Switzerland comprises three basic topographical areas: the Swiss Alps, the Swiss plateau or "middleland" and the Jura mountains along the north‐western border with France.
The Swiss Alps are situated south of the Swiss plateau and can be divided into two main parts; the Western Alps and Eastern Alps, divided along the Rhine from the lake Bodensee to the Splügen Pass (in Graubünden).
It covers about 30% of the Swiss surface and lies at an average height between 400 and 700 meters AMSL. It is the most densely populated region of Switzerland, and the most important with respect to the economy and transportation network.
The Jura Mountains is a small mountain range located north of the Alps. La Chaux‐de‐Fonds is a city located in the Jura mountains at 1000m.
The Bernese Alps are located in the western part of the Swiss Alps.
The climate is generally temperate, but can vary greatly between the localities.
• In spring and autumn, the range is 8 to 15 °C (46° ‐ 59° F) however all these temperatures depend on the altitude.
• Winters tend to be cold, cloudy, rainy and snowy.
• Summers are cool to warm, cloudy and humid with occasional showers.
If your stay is shorter than three months you only need to bring your valid passport with you. This applies to citizens of the following countries: countries of the American Continent (except Belize, Dominican Republic, Haiti, and Peru), Europe, Japan, Australia and New Zealand.


text:
(click linked text below to jump to related section of the review)
The Game Itself
The Video: Sizing Up the Picture
The Audio: Rating the Sound
Replay Factor
Street Date:
Julian De Backer
Review Date:1
Game Release Year:
PS4 disc edition reviewed. There is also a review of the Xbox One version available to check out.
The LEGO games continue to reign far and wide, bringing in a plethora of properties to realize in Traveller's Tales' style. The announcement of 'LEGO Jurassic World,' which includes both the new film and the preceding three movies, was proof once again that digitized LEGO bricks have the ability to inspire and excite people of all ages.
Spoiler warning: Having not seen 'Jurassic World' prior to reviewing the game, I learned of the movie's story via the gameplay.
The Game Itself: Our Reviewer's Take
True to TT Games' trademark humor reputation, the chuckling begins even before pressing a button. The company logo is hatched from two eggs in a Dr. Henry Wu's research facility. Even the menu screen itself is funny, with the big 'Jurassic World' gate standing firm and proud. Subsequently, said gate is opened by a scaredy-(where-are-my-)pants minifigure, who takes a quick peek and then closes the gate again. The selection screen is presented as a marketing folder for the active theme park, with park hours, capacity, Tyrannosaurus feeding show, temperature and more info all advertised. And is that John Hammond seen during a never-ending gameplay loop? Weird. Hasn't his character died? Director Colin Trevorrow said as much after actor Richard Attenborough's passing last year. The LEGO games will do anything - and that includes cheating death - for a throwaway joke.
Both 'The LEGO Movie Videogame' and 'LEGO City Undercover' delighted me to no end. 'The LEGO Movie Videogame' - made on a very tight deadline with the release of the eponymous movie swiftly approaching - is another proof that not all movie-based licensed games are craptacular, and the Wii U-exclusive 'LEGO City Undercover' still remains one of the struggling console's strongest selling points. 'Lego Jurassic World' is more of the exact same, and that's not a bad thing.
Things start off exactly where the first movie began: Rubert Muldoon is overseeing the arrival of a new raptor, in the appropriately named first level 'Raptor Travel'. Too bad actor Bob Peck didn't live to see this moment: his best-remembered role, extra immortalized through the eyes of a LEGO minifigure. Did his surviving family have to give their blessing? Mr. DNA - ever the helpful chap - is the guide throughout the game. Only one minute in, and the first 'spared no expense' quip gets cracked. Apparently John Hammond saw fit to include a 'free ice pops' clause in the workers' contract. Classy! And, yes, that's a drivable forklift truck in the background. Instant sweet 'Shenmue' memories.
Directly comparing 'LEGO Jurassic World' to any other TT LEGO game reveals no huge surprises or groundbreaking innovations. The standard LEGO videogame rules and tropes apply: collect round 1x1 bricks for extra collectibles, destroy the scenery, rebuild the scenery, interact with and switch between other characters, play co-op with a significant other or a friend etcetera. Gameplay-wise, this game could be considered extinct. 'LEGO Jurassic World' offers 20 levels, which equates to 5 levels per film. Once landed on Isla Nublar, there's a choice between 'Jurassic Park' on the left of the helipad and 'Jurassic World' on the right. While it's weird to be able to choose between 'Jurassic Park' and 'Jurassic World' from the get-go – it reeks of pandering to the current movie's fan base, to be honest - it actually makes a lot of sense: both these movies take place on Isla Nublar. Once the 'Jurassic Park' levels are completed, Isla Sorna is accessible by chopper to play both 'The Lost World' and 'Jurassic Park III' on Site B.
Playable characters aplenty: Alan Grant, Ellie Sattler, and Ian Malcolm are a given, but Gennaro the generic lawyer can kick some dinosaurus behind too. Although it's not entirely fair, the cinematic apathy towards both 'The Lost World' and 'Jurassic Park III' immediately soured its corresponding LEGO levels. Are there any gamers dying to play as Eddie Carr, Nick Van Owen or Sarah Harding? Granted, playing with a LEGO Pete Postlethwaite (probably the best actor in the history of ever) brought a tear of joy to my jaded gamer's eye. I now demand a full LEGO Pete Postlethwaite game, in which levels from all his iconic films are featured. Come on, TT Games, make this a reality! It's also quite jarring to enter the first 'Jurassic Park III' stage as Ian Malcolm (the selected lead character in the 'The Lost World' levels), only to be presented with ... Alan Grant during a dig. Needless to say, the LEGO version of William H. Macy kicks all kinds of behind, abundant chest-hair included.
There are loads of cars and dinosaurs to unlock, and hundreds of collectables to be found. Even 15 hours of constant playing resulted in a mere 43.5% completion of the game. A lot of bang for the brick, er, buck! The amount of playable characters is truly staggering. Does anyone actually remember Cheryl Logan or Mark Degler? Steven Spielberg, Colin Trevorrow and Mr. DNA are playable (and expensive) minifigures, too! Characters with clothing variations can catch their other version walking around, waiting to be bought. How meta. The playable clever raptor girl instantly flashed me back to the excellent 'Jurassic Park' game on the MegaDrive. Any game that can instantly whiz me back to the carefree days of my youth, receives high marks and deserves high praise. According to the 'Jurassic Park' mythos, raptors are smart. Now, they are also Master Builders. They can create new items out of bricks lying around. Quite amazing. The after-credits scene teases 'LEGO Dimensions' come September, with Alan Grant and Ellie Sattler digging up a piece of the new collectible hardware.
Any negatives? When Alan Grant runs into a Brachiosaurus, the dinosaurus disappears into thin air, while still remaining an immovable object you can't walk through. Weird bug. Jumping in the water to join the sauruses for a refreshing swim is forbidden. And only the ladies (e.g. Lex, Kelly and Amanda) are good screamers that can break glass windows. What kind of sexist nonsense is this? Then there are the faults against the game's internal logic. In a 'Jurassic Park III' level, Eric Kirby has a cloaking device that lets him sneak past dinosaurs, and he can throw Tyrannosaurus pee to scare off Compsognathus. During an attempt to sneak around them with the cloak, the game scolded me and instructed me to use the pee. He can safely fool the scary big dinosaurs, but the Compsognathus are out of the question? And again in 'Jurassic World': Owen Grady also has a cloak and can dance freely around dinosaurs. However, he can't approach the new Indominus Rex when it's not pre-programmed in the gameplay. That's downright insulting the intelligence of this average gamer. Fights between dinosaurs (reminiscent of 'Warpath: Jurassic Park') are quick time events, sadly.
During the four credits sequences (one for each movie), the Tyrannosaurus is in your command, chasing a Gallimimus during a stud-a-thon for extra bricks. (Interactive credits are always an excellent idea; see 'Learn with Pokémon: Typing Adventure' on the Nintendo DS for another great instance.) During the loading screens, Mr. DNA shares interesting dino tidbits.
TT Games excel in bringing the laughs, and 'LEGO Jurassic World' doesn't disappoint. Raptors and characters are infatuated with sausages and wieners. One humorous bug saw Dr. Grant instantly disintegrate at the touch of a measly pixel, just like Dirk The Daring in the awful NES-port of 'Dragon's Lair.'
In-game cameos abound. During the second 'spared no expense' mention, a piece of brick from the Vistor's Center came tumbling down. E.T. and Elliott cameo, flying past the moon. A Spielberg minifigure acts as a cameraman. Quint & Brody from 'Jaws' show up to mention they need a bigger boat. Diving in the first "pile of shit" (there are a lot of those in the game) results in the 'Remember to wash your hands' trophy. When Owen Grady is standing idle as a non-playing character, he's playing with two plastic raptor toys, just like Conker taking out his Game Boy Color during a break on his bad fur day. The ridiculous 'talking raptor' scene from 'Jurassic Park III' gets a brilliant brickified send-up. Marty McFly is chased by a 3D theater hologram Tyrannosaurus. And in the Montana desert scene, the scan of the "six foot turkey" skeleton shows the raptor's skeleton guitar. Let that sink in for a minute. The rock stars of their day, eh?
'LEGO Jurassic World' is hilarious, well-made and solid fun. All a good video game should be, and so much more. You did say the magic word, TT Games.
Backgrounds and streaming water are stunning, bordering on the photorealistic. However, this isn't a game that embraces the raw processing power of the PlayStation 4. It's never presented as a demo game to showcase the system, and it never intended to be one. It looks like all the other LEGO games, a few graphical bumps notwithstanding. Colors pop in all their crystal clear clarity. I haven't tried the PS3 edition, but I can't imagine it looking worse.
The soundtrack's the real awesome deal, ripped straight from the movies. As are the voices, all courtesy of the original cast. Mr. DNA sounds like George McFly in Telltale's 'Back to the Future The Game' (not played by Crispin Glover). Hearing Jeff Goldblum's 'Har Har Haw Haw' in all its glory, warms my nerdy heart to no end. In fact, 'Har har haw haw' can even be heard echoing through one loading screen. Fingers were crossed for 'Dodgson! Dodgson!' to pop up later in the game, but unless it's a very well hidden extra, it seems we haven't got Dodgson here.
Spend the better part of 2015 finding all the hidden extras, special features and bonuses. This is one packed game.
'LEGO Jurassic World' is a light-hearted, funny and generally excellent take on the four movies. Filled with enough chuckle-worthy moments to lighten up even the sourest of sourpusses, and featuring addictive and worthy gameplay, the game is a no-brainer for 'Jurassic' fans and a must for casual gamers. The only downside is that it's more of the same. If you are tired of TT Games' LEGO offerings by now, steer well clear. All others can safely pick up this title – get it now while the free LEGO Gallimimus is still included!
Multiplayer Mode(s)
Offline Co-op
Motion Controls
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Amazon offers 17" x 78" Decorative Self-Adhesive Film Roll on sale from $10.99 to $6.63. Shipping is free for prime members. Available in various sizes. It features self-adhesive film transforms flat surfaces, Quick and easy to install and it measures 78.7 x 17.7 x 0.2 inches.


