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Nina Alekséievna Kámneva (en ruso: Нина Алексеевна Камнева) fue una ingeniera militar que alcanzó la graduación de Coronel-ingeniero, nacida en el antiguo Imperio Ruso en 1916 y fallecida en 1973 en la Unión Soviética.

Biografía
Nació en 1916 y se graduó en el Instituto Central de Educación Física de Moscú.

Carrera militar y paracaidística
Nina fue una de las instructoras paracaidistas más famosas en el periodo anterior a la 2ª Guerra Mundial y dedicó toda su vida a la Aviación. Tras graduarse del instituto de educación física, se formó, atraída por el paracaidismo, en la Escuela central del OSOAVIAJIM, siendo una de las primeras instructoras paracaidistas. El 13 de agosto de 1934 batió el récord mundial femenino de caída libre, al saltar desde 2750 metros y abrir el paracaídas a 250 metros de altura, con un retardo de apertura de 58 segundos.
Kamneva fue la primera saltadora galardonada con el título de "Maestra del Paracaidismo de la URSS". Terminó sus estudios en la Academia Aérea Militar de Zhukovsky y se encargó durante muchos años de la instrucción paracaidista del personal del ejército soviético en la Academia Chkalov.

Premios
 Orden de Lenin
 Orden de la Bandera Roja
 Orden de la Estrella Roja
 Maestro del Deporte en Paracaidismo de la URSS
 Diversas medallas adicionales

Legado y recuerdo
Primera mujer en saltar, el 17 de marzo de 1933,  de un aparato Polikarpov Po-2 en el Aeródromo Túshino

Primera mujer en recibir el galardón de "Maestra del Paracaidismo de la URSS"

Junto a Tamara Ivanova y Lyuba Berlin, Nina formó parte del primer curso de instructores paracaidistas de la URSS.

Véase también
 paracaidismo
 Tropas Aerotransportadas de Rusia
 OSOAVIAJIM
 DOSAAF

Referencias

Bibliografía
 Equipos de Activación de Paracaídas 1936-2010 - ISBN 978-84-9981-103-1, Año 2010, Juan Fraile Nuez
 Equipos de Activación de Paracaídas 75º Aniversario, 1936-2011 - ISBN 978-84-9009-749-6, Año 2011, Juan Fraile Nuez

Enlaces externos
  Historia del paracaidismo soviético, en ruso

Paracaidistas
Ingenieros de la Unión Soviética
Pioneros del paracaidismo en la Unión Soviética
Fallecidos en Moscú

