called to orphan work after we adopted our daughter, Almaz, from Ethiopia in 2009. When we traveled to Ethiopia, our agency took us to three government-run orphanages to show us how orphaned children who aren't adopted live. To say it completely wrecked us is a huge understatement. When we came back from Ethiopia, we couldn't get those faces out of our minds and we both felt an intense restlessness to do something more for orphans.
"We felt really called toward sustainability projects, those which empower local people to help their own. In 2011, we attended an orphan care conference in California and met people from Orphan Outreach. We started sharing our passion for orphans and sustainability and Mike Douris, the president of OO, asked if we would ever be open to looking at Kenya instead of Ethiopia. He said he thought he had the perfect project for us if we were open.
Jim and Carmen have returned to Madeleine School two times. But they've not traveled alone. The couple has taken a team of medical specialists, vet techs, and people who have caught their vision for caring for the vulnerable. Medical clinics are set up in mud-walled classrooms illuminated only by the sun shining through turquoise-hued shutters. In 2014, a team of veterinarians scoured the country to find two strong dairy cows for the school while the rest of the team played soccer, pulled weeds in the garden, helped serve meals, and did medical and dental check-ups. And Carmen has found her personal niche - spending time with the students so she can share their stories back home.
"I've had the opportunity to interview every child at the school. The most memorable things are the little things the children would tell me or ask me. One child asked me to adopt her. Another was wearing huge men's-sized shoes and told me she had worn them because of "the visitors". One girl shared that she had only two pair of underwear. One told me the best moment of her life was having us visit. One little boy told me he wants to be the vice president when he grows up. Others told me about abuse they endure at home. Just getting to know the kids on that personal level is the most meaningful to me.
Jim and Carmen want to see every child sponsored at Madeleine School because they've seen first-hand the impact of those sponsorships on the children and on the community of Bungoma. Their passion began with sponsorship of their own sweet student, Sarah. Carmen smiles as she reminisces about their first visit. "I met Sarah last year. She was this tiny little thing dressed in a rag of a dress that kept slipping of her shoulders. She was shy, but each time I looked at her, she would give me this incredible smile. During her interview, I learned about some difficulties at home and my heart just went out to her. In the few moments I did have to play with the children, she was always by my side. I knew I had to sponsor her!
"Last year, a little girl was laying on the other side of the fence from the school. She was so pitiful, just watching the other children and I inquired about her. The school director told me that her guardians couldn't afford the tiny amount to send her to school. I couldn't stand it and brought her into the school and told the director I would find a sponsor for her. The change in that little girl has been nothing short of miraculous.
For Carmen, the three-year experience has proven to her that there is a place for everyone in orphan ministry. "There is something each person can do to make a difference in the lives of children." She and Jim have found their place in Bungoma, and they have helped so many others find their place too.
"If anyone is looking for an easy way to impact the lives of a child, sponsorship is the way to do it. We desperately need more sponsors to be able to provide for the needs of the children. Last year, the children were coming to school hungry since many of them were only eating one meal at school. Through the growing number of sponsorships, we've been able to begin a breakfast program and the children are doing better. However, we still need an afternoon snack/meal program for the children to be truly full. Also because of sponsorship, we are able to provide a monthly doctors' visit for the children and many are doing much better.
Learn more about the children of Madeleine School and connect with your new sponsor child today. You plus one child, your church plus one orphanage or school, your community plus a community. Every single child sponsored is the goal of Carmen and Jim. It's our goal too.


text:
Q: 401 UNAUTHORIZED I am new to sharepoint and was creating a sample program for my learning and after executing it when i tried to open my sharepoint site it gives me following error:
401 UNAUTHORIZED
This is how it happened:
I was creating a feature receiver and on it the code was written to change the master page as:
    public override void FeatureActivated(SPFeatureReceiverProperties properties)
    {
        SPSite _site = (SPSite)properties.Feature.Parent;
        SPSecurity.RunWithElevatedPrivileges(delegate
            {
                using (SPWeb _web = _site.OpenWeb())
                {
                    _web.AllowUnsafeUpdates = true;
                    SetMasterPage(_web, "v4CopySPLearning.master");
                }
            }
        );
    }

    private void SetMasterPage(SPWeb _web, string _masterPage)
    {
        var masterUri = new Uri(_web.Url + "/_catalogs/masterpage/" + _masterPage);
        _web.MasterUrl = masterUri.AbsolutePath;
        _web.CustomMasterUrl = masterUri.AbsolutePath;
        _web.Update();
    }

this "v4CopySPLearning.master" is my custom master page which is nothing but the copy + paste of v4.master and was placed at:
C:\Program Files\Common Files\Microsoft Shared\Web Server Extensions\15\TEMPLATE\GLOBAL
Then I deployed this project and when i opened my sharepoint site it gives me 401 UNAUTHORIZED error.
Then i retracted my sharepoint solution but it didn't worked and gave me same
401 UNAUTHORIZED
error.
Then i browsed internet and found poweshell script to deploy default master page as:
$web = Get-SPWeb
$web.MasterUrl = "/_catalogs/masterpage/v4.master"
$web.Update()
$web.Dispose()
It got executed without error but the
401 UNAUTHORIZED error still persists.
Any solution for the same.

A: Did you create a backup? I would restore in CA(central administration). Otherwise apply the default master page to your site for the meantime(so there is something to work with) and research your idea before implementing it. I use a pseudo subsite as my practice environment

A: I happen to have code in front of me that I am using to update the master pages in a feature activation event receiver, it looks like this:
var site = properties.Feature.Parent as SPSite;
var web = site.RootWeb;

var rootUrl = web.Url;
var customMasterUrl = new Uri(rootUrl + "/_catalogs/masterpage/cusom.master");
var systemMasterUrl = new Uri(rootUrl + "/_catalogs/masterpage/v4_custom.master");
//Site Master Page
web.CustomMasterUrl = customMasterUrl.AbsolutePath;
//System Master Page
web.MasterUrl = systemMasterUrl.AbsolutePath;
web.Update();

I've used this method in several features to set custom master pages without issue.

redpajama_set_name: RedPajamaStackExchange


text:
define(['core/runners/logRunner'], function(logRunner) {

  var coreModule = angular.module('coreModule', ['ngRoute', 'ngAnimate', 'themeModule']);

  coreModule.run(logRunner);

  coreModule.config(['$controllerProvider', function($controllerProvider) {
    coreModule.registerController = $controllerProvider.register;
  }]);

  //Angular routing
  coreModule.config(['$routeProvider', '$locationProvider', function($routeProvider, $locationProvider){

    $locationProvider.html5Mode(true);
    //$locationProvider.hashPrefix('!');

    $routeProvider
      //Home
      .when('/', {
        controller: 'homeController',
        templateUrl: 'components/javascripts/core/views/home.html',
        controllerAs: 'vm',
        resolve: {
          load: ['$q', function($q) {
            var deferred = $q.defer();

            require(['core/controllers/homeController'], function() {
              deferred.resolve();
            });

            return deferred.promise;
          }]
        }
      })
      //Compete
      .when('/compete', {
        controller: 'competeController',
        templateUrl: 'components/javascripts/core/views/compete.html',
        controllerAs: 'vm',
        resolve: {
          load: ['$q', function($q) {
            var deferred = $q.defer();

            require(['core/controllers/competeController'], function() {
              deferred.resolve();
            });

            return deferred.promise;
          }]
        }
      })
      //Program
      .when('/program', {
        controller: 'programController',
        templateUrl: 'components/javascripts/core/views/program.html',
        controllerAs: 'vm',
        resolve: {
          load: ['$q', function($q) {
            var deferred = $q.defer();

            require(['core/controllers/programController'], function() {
              deferred.resolve();
            });

            return deferred.promise;
          }]
        }
      })
      //Event
      .when('/event', {
        controller: 'eventController',
        templateUrl: 'components/javascripts/core/views/event.html',
        controllerAs: 'vm',
        resolve: {
          load: ['$q', function($q) {
            var deferred = $q.defer();

            require(['core/controllers/eventController'], function() {
              deferred.resolve();
            });

            return deferred.promise;
          }]
        }
      })
      //Event
      .when('/about', {
        controller: 'aboutController',
        templateUrl: 'components/javascripts/core/views/about.html',
        controllerAs: 'vm',
        resolve: {
          load: ['$q', function($q) {
            var deferred = $q.defer();

            require(['core/controllers/aboutController'], function() {
              deferred.resolve();
            });

            return deferred.promise;
          }]
        }
      })
      //Auth User Management
      //Register
      .when('/register', {
        controller: 'registerController',
        templateUrl: 'components/javascripts/core/views/register.html',
        controllerAs: 'vm',
        resolve: {
          load: ['$q', function($q) {
            var deferred = $q.defer();

            require(['core/controllers/registerController'], function() {
              deferred.resolve();
            });

            return deferred.promise;
          }]
        }
      })
      //Otherwise Set URL to "/"
      .otherwise({
        redirectTo: '/'
      });

  }]);

  //Bootstrap the application to the document (inititate)
  require(['core/controllerReferences'], function(references) {
      require(references, function() {
        angular.bootstrap( document, ['coreModule'] );
      });
  });

});

redpajama_set_name: RedPajamaGithub


text:
RTV Pink – najpopularniejszy serbski kanał telewizyjny. Pokazuje głównie amerykańskie hity filmowe, popularne seriale, jak Simpsonowie, oraz telenowele latynoamerykańskie. Kanał ma także swoje wersje przeznaczone dla Bośni i Hercegowiny oraz Czarnogóry. Istnieją także powiązane z nim kanały tematyczne: Pink Extra, Pink Kids, Pink Nostalgie, Total Pink, Pink Films, Pink Movies i Pink Music. Siostrzanym kanałem jest Pink 2. Właścicielem jest Pink International Company. Siedziba znajduje się w Belgradzie.

Przypisy

Linki zewnętrzne
 Oficjalna strona kanału

Serbskie stacje telewizyjne

redpajama_set_name: RedPajamaWikipedia


text:
Q: Parallel.ForEach finally clause I would like to know if there is maybe a finally that i can use in a Parallel.ForEach?
try
{
}
finally
{
}

Is this possible in a Parallel.ForEach?
I need to do a finally when the loop has completed.
Parallel.ForEach(someList, x =>
{
    //...
}, // Now i need to do a finally);

My problem is that i have a try finally around my Parallel.ForEach, but i dont want the finally to happen. It must only happen when the parallel task has completed.
So this does not work for me:
try
{
   Parallel.ForEach(someList, x =>
   {
      //...
   });
}
finally
{
}

Is there maybe another way of doing this?

A: Loops and finally don't go together (except maybe in Python). You simply write the code to run after the loop, well, after the loop.
If you want to run it regardless of exceptions in the loop, do it like this:
try
{
   Parallel.ForEach(...)
}
finally
{
   // ...
}

On second thought, maybe the OP ment to use this Parallel.ForEach overload, which allows you to provide a "localFinal" action, that is invoked whenever a thread (used to execute one more iterations of the loop) has completed.