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                    android:textColor="#ffca0f0b"
                    android:textSize="30sp"

                    />

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redpajama_set_name: RedPajamaGithub


You have said SO MUCH in this piece. We can't reconcile with the recognition of what is wrong and what needs to change. Sometimes I want to just RAGE all of my complaints and hurts and fears but I know it won't be received as pain but an attack. And that isn't fair either. It is the policing of our emotions and their expression so we are forced to bottle it up so we are constantly fatigued mentally and have to tag out from the narrative in order to maintain anything like balance.
Exactly! I needed my white brothers and sisters to know that although they enter the conversation from a place of not being emotional, this matters so much to us!
Thank you for the encouragement, brother. Use your voice as well to show how the Lord is moving and changing your heart and eyes to see this. Your voice may be able to reach places mine can't.
Appreciate that, in the process of learning how and where.
Hey brother, can I hit you up over email?
Thanks for the article. It will be added to the list of resources such as 13th, and the New Jim Crow, that have shaped my thinking on these issues the past few years. I feel like I am dismissed however, because I am a middle aged white dude who doesn't know what he is talking about. It's frustrating to try to cut through all the weeds to get to the heart of the matter. Your article was inspiring.
Hey thanks for commenting. It's a tricky issue to navigate and it won't be resolved by just one article, or sermon, or activist. It's the long work over a long time that requires much patience and encouragement. Your view might be dismissed in some circles, but keeping voicing it so it can be sharpened and refined and unified with ours. It's frustrating for sure, but most things worth pursuing are. Thanks for reading!