redpajama_set_name: RedPajamaWikipedia


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Carrick on Suir Gift Vouchers
Carrick on Suir Business Association Gift Vouchers can be redeemed in over 45 businesses in Carrick on Suir.
By choosing Carrick on Suir Business Association Vouchers you are making a difference that benefits your community. This 'shop local' venture helps keep your community vibrant in business. You are also helping to safeguard local jobs all year round.
Vouchers are typically used as wedding presents, birthday gifts, special occasion gifts(Christmas) and staff bonuses. Others choose them as a way to save year round.
Carrick on Suir Gift Vouchers ,can be purchased through the Carrick on Suir Credit union located in Greystones Street , Carrick on Suir. You can give them a call at 051 640 675 or for more information, please call 086 3922774 or email cos.business@gmail.com.
The recipient of the Gift Vouchers has the choice of over 45 businesses where they can use their voucher and the purchaser knows they are keeping business local and supporting local jobs. More people are becoming aware of the vouchers ,which is adding to the welcome increase in voucher sales over the past couple of years. It is refreshing to see that people are more active than ever in their support of their local economy .
The local economy who invariably give generously to various organisations through sponsorship & spot prizes each year can see in return that people appreciate what these businesses do in the community.
"Local people are very aware of how important buying local is ," says Seamus Campbell chairman of Carrick on Suir Business Association. "Local people buy local vouchers that support over 45 businesses and keep our economy active and vibrant throughout the year. The rise in the amount of vouchers sold year on year, over the last couple of years is a sign of local support and demonstrates very clearly that the people of Carrick on Suir are fully behind their local economy. Now more than ever before the business people of the town need local support . The uncertainty of the times & the devasting effects of Covid-19 to businesses means that the purchasing of the Gift Vouchers can give some solace in the knowledge that people do plan to spend locally . The make a great Gift as a little Thank You or if you have missed a loved one's recent Birthday, Holy Communion , Confirmation or any celebration"
Why would your business choose Carrick on Suir Business Association Gift Vouchers?
By being a member of the Carrick on Suir Business Association (COSBA) , your business can automatically accept the Gift Vouchers if you wish to do so.
Carrick on Suir Gift Vouchers carry only a 4% commission fee.
Vouchers are available in €10, €25 or €50 denominations
Vouchers can be used for products and services in over xx local businesses (list provided)
Under the Revenue Commissioners approved 'Small Benefit Exemption' scheme, from 2015 your business can award staff up to €500 as a once off payment. This €500 payment is completely Tax and PRSI Free requiring no return on payment when you avail of Carrick on Suir Business Association Gift Vouchers.
Businesses accepting Carrick-on-Suir Gift Vouchers
· Aoki Interiors - Soft Furnishings
· Blueway Bike Hire
· Bourkes Menswear
· Butler electrical – Electrical Goods
· Café West
· Carraig Hotel - Hospitality
· Carrick Carpets - Soft Furnishings
· Carrick River Rescue – Charity
· CDS Waste Management
· Centra Supermarket Ballylynch – Food & Fuel
· Clearys hardware – Topline – Hardware store
· Coghlans care plus - Pharmacy
· Dragon Inn Chinese Restaurant - Food
· Havens Pharmacy
· In the Wardrobe - Ladies Fashion
· Jans - Hairdressers
· John Hearn hardware store
· Kehoes butchers - Food
· Whelans butchers - Food
· Kilkieran Cottage - Restaurant
· Leonies at Bourkes Menswear - Ladies Fashion
· Meadows and Byrne village at Dove Hill -
· Lynne Keane Travel – Travel Consultants
· Martys pantry – Café
· Meanys shoes - Shoes
· My Dress Bridal Wear - Clothing
· NCBI- Charity
· New Street Barbers - Barbershop
· No 21 - off license sales
· O' Ceallachains bar & bistro
· O' K cycle & Sports - Bicycles
· Outfield Sports - Sports Store
· Sam McCauleys - Pharmacy
· Sean Kelly sports centre – Swimming Pool & Fitness Centre
· Shoe centre - Shoes
· Solero Viva - Health Store
· Splash and Chat - Computers & Internet cafe
· Strand cleaners - Dry Cleaners
· Suir Tyre Centre - Autos
· Supervalu - Supermarket
· The Junction bar & bistro - Hospitality
· The Rosebowl - Flower Shop
· Three Counties - Newspaper & Printers
· TNN Photos - Photography
· Treacy Fuel Merchant
· Tudor Artisan Hub - Arts & Crafts , Exhibitions
· Vincent de Paul – Charity
· World of Bounce & mini-farm - Adventure Playground
· Wurlizter - Menswear
Being both an historic walled town and home to one of the finest Elizabethan houses in Ireland, Carrick-on-Suir has a rich history dating back to the arrival of the Anglo-Normans in Ireland in the 13th Century.
By the 15th Century Carrick-on-Suir was the most strategically important place on the River Suir after Waterford, and, with the river trade from Clonmel to Waterford, the town was a vital commercial hub for hundreds of years.
Now, with a wealth of historic sites and influential historical figures, Carrick-on-Suir a must-visit town on the heritage trails of Ireland.
Carrig Mac Griffin
Carrick-on-Suir owes its origins to the River Suir. The name of the town stems from the original settlement of Carrig Mac Griffin, an island settlement upstream of Waterford which was one of seven walled towns in County Tipperary developed by the Anglo-Normans. The earliest known records the town date to 1247 when a charter of fairs was awarded to the Lord of the Manor of Carrick, Matthew Fitzgriffin.
The earliest church, St Nicholas of Myra, was also built during this period at the highest point of the island. This church was later to become the Protestant Church, and today it houses the Carrick-on-Suir Heritage Centre and Tourist Information Office.
By the early 14th century, Carrig Mac Griffin was home to the prosperous Butler family. The first significant leader of the Butler clan, Edmond le Bottiler, became the Earl of Carrick in 1315 and his son later became the Earl of Ormond. This family was extremely powerful and influential, and both the Butler and Ormond names are synonymous with medieval Irish history.
Edmond le Bottiler built two large, heavily garrisoned castle keeps known as the Plantagenet Castle on the north bank of the Suir in 1309, and a stone town wall during the same period. The walled town, which consisted of individual houses with kitchen gardens, grew to become the largest in the county with 36 acres of land inside the town wall. Indeed by the end of the 14th Century there was a public oven where townspeople were able to bake in safety without endangering their own homes. Oven Lane exists to this day, just off Main Street, and part of the town wall are still visible by the Castleview Tennis Club and near Ormond Castle.
It wasn't until some time later in the 15th Century that Edmund Mac Richard Butler of Paulstown, or 'Edmund the Builder', rebuilt Ormond Castle, heavily fortifying it with four towers and including a large dock on the river and a watergate. However Edmund the Builder is perhaps best known for constructing the the first bridge above the Waterford estuary, now known as 'The Old Bridge'. Both the bridge and the castle were completed in 1447: thus in one fell swoop Edmund had secured the town's strategic and economic significance for centuries to come.
Unique Tudor Manor House
Within a hundred years the Butlers had become so powerful and wealthy that Black Tom Butler was able to build an unfortified Manor House on the north side of the castle in 1560, keeping only two of the castle's original fortified towers to the south.
Black Tom built the Tudor Manor house in expectation of a visit from his cousin Elizabeth I, the daughter of Henry VIII and Ann Boleyn. Elizabeth never did visit, however the house contains many beautiful details including decorative plasterwork portraits of the Virgin Queen.
Another significant decoration in the the Tudor Manor House is the 'Carrick Knot' engraved in the stone above the fireplace in the main banqueting hall. It is also to be found in the decorative plasterwork. The Carrick Knot, (or Carrick Bend), is still in use by boatmen, fishermen and sailors today. The knot is also known as the Ormond Knot in heraldry, further cementing its link to Carrick-on-Suir, and today it is symbolic of the town's close relationship with the River Suir, becoming one of the emblems of the town.
Today this combination of an unfortified Tudor Manor house with two of the earlier fortified towers and courtyards makes Ormond Castle unique and is now the starting point of The Butler Trail, part of Ireland's Ancient East.
Cromwell arrived in Ireland in 1649 with his Parliamentary forces to 'settle the Irish question'. The Irish opposition was led by James Butler, 12th Earl and 1st Duke of Ormond. He made the mistake of leaving garrisons to defend towns rather than facing the enemy in pitched battle, giving Cromwell the opportunity to defeat the garrisons one by one. In this manner, Carrick-on-Suir was taken by Cromwell in November of that year when his forces tricked the watch into opening New Gate.
The town's bridge was vital to Cromwell's campaign in the South East of Ireland, so Carrick-on-Suir was heavily defended. Irish forces later attempted to retake the town, however the the attack failed with the loss of 500 men who were later buried in what became known as the 'Garraí Rua', or the 'Red Garden'.
Indeed by 1650 Cromwell's hold on Carrick was so secure that he is believed to have spent time here in before his attack on Clonmel.
A New Prosperity
Following Cromwell's death in 1658, Charles II ascended the throne in 1660, and James Butler, Duke of Ormond, returned to Ireland as the Lord Deputy.
In 1667 the Duke of Ormond convinced the king to remove restrictions on woollen and linen exports and subsequently founded the woollen industry in Carrick in the 1670s, with the help of Huguenots who had fled France, bringing prosperity to the area.
By the late 1680s the political landscape had changed again and the English wars returned to Ireland with William of Orange and James II fighting for the crown. William is believed to have visited Carrick-on-Suir on his way back to England after failing to capture Limerick. Such was the welcome in Carrick-on-Suir, even from families whose sons were fighting for James, that William is said to have granted the town exemption from taxation forever more. It was a promise that was sadly broken.
Carrick-on-Suir remained an island until the 18th century, when rivers to the north and west of the town were diverted. By this time the town enjoyed prosperity through the woollen industry, fishing, basketweaving and other river related businesses.
The population had grown to about 11,000 in 1799. However, during the next century the town suffered from high taxes and levies on the woollen industry, leading to high unemployment, poverty and emigration. The Great Famine of the mid 19th Century also contributed to a fall in population in the town and the surrounding area.
The Irish Tricolour was first flown publicly by Thomas Francis Meagher in his native city of Waterford on March 7th 1848. Meagher was later arrested and deported for leading the Young Irelanders' 1848 Rebellion, but just before his trial he told a crowd of 50,000 at Slievenamon that future generations would one day see the tricolour flag proudly flown across Ireland. The Tricolour didn't fly again until it was raised over the GPO in 1916 during the Easter Rising.
Following the Easter Rising, many people across Ireland joined the Republican cause. County Tipperary was already a hotbed of Republicanism and Carrick-on-Suir and the surrounding areas provided many soldiers and leaders in the War of Independence.
With the coming of Civil War, Carrick-on-Suir was initially occupied by the Anti-Treaty IRA until the town fell to the Free State army in August 1922. During the battle for Carrick-on-Suir, the Courthouse and the Police Station were burnt out, and both bridges were destroyed.
The Republicans retook Carrick-on-Suir briefly in December 1922, in the process burning down the Workhouse and another building on the Main Street near Dillon Bridge. They captured weapons before leaving the town to be reoccupied by the Free State Army the following day.
By the 1920s Carrick-on-Suir saw industrialisation with the establishment of numerous cotton factories and a local creamery and the arrival of the leather tanning industry in Carrick-on-Suir in the 1930s provided much needed regular local employment. The Town Council also embarked on social housing projects to deal with appalling living conditions experienced by many people in the town. But despite these developments, economic opportunities were limited and poverty was widespread leading to emigration to Dublin, Britain and further afield especially during the long recessions of the 1940s and 1950s.
Today the population of Carrick-on-Suir is steady at approximately 6,000, and while the town was hit hard by the recent recession, it is still a bustling market town with a positive outlook, making it a great little town for business, tourism, culture, shopping and hospitality.
Carrick-on-Suir owes its existence and much of its past prosperity to the River Suir. The town's close relationship with the river has always been strong, with salmon cot fishing and trading boats and barges, 'lighters' and 'yawls', being a regular sight in the past.
The lighters carried cargo between Waterford and Carrick, where the cargo was transferred to the yawls which continued to Clonmel, towed by men and horses. By 1835 there were as many as 180 lighters and yawls working the river between Clonmel and Waterford. As a result Carrick-on-Suir was vital to the distribution of goods across the South East of Ireland.
Indeed for centuries Carrick-on-Suir was a busy river port connecting Clonmel and the Golden Vale with the Port of Waterford. Although the introduction of the railways in the 19th Century signalled the beginning of the end for the river trade, the town continued as a hub for commercial river traffic until the mid 20th Century when the final bells tolled with the sale of the last two boats in 1973, 'Knocknagow 1' and 'Knockagow 2'.
The town's close relationship with the river remains to this day with the swan, the salmon and the Carrick Knot being symbols of the town, the Old Tow Path being a popular walk for locals and visitors alike, and the river men in their cots still a regular sight on the river.
Famous Sons
Carrick-on-Suir and its hinterland can also lay claim to being of significant importance in the cultural, musical and sporting history of Ireland, with its famous sons including the Clancy Brothers who changed the face of Irish music, Seán Kelly who is widely regarded as one of the world's greatest road racing cyclists, Ballyneale's Tom Kiely, Olympic Decathlon gold medalist in 1904, and Maurice Davin, one of the founders of the Gaelic Athletic Association. The traditions that they promoted continue to this day and are celebrated in the town by its sporting institutions, theatres, monuments, and festivals.
Today's Historic Sites
It is no surprise then that Carrick-on-Suir is now noted for its historic sites and offers a unique experience to visitors. With its monuments, churches, parks, trails, castles and estates, Carrick-on-Suir and its hinterland has a rich and diverse heritage worth celebrating and the coming years promise to bring positive changes to the the tourism and heritage potential of the town.
The Heritage Centre located in the old Protestant Church just off Main Street, is now home to a diverse collection of items telling the story of Carrick-on-Suir and makes a great starting point for any visitor to the area. It is also the location of the Tourist Information Office.
For further information about the historical sites of Carrick-on-Suir and its hinterlands please click on http://www.carrickonsuir.net/activities/places-to-see.html or http://www.carrickonsuir.net/activities/things-to-do.html.
"Things I miss about Carrick-on-Suir" Facebook group page shares posts of bygone days in Carrick-on-Suir and evokes many happy memories for its over 5,700 readers!
Scroll down to see more articles about the people & places of Carrick on Suir from a bygone era!
Historic articles of Interest
From time to time we will publish some interesting stories & articles about the people & places of Carrick on Suir from a bygone era , be sure to check this page on a regular basis to see if anything new has been added.
A House Fit For A Queen
Cosba History
A House Fit for a Queen – Interpreting Ormond Castle is a very interesting video by Mark Leslie about the Butlers of Ormond Castle. Well worth the watch! A House Fit For A Queen – Interpreting Ormond Castle
The Schools' Collection – Carrick-on-Suir, Part 2
Cosba History News and Events
Between 1937 and 1939, 740,000 pages of folklore and local tradition were compiled by pupils from 5,000 Irish primary schools. This collection which came to be known as The Schools' Collection was part of an innovative project which was overseen by the Irish Folklore Commission and received assistance from the INTO and Department of Education. With the help of their teachers, senior primary school children across the 26 counties of the Irish Free State collected folklore in their local area. This included oral history, topographical information, folktales and legends, riddles and proverbs, games and pastimes, trades and crafts. The children recorded this material from their parents, grandparents and neighbours. This collection is a wonderful resource for anybody with an interest in history and folklore and is now available at www.duchas.ie. Below is a selection of excerpts from Carrick-on-Suir and the surrounding areas. Historical events and figures The Quakers by Mr. P. Marsh At one time there were a great many Quaker families living in South Tipp. The principal families were the Grubbs, the Fennells, the Malcomsons, besides many others. All these families were engaged in the flour milling business. At this time, before the adoption of the Free Trade in […]
The Carrick Witch – The Case Of The "Enchantress" And The "Bewitched" Policeman
In the autumn of 1864, the local police force brought a most unusual case before the magistracy of the Crown Court in Carrick-on-Suir. A local woman, Mary Doheny was charged with fraudulently obtaining goods from policeman Constable James Reeves and his wife. But why did this case above all of the numerous other trails capture so much public and media attention at the time? It was the fact that Mary Doheny claimed that she possessed the powers of witchcraft! Referred to as the "Carrick witch" in news reports at the time, Mary was accused of illegally extracting goods from the Reeves couple as well as six other respectable and sound-minded local people by duping them into thinking that she could communicate with the otherworld! The case dominated news columns in both Irish and UK newspapers, causing a large media frenzy. On the days of her trial the courthouse was "thronged to suffocation" as local people clamoured to see with their own eyes this ordinary woman who had become a local celebrity. Kilkenny Moderator – 26th Oct 1864 Most publications painted a less than sympathetic picture of the defendant and her background. The Dublin Evening Mail mercilessly remarked that Mary would […]
Between 1937 and 1939, 740,000 pages of folklore and local tradition were compiled by pupils from 5,000 Irish primary schools. This collection which came to be known as The Schools' Collection was part of an innovative project which was overseen by the Irish Folklore Commission and received assistance from the INTO and Department of Education. With the help of their teachers, senior primary school children across the 26 counties of the Irish Free State collected folklore in their local area. This included oral history, topographical information, folktales and legends, riddles and proverbs, games and pastimes, trades and crafts. The children recorded this material from their parents, grandparents and neighbours. This collection is a wonderful resource for anybody with an interest in history and folklore and is now available at www.duchas.ie. Below is a selection of excerpts from Carrick-on-Suir and the surrounding areas. Historical events and figures – Part 1 FACTION FIGHTING Below is an account of faction fighting in the local area. Faction fighting were mass brawls that involved large groups of men and women organised into groups and meetings at venues such as fairs, markets, weddings, funerals or any other large gathering. The phenomenon was particularly common in rural […]
The history of the National Bank in Carrick-on-Suir
Cosba History Uncategorized
The National Bank of Ireland was formed in 1835 in London by the noteworthy politician Daniel O'Connell and the Nationalist Party as the National Bank of Ireland. The first branch of this joint-stock bank opened in Carrick-on-Suir, Co. Tipperary on Wednesday 28 January 1835. The Bank's first Governor was Daniel O'Connell, a fact which earned the Bank the nickname of "The Liberator's Bank." The building in which this branch operated from is still there today and now operates as Bank of Ireland. This five-bay three storey building was constructed c. 1820 and was formerly the residence of business man, William O'Donnell who owned a bacon factory on the Quays. Between 1867-73 the building was remodeled with the addition of a single-storey entrance bay and a large rear extension. The building was and continues to be the most dominant feature on the streetscape. Experts have noted: "The quality and variety of stuccowork of the façade highlights the importance of this bank building for the town. It is dominant on the streetscape, both in its function and style. The elaborately decorated entrance openings also give a sense of grandeur to the activity of entering the bank, and the discreet treatment of the […]
The history of Carrick-on-Suir train station
The 19th century is commonly referred to as the Age of Progress as Europe witnessed dynamic advancements in industry, technology and science. While Ireland did not experience an industrial revolution on a scale to that of Britain, which was at the height of its empire building at the time, it still made considerable advancements in many areas, transport being chief among them. Before the advent of the railway system in Ireland in the 1830s there were three principal means available for travelling large distances; by boat on the canal network which was greatly improved with the opening of the Grand and Royal Canals in the late 18th century, by horse-drawn coach, or for the energetic or downright destitute by foot. In Carrick-on-Suir goods to and from Waterford and Clonmel were mainly transported on large barges on the River Suir operated by the River Suir Navigation Company as well as private hauliers. While passengers opted for Bianconi's coach cars which provided speedy and cost-efficient travel to and from Waterford and Clonmel for the princely sum of 2 shillings. However, the need for a faster method of transporting both passengers and freight became apparent as the 19th century progressed. This led to […]
The history of the Post Office in Carrick-on-Suir
The known history of the postal service in the town of Carrick on Suir stretches back to the late 18th century with the opening of the first recorded post office in the town in 1799. It was located on Main Street in a building which is Mary Fashion's today across from the New Bridge. Before the state began to take a direct role in the running of the postal service from the late 19th century onwards the majority of post offices were privately owned. These post offices were operated by individuals who held a franchise to sell stamps, accept letters and parcels, offer a telegram service and a service of telegraph money orders. To find the first named postmaster in Carrick we must consult Slaters Directory of 1846 which records that a man who went by the name of John Leech was the post master in Carrick at that time. Leech and all other post masters in the country were answerable to a central postal authority. Although the post offices were privately owned the postmen were state employees and received their wages from the state. In the aftermath of the Fenian Rebellion of 1867 a second postal delivery service was […]