A: You either put a try .. finally block inside the action being performed in parallel, or outside it:
Parallel.ForEach(someList, x =>
{
    try
    {
    }
    finally
    {
    }
});

or:
try
{
    Parallel.ForEach(someList, x =>
    {
    });
}
finally
{
}

It depends on your use case, which isn't clear from the question.


Tepha has announced that two of its corporate partners, Aesculap and Tornier, are conducting initial clinical evaluations of the company's new TephaFLEX suture products.
The clinical evaluations, conducted in both the USA and Europe, represent the first human usage of medical devices derived from Tepha's new class of resorbable polymers called polyhydroxyalkanoates (PHAs).
The Tepha PHA polymer family is a product of the company's patented recombinant DNA technology which allows the engineering of resorbable medical devices with mechanical and biologic properties that are matched to specific tissue repair and replacement applications. TephaFLEX monofilament suture is up to 30 percent stronger, more flexible, and has longer strength retention than currently marketed resorbable sutures.
Aesculap, a Tepha corporate partner since 2004, currently is conducting a European trial evaluating suture products based on TephaFLEX fibre in 150 patients undergoing abdominal wall repair procedures. The results of this trial will be submitted to European regulatory authorities to support Aesculap's application for CE Mark approval.
Based in Germany, Aesculap is a division of B Braun Melsungen, focused on products for core processes in operative medicine. Aesculap's product range includes sutures, implants for orthopaedic and spinal surgery, surgical instruments, endoscopes, surgical motor systems, container and storage systems, and vascular therapy products.
Tornier, a Tepha corporate partner since 2007, recently supported the clinical evaluation of the TephaFLEX Absorbable Suture by several leading orthopaedic surgeons in the USA. The TephaFLEX Absorbable Suture, FDA 510(k) cleared in February 2007, was utilised in a range of orthopaedic soft tissue repair procedures.
Tornier, based in Edina, Minnesota, is a leader in the extremity orthopaedics market and is collaborating with Tepha on several products for orthopaedic soft tissue repair.


Permaset Fabric Softener is an additive used to create a softer feel in the finished print. Due to their delicate nature, certain fabrics like silk, certain polyesters, and others necessitate an extremely fine print. If this is the case, simply pre-mix a small proportion of fabric softener with your ink and the results will speak for themselves.


text:
Q: Multiple QQ Plots on Data Set with Unknown number and name of variables I want to produce qqplots & lines on chem data that comes to me as an excel file with an unknown number of variables and an unknown number of observations then store each plot as a data object eg qqplot1, qqplot2, 3, 4, etc for later inclusion in a summary report. I'm writing a generic script to run on data sets as they come to me and the number and the name of the variables will vary.

*

*The first bit of script make a data frame (df) and this is pretty much how it looks to me after import from excel. This one has there variables (As, Ba, Cu) and the number of observations varies for each variable.

As = c(10, 20, 10, 12, 7, 14, 6, 9, 11, 15)
Ba = c(110, 120, 210, 112, 97, 214, 116, 211, 115, NA)
Cu = c(1, 1, 2, 11, 9, 21, 16, 19, NA, NA )
df = data.frame(As, Ba, Cu)

I can facet wrap all the variables by first pivoting then plotting. See code below. The pivot in R gives the columns generic names to the columns (name and value). This is Ok when there are only three variables but not so good if there are 20 or up to 50 variables.
Ideally, I would like to save each of the plots as objects that are sequentially numbered for later inclusion in summary HTML or PDF report.
Any ideas are welcome. RM
df_l = pivot_longer(df, cols = everything())

qqplot <- ggplot(data = df_l, mapping = aes(sample = value)) +
  stat_qq_band(alpha=0.5) +
  stat_qq_line() +
  stat_qq_point() +
  facet_wrap(~ name, scales = "free") +
  labs(x = "Theoretical Quantiles", y = "Sample Quantiles")
qqplot

PS: I was sort of going down this route but wanted it to be in ggplot and I have no idea how to save them sequentially numbered.
par(mfrow=c(1,1))
for (i in 1:ncol(df[,1: ncol(df) - 0 ])){
  qqnorm(df[, i], main = names(df[i]))
  qqline(df[, i])
}

A: Maybe this is what you are looking for. Using e.g. purrr::imap (or lapply or  ...) this could be achieved like so:

*

*Put your code for the qqplot inside a function

*Split you long df by name

*Use purrr::imap to loop over the splitted df

*

*using imap has the advantage of passing the name of the split or the name of the variable to the function which makes it easy to add a title to the plot.

*A second option to title your plots would be to keep the facet_wrap which will result in a facet like title for the plot

As a result you get a named list of qqplots:
As = c(10, 20, 10, 12, 7, 14, 6, 9, 11, 15)
Ba = c(110, 120, 210, 112, 97, 214, 116, 211, 115, NA)
Cu = c(1, 1, 2, 11, 9, 21, 16, 19, NA, NA )
df = data.frame(As, Ba, Cu)

library(ggplot2)
library(tidyr)
library(purrr)
library(qqplotr)

df_l = pivot_longer(df, cols = everything())

my_qqplot <- function(.data, .title) {
  ggplot(data = .data, mapping = aes(sample = value)) +
    stat_qq_band(alpha=0.5) +
    stat_qq_line() +
    stat_qq_point() +
    facet_wrap(~ name, scales = "free") +
    labs(x = "Theoretical Quantiles", y = "Sample Quantiles", title = .title)
}

qqplots <- df_l %>%
  split(.$name) %>%
  imap(my_qqplot)

qqplots$As # or qqplots[[1]]


Thank you to NightRaven for allowing me to share this poem. If you would like to have a poem posted here send email to dreamfocused@earthlink.net and make sure to use name to be printed and give me permission in email to use your poem here and in upcomming books and projects.
Why do I always stand accused?
You say you love me with all of your heart..
We took our vows, til death do us part..
Yet, your type of love hurts and tears me apart..
I always spent my days all alone..
No one to talk to, until you came home..
You never wanted me to make friends or go to the mall..
I had to stand by the phone and wait for your calls..
Your favorite term for me is "I'm lowdown"..
Your tore my world apart–crumbling it to the ground..
Now I've left and am trying to start anew..
But deep inside I still love you..
But my heart and my mind know we are through..
You threaten to take your life..
As you no longer have your wife..
Me to where I am today?
Instead of the isolation and control, always doing as you Say..
I walked on eggshells and lived in fear..
Every day was filled with painful tears..
Now I choose to walk away and let "us" go..


Not only did Britain abandon Palestinians to face the terror of Zionism in 1948, it continues to befriend the state that oppresses them.
Britain's colonial past has left its mark in many parts of the world. But most of the peoples it ruled gained their independence after Britain left – except for the Palestinians.
Instead, Britain promised their homeland to the Zionist movement through the 1917 Balfour Declaration, even before its occupation of historic Palestine. Britain did so without consulting them, indeed, against their will. But to this day, Britain refuses to apologise for its role in the ongoing predicament of Palestinians.
The disdain that Britain had for Palestinians then was there for all to see in the declaration itself, which promised: "His Majesty's Government view with favour the establishment in Palestine of a national home for the Jewish people, and will use their best endeavours to facilitate the achievement of this object." There was no "leave it with us to discuss this with the people who inhabit the land now". On the contrary, Palestinians were not even mentioned by name.
The declaration went on to qualify its support, noting that "nothing shall be done which may prejudice the civil and religious rights of existing non-Jewish communities in Palestine, or the rights and political status enjoyed by Jews in any other country".
The declaration did not even recognise that at the time, "non-Jewish communities" made up around 90 percent of the population. Britain saw the indigenous Palestinians as unworthy of the same rights as Jews who had yet to arrive.
When Britain left Palestine in 1948, it was not the indigenous people of the land, Palestinian Arabs, who announced their independence, but rather foreigners who had taken the land through terror and the expulsion of more than 700,000 Palestinians into neighbouring countries.
While Israel was created on far more of the land (78 percent) than even the overly generous UN Partition Plan allocated to Jews, it now controls the whole of historic Palestine after its occupation of the West Bank, East Jerusalem and Gaza in 1967 and its expansionist policies. It controls all points of entry and exit, and has ushered in more than 700,000 settlers to the occupied territories, through what many believe are a series of war crimes.
Palestinians thought the centenary of the Balfour Declaration would be an opportunity for Britain to atone for its sin and apologise to Palestinians for promising their land away, while not helping them to attain their rights – but Britain was in no mood to apologise.
Palestinian President Mahmoud Abbas sought an apology and even threatened to sue Britain for the declaration, which he characterised as an "ill-omened promise" based on which "hundreds of thousands of Jews were moved from Europe and elsewhere to Palestine at the expense of our Palestinian people, whose parents and grandparents had lived for thousands of years on the soil of their homeland." In the end, it was an empty threat.
In fact, Britain celebrated the centenary with a visit by Israeli Prime Minister Benjamin Netanyahu, which it claimed was a commemoration and not a celebration.
When the question of an apology for Balfour is raised with British government representatives, the answer usually is that if Britain apologises for this, then where would it stop, considering its colonial history?
How is it that Britain refuses to apologise for the dispossession of Palestinians and their continuing suffering because of its promise to Zionists, while effectively apologising for limiting the number of visas to Jews into Palestine? Britain claims to be a friend of Israel and acts as a friend, but it has never declared itself a friend of the Palestinian people. Why not?
It wants to see Israel thrive and will do what it can to protect it from accountability in international forums, including the UN Human Rights Council. The most it will do is criticise Israel's policies, but take no meaningful action to pressure it, as seen through its statements on settlements. Britain has invested heavily in growing trade between the two countries, without conditioning this on Israel ending its habitual breaking of international law.
Britain rushed to agree on a trade deal with Israel, which International Trade Secretary Liam Fox announced at the World Economic Forum in Davos: "As Britain prepares to leave the European Union and to ensure continuity for our businesses in both directions, we've reached agreement in principle … with our colleagues in Israel." The UK currently shares a £10 billion ($12bn) trade relationship with Israel.
There was no mention of conditioning this on a halt to continued illegal settlement-building, home demolitions, killings of peaceful protesters or the enactment of the racist nation-state law. Minister after minister declares that Israel has an unreserved right to self-defence, but none have condemned it for murdering medic Razan al-Najjar or journalist Yaser Murtaja at the Gaza fence.
Not only did Britain abandon Palestinians to face the terror of Zionism in 1948, it continues to befriend the state that oppresses them, which has declared itself an apartheid state through its policies and the passing of the nation-state law.
There is little action to help Palestinians attain their inalienable rights. If Britain sees Palestinians and Jewish Israelis as equal human beings, why does it continue to proudly support the former while shying away from support for the latter?
Britain has a lot to apologise for when it comes to the Palestinian people – but it is also time it acted to pressure its "friend and ally" into ending its criminal rule over Palestinians.
Kamel Hawwash is a British-Palestinian engineering professor based at the University of Birmingham. Hawwash is a longstanding campaigner for justice, especially for the Palestinian people. He is the Chair of the Palestine Solidarity Campaign (PSC) and a founding member of the British Palestinian Policy Council (BPPC). He also runs a blog at http://www.kamelhawwash.com and tweets at @kamelhawwash. He writes here in a personal capacity.