text:
Gotta Sing! Gotta Dance! : Showman Tommy Tune bounds back under the lights to revive a dying breed with his new Broadway revue
By PATRICK PACHECO
<i> Patrick Pacheco is a free-lance writer based in New York</i>
A couple of years ago, when Broadway favorite Tommy Tune got his first gig at the Raleigh Hotel in the Borscht Belt, he called his friend Betty Comden. "Betty," he said, "the most wonderful thing has happened. I got a booking in the Catskills. And it's not a benefit, either. I get paid. Whoopee!"
"Tommy, darling, you've got it all wrong," replied the Broadway veteran and co-author of "The Will Rogers Follies," which Tune directed and choreographed. "You're supposed to start in the Catskills and work your way up to Broadway. You've started on Broadway and worked your way down to the Catskills. What's so wonderful?"
For the most celebrated choreographer-director-dancer on Broadway these days, the nights in the Catskills turned out to be one more step in the 10-year evolution of a song-and-dance act that will culminate in "Tommy Tune Tonite!," a limited engagement of 13 performances opening Christmas night. The hour-and-a-half revue features singer-dancers Robert Fowler and Frantz Hall, a 26-piece orchestra, a repertory of George Gershwin, Cole Porter and Irving Berlin standards, and the elegant and innovative dancing of Tune, all 6 feet, 6 inches of him, in white tie and tails. The show--at the Gershwin Theater through Jan. 3--represents Tune's return to Broadway as a performer for the first time since his Tony-winning stint opposite Twiggy in "My One and Only" in 1983.
Though he recently spent a year and a half on the road touring in a revival of "Bye Bye Birdie," for most of the past decade Tune has worked as director and choreographer to keep alive an old-fashioned vision of the American musical on Broadway. Now the once-and-forever hoofer has turned his touch on another endangered species, the song-and-dance man.
"I've always arrived at the end of an era," says Tune, 53, sitting in the chintz-draped apartment of the show's producer, Pierre Cossette ("Will Rogers"), adjacent to the Museum of Modern Art. "When I came here they said Broadway was dead, and so I went to Hollywood, and they said the movie musical is dead, and so I put an act together, and all the nightclubs--like the Persian Room, the Venetian Room and the Maisonette--closed. So here I am again tempting fate. But I've trained all my life to do this. What else would I do?"
Tune dismisses films, television and recordings as the "false mediums," adding that his film career--in Ken Russell's "The Boyfriend" and Gene Kelly's "Hello, Dolly!"--was "agony." "It was so boring," he says. "It demands a certain coolness, a certain detachment. It can't come from here," he adds, pounding his heart, "and every time you perform onstage, live, it comes from here. It can't come from any place else."
That's classic Tommy Tune: charming, highly entertaining, touching at times and seemingly spontaneous. This is not to say Tune is insincere, but his interviews, like his shows, appear to be calculated to tell a story, and it's a show-business fable he's been polishing for quite some time, fed by a string of successes including "Nine," "Grand Hotel" and "Will Rogers." It's the story of a kid who got lucky, worked hard and apparently kept his ego in control. But it's also the story of a grown man who still says "whoopee," a man with a cotton-candy name who longs to play Richard III, a man whose public persona appears to be missing an id.
The nine-time Tony winner says: "I've been asked about power and about control, and I don't think it's a theme with me. Things have just come to me, and I've taken and done them. I did not set out to become a director-choreographer on Broadway. I came here to dance in the chorus of a Broadway show. That was my big dream. Everything else just evolved."
What evolved has left its progenitor glowing with well-being, his features still youthful, his long legs poured into tight jeans and expensive cowboy boots. Some cynics have dismissed his "aw shucks, I'm just a little boy from Wichita Falls" mantle as disingenuous--and indeed it is. No one accomplishes as much as Tune without being tough-minded, disciplined and demanding.
Tune sees the eternal child within himself as the font of his creativity.
"Lately, I've been hearing 'in the course of your long career' a lot," he says, "and it sounds so weird to me, because I honestly feel that I'm just getting started. I don't feel any different than I did when I was doing those 'patio revues' with the neighborhood kids in Houston. It's the same thing. And if you get into this business thinking that it's going to be any different, then you've lost the child within you. It's called a 'play,' so there's got to be a sense of play about it."
There's also a sense of hamminess, Tune enthusiastically admits. "I'd say my ham ratio is pretty high! I've learned as a performer that unless you luxuriate in the essence of the performance and want to stay on longer than you're required to stay on, then you don't belong up there doing it."
The idea for the new show began brewing when Tune was asked to perform for some AIDS benefits. Starting with "The Continental," his repertoire grew, and he eventually collected almost an entire evening of numbers, leading to his Borscht Belt debut, which, as it turned out, was a disaster.
"They are the toughest audiences in the world," Tune says. "You know, in the Catskills people don't pay to see you. You're included in the price of the room. You're dessert, and if you're no good, they start walking out in droves. There are four exit doors in the back of those rooms. I was what they called 'a four-door walkout.' "
Tune says that when he was booked again at another Catskills hotel, he registered only a "two-door" walkout. By the third booking, no one was ankling the show.
"I learned the medium," he explains. "In the theater, we rehearse everything to death, every gesture, every move so it tells the story. But the essence of a song-and-dance man is the ability just to let yourself be. Your scene partner is the audience itself. It's just you and them."
Indeed, "Tommy Tune Tonite," which he describes as semi-autobiographical, may well reveal a personal side the public has yet to see. (The show is scheduled for several Southern California stops next Summer.) Between musical numbers, Tune tells stories about his life, about arriving in New York to pursue his dream of being a chorus boy. Variety Arts on 46th Street, now demolished, was a mecca for chorus dancers, choreographers and directors. It was there the young man watched Gower Champion, Bob Fosse and Carol Channing rehearse, there in the elevator that Michael Bennett first took measure of a tall, lanky guy with a dance bag and Texas drawl and asked, "So, who the hell are you?"
Tune and Bennett came to have a fiercely competitive and volatile relationship, which reached something of a climax in 1982 when Tune's musical "Nine" beat Bennett's "Dreamgirls" for the major Tonys. How does he cope with some of the potentially ugly emotions engendered in the business?
"Competition is inevitable in the business," Tune says with a shrug. "I learned a lot from Michael and Bob. They were constantly trying to make it better. Because if you're not getting better, you're getting worse."
Although success has given Tune many opportunities to pursue that growth, it has also burdened him with expectations he says he tries to ignore.
"Rehearsing under a 'what do they expect?' cloud is a very bad way to work," he says. "It almost always gets me in trouble if I start worrying that I'll be tarred and feathered if I don't put in a tap number. I hope audiences will find the new show familiar but that it will also take surprising detours and twists."
When he demurs from revealing any of those surprises, one idly wonders what's the sexiest number in the repertoire.
"Sexy?" Tommy Tune shrieks. "Did you say sexy? Me?"
Well, if this is semi-autobiographical, doesn't he think of its sexual appeal?
"Gee, I don't know," he says with Victorian modesty. "I suppose I think I cut a fairly attractive figure on stage. There's an underpinning of sexuality in a number like 'In the Still of the Night.' But . . . I guess it's what Mike Nichols once told me about casting: that, on some level, you should want to go to bed with everyone you choose to be in your play. With me, I sort of cast along the lines of wanting to have dinner or spend an evening with this or that person. That's as far as I go."
Tune acknowledges he does have one professional regret: that he's never been given the opportunity to play an "archvillain."
"That would be really good for me," he says. "I'd really have to dig down for that one, because I'm basically a happy person. I badly wanted to play 'Dracula' when they were casting the road company of the Frank Langella production some years back, and they wouldn't even consider me. And I've always wanted to play Richard III. But just imagine the marquee--'Tommy Tune Is Richard III.' Talk about expectations."


More info:Price per person based on two sharing, includes accommodation, luggage transfers, welcome briefing, walking notes and maps and meals as noted.
Sierra de Aracena - whitewashed villages - ancient pathways - olive groves - river valleys - chestnut and cork oak forests - self-guided walks - welcome meeting - friendly hosts - delicious food - local produce - small characterful inns.
Walk a route exclusive to us, through a little-known corner of Andalucía, following quiet paths from village to village through forests and hills. Enjoy well-paced days, with maps and walking notes provided, and relax as your bags are delivered ahead for you each day. Stay in comfortable village inns and hotels with tasty fresh food and a warm Andalucían welcome.
Day 1: Arrive in Seville and transfer by road to the hills of the Sierra de Aracena. On arrival you meet your hosts, who give you an introduction to the region and talk you through the walks over a glass of sherry or wine.
This self-guided inn to inn departs any day to suit you between March to June and September to November, expect Tuesdays or Wednesdays.
A genuinely untouched corner of Andalucia, an area so little known that you see a way of life long forgotten elsewhere. Total peace and quiet in rural villages.
The route is exclusive to us. Our guides meet you, drive you to the hills and run through your holiday with you. They are there to support you in case of need at any time during your stay. You will learn about the area, the people and the environment with your guides.
You get to see and interact with the local community as you are staying in the smallest of villages, which see few visitors, local or from overseas. All hotels and restaurants are locally owned so your holiday makes a direct difference to all of our suppliers.
This is the definition of an uncrowded walking holiday through peaceful fields, tracks, and ancient villages. The cork oaks, olives, and chestnut trees are unique to this area and were even more sensual in person than in the photos that inspired my trip. Ancient cobbled paths and churches or castles from the 12th and 13th centuries were culturally fascinating. And the people are most friendly and good hearted--one of my favorite hiking trips ever. I would love to return in the fall to see the harvests and foliage changes.
Also, Lucy and Angel at the accommodation (our local hosts and contact) were absolutely a blast, great cooks, very welcoming and helpful. They have created a lovely restful place there where I could see spending a month!!
Bring a compass, and get better hiking notes than those provided. Travelers checks are useless, and ATMs are everywhere, even in the tiny whitewashed villages! A little spanish goes a long way here and is needed in the small towns.
Benefitted local people, yes. Minimized impact yes, although having the bags delivered to each hotel seems a lot of petrol wasted when the same person drives out from the base hotel each day to deliver them. Why not have a local means of transport from each hotel to the next?
Excellent, but a bit frustrating in always trying to decipher the walking notes even with the better map provided by our fantastic local host, Lucy. The route is varied and the hiking distances are very achievable with several hours to spare before dinner each night.
Best bit was the fantastic range and quantity of wild flowers and attractive, varied scenery.
Aim to walk most of the daily hike in the morning, before it is too hot, then spend a few hours over a long lunch in the shade.
3. Do you feel that your holiday benefited local people, and minimized impacts on the environment?
Yes, the walking certainly did, as I spent a long time in a very small area, minimising travel impacts. The small hotels also were all locally run and created employment in relatively rural areas.
Some stories to tell the grand children, I would not hesitate to recommend it, and indeed already have.
Visiting/trekking in the gorge between Grazalema and Zahara where the Griffin Vultures nest.
Really try to make 100% sure of the total routes between locations if you are travelling from one area to another by car. Instructions seem to written by those who are familiar with the area and sometimes do not take account of strangers' unfamiliarity with the area. They make assumptions that can lead you astray.
Mainly '2' above. Also some walk instructions could be clearer, particularly at the start. I found that tourist staff at Grazalema were unable to speak English and their maps were not particularly descriptive and were of the wrong scale.
"Feedback relates to a slightly different holiday (Andalucia Self-Drive) and is therefore not strictly relevant to our Aracena walking holiday. However, with regards comments made, driving directions and walking notes are updated, on average, twice a year to take account of client feedback and changes in signage/road or path layout, etc. Staff in the Grazalema park office are supposed to speak English although it appears that on this particular day no English speaking staff were on duty. We will obviously keep our eye on the situation."