redpajama_set_name: RedPajamaCommonCrawl


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Translation:They are meeting at the museum.
So this lesson suddenly starts to use quite some s-verbs, but I'm not sure I understand the difference. If I understand correctly both å møte and å møtes mean "to meet" so what's the difference?!? Why use møtes here?!?
Am I right (I have read all the links), that møter is used when i.e. I meet somebody (on the street), and møtes is like meeting each other?
I am not a native speaker, but based on the links I believe you are correct. So here it means that they meet each other (reflexive). You could not say, however, "Han møtes henne på museet" because that's not reflexive.
Is this a possible translation? "They are being met at the museum." How to tell if an "s" verb is passive or reciprocal?
It would be very rare to use the passive form without an object; someone they were being met by. Even then, there would be a preference for either making that someone the subject, or using "blir(/vil bli) møtt" rather than "møtes".
"Guiden møter dem på muséet."
"De vil bli møtt av en guide på muséet."
can 'at the museum' be translated with 'ved museet'? In this case, what's the difference between 'ved' and 'på'?


The mandate of this Task Group is to prepare a publication, in conjunction with the waste management community that describes in plain language and clarifies the application of the Commission's recommendations for the protection of the public and workers (Publications 101 & 103) as well as the environment (Publication 124) as applicable to surface and near surface disposal of radioactive waste. The report will be a companion to Publication 122.
How the fundamental radiation protection principles are to be applied over the life cycle of surface and near surface disposal including the transitioning from planned exposure to existing exposure situation in the case of a loss of institutional control.
Application of the graded approach in implementing the protection principles and advice in all facets of a facility's life cycle, based on the hazard posed, including the degree of isolation of the waste.
Dialogue amongst regulators, implementers and relevant stakeholder's concerning the practical implementation of the Commission's recommendations.
The new publication will be drafted as a standalone document in coherence with Publication 122 without unnecessary repetition. The objective is to complement the previous publication.
The publication will consider Publications 46, 77, and 81 in light of the Commission's current recommendations, taking into account recent international experience.


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The Green Question Mark – Pegasus EP
By Brett • May 30, 2013 • No comments
Fine 4-track psych EP from The Green Question Mark
Today's review features a 4-track 7" EP by psych collaborators 'The Green Question Mark' on the fledgling Mega Dodo label (MEP 2). The band consist of the wildly named Marrs Bonfire, Icarus Peel, Mordecai Smyth and Crystal Jacqueline. Just by those names, you get a flavour of what this EP is all about.
Marrs Bonfire hosts a weekly radio show on BayFM on Friday evenings in the Exmouth and Budleigh area of Devon and this Pegasus EP was released as a fund rasier to keep the radio station running. Marrs approached regular listeners, Peel, Smyth and Jacqueline for help and this was the result. Peel also doubles up as the producer.
You certainly get value for money with this EP; 15 minutes of classic psych tracks are squeezed in. The EP opens with the Stones track, 'She's A Rainbow' and is every bit as uplifting as the original, with Icarus Peel providing the infectious piano melody throughout. So far, so good. Next up is a version of the rare Syd Barrett track 'Lucy Leave'. Originally, this was recorded in 1965 by Pink Floyd but wasn't released until 1996. I've not heard the original, so can't really compare but seeing as this is the first time I've heard this, I'm impressed! There's some great guitar work by Mordecai Smyth. Side 2 opens with a swirling into to the Hollies track 'Pegasus'. I've got another cover of this track by Vespero on the Fruits de Mer Annual 2013 7" and two different cover versions you could not find. Whereas the Vespero track is a lot more moody, this version is a lot more 'optimistic', with an almost child-like wondrous nature to it. The last track, 'Elevator' is a cover of the song from London band, Grapefruit, who included the brother of Angus Young of AC/DC fame. Again, it's a cracking version with a fantastic guitar sound throughout.
This EP is limited to 250 copies and comes in a specially commissioned sleeve and is pressed on the greenest of green vinyl which plays perfectly. You also get a download code so you can download all four tracks in either MP3 or the vastly superior FLAC format.
Considering the relative size of the label to others that are putting out similar stuff, I'm amazed at the quality of the vinyl and the songs that are on this 7". It's also fantastic that Mega Dodo released this for a good cause too. This comes highly recommended. I must've played it over and over again for about an hour and a half!
You can still get copies of this direct from Mega Dodo for a measly £6. Have a listen to Lucy Leave below.
She's a Rainbow
Lucy Leave
Side 1 – 104598H1/A
Category: 7"
Tags: coloured vinyl • limited run • psych


In a recent interview, world renowned tennis star Serena Williams was asked an appalling question by Inside Tennis reporter Bill Simons. She was asked if she finds her tennis opponent, Maria Sharapova, intimidating because of her "supermodel good looks." This was at the end of a spiral of inappropriate and condescending remarks during the interview.
Simons referenced his lifetime battles against racism, sexism and homophobia along with his apology. Perhaps to emphasize that he his belief that he is in no way racist, sexist or homophobic.
Q. I know you want to get back to Olympia, work with me here, please.
SERENA WILLIAMS: Work with me (smiling).
Q. We're in this together, baby.
SERENA WILLIAMS: No, we're not; you're not going home to a screaming baby.
Q. I have been waiting about 14 years to ask you this question. After the 2004 Wimbledon match with Maria, I had the opportunity to interview Donald Trump on his LA golf course, and he said that Maria's shoulders were incredibly alluring and then he came up with this incredible analysis: That you were intimidated by her super model good looks. My question is: have you ever been intimidated by anyone on a tennis court, and what are your thoughts about that occurrence?
SERENA WILLIAMS: I honestly don't have any thoughts about that. I can't say I have been intimidated by anyone. That's all. That's it.


A packed house in Hays.
Pete Guiden explains his research on wolves.
Garrett's son, Myca, enjoys his father's talk.
Myca traveled to the Bahamas last summer to help his dad with his research there.
Professor Jane Hardy welcomes Garrett back to campus. She was his teacher during his immersion experience in Ecuador.
Professor Emeritus John Zimmerman greets Guiden.
Biologists and Class of 2012 classmates Patrick Garrett and Peter Guiden returned to campus in September to present the year's first Cole Lectures.


My Little Pony Theodore Donald is a supporting Character in My Little Pony film series. This is a male Earth pony and appears in the episodes The Cutie Pox, Leap of Faith, and Slice of Life, and in the IDW comics. He has a pale yellow coat, dark brown mane and tail, orange eyes, and a cutie mark of a bowling ball and two bowling pins..


Ha – I guess Pendragon won't be re-forming the Vanguard then.
Trouble is, will there be a Pendragon after this? I have a feeling the Powers-That-Be won't take "No!" for an answer, in which case things are about to get ugly for our intrepid hero.
Good on you mate! Only problem is Pendragon is a guy in a mask…you CAN put anyone in that mask if you really have too, like say if the original won't comply.


If I was writing this post 6 or 7 years ago, I'd be spelling out golden rules that would completely tank your website in today's search environment.
Some of the most successful and influential SaaS companies include channel sales in their go-to-market strategy.
The Mobile Triforce: Marketing, Tech, and Data.
Kevin Bravo has honed his technical and strategic skills in various startups and environments all over Europe.
One of the most difficult aspects of content marketing is creating great content at scale. Creating great content? Not a problem given enough time and resources.
What do growth investors look for?
We've set the stakes, but other than being in the right place at the right time, what key benefits can be had by leveraging SaaS directories?


text:
Q: Connectedness of the Graph of $\frac{1}{x}$ and the $y$-axis Consider the topological space $G \cup Y,$ where $G = \{(x, \frac{1}{x}) \,:\, \mathbb{R} - \{0 \} \}$ and $Y = \{(0,y) \,:\, y \in \mathbb{R} \}$ with the subspace topology inherited from $\mathbb{R}^2.$ I am interested in whether or not this space is connected. Earlier, I convinced myself -- with the help of two colleagues -- that this space is indeed connected; however, our professor provided this proof that it is not connected.

