text:
B2C BrandViews⟩Grade.us
A/B Testing Online Review Incentives Via Email Campaigns
Jay Leonard Last updated: August 2, 2016
In the past, we've discussed the risks and rewards of incentivizing online reviews. While Yelp is notoriously strict and believes (wrongly) that even asking for a review biases it, other review site publishers are more, um, rational. Sites that have a predominantly professional audience recognize that their reviewers' time is valuable. Providing a small reward for their time can actually motivate more unbiased reviewers to participate. But it has to be done the right way.
Last week, we collaborated with the awesome B2B software review site G2 Crowd on an email campaign to get our latest crop of Grade.us customers participating in writing reviews. Because honestly, if an online review marketing and management platform lacks online reviews, then how can you trust their value proposition? 🙂
G2 Crowd actually encourages and facilitates providing reviewers a small reward to review products like ours. With review incentives being a hot topic–and one that's misunderstood or oversimplified by both proponents and detractors–we saw an opportunity to A/B test the effectiveness of incentives on online review acquisition.
We had a few questions that we wanted to answer:
Does mentioning an incentive in the subject line of the email increase open rate?
Would the inclusion of an incentive in the email increase the click through rate?
Would we earn more reviews via incentivized emails versus non-incentivized emails?
How would the star ratings compare from incentivized reviews versus non-incentivized reviews?
Tick Tick Tick Boom!
We frequently talk about how it's important to have a stream of new online reviews for our businesses, yet not all business models make this strategy easy. Velocity of online reviews does play a role as a ranking factor for Google.
If our business model consists of one-time transactions, based on products or projects, we can trigger email drip campaigns or SMS text campaigns for getting quality reviews at the time of sale or at the completion of the project. But if our services come on retainer, or in the case of Grade.us, an ongoing subscription model, finding the right time to ask for the review can be a bit more tricky.
Using email campaigns is an effective marketing tactic, one of many recommended by WeeklyM, a marketing strategy website. While it's not as ideal as a steady stream of reviews, we've found value in sending out email blasts to a portion of our customers at a time.
Our Past Review Acquisition Email Campaign
Prior to our G2 Crowd experiment, we sent out our own email blast to a selection of new customers, to bolster our Capterra.com listing.
At the bottom of our Product Update newsletter, we dedicated the last section of the email as a dedicated call-to-action for new Capterra reviews. Here's the copy we used:
Finally, >, I need some help…
Here we go… dogfood time: You know how much customer reviews mean to us, right? Reviews are our business, after all. But for me, the value goes way beyond that.
I literally choke up when I read the kind things our customers say about Grade.us. And the critical things? They keep me up every night.
We've had some growing pains the last couple months, and as a result, I watched exactly zero March Madness games 🙁
But now one of our favorite B2B review sites, Capterra, is running its "Reviews Madness" promotion. And I can tell you that it would probably move me to tears if you'd write a review of Grade.us during this competition. It can be super quick–Capterra is easy. No signup. No fuss.
Seriously, I'd be forever in your debt–as would all those other professionals looking for a good review management solution on Capterra!
In the copy, our founder Jon Hall, appealed to our customer's emotions. We're not a massive organization, so it was essential for us to connect with our loyal customers in a personal way. Jon's genuine words tugged at the heartstrings of our valued customers, and the results were beautiful.
Our campaign went out to 223 customers.
Delivered successfully to 221 customers.
149 people (67.4%) opened the email.
35 people (15.8%) clicked a link from the email.
13 New Reviews in 5 days.
Our 67.4% open rate is highly favorable compared to industry benchmarks provided by MailChimp. Industry benchmarks can be extremely helpful in comparing the success of our campaigns, but there's just as much value by comparing results internally to past campaigns.
Incentivized vs. Non-Incentivized Email Campaign Experiment
With the same ultimate goal as our email campaign to earn Capterra Reviews, our email campaign experiment with G2 Crowd highlights both incentivized versus non-incentivized email campaigns, but also the difference in email campaigns coming from our company versus a third party.
Incentivized reviews are still polarizing, but most often it's taken in the wrong context. Isn't there a difference between incentivizing a positive review versus using incentives to simply earn a review regardless of its sentiment?
In the context of this experiment, we felt it was valuable to reach out to G2 Crowd to get a better understanding of this critical difference:
"G2 Crowd offers incentives because the conversion rates prove they work. Our internal research shows no significant difference in review sentiment based on whether an incentive was offered, across our site. We do not see a significant difference between the average net promoter score (NPS) reported by reviewers who were offered an incentive versus the average NPS reported by those who were not offered an incentive.
We make very clear that any incentive offered is a thank-you for taking the time to share their feedback, not payment for their time. It is also emphasized that the incentive is not dependent upon the sentiment of the review and that we are seeking only authentic, unbiased feedback. Additionally, G2 Crowd is an independent third-party requesting feedback; we are not motivated by the outcome of the review, only its authenticity."- Molly O'Hare, director of content & community, G2 Crowd
For a business that is built on the authenticity of online reviews, we can imagine that G2 Crowd takes the side-effects of incentivizing online reviews seriously. They've done the research to back it up.
The email campaigns were sent out on July 27th. G2 Crowd sent out 161 incentivized emails and 161 non-incentivized on our behalf.
G2 Crowd kept the email copy simple, and we went in with a few adjustments so that the message stayed 'on-brand.'
For the incentivized customers, we offered a $25 Amazon gift card through G2 Crowd.
Subject Line: Review Grade.us, Get An Amazon Gift Card
Hi *First Name*!
I'm reaching out in the hopes you could contribute a review of Grade.us on G2 Crowd. Grade.us asked us to contact you and its other customers to obtain unbiased, authentic reviews of its product.
To say thanks for taking the time to share your feedback, we're offering a $25 Amazon.com gift card* to the next 20 Grade.us users who complete a review. The gift card is from G2 Crowd and your eligibility to receive it is in no way conditioned on the content of your review.
You can add your review of Grade.us here.
If you have any questions about G2 Crowd or the review process, don't hesitate to ask.
And here's the email we sent out without an incentive:
Subject Line: 'Looking for your feedback on Grade.us'
The Results of the Campaign
The email campaign generated a total of 17 reviews, which exceeded our expectations, knowing how difficult it can be to actually get the reviews.
Non-Incentivized campaign
Reviews generated: 6
Incentivized Campaign
Reviews generated: 11
We found some interesting results from this experiment.
Emails originating from Grade.us were opened more than the campaigns from G2 Crowd. Our Capterra campaign saw an open rate of 67.4%, whereas the G2 Crowd non-incentivized and incentivized emails had an open rate of 41.7% and 54.9% respectively.
Insight:
It makes sense that a personal email from the brand would generate more opens than a third party email. Additionally, including the "Get an Amazon Gift Card" in the subject line had a positive impact on opens.
Despite being a platform feature update, our Capterra email campaign produced a welcomed 15.8% click through rate. The G2 Crowd non-incentivized and incentivized emails produced a click-through rate of 8.6% and 20.3% respectively.
Incentives seemed to have the strongest impact on click through rate. While the Grade.us email had the highest open rate, the incentivized emails produced the highest click through rate. It appears that the Amazon Gift card offer helped get more customers over to our G2 Crowd listing.
Final Review Acquisition Results
Here's where it gets very interesting:
Capterra Campaign: 35 unique clicks generated 13 reviews, a 37% rate.
Incentivized G2 Crowd Campaign: 31 unique clicks generated 11 reviews, a 35% rate.
Non-incentivized G2 Crowd Campaign: 13 unique clicks generated 6 reviews, a 46% rate.
Surprisingly, our non-incentivized emails produced the best conversion rate of online reviews. While that campaign had the lowest open and click through rate percentage, a near majority of customers who did click the link generated a review, without being incentivized.
Online Review Sentiment of the Campaigns
Capterra Campaign generated:
13 Reviews with 5 Stars
Incentivized G2 Crowd Campaign generated:
8 Reviews with 5 Stars
2 Reviews with 4.5 Stars
1 Review with 4 Stars
1 Review with 4.5 Stars
Insights:
Correspondences coming directly from Grade.us produced 5-star ratings across the board, whereas the emails coming from G2 Crowd produced a few 4 and 4.5-star reviews. It makes sense that customers leaving a review because we asked them to resulted in more positive reviews.
You could also make the argument that incentivized reviews did not necessarily produce biased results. If the incentives had influenced the star rating, we most likely would have seen 5-star reviews across the board like our internal email campaign.
Every business and every online review site are different, and there are tons of additional variables that make it difficult to prove causation in this experiment. But that doesn't mean we cannot look at the results and pull some meaningful insights.
If our client's service is subscription based, an email blast campaign is an effective strategy for reaching out to our customers all at once.
Using incentivizes in our review acquisition email campaigns seemed to produce the most reviews, however, it's clear that when the 'Ask' comes from the actual company, the results are even better.
Customers are more likely to open an email with an incentive in the subject line, but that doesn't mean that they're more likely to actually write the review.
Finally, remember that not all Online Review sites like Capterra or G2 Crowd allow for incentivizing reviews. The fear tends to be that incentivizing reviews will influence the authenticity and credibility of the reviews. We found in our experiment, that wasn't the case, however, incentivizing review acquisition still has its risks.


text:
package com.github.cob.inventories.items.shoptools;

import java.util.ArrayList;
import java.util.List;

import org.bukkit.ChatColor;
import org.bukkit.Material;
import org.bukkit.enchantments.Enchantment;
import org.bukkit.event.inventory.InventoryClickEvent;
import org.bukkit.inventory.ItemStack;
import org.bukkit.inventory.meta.ItemMeta;

import com.github.cob.ClashOfBlocks;
import com.github.cob.inventories.MenuItem;

public class ToolDiamondAxe extends MenuItem {

	public ToolDiamondAxe() {
		super(Material.DIAMOND_AXE);
		this.setName(ChatColor.DARK_AQUA+"Level 5: Axe");
		this.addLore(ChatColor.DARK_GREEN+"35% Better chance of getting Gems from trees",
				ChatColor.DARK_GREEN+"Cost: "+ChatColor.GOLD+"300 Gems");
		this.getItem().addUnsafeEnchantment(Enchantment.LOOT_BONUS_BLOCKS, 5);
	}

	public void onClick(InventoryClickEvent event) {
		event.getWhoClicked().closeInventory();
		//add error message if player does not have enough gems