Place the first 5 dressing ingredients in a small bowl and whisk to combine. Slowly whisk in the oil. Cover and refrigerate meat-filled half mussel shells until needed.
Preheat the oven to 425 degrees F. Place the fish in a single layer in a parchment paper-lined baking dish. Drizzle with the lemon juice and 1 Tbsp. olive oil; season with salt and pepper. Cover and bake fish 12 minutes, or until just cooked through. Cool to room temperature. Wrap and refrigerate fish until needed.
out of the pot and onto a plate. When cooled to room temperature, remove the top shell from each mussel and discard. Cover and refrigerate meat-filled half mussels shells until needed.
just tender, then set back on the baking sheet.
To assemble salad, divide and arrange the endive in a spoke-like fashion around the outside of each of 4 dinner plates. Divide and mound the butter lettuce on the endive. Set a piece of fish on each plate. Arrange the grilled vegetables, mussels, and prawns around the fish. Dressing each salad with some dressing and serve.
Note: Herbes de Provence is a French-style blend of herbs. You'll find it in our bottled herb and spice aisle. The zucchini used in this recipe was 2 1/2-inches thick. Cooked, peeled prawns are available in our Seafood Department showcase.


text:
'use strict';

import nls = require('vs/nls');
import { Registry } from 'vs/platform/platform';
import { Action, IAction } from 'vs/base/common/actions';
import { ActionItem, BaseActionItem, Separator } from 'vs/base/browser/ui/actionbar/actionbar';
import { Scope, IActionBarRegistry, Extensions as ActionBarExtensions, ActionBarContributor } from 'vs/workbench/browser/actionBarRegistry';
import { IEditorInputActionContext, IEditorInputAction, EditorInputActionContributor } from 'vs/workbench/browser/parts/editor/baseEditor';
import { FocusOpenEditorsView, FocusFilesExplorer, GlobalCompareResourcesAction, GlobalNewFileAction, GlobalNewFolderAction, RevertFileAction, SaveFilesAction, SaveAllAction, SaveFileAction, keybindingForAction, MoveFileToTrashAction, TriggerRenameFileAction, PasteFileAction, CopyFileAction, SelectResourceForCompareAction, CompareResourcesAction, NewFolderAction, NewFileAction, OpenToSideAction, ShowActiveFileInExplorer, CollapseExplorerView, RefreshExplorerView } from 'vs/workbench/parts/files/browser/fileActions';
import { RevertLocalChangesAction, AcceptLocalChangesAction, CONFLICT_RESOLUTION_SCHEME } from 'vs/workbench/parts/files/browser/saveErrorHandler';
import { SyncActionDescriptor } from 'vs/platform/actions/common/actions';
import { IWorkbenchActionRegistry, Extensions as ActionExtensions } from 'vs/workbench/common/actionRegistry';
import { IInstantiationService } from 'vs/platform/instantiation/common/instantiation';
import { IWorkspaceContextService } from 'vs/platform/workspace/common/workspace';
import { IKeybindingService } from 'vs/platform/keybinding/common/keybinding';
import { FileStat } from 'vs/workbench/parts/files/common/explorerViewModel';
import { KeyMod, KeyChord, KeyCode } from 'vs/base/common/keyCodes';
import { DiffEditorInput } from 'vs/workbench/common/editor/diffEditorInput';
import { ResourceEditorInput } from 'vs/workbench/common/editor/resourceEditorInput';

class FilesViewerActionContributor extends ActionBarContributor {

	constructor(
		@IInstantiationService private instantiationService: IInstantiationService,
		@IWorkspaceContextService private contextService: IWorkspaceContextService,
		@IKeybindingService private keybindingService: IKeybindingService
	) {
		super();
	}

	public hasSecondaryActions(context: any): boolean {
		const element = context.element;

		// Contribute only on Stat Objects (File Explorer)
		return element instanceof FileStat;
	}

	public getSecondaryActions(context: any): IAction[] {
		const stat = (<FileStat>context.element);
		const tree = context.viewer;
		const actions: IAction[] = [];
		let separateOpen = false;

		// Open side by side
		if (!stat.isDirectory) {
			actions.push(this.instantiationService.createInstance(OpenToSideAction, tree, stat.resource, false));
			separateOpen = true;
		}

		if (separateOpen) {
			actions.push(new Separator(null, 50));
		}

		// Directory Actions
		if (stat.isDirectory) {

			// New File
			actions.push(this.instantiationService.createInstance(NewFileAction, tree, <FileStat>stat));

			// New Folder
			actions.push(this.instantiationService.createInstance(NewFolderAction, tree, <FileStat>stat));

			actions.push(new Separator(null, 50));
		}

		// Compare Files (of same extension)
		else if (!stat.isDirectory) {

			// Run Compare
			const runCompareAction = this.instantiationService.createInstance(CompareResourcesAction, stat.resource, tree);
			if (runCompareAction._isEnabled()) {
				actions.push(runCompareAction);
			}

			// Select for Compare
			actions.push(this.instantiationService.createInstance(SelectResourceForCompareAction, stat.resource, tree));

			actions.push(new Separator(null, 100));
		}

		const workspace = this.contextService.getWorkspace();
		const isRoot = workspace && stat.resource.toString() === workspace.resource.toString();

		// Copy File/Folder
		if (!isRoot) {
			actions.push(this.instantiationService.createInstance(CopyFileAction, tree, <FileStat>stat));
		}

		// Paste File/Folder
		if (stat.isDirectory) {
			actions.push(this.instantiationService.createInstance(PasteFileAction, tree, <FileStat>stat));
		}

		// Rename File/Folder
		if (!isRoot) {
			actions.push(new Separator(null, 150));
			actions.push(this.instantiationService.createInstance(TriggerRenameFileAction, tree, <FileStat>stat));
		}

		// Delete File/Folder
		if (!isRoot) {
			actions.push(this.instantiationService.createInstance(MoveFileToTrashAction, tree, <FileStat>stat));
		}

		// Set Order
		let curOrder = 10;
		for (let i = 0; i < actions.length; i++) {
			const action = <any>actions[i];
			if (!action.order) {
				curOrder += 10;
				action.order = curOrder;
			} else {
				curOrder = action.order;
			}
		}

		return actions;
	}

	public getActionItem(context: any, action: Action): BaseActionItem {
		if (context && context.element instanceof FileStat) {