Claim. $G \cup Y$ is not connected.
Proof. Consider the subsets $P = \{(x,y) \,:\, xy < \frac{1}{2} \}$ and $Q = \{(x,y) \,:\, xy > \frac{1}{2} \}$ of $\mathbb{R}^2.$ We note that both $P$ and $Q$ are open in $\mathbb{R}^2.$ Furthermore, we have that $G \subset Q$ since $xy = 1$ in $G$ and $Y \subset P$ since $xy = 0$ in $Y.$ We have therefore that $G \cup Y = (Q \cap G) \cup (P \cap Y)$ gives a nontrivial decomposition of the space $G \cup Y$ into clopen subsets, hence $G \cup Y$ is not connected.

But I cannot fathom why these intersections are clopen. From what I can tell, $Q \cap G$ is simply $G,$ and $P \cap Y$ is simply $Y.$ Furthermore, $G$ does not appear to be closed since it does not possess its limit points of $\pm \infty,$ and $Y$ does not appear to be open since its complement in $G \cup Y$ is not closed.
Could someone provide some insight into whether or not this space is connected?

A: (1) There are no limit points $\pm \infty$ here because there are no "points at infinity" in the set $\Bbb R^2$.
Limit points are defined  within a space. You can always take a non-empty set  $X$ and any topology $T_X$ on $X$ and take a point $p\not \in X,$ and define a topology on $Y=X\cup \{p\}$  such that the subspace topology on $X,$ as a subspace of  $Y,$ is $T_X,$ and such that $p$ is a limit point of $X$ in the space $Y.$ But $p$ is a not a limit point of $X$ in the space $X$ because  $p\not \in X.$
(2) The topology $T'$ on $G\cup Y,$ as a subspace of $\Bbb R^2,$ is $\{t\cap (G\cup Y):t\in T_{\Bbb R^2}\}$ where $T_{\Bbb R^2}$ is the set of all open subsets of $\Bbb R^2.$ This is the definition of "subspace topology".
$P$ and $Q$ are members of $T.$ For brevity let $P'=P\cap (G\cup Y)$ and $Q'=Q\cap (G\cup Y).$   So $P'$ and $Q'$ belong to $T'. $ That is, $P'$ and $Q'$ are open subsets of the $space $ $  G\cup Y.$
Furthermore $P'\cap Q'=\emptyset$ and $P'\cap Q'=G\cup Y.$ So the   space  $G\cup Y$ is the union of two non-empty disjoint open subsets ($P'$ and $Q'$), so it is not a connected space.

A: I'll share two ideas/sketches on why it isn't connected that I find more intuitive than your professor's.
1.
Consider the following subspace of $\mathbb{R}^2$:
$$\{(x-1,\frac{1}{x})\mid x<0\}\cup \{(x+1,\frac{1}{x})\mid x>0\}\cup (y\text{-axis})$$
(i.e. The graph of $\frac{1}{x}$ with it's negative part translated a unit to the left and it's positive part transaled a unit to the right, plues the $y$-axis.)
I imagine you'd agree this set is not connected. Now you only have to check that this set is homeomorphic to the unstralated graph and $y$-axis and you can safely and comfortably believe that this unstranslated graph + axis is not connected.
2.
Notice (at least visually) that for every point in the $y$-axis you can find a small open set that does not inersect the graph of $\frac{1}{x}$, and so the $y$-axis is an open set in the subspace. As it is also closed this is a non-trivial clopen set, i.e. the subspace is not connected.

A: G and Y are both closed sets within $R^2.$
Thus they are closed within the subspace S = G $\cup$ Y.
As inside S, G and Y are complements of each other,
they are open within S.
Whence S is the union of two disjoint, (relatively) open sets,
which assures S is disconnected.

redpajama_set_name: RedPajamaStackExchange


Unmanned aerial vehicles (UAVs) are now readily available worldwide and users can easily fly them remotely using smart controllers. This has created the problem of keeping unauthorized UAVs away from private or sensitive areas where they can be a personal or public threat. This paper proposes an improved radio frequency (RF)-based method to detect UAVs. The clutter (interference) is eliminated using a background filtering method. Then singular value decomposition (SVD) and average filtering are used to reduce the noise and improve the signal to noise ratio (SNR). Spectrum accumulation (SA) and statistical fingerprint analysis (SFA) are employed to provide two frequency estimates. These estimates are used to determine if a UAV is present in the detection environment. The data size is reduced using a region of interest (ROI), and this improves the system efficiency and improves azimuth estimation accuracy. Detection results are obtained using real UAV RF signals obtained experimentally which show that the proposed method is more effective than other well-known detection algorithms. The recognition rate with this method is close to 100% within a distance of 2.4 km and greater than 90% within a distance of 3 km. Further, multiple UAVs can be detected accurately using the proposed method.


Text is Copyright © 2017 by Jason H. Abbott, All Rights Reserved. Art elements are original, open source, or in the public domain.
That's one smart Fairy Godmother. Nice one, Jason.
I didn't even notice that it was a Godfather! That's even better!


Colony, which has lost more than half of its value since a disastrous merger with rival Northstar at about the same time that Mr Trump took office in January 2017, said it had reached agreement with Blackwells Capital to appoint two new directors to its board. Both will sit on a special committee "tasked with reviewing . . . issues related to the company's assets and business configuration".
The announcement marks a striking victory for Blackwells in what is only its second public campaign. Founded in 2016, the fund has no outside investors and is run by Jason Aintabi, a member of a wealthy Canadian family with real estate interests throughout the world. Mr Aintabi has told colleagues he found common ground with Mr Barrack over their shared Lebanese ancestry.
Colony owns properties across the healthcare, industrial and hospitality sectors. It also manages assets held in private equity funds backed by outside investors.
Talks between the two sides began in September, people familiar with the situation said, about two months before Colony ousted chief executive Richard Saltzman. That move saw Mr Barrack return to the top job, where he began cutting 15 per cent of the company's workforce in an effort to stem larger-than-expected losses.
Mr Barrack played a high-profile and at times controversial role in Mr Trump's ascent to power. He attended the 2016 Republican national convention to deliver a primetime address in support of his longtime friend. Earlier he had introduced the future president to Paul Manafort, who became the Trump campaign chairman and who is now in prison awaiting sentencing on counts of fraud, obstruction and conspiracy against the US.
Mr Barrack's firm also hired Manafort's former deputy, Rick Gates, as a consultant after the election, but they parted ways after Mr Gates pleaded guilty to financial fraud and lying to investigators in the Mueller investigation into Russia's interference in the 2016 election.
Mr Trump's inaugural committee, which Mr Barrack chaired, has been subpoenaed by federal prosecutors in New York seeking information on its donors and spending.


text:
HOME EVENTS & ENTERTAINING
How to Make an Easter Egg Hunt Flyer
By: Kristy Robinson
How to Make A Family Reunion Flyer
How to Change a Document From Portrait to Landscape in Word
How to Make a 5K Run Flyer
How to Create a Class Reunion Database
How to Create Your Own Printable Invitations for Free
Make or design an Easter Egg Hunt flier to advertise or promote the event for your personal or organization's benefit. The fliers can be posted around the community or mailed out to participants to alert them to the event and the time and date of its occurrence. The flier can be made with minimal effort by even the most novice user of word processing programs using templates. More advanced users can design their own flier using page elements available in the program.
Open Word, Works or Publisher and click "File" then "New." Type "Easter" in the search box or click "Fliers" then type in the search box to narrow the results. Select the template you want to use and click "Create" under the preview on the right side. Click on the text you want to change and delete the words already there. Type the information for your egg hunt.
Search Office Online to find templates you would like to use. Click the template to be taken to its main page. Click "Download" and "Accept" the service agreement. If a box opens on your computer screen select "Open With" and click "OK." The flier will open on your computer with the corresponding program. Edit the template as described in the last step with the details of your egg hunt.
Start a new document. Click "Insert" then "Word Art," "Picture," "Clip Art," "Text Box" or "Shapes" to add elements to the page. The elements can be moved around the page, rotated, or re-sized using the dots located around the dotted outline.
Type the information about your egg hunt into an added text box and select the font and font size by clicking the drop-down list under the "Home" tab. Other font options include "B" for bold text, "I" for italic text and "U" for underlined text to emphasize your information.
Open Photoshop and start a new project. Open or add a picture.
Adjust or lighten the image if desired using the blur, paintbrush, eraser or other tools from the menu on the right.
Click the "T" icon from the panel on the right to add a text box. Select the font, font style and size you want to use from the menu at the top.
Click on the area of the picture where you want the event information to be located.
Type in the location, time, date and any other pertinent information. The text box can be re-sized or moved by dragging the corners or the middle of the dotted box around the text. Multiple text boxes can be added to place information on the page as needed.
Microsoft Office: Decorate documents with backgrounds, borders, and text effects
PhotoShop: Learning: E21 Adding Text
Based in southern Virginia, Kristy Robinson has been writing for various websites since 2008. Her work focuses on tutorials and self-help articles. Robinson holds a Bachelor of Science in criminal justice from American InterContinental University.