		ItemStack axe = new ItemStack(Material.DIAMOND_AXE);
		ItemMeta axe_m = axe.getItemMeta();
		axe_m.setDisplayName(ChatColor.DARK_AQUA+"Level 5: Axe");
		List<String> list = new ArrayList<String>();
		list.add(ChatColor.DARK_GREEN+"35% Better chance of getting Gems from trees");
		axe_m.setLore(list);
		axe.setItemMeta(axe_m);
		axe.addUnsafeEnchantment(Enchantment.LOOT_BONUS_BLOCKS, 5);

		event.getWhoClicked().closeInventory();
		ClashOfBlocks.getInstance().getGems().minusGems(event.getWhoClicked().getName(), 300);
		event.getWhoClicked().getInventory().addItem(axe);
	}

}

redpajama_set_name: RedPajamaGithub


text:
package com.hast.exchangerate.general.models;

/**
 * Created by Konstantyn Zakharchenko on 23.05.2017.
 */

public class UnifiedBankResponse {
    public static final double NO_VALUE = -1;
    private String name;
    private String code;
    private double buy;
    private double sale;

    public UnifiedBankResponse(String name, String code, double rate) {
        this.name = name;
        this.code = code;
        this.buy = rate;
        this.sale = NO_VALUE;
    }

    public UnifiedBankResponse(String name, String code, double buy, double sale) {
        this.name = name;
        this.code = code;
        this.buy = buy;
        this.sale = sale;
    }

    public String getName() {
        return name;
    }

    public String getCode() {
        return code;
    }

    public double getBuy() {
        return buy;
    }

    public double getSale() {
        return sale;
    }
}


text:
La Garnache és un municipi francès situat al departament de Vendée i a la regió de . L'any 2007 tenia 4.276 habitants.

Demografia

Població
El 2007 la població de fet de La Garnache era de 4.276 persones. Hi havia 1.641 famílies de les quals 336 eren unipersonals (170 homes vivint sols i 166 dones vivint soles), 592 parelles sense fills, 635 parelles amb fills i 78 famílies monoparentals amb fills.

La població ha evolucionat segons el següent gràfic:

Habitants censats

Habitatges
El 2007 hi havia 1.870 habitatges, 1.665 eren l'habitatge principal de la família, 118 eren segones residències i 87 estaven desocupats. 1.848 eren cases i 19 eren apartaments. Dels 1.665 habitatges principals, 1.327 estaven ocupats pels seus propietaris, 320 estaven llogats i ocupats pels llogaters i 17 estaven cedits a títol gratuït; 4 tenien una cambra, 40 en tenien dues, 273 en tenien tres, 505 en tenien quatre i 842 en tenien cinc o més. 1.352 habitatges disposaven pel capbaix d'una plaça de pàrquing. A 713 habitatges hi havia un automòbil i a 855 n'hi havia dos o més.

Piràmide de població
La piràmide de població per edats i sexe el 2009 era:

Economia
El 2007 la població en edat de treballar era de 2.718 persones, 2.118 eren actives i 600 eren inactives. De les 2.118 persones actives 1.936 estaven ocupades (1.071 homes i 865 dones) i 182 estaven aturades (62 homes i 120 dones). De les 600 persones inactives 239 estaven jubilades, 162 estaven estudiant i 199 estaven classificades com a «altres inactius».

Ingressos
El 2009 a La Garnache hi havia 1.726 unitats fiscals que integraven 4.436,5 persones, la mediana anual d'ingressos fiscals per persona era de 16.979 €.

Activitats econòmiques
Dels 192 establiments que hi havia el 2007, 5 eren d'empreses extractives, 4 d'empreses alimentàries, 3 d'empreses de fabricació de material elèctric, 16 d'empreses de fabricació d'altres productes industrials, 55 d'empreses de construcció, 23 d'empreses de comerç i reparació d'automòbils, 8 d'empreses de transport, 7 d'empreses d'hostatgeria i restauració, 4 d'empreses d'informació i comunicació, 9 d'empreses financeres, 6 d'empreses immobiliàries, 17 d'empreses de serveis, 18 d'entitats de l'administració pública i 17 d'empreses classificades com a «altres activitats de serveis».

Dels 75 establiments de servei als particulars que hi havia el 2009, 1 era una oficina de correu, 2 oficines bancàries, 2 funeràries, 6 tallers de reparació d'automòbils i de material agrícola, 1 establiment de lloguer de cotxes, 1 autoescola, 11 paletes, 7 guixaires pintors, 16 fusteries, 6 lampisteries, 7 electricistes, 5 perruqueries, 4 restaurants, 4 agències immobiliàries i 2 salons de bellesa.

Dels 11 establiments comercials que hi havia el 2009, 2 eren botigues de més de 120 m², 2 fleques, 1 una carnisseria, 1 una llibreria, 2 botigues de roba, 1 una botiga d'electrodomèstics, 1 una botiga de mobles i 1 una floristeria.

L'any 2000 a La Garnache hi havia 86 explotacions agrícoles que ocupaven un total de 3.456 hectàrees.

Equipaments sanitaris i escolars
El 2009 hi havia 1 farmàcia i 1 ambulància.

El 2009 hi havia 1 escola maternal i 3 escoles elementals.

Poblacions més properes
El següent diagrama mostra les poblacions més properes.

Referències

 Résumé statistique Fitxa resum de dades estadístiques de La Garnache a l'INSEE.
 Évolution et structure de la population  Fitxa amb el detall de dades de La Garnache a l'INSEE
 France par commune Dades detallades de tots els municipis de França accessibles a partir del mapa.

Municipis de la Vendée

redpajama_set_name: RedPajamaWikipedia


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1, Made of retro style split leather + TPU, high quality and durability.
2, Multiple wallet card slots for bringing your credit cards and bus cards conveniently.
3, Zipper closure cash compartment, carry some money or your earphone with phone securely.
4, Detachable 2-in-1 design, leather cover and inner leather coated TPU soft case absorb together by strong magnetism.
5, Magnetic closure and snap-fastener add the secure level. Guard your phone from daily damage and carry your belongings in style.
Specially Designed Wallet Case For Huawei Mate 20 6.53 inch (2018). It is suitable for men, women, and teens of all ages, for hiking, hunting, globe-trotting executives travel etc, perfect replacement of your purse.
The outer cover is made from high quality PU leather material, while the inner shell can use independent separated, and with magnetic auto tracking function ensures the safety of your phone.
14 card slots + photo frame + zipper wallet + 2 in 1 back case , And personalized interior slot also gives you an easy access to credit card, bank card, ID card, name card, which brings a lot convenience to your life.
Full degree of inner phone case protection, cover all 4 corners and includes raised edges to keep the screen from scratching or touching the ground.


text:
Q: Pyinstaller Maximum Recursion Depth Exceded I am trying to create an executable from python 3.6.4 using pyinstaller 3.3.1. The packages I am using are Pandas and openpyxl. When I try to create the bundle I receive this error.
$ RecursionError: maximum recursion depth exceeded in comparison
I have tried increasing my recursion limit and most of the steps described in How to Report Bugs and the error is still the same. I also got the same error when I tried bundling
import openpyxl
print("Hello World")

so I think the problem has to do with openpyxl but pyinstaller is supposed to be compatible with this. Any help would be greatly appreciated!

A: Install the development version, it should have been resolved in #2919:
pip install https://github.com/pyinstaller/pyinstaller/tarball/develop

A: Remove the build & dist folder, and try run your pyinstaller yourscript.py again.
For my case, python 3.6.3 version still be able to run it.

redpajama_set_name: RedPajamaStackExchange


Sculpture is the ultimate in re-creating your world or creating a new one! Especially clay and wood, allows you to shape a part of the earth in your hands to create. Sculpture is primal and basic in its medium and it brings you back to one of the first art forms; it connects you to the planet.
Sculpture is inspirational in that anyone can create within this medium; children do it like it is second nature. Because sculpture is a 3-dimendional art form, the challenge with sculpture this is finding the right balance in a piece in order to make it come alive and we will help you with jus that!
1) There are many different forms of medium you can sculpt from and with.
2) There are two main ways to sculpt; additive and subtractive.
3) Putting together a sculpture from clay or a variety of objects (objet trouvé, or perhaps junk art) is an additive method; you build a piece from different things.
4) Carving from wood or stone is a more subtractive way to create.
The possibilities are almost limitless in sculpture. We look forward to building a custom sculpture program for you.


text:
namespace EmptyKeys.Strategy.AI.Components.ConditionsUnit
{
    /// <summary>
    /// Implements unit condition for behavior.
    /// </summary>
    /// <seealso cref="EmptyKeys.Strategy.AI.Components.BehaviorComponentBase" />
    public class UnitIsInEnvTargetSystem : BehaviorComponentBase
    {
        /// <summary>
        /// Initializes a new instance of the <see cref="UnitIsInEnvTargetSystem"/> class.
        /// </summary>
        public UnitIsInEnvTargetSystem()
            : base()
        {
        }

        /// <summary>
        /// Executes behavior with given context
        /// </summary>
        /// <param name="context">The context.</param>
        /// <returns></returns>
        public override BehaviorReturnCode Behave(IBehaviorContext context)
        {
            UnitBehaviorContext unitContext = context as UnitBehaviorContext;
            if (unitContext == null)
            {
                returnCode = BehaviorReturnCode.Failure;
                return returnCode;
            }

            if (unitContext.Unit.Environment == unitContext.EnvironmentTarget)
            {
                returnCode = BehaviorReturnCode.Success;
                return returnCode;
            }

            returnCode = BehaviorReturnCode.Failure;
            return returnCode;
        }
    }
}