Throughput Bluestreak offers real-time production control and quality management software solutions for 3D-printing operations with the release of Bright AM.
Optomec has acquired Huffman to improve metal 3D printing market reach in the energy and aviation industries and widen the use of Directed Energy Deposition (DED), a form of metal 3D printing that both companies offer.
Triditive's AMCell 3D printing platform supports high-volume production of metal components with BASF's Ultrafuse 316LX filament.
The technical program for the inaugural Additive Manufacturing Workshop for Automotive (AMWA) is now live.
Renishaw Collaborates with ParaMatters on "Click to Print"
Renishaw has partnered with ParaMatters to provide a "click to print" functionality in the cloud software CogniCAD.
SLM Solutions North America has signed a memorandum of understanding with The Barnes Group Advisors to offer AM training to equip potential customers with the ability to make better informed purchasing decisions.
Technical coatings enable smooth and sealed surfaces with specific functions. Research teams from Sirris and the Fraunhofer Institute for Applied Polymer Research (IAP) collaborated to optimize the surfaces of additively manufactured parts.
LSS Laser-Sinter Service has revealed its Raptor series, intended to increase production rates and lower costs in the field of laser-based powder-bed fusion of polymers.
A 3D-printed scale model of a hull mold will enable Thermwood to test and validate additive manufacturing for producing this tooling.


As per usual (as of this summer), I'll be holding down residential duties at Beat Research alongside DJ Flack. Here's our smashing line-up for the month of August. Come and join the experimental party!
Craig Davis (aka 5dots) began making music because it seemed like a good idea. Early experimental noise projects have given way to a more accessible sound, but his DJ work still reflects his scattershot roots. Dubstep to hiphop, breakcore to indie pop – he doesn't like to play one genre at a time.
Craig is one half of Serious DJs. His most recent downloadable mix is remarkably eccentric / unorthodox chopped & screwed. Just the way we like it.
It's the return of DJ C, the co-creator of Beat Research himself.
Fresh off his European tour and visiting from his new digs in Chicago this home-town hero needs no introduction. After rocking giant festivals of teeming masses he's looking forward to returning to the concentrated good vibes of the Enormous Room, his humble home away from home.
Expect all kinds of new musical treats collected from abroad, mixed with style and panache and, of course, a little of that ol' Boston Bounce.
KDOS is the musical alliance of local multi-intrumentalist Daniel D'Errico with young Brazilian percussion phenom Marcus Santos.
Borrowing in equal parts from traditional and contemporary dance music styles, they are devoted to the syncronizing of raw electronic beats with the bubble and clang of live percussion. A mad blend of dancehall / digi-funk / ongo / hip-hop / electro / axé / reggae / samba / street-beat should be expected. & Guest appearances from the local Brazilian music community are highly likely.
Watch out for some up-to-the-time booty beat blends from Boston's own DJ Evaready, who blogs here and posts mixes like this recent melange.
Reppin' Salone (Sierra Leone), Wisconsin (Milwaukee and Madison!), and the Bay Area, DJ Boima holds down a whirled music dance party in San Fran, moving the massive with a mix of (pan-)African and (pan-)American pop / hip-hop / club / etc. Readers of this here blog might have noticed his name in a flurry of comments w/r/t "No Te Veo" not long ago. Boima's keen, open ears sensed all sorts of West African dancepop resonances in that hopped-up, reggaetony banger.
I hope you enjoy it, and let me know what you think.
Of course, I'd like to know what you think, too (as would, I'm sure, Boima).
But here's what I think at the moment. I really dig the way "Diamonds" offers up such a deeply personal & explicitly perspectival (if u will) sonic representation of Sierra Leone, mixing so many disparate styles and making it all make sense (of place). In that way (if I may) it's not unlike my own attempts to represent the Boston soundscape and, accordingly, to revisit and revise my own (and maybe some sympathetic others') imagination of our fair (and unfair) city.
It also occurs to me that to ask a question which reared its ugly head in my own ugly head at a certain juncture in the mix — i.e., is this mixtape utterance (if u will again) an African or an American speech music act? — is to employ the wrong operator entirely. It's not a question of or, I don't think. Better to hear it as what it is, or at least what it sounds like (to me, yes): as Africa and America intimately & inextricably intertwined, in constant if uneven conversation, vividly voiced by Boima in his own idiosyncratic way & contemporary accent — an American accent as well as, as dead prez say about 12.5 minutes in, a African accent.
And, yuh dun know, a Jamaican accent too. Indeed, the prominent way the Caribbean figures here reminds me to remind you that when I say American, I mean that in the broadest sense. Once again we hear how hip-hop travels together with dancehall, crossing roots and routes as per usual.
So, that's a few of the things I hear here (or to be precise, a few of the things I heard as I let the mix move me on a sunny afternoon in Cambridge). But what about you? & where and when and why?
if you're bored, check the blogroll, or better yet — go outside !
As per usual, I'll be at the Enormous Room tonight pursuing a little low-end theory, aka Beat Research.
— indeed, a product of that there trip downunder is a new bracing, bouncy mix by Flack, originally premiered at Void, a local dubstep|grime|IDM session (!?!). Go git the non-YouTube version!
Flack won't be there tonight, but I'm happy to report that 5dots will. Hailing from the DC area, 5dots (aka Craig) is the guy who handed me a CD of homespun beats that bristled & banged at the Future of Music summit a couple yrs ago. He & his mate Alex concoct mixes as Serious DJs, spanning jungle, hip-hop, pop, & elecctronnikka, and have put together a couple original screw sets to boot.
Apparently, when the Serious boys were in town last summer, their screwy music was not well received. (I, alas, was home with a wicked cold.) Craig says he won't play any screw this time. Unless he's asked. Well, I've already asked him, so consider yourself warned. Nothing like some slow, syrupy sounds on these sluggish summer nights.
I'm gonna take adventure of the vibe-coincide and finally cook down some rebajadas of my own.
Screw the world, I say.
Many readers here are no doubt acquainted with the sonic weaponry of DJ C. He's been rocking parties from Boston to Berlin for years now and is a founding member of the famed Toneburst Collective. I've been srsly digging his beats for a while now, constantly impressed with how Jake puts his distinctive stamp on so many styles — never mind cooking up a few of his own.
So let me say this: you want to get ahold of this album. It will kill dancefloors everywhere. It's loaded with creative, interesting, and very danceworthy music. It's a labor of love. & you'll be supporting an artist who deserves the support.
You can get it via Amazon, Forced Exposure, and many other fine retailers.
(and this one above w/ a mad mad intro to boot !


Branding can be a challenging subject for businesses. New businesses should devote a lot of time before deciding on how to formulate and market their brand. On the other hand, established businesses will have to decide how best to strengthen their brand. In this post, I will talk a bit about how you can take advantage of products your business already uses to reinforce the brand of your company or business.
The best way to strengthen your brand is by increasing its visibility. Hopefully, the messaging done by the marketing department of your business already has ensured that the proper associations are made by the consumer when they see your name or logo. Given that the brand evokes the right images and feelings among customers, the final step of the process is to reinforce this message with repetition. This is best done by having your name and logo appear in as many places as possible.
This is one of the reasons businesses often invest in things like T-shirts, pens, or mugs that have their company name and logo. By all means, your business should be investing in such items and distributing them whenever the opportunity presents itself.
One opportunity for branding that is underutilized in my opinion is with checking products. If you think about it, checks are one of the things that gets distributed the most by any business. It serves your best interest to ensure that the checks you use are well designed and have your company name and logo on it prominently. In my opinion, just doing the basics is not enough. Issuing checks that make a good impression will definitely do a lot to improve the image of your business.
A good place to turn to in order to obtain these types of checks is Deluxe, a longstanding corporation with a history of providing superior checking products to businesses of all sizes. Today, the company offers a very nice website that allows you to order customized checking products with your logo, company name, and even a slogan if you like. Such checks, while not cheap, are relatively affordable if you use Deluxe Checks coupon codes . For this reason it would be a good idea for all businesses to consider investing in personalized checks from Deluxe to reinforce their branding strategy.