			// Any other item with keybinding
			const keybinding = keybindingForAction(action.id, this.keybindingService);
			if (keybinding) {
				return new ActionItem(context, action, { label: true, keybinding: this.keybindingService.getLabelFor(keybinding) });
			}
		}

		return null;
	}
}

class ConflictResolutionActionContributor extends EditorInputActionContributor {

	constructor( @IInstantiationService private instantiationService: IInstantiationService) {
		super();
	}

	public hasActionsForEditorInput(context: IEditorInputActionContext): boolean {
		if (context.input instanceof DiffEditorInput && context.input.originalInput instanceof ResourceEditorInput) {
			const resource = context.input.originalInput.getResource();

			return resource && resource.scheme === CONFLICT_RESOLUTION_SCHEME; // scheme used for conflict resolution
		}

		return false;
	}

	public getActionsForEditorInput(context: IEditorInputActionContext): IEditorInputAction[] {
		return [
			this.instantiationService.createInstance(AcceptLocalChangesAction),
			this.instantiationService.createInstance(RevertLocalChangesAction)
		];
	}
}

// Contribute to Viewers that show Files
const actionBarRegistry = Registry.as<IActionBarRegistry>(ActionBarExtensions.Actionbar);
actionBarRegistry.registerActionBarContributor(Scope.VIEWER, FilesViewerActionContributor);

// Contribute to Conflict Editor Inputs
actionBarRegistry.registerActionBarContributor(Scope.EDITOR, ConflictResolutionActionContributor);

// Contribute Global Actions
const category = nls.localize('filesCategory', "Files");

const registry = Registry.as<IWorkbenchActionRegistry>(ActionExtensions.WorkbenchActions);
registry.registerWorkbenchAction(new SyncActionDescriptor(SaveFileAction, SaveFileAction.ID, SaveFileAction.LABEL, { primary: KeyMod.CtrlCmd | KeyCode.KEY_S }), 'Files: Save', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(SaveAllAction, SaveAllAction.ID, SaveAllAction.LABEL, { primary: KeyMod.CtrlCmd | KeyMod.Alt | KeyCode.KEY_S, win: { primary: KeyChord(KeyMod.CtrlCmd | KeyCode.KEY_K, KeyCode.KEY_S) } }), 'Files: Save All', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(SaveFilesAction, SaveFilesAction.ID, null /* only for programmatic trigger */), null);
registry.registerWorkbenchAction(new SyncActionDescriptor(RevertFileAction, RevertFileAction.ID, RevertFileAction.LABEL), 'Files: Revert File', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(GlobalNewFileAction, GlobalNewFileAction.ID, GlobalNewFileAction.LABEL), 'Files: New File', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(GlobalNewFolderAction, GlobalNewFolderAction.ID, GlobalNewFolderAction.LABEL), 'Files: New Folder', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(GlobalCompareResourcesAction, GlobalCompareResourcesAction.ID, GlobalCompareResourcesAction.LABEL), 'Files: Compare Active File With...', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(FocusOpenEditorsView, FocusOpenEditorsView.ID, FocusOpenEditorsView.LABEL, { primary: KeyChord(KeyMod.CtrlCmd | KeyCode.KEY_K, KeyCode.KEY_E) }), 'Files: Focus on Open Editors View', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(FocusFilesExplorer, FocusFilesExplorer.ID, FocusFilesExplorer.LABEL), 'Files: Focus on Files Explorer', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(ShowActiveFileInExplorer, ShowActiveFileInExplorer.ID, ShowActiveFileInExplorer.LABEL), 'Files: Show Active File in Explorer', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(CollapseExplorerView, CollapseExplorerView.ID, CollapseExplorerView.LABEL), 'Files: Collapse Folders in Explorer', category);
registry.registerWorkbenchAction(new SyncActionDescriptor(RefreshExplorerView, RefreshExplorerView.ID, RefreshExplorerView.LABEL), 'Files: Refresh Explorer', category);


text:
Regus opens new centre in Cambodia
10th December 2012 | Posted by Mix Meetings
PHNOM PENH Regus, the largest provider of flexible workspaces, has unveiled its first centre in the Cambodia capital, extending the company's global network to 99 countreis. More importantly, the new facility is the latest in a series of new centre openings in Asia-Pacific such as Sri Lanka, Malaysia, Singapore and the Philippines among others. In Hong Kong where there are currently 12 Regus offices, another two are set to open shortly.
"By launching in Cambodia, we are opening doors for both local the international companies, offering them a flexible, low-risk route for growth," said Regus chief executive Mark Dixon.
He pointed out that with the strong performance of industries such as tourism, construction, transportation and finance, the country has considerable business potential.
The Regus centre is on the 18th floor of the Canada Bank Tower located at 315 Ang Doung Street corner Monivong Boulevard, which is the heart of the capital's banking area. While much of the building is occupied by the bank's headquarters, the 32-storey tower has a mixed-use development plan that will include three levels of serviced apartments, four levels of retail and F&B establishements and three levels of underground parking. The site spans a total area of 6,000 sqm.
Regus' serviced facility features 894 sqm of workspace, 54 offices (covering approximately 161 work stations), a business lounge and high speed wireless internet access.
The new centre also has two meeting rooms. The 34-sqm Ibis room can seat up to 12 people and features natural light. It is available for booking at an hourly, half-day or full-day basis at the rate of US$60, US$156 and US$240 respectively. The smaller 12-sqm Rumdul room can hold up to six people and can be booked at the rate of US$28 per hour, US$72 for half day and US$110 for full day. Both spaces can be arranged to a client's required layout – theatre, classroom, U-shape, cabaret or ballroom.
"Our work space in Phnom Pehn will allow businesses to explore the opportunities presented by Cambodia's flourishing economy without the burden of upfront investment in porperty or a lease on fixed premises," Dixon noted. "We believe that this is the ideal way for companies to grow in the current challenging economic climate."
www.regus.com
Gigi Onag
AIME serves future of work and wellness
Hybrid ITCMA-CTW charts 2023 strategies


Andrée has been running for over 20 years. Her running experience includes various distances including the Big Sur Marathon, Calgary Half Marathons and many 10km-races as well as various distances triathlons. After having her first child 7 years ago, Andrée purchased her favorite baby item: a Chariot! As soon as she received the OK from her doctor to exercise again, she ran every day with little Elliott. Eighteen months later her second son was born and was soon added to the 'team runs'! During her 'Chariot training days', Andrée achieved a personal best of sub-45 10km. She quickly realized that pushing those growing boys paid off in a big way!
She loved running with her children for multiple reasons: the fresh air, teaching them healthy habits as well as the importance of incorporating exercise into a daily routine! Andrée loves meeting new people that view running as a family sport as well and finds it rewarding to see them achieve their personal goals. Andrée is really excited to lead this group taking on the Calgary running trails!
Both of her boys, Elliott & Alexander, now enjoy running races as well!!!