Microsoft Office 2016 Home and Student has been designed to help you in creating and organising faster. It has time-saving features, a new up to date look. It has built-in collaboration tools. Your documents can be saved in the cloud on the OneDrive. Documents are accessible from anywhere. You can create and share professional-looking documents with state of the art editing. Newly designed tab gives quick access to the features.
It has word that shares professional looking documents.
The new design provides quick access to the features.
Smart lookups show relevant contextual info.
Analyse and visualise your data in new and more intuitive ways with the fresh user interface.
Features such as autocorrect and formula builder for saving time.
It has a digital notebook for keeping the notes.
Sign in to Office 2016 and use OneDrive to access the recent documents easily.
For the Mac, you have to buy Home and Business for Mac 2016 or the Home and Business for Mac 2019.


blossoms, Thorn's dark agenda comes to light and he's forced to make a deadly choice: lead Rune to her destruction, or face the wrath of the phantom who has haunted the opera house for a century, and is the only father he's ever known.
I feel like I need to start this review off on a positive note, because I'll be honest, I didn't love RoseBlood. That said, the writing was beautiful. Howard has always had a way with words and it really shines through in RoseBlood. The imagery is so vivid and the way she weaves her words together is utterly compelling. This also, for me personally, helped a lot with getting through the story. The writing was so fun to read that it in some ways made up for the things I found lacking in other aspects of RoseBlood.
Now for my issues with the book. As I touched on already, the story just didn't grab me. It started off really interesting, but quickly devolved into a plot that I knew wasn't for me. Minor spoiler alert here- RoseBlood ended up being more of a paranormal YA romance than I was originally expected. I'm not sure if I'm to fault for the mix up here, I could have totally missed something in the book's description that others will pick up on, but me and paranormal romance? We just don't mix. Also, -another spoiler alerts here- vampires. I also don't do vampires, of any kind. This is totally a personal preference, and I will say, RoseBlood has a really unique take on its vampires. I just have yet to read a vampire story that I love, and RoseBlood didn't make the cut either.
I really enjoyed Rune's character. She was unique and fun to read, with lots of moments that were just really well written. I didn't really care for any of the other characters, and I felt like the romance was a bit forced.
Overall, despite RoseBlood obviously not being my cup of tea, I think this is a book that a lot of people will enjoy. I'd definitely recommend it to fans of Twilight or Karen M. Moning. I think Howard did a great job of retelling a classic in a unique and beautiful manner, and I will definitely be reading her future books.


text:
Posted bybassetts49 November 2, 2020 November 2, 2020 Posted inCreativity
For someone who worked on Nissan, Mercedes, and pitched the Honda account, this is probably not the most re-assuring headline I could write. But even though I'm not a car guy, there were four car moments in my life that gave me at least a glimpse into why car guys (and any other genders) are car guys.
#1. 1965 Chevrolet Corviar.
My first car was a used 1965 Chevrolet Corvair. Consumer activist Ralph Nader wrote a whole book about it. The book was not as complimentary as the proud owner of a used Carvair might hope. The book was entitled Unsafe at Any Speed. Still, I believe Mr. Nader may have been a little over-zealous in his review.
Yes, the rear end was a tad unstable. When it rained I spun out more than once on I-85 and ended up in the center median. But looking at it from a different point of view, driving a Corvair was always an adventure–you never knew what to expect.
Then there was the matter of carbon monoxide. Yes, small amounts of carbon monoxide did leak into the passenger compartment, but, hey, that's why car windows were invented. Just roll 'em down and you're good to go. Including in January.
If I were forced to find one design flaw, my Corvair did have a small parking problem. Whenever my girlfriend and I parked and tried to make out, the four-on-the-floor manual stick-shift thwarted my every move. Who knew a 20th-century Corvair also functioned as a 15th-century chastity belt? It was a fact that I don't believe Mr. Nader included in his book.
#2. 1985 Mazda Miata Convertible.
I went out to buy a second family car. I drove home in this, a 1985 Mazda Miata convertible. It had 40,000 miles on it. I couldn't wait to add 100,000 more. Still, even as a second car, it was slightly impractical for a family of soon-to-be five.
People, often women, gave me strange looks as I crammed four bags of groceries into our baby's car seat and buckled them in. I considered making a bumper sticker for my Miata. "I'm not a total asshole. My other car is a Volvo."
When guys at the office said I was driving a girl's car, I didn't care.
When my wife's Volvo broke down and I had to make four separate trips to rescue my family, I didn't care.
And then there was that day in Texas when I picked up our poodle, Indy, from the groomers.
Indy.
She was black, had a fresh poodle cut, and wore red ribbons in her hair. I put the top down on my Miata and we rode home together. Indy sat in the passenger seat. It didn't hit me until the wind was blowing through both of our hairs that Indy's black color and red ribbons matched the colors of my Miata exactly.
Inevitably I pulled up to a stoplight next to a pick-up truck with a rifle mounted in the rear window. I still didn't care. Well, I did care a little bit. Nobody wants to get shot.
Sadly, neither the car nor the marriage made it to 100,000 miles. Go figure.
#3 Mercedes-Benz Test Track Stuttgart, Germany.
Obviously, this isn't a car. It's the Mercedes-Benz test track in Stuttgart, Germany. When our agency pitched the Mercedes-Benz account we were invited to tour the Mercedes plant and take a test drive in the latest Mercedes sport sedan.
Three things blew me away about the Mercedes tour.
One was the Mercedes museum at the manufacturing plant. Every wet dream you've ever had about a car was on display. It was like touring the Guggenheim, except the art wasn't on the walls.
The second thing that blew me away was the manufacturing process. Yes, it was a car plant. But it wasn't an assembly line. It was a line of crafts people obsessed, in a healthy way, over every part that went into a Mercedes-Benz. Back when I toured the plant, the interior wood trim? It was still made out of wood.
And the third thing that blew me away? The test track itself. It was designed to see just how far one could push the limits of German engineering. As it turned out, it was also designed to test the limits of Steve Bassett's engineering.
First, they put me in the backseat of the new Mercedes sports sedan. Unfortunately, in the backseat of any car, I get carsick before the engine is even turned on.
Second, our test car driver wore a crash helmet. Why did he have one and I didn't?
Finally, when taking the banked turns at 120 mph, the g-forces would not permit me to lift my cliched fists from my almost urine-stained lap.
When the test drive was finally over, I literally poured myself out of the latest feat of German engineering, got down on all fours, and literally kissed the test track. (I assume I have proven by now, I do not have a need for speed.)
No one was more surprised than I was when our agency won the Mercedes account. Could it have been the reverent, physical display of respect that one extremely pale American showed for hallowed German asphalt?
#4 1990 Nizzan Z.
Imagine you're a 30 something copywriter working at Chiat-Day in LA. Imagine you're put in charge of launching the next generation of the Nissan Z? What do you do?
Well, first, you take a tour of Nissan's amazing design studio in San Diego. There you get a first-hand look at how the new Z was totally re-invented from the wheels up. You see the original sketches, lines of ink that seem themselves to be aerodynamic. You see life-sized clay sculptures of what the finished product might look like some day.
And then, some six months later, on a sunny spring day in Venice Beach, the only car of its kind in the world pulls up to your agency. "Are you ready for your test drive, Mr. Bassett." As everybody knows, if there's any place in the world where it's hard to turn heads in a car, it's Southern California. And here I was, driving a car nobody had ever seen before driving up and down the Pacific Coast Highway five more times that my signed release permitted.
I have to report, on my extended test drive, heads may have turned but I was too nervous to notice. What if I drove the only working model of the new Nissan Z directly into the Pacific Ocean? I regret to report to car guys everywhere, I never drove the Z over a CHIP's-approved 60 mph.
When my creative partner and I started working on ads for the new Z, this is the photography style that inspired us.
The style was classic but somehow futuristic at the same time. Since I didn't get paid by the word, I kept the copy on the outdoor boards to a minimum. However, please note I had to go through all 26 letters of the alphabet until I found the right one.
So there you have it. Proof, Steve Bassett is not a car guy. I'm just a guy who drives a car.
Published by bassetts49
50 years in advertising, 20 years as the creative lead on Geico. A life in creative thinking. View more posts
4 thoughts on "I'm not a car guy."
Greg Zuercher says:
Steve I have the same recollections of the Mercedes test track. What an incredible experience! I also was so impressed with the value the Germans place on technical training and the apprenticeship program at the factory. As you said, each area of the line represents true craftsmen, not just laborers!
larry bennett says:
Touring the Audi factory in Ingolstadt was a similar eye opener. As was driving new Audis on the autobahn… at silly speeds. But I was so taken with Audi's dedication to safety that I boarded a TV spot where I would actually ride in the car for a crash test. A living crash test dummy, certain that I would be 100% safe. I thought that would be the ultimate testimonial. Then, of course, our lawyers and their lawyers laughed their asses off.
nouralgarah says:
Hahahaha! Talk about a crash test dummy.
You've got to love the Miata high beams, though. I don't know what your colleagues were thinking when they said it was a girl's car. Such a nice design quirk.


Thank you. Glad to be of service in some small way.
You write very well. Do more of it.
You are in a period of bereavement and must endure what is a process.
Nothing will ever be the same. You shall not ever be the same.
However, you've endured that before and been brave.
One day you'll look back and see those who have let you down and aren't what they say limping and lumbering behind you.
Till then, keep those little hands in yours and be proud you have the strength to grieve and grow.
And PLEASE write more. You're very talented.


Amazingly, a different Spoonbill appeared on Thursday............the third of the week.
It was another Eurasian Spoonbill, the bill is different from the one earlier in the week, it's pinkish which I think means an immature.
The light was much better than a couple of days ago. When we arrived it must have just flown in off the sea and it was being mobbed by a crow.
It does look comical with its mouth open.
I wonder how many other spoonbills have been turnig up in Hokkaido?
I guess we could say you are really getting spoon fed these days!
Blackish wingtips are a good sign of an immature....I think the bill darkness is variable. Nice shots.