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Úvodní stránka » RECORDS » RECORDS III » Stereophonics
Stereophonics — Scream Above The Sounds (Deluxe Edition, 27 Oct. 2017)
Stereophonics — Scream Above The Sounds (Deluxe Ed.) Location: Cwmaman, South Wales ~ London, England
Album release: 27 Oct. 2017
Recorded: 2015~2016
Studio: Stylus Studios (London) RAK Studios
Record Label: PLG UK Frontline
Duration: 46:33 + 21:10 => 67:43
01. Caught by the Wind 3:39
02. Taken a Tumble 3:37
03. What's All the Fuss About? 5:45
04. Geronimo 4:15
05. All in One Night 5:17
06. Chances Are 4:46
07. Before Anyone Knew Our Name 4:43
08. Would You Believe? 4:07
09. Cryin' in Your Beer 3:48
10. Boy on a Bike 2:17
11. Elevators 4:22
12. Never Going Down (Live at RAK Studios) 4:06
13. Drive a Thousand Miles (Graffiti Sessions) 4:31
14. Breaking Dawn (Written For Twilight) 3:29
15. All In One Night (Unplugged) 5:30
16. Caught By the Wind (Unplugged) 3:42
℗ 2017 The Stereophonics Limited under exclusive license to Parlophone Records Ltd, a Warner Music Group Company
√→ Coming twenty years after they first broke through with their debut 'Word Gets Around', Stereophonics are set to release their new album 'Scream Above The Sounds' on October 27th.
√→ Their tenth studio album, 'Scream Above The Sounds' follows 'Keep The Village Alive' which went straight to #1 when it was released in 2015 — their sixth chart~topper after 'Performance and Cocktails' (1999), 'Just Enough Education To Perform' (2001) 'You Gotta Go There To Come Back' (2003), 'Language. Sex. Violence. Other?' (2005) and 'Pull The Pin' (2007).
√→ 180g heavyweight black 12" vinyl album plus limited edition 12" x 12" print on 300gsm paper.
√→ Includes MP3 instant grats of 'All In One Night' and 'Caught By The Wind'.
••••• Coming twenty years after they first broke through with their debut 'Word Gets Around', Stereophonics are set to release their new album 'Scream Above The Sounds' on November 3rd via Parlophone.
••••• Their tenth studio album, 'Scream Above The Sounds' follows 'Keep The Village Alive' which went straight to #1 when it was released in 2015 — their sixth chart~topper after 'Performance and Cocktails' (1999), 'Just Enough Education To Perform' (2001) 'You Gotta Go There To Come Back' (2003), 'Language. Sex. Violence. Other?' (2005) and 'Pull The Pin' (2007).
••••• If 'Caught By The Wind' captures Stereophonics at their most immediate, the first single 'All In One Night' represents their affection for the melancholy. Set to a consistent mid~paced rhythm which evokes a nocturnal motorway drive, it finds the narrator's life taking a dramatic turn as night brightens to day.
••••• 'Scream Above The Sounds' was primarily recorded in the band's HQ in west London with a further session at RAK Studios alongside a few elements which remained from the 'Keep The Village Alive' sessions at ICP Studios in Brussels. The band's relative newcomers, Adam Zindani (guitar) and Jamie Morrison (drums), along with live keyboardist Tony Kirkham, are also an integral part of the Stereophonics in 2017.
••••• Created with the help of regular collaborator Jim Lowe, it's an album in which creative sonic touches add to the band's emphasis on songwriting and melody.
About Stereophonics
••••• A bright new noise in U.K. alternative rock in the '90s and into the new millennium, Stereophonics were comprised of vocalist/guitarist Kelly Jones, bassist Richard Jones, guitarist Adam Zindani, and drummer Jamie Morrison. They were formed in Cwmaman, South Wales, originally as the teenage cover band Tragic Love Company and with the late Stuart Cable on drums. Early reviews cited the Manic Street Preachers as their most obvious influence, and their initial batch of singles struggled to disabuse cynics of this notion.
••••• Yet in Jones, Stereophonics possessed an able writer as well as a singer of some distinction, a fact that was only truly acknowledged following the release of their debut LP. One of the first bands on Richard Branson's new V2 label, they were signed by chief executive Jeremy Pearce in August 1996 before the label was officially up and running. They made their debut in November with "Looks Like Chaplin" b/w "More Life in a Tramp's Vest," which later became a single in its own right. They entered the charts for the first time with "Local Boy in the Photograph" and didn't look back. Each of their subsequent singles sold progressively better, culminating in a U.K. Top Ten placing for their debut album, Word Gets Around, and Top 20 honors for "Traffic." The latter's resigned themes provided the perfect platform for Jones' plaintive vocals. A reissue of "Local Boy in the Photograph" also made the Top 20, in the same week as they received a Brit Award for Best New Group. As a singles band, they seem overburdened with riches — "The Bartender and the Thief" duly became a British radio staple through the closing months of 1998, followed the next year by the full~length Performance and Cocktails.
••••• The band's third studio effort, Just Enough Education to Perform, was initially slated to go by the abbreviated J.E.E.P.; however, Daimler~Chrysler objected to the plan and claimed ownership of the actual word Jeep. In September 2003, Stereophonics returned with their most honest material to date on You Gotta Go There to Come Back. Not even a month after the long~player's domestic release, the band announced the departure of founding member Cable. Frontman Jones said Cable had had issues committing himself to the band ever since Just Enough Education to Perform. Stereophonics planned to carry on as a duo while ex~Black Crowes drummer Steve Gorman sat in on drums for several tour dates. Language. Sex. Violence. Other? appeared in 2005. It also marked the debut of drummer Javier Weyler. The band's first live album, Live from Dakota, arrived in spring 2006. After an extensive tour, including performances in Moscow and Latvia, the group returned to the U.K. and released three formats of the single "It Means Nothing" two weeks before Pull the Pin hit store shelves in mid~October 2007. The compilation Decade in the Sun: The Best of Stereophonics arrived in 2008, followed by the all~new Keep Calm and Carry On in 2009.
••••• Following a supporting tour for Keep Calm and Carry On, the group once again changed drummers, swapping Weyler for Jamie Morrison. This new lineup was unveiled on 2013's Graffiti on the Train, an album that featured the hit single "Indian Summer." Graffiti on the Train was certified platinum — the previous two albums only went gold — thanks in part to "Indian Summer" and the title track. Two years later came Keep the Village Alive. Stereophonics returned in the summer of 2017 with their tenth studio effort, Scream Above the Sounds. The record was released in time to commemorate the 20th anniversary of Word Gets Around. ~ Alex Ogg
••••• 20 ans après leur premier album 'Word Gets Around' et 6 albums classés #1 au UK, les Stereophonics sont de retour avec un nouvel album 'Scream Above The Sounds'. Kelly Jones déclare à propos du processus de composition qu'il a commencé à écrire "de grandes chansons qui se rallient contre ces sentiments anxieux qui ont traversé les villes. Chaque chanson offre un sentiment de libération". "Même quand il y a de la nostalgie, de la peur ou de l'anxiété, elles offrent toujours de l'espoir." 'Scream Above The Sounds' a été enregistré principalement dans le QG du groupe dans l'ouest de Londres. Créé avec l'aide du collaborateur régulier Jim Lowe, c'est un album dans lequel les sonorités créatives amplifient l'importance de l'écriture et des mélodies du groupe.
Website: http://stereophonics.com/
Twitter: https://twitter.com/stereophonics
Facebook: https://www.facebook.com/stereophonics/
YouTube: https://www.youtube.com/user/stereophonicsmusic
↑↓♠•♠↑↓↑↓♠•♠↑↓↑↓♠•♠↑↓↑↓♠•♠↑↓↑↓♠•♠↑↓↑↓♠•♠↑↓↑↓♠•♠↑↓↑↓♠•♠↑↓↑↓♠•♠↑↓↑↓♠•↑↓↑↓♠•

redpajama_set_name: RedPajamaCommonCrawl


David Cameron in support of our programme.
I am delighted to lend my support to the work of the Youth Adventure Trust. There are few more worthwhile tasks than unlocking the potential of young people. Giving young people a sense of purpose, optimism and belonging can not only allow them to enjoy their youth but can transform lives for good.
In helping to achieve this goal, we are all in this together. We all have a shared responsibility for our shared future, and for making our country a better place to live.
Organisations like the Youth Adventure Trust are putting such values into practice. Countless people have cause to be grateful for the sense of achievement and self belief which your adventure camps and outdoor activities have helped provide.