text:
1MATCH URL: https://assets.rappler.com/EF4B12C53FCB4050A6446D2D2767F7C6/img/0DE4C87B19CF47E994DE84813B629431/rappler-office-staff-January-17-2018-002.jpg
TIMELINE: Tracing BIR's tax complaint against Rappler Holdings
(UPDATED) Here's a timeline of events surrounding the Bureau of Internal Revenue's tax evasion complaint against Rappler
Chrisee Dela Paz
Published 6:50 PM, April 17, 2018
Updated 10:01 AM, February 19, 2019
HASTENED? In just 3 days after the BIR asked Rappler for tax documents, the BIR announces via a press release that it filed a tax evasion complaint against Rappler Holdings. Photo by Charles Salazar/Rappler
MANILA, Philippines (UPDATED) – It's been over a month since the Bureau of Internal Revenue (BIR) filed a tax evasion case against Rappler Holdings Corporation – the latest in a string of complaints from government agencies that have been going after the social news network since President Rodrigo Duterte accused it of being funded by the Central Intelligence Agency.
The BIR last month announced via a press release that Rappler Holdings has evaded taxes amounting to P133.84 million, for allegedly not supplying "correct and accurate information in its 2015 income tax return."
Until now, there is no clear picture of how the tax collector came up with the P133.84-million tax liability.
The BIR argued that Rappler Holdings, as a dealer in securities – a claim disputed by the social news network – is subject to income tax (IT) and value-added tax (VAT). Rappler has said it sold Philippine Depositary Receipts (PDRs) amounting to P188 million only.
As defined in the tax code, a dealer in securities is "a merchant of stocks or securities, whether an individual, partnership or corporation, with an established place of business, regularly engaged in the purchase of securities and the resale thereof to customers; that is, one who, as a merchant, buys securities and re-sells them to customers with a view to the gains and profits that may be derived therefrom."
Here's a rundown of events surrounding the tax evasion complaint:
May 25, 2015 – Rappler Holdings issues and sells 12,028,718 PDRs to investment firm North Base Media Limited. (READ: TIMELINE: The case of Rappler's SEC registration)
A PDR is a financial instrument that allows foreigners to invest in a Filipino company, without owning any part of it. This is consistent with the 1987 Constitution, which states that mass media in the Philippines should be wholly owned by Filipinos. A PDR is not equivalent to a share in the company.
Rappler is the first media startup in the Philippines to join broadcasting network giants ABS-CBN and GMA in offering PDRs to international investors.
May 31, 2015 – Rappler Holdings publishes a report announcing its partnership with North Base Media.
June 8, 2015 – Rappler Holdings files Securities of Exchange Commission (SEC) Form 10-1 – a notice of confirmation exempt transactions – for the 264,601 PDRs sold to North Base.
August 8, 2015 – Rappler Holdings files a subsequent SEC Form 10-1 for the 11,764,117 PDRs sold to North Base.
October 2, 2015 – Rappler Holdings issues 7,217,257 PDRs to Omidyar Network Fund LLC.
November 5, 2015 – Rappler Holdings publishes a report announcing Omidyar Network's investment.
December 1, 2015 – Rappler Holdings files SEC Form 10-1 for the 7,217,257 PDRs to Omidyar Network.
January 11, 2018 – The SEC revokes Rappler's license to operate because the PDRs of Omidyar supposedly violate the constitutional restrictions on ownership
February 28, 2018 – Omidyar Network announces it has donated its PDRs to 14 Filipino managers of Rappler, in an effort "to address the unwarranted ruling" made by the SEC.
March 5, 2018 – Five days after the PDR donation, BIR delivers to the Rappler office a notice dated March 2, requesting for various documents related to a tax examination of Rappler Holdings.
March 8, 2018 – In just 3 days, BIR publishes a press release on its website announcing a file tax evasion case against Rappler Holdings, alleging that the firm, together with its president Maria Ressa and treasurer James Bitanga, wilfully attempted to evade tax payments, as well as failed to provide accurate information in its income tax and value-added tax (VAT) returns for 2015.
BIR Commissioner Caesar Dulay writes a referral letter to former Justice Secretary Vitaliano Aguirre II that "RHC, Ms. Ressa, and Mr. Bitanga are being charged for willful attempt to evade or defeat tax and deliberate failure to supply correct and accurate information for taxable year 2015."
Rappler Holdings finds out via Twitter that the BIR filed a tax evasion complaint against the firm, even if the firm has not submitted to the BIR any documents for assessment and investigation as of this period.
March 13, 2018 – Rappler Holdings questions the BIR's grounds for filing a criminal complaint against its two executives for allegedly evading P133.8 million in taxes.
Lim says Rappler Holdings cannot be considered a dealer in securities when it issued the PDRs to Omidyar Network and North Base Media. "Rappler was the issuer; it did not buy the PDRs." (READ: Rappler lawyer cites loopholes in BIR's tax complaint)
Lim also says Rappler Holdings did not resell the shares it bought from Rappler Incorporated. He points out that the PDRs of Rappler Holdings are different from the Rappler Incorporated shares. "Those two are distinct financial iinstruments."
Lim, senior partner at Angara Abello Concepcion Regala and Cruz Law Firm, also argues that the capital raised from issued PDRs are not yet booked by Rappler as income as of now.
April 16, 2018 – Rappler Holdings receives the tax evasion complaint from BIR. Ressa and Bitanga also receive a subpoena from the Department of Justice over the tax evasion complaint.
The subpoena is signed by Assistant State Prosecutor Zenamar J.L. Machacon-Caparros on Wednesday, April 11.
The assistant state prosecutor order Ressa and Bitanga to submit their "counter-affidavit and other supporting documents" or affidavits by witnesses, if any, at 11 am. Two dates are listed: April 24 and May 7.
The 7 government offices that have taken action against Rappler include the Office of the Solicitor General, the SEC, DOJ, the National Bureau of Investigation, Malacañang, the Department of Education, and now the BIR.
DOJ indicts Rappler Holdings and Maria Ressa for tax evasion and failure to file tax returns, stating that through PDRs "it gained close to P162.5 million from the transaction, which it failed to declare in its tax return."
Assistant Prosecutor Zenamar Machacon Caparros signs the indictment.
The DOJ makes public the resolution indicting Rappler Holdings and Ressa.
"The National Prosecution Service (NPS) has found probable cause to indict Rappler Holdings Corporation (RHC), its President Maria Ressa and its independent Certified Public Accountant Noel Baladiang for violation of the National Internal Revenue Code or the tax code," the justice department says in a statement.
November 26 and 28, 2018
DOJ files 3 counts of failure to file tax returns and one count of tax evasion against Rappler Holdings and Ressa before the Court of Tax Appeals.
The justice department proceeds with the filing of cases despite respondents' motion for reconsideration filed.
Judge Danilo Buemio signs an arrest warrant against Ressa who has been charged with violating Section 255 of the National Internal Revenue Code of 1997. The arrest warrant, however, is released to the public by the Pasig Regional Trial Court Branch 265 on December 3.
Ressa posts a bail of P60,000 at the Pasig Regional Trial Court Branch 265 for alleged violation of the Tax Code. In posting her bail, Ressa does not waive her right to question the jurisdiction of the Pasig court over this case.
Rappler Holdings Corporation and Maria Ressa files a motion to quash before the Pasig Court, asking the court to void the charges, if not remand investigation to the DOJ – or at least suspend proceedings while they avail of appeal remedies.
Ressa posts bail at the Court of Tax Appeals over 4 charges of alleged violation of the Tax Code. She posted P204,000 (about $4,000) worth of bail ahead of the issuance of warrants of arrest.
Citing lack of jurisdiction and absence of due process, Rappler and Ressa asks the Court of Tax Appeals to nullify the tax evasion case filed against them and remand it to the DOJ.
The Court of Tax Appeals denies Rappler and Ressa's appeal and decides to proceed with the trial over 4 counts of alleged tax violations.
The CTA says the motion to quash filed is moot as the DOJ already denied the appeal in November 2018. – Rappler.com
More information on Rappler's cases:
TIMELINE: The case of Rappler's SEC registration
TIMELINE: Rappler's cyber libel case
FAQs: What you need to know about Rappler's cyber libel case
Filed under:Bureau of Internal Revenue•Department of Justices•James Bitanga•Maria Ressa•Rappler subpoena•Zenamar J. L. Machacon-Caparros•cases vs Rappler•tax evasion cases•Rappler Holdings Corporation


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>>>>>> to this and thus you'll get the error. Similar issue was seen recently .
>>>>>> Does the below hack work for you?
>>>> could potentially return errors like -EFAULT.
>> then only bailing out in such case; need to brainstorm a bit on that.
>> a way to avoid these and have the test on r0 directly, we might get there.
>> neither r0 nor r1 has changed in the meantime.
> It is tricky to do in the bpf_program. Compiler tries hard to optimize :-).
> The issue is at "r0 &= 127".
> from ARG_CONST_SIZE to ARG_CONST_SIZE_OR_ZERO.
check where we won't be able to get rid of it later on anymore.