SVMPharma's real-world evidence helped deliver a unique real-world multicentre study in Portugal (ICEPT) looking at the clinical outcomes of fluocinolone acetonide implant (ILUVIEN®) in clinical practice for diabetic macular oedema (DMO) patients. Our real-world evidence provided valuable insights and helped show a marked reduction in odema in 66% of DMO patients' eyes (n=75) in real-world clinical practice.
Purpose: The Portuguese ILUVIEN Clinical Evidence study (ICEPT) aims to evaluate the effectiveness of the fluocinolone acetonide (FAc) implant in patients with persistent and recurrent diabetic macular edema (DME). The study is unique as it allows DME progression to be monitored 12 months prior to and following ILUVIEN therapy. Given that patients treated with ILUVIEN would have experienced an inadequate response to prior therapies, we tested the hypothesis that switching from the current standard of care to ILUVIEN would lead to beneficial effects (stabilization or even an improvement) in terms of vision and retinal structure.
Setting: This is a retrospective, multicentre (n=4), observational study currently ongoing in Portugal and involving patients with DME that were treated with the current standard of care before being switched to ILUVIEN.
Methods: Patient selection: Data was collected from 102 patients with DME. From this patients were then included if they had records for the 12 months prior to ILUVIEN and at least two followup time points during the 12 months following ILUVIEN administration (i.e. n=77 patients / 113 patient eyes). A single ILUVIEN implant was administered at baseline (day zero). Parameters measured: These included visual acuity (VA; reported as Early Treatment Diabetic Retinopathy Study [ETDRS] letters), central foveal thickness (CFT; µm) and intraocular pressure (IOP; mmHg). DME therapies were also recorded to enable the comparison of the intravitreal drugs utilized in the 12 months pre and postILUVIEN. Patient demographics: The mean age of patients was 68.4±8.8 years (mean±SD; range, 47 to 90) and there was a relatively even split between male and female patients (55% and 45%, respectively). 34 of 77 patients (44.2%) were phakic at baseline and on average DME patients waited 5.6±3.3 years (range, 1.12 to 15.60) before the injection of an ILUVIEN implant.
Results: Between days 365 and 0, VA and CFT worsened with mean VA declining by 3.4 letters from 59.5±17.9 letters and CFT increasing by 58.5 µm from 442.0 µm. At day +365 there was a mean increase in VA of 8.7 letters from 56.5 letters (day zero) and a decrease in CFT from 500.8 µm to 291.6 µm. At day +365 there was also a marked reduction in edema with 66% of eyes (n=75) having a CFT <350 µm (vs. 23% [n=26] at day zero). Shortacting steroids were predominantly used to treat DME (66% of eyes [n=75]) prior to ILUVIEN and decreased dramatically by day +365 (2% [n=7]), although the mean number of treatments given to patients remained the same (1.3 vs. 1.1; day 365 vs. day +365). The percentage usage of antiVEGF agents followed a similar pattern, albeit lower overall usage in patients, with 20% of eyes requiring an antiVEGF in prior 12 months vs. 10% by day +365 post implant (mean injections were 2.1 vs. 2.6, respectively). PostILUVIEN implant, emergent IOPlowering medication was required in 14% of eyes (increasing from 38% at day 365 to 52% at day +365) and there was one case of IOP surgery.
Conclusions: The use of the intravitreal FAc implant in patients with relatively good VA (60 to 70 ETDRS letters) led to marked gains in VA and CFT as well as a reversal of the progressive effects of not responding sufficiently to prior therapies. These findings support the hypothesis being tested that beneficial effects can be achieved with a longacting steroid in patients with established persistent and recurrent DME. It also suggests that identifying patients with good VA may be an effective strategy for optimizing patient outcomes.


BigBadToyStore offers a flexible cancellation policy to give you as much opportunity as possible to cancel items before they ship. All of this can be done by going to the "My Account" section of the BBTS website.
If you would like more control over how and when your orders ship we recommend using our Pile of Loot. For more details, please see our Pile of Loot Guide.
Most pre-orders may be canceled at any time before payment has been processed. Payment for pre-orders is processed when the product is received in our warehouse and is available to ship. To cancel a pre-order log into "My Account" and click on Pre-orders.
If you wish to cancel pre-orders that require a down payment, you must contact customer service.
You may cancel items in your Pile of Loot at any time. If the item is canceled within 7 days of first being added to your Pile of Loot, your original payment method will be refunded. If more than 7 days have passed, your refund will be issued in BBTS Store Credit. To cancel an item in the Pile of Loot log into "My Account" and click on Pile of Loot.
All cancellation options may be temporarily unavailable when we are processing a payment for your order. If this occurs please try again after a few minutes when processing has finsihed.
Payment for all items must be received within 4 days of when the items are available to ship. If payment is not received within 4 days it will be automatically canceled. For more information on payments please see our Payment Guide.


Q. How do I renew my NUS Library personal/corporate external membership?
If you wish to renew your external membership in person, please head down to NUS Central Library to renew your external membership.
The Central Library only accept NETS, Cashcard, Cheque & Credit Card for payment.
Do note that external membership does not grant you access to our subscribed E-Resources.
If you have any queries, please contact Loans & Membership at this email.


Guide Du Routard Chateaux De La Loire 2015 De Collectif 5 Novembre 2014 is good choice for you that looking for nice reading experience. We hope you glad to visit our website. Please read our description and our privacy and policy page.
Finally I get this ebook, thanks for all these Guide Du Routard Chateaux De La Loire 2015 De Collectif 5 Novembre 2014 can get now!


text:
Q: Python - Количество знаков после запятой Есть результат X = 0.25, но так же результат может быть X = 0.3333....
Задача: Вывести 6 знаков после точки. Например если Х = 0.25, нужно вывести 0.250000, а для X = 0.33333333333, вывести X = 0.333333

A: X = 0.33333333333
print("{:6f}".format(X))
0.333333

X = 0.25
print("{:6f}".format(X))
0.250000


This is a placeholder page for Brook Casey, which means this person is not currently on this site. We do suggest using the tools below to find Brook Casey.
You are visiting the placeholder page for Brook Casey. This page is here because someone used our placeholder utility to look for Brook Casey. We created this page automatically in hopes Brook Casey would find it. If you are not Brook Casey, but are an alumni of Glenn High School Kernersville, NC, register on this site for free now.


text:
The Golden Web () é um filme policial norte-americano de 1926, dirigido por Walter Lang e estrelado por Boris Karloff. É um filme perdido.

Elenco

Lillian Rich - Ruth Rowan
Huntley Gordon - Roland Deane
Jay Hunt - John Rowan
Lawford Davidson - George Sisk
Boris Karloff - Dave Sinclair
Nora Hayden - Miss Philbury
Syd Crossley
Joe Moore

Filmes perdidos
Filmes dos Estados Unidos de 1926
Filmes dirigidos por Walter Lang
Filmes policiais dos Estados Unidos
Filmes em língua inglesa
Filmes em preto e branco
Filmes de drama dos Estados Unidos
Filmes de mistério dos Estados Unidos


text:
NIGEL CLOUGH'S THOUGHTS ON IPSWICH
BURTON Albion will be looking to carry on their unbeaten form in the Sky Bet Championship as they take on Ipswich Town tomorrow night at Portman Road.
Nigel Clough's men haven't lost in their last three games and have recorded back-to-back clean sheets for the first time this season after a 2-0 win over Cardiff and most recently a 0-0 draw with Wigan at the DW Stadium. The Brewers boss says his team will be looking to have a go at Ipswich tonight:
"Yes, we have tried that in every game and the only one we have been put on the back foot really is Brighton at home with their quality and we had a lot of players missing that day," said Clough.
He added: "Home and away we have tried to take the gamer to the opposition and we will try it but it depends on how they set up as well and how they do, if they put you under pressure and the ball is coming into your box an awful lot, you have to defend it.
"If we can we will try and get it (the ball) down and get something like at Wigan."
Burton Albion haven't lost this season when they have scored the first goal in a game, so Nigel Clough knows the importance of getting that crucial first goal:
"If we could get it (the first goal) then it will increase the pressure on them a little bit but on the other side of it if we conceded it you would expect them to be filled with confidence so it will be very important not to concede, and especially early on because you'd expect them to come out of the traps at you.
"When the crowd get behind them it's quite an intimidating place to go, one of the old stadiums where the crowd is close still but it's always a good place to go and play football."
Nigel Clough has a fully-fit squad to choose from going into tonight's game against Ipswich at Portman Road.
The Brewers have been hit with injuries at the wrong times this season with John Mousinho, Lucas Akins, Chris O'Grady, Callum Reilly, Damien McCrory, John Brayford, Lee Williamson, Tom Flanagan and Ben Turner all spending time on the sidelines through injury recently.
Heading into tonight's game Nigel Clough said: "We're all ok, there's no point in us risking Shaun (Barker) at the moment when we have Tom Flanagan and John Mousinho on the bench and Tom Naylor can do that so if we put Shaun out there at a time when we don't have to risk him it seems a bit pointless but he's fine if we need him in the squad and Callum Reilly and Damien McCrory are fine, they just can't get in at the moment."

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Covid-19 yields many structural changes to Munday Library, no longer buzzing with students
Milo Cortese, Reporter|February 22, 2021
Gracie Watt/ Hilltop Views
The Munday Library was once a building buzzing with students. These days, the library is usually found unoccupied due to the health regulations, however, most resources are available online.
Since its opening in 2013, the Munday Library has been a social center for students on campus, but when COVID-19 became a threat in the spring semester of 2020, students went home and a slew of new health regulations followed. As one of the social center points of campus, the library had to adjust rapidly.
As campus closed, the fate of the library remained unknown. By coincidence, the library had been in the process of digitizing its paper collection to offer a broader selection of books for students. Interim Library Director Casey Gibbs recalled, "Largely, we were able to offer our services in an uninterrupted fashion, obviously people could no longer come into the building to use the library as a physical space but we continued being able to offer [library services]…we've been rolling with the punches and have adapted to the circumstances as they've evolved."
As the Fall 2020 semester came around, the library used the summer to prepare for the return of students, however limited that number would be. Some changes have come to the library: there is a mask requirement, social-distancing orders, no help desk, no study rooms and a reduction in hours. The library has evolved from one of the main social centers on campus to an online student resource. It has maintained its ability to provide helpful student services regardless of the pandemic.
Hannah Jones, a sophomore, utilized the library often during her freshman year, but since her return to campus this fall, she hasn't been back. "I was told by someone that it was closed my first semester back. I know that it's open this semester but not a lot of people are out doing things [on campus] and with everything going on, it's more of a hassle to go out and be in public," Jones said.
Zoe Garrison, a junior, used the library her first two years, but now that she has no in-person classes, she's never on campus anymore. "I loved going to the library to study…but with COVID-19, I just stay home to study," Garrison said.
This spring, COVID-19 precautions will remain in full effect, but the library will remain accessible online. Looking towards the fall however, these regulations may change due to the updated Biden Administration's vaccine rollout, which estimates they will have over 300 million Americans vaccinated by the end of July. St. Edward's announced that the majority of students will be on campus in the fall and Gibbs is optimistic about what that means for the library. "In terms of where we're allocating our resources, we're banking on there being many more students in the building, for more hours and those students having more services and resources available to them, that's our top priority right now."
In the fall of 2021, the Munday Library will be much more accessible to the student body, both those there physically and virtually. For more updates on library hours and events, follow the Munday Library on Twitter or Instagram.
Casey Gibbs
major changes
munday library
Milo Cortese, Viewpoints Editor
My name is Milo Cortese, and I am a double major in American History and Political Science. I am a senior graduating in the Spring 2022 and plan to...