On this day in 1879 was the premiere of Gilbert & Sullivan's operetta "The Pirates of Penzance," in Paignton at the Royal Bijou (partial preview to insure British copyright). The first full performance of the new work occurred at the Fifth Avenue Theater in New York City the following day, with Sullivan conducting and Gilbert in attendance. The New York premiere was arranged to register American copyright of the new work and pre-empt unauthorized "pirate" productions in the U.S..
On this day in 1903 took place the first concert by the Seattle Symphony at Christensen's Hall in Seattle under the baton of violinist Harry F. West. The program includes music of Massenet, Bruch, Schubert and Rossini.
On this day in 1841, Franz Liszt performs at the Singakademie in Berlin. Women swooned and the general audience reacts with such uncontrolled enthusiasm that Heinrich Heine coins the term "Lisztomania" to describe their fanatical devotion to the performer, which soon swept through most of Europe.
On this day in 1920, the last operatic appearance ever of the Italian tenor Enrico Caruso took place in an evening performance of Halevy's "La Juive" (The Jewess) at the old Metropolitan Opera in New York City. Caruso would die in Naples (where he made his operatic debut on March 15, 1895) at the age of 48 on August 2, 1921.
My reviews (trimmed down a bit) of Portland Opera's productions from 2017 have been published in the December issue of Opera magazine.
On this day in 1989, Leonard Bernstein led the first of two public performances of Beethoven's Ninth at the Philharmonie in West Berlin, with an international orchestra assembled to celebrate the fall of the Berlin Wall. The second performance occurred on December 25 at the Schauspielhaus in East Berlin.
The Vancouver Symphony whipped up some frothy and light-hearted treats for its holiday concert on Sunday evening (December 11), rounding out the year on a high note. The large audience at Skyview Concert Hall lapped up the assortment of traditional favorites as well as the newer selections from cinema. Music director Salvador Brotons and forces drew music from Central Europe, Russia, and America for the holiday program.
The orchestra created an atmosphere of Gemütlichkeit (geniality and friendliness) from the start with a few polkas and waltzes by Johann Strauss Jr. "Voices of Spring" conjured images of dancers swirling about in an elegant ballroom. It was followed by a lively performance of the "Tritsch-Tratsch Polka" with its more rustic and jokey style. The musicians at one point yelled out a "Whoo" as if they were dancing along, and the audience chuckled a bit when that happened.
Concertmaster Eve Richey nicely set the mood with the introductory solo to "Wiener Blut," and the orchestra swept in with just the right amount of Schmaltz (sentimentality). "The Blue Danube" featured excellent performances by principal cello Dieter Ratzlaf and principal horn Dan Partridge.
Changing the tempo and dynamics ever-so-slightly, Brotons and company made sure that both waltzes had just a bit of swing. To heighten the mood, "Wiener Blut" was briefly accompanied by a video of scenes from Vienna and "The Blue Danube" was complimented by postcard-perfect views along the famous river.
From the American side of the menu, the orchestra gave a brisk and delightful rendition of Leroy Anderson's Sleigh Ride with the ensemble flexing their big band muscles at the end of the piece and principal trumpet Bruce Dunn executing one of the best neighing horse sounds ever. Anderson's "A Christmas Festival" provided an excellent survey of popular carols and a couple of secular pieces that had listeners' heads bobbing along.
Drawing from popular holiday movies, the audience relished a medley of tunes from "Frozen" and "Polar Express." "Frozen" featured the stomping of feet and a poignant solo by concertmaster Richey. The selections from "Polar Express " were motoric and lyric, expressing lots of uplifting optimism for the end of the year.
Ending the concert with the "Radetzky March" by Johann Strauss Sr., Brotons got the entire audience involved in clapping during the refrains. His enthusiasm was immediately contagious. Who can resist getting the conductor to hop up and down on the podium? The audience made the most of its chance to make music with the orchestra, and there were smiles everywhere to prove it.
On this day in 1836, at a musical soiree at Chopin's apartments in Paris, the female writer "George" Sand, determined to make a good impression with her host, arrives wearing white pantaloons and a scarlet sash (the colors of the Polish flag). Paris Opéra tenor Adolphe Nourit sings some Schubert songs, accompanied by Franz Liszt. Liszt and Chopin play Moschele's Sonata in Eb for piano four-hands.
André Watts has been one of the most popular artists over many, many years with the Oregon Symphony. I can still recall him riveting the audience with an electrifying performance of one of Beethoven's piano concertos with the orchestra when they still played in Keller Auditorium (then called Civic Auditorium). Watts has consistently been one of the very best soloists to play with the orchestra. That's why it was sad to see him experience problems in playing Grieg's piano concerto with the orchestra at the Arlene Schnitzer Concert Hall on Saturday (December 2), due to apparent memory slips.
According to Wikipedia, Watts suffered from a subdural hematoma in 2004 and has more recently recovered from prostate cancer, but whatever the reason, the famous piano encountered noticeable problems when he got lost in the cadenza in the first movement. He recovered and found his way out of it, receiving encouraging applause after finishing it. But his playing in the slow second movement had some missed notes and he was not to be able to get into the flow of the lyrical music. In the third movement he continued to struggle with passages, and seemed to get angry with himself, making some of the quieter phrases too loud. Conductor Carlos Kalmar took care of the situation by giving Watts a few helpful cues just in case. After the piece concluded someone from the audience brought a bouquet of flowers to the stage, and there was plenty of applause, but there was a lot of talk during the intermission as to what had happened. Being one of America's favorite pianists, one can only how that the performance was just a brief aberration to an otherwise brilliant career.
The Grieg was to centerpiece of an all-Nordic program with works by Jean Sibelius, Carl Nielsen, and Joonas Kikkonen. British conductor Leo Hussain was scheduled to lead the program, but a family emergency interrupted. So Kalmar, the Oregon Symphony's music director, stepped in to save the day.
The surprisingly delightful piece on the program was Kokkonen's "Symphonic Sketches," a short work in three movements that began with a slow, unrelenting heartbeat from the percussion section, which stayed in the background as the strings painted a lush landscape that became slightly exotic – accented by the bassoon (Evan Kuhlmann) in an oddly high register. The second movement was brief and agitated with lively rhythms that bounced along. The third created a ponderous atmosphere with a high, spun sound from the strings, a stately brass choir, followed by long lines from the strings and the return of the quiet heartbeat in the percussion.
The orchestra superbly performed Sibelius's "Valse triste" with the softest, most exquisite tone – as if playing in a faded, grand ballroom from a bygone era. They followed it with an incisive performance of Nielsen's Fifth Symphony. A relentless, bristling march impelled by the snare drum (Niel DePonte), signaled the ominous threat of war in spite of the calmer and more harmonious sounds from the orchestra, such as the woodwinds evoking the sound of fluttering birds. That exchange of peaceful and warlike sounds continued throughout the first movement, ending with a plaintive glimmer from the clarinet (James Shields) against the warning of an offstage snare drum. The second movement escalated into a near cacophony of sound with trumpets rising above it all. The strings were scintillating as they flew through lightning-fast passages. A wild ride by the clarinet (Shields) cried out in jubilation followed by alovely, lyrical melody for the strings, indicating a triumph of the good and positive.
On this day in 1918, Russian-born conductor Nikolai Sokoloff leads the first concert of the Cleveland Orchestra at Gray's Armory, presented as a benefit for St. Ann's Church. His program included Victor Herbert's "American Fantasy," Bizet's "Carmen" Suite, two movements of Tchaikovsky's Symphony No. 4, Liadov's "Enchanted Lake," and Liszt's "Les Préludes".
With charming ingenuity, Portland State Opera created the atmosphere of a fin de siecle Parisian salon and topped it off with fine and spirited production on Friday evening (December 1) of Pauline Viardot's "Cendrillon" ("Cinderella"). The cozy confines of the Lincoln Studio Theater was the perfect place for the cast of young singers to engage and enchant a full house with a rare operetta that probably had never before been performed in Portland. Directed by Brenda Nuckton with an arrangement for piano trio by Chuck Dillard, the singers delivered an outstanding performance that put a smile on the faces of the audience.
Viardot (1821-1910) was a famous mezzo-soprano who studied singing with her mother, piano with Franz Liszt, and composition with Antoine Reicha. She enjoyed a successful career in Europe and Russia and set up a renown intellectual salon in Paris, hosting the eminent composers and writers of the day from Berlioz and Chopin to Dickens and Turgenev. In her later years, Viardot taught singing and composed around 200 songs and a number of operettas. Her "Cendrillon," which she wrote in 1894, is an elegant and witty retelling of "Cinderella."
Dressed in period costume, PSU Opera's singers invited the audience into the studio theater with its stage set as Viardot's Parisian salon. One of the singers witty announced that the space was renamed the "Potato Theater where a single potato can be a veritable feast" and encouraged listeners to donate to the PSU food pantry. That worked perfectly with the Cinderella story later in the show, because Cinderella was generous with the poor.
The salon continued in the spirit of a variety show. Cellist Hasan Abualhaj gave an outstanding performance of the Prelude to Bach's Cello Suit No. 1 in G major. This was followed by a series of charades in which the audience guessed which opera was pantomimed ("Tosca," "The Barber of Seville," "Carmen," and "Romeo and Juliet"). An elegant dance featuring two PSU students and a game musical chairs involving to participants from the audience then led to Madame Viardot (Megan Uhrinak) handing out sheets of music for an impromptu performance of "Cendrillon" to her salon guests.
As the scores were gradually discarded, the operetta unfolded, magically drawing everyone into the Cinderella story. Led by the splendid singing and acting of Maeve Stier in the title role, the entire cast gave an outstanding performance. Sisters Magelonne (Rebecca Yakos) and Armelinde (Kaitlyn Lawrence) were convincingly haughty, and Baron Pictordu (Jonathan Roberts) had just the right degree of superficiality and arrogance. The dashing and perfect Prince (Luke Smith) was countered by the swagger of Barigoule who wonderfully got carried away venturing into a row of audience members. The Fiary Godmother (Uhrinak) delivered her lines with a wink and a nod, and Footman (Eric Olson) made sure that everything was served up with a dash of élan.
At one point, the freeze-frame action added a touch of poignancy, but that was balanced with excellent humor throughout the production, including a reverse-dance sequence, disco-mirror-ball projections, stuffed mice instead of horses, and toy lizards for footmen. Excellent diction by the singers conveyed the text, in English, very clearly so that no projected titles were needed, and the piano trio (pianist Dillard, violinist Jonathan Gray, and cellist Abualhaj) accompanied the singers with great sensitivity.
The production of "Cendrillon" once again proved that Christine Meadows, director of PSU Opera, has an uncanny ability to find works that match up very well with each new crop of students in the PSU Opera program. She has the magic wand!
On this day in 1704, George Frideric Handel (age 19) refuses to turn over the harpsichord to Johann Mattheson (age 23) during a performance of Mattheson's opera "Cleopatra," leading to a sword duel between the two. It is said that during the swordplay, Handel was saved by a button on his coat that deflected Mattheson's mortally-directed blade. The two reconciled on December 30 that year, dining together and attending a rehearsal of Handel's opera "Almira," becoming, as Mattheson put it: "better friends than ever."
On this day in 1837, Berlioz's "Requiem," in Paris premiered with François Habeneck conducting (Berlioz later claimed that at one point he had to jump on stage and take over when Habeneck stopped to take snuff, but some eyewitnesses denied this happened).
On this day in 1885 took place the American premiere of Bruckner's Symphony No. 3 in d, at the Old Metropolitan Opera House in New York, during an afternoon public rehearsal by the New York Symphony Society, with the 23-year old Walter Damrosch. The "official" concert occurred the following evening. This was the first time any Bruckner Symphony was performed in America. In his Preface to a 1942 book by Werner Wolff entitled "Anton Bruckner: Rustic Genius," Damrosch incorrectly states it was Bruckner's Fourth Symphony (in E-flat Major, subtitled "Romantic") that he performed on Dec. 5, 1885.
And from the Composers Datebook: On this day in 1717, J.S. Bach is allowed to leave the Duke's Court at Weimar. He had been imprisoned since Nov. 6th by his former employer Duke Wilhelm Ernst of Weimar for accepting a new post at Prince Leopold's court at Cöthen without first asking permission.


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text:
Forest School is an inspirational process that offers ALL learners regular opportunities to achieve and develop confidence and self-esteem through hands-on learning experiences in a woodland or natural environment with trees.
Forest School is a specialised learning approach that sits within and compliments the wider context of outdoor and woodland education.
This ethos is shared by thousands of trained practitioners across the UK and beyond. Its roots reach back to early years pioneers in outdoor learning and across the sea to Scandinavia.
This learner centred approach interweaves with the ever-changing moods and marvels, potential and challenges of the natural world through the seasons, to fill every Forest School session and programme with discovery and difference. Yet each programme does also share a common set of principles, aimed at ensuring that all learners experience the cumulative and lasting benefits that quality Forest School offers.
How Forest School Works At Ash Hill Primary School
We are very fortunate to have a large area of woodland behind our school – in Gomm's Wood. The Chiltern Rangers have developed a designated area for Forest School lessons to take place which has been fully risk assessed.
In order to deliver a high quality Forest School experience we work in partnership with Chiltern Forest School: http://chilternforestschool.co.uk/
This means that we have an allocated Forest School Leader from Chiltern Forest School who leads sessions for Years 1-3, alongside the support staff that usually work with the children in their classroom setting.
At Ash Hill the annual programme for Forest School is as follows:
Year 3 – Autumn Term
Year 2 – Spring Term
Year 1 – Summer Term
For Forest School sessions the children work in a smaller group of 15 and are out in the woods from 12:30 until 3pm.
At Ash Hill one of our Early Years Practitioners, Mrs Turner, is also a trained Forest School leader. This means that our reception class also benefit from Forest School sessions led by her, and opportunities to learn outside are exploited across the curriculum.
Parents are informed by letter detailing when their children will have Forest School and will also be given a kit list for their child. The children are asked to come to school with their Forest School clothing in a named carrier bag on their allocated day.


text:
from __future__ import unicode_literals

from pymongo.errors import OperationFailure
from tornado.testing import gen_test

from test.test_environment import env
from test.tornado_tests import MotorTest

"""Test Motor, an asynchronous driver for MongoDB and Tornado."""

class MotorAuthTest(MotorTest):
    @env.require_auth
    @env.require_version_min(4, 0)
    def setUp(self):
        super(MotorAuthTest, self).setUp()
        self._reset()

    def tearDown(self):
        self._reset()

    def _reset(self):
        env.sync_cx.scramtestdb.command("dropAllUsersFromDatabase")
        env.sync_cx.drop_database("scramtestdb")

    @gen_test
    def test_scram(self):
        env.create_user('scramtestdb',
                        'sha1',
                        'pwd',
                        roles=['dbOwner'],
                        mechanisms=['SCRAM-SHA-1'])

        env.create_user('scramtestdb',
                        'sha256',
                        'pwd',
                        roles=['dbOwner'],
                        mechanisms=['SCRAM-SHA-256'])

        env.create_user('scramtestdb',
                        'both',
                        'pwd',
                        roles=['dbOwner'],
                        mechanisms=['SCRAM-SHA-1', 'SCRAM-SHA-256'])

        for user, mechanism, should_work in [('sha1', 'SCRAM-SHA-1', True),
                                             ('sha1', 'SCRAM-SHA-256', False),
                                             ('sha256', 'SCRAM-SHA-256', True),
                                             ('sha256', 'SCRAM-SHA-1', False),
                                             ('both', 'SCRAM-SHA-1', True),
                                             ('both', 'SCRAM-SHA-256', True)]:
            client = self.motor_client(username=user,
                                       password='pwd',
                                       authsource='scramtestdb',
                                       authmechanism=mechanism)

            if should_work:
                yield client.scramtestdb.collection.insert_one({})
            else:
                with self.assertRaises(OperationFailure):
                    yield client.scramtestdb.collection.insert_one({})