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Meet the players competing for China's USD 3.8 billion 'ear economy'
Written by Gozde Celik and Julianna Wu Published on 28 Jul 2020 • 7 mins read
The online audio industry is growing fast in China, but challenges remain.
Late at night, Alice Jiang – a Chinese senior manager at a sports media company – has a hard time falling asleep. Whenever she cannot sleep, she turns on her favorite podcast app, QingTing FM, to listen to different audios about books, movies, and occasionally, travels. She says that listening to podcasts before sleeping calms her, distracts her from daily worries, and helps her to sleep.
Alice is one of the estimated 542 million podcast users, part of the online audio industry, also called the "ear-economy," in China, which includes podcasts, audiobooks, audio livestreaming, and other forms of online audio content. The market revenue of China's online audio industry was RMB 17.58 billion (USD 2.5 billion) in 2019, with a solid year-on-year increase of 55.1% compared to 2018, and is estimated to hit RMB 27.2 billion (USD 3.8 billion) by 2020, according to iResearch.
Although a relatively new trend, podcasts are gaining momentum thanks to its essence: providing valuable information and letting listeners enjoy content while driving to work, completing house chores, or working out at the gym, for example. For others, like Alice, podcasts can provide companionship before going to sleep.
There are two main reasons to explain the rapid growth of the podcast industry in China. First, unlike in the West, where podcasts are mostly seen as a form of media and entertainment, in China, the podcast industry positions itself within the burgeoning paid knowledge sector.
Many Chinese podcasters sell their products as self-improvement tools. Lu Lu – a master's degree student at Peking University, told KrASIA that out of her 57 paid subscriptions on Ximalaya FM, one of China's major podcast apps, 32 are educational audio content about business and finance, nine are audiobooks, while the rest are lifestyle advice.
Second, while podcasts in the West are almost completely free or advertisement-supported, Chinese podcast hosts are already monetizing via paid subscriptions. "Free apps are very limited and mostly uninteresting," says Alice.
By charging anywhere from RMB 20 (USD 2.85) to RMB 30 (USD 4.28) for subscriptions, many Chinese podcasters are generating revenue through these platforms, even with small audiences composed of less than 2,000 subscribers.
A combination of social and technological factors has led Chinese society to jump on the podcast wagon. While technological factors include affordable smartphones, the ease of paying for subscriptions via mobile payment methods, and affordable data plans, social factors include city dwellers' long commutes and busy lifestyles. Also, the competitive job market has led many youngsters to seek continuous input of new information to stay updated, and podcasts are a great way to do so while multitasking.
Major players in China's podcast industry
There are various podcast platforms in China, but Ximalaya FM, QingTing FM, and Lizhi FM are leading the industry in terms of paid subscriptions, and have been recognized as the main "the big three" players by China's state media China Daily.
Ximalaya FM
Shanghai-based Ximalaya FM manages the Ximalaya app, which provides audiobooks, music, a variety of entertainment programs, news, and other audio content. Only a year after its launch, in 2013, the Ximalaya app reached 10 million subscribers, while today it counts over 79 million monthly active users (MAU), according to iiMedia's report.
The company differentiates itself from competitors by the vast variety of audiobooks provided on its platform, which currently holds authorization for 70% of China's audiobook copyright holders, according to Daxue Consulting.
The firm has raised a total of USD 123.1 million in funding over seven funding rounds, the most recent of which was a Series D round led by Whales Capital in 2017.
QingTing FM
Founded in 2011, QingTing FM is also a Shanghai-based online radio service provider. The platform pulls together a variety of audio content, including broadcasts from global radio stations, audiobooks, magazines, and newspapers, as well as some original programming featuring life stories.
The platform enables users to upload their own content to build personal radio channels, also offering features to promote their content and attract users.
QingTing FM has raised a total of USD 182.6 million in funding over five rounds, completing its most recent Series E round in 2017.
In 2015, the company was voted as the best mobile radio and podcast app in mainland China by BRS Media's survey. It also ranked third in the same poll globally, while competitor Lizhi FM ranked fourth.
Lizhi FM
Launched in 2013, Nasdaq-listed Lizhi FM (LIZI) targets young audiences, mostly under the age of 24. With the motto of 'Everybody can be a podcaster,' Lizhi focuses on individuals' podcasts compared to Ximalaya and QingTing.
The platform offers podcasts about music, news, poetry, talk shows, and foreign languages. Also, like in QingTing FM, Lizhi users can create their own podcast shows.
The company primarily generates revenues by selling virtual items through its live, interactive audio sessions, while the contribution from user subscriptions and advertising remains relatively small.
Lizhi FM is the first Chinese podcast platform that went public. The company concluded its IPO in January this year, raising USD 45 million.
With over 46.6 million (MAUs), Lizhi FM is China's second most popular podcasting platform after Ximalaya FM. However, the firm does not consider Ximalaya FM as its biggest competitor due to their platform's differences, according to its CEO Lai Yilong. Lizhi's content is primarily user-generated, but Ximalaya FM, in contrast, hosts more professionally generated audio content, he explained to tech media 36Kr.
A growing market
The COVID-19 outbreak has helped to accelerate podcast platforms' rising popularity.
Earlier this year, the three big players launched special audio columns related to the pandemic, China Daily reported. Users can listen to these columns to get prevention tips and household hygiene tips, receive the latest news, and stories about medical staff and others working behind the scenes. Also, these platforms have set up livestreaming audio broadcast columns allowing users to consult medical experts for free on both epidemiological and mental health issues.
According to iiMedia's study, people are reducing outdoor time due to the contagion, which, to some extent, has boosted the user growth and general development of the podcasting sector. The firm estimated that the average MAU for podcasts will increase by over 50% year-on-year in the first quarter of 2020.
Meanwhile, iResearch's report underlines that the current user penetration rates for online music, games, and videos have reached 89%, 82%, and 74%, respectively. In comparison, the penetration rate of online audio is only 45.5%, suggesting great potential for further market penetration.
The future of the industry looks promising, yet, challenges remain in terms of boosting revenues. One of the main problems is retaining paying users. For educational and self-improvement podcasts, users' enthusiasm tends to fade quickly. For instance, some platforms have been criticized by netizens for "selling anxiety" as much of their content is touted for making people "more prosperous". At the same time, advertising strategies tend to make people feel unsatisfied with their current lives.
Another challenge is expanding the user base. The industry at the current stage does not appeal to the majority of users, but only to a specific niche. According to PodFest's survey, 68.2% of podcast users live in China's top 20 cities, with Beijing, Shanghai, Guangzhou, Shenzhen, and Hangzhou being the top five cities. Moreover, 88.5% of respondents are under age 35, while 86.4% hold a bachelor's degree or above.
Perhaps one of the biggest challenges is profitability. Regardless of the high number of subscriptions, most of the podcast's platforms are yet to become profitable. While hosts are already making some sort of income, platforms are not generating enough revenues to cover all expenses on research, development, and content licensing, among others.
Take a look at Lizhi for instance. The company has yet to turn its fanfare into profits on its balance sheet, which explains why its public debut wasn't very well-received among American investors. Since its second trading day on January 18, 2020, its share price had fallen below the IPO price of USD 11 and has not recovered.
After its listing, Lizhi's CEO Lai Yilong told media outlets that the company would be able to earn a profit in 2020. Yet, the reality is harsh, as, in the first quarter of 2020, the company booked a USD 29 million net loss, almost doubling its 2019 performance in the first three quarters, when it collected losses for USD 15 million.
That said, the lack of immediate profitability has not stopped venture capital firms and tech giants from joining the competition in this narrow sector, which has caught the attention of other major tech players.
Tencent's music subsidiary, Tencent Music Entertainment (NYSE: TME), for example, has introduced an Audible-style audiobook and podcast app in April 2019. The move allows the company to expand into the Chinese audio streaming market on the back of its huge pool of listeners and its partnership with online literature company China Literature, KrASIA reported.
Baidu (NASDAQ: BIDU) has also invested in the podcast industry, injecting USD 50 million into Kaishu Story's Series C round in July 2019. Kaishu Story is a podcast content production company focusing on children's bedtime stories. The podcast studio has produced more than 9,000 stories since its inception and attracted more than 30 million listeners.
To stay ahead of the others, Ximalaya FM relies on its vast library of authorized content, while Lizhi FM is predilecting original content creation, to become an "individual's podcast" source where amateur and young podcasters can design their own shows. QingTing FM, meanwhile, is focusing on professional podcasting and international content.
To increase revenue, podcasts companies are also looking for new business cooperations. Qingting FM and Ximalaya FM are partnering with smartphone companies like Huawei, Vivo, and Xiaomi to provide audio content on mobile and wearable devices, in addition to smart home appliances.
According to the same estimates by iResearch, the Chinese audio online market industry is set to grow almost 55% in 2020, 46.4% in 2021, and 36.1% in 2021 to reach a market revenue of RMB 54.3 billion (USD 7.8 billion). Audio platforms have plenty of room to grow, while constantly innovating to lure more users.