In keeping with one of its educational values, that of service to its local and global communities, The Prairie School — with a culmination of nearly 450 students from our Primary and Upper School — hosted a series of events dedicated to science, service and very special person, Emily Maki who passed away in 2011. Since then, the School has developed a series of events in her honor.
On the evening of Friday, April 11 and Saturday, April 12, Prairie's student government hosted a tye-dye themed dance-a-thon and fashion show that raised over $3225.55 in support of the Juvenile Diabetes Research Foundation and in Emily's honor. From swing dancing, salsa, and zumba, students enjoyed an evening of endless dancing and instruction. The following evening, Upper School students took to the runway and modeled clothes from Francesca's at Mayfair Mall and Tres Belle Boutique in Lake Geneva. Some of the designs were also created by Emily as she also had a great love for fashion.
These two student-organized events, helped students learn responsibility and leadership, as well as an appreciation and awareness of their ability to make a positive difference.
On Thursday, April 17, the entire Primary School participated in a full day devoted to science exploration and learning. Activities, field trips, and presentations were organized for the entire Primary School including a very special Junior Energy Officers event at SC Johnson's Golden Rondelle. The fun and interactive presentation not only taught students how to reduce their environmental footprint but students were challenged to become energy officers through the month of April and serve energy violators with a citation. At the end of this month, the classroom who serves the most tickets will enjoy a pizza party with Captain Current, an energy superhero.
The remainder of the afternoon also included trips to Racine's Eco-Justice center for our early schoolers and kindergarteners, water testing for our third graders, an afternoon at Discovery World for the fourth graders, and a trip to Growing Power in Milwaukee for our first and second graders. At Growing Power, also a new partnership this year, students were given a tour of the facility and farm that produces vegetation and raises fish, goats and chickens that are later sold and distributed to local markets. Students were taught the importance of using every available resource in order to sustain a healthy environment.
Through experiences and activities such as these, our youngest students are able to develop a better understanding of the sciences and the individual impact they have at home and in their community. The Primary School is thankful for the partnerships they have been able to create with local organizations in support of science education and learning.
Each year, Upper School also dedicates a day for community outreach and fundraising in memory of Emily. It's on this day, that the students volunteer at preservation sites and organizations across the city, including the Racine's Eco Justice Center, Riverbend, Cliffside, ReStore, Racine Zoo, Women's Resource Center, HALO, St. Monica's, and many other locations. Emily believed in sharing experiences and serving through charity and environmental work.
On this day, students, staff, and volunteers work with over fifteen local organizations or environmental sites, which vary from senior care to clean up to supporting the homeless task force. Following the day's volunteer activities, students and faculty return to John Mitchell theater to exchange memories of Emily and the experiences they gained from their field work. With all the opportunities available, the day's enlightening stories range from animal habitat sustainability to different ways people support the homeless.
Giving back in honor of Emily makes the act of volunteering that much more enriching for the students. Prairie students and teachers know that the work means just as much to the community, as it does the Maki family. Earth Day is a special occasion to make a difference in the Racine community and offer remembrance of Emily's legacy.
Click here to check out additional photos from Emily's Day!
This entry was posted in All News, Community Outreach, Featured, Learn More About Prairie, Middle School, Primary School, Upper School by Communications Department. Bookmark the permalink.


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Marriages () is a Canadian drama film, directed by Catherine Martin and released in 2001. The film centres on Yvonne (Marie-Ève Bertrand), a young girl in 19th-century Quebec whose life is turned upside down by both her own sexual awakening and the apparent return of her mother, who died giving birth to her.

The film's cast also includes Guylaine Tremblay, Hélène Loiselle, David Boutin, Mirianne Brûlé and Raymond Cloutier.

Critical response
The film was named to the Toronto International Film Festival's annual Canada's Top Ten list for 2001, and Martin received a Genie Award nomination for Best Screenplay at the 22nd Genie Awards.

References

External links

2001 films
2000s French-language films
Canadian coming-of-age drama films
Films directed by Catherine Martin
2000s coming-of-age drama films
2001 drama films
French-language Canadian films
2000s Canadian films


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Dating Aboriginal rock art using mud wasp nests
Wasp nests reveal the age of ancient Aboriginal rock art
Scientists make new discovery in Aboriginal rock art
7 Places to See Aboriginal Rock Art in Australia
The intersection of technology, innovation & creativity.
Rare Aboriginal rock art across Sydney and Newcastle (Australia) faces threats
Mud wasp nests have helped establish a date for the Gwion Gwion rock art in the Kimberley region of Western Australia. A typical remnant mud wasp nest A overlying pigment from a Gwion motif before removal and B the remainder with pigment revealed underneath. Image credit: Damien Finch. The rock paintings depict graceful human figures with a wide range of decorations including headdresses, arm bands, and anklets. Some of the paintings are as small as 15 cm 6 inches , others are more than 2 m 6. Lack of organic matter in the pigment used to create the art had previously ruled out radiocarbon dating. But the researchers were able to use dates on 24 mud wasp nests under and over the art to determine both maximum and minimum age constraints for paintings in the Gwion style.
It is also one of the reasons Kakadu has received World Heritage status. The paintings provide a fascinating record of Aboriginal life over thousands of years. With paintings up to 20, years old, this is one of the longest historical records of any group of people in the world.
Professor Peter Veth of the University of WA leads the Kimberley Visions project, involving comparative archaeological documentation and dating of early rock.
A group of scientists, researchers and traditional owners is on the cusp of reshaping Australian history, with experts hoping that Aboriginal rock art in Western Australia may prove to be up to 50, years old, putting it among the oldest cultural expressions in the world. Initial results of pioneering Australian research have the potential to drastically alter the perceived flow of global artistic development after University of Melbourne scientists achieved a world first in dating methods on cave and rock paintings in the remote Kimberley region, which has one of the largest surviving bodies of rock art on the planet.
Researchers Nick Sundblom, Helen Green and Jordy Grinpukel remove tiny mineral accretions from a rock art panel motif in the Kimberley. Courtesy of Kimberley Foundation Australia. Credit: Sven Ouzman. Co-funded by the Australian Research Council and the Kimberley Foundation Australia, which initiates research centred on some of area's tens of thousands of rock art sites, the rock art dating project has worked in step with traditional owners, on whose land the extensive galleries of ochre, deep brown, rusted orange and white-hued pictures of human figures, marsupials, shells and fish are found.
The Kimberley has tens of thousands of rock art sites, including those at Munurru near the Gibb River Road. Groundbreaking dating research is focused on more remote galleries.
Ask an Expert. Australia is blessed with many beautiful examples of Aboriginal cave paintings and engravings but what does science tell us about how old they are? What are the different methods used to date such artworks?
The biggest-ever push to accurately date Australian rock art is under with experts hoping that Aboriginal rock art in Western Australia may.
Follow our live coverage for the latest news on the coronavirus pandemic. Enigmatic human figures with elaborate headdresses, arm and waist decorations adorn rock shelters in the Kimberley region of Western Australia. This style of art, known as Gwion, Kiro Kiro or Kujon, was painted by the ancestors of today's traditional owners around 12, years ago, a new study suggests.
The date of the art work, published today in the journal Science Advances , is based on radiocarbon dating of mud wasp nests. As the traditional owners used fire to manage their country, the small black and yellow wasp built their time capsules above and below the artworks tucked away in the rock shelters. While most Gwion paintings studied by the team had either had a nest under or over part of the artwork, one painting had two nests on top and one under.
The Gwion period, which used to be known as the Bradshaw paintings, is thought by archaeologists to be the second oldest of at least six distinct periods of creative styles depicting stories and songlines passed from generation to generation. I just say 'I don't know, it's just older than me or you," Mr Waina said.
New approach provides a way to provide dates for challenging Aboriginal rock art that cannot be done with other methods. Mud wasp nests which are commonly found in rock shelters in the remote Kimberley region also occur ubiquitously across northern Australia and can survive for tens of thousands of years. Mud wasp nests were collected from over rock art sites with the permission and assistance of the Traditional Owners of Balangarra and Dambimangari Lands in the Kimberley. The dates reported in a paper published in Science Advances provide, for the first time, an estimate for the time period when paintings in the Gwion Gwion style proliferated , mostly between 10 to 12, years ago.
This indirect method of dating could be useful in providing age estimates for other evidence of past human activity including grinding hollows, grooves, carvings as well as paintings.
Rock art is the oldest surviving human art form. Across Australia rock art is an integral part of Aboriginal life and customs, dating back to the.
Aboriginal rock art is the oldest form of indigenous Australian art with the earliest examples discovered at Gabarnmung in Arnhem Land dating back around 28, years. It is thought that there are over , rock art sites in Australia which provide a unique archive of indigenous art. A boriginal rock art is the oldest form of indigenous Australian art with the earliest examples discovered at Gabarnmung in Arnhem Land dating back around 28, years.
These sites are sacred to Aboriginal Australians as they are inhabited by the spirits of their ancestors. Accordingly, they should be respected as holy places that embody the artistic, social, environmental and spiritual knowledge that is the lifeblood of Aboriginal culture. Borradaile, Arnhem Land, Northern Australia. A boriginal rock art sites display engravings and paintings of graphic symbols, human figures, tribal ceremonies, animals, plants, and the ancestral spirits who govern the forces of nature and the cosmos.
Over the millennia the oldest examples of rock art that were created by prehistoric artists have been reworked and overdrawn by successive generations of indigenous artists up to and including the 20th century. This gives rise to an extraordinary artistic scenario where a late Palaeolithic artist begins a drawing, which is then overdrawn by a Neolithic artist, then by successive artists from the time of the Ancient Egyptians, the Ancient Greeks, the Early Christian and Byzantine eras, the Dark Ages, the Renaissance and through every stage of the art history timeline up to the modern era.
If a similar phenomenon existed in Western art, it would be prized and protected for future generations. Sadly however, many Aboriginal rock sites are under multiple threats from natural erosion, pollution, vandalism, mining, developers, and a lack of general maintenance and legal protection. T he earliest rock art images communicate visual information about the Aboriginal way of life. Engraved dot rings and animal tracks are typical of the most ancient examples. At a later period, we begin to see simple paintings of animals, fish, birds and matchstick figures.
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Cole, N. & Watchman, A. Painting with plants: investigating fibres in Aboriginal rock paintings at Laura, north Queensland, Rock Art Research 9(1): 27–
December 7, A new technique, developed at ANSTO's Centre for Accelerator Science, has made it possible to produce some of the first reliable radiocarbon dates for Australian rock art in a study just published online in The Journal of Archaeological Science Reports. The approach involved extracting calcium oxalate from a mineral crust growing on the surface of rock art from sites in western Arnhem Land, according to paper co-author research scientist Dr Vladimir Levchenko, an authority on radiocarbon dating using accelerator mass spectrometry.
Generally speaking, radiocarbon dating cannot readily be used to date Australian indigenous rock art directly, because it is characterised by the use of ochre, an inorganic mineral pigment that contains no carbon. The paper authors explain that carbon found in the mineral crusts on the rock surface was most probably was formed by microorganisms. One of the peer review authors who reviewed the paper prior to publication predicted it could become a benchmark for studies of this type as it addressed a complete lack of chromometric data for rock art in Australia and elsewhere.
Another reviewer called it the most significant rock art and dating paper to have been produced in Australia for over 25 years. The approach has produced an upper and lower limit of dates for a regional art style known as Northern Running Figures NRF or Mountford figures, believed to have been produced in Australia during the early to mid-Holocene 10, — 6, years ago. The limited distribution of the NRF style and its unclear relationship to earlier and later art styles has posed challenges for rock art researchers.
Jones et al report that the minimum age of the NRF rock art style based on the oldest sample is reported to be — BP before present , which also produces a minimum age for other art styles that occur in the 'Middle Period' sequence. Jones said "the results are exciting as although they generally support the chronology and assumed antiquity for the NRF art style, they provide minimum ages which suggest that the art style is actually a few thousand years older than what was anticipated.
They also demonstrate that the art style was painted over a considerably long period. Most excitingly the results also provide the chronometric data to support a Pleistocene antiquity for the earliest known figurative art styles, such as Dynamic Figures, in Arnhem Land.
Aboriginal rock art provides a fascinating record of Australian Aboriginal life over thousands of years. The ancient rock art and engravings depict figures, birds, animals, mythological creatures and non-figurative designs. Sometimes they were painted for religious significance, sorcery and magic, and other times as a way of telling stories and learning, or just for fun and practice. The aboriginal colours used in rock art paintings come from natural occurring minerals. Sometimes, pigments are placed in the mouth and blown out around an object, this is how you get the hand stencil effect which is quite prevalent in some rock art sites.
Wandjina Rock Art from the Kimberleys.
Carbon dating that suggests that the cave where the art was discovered was first inhabited by humans dating back 45, years ago. There are drawings of water.
Australian rock art provinces Modified from Layton The geographic location of the continent and its size mean that it encompasses a wide range of climate zones. The climate along the southeastern margins of the mainland and island Tasmania is classified as temperate. In the north, tropical climates are marked by hot summers and heavy monsoonal rains, while the climate of the vast interior covering almost two thirds of the continent is arid or semiarid and is characterized by low and unpredictable rainfall.
Rock art is found in all climatic zones from the highest snow-covered mountain ranges in the southeast to the vast sand-ridge deserts of the center and the rugged and remote gorges and coastal islands of the north and northwest Fig. In northern, central, and western regions of Australia, rock art remains an integral part of Aboriginal culture and belief systems. Aspects of the Dreaming are manifested in rock art throughout Australia, and the origin of many paintings and engravings is attributed to the creation period or Dreamtime.
While new assemblages are rarely created today, remarking or other practices that involve traditional maintenance of the potency of rock art sites continue where sites are accessible to communities, now often located in distant towns. The richness of Aboriginal life and the variability of cultural practices across the country have been captured in numerous ethnographic records collected in the nineteenth and early twentieth centuries by researchers such as R. Mathews, B. Spencer and F. Gillen, W.
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QUEENPINS -- A Derivative Comedy Salvaged by Paul Walter Hauser and Vince Vaughn
Review by Sean Boelman
Kristen Bell as Connie Kaminski and Kirby Howell-Baptiste as JoJo Johnson in QUEENPINS. Motion Picture Artwork © 2021 STX Financing, LLC. All Rights Reserved.
It's pretty clear that Aron Gaudet and Gita Pullapilly wanted Queenpins to cash in on the popularity of such blue-collar crime comedies as Hustlers, but in just copying the formula, they lost sight of the things that could have made it enjoyable. The result is a largely laughless affair despite a talented cast putting in their best efforts.
The film follows a housewife and her best friend as they get wrapped up in an unexpectedly lucrative scheme selling illegitimate coupons. It's a story that sounds (and is) ridiculous, but the problem is that the movie too often takes itself far too seriously rather than embracing the inherent absurdity of the situation.
There are really two storylines going on here, and they are not created equal. More prominent is that of the two women trying to get rich quickly, and this is the generic portion. There are some compelling aspects to this story, but it is overly familiar. On the other hand, the story of the dysfunctional duo trying to hunt them down is much more enjoyable, but receives less of the focus.
Paul Walter Hauser and Vince Vaughn absolutely make this movie as a corporate loss prevention officer and postal inspector investigating the scam. The chemistry they have together is truly wonderful, with a very natural comedic rhythm between them that clearly benefited from a lot of improvisation (especially from Vaughn).
Kirby Howell-Baptiste as JoJo Johnson, Bebe Rexha as Tempe Tina and Kristen Bell as Connie Kaminski in QUEENPINS. Credit: Michael Desmond/STX Films; Motion Picture Artwork © 2021 STX Financing, LLC. All Rights Reserved.
On the other hand, Kristen Bell and Kirby Howell-Baptiste's performances are much more forgettable. Although they are completely believable as friends, they don't do much in terms of making their characters feel unique. Howell-Baptiste gets a few genuinely fun moments, but they aren't enough to make it feel any less generic.
Additionally, the character development leaves something to be desired. The irony of the protagonist's husband being an IRS auditor is occasionally joked about, as is the fact that she is a former Olympian, but apart from that, we don't get much insight into her personal life. And every other character is even less developed.
The film is also quite generic from a technical standpoint. Although there are a few scenes that are fun, the fundamental flaw here is that it seems to be misguided from a directorial standpoint. It's almost as if Gaudet and Pullapilly wanted the humor to come out of the irony of seeing something so goofy play out with a mostly straight face,
Queenpins is definitely watchable, but it's a disappointment all-around because of the level of talent that was involved with it. It's clearly banking on the success of many better movies that came before it, and it pales in comparison to their image.
Queenpins is now in theaters and hits Paramount+ on September 30.
Rating: 2.5/5