        # No mechanism specified, always works.
        for user, mechanism, should_work in [('sha1', None, True),
                                             ('sha256', None, False),
                                             ('both', None, True)]:
            client = self.motor_client(username=user,
                                       password='pwd',
                                       authsource='scramtestdb')

            yield client.scramtestdb.collection.insert_one({})

    @gen_test
    def test_saslprep(self):
        # Use Roman numeral for password, normalized by SASLprep to ASCII "IV",
        # see RFC 4013. MongoDB SASL mech normalizes password only, not user.
        env.create_user('scramtestdb',
                        'saslprep-test-user',
                        u'\u2163',
                        roles=['dbOwner'],
                        mechanisms=['SCRAM-SHA-256'])

        client = self.motor_client(username='saslprep-test-user',
                                   password='IV',
                                   authsource='scramtestdb')

        yield client.scramtestdb.collection.insert_one({})


text:
Who Was the Greatest? The Stats Show…
root January 12, 2010 0 0
I got this a while back from a reader in my Racer X email and couldn't figure out how to post the Excel file to Pulp. I can't get back into my mail to see what the dudes name is because, well you know.
So whoever you are, send me something and I'll make sure you get the credit you deserve for all this hard work. I know, I suck. A while back I came up with a cheesy way to rank each decades best rider but this dude went to town and broke it down. This now makes my "points" system look like pretty stupid. Anyways, here is his letter explaining how it works and then the rankings:
I've ranked the Top 100 all-time riders; but included every rider who ever had a national or regional win to my knowledge (with some exceptions)… for a total of 170 listed.
Riders in bold are HOFers; riders in italics are active.
The list is made up of various categories with a point value (+/-) assigned to it, as follows:
Titles/Wins/Runner-Up
Each AMA National series (incl. Inter &Trans-AMA/Trans-USA) title counts as +1 point.
Each AMA National win counts as +.1 point.
Each AMA Regional SX series title counts as +.5 point and
Each AMA Regional SX win counts as +.05 point
Big wins (Daytona, LA Coliseum (72-82), any USGP and US Open) count as +.5 each.
Every runner-up finish in a National series count as +.5 for each.
Certain accomplishments garner bonus points. Some more than others. The highest valued are:
(1) having a perfect season by winning all motos or main events;
(2) winning multiple national titles in one calendar year; and
(3) AMA Athlete of the Year award.
Each of these counts as +1 point each.
Lesser valued accomplishments include:
(4) defend a national title = +.5 point each
(5) Rookie of the Year award = +.25 point
Certain career stats also get you penalties which I thought was necessary to even the tables and let the very best accomplishments speak the loudest. Here are the three penalty categories with different values:
(1) Specialist– more than a 2 to 1 ratio in wins from SX to MX (or vice versa) OR more than a 2 to 1 ratio from the 125/Lites/250 class to the 250/MX/450 class (but not vice versa) = -.5 point
(2) Not winning any premier SX or MX titles (i.e. MXL titles do not count) = -.5 point
(3) Shutout- not having any wins in premier SX and/or MX (i.e. MXL wins do not count) = -.5 point each
EXAMPLE– RC's points
15 national titles(x 1) = 15 pts
150 national wins(x .1) = 15 pts
1 regional title(x.5)/12 wins(x.05)= 1.1 pts
5 Daytona wins (x .5) = 2.5 pts
3 US Open wins (x .5) = 1.5 pts
1 runner-up finish = .5 pt
2 perfect seasons (x 1) = 2 pts
5 multi-title years (x 1) = 5 pts
5 Athlete of the year (x 1) = 5 pts
11 title defenses (x .5) = 5.5 pts
1 Rookie of Year (x .25) = .25 pt
Specialist penalty (x .5)= -.5 pt.
Notes: misc stuff
I decided to leave off Motocross des Nations stats because if would be unfair to foreign riders and I wanted this ranking to be an AMA thing, not an American thing.
I left off riders who won world titles because even though it definitely helped Lackey, LaPorte and Schmit get into the Hall of Fame, to include world titles would have changed the whole complexion of the rankings and elevated a lot of foreign riders who didn't necessarily do very well in their AMA careers. As a result, the American World Champs are further down the list.
I did not count top American in the 1970 and 71 Trans-AMA series as a national title.
I did not give Steve Wise credit for his AMA Athlete of the Year award because it happened after he retired from motocross.
I left out foreign riders whose only win(s) came in the Trans-AMA/Inter-AMA series:
Ake Jonsson (SWE- 9 wins)
Adolf Weil (GER- 7 wins)
Heikki Mikkola (FIN- 6 wins)
Joel Robert (BEL- 6 wins)
Sylvan Geboers (BEL- 4 wins)
Vlastimil Valek (CZE- 4 wins)
Gerrit Wolsink (HOL- 2 wins)
Zdenenk Velky (CZE- 2 wins)
Jeff Smith (ENG- 2 wins)
Andre Malherbe (BEL- w win)
Harry Everts (BEL- 1 win)
Willy Bauer (GER- 1 win)
Arnie Kring (SWE- 1 win)
Haken Anderson (SWE- 1 win)
Arnie Lindfors (SWE- 1 win)
Torsten Hallmen (SWE- 1 win)
Dave Bickers (ENG- 1 win)
Keit Fransn (SWE- 1 win)
Surprises: If you look long enough you'll find some interesting stuff, here's what stood out for me:
The sheer magnitude and GOAT-solidifying numbers of RC
How many runner up finishes a lot of the top riders had, which could have been more titles: (Windham- 9; Stanton- 6; Ward/Reed- 5; RJ/Howerton/O'Mara/Bell- 4; McGrath/Glover/Barnett/ Emig/Bailey/Kiedrowski/Weinert/MSmith/LaRocco/ Lechien/Bradshaw/Dowd- 3)
As long and illustrious as Jeff Ward's career was, that he never had a "Big Win"
Tony D. came it at #16- his career was more solid than I thought
The next non-active riders in line for HOF (excluding RC): LaRocco, Karsmakers, Lechien, and Bradshaw.
Jimmy Ellis at #31- his career ended quietly but he did some damage
Steve Stackable and Gary Semics (#40 & 44 respectively)- early SX titles helped
Gaylon Mosier at #57- solid career cut short
The forgotten foreigner: Jaroslav Falta at #59. The Superbowl win was huge for him.
Similar numbers: Roncada/Pourcel (both from FRA @ #71); Millsaps/Short (both Team Honda @ #77); Hepler/Jesseman (both from PA @ #82/83); Reynard/Canard (both from OK & last 2 on list)
Top 100 stats: 27 are HOFers; 20 riders are active; 13 riders are foreign-born.
Unsung heroes making the Top 100: Tim Hart (66), Rich Thorwaldson (73), Goat Breker (77), Kenny Keylon (81), and pretty much everyone else from #84 to 98.
Pingree rides in as the 138th best rider of all-time, tied with the enigmatic Brian Myerscough.
In conclusion, I have followed the sport religiously since 1975 and am a serious student of the sport all the way back to its beginnings. As a result, I'm pretty much familiar with everyone on this list.
But I must ask (and I will leave you with this): Who the hell is/was Keit Fransn???
(Somebody needs to do a "Where are they Now" piece on this guy. Seriously).
RIDER SX MX MXL Fall SXL BIG WIN R-U BONUS PENALTY T/W POINTS
1 R. Carmichael (FL) 5 / 48 7 / 76 3 / 26 n/a 1 / 12 5/0/0/3 1 2/5/5/11/1 -.5/0/0 15 / 150 52.85
2 bMC (CA) 7 / 72 1 / 15 0 / 2 n/a 2 / 13 3/0/0/0 3 0/1/1/5/0 -.5/0/0 8 / 89 25.55
3 R. Johnson (CA) 2 / 28 5 / 33 n/a n/a n/a 2/0/4/0 4 0/2/2/2/1 0/0/0 7 / 61 23.35
4 B. Hannah (CA) 3 / 27 2 / 29 1 / 8 1 / 6 n/a 3/0/1/0 2 0/2/1/3/0 0/0/0 7 / 70 21.5
5 J. Stanton (MI) 3 / 17 3 / 20 n/a n/a n/a 4/0/3/0 6 0/2/1/2/1 0/0/0 6 / 37 20.45
6 J. Stewart (FL) 2 / 35 1 / 16 2 / 28 n/a 2 / 18 1/0/0/2 1 1/0/1/0/1 0/0/0 5 / 79 19.05
7 J. Ward (CA) 2 / 20 4 / 24 1 / 12 n/a n/a 0/0/0/0 5 0/1/1/1/0 0/0/0 7 / 56 17.6
8 B. Glover (CA) 0 / 10 3 / 21 3 / 14 1 / 5 n/a 0/2/2/0 3 0/1/0/2/0 -.5/0/0 7 / 50 17
9 K. Howerton (TX) 0 / 5 3 /23 n/a 2 / 4 n/a 0/0/2/0 4 0/1/1/2/0 -.5/0/0 5 / 32 13.7
10 M. Barnett (IL) 1 / 17 0 / 0 3 / 25 0 / 1 n/a 0/2/2/0 3 0/1/0/2/0 0/0/-.5 4 / 43 13.3
11 C. Reed (AUS) 2 / 38 1 / 5 0 / 1 n/a 1 / 6 3/0/0/2 5 0/0/0/0/0 -.5/0/0 3 / 44 12.55
12 J. Emig (MO) 1 / 7 2 / 16 1 / 13 n/a 0 / 6 1/0/0/1 3 0/1/1/1/0 -.5/0/0 4 / 36 12.4
13 D. Bailey (VA) 1 / 12 3 / 18 n/a n/a n/a 1/0/2/0 3 0/0/1/0/0 0/0/0 4 / 30 11
14 K. Windham (LA) 0 / 16 0 / 9 0 / 7 n/a 2 / 12 1/0/1/0 9 0/0/0/0/1 0/-.5/0 0 / 32 10.05
15 M. Kiedrowski (CA) 0 / 5 2 / 15 2 / 10 n/a 0 / 2 3/0/0/0 3 0/0/0/0/0 -.5/0/0 4 / 30 9.6
16 T. Distefano (PA) 0 / 2 3 / 7 n/a 1 / 6 n/a 1/0/0/0 1 0/1/1/2/0 -.5/0/0 4 / 15 9
17 R. DeCoster (BEL) 0 / 1 n/a n/a 4 / 26 n/a 1/0/0/0 1 0/0/0/3/0 -.5/0/0 4 / 27 8.7
18 J. Weinert (NY) 1 / 4 2 / 16 0 / 0 0 / 2 n/a 2/1/0/0 3 0/0/0/1/0 -.5/0/0 3 / 22 8.2
19 J-M Bayle (FRA) 1 / 16 2 / 7 0 / 4 n/a n/a 0/0/2/0 1 0/1/0/0/0 0/0/0 3 / 25 8
20 R. Villopoto (WA) 0 / 2 0 / 1 3 / 20 n/a 1 / 11 0/0/0/0 0 0/0/1/2/1 -.5/-.5/0 3 / 23 7.6
21 M. Smith (CA) 0 / 3 1 / 4 2 / 8 0 / 3 n/a 0/0/2/0 3 0/0/0/1/0 -.5/0/0 3 / 18 7.3
22 M. LaRocco (IN) 0 / 10 2 / 13 0 / 6 n/a 0 / 3 0/0/0/1 3 0/0/0/0/0 0/0/0 2 / 29 7.05
23 J. O'Mara (CA) 1 / 7 0 / 2 1 / 7 n/a n/a 0/0/2/0 4 0/0/.25*/0/0 0/0/0 2 / 16 6.85
24 G. Jones (CA) 0 / 0 3 / 11 n/a 1 / 1 n/a 0/0/0/0 1 0/1/0/2/0 -.5/0/-.5 4 / 12 6.7
25 D. Henry (MA) 0 / 4 1 / 7 2 / 7 n/a 1 / 7 0/0/0/0 0 0/0/1/1/0 -.5/0/0 3 / 18 6.65
26 M. Bell (CA) 1 / 11 0 / 6 n/a 0 / 3 n/a 0/2/0/0 4 0/0/0/0/0 0/0/0 1 / 20 6
P. Karsmakers (DEN) 1 / 1 1 / 23 n/a 0 / 6 n/a 2/0/0/0 1 0/0/0/0/0 -.5/0/0 2 / 30 6
28 R. Lechien (CA) 0 / 8 0 / 8 1 / 10 n/a n/a 0/0/2/0 3 0/0/0/0/1 -.5/-.5/0 1 / 26 5.35
29 D. Bradshaw (NC) 0 / 19 0 / 6 0 / 4 n/a 1 / 6 0/0/0/0 3 0/0/0/0/1 0/-.5/0 0 / 29 4.95
30 G. Langston (RSA) 0 / 0 1 / 3 1 / 9 n/a 2 / 7 0/0/0/1 1 0/0/0/0/0 -.5/0/-.5 2 / 12 4.55
31 J. Ellis (CT) 1 / 8 0 / 5 0 / 1 n/a n/a 1/2/0/0 1 0/0/0/0/0 0/0/0 1 /14 4.4
32 D. Hansen (CA) 1 / 4 1 / 3 n/a n/a n/a 0/0/0/0 0 0/1/.25*/0/0 0/0/0 2 / 7 3.95
33 M. Tripes (CA) 0 / 2 0 / 6 n/a 0 / 3 n/a 1/2/1/0 2 0/0/0/0/0 -.5/-.5/0 0 / 11 3.1
S. Lamson (CA) 0 / 0 0 / 0 2 / 21 n/a n/a 0/0/0/0 1 0/0/0/1/0 -.5/-.5/-1 2 / 21 3.1
35 D. Shultz (CA) 0 / 4 1 / 3 n/a 0 / 1 n/a 2/0/0/0 0 0/0/0/0/0 0/0/0 1 / 8 2.8
36 C. Sun (OR) 0 / 1 1 / 7 n/a 0 / 0 n/a 0/0/1/0 1 0/0/.25*/0/0 -.5/0/0 1 / 8 2.55
37 E. Lusk (GA) 0 / 12 0 / 3 0 / 0 n/a 1 / 7 0/0/0/0 2 0/0/0/0/0 -.5/-.5/0 0 / 15 2.35
38 B. Lackey (CA) 0 / 0 1 / 16 n/a 0 / 2 n/a 0/0/0/0 1 0/0/0/0/0 -.5/0/-.5 1 / 18 2.3
39 J. Dowd (MA) 0 / 1 0 / 6 0 / 2 n/a 1 / 7 0/0/0/0 3 0/0/0/0/0 -.5/-.5/0 0 / 9 2.25