text:
Q: Prepending multiple elements is not showing right before the element in JS I am not sure if question headline is justifying my requirement. But here is what I am facing. I have 50 elements and I am showing it into the batch of 10. And I have next and previous button. So as per my requirement, suppose i am showing 10 element on the page which is 30th-40th element. Also, in my viewport, I am showing 4 elements at a time.
I click on one of the element and the list is removed and new page shows details. and the I went back and shows the 30th-40th element and user clicked previous and I prepend the 20th-30th element. Now, The list is jumped to 20th element. whereas it should show me 26th-29th and then 23rd-25th and then rest. How to stop it from jumping.
i don't know what code should i show, because it's just
$(document).on("click","#prev",function(){
    $("#mainElement").prepend(element);
});


text:
Previous / The winners and losers of F1's silent war Next / Austrian Grand Prix F1 practice: Lewis Hamilton fastest on Friday
Red Bull F1 boss Horner says Sainz will stay at Toro Rosso for 2018
Christian Horner is adamant Carlos Sainz will remain at the Toro Rosso Formula 1 team in 2018 despite the Spaniard's claim he is unlikely to stay for a fourth term
Jul 7, 2017, 10:33 AM
Sainz said on Thursday his target for 2018 was to find a way into the senior Red Bull team, adding he was doubtful about spending a fourth year at Toro Rosso if he could not do so.
But Red Bull boss Horner insisted Sainz - who's deal is with the Red Bull team and is in effect loaned to Toro Rosso - was under contract for an extra year and would stay at the squad.
"We've exercised his option as well, so he's under contract," Horner told Sky F1.
"We have an option on him for next year and the year after, so he'll be in a Toro Rosso again next year."
Asked about Sainz's suggestion that he could move on, Horner said those comments were "disingenuous" to those that had given Sainz his F1 break.
"I don't know where he thinks he'll be then!" said Horner.
"Contracts are clear.
"You have to remember that he only got an opportunity in F1 because of Red Bull investing in him in the junior years, and it's a little disingenuous to be making comments like that when a lot of investment goes into these guys to give them the opportunity.
"Without Red Bull he wouldn't be sitting in an F1 car."
Horner said Sainz was unlikely to be loaned to Renault for 2018.
"I can't imagine that scenario," he said.
"Toro Rosso are ahead of Renault at this point in time, and doing a good job, and it wouldn't make sense to loan him out."
He added Daniel Ricciardo's Azerbaijan Grand Prix victory had not had any impact on the future of the Australian or team-mate Max Verstappen with Red Bull.
"It doesn't make any difference to the contracts," said Horner.
"We're very clear on what our drivers and who our drivers are for next year, which are the same numbers that are on the car this year.
"There's nothing really to report on that. The contracts are clear, so both drivers are under contract for next year, 100%."
The winners and losers of F1's silent war
Austrian Grand Prix F1 practice: Lewis Hamilton fastest on Friday
Kubica out of F1 as Orlen moves to AlphaTauri and Alfa Romeo lands new sponsor
No Ferrari number one driver, but Vasseur won't hesitate to "take action"
Sainz wants return of the "consistent Carlos of 2021" in F1 next year
United States GP Plus
The 10 steps Ferrari needs to take for the Prancing Horse to be stable
Lawson to drive Red Bull F1 car at Bathurst
Video Inside
The top 10 Red Bull drivers - 5th to 1st
How Vettel put in the hard yards to exploit Red Bull's F1 potential


Over the last year or so we have created a new discussion event at Polymorph called #morphbites.
The idea is to share short sound bites about all the interesting happenings in the dev, design and process world that we function in. Individuals grab one of our Slack channels and give a 5 minute run down of 2 or more highlights from that channel. We find these rapid info-sharing sessions a great way to get our regular Team Day started and hopefully it can be helpful to our fellow technologists, designers and agile people out there. Below is a short summary of the channels covered and links to the highlights shared during the month of June, soon to be followed up by our July #morphbites.
What's New in Swift 3?
We love the autonomy that comes with a remote-first culture. We also love getting different perspectives on the matter, and improving how we work remotely.
Hendrik is passionate about getting software teams to use their complementary skills to deliver user-focussed solutions built on great technology.


text:
Gora Matvejchuka (e Transkription von ) ist ein Nunatak im ostantarktischen Mac-Robertson-Land. In den Prince Charles Mountains ragt er unmittelbar westlich des Mount Bayliss und östlich des Mount Menzies auf.

Russische Wissenschaftler benannten ihn. Der Namensgeber ist nicht überliefert.

Weblinks
 Matvejchuka, gora im Composite Gazetteer of Antarctica (englisch)

Berg in den Prince Charles Mountains
Nunatak


text:
Ва́цлав Ва́цлавович Миха́льский (род. 27 июня 1938, Таганрог) — советский и российский писатель, сценарист, издатель. Член Союза писателей России.

Краткая биография

Происхождение
Прапрадед был выслан из Польши на Кавказ в середине XIX века, где и погиб на полях сражений Кавказской войны.

Вацлав родился в Таганроге в семье тружеников: поляка Вацлава Адамовича Михальского и русской Зинаиды Степановны Удовиченко. После ареста отца переехал в Дагестанскую АССР, где и провёл детство и юность. Жил также в Кабардино-Балкарской АССР и Чечено-Ингушской АССР.
Окончил Литературный институт имени А. М. Горького (1965) и Высшие курсы сценаристов и режиссёров при Госкино СССР в 1975 году.

Автор многочисленных прозаических произведений и нескольких киносценариев. В 1990 году Михальский создал журнал «Согласие», который в 1994 стал одноимённым издательством («Согласие»), генеральным директором и главным редактором которого он является. Автор издательских программ «Согласие», «DIXI», «Достояние России».

Премии
 Государственная премия России в области литературы и искусства 2002 года за роман «Весна в Карфагене».

Повести и романы
 «Баллада о старом оружии» (1964)
 «Катенька» (1965)
 «17 левых сапог» (1967)
 «Тайные милости» (1982)
 «Мир тесен» (1983)
 «Паранг» (1989)
 «Печка»
 «Холостая жизнь»

 Цикл романов о судьбах русской эмиграции первой волны:
 «Весна в Карфагене» (2001)
 «Одинокому везде пустыня» (2003)
 «Для радости нужны двое» (2006)
 «Храм Согласия» (2006)
 «Прощёное воскресенье» (2009).
 «Река времён. Ave Maria» (2010).

 «Адам — первый человек» (2014).
 Полное собрание сочинений в 10-ти томах (2014).
 «Не судьба» (сборник рассказов, 2017)

Сценарии художественных фильмов
 «Баллада о старом оружии» (1986)
 «Катенька» (1987)
 «Тайные милости» (1989)
 «Семнадцать левых сапог» (1991)

Произведения Вацлава Михальского переведены на английский, французский, немецкий, испанский, китайский и другие языки.

Источники

 Таганрог = Taganrog: энциклопедия / Редкол.: Г. М. Бондаренко (отв. ред.) [и др.]. — Таганрог: Антон, 2008. — 936. — 1800 экз. — ISBN 978-5-88040-064-5.

Ссылки

 Издательство «Согласие»: http://so-glasie.ru

Писатели СССР
Писатели России по алфавиту
Русские писатели XXI века
Выпускники Литературного института имени А. М. Горького
Сценаристы СССР
Писатели России XXI века
Члены Союза писателей России
Выпускники Высших курсов сценаристов и режиссёров
Лауреаты Государственной премии РФ в области литературы и искусства


text:
Raising Triplets
By Jody Gerbig Todd
I wondered if my three girls, two identical, one fraternal, would lose their individual identities. I needn't have worried.
Puppy, Stinky Puppy and Other Puppy used to be white and fluffy plush dogs about the size of guinea pigs. They arrived at the hospital in small gift bags the day after I gave birth to my triplets, a set of girls, two identical, one fraternal. The identical pair, Ainsley and Patten, adopted all three of the stuffed dogs, snuggling in their soft fur and playing with their nubby tails. My fraternal girl, Gwen, opted for a small, pink bunny with a blankie attached.
Over time, Ainsley and Patten loved the dogs' bright, soft fur into gray, matted messes, the dogs becoming bath-soaked versions of themselves. To anyone else, Puppy, Stinky Puppy and Other Puppy all looked the same, save Stinky Puppy's one dark paw that Ainsley had sucked to a flat, stinky knob. Yet, to my identical girls, their "mommies," the puppies were distinct enough to spot from across the room.
I think about my children's lovies often. They have become symbols of the triplets who love them, leaving me with more questions about identity than answers: Why did my identical girls attach to identical objects while my fraternal triplet chose one so different? What kind of invisible imprints have my children left on their babies? What will I leave on mine?
When I was pregnant, people often asked how I would tell the identical girls apart. "Even the third might look the same," they said with pinched brows, pointing to my giant belly, genuinely concerned for our postnatal days. Wondering the same, I bought nail polish in each of the girls' assigned colors (pink, yellow, green) and planned to paint big toes. I bought color-coded onesies. We selected names, which we assigned to their anticipated birth order, and posted them above their cribs. I was afraid—as others must have been—that I might lay one baby in another's crib, forever calling her the wrong name. (As though that would've mattered—would it have mattered?)
But when I stretched my shaking hand through holes in their NICU incubators to greet them for the first time—squinting through a haze of anesthetic nausea and exhaustion, struggling to stay awake, battling preeclampsia swelling and dizziness—I knew I would never need the polish. Olive-skinned, dark-haired and green-eyed, my fraternal triplet Gwen resembled my husband's family. She was tiny and gaunt, weighing only 3 pounds, still curled in a ball like a fetus. Though resembling her twin, Patten weighed 4 pounds, had a birthmark on her forehead, and only wanted to be held against my warm chest. Ainsley weighed 5 pounds, had a birthmark on her thigh and ate voraciously, earning the name "Cheeseburger" from the nurses. Already, I could tell their differences from across the room.
As they gained weight and their birthmarks faded, the identical pair became interchangeable to grandparents, cousins and friends. Babysitters asked that I dress the pair in their colors, style their hair differently, announce frequently who was who. But to me, Patten and Ainsley were as different from each other as they were from their sister Gwen. Patten had developed a wry smile and a wary spirit, learning all the boundaries before she made a move. Ainsley had grown confident and independent, sitting sometimes by herself at the window to look out, as though dreaming of travel but knowing her home would always be there. If people didn't always remind me, I would have forgotten two were "identical." I would have referred to all three as "sisters."
When all three started walking and talking (wee Gwen was the first—always the first—as though trying to distinguish herself from the two and needing an identity more unique than "the fraternal" or "different-looking"), the people closest to them could sometimes tell them apart. "I see the roundness in Ainsley's face," or "Patten has a scruffier voice," they'd say. But, a day later, they went right back to calling Patten by Ainsley's name or Ainsley by Patten's name.
No one ever called Gwen the wrong name. Because of her recognizability, because of her difference, she evolved to become a mascot of sorts for the Todd Triplets. Besides her many physical differences, she is a tiny spitfire, bossing around kids and parents alike. One day, when I had all three 3-year-olds paint pictures, Patten and Ainsley chose red and orange and painted similar blobs on one end of the long paper. Gwen chose green, brown, and purple and scattered her paint in wild brush strokes all over. Even as I forget what they are, their preferences remind me that two shared a placenta and one hid in a ball under my ribs, a mystery, separate, waiting to unfurl wild brushstrokes on the great, blank canvas of life.
My husband and I do try to nurture our children's separate identities. We moved so each girl, now 4 years old, has her own bedroom. We dress them differently, according to their personal tastes (with the exception of three identical blue "Sister Squad" shirts I couldn't resist buying). We refer to Patten and Ainsley by their names instead of as "the identical pair." I have now cut their hair in unique styles. We named all three without regard to rhyme or alliteration, the only commonality among them (we realized after we had already named them) being one "N" and one "E" in each of their names.
Still, to many besides themselves—and perhaps even to themselves—all three have no identity other than "the triplets." "Here come the triplets," my niece says as we walk through the door. "What are the triplets doing these days?" the women at my book club ask. Each of my girls will be known as one of "the triplets" when she goes to school, arriving at the same time and perhaps to the same classroom as her sisters, sitting next to one another during graduation and standardized tests. People will confuse who did what, telling stories that gloss over which triplet was the heroine of which adventure. Five years younger than my own sister, even I have been mistaken for her—still am mistaken for her—people overlapping our stories in implausible ways. We look alike, maybe even talk alike, but I am 4 inches taller, with a different hair color, a different profession and education, different friends and hobbies. Imagine how often the stories of my daughters—especially of the identical pair—will be confused for each other's.
It is difficult, even for me, not to compare. Identical multiples share 100 percent identical genes at conception and less so (due to small, cellular changes) as time goes on. Fraternal multiples, however, share about 50 percent of their genes, the same as any siblings. With few exceptions, all multiples are raised in the same environment. If they're like mine, they have almost never been separated. Watching triplets interact and grow is like observing one long, controlled study. If one reacts to a stimulus but her identical twin does not, for example, we immediately ask whether the cause is environmental. If the identical pair react the same but Gwen does not, we wonder if it is genetic. If all three react at the same time and in the same manner, I start to think their shared experience is to blame. Sometimes, I wonder if my identical girls' differences are due to a split-second change in my tone, or a look given to one when she was a babe, or 10 extra minutes spent with one over the other. What if, I think, Ainsley had come home first from the NICU instead of Patten? Would Ainsley have become the more attached one? Or what if I could have given more skin-to-skin contact to Gwen in the NICU? Would she have grown calmer, more relaxed? I start to count the invisible imprints I have left on them.
I don't know how my children will develop: if they will embrace their similarities or pursue their differences. Sometimes, when they fight and whine, "I want to be the only child," I worry I haven't separated them enough. Other times, when they hug and hold hands, saying, "I love you, sisters," I dream of them all rooming together in college. I can't imagine it is easy to be a triplet, even with the built-in friendships and three times the clothes and toys to share. I don't know if it is good or bad that they (and I) know no different reality.
The uncertainties disappear as I watch them huddled together in our living room, the identical pair standing on either side of Gwen. Without talking or instructing, Patten and Ainsley bend their knees like platforms for Gwen to climb. Together, they build an impromptu pyramid. I cringe, waiting for one to fall, knowing I will have to comfort all three if they do. Instead, they laugh. Gwen stands on her sisters' thighs, her eyes alight, finally the tallest of the three, and I realize, perhaps, I have less to do with their formation than they do, seemingly stronger together than apart.
I am OK with that, even if it means my children grow up confiding in one another before confiding in me. They have a closeness I have never experienced—a trust that the others will hold them up and make them feel bigger. But to me, my children will always be distinct beings. With me, at least, they are Patten with the wry smile, Ainsley with eyes of wonder, and Gwen, the tiny babe who arrived ready to conquer the world.