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CarLotz Expands Retail Presence with More Space, Talent, and Motorcycles
May 22nd, 2014 by Car Lotz
RICHMOND, Va. – May 22, 2014 – CarLotz, a Richmond, Virginia based used vehicle consignment business, today announced the doubling in size of its flagship location at 11944 Midlothian Turnpike in Chesterfield, the expansion of its motorcycle business, and the addition of several professionals to its growing team.
CarLotz CEO Michael Bor said "We've experienced terrific growth over the last two years. Even with the opening of our second location in the Richmond area on West Broad Street last year, we often find ourselves running tight on space with the continuous consignment inflow from our customers. With the additional space at our Midlothian store, we will double both our indoor and outdoor space, which will allow us to better serve our customers with more parking, dedicated space for our motorcycle sales, and a more visible and productive retail footprint."
The expanded space on Midlothian Turnpike allows CarLotz to showcase up to 150 vehicles at this location and will include indoor space dedicated to the company's growing motorcycle consignment business. Bor said "Motorcycles are difficult to sell privately, and traditional motorcycle retailers may take up to 50% of the vehicle's value as a sale fee. CarLotz, by contrast, applies its proven professional marketing and retailing method to motorcycles at the same low flat fee it uses for vehicles." In combination with its store at 8406 West Broad Street in Richmond, the expansion at the Midlothian location provides CarLotz the capacity for more than 200 vehicles in the Richmond metro area at any time in addition to its Chesapeake, Virginia location.
Bor continued, "To help accommodate our growth, we have also added several senior customer service professionals for our Richmond area locations as well as a recruiting director to help us continue to add to our talented team." Josh Adams joined CarLotz as a Head Coach in Richmond, where he will help customers at the company's 8406 West Broad Street location between Parham Road and Skipwith Road. Josh joined CarLotz from ShopperLocal, where he was a Marketing Manager, and has previous experience in sales and auto repair at Virginia Farm Bureau and Dominion Auto Group. "Like several of our team members, Josh began his CarLotz experience as a customer buying a vehicle (a Subaru Forester) for his family. Josh's strong customer service talents and tremendous automotive experience have enabled him to jump in with both feet as a consultant and coach to our customers," said Bor.
Chris Williams joined the CarLotz team as a Head Coach in Richmond, where he will help customers in the company's 11944 Midlothian Turnpike location, just west of Huguenot Road, and lead the company's expanded motorcycle retailing efforts. Chris is an avid motor bike rider and joined CarLotz from First Street for Boomers and Beyond, where he focused on forming new business relationships with consumer and business customers. Prior to First Street, Chris was a Manager and Trainer at Schwarzschild Jewelers. "Chris has a long track record of delighting customers in a retail and business setting, and his strong customer service talents have already received great reviews from CarLotz customers," said Bor.
Lindsay Walker joined CarLotz as a Recruiter. Lindsay has held previous roles with Wachovia and Stella Hart Portraits and brings a tremendous amount of enthusiasm and professionalism to the team. Said Bor: "We are trying to add new stores in 2014, and Lindsay is working hard to ensure our new hires have the high level of professionalism, integrity, and customer service shown by our existing team members."
"It's an exciting time to be at CarLotz, and our ability to attract and retain talented people is a testament to the company's innovative business model. We're thrilled by the quality of talent that has chosen to be a part of this growing team, and we're excited to see where we can go," commented Bor.
About CarLotz, Inc.
CarLotz (www.CarLotz.com) is a used vehicle consignment business that is driven to make the private party market the primary channel for used vehicle transactions. CarLotz enables sellers to achieve private market used vehicle values without the traditional hassles of the sale-by-owner market, such as meeting with strangers, arranging for financing and warranties, and handling burdensome DMV paperwork. CarLotz was founded in 2011 and has since helped thousands of sellers and buyers save time and money by transacting safely and efficiently in the sale-by-owner market. The Company has been frequently featured in media outlets including NBC, Fox Business, Fox Interactive, The New York Times, Fast Company, TheStreet.com, The Richmond Times-Dispatch, The Virginian Pilot, Style Weekly, and others. The Company has also been recognized as a Greater Richmond Company to Watch by the Venture Forum, has been consistently voted a Best Place to Buy a Car by the readers of Style Weekly, and was named the Best New Locally Owned Business by the readers of Richmond Magazine.
For additional information, please contact Michael Bor, CEO of CarLotz at (804) 897-2757 or [email protected] or visit www.CarLotz.com.
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For the 2nd Time, CarLotz Appears on the Inc. 5000
For the 2nd Time, CarLotz Appears on the Inc. 5000, Ranking No. 435 With Three-Year Revenue Growth of 1,044 Percent Inc. Magazine Unveils Its Annual List of America's Fastest-Growing Private Companies NEW YORK, August 14, 2019 – Inc. magazine today revealed that CarLotz is No. 435 on its annual Inc. 5000 list, the most prestigious...
CarLotz Co-Founders Named EY Entrepreneurs Of The Year 2019 Mid-Atlantic
Michael Bor, Aaron Montgomery, and Will Boland recognized by global awards program for high growth and leading industry transformation. CarLotz announced today that Michael Bor, Aaron Montgomery, and Will Boland, CarLotz co-founders, have received the EY Entrepreneur Of The Year® 2019 Mid-Atlantic Award. Firmly positioned as one of the most prestigious business awards...
CarLotz Co-Founders Finalists for EY Entrepreneurs of the Year
CarLotz, a used vehicle consignment business with locations in Virginia, North Carolina, Florida, Illinois, and Texas, serving the sale-by-owner and corporate fleet vehicle market, today announced that Michael Bor, Aaron Montgomery, and Will Boland, CarLotz co-founders, are finalists for the EY Entrepreneur Of The Year® 2019 Mid-Atlantic Award. Widely considered one of the most...
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Fort Worth's Revitalized Downtown: Sundance Square by DMSAS
Written by Murrye Bernard
David M. Schwarz Architects (DMSAS)'s Sundance Square project is a masterplan to revitalize 35 blocks of downtown Fort Worth, Texas.
Sundance West under construction in the late 1980s. It was the first new residential building in downtown since WWII. Image courtesy of DMSAS
It is a pattern repeated across the country: after World War II and in parallel with the rise of the automobile, residents drifted from downtowns, moved to the suburbs, and began shopping at strip malls and big box stores. Real estate values plummeted in the abandoned city centers, and eventually historic buildings were demolished to make way for parking garages and surface lots. The downtown of Fort Worth, Texas, was no exception.
However, Fort Worth's downtown has benefited from the foresight and financial backing of the Bass family, who made their fortune from oil. In 1988, they commissioned Washington, D.C.-based David M. Schwarz Architects (DMSAS) to create a masterplan for revitalizing the area, dubbed Sundance Square. For nearly 25 years, DMSAS has worked with the Bass family to bring several projects to fruition, including two major mixed-use developments, Sundance West (1991) and Sundance East (1993), as well as the Nancy Lee and Perry R. Bass Performance Hall (1998) and Chase Bank Building (2000).
The next phase of the Sundance Square project is underway and will revitalize a 35-block zone at the heart of Fort Worth's downtown. DMSAS has designed three new mixed-use buildings and will rehabilitate several historic buildings. Two of the new buildings will bookend a public plaza, and construction has begun on this portion of the project, to be completed in 2013.
Bennett Benner and Pettit worked in conjunction with DMSAS on the buildings that frame the plaza. The Commerce Building on the east side of the plaza will offer 83,000 square feet of space for office and retail at the ground level. On the west side, The Westbrook will provide 93,000 square feet with a similar program. The monolithic structure will define a backdrop to the plaza and its stage, combining weighty granite, limestone, brick, and decorative aluminum, materials that evoke the original buildings that defined Fort Worth's downtown. Construction will also soon begin on a third building a block from the plaza named The Cassidy, offering 99,000 square feet of mixed-use program including luxury residences.
The architects have intentionally differentiated the new buildings through material selection and architectural styles so that they appear to have been built in varying time periods. Gregory Hoss, Principal at DMSAS and the Project Manager for the Sundance Square project, explains that the buildings play different roles in relation to the plaza and their designs respond accordingly. For example, the architects were sensitive to the existing context when articulating the massing of the Commerce Building. It steps down at the edge to meet the height of the adjacent historic Land Title Building. Additionally, the Commerce Building's facade will be articulated so it looks like three different structures, further breaking down the scale and blending it with the urban fabric.
The design of the new plaza will be unveiled soon. For 20 years it has served as surface parking, but despite this designation it's proved successful as an active public space, hosting the city's Christmas tree, performances, art festivals, and boxing matches. Last year, ESPN even broadcasted from the lot during the Super Bowl. When construction is complete on the new design, the plaza will continue to host such events as well as additional programming, including providing a place for downtown workers to enjoy their lunch hour.
The only drawback to Fort Worth's downtown thriving once again? "People complain that they can't find parking," shares Hoss, laughing, but says that DMSAS takes that as a compliment. He is also quick to point out that credit is due to their client, the Bass family. "They have very carefully and thoughtfully built building after building based on the original masterplan," he notes. "If you stick to the plan—as long as it's flexible—that vision can transform a city."
Published in Urban Planning
Murrye Bernard
Murrye is a freelance writer based in New York City. She holds a Bachelor's degree in Architecture from the University of Arkansas and is a LEED-accredited professional. Her work has been published in Architectural Record, Eco-Structure, and Architectural Lighting, among others. She also serves as a contributing editor for the American Institute of Architects' New York Chapter publication, eOculus.
Website: www.murrye.com
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text:
Q: gocd - making custom command script available to agent I am trying to add a custom command which in turn calls a python script, as per example here https://support.thoughtworks.com/hc/en-us/articles/213253646-Go-s-custom-command,
<exec command="myecho.sh">
</exec>