40 S. Stackable (TX) 1 / 2 0 / 2 n/a 0 / 0 n/a 0/0/0/0 1 0/0/0/0/0 0/0/0 1 / 4 1.9
41 G. Albertyn (RSA) 0 / 1 1 / 5 n/a n/a n/a 0/0/0/0 1 0/0/0/0/0 -.5/0/0 1 / 6 1.6
42 D. LaPorte (CA) 0 / 0 1 / 5 0 / 3 0 / 0 n/a 0/0/0/0 1 0/0/.25*/0/0 -.5/0/-.5 1 / 8 1.55
43 R. Dungey (MN) 0 / 0 n/a 1 / 8 n/a 1 / 8 0/0/0/0 1 0/0/0/0/1 -.5/-.5/-1 1 / 8 1.45
44 G. Semics (OH) 1 / 1 0 / 4 n/a 0 / 0 n/a 0/0/0/0 1 0/0/0/0/0 -.5/0/0 1 / 4 1.4
45 G. Cooper (OK) 0 / 0 0 / 0 1 / 16 n/a n/a 0//0/0/0 1 0/0/0/0/1 -.5/-.5/-1 1 / 16 1.35
J. Matiasevich (CA) 0 / 1 0 / 1 0 / 1 n/a 2 / 11 0/0/0/0 0 0/0/0/0/0 0/-.5/0 0 / 3 1.35
47 M. Dymond (CA) 0 / 0 0 / 0 2 / 8 n/a n/a 0/0/0/0 0 0/0/0/1/0 -.5/-.5/-1 2 / 8 1.3
I. Tedesco (NM) 0 / 0 0 / 1 1 / 2 n/a 2 / 10 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 1 / 3 1.3
49 D. Vuillemin (FRA) 0 / 7 0 / 3 n/a n/a 0 / 4 0/0/0/0 2 0/0/0/0/0 -.5/-.5/0 0 / 10 1.2
50 G. Holland (CA) 0 / 0 0 / 0 1 / 13 n/a n/a 0/0/0/0 1 0/0/0/0/1 -.5/-.5/-1 1 / 13 1.05
51 R. Staten (CA) 0 / 2 0 / 2 n/a 0 / 1 n/a 1/0/0/0 1 0/0/0/0/0 0/-.5/0 0 / 5 1
D. Huffman (CA) 0 / 1 0 / 0 0 / 3 n/a 2 / 12 0/0/0/1 0 0/0/0/0/0 -.5/-.5/-.5 0 / 4 1
53 T. Pastrana (MD) 0 / 0 0 / 0 1 / 7 n/a 1 / 8 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 1 / 7 0.85
54 L. Ward (WA) 0 / 3 0 / 0 0 / 4 n/a n/a 0/0/0/0 1 0/0/0/0/0 0/-.5/0 0 / 7 0.7
55 T. Ferry (FL) 0 / 0 0 / 2 0 / 1 n/a 1 / 2 0/0/0/0 2 0/0/0/0/1 -.5/-.5/-.5 0 / 3 0.65
56 R. Burgett (OR) 0 / 0 1 / 6 n/a 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/0/-.5 1 / 6 0.6
57 G. Mosier (CA) 0 / 2 0 / 2 0 / 1 0 / 0 n/a 0/0/0/0 1 0/0/0/0/0 0/-.5/0 0 / 5 0.5
58 J. Pomeroy (WA) 0 / 2 0 / 1 n/a 0 / 1 n/a 0/0/0/0 1 0/0/0/0/0 0/-.5/0 0 / 4 0.4
59 J. Falta (CZE) 0 / 1 n/a n/a 0 / 2 n/a 0/1/0/0 0 0/0/0/0/0 0/-.5/0 0 / 3 0.3
60 D. Schmit (MN) n/a 0 / 0 0 / 3 n/a 1 / 4 0/0/0/0 1 0/0/0/0/1 -.5/-.5/-.5 0 / 3 0.25
61 E. Kehoe (CA) 0 / 0 0 / 0 0 / 7 n/a n/a 0/0/1/0 2 0/0/0/0/0 -.5/-.5/-1 0 / 7 0.2
62 M. Pichon (FRA) 0 / 0 0 / 1 0 / 0 n/a 2 / 10 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 0.1
63 M. Alessi (CA) 0 / 0 0 / 2 0 / 3 n/a 0 / 0 0/0/0/0 2 0/0/0/0/0 -.5/-.5/-.5 0 / 5 0
M. Brown (TN) 0 / 0 0 / 0 1 / 8 n/a 0 / 4 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 1 / 8 0
65 J. Grant (CA) 0 / 1 0 / 1 0 / 1 n/a 0 / 3 0/0/0/0 0 0/0/0/0/0 0/-.5/0 0 / 3 -0.05
66 T. Hart (CA) 0 / 1 0 / 1 0 / 2 0 / 0 n/a 0/0/0/0 1 0/0/0/0/0 -.5/-.5/0 0 / 4 -0.1
S. Tortelli (FRA) 0 / 1 0 / 3 n/a n/a n/a 0/0/0/0 1 0/0/0/0/0 -.5/-.5/0 0 / 4 -0.1
68 E. Fonseca (CR) 0 / 0 0 / 0 0 / 0 n/a 2 / 12 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 0 / 0 -0.15
N. Ramsey (TN) 0 / 1 0 / 0 0 / 0 n/a 1 / 15 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -0.15
70 S. Wise (TX) 0 / 1 0 / 1 0 / 1 0 / 0 n/a 0/0/0/0 0 0/0/x/0/0 0/-.5/0 0 / 3 -0.2
71 S. Roncada (FRA) 0 / 0 0 / 0 0 / 4 n/a 1 / 7 0/0/0/0 1 0/0/0/0/0 -.5/-.5/-1 0 / 4 -0.25
C. Pourcel (FRA) n/a n/a 0 / 4 n/a 1 / 7 0/0/0/0 1 0/0/0/0/0 -.5/-.5/-1 0 / 4 -0.25
73 R. Thorwaldson (CA) 0 / 0 0 / 2 n/a 0 / 0 n/a 0/0/0/0 2 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -0.3
R. Hughes (CA) 0 / 0 0 / 0 0 / 5 n/a 0 / 4 0/0/0/0 2 0/0/0/0/0 -.5/-.5/-1 0 / 5 -0.3
B. Swink (MI) 0 / 0 0 / 0 0 / 1 n/a 2 / 12 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 1 -0.3
76 B. Townley (NZL) n/a n/a 0 / 5 n/a 1 / 3 0/0/0/0 1 0/0/0/0/0 -.5/-.5/-1 0 / 5 -0.35
77 G. Breker (CA) 0 / 0 0 / 3 n/a 0 / 0 n/a 0/0/0/0 1 0/0/0/0/1 -.5/-.5/-.5 0 / 3 -0.45
D. Millsaps (GA) 0 / 2 0 / 0 0 / 0 n/a 1 / 7 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -0.45
A. Short (CO) 0 / 0 0 / 0 0 / 3 n/a 0 / 5 0/0/0/0 2 0/0/0/0/0 -.5/-.5/-1 0 / 3 -0.45
80 D. Chandler (CA) 0 / 0 0 / 4 0 / 0 0 / 0 n/a 0/0/1/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 4 -0.6
81 K. Keylon (FL) 0 / 1 0 / 0 n/a n/a n/a 1/0/0/0 0 0/0/0/0/1 -.5/-.5/-.5 0 / 1 #REF!
82 B. Hepler (PA) 0 / 0 0 / 0 0 / 5 n/a 0 / 1 0/0/0/0 1 0/0/0/0/1 -.5/-.5/-1 0 / 5 -0.7
83 B. Jesseman (PA) 0 / 0 0 / 0 0 / 0 n/a 1 / 5 0/0/0/0 1 0/0/0/0/0 -.5/-.5/-1 0 / 0 -0.75
84 M. Runyard (CA) 0 / 0 0 / 2 n/a 0 / 0 n/a 0/0/0/0 1 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -0.8
85 B. Sellards (OH) 0 / 0 0 / 0 0 / 2 n/a 0 / 4 0/0/0/0 1 0/0/0/0/1 -.5/-.5/-1 0 / 2 -0.85
86 M. Blackwell (CA) 0 / 1 0 / 0 n/a n/a n/a 1/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -0.9
Bob Grossi (CA) 0 / 1 0 / 0 n/a n/a n/a 1/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -0.9
E. Eaton (WA) 0 / 0 0 / 1 n/a n/a n/a 0/0/0/0 1 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -0.9
89 A. King (MI) 0 / 0 0 / 2 n/a 0 / 0 n/a 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-.5 0 / 2 -1.05
B. Liles (GA) 0 / 0 0 / 1 n/a 0 / 1 n/a 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-.5 0 / 2 -1.05
91 D. Stephenson (NE) 0 / 0 0 / 0 0 / 0 n/a 1 / 8 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.1
K. Turpin (GA) 0 / 0 0 / 0 0 / 0 n/a 1 / 8 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.1
93 R. Ryan (CA) 0 / 0 0 / 1 0 / 0 n/a n/a 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-.5 0 / 1 -1.15
E. Warren (MI) 0 / 0 0 / 0 0 / 2 n/a 1 / 3 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 2 -1.15
D. Cantaloupi (CA) 0 / 0 0 / 0 0 / 0 0 / 1 n/a 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-.5 0 / 0 -1.15
96 M. Hartwig (MI) 0 / 0 0 / 3 n/a n/a n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 3 -1.2
J. Button (NY) 0 / 0 0 / 1 0 / 0 n/a 0 / 4 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.2
98 S. Burnworth (CA) 0 / 0 0 / 0 0 / 0 0 / 0 n/a 0/0/0/0 1 0/0/0/0/1 -.5/-.5/-1 0 / 0 -1.25
R. Reynard (OK) 0 / 0 0 / 0 0 / 5 n/a n/a 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 0 / 5 -1.25
T. Canard (OK) 0 / 0 0 / 0 0 / 0 n/a 1 / 5 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.25
bold = Hall of Fame
italics = Active rider
* = shared award
101 T. Croft (CA) 0 / 0 0 / 2 n/a 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -1.3
G. Bailey (CA) 0 / 0 0 / 2 n/a 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -1.3
Bill Grossi (CA) 0 / 0 0 / 2 0 / 0 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -1.3
R. Eierstedt (CA) 0 / 2 0 / 0 n/a 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -1.3
G. Lindstrom (SWE) 0 / 0 0 / 2 n/a 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -1.3
S. Defeo (NY) 0 / 0 0 / 2 n/a 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -1.3
B. Higgins (GA) 0 / 0 0 / 2 n/a 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 2 -1.3
T. Preston (CA) 0 / 0 0 / 0 0 / 0 n/a 1 / 4 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.3
W. Surratt (CA) 0 / 0 0 / 0 0 / 0 n/a 1 / 4 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.3
R. Tichenor (FL) 0 / 0 0 / 0 0 / 0 n/a 1 / 4 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.3
111 M. Craig (CA) 0 / 1 0 / 0 0 / 0 n/a 0 / 1 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 0 -1.35
T. DeHoop (MI) 0 / 0 0 / 0 0 / 0 n/a 1 / 3 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.35
Ty Davis (CA) 0 / 0 0 / 0 0 / 0 n/a 1 / 3 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.35
J. Lawrence (NJ) 0 / 0 0 / 0 0 / 0 n/a 1 / 3 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.35
115 J. DeSoto (HI) 0 / 0 0 / 1 0 / 0 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
Bob Grossi (CA) 0 / 0 0 / 1 0 / 0 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
W. Priddy (TX) 0 / 0 0 / 1 0 / 0 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
K. Zahrt (CA) 0 / 0 0 / 1 0 / 0 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
D. Dubach (CA) 0 / 1 0 / 0 0 / 0 n/a 0 / 0 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
B. Kenney (OH) 0 / 0 0 / 1 0 / 0 0 / 0 n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
S. Bentley (GA) 0 / 0 0 / 0 0 / 0 n/a 1 / 2 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.4
J. Hill (OR) 0 / 1 0 / 0 0 / 0 n/a n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
M. Goerke (FL) 0 / 0 0 / 1 0 / 0 n/a n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
T. Hahn (KS) 0 / 0 0 / 1 0 / 0 n/a n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-.5 0 / 1 -1.4
125 B. Moore (CA) 0 / 0 0 / 0 0 / 0 n/a 1 / 1 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.45
J. Gaddis (NV) 0 / 0 0 / 0 0 / 0 n/a 1 / 1 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.45
127 M. Moates (CA) 0 / 0 0 / 0 n/a 0 / 0 n/a 0/0/1/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.5
J. Weimer (ID) n/a n/a 0 / 3 n/a 0 / 4 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 3 -1.5
129 K. Bowen (MI) 0 / 0 0 / 0 0 / 2 n/a n/a 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 0 / 2 -1.55
130 B. Antunez (CA) 0 / 0 0 / 0 0 / 0 n/a 0 / 3 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 0 / 0 -1.6
L. Brooks (CA) 0 / 0 0 / 0 0 / 0 n/a 0 / 3 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 0 / 0 -1.6
132 N. Wey (MI) 0 / 0 0 / 0 0 / 1 n/a 0 / 0 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 0 / 1 -1.65
J. Barcia (NY) n/a n/a 0 / 1 n/a n/a 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 0 / 1 -1.65
134 Tallon Vohland (MO) 0 / 0 0 / 0 0 / 1 n/a 0 / 3 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 1 -1.75
N. Izzi (MI) n/a n/a 0 / 0 n/a 0 / 0 0/0/0/0 0 0/0/0/0/1 -.5/-.5/-1 0 / 0 -1.75
A. Stroupe (NC) 0 / 0 n/a 0 / 1 n/a 0 / 3 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 1 -1.75
137 B. Myerscough (CA) 0 / 0 0 / 0 0 / 2 n/a n/a 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 2 -1.8
D. Pingree (AZ) 0 / 0 0 / 0 0 / 0 n/a 0 / 4 0/0/0/0 0 0/0/0/0/0 -.5/-.5/-1 0 / 0 -1.8
other race winners
139 J. Hansen (CO) 3 -1.85
J. Beuhl (OH) 3 -1.85
K. Lewis (CA) 3 -1.85
142 W. Reid (CA) 1 -1.9
C. Anderson (AUS) 1 -1.9
D. Smith (ID) 1 -1.9
K. Smith (MI) 1 -1.9
S. Sheak (NY) 1 -1.9
J. Dobb (ENG) 1 -1.9
AJ Whiting (CA) 1 -1.9
P. Richter (CA) 1 -1.9
G. Chaplin (CA) 1 -1.9
M. McCoy (FL) 1 -1.9
D. Swartz (OH) 1 -1.9
D. Hollis (MI) 1 -1.9
G. Schnell (CA) 2 -1.9
C. Johnson (CA) 2 -1.9
M. Healey (CA) 2 -1.9
157 B. Laninovich (CA) 1 -1.95
M. Walker (GA) 1 -1.95
J. Buckelew (NM) 1 -1.95
M. Brandes (CA) 1 -1.95
C. Lytle (CA) 1 -1.95
B. Deegan (CA) 1 -1.95
J. Wiloh (CA) 1 -1.95
P. Gonzalez (MEX) 1 -1.95
C. Pederson (IA) 1 -1.95
P. Lawrence (CA) 1 -1.95
Tyson Vohland (CA) 1 -1.95
B. Manneh (CA) 1 -1.95
T. Campbell (CA) 1 -1.95
B. Wharton (TX) 1 -1.95
Motoworldracing.com Moto Show#2 Archive Here.
Chris Westall, the inventor of the Greatest Riders Chart, speaks..