Nancy Sutcliffe glass is award-winning engraved and gilded art of the highest order. At art school, Nancy specialised in Medical and Scientific Illustration and graduated with a BA. Hons in Design. The discipline and attention to detail required in that subject have informed much of her subsequent work. Drawing is key to her artistic practice. Her engravings are essentially carved drawings on glass.
Nancy Sutcliffe glass art is made for exhibitions, galleries and collections. She exhibits internationally and has taught in Germany, Sweden and in 2019, will teach in the USA. She has been a finalist in International glass prize exhibitions in Japan 2018 and Germany 2014 and participated in the British Glass Biennale several times, and in the Lithuanian Glass Biennale.


"This model of senior living truly eliminates what can be a significant barrier for older adults wanting to make a move," said Stephen Kennery, executive director of The Carrington at Lincolnwood. Under construction and slated to open later this year, The Carrington, which is located on a scenic campus in the heart of Lincolnwood, will offer independent living, assisted living, and memory care, all with simple monthly payments and no entrance fees.
Kennery pointed out that the fact that The Carrington is a rental community means that the staff will have to be on their toes. "We can't woo prospects to move in and then not maintain our standards high once they're here. We will have to keep providing the very best in services and amenities to ensure that our residents keep loving The Carrington, the place that they'll be calling home," said Kennery.
The first depositors at The Carrington will be members of the First Keys Club, and will receive a $1,500 credit towards moving expenses, a $1,500 credit applied to the community fee, and a $1,500 credit off the second month's rent. In addition, members will receive a two-year lock on the rental rate as well as a capped increase thereafter for their entire residency. Other perks include the opportunity to host a welcome party, referral rewards of $1,000, free visits to the Style Salon, complimentary meals, and the ability to become a Carrington at Lincolnwood Ambassador.


It's important to understand the types of situations that can allow different species of mold to grow indoors or infiltrate from the outdoors. This comes from having the right scientific literature and experience testing to the species level. The important question for the customer is "Do you want to hire someone needing experience or hire someone with experience who does not need to take as many surface samples to support their decisions?"


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Home / Health Conditions / Stroke / Celebrity Photographer Learned to Shoot With One Hand Following Stroke
Celebrity Photographer Learned to Shoot With One Hand Following Stroke
Photo by Bob Jimenez
The way freelance photographer Donna Dymally sees it, snapping pictures imparts important life lessons.
"Focus on what's important, and if you don't like the shot, take another one," she says. "We develop from the negative, just like a photo."
That attitude helped Dymally recover from a stroke at age 58.
She woke up that morning feeling sluggish and with a slight headache. She had a flight to catch, so she took pain medicine and made her way to the airport for a business trip.
As the plane took off, she felt an odd sensation on the left side of her body. Unsure of what to do, she prayed for guidance and fell into a deep sleep. She awoke when the plane landed at Dallas-Fort Worth International Airport, where she had a connecting flight to Birmingham, Alabama.
As Dymally walked through the airport, she grew increasingly sure something was wrong. Her eyesight was blurry, her entire body hurt and she could only walk slowly.
"I felt like an explosion had erupted in my head," she shares.
She told a colleague who was on her flight what was happening and promised to go to the emergency room when she arrived in Birmingham. A doctor overheard their conversation. He not only recommended she skip her next flight, he insisted on calling 911.
"He said that if I had experienced a stroke, I might not survive the flight," she adds.
An MRI showed a clot obstructed one of the vessels supplying blood to her brain. This is an ischemic stroke. Doctors told her it was a miracle she lived through the flight.
Dymally said an uncle had also survived a stroke, and her grandmother died after having one. In addition, she had
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D.C. Earns Top Spot in Afterschool Meals Participation, New Report Finds
DCHS HomeD.C. Earns Top Spot in Afterschool Meals Participation, New Report Finds
Emily Pickren
epickren@frac.org
WASHINGTON, October 23, 2019 — Nearly 10,000 children in the District of Columbia benefitted from afterschool suppers on an average weekday in October 2018, according to Afterschool Suppers: A Snapshot of Participation, a new report from the Food Research & Action Center (FRAC, a national anti-hunger advocacy group). The report measures how many children participated in the Afterschool Nutrition Programs, nationally and by state.
D.C. had the greatest reach in the nation of children in the Afterschool Supper Program, exceeding FRAC's goal for states to serve afterschool supper to at least 15 children for every 100 who participated in free and reduced-price lunch school lunch. D.C. served 22 children afterschool suppers for every 100 who received school lunch in October 2018.
"The nutrition and enrichment activities provided through afterschool programs support children's health and learning," said Beverley Wheeler, director of D.C. Hunger Solutions. "While we are excited to be providing so many children with the nutrition they need through afterschool suppers, we must strengthen efforts to ensure more children who rely on school lunch also can access afterschool supper."
Child Nutrition Reauthorization, currently being considered by Congress, provides an opportunity to streamline eligibility requirements to allow more children to receive afterschool meals. This, combined with more private and public funding for afterschool programs, would allow sponsors in the District — D.C. Public Schools (DCPS) and D.C. Department of Parks and Recreation (DPR) are the biggest afterschool program sponsors — to reach more children with afterschool suppers.
Despite the District's high participation rate, the number of afterschool suppers served remained essentially unchanged between October 2017 and October 2018, and the demand for quality afterschool programming still far exceeds supply, particularly in low-income neighborhoods.
Opportunities for improvement may come with the implementation of the Healthy Parks Amendment Act of 2018, passed by the D.C. Council last year. The Act requires DPR to offer all children attending a DPR-sponsored afterschool program a supper through the Afterschool Nutrition Programs. The Council is currently in the process of implementing the law, and through advocacy, D.C. Hunger Solutions helped ensure full funding of the law in the Fiscal Year 2020 budget.
"DPR is one of the largest providers of afterschool programming in the District, and increasing the reach of afterschool meals through DPR will help ensure more low-income children receive a supper once their classes wrap up for the day," said Wheeler.
Many formal and informal afterschool activities and programs take place at schools, and as such the District's many charter schools represent a largely untapped opportunity to increase participation in afterschool suppers. Approximately 45 percent of school-aged children in the District attend charter schools, and afterschool programs can be operated either by the school or a community-based organization (CBO). For example, DCPS offers afterschool programming at the vast majority of its schools, and afterschool suppers at 72 sites. More charter schools should model DCPS and leverage CBO partnerships and internal programming to create spaces for afterschool learning and nutrition.
D.C. Hunger Solutions, an initiative of the Food Research & Action Center, works to end hunger in the nation's capital and improve the nutrition, health, economic security, and well-being of low-income District residents.
The Food Research & Action Center is the leading national nonprofit organization working to eradicate poverty-related hunger and undernutrition in the United States. Learn more at frac.org.
District residents may be eligible for both #SNAP benefits & #EITC, which can help them max their budget. You can help: http://bit.ly/2ln1kh7 Click To Tweet
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