In my case,
<exec command="/usr/bin/python cd_dashboard.py">
  <arg>-v</arg>
</exec>

But when I execute the pipeline it fails with following error,
[go] Task: "/usr/bin/python cd_dashboard.py" -vtook: 0.2s
Error happened while attempting to execute '/usr/bin/python cd_dashboard.py -v'.
Please make sure [/usr/bin/python cd_dashboard.py] can be executed on this agent.
So the question is where should the python script reside to be accessible to agent? Should be in agent's PATH.
Is this correct understanding?

A: The command should be /usr/bin/python, please move cd_dashboard.py to the args. Right now GoCD trying to run executable /usr/bin/python cd_dashboard.py, which of course doesn't exist. You should have something like this:
<exec command="/usr/bin/python">
  <arg>-v</arg>
  <arg>cd_dashboard.py</arg>
</exec>


Alfalfa's Secret is a pure alfalfa hay product. Alfalfa is a legume that fixes nitrogen naturally from nitrogen in the atmosphere. When applied to gardens, the alfalfa slowly releases nitrogen to the benefit of the growing plants. Other minerals needed are also released slowly to benefit the growing plants all season long. Alfalfa is rich in sugars that will benefit and encourage the growth of microorganisms in a healthy soil. Applying it to a growing garden will help conserve moisture. Weed control is another benefit.


text:
// Copyright (c) 2011-2014, Stoyan Nikolov
// All rights reserved.
// This software is governed by a permissive BSD-style license. See LICENSE.
#include "stdafx.h"

#include "DxRenderer.h"
#include "RenderingRoutine.h"
#include "Camera.h"
#include "ShaderManager.h"
#include "ConstantBuffers.h"

using namespace DirectX;

DxRenderer::DxRenderer()
	: m_Device(nullptr)
	, m_ImmediateContext(nullptr)
	, m_SwapChain(nullptr)
	, m_BackBufferView(nullptr)
	, m_SamplesCnt(1)
{}

DxRenderer::~DxRenderer()
{
	if(IsInitialized())
	{
		m_ImmediateContext->ClearState();
	}

	SafeRelease(m_Device);
	SafeRelease(m_ImmediateContext);
	std::for_each(m_DeferredContexts.begin(), m_DeferredContexts.end(), &SafeRelease<ID3D11DeviceContext>);
	SafeRelease(m_SwapChain);
	SafeRelease(m_BackBufferView);
	SafeRelease(m_BackDepthStencilShaderView);
	SafeRelease(m_DepthStencil);
	SafeRelease(m_BackDepthStencilView);
}

bool DxRenderer::IsInitialized() const
{
	return !!m_Device;
}

bool DxRenderer::Initialize(HWND hWnd, bool fullscreen, bool sRGB, int samples)
{
	m_SamplesCnt = samples;

	HRESULT hr = S_OK;

    RECT rc;
    ::GetClientRect(hWnd, &rc);
    UINT width = rc.right - rc.left;
    UINT height = rc.bottom - rc.top;

    UINT createDeviceFlags = 0;
#ifdef _DEBUG
    createDeviceFlags |= D3D11_CREATE_DEVICE_DEBUG;
#endif

    D3D_DRIVER_TYPE driverTypes[] =
    {
        D3D_DRIVER_TYPE_HARDWARE,
        D3D_DRIVER_TYPE_REFERENCE,
    };
    unsigned numDriverTypes = ARRAYSIZE(driverTypes);

    D3D_FEATURE_LEVEL featureLevels[] =
    {
        D3D_FEATURE_LEVEL_11_0,
        D3D_FEATURE_LEVEL_10_1,
        D3D_FEATURE_LEVEL_10_0,
    };
	unsigned numFeatureLevels = ARRAYSIZE(featureLevels);

    DXGI_SWAP_CHAIN_DESC sd;
    ::ZeroMemory(&sd, sizeof(sd));
    sd.BufferCount = 1;
    sd.BufferDesc.Width = width;
    sd.BufferDesc.Height = height;
    sd.BufferDesc.Format = sRGB ? DXGI_FORMAT_R8G8B8A8_UNORM_SRGB : DXGI_FORMAT_R8G8B8A8_UNORM;
    sd.BufferDesc.RefreshRate.Numerator = 60;
    sd.BufferDesc.RefreshRate.Denominator = 1;
    sd.BufferUsage = DXGI_USAGE_RENDER_TARGET_OUTPUT;
    sd.OutputWindow = hWnd;
    sd.SampleDesc.Count = m_SamplesCnt;
    sd.SampleDesc.Quality = D3D11_STANDARD_MULTISAMPLE_PATTERN;
    sd.Windowed = !fullscreen;
	sd.Flags = fullscreen ? DXGI_SWAP_CHAIN_FLAG_ALLOW_MODE_SWITCH : 0;

    for(unsigned driverTypeIndex = 0; driverTypeIndex < numDriverTypes; driverTypeIndex++ )
    {
        D3D_DRIVER_TYPE driverType = driverTypes[driverTypeIndex];
        hr = D3D11CreateDeviceAndSwapChain(nullptr, driverType, nullptr, createDeviceFlags, featureLevels, numFeatureLevels,
                                           D3D11_SDK_VERSION, &sd, &m_SwapChain, &m_Device, &m_FeatureLevel, &m_ImmediateContext);
        if(SUCCEEDED(hr))
		{
			m_TexManager.SetDevice(m_Device);
			break;
		}
    }
    if(FAILED(hr))
	{
		SLOG(Sev_Error, Fac_Rendering, "Unable to create device  & swap chain");
		return false;
	}

	std::ostringstream strFlev;
	strFlev << "Created device & swap chain with feature level " << std::hex << m_FeatureLevel;
	SLOG(Sev_Debug, Fac_Rendering, strFlev.str());