text:
Home Editors Pick
Zuma under attack
by Lucky Mkandawire
in Editors Pick, National News
Malawi human rights campaigners, social and political commentators have hit back at South African President Jacob Zuma over his remarks that the growing presence of other African nationals contributed to the wave of xenophobic attacks that have rocked his country in recent weeks.
Zuma said on Monday other African nations were responsible for the influx of foreigners in his country because of failing to provide for their citizens and their criticisms on his administration were misplaced.
"Our brother countries contribute to this. Why are their citizens not in their countries? It is not useful to criticise South Africa as if we mushroom these foreign nationals and then ill-treat them.
"Everybody criticises South Africa as if we have manufactured the problem. Even if people who are xenophobic are a minority, but what prompts these refugees to be in South Africa?" Zuma told a Freedom Day rally in Pretoria.
However, his remarks have received a backlash, with commentators saying the statement is retrogressive and against the spirit of regional integration.
International relations expert Happy Kayuni faulted Zuma, saying it was unfortunate he was making such a statement now instead of focusing on improving his country's image following the unrest.
Kayuni, who is a lecturer in political and administrative studies at the University of Malawi's Chancellor College, said Zuma should have focused on ensuring stability in his country while also assuring other African States that the issue would be addressed instead of accusing them.
Another political scientist from Chancellor College, Father Boniface Tamani, said Zuma had exhibited naiveté by his "ill-fated" statement, which he described as "as shameful from a president."
Tamani said Zuma's remarks demonstrated that he has no value for regional integration which countries are advocating.
South Africa is a signatory to the Southern African Development Community (Sadc) protocol on facilitation of free movement of persons within the region.
The protocol was adopted in 2005 and seeks to fulfill the objectives of the Sadc Treaty that requires member States to develop policies aimed at progressive elimination of barriers to free movement of capital and labour, goods and services and of the people of the region.
On his part, human rights activist Gift Trapence said Zuma needed to desist from making statements that are retrogressive to regional integration as no country cannot stand alone.
At least seven people have been killed in the attacks in Durban, Gauteng and KwaZulu-Natal.
More than 3 200 Malawians have fallen victims to the attacks out of which about 1 000 have already been repatriated.
MHC plans to build 25 000 houses by 2018
Luanar bids to curb accommodation woes
DC warns officers against shortcuts
Communities drilled to monitor public funds