A yet to be identified SARS operative has reportedly died in Anambra State after policemen thought he was a kidnapper and opened fire.
According to Punch, the incident which occurred in Alor, Idemili South Local government area of Anambra State in the wee hours of Friday morning was a sad case of mistaken identity.
The deceased had accompanied a colleague to effect an arrest in someone's residence at about 4:30 am. Punch further shared the statement of a source who preferred to remain anonymous.
"They were handcuffing their suspect when somebody who did not know that they were SARS operatives alerted some policemen on guard in a private residence in the neighbourhood, the Source said.
They kuku look and dress like them.
His identity pls?? So it doesn't look like it's just wash, cos we are all tired pls!!!


Tilbrook's Solicitors in the area are on hand at all times to assist with business partnership disputes, regardless of the size of your business. With our ethos to be cost effective, convenient and professional throughout all services, you can rely on us to deliver the results you are looking for at a time most suitable to you.
Business partnership disputes can often lead to major disruption in the day to day running of a business leading to missed revenue, further disruptions and a breakdown in communication. If not managed properly and guided by professional solicitors like ourselves, the business reputation and capital can be severely damaged.
Tilbrook's Solicitors in are experts at dealing with business partnership disputes and take care of all elements of the procedure so both parties can focus on their business rather than the minor details of the dispute. We take the time to resolve all disputes definitively, considerately and pragmatically so that you don't have to.
In all situations of business partnership disputes in , Tilbrook's Solicitors are able to provide practical advice from a commercial perspective in order to seek a resolution. Using negotiation and alternative routes we are able to apply effective tools and expertise for all clients as resolve the issue as early as possible.
With all services being confidential, you can have great peace of mind when working with us.
In some cases, where court action is necessary, we are able to act on your behalf and take swift and decisive action when representing you and your business partnership disputes.
To speak to our Principal, Robin Tilbrook, call 01277 896 000 today and discuss your requirements in when it comes to litigation and business partnership disputes.


-LIVING AREA: the whole room has originally been decorated with contemporary furniture. This luminous area has been skillfully furnished with a large L sofa and a large coffee table, dinning table. LCD TV. Air conditioning.
- BALCONY: delightful large balcony with direct access from the living area.
-SLEEPING AREA: the sleeping area is decorated with a queen-size bed (1.60 x 2 mts) that can be separated into two twin beds (0.80 x 2mts). A big closet offers a lot of space. Wooden floors. Air conditioning.
-KITCHEN: the kitchen is integrated into the living area and is fully equipped. There is a fridge with freezer, microwave, electric toaster, electric coffeemaker and complete tableware for 6 persons.
-BATHROOM: complete bathroom with bathtub w/ shower. Modern style. Hair dryer.
Sorry, pets are not allowed in this apartment.
The Plaza San Martin is the largest green space in the neighborhood of Retiro in Buenos Aires. It was declared a National Historic Site in 1942.
It was surrounded by the Santa Fe Avenue, Esmerald Street, Arenales, Maipú, Avenida del Libertador and Florida Street.
There are monuments: General San Martin, The Army of Independence, the monument to the fallen in the Malvinas and Duda.
The design of the plaza is the work of French architect and landscape architect Carlos Leon Thays. Among the species that can be seen in the botany of the site, are the ombúes, Phoenix palms, and Syagrus Canariensis, lime trees, willows, pines, magnolias grndiflora, Gomera, silky oak, ceibos, pine and jacaranda also brought in from Tucumán.


F Units and E Units, commonly known as Covered Wagons, were very much standard power in the 1950's & 60's. By the 1970s, age was catching up to these classic units and their sheer numbers began to dwindle as railroads either rebuilt them into switchers or retired them from service altogether. By the 1980s if you could catch any Covered Wagons in operation, you would probably seize the opportunity to capture them on film as their days were definitely numbered. Pentrex has assembled a collection of movie films shot by a railfan in the 1970's & early 80's who expected these first generation diesels to come full-circle at any time. An added treat was that these films were recorded using the actual sound as the trains passed. In this all-color DVD, we will get an all-too-brief look at activity from Portland Union Station and Chicago when Amtrak was young. A more extensive collection of films were made in Washington along the Burlington Northern between the Seattle area and Sumas, along the Canadian border. Trains 143 and 144 ran daily between those 2 points and even in the early 80's often had F7s for power. Much of Washingtons beautiful countryside is evident as we see F Units passing forests, meadows, and impressive bridges as long strings of mixed freight is hauled in the northwestern part of the state. We even caught a cab ride for part of the way, so sit back, relax and enjoy a trip back in time as we bring to you "Covered Wagons of the Cascade"


Since when did it become trendy to drink Rosé? Gosh I really hate when I enjoy things that are classified as "basic." But I can't help it in this case. Rose is freaking delicious. Especially when it's sparkling. Because when that warm springtime air finally makes its debut, there are very few adult beverages that refresh and rejuvenate my day-drinking soul like perfectly sweet and crisp Rosé bubbles.
This past weekend Chris and I celebrated our 2nd wedding anniversary at the beautiful Terrenea Resort in Racho Palos Verdes. Truth: this resort is insanely expensive. So thank God for credit card points and a little game we've come to know as "churning." We can actually "ball on a budget" with this game and it really just feels so good.
But what would a "free" resort stay mean if we drank $16 cocktails and $20 glasses of wine all weekend long? Diddly squat. So we did what any financially responsible couple would do. We brought our own booze to the classy and oh-so exquisite oceanfront resort. And since no celebration is complete without some bubbly, we packed my favorite flute filler- Rotari Rose.
Rotari Rose is a blend of Chardonnay and Pinot Noir grapes that are aged for 2 years. It's a well-balanced brut that actually sips better than many $80 bottles of Rose I've tasted. It's like really, really tasty. And I'll admit; I'm no no wine expert - that is for sure. But I do have 3 trips to Napa and about 100 wine tastings under my belt...so you should just trust me on this.
Since we're on the topic of Rose, can I get an amen on the awesomeness of all the rose colored clothing this season? From dresses to jackets to shoes and shades, Rose is the hotness right now in the world of fashion. I'm all about it too. So soft and feminine, it can make even us not so lady-like kinda gals look like a million bucks.
But because I refuse to be too prim-and-proper while I'm still young and ahem, hip...I just had to throw some funky booties in the mix. And in my opinion, rose and snakeskin is just a match made in fashion heaven.