    // Create a render target view
    ID3D11Texture2D* pBackBuffer = nullptr;
    hr = m_SwapChain->GetBuffer(0, __uuidof( ID3D11Texture2D ), (LPVOID*)&pBackBuffer);
    if(FAILED(hr))
	{
        SLOG(Sev_Error, Fac_Rendering, "Unable get back buffer");
		return false;
	}

	hr = m_Device->CreateRenderTargetView(pBackBuffer, nullptr, &m_BackBufferView);
	pBackBuffer->Release();
	if(FAILED(hr))
	{
		SLOG(Sev_Error, Fac_Rendering, "Unable create back buffer view");
        return false;
	}

	// Create depth stencil texture
    D3D11_TEXTURE2D_DESC descDepth;
	ZeroMemory(&descDepth, sizeof(descDepth));
    descDepth.Width = width;
    descDepth.Height = height;
    descDepth.MipLevels = 1;
    descDepth.ArraySize = 1;
    descDepth.Format = /*DXGI_FORMAT_R32_TYPELESS;*/DXGI_FORMAT_R24G8_TYPELESS;
    descDepth.SampleDesc.Count = m_SamplesCnt;
    descDepth.SampleDesc.Quality = D3D11_STANDARD_MULTISAMPLE_PATTERN;
    descDepth.Usage = D3D11_USAGE_DEFAULT;
    descDepth.BindFlags = D3D11_BIND_DEPTH_STENCIL | D3D11_BIND_SHADER_RESOURCE;
    descDepth.CPUAccessFlags = 0;
    descDepth.MiscFlags = 0;

    hr = m_Device->CreateTexture2D(&descDepth, nullptr, &m_DepthStencil);
    if(FAILED(hr))
	{
		SLOG(Sev_Error, Fac_Rendering, "Unable create depth stencil texture");
        return false;
	}

	D3D11_DEPTH_STENCIL_VIEW_DESC descDSV;
	ZeroMemory(&descDSV, sizeof(descDSV));
	descDSV.Format = DXGI_FORMAT_D24_UNORM_S8_UINT;
    descDSV.ViewDimension = (m_SamplesCnt == 1) ? D3D11_DSV_DIMENSION_TEXTURE2D : D3D11_DSV_DIMENSION_TEXTURE2DMS;
    descDSV.Texture2D.MipSlice = 0;

	hr = m_Device->CreateDepthStencilView(m_DepthStencil, &descDSV, &m_BackDepthStencilView);
	if(FAILED(hr))
	{
		SLOG(Sev_Error, Fac_Rendering, "Unable create depth stencil view");
        return false;
	}

	D3D11_SHADER_RESOURCE_VIEW_DESC dsrvDesc;
	ZeroMemory(&dsrvDesc, sizeof(dsrvDesc));
	dsrvDesc.Format = DXGI_FORMAT_R24_UNORM_X8_TYPELESS;
	dsrvDesc.ViewDimension =(m_SamplesCnt == 1) ? D3D11_SRV_DIMENSION_TEXTURE2D : D3D11_SRV_DIMENSION_TEXTURE2DMS;
	dsrvDesc.Texture2D.MipLevels = 1;
	hr = m_Device->CreateShaderResourceView(m_DepthStencil, &dsrvDesc, &m_BackDepthStencilShaderView);
	if(FAILED(hr))
	{
		SLOG(Sev_Error, Fac_Rendering, "Unable create depth stencil shader resource view");
        return false;
	}

	m_ImmediateContext->OMSetRenderTargets(1, &m_BackBufferView, m_BackDepthStencilView);

    // Setup the viewport
    D3D11_VIEWPORT vp;
    vp.Width = (float)width;
    vp.Height = (float)height;
    vp.MinDepth = 0.0f;
    vp.MaxDepth = 1.0f;
    vp.TopLeftX = 0;
    vp.TopLeftY = 0;
    m_ImmediateContext->RSSetViewports(1, &vp);

	m_BackBufferWidth = (float)width;
	m_BackBufferHeight = (float)height;

	ShaderManager shaderManager(GetDevice());
	if(!shaderManager.CreateEasyConstantBuffer<PerFrameBuffer>(m_PerFrameConstantBuffer.Receive()))
	{
		SLOG(Sev_Error, Fac_Rendering, "Unable to create per-frame constant buffer");
		return false;
	}

	if (!m_StateHolder.Initialize(GetDevice()))
	{
		SLOG(Sev_Error, Fac_Rendering, "Unable to create initialize rendering states!");
		return false;
	}

    return true;
}

void DxRenderer::AddRoutine(RenderingRoutine* routine)
{
	m_Routines.push_back(routine);
}

void DxRenderer::RemoveRoutine(RenderingRoutine* routine)
{
	m_Routines.erase(std::remove(m_Routines.begin(), m_Routines.end(), routine));
}

void DxRenderer::ClearRoutines()
{
	m_Routines.clear();
}

bool DxRenderer::ReinitRoutineShading()
{
	bool allok = true;
	std::for_each(m_Routines.begin(), m_Routines.end(), [&] (RenderingRoutine* routine)
		{
			if(!routine->ReinitShading())
			{
				allok = false;
				SLOG(Sev_Warning, Fac_Rendering, "Unable to reinitialize a rendering routine");
			}
		});

	return allok;
}

ID3D11DeviceContext* DxRenderer::CreateDeferredContext()
{
	ID3D11DeviceContext* context;
	HRESULT hr = m_Device->CreateDeferredContext(0, &context);
	if(FAILED(hr))
	{
		SLOG(Sev_Warning, Fac_Rendering, "Unable to create deferred context");
		return nullptr;
	}
	m_DeferredContexts.push_back(context);

	return context;
}

bool DxRenderer::RemoveDeferredContext(ID3D11DeviceContext* context)
{
	auto it = std::find(m_DeferredContexts.begin(), m_DeferredContexts.end(), context);

	if(it == m_DeferredContexts.end())
	{
		return false;
	}

	m_DeferredContexts.erase(it);
	SafeRelease(context);

	return true;
}

void DxRenderer::SetViewport(ID3D11DeviceContext* context)
{
	// Setup the viewport
    D3D11_VIEWPORT vp;
    vp.Width = m_BackBufferWidth;
    vp.Height = m_BackBufferHeight;
    vp.MinDepth = 0.0f;
    vp.MaxDepth = 1.0f;
    vp.TopLeftX = 0;
    vp.TopLeftY = 0;
    context->RSSetViewports(1, &vp);
}

void DxRenderer::SetupFrame(Camera* mainCamera, const XMFLOAT4X4& mainProjection)
{
	//set constant buffers
	PerFrameBuffer pfb;
	pfb.Projection = XMMatrixTranspose(XMLoadFloat4x4(&mainProjection));
	pfb.View = XMMatrixTranspose(XMLoadFloat4x4(&mainCamera->GetViewMatrix()));
	pfb.Globals = XMLoadFloat4(&XMFLOAT4(GetBackBufferWidth(), GetBackBufferHeight(), 0, 0));
	m_ImmediateContext->UpdateSubresource(m_PerFrameConstantBuffer.Get(), 0, nullptr, &pfb, 0, 0);
}

void DxRenderer::PreRender()
{
	// Execute the pre-rendering routines
	std::for_each(m_Routines.begin(), m_Routines.end(), [] (RenderingRoutine* routine)
		{
			routine->PreRender();
		} );
}

void DxRenderer::Render(float deltaTime)
{
	// Execute the rendering routines
	std::for_each(m_Routines.begin(), m_Routines.end(), [deltaTime] (RenderingRoutine* routine)
		{
			routine->Render(deltaTime);
		} );
}

void DxRenderer::PostRender()
{
	// Execute the post-rendering routines
	std::for_each(m_Routines.begin(), m_Routines.end(), [] (RenderingRoutine* routine)
		{
			routine->PostRender();
		} );
}


text:
18 more Alaskans, another nonresident seafood worker test positive for coronavirus, state says
Tegan Hanlon, Alaska Public Media - Anchorage
Eighteen more Alaskans have tested positive for the coronavirus, as has another nonresident seafood worker in the Anchorage area, according to the updated tallies posted Wednesday by the Alaska Department of Health and Social Services.
It's the second day in a row of double-digit case increases for Alaska and follows the state's highest one-day spike of cases: 27 reported Sunday. The higher case counts come in the weeks after Alaska started relaxing its coronavirus-related restrictions on businesses and gatherings.
Nearly all of the cases announced in the last week are in Alaskans from Southcentral.
The state's daily updates on Alaska's coronavirus cases reflect data from the day before.
Of the 18 new cases among Alaskans, five of them are from Anchorage, four are from Homer, three are from Wasilla, two are from Eagle River and there is one each from Palmer, Big Lake, Soldotna and a smaller community in the Kenai Peninsula Borough that the state has not named.
Four of the cases Wednesday are tied to the outbreak at the Providence Transitional Care Center in Anchorage. The transitional center reported a total of 25 positive cases among patients and staff by Wednesday afternoon — two more from the day before.
Related: Providence announces 6 more cases at Anchorage transitional care center; state tally grows by 21
The Kenai Peninsula Borough also announced a cluster of cases Wednesday at the Nikiski Fire Department, prompting an entire shift to quarantine themselves.
Of those 11 people in quarantine, three have tested positive for the virus so far, said Brenda Ahlberg, a spokeswoman for the borough.
"What we do know is we had an individual who got testing. I can't speak to that individual's motivation, why they felt like they needed to, if they had symptoms," she said. "I don't know that. It's not clear. All I know is that when that individual was tested, it was positive."
How that person contracted the virus remains under investigation, she said. It led to the testing of the entire department and an investigation into recent contacts.
"We know no patient transports were affected," Ahlberg said.
The 11 people will remain quarantined for two weeks. Staff from Central Emergency Services and the Kenai Fire Department will help fill in while they're gone.
The three positive cases have already been counted in the state's numbers, Ahlberg said.
Get the latest coverage of the coronavirus in Alaska
The state separates its tallies of coronavirus cases into two main categories: residents and nonresidents.
So far, the state has recorded a total of 505 cases among residents, with 373 recoveries. There are 23 cases among nonresidents, 15 of them are seafood industry workers from out of state. A total of 58,183 tests have been conducted — nearly 2,000 more tests from the state's report on Tuesday.
Alaska Chief Medical Officer Dr. Anne Zink reminded people in a Twitter post on Tuesday that the cases reflect what happened a week or more ago.
"We flattened the curve before Alaska – we can do it again," the post said. "Our individual sacrifices make a collective difference."
Ahlberg said Alaskans need to remember that the virus is here, and to continue to take precautions.
"We just need to come back to that grassroots efforts that we started in March," she said. "If you're not feeling good, stay home."
Reach reporter Tegan Hanlon at thanlon@alaskapublic.org or 907-550-8447.
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Alaska Public Media > News > News Feed > 18 more Alaskans, another nonresident seafood worker test positive for coronavirus, state says


text:
Coenotes jakli  es una especie de polilla de la familia Sphingidae. Se localiza en las Islas Tanimbar, (Indonesia).

Referencias

Enlaces externos

 Haxaire, J. & Melichar, T. 2007a. Description d'une seconde espèce de Sphingidae du genre Coenotes (Rothschild & Jordan, 1903) provenant de l'île de Yamdena (Lepidoptera, Sphingidae). The European Entomologist 1(1): 1–6.

Smerinthinae


Having a picnic once in a while is a great way to distress and relax especially when done with care to the environment using an eco-friendly Eco-Picnic Basket for Two. This lovely and stylish picnic basket has various eco-friendly features including the 100% all-natural and renewable materials used in the production. In addition, the basket is also hand-woven, producing zero carbon emission, which is essential in keeping the environment safe and clean.


Aging is a natural process through which all of us have to pass one day. And it is needless to say that old age comes with its own set of woes, deteriorating health and increased dependency, being the most common concern. With no one to take care of them in this critical situation, many senior citizens are looking for a capable retirement home in and around Nebraska. Now many apartments and communities have developed offering independent as well as assisted senior living in Omaha. In the senior living community, the residents get all kinds of assistance for leading a smooth, hassle-free life. All their needs and requirements are catered to in such retirement homes - right from personal needs to medical needs and so on.
There are many people who cannot take care of their elderly, ailing parents as their jobs take them away from homes in a different country or city. With communities in Omaha senior living, both the elderly members as well as family members remain at peace that proper care and attention will be paid to the senior citizens in the best possible manner. Not only this, excellent senior care in Omaha, NE, is also guaranteed at such communities and apartments. In the case of medical emergencies, prompt action is taken so that the resident gets relief and treatment as early as possible from reputed medical minds.
People living in and around Omaha, NE, and Lincoln, NE have some of the best senior citizen communities nearby. Among them, Esprit Whispering Ridge deserves a special mention as it offers an affordable assisted living for senior citizens in the area by providing world-class amenities and conveniences. With Omaha senior living, elderly people can stay within a happy community with their peers. We excel in providing a state of the art community to our residents so that they can enjoy a comfortable and relaxed stay at Esprit Whispering Ridge.


THE 2019 TOILET PAPER WEDDING DRESS CONTEST PRESENTED BY CHARM WEDDINGS AND QUILTED NORTHERN® ROLLS OUT!
It's the official start of our 15th Year Anniversary of the TP Contest.
Are you planning to enter or know someone that would like to? Make sure to check out all the pages here. You can find Inspiration before you start.
Plus if you're the Grand Prize Winner, you'll receive $10,000!!!!
Second Place gets $5,000 and Third Place gets $2500.
We've launched another fabulous year! We can't wait to see all of the amazing gowns for 2019.


text:
"The Weed Olympics" is fighting stereotypes and proving stoners are anything but lazy
The 420 Games is proving that stoners are a lot more than couch-locked.
Written by Rob Hoffman
Photo courtesy of 420 Games
In many ways, the social stigma that plagues marijuana use is a product of bad branding. From Cheech and Chong to The Big Lebowski, to Pineapple Express, generations of stoner movies have typecast marijuana enthusiasts as lazy, stupid (if well-intentioned) slackers in the popular imagination. The obvious irony is that weed, more than alcohol, is often the drug of choice for high-level athletes and academics alike, from Michael Phelps, widely regarded as the most decorated Olympian of all time, to the late David Foster Wallace, a literary savant of towering genius.
Unfortunately, the lazy-stoner stigma makes the plant difficult to legalize in a country where stuffy old white guys preside over the nation's drug laws. This makes life difficult, not only for the average cannabis fan but for those who desperately need medical intervention, from opioid addicts to NFL superstars suffering from chronic head trauma.
What might the world look like if weed enthusiasts were given more accurate public representation? This is one of the questions that The 420 Games—or The Weed Olympics—is trying to answer.
The Weed Olympics got its start in the jogger-laden streets of San Francisco, the brainchild of Jim McAlpine. "I wanted to kill the stigma of cannabis and the people that use it in a new and unique way," McAlpine told HERB. "It became clear to me that using athletics was something no one was doing and it was a new way to push the message that cannabis users are not all 'stoners' and actually most are normal, healthy and fit people."
Slowly but surely, the Weed Olympics are becoming a nationally recognized event. In 2016, the games were adopted in cities across the western United States, to cities like Seattle, Los Angeles, Portland, and Denver. Now, seven cities officially host the Weed Olympics.
Aligning itself with the long tradition of cannabis users, competitors in the Weed Olympics are challenged to a 4.20-mile race. And unlike conventional races, competitors are all given the same number on their race bib (again, 420.) But besides the usual mores of weed culture, the games offer a very real competition, and the chance to take home a grand prize: the winner takes home a $500 gift card which can be used to have weed delivered to one's doorstep.
Other games like kickball, and extreme sports like BMX, are also on the roster. "I have also been an athlete who used cannabis his whole life and was tired of living 'in the closet,'" said McAlpine. "[I] wanted to give all of us CannAthletes a chance to share our lifestyle and help teach others how cannabis can be a benefit to athletes."
To those who already use marijuana, the fact that cannabis can be used to bolster athletics isn't entirely surprising. Many use marijuana to get in the zone before a workout. Others use it as a way to speed up their recovery after enduring a sports injury. Despite generations of lazy-stoner branding, marijuana remains a staple for countless Americans looking to push themselves athletically. And this is precisely what the Weed Olympics hopes to broadcast to the world.
Although most competitors tend to smoke before the games begin, the Weed Olympics are open to everybody. One year's winner, a female nurse named Marissa Diaz, doesn't smoke but participated in the games to promote medical marijuana and support the cause of reversing stoner-stereotypes.
Although the games' organizers have had difficulty in securing permits in the past, a wave of legalization for recreational marijuana in states like California will undoubtedly open up new doors for the Weed Olympics. McAlpine hopes to expand the games not only within the United States, but also internationally, in Canada, Australia, and the United Kingdom.
"As it becomes legal nationally we need to have a new perception of the plant." Says McAlpine. "Both in general but also for kids. It's not a drug. It's medicine." McAlpine says he's even "conducted a panel on 'Cannabis As An Alternative To Opiates' to a packed room of hundreds of physicians at Harvard Medical School." Clearly, with the help of those like McAlpine, attitudes about marijuana are slowly changing.
Not only does legalization mean a chance for the games to expand to new states, but proponents of the Weed Olympics like to think that the reverse is also true. As the Weed Olympics continues to showcase the real face of marijuana enthusiasts everywhere—in all their ambitious and athletic glory—maybe some lawmakers can be convinced to break with the past, and legalize marijuana in their home states too.
January 03, 2018 — Last Updated November 27, 2019


Nonno Tobia Agriturismo (farmhouse) is located in Agerola, a terrace on the Amalfi Coast, and is easily accessible from Naples. Taking advantage of its strategic position, in fact, guests can visit places such as Naples, Pompeii, Amalfi, Positano and Sorrento.
Nonno Tobia is the best place for nature's lovers. Spectacular mountai paths are one of the best attractions of Agerola, especially for hikers and trekkers.
All the guests can taste the typical products of Agerola, made by the wonderful and productive land of Nonno Tobia Agriturismo.
The Nonno Tobia 6 Rooms are elegantly furnished with handcrafted furniture. Each room has a private bathroom with shower, heating and LCD TV.
The guests of Agriturismo Nonno Tobia can taste the famous recipes of typical Agerola food, made with the finest products.
The moments of relax are even more enjoyable and intense, if spent in the sunny Nonno Tobia swimming biolake. The biolake is made of innovative materials, in harmony with nature.
The Agriturismo Nonno Tobia is a few kilometers from the most beautiful places of the Amalfi Coast. Amalfi and Positano can be reached even trekking, and Pompeii and Naples are very close.
Our farm was established in a former farm that. Since the beginning of the '900, our big family offered rural hospitality and delicious dishes prepared with our products. After many years, next generations decided to continue the tradition.
Today, following Granpa Tobia's dream, we offer our guests a pleasant relax and a savory cuisine, prepared now as then with the products of our land.


We are self-proclaimed accessory addicts and that qualifies us to keep talking about baubles or that is what we like to think 😉 From necklaces to earrings to rings, we love them all and are always eager to try on the new baubles that are just in. Sometimes that means selecting our jewellery first and our outfits later and we won't have it any other way.
You saw space buns dominating the hairstyle scene at Coachella and now you can embellish them with these bun cuffs. Choose a metal one to accessorize a single slicked-back top knot or pick an embellished crystal one to style your hair in a low chignon.
You love wrist bracelets and rings both, so why not palm bracelets? Get a studded one and wear it simply to exude a minimalistic statement or team it with chunky rings and bracelet stacks to showcase your extreme styling.
For nose pin lovers, this one is a must-have. Septum rings not only look elegant but are also a subtle nod to the eternal stylista in you. Get a plain metal one or an intricately styled one to exude style and fashion like never before.
They were originally designed to protect your eyewear from falling but can now be viewed as potential style elements. We are not saying plain strappy ones but entirely crystal embellished ones or the ones laden with colourful tassels or pom poms. Fun enough and vacation perfect too!
We hope you like our curation of these accessories, tell us which one is your favourite?