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Art, music video, video shoot, cinema, production, NYC Studio
Final Product // Lila Music Video
Last month we did a feature on a music video for the group Lila. It was Directed and Produced by Stefano Pennisi, before hand he answered some questions for us regarding the project! He mentioned in his initial interview, "The end result is really something special - You are getting all these mixes of bright florescent colors and different cool looks while still feeling like its part of this black void where everything lives within. I think it's pretty unique and I can't wait to share it with everyone."
Well, the time is up people! The final result is here! Check out the video, send them your love, and let us know your thoughts!
Thank you to the whole team for using our studios for this awesome project.
Director / Producer: Stefano Pennisi
Director of Photography: Bernard Hunt
Production Designer: Kristen Miller
Talent: Jon Le Sueur, Eli McDuffee, Robin Owens
Editor: Ryan Ivanoff
Tagged: be elecetric studios, be electric, studio, studiorental, studio rental space, studio life, bushwick studio, bushwick photo studio, photography, photo, photo studio nyc, photo studio rental space, video, videoshoot, video production, video production studio, videography studio rental, nyc film maker, NYC, nycsoundstage, nyc musician, nyc artist, nycproduction, nyc photo studio, NYC videographer, NYC pride, actorsnyc, music, Music Video, live music, musicvideo, neon, neon lights, bts, behind the scenes, final result, youtube, vimeo, video shoot, cinematographer, director, producer, production, production nyc, director of photo, talent, editor, lila music, lila
Russell Elliot // Reimagining R&B
A few months back, we had multi-talented R&B singer/Producer, Russell Elliot at our Bushwick film and photography studio to shoot his latest music video for his new single, "On You". This NYC based artist is quite the unique soul and has been on the scene for nearly a decade now, using his powerful voice and all inclusive ideology to connect with his listeners. He delivers his points of view with a genuine sincerity and a powerful voice that draws you in and grips your attention from the get go, telling stories to shake up the way we've always thought about things. As an artist it's his goal to ask the tough questions in regards to our culture and our values, putting heavy emphasis on equality and steering his genre away from misogyny. Upon meeting Russell, we recognized the fact that there was a constant smile on his face throughout the day at our sound stage. This demeanor is definitely contagious as I couldn't help but notice the joy it brought out in the rest of his crew, myself included. Nothing but positivity all around. we're sure this is the case during his live performances as well. After some research, we found this to simply be part of who he is as a person, as an artist hoping to spread that joy in whatever direction he can.
We had the opportunity to sit down and pick Russell's brain to gain some further insight on his projects as well as some of his day to day routines and current endeavors. Check out the interview along with the new music video for "On You" below.
1. First of all, where are you from?
What's good, Be Electric?! I'm from right outside D.C.
2. When you think of the music you are working on, what are some of the influences that come to mind?
I find inspiration everywhere! And I definitely go through phases with the music I listen to (ask me about that one road trip when I listened to the same Gloria Estefan song on repeat for 4 hours... actually don't). Miseducation of Lauryn Hill is the CD I wore out until it skipped. I still bump R&B babymaker classics like Silk, 112, Boys II Men, and Maxwell. More recently I've been crushing on Kehlani, Jasmine Sullivan, Jack Gerratt, Solange, New Frank Ocean (obviously), Russ, & Leikeli47 to name a few. Prince, Beyoncé, Amy Winehouse, & Aaliyah are my forever heroes.
3. Did you grow up knowing that you wanted to make music?
Music and storytelling were all around me from early on. I was an actor as a kid so I knew I wanted to be on stage and on TV. I also studied classical piano and loved it. It took properly getting my heart broken for the first time to pull it all together and start writing songs. I wrote my first songs at 14/15 and cut my first record at 16 in Nashville (no, you can't find it anywhere. Thank God.)
4. Tell us about your day to day here in NYC. Music and beyond.
I write, produce, and perform all my own music. Most of my time is dedicated to perfecting the live show, writing new music, working on the business, & scheming up video concepts. I dance often. I explore the city often-- though less so now that it's winter. I work with other artists in a producer capacity, helping to refine and clarify their ideas. I just finished up a gig where I helped teach an Entrepreneurship Course at NYU's Clive Davis Institute. I also help a dance studio in Greenpoint with strategic partnership marketing. I stay busy!
5. I notice that your music video's include a large element of freestyle as well as choreographed dance, is this something that you've had some training in?
I've been dancing since college! Everything from Ballet to HipHop. Where hiphop and body rolls meet contemporary is where I'm most at home.
6. So, you ran a successful Kickstarter campaign back in 2014 to help fund your 4 song EP along with a music video for your single, "Around"; do you feel that the crowdfunding element brought on a certain sense of responsibility to push yourself in a way that you haven't before with your art?
Amazing Question. Absolutely. With Kickstarter, all of the sudden there were new people involved in my creative process. I'm generally pretty private so at first that terrified me. The fact that people were invested--not just in the product but also in the process-- definitely held me accountable, fortified me, and contributed to the success of the EP. It was definitely a process though-- learning to create with an audience.
7. Was the recent video you shot at Be Electric Studio crowd sourced as well or done independently this time around? Or do you happen to have some representation now that helped?
"On You" is a hybrid project in terms of fundraising. Half of the funding was independently sourced, the other half was matched by our extremely generous partners. (They're credited in the video!) No representation. My team and I are 100% independent.
8. You've been performing on some level for a decade or so, how do you feel you've grown over the years, whether it be in your actual performance level or even the message you are trying to convey today compared to when you first started?
The success of "Around" definitely cemented my promise to always be authentic with my work. I think, as humans, authenticity is what we respond to. As Americans, I think it's what we need right now. It's the commitment to authentic material that made me double down on my commitment to hone my craft. I want to do my stories justice.
9. What are your thoughts on the current sociopolitical climate and what that could mean for you as an artist?
I'm just trying to stay intersectional, stay humble, stay authentic, stay joyful...I turn especially to the women of color in my life-- many of whom have being doing agitation and resistance work for a very long time-- to learn a thing or two about how to meaningfully protest. We've all got a lot of work to do to resist Trump. I hope to rise to the challenge & use my platform for good. (I also wrote a piece for Thought Catalog that went live yesterday about how I hope to be of use in tough times.)
Tagged: nycproduction, studiolife, soundstage, photographystudio, artist, bushwickstudio, studiorental, kinoflo, arri, songwrite, producer, musicvideo


5 to 9 Day New Zealand tour itineraries.
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Arco di Trento was everything but tranquil today with round four of the FIM Motocross World Championship kicking off. Roaring Italians watched on as Monster Energy Kawasaki Factory Racing Team's Steven Frossard made the statement "I'm back" when he pulled the holeshot and led every lap from start to finish to run away with MXGP's qualifying heat win, while in MX2, it was the rise of a dark horse with last years EMX250 champion Standing Construct KTM's Valentin Guillod putting in a awe-inspiring ride to take home his first ever MX2 pole position.
Meanwhile the fans of MXGP were able to witness some extra action today with round two of theFIM Women's Motocross World Championship and round one of the European EMX125 Championship both taking place and both racing their first pointed race of the weekend.
In the WMX red plate holder Bud Racing Kawasaki's Meghan Rutledge nailed her second holeshot of the season and went on to win ahead of the 2008 FIM Women's Motocross World Champion Livia Lancelot and the reigning WMX world champion and Italian wonder woman Chiara Fontanesi. Meanwhile in the EMX125, multi time European EMX85 and EMX65 champRed Bull KTM Racing's Davy Pootjes is evidently embracing the bigger 125 bike, laying down the fastest lap in timed practice and going on to win the first race of the season by over twenty-one seconds ahead of two popular Italians Michele Baraiolo and Filippo Zonta.
MXGP's qualifying race was a manufacture's dream, with all six manufacturers holding a place within the top seven. Monster Energy Kawasaki Racing Team's Steven Frossard looked at home on the hard packed clay of Arco Di Trento, taking the holeshot and going on to lead every lap unchallenged. Behind the flying Frenchman Frossard, Yamaha Factory Racing's Jeremy Van Horebeek was looking solid holding off the brisk seven-time world champ Red Bull KTM Factory Racing's Antonio Cairoli. Unfortunately with a few laps to go the hard charging Belgian ran too hot into a corner causing the front end to wash out, dropping him back to fifth. Meanwhile Cairoli was riding with his typical race smarts, not doing anything silly to cross the line in second ahead of Rockstar Energy Suzuki World's super smooth Clement Desalle and Team HRC's Max Nagl. Also keeping the rowdy Italians on their toes, TM Ricci Racing's Davide Guarnerifollowed Wilvo Forkrent KTM's Jake Nicholls home for an outstanding seventh with Monster Energy Kawasaki Racing Team's Gautier Paulin, who battled from twentieth place to come home in eighth.
MXGP Qualifying Race Top Ten: 1. Steven Frossard (FRA, Kawasaki), 24:29.095; 2. Antonio Cairoli (ITA, KTM), +0:09.235; 3. Clement Desalle (BEL, Suzuki), +0:14.828; 4. Maximilian Nagl (GER, Honda), +0:25.433; 5. Jeremy Van Horebeek (BEL, Yamaha), +0:34.585; 6. Jake Nicholls (GBR, KTM), +0:38.438; 7. Davide Guarneri (ITA, TM), +0:39.508; 8. Gautier Paulin (FRA, Kawasaki), +0:40.144; 9. David Philippaerts (ITA, Yamaha), +0:45.841; 10. Kevin Strijbos (BEL, Suzuki), +0:46.893.
When the gates dropped at the scenic circuit of Arco di Trento for MX2's qualifying race no one could have predicted what was about to happen. Flying out of the gate, Standing Construct KTM's Valentin Guillod and the usual suspect KTM Silver Action's José Butrón were neck and neck for the holeshot with Wilvo Nestaan Husqvarna Factory Racing's Romain Febvreand last years' EMX250 runner up Rockstar Energy Suzuki Europe's Jeremy Seewer hot on their heels.
While the MX2 veteran Butrón did his best to hold off the rookie Guillod and the young gun Febvre, it wasn't long before the two up-and-comers had found a way around, leaving the Spaniard to deal with pressure from two of the biggest championship threats CLS Kawasaki Monster Energy's Arnaud Tonus and Red Bull KTM Factory Racing's Jeffrey Herlings. While Febvre was keeping Guillod honest out front, Herlings had found a way around the current MX2 red plate holder Tonus engaging himself in a battle with his old foe, Butrón. After an intense dual for third, it was Herlings who prevailed with Tonus to follow through soon after. Coming into the closing stages of the race, Herlings made a last ditch charge to catch the leaders Guillod and Febvre, but unfortunately time ran out for the Dutch sensation and it was hats off for the MX2 rookie Valentin Guillod who rode an amazing race to take home his first ever MX2 heat win ahead of Romain Febvre. After chopping the gap to first place down considerably, Herlings came home in third, five seconds ahead of the MX2 red plate holder Arnaud Tonus and the king of holeshots José Butrón.
After a great days racing, Frossard and Guillod head into tomorrow in pole position in their respective classes, while the WMX and EMX125 will line up tomorrow for their second race of the weekend where both Rutledge and Pootjes will be aiming to remain unbeaten for the season.
All the photos of the MXGP of Trentino will be available here.