text:
Q: Using Methods of ObjectX in an ObjectX[] array? I mistyped a command and am confused why it still worked. Example:
PS [73] D:\ > $x = "test","me"

PS [74] D:\ > get-typename $x
String[]

PS [75] D:\ > $x.replace("e","x")
txst
mx

Does that mean I can always call a String method (or any objtype) on a String[] and have it magically apply to each element, without using a foreach? Is there some (undocumented?) implicit casting going on?

edit: more confusion. What happens when the Object and the Object[] have the same method name? Example: the first example is straightforward; Int32 has a ToUint16, but Int32[] does not, so the implicit foreach is logical:
PS [119] C:\ > [int32[]]$x = 1,2,3

PS [120] C:\ > $x.ToUInt16([System.Globalization.DateTimeFormatInfo]::CurrentInfo)
1
2
3

PS [121] C:\ > $x | % {$_.ToUInt16([System.Globalization.DateTimeFormatInfo]::CurrentInfo)}
1
2
3

But here, both types have a ToString() Method. And the magic implied foreach dissapears:
PS [122] C:\ > $x | % { $_.ToString() }
1
2
3

PS [123] C:\ > $x.ToString()
System.Int32[]

A: Short answer: yes, the Replace method exists on a String array object.
Long answer:
PS C:\Users\TheIncorrigible1> $x | GM | ft -AutoSize -Wrap

TypeName      Name                        MemberType Definition
--------      ----                        ---------- ----------
System.String Clone                           Method System.Object Clone(),
                                                     System.Object
                                                     ICloneable.Clone()
System.String CompareTo                       Method int CompareTo(System.Object
                                                     value), int
                                                     CompareTo(string strB), int
                                                     IComparable.CompareTo(System
                                                     .Object obj), int IComparabl
                                                     e[string].CompareTo(string
                                                     other)
System.String Contains                        Method bool Contains(string value)
System.String CopyTo                          Method void CopyTo(int
                                                     sourceIndex, char[]
                                                     destination, int
                                                     destinationIndex, int count)
System.String EndsWith                        Method bool EndsWith(string
                                                     value), bool
                                                     EndsWith(string value,
                                                     System.StringComparison
                                                     comparisonType), bool
                                                     EndsWith(string value, bool
                                                     ignoreCase, cultureinfo
                                                     culture)
System.String Equals                          Method bool Equals(System.Object
                                                     obj), bool Equals(string
                                                     value), bool Equals(string
                                                     value,
                                                     System.StringComparison
                                                     comparisonType), bool IEquat
                                                     able[string].Equals(string
                                                     other)
System.String GetEnumerator                   Method System.CharEnumerator
                                                     GetEnumerator(), System.Coll
                                                     ections.IEnumerator IEnumera
                                                     ble.GetEnumerator(), System.
                                                     Collections.Generic.IEnumera
                                                     tor[char] IEnumerable[char].
                                                     GetEnumerator()
System.String GetHashCode                     Method int GetHashCode()
System.String GetType                         Method type GetType()
System.String GetTypeCode                     Method System.TypeCode
                                                     GetTypeCode(),
                                                     System.TypeCode
                                                     IConvertible.GetTypeCode()
System.String IndexOf                         Method int IndexOf(char value),
                                                     int IndexOf(char value, int
                                                     startIndex), int
                                                     IndexOf(char value, int
                                                     startIndex, int count), int
                                                     IndexOf(string value), int
                                                     IndexOf(string value, int
                                                     startIndex), int
                                                     IndexOf(string value, int
                                                     startIndex, int count), int
                                                     IndexOf(string value,
                                                     System.StringComparison
                                                     comparisonType), int
                                                     IndexOf(string value, int
                                                     startIndex,
                                                     System.StringComparison
                                                     comparisonType), int
                                                     IndexOf(string value, int
                                                     startIndex, int count,
                                                     System.StringComparison
                                                     comparisonType)
System.String IndexOfAny                      Method int IndexOfAny(char[]
                                                     anyOf), int
                                                     IndexOfAny(char[] anyOf,
                                                     int startIndex), int
                                                     IndexOfAny(char[] anyOf,
                                                     int startIndex, int count)
System.String Insert                          Method string Insert(int
                                                     startIndex, string value)
System.String IsNormalized                    Method bool IsNormalized(), bool Is
                                                     Normalized(System.Text.Norma
                                                     lizationForm
                                                     normalizationForm)
System.String LastIndexOf                     Method int LastIndexOf(char
                                                     value), int
                                                     LastIndexOf(char value, int
                                                     startIndex), int
                                                     LastIndexOf(char value, int
                                                     startIndex, int count), int
                                                     LastIndexOf(string value),
                                                     int LastIndexOf(string
                                                     value, int startIndex), int
                                                     LastIndexOf(string value,
                                                     int startIndex, int count),
                                                     int LastIndexOf(string
                                                     value,
                                                     System.StringComparison
                                                     comparisonType), int
                                                     LastIndexOf(string value,
                                                     int startIndex,
                                                     System.StringComparison
                                                     comparisonType), int
                                                     LastIndexOf(string value,
                                                     int startIndex, int count,
                                                     System.StringComparison
                                                     comparisonType)
System.String LastIndexOfAny                  Method int LastIndexOfAny(char[]
                                                     anyOf), int
                                                     LastIndexOfAny(char[]
                                                     anyOf, int startIndex), int
                                                     LastIndexOfAny(char[]
                                                     anyOf, int startIndex, int
                                                     count)
System.String Normalize                       Method string Normalize(), string N
                                                     ormalize(System.Text.Normali
                                                     zationForm
                                                     normalizationForm)
System.String PadLeft                         Method string PadLeft(int
                                                     totalWidth), string
                                                     PadLeft(int totalWidth,
                                                     char paddingChar)
System.String PadRight                        Method string PadRight(int
                                                     totalWidth), string
                                                     PadRight(int totalWidth,
                                                     char paddingChar)
System.String Remove                          Method string Remove(int
                                                     startIndex, int count),
                                                     string Remove(int
                                                     startIndex)
System.String Replace                         Method string Replace(char
                                                     oldChar, char newChar),
                                                     string Replace(string
                                                     oldValue, string newValue)
System.String Split                           Method string[] Split(Params
                                                     char[] separator), string[]
                                                     Split(char[] separator, int
                                                     count), string[]
                                                     Split(char[] separator,
                                                     System.StringSplitOptions
                                                     options), string[]
                                                     Split(char[] separator, int
                                                     count,
                                                     System.StringSplitOptions
                                                     options), string[]
                                                     Split(string[] separator,
                                                     System.StringSplitOptions
                                                     options), string[]
                                                     Split(string[] separator,
                                                     int count,
                                                     System.StringSplitOptions
                                                     options)
System.String StartsWith                      Method bool StartsWith(string
                                                     value), bool
                                                     StartsWith(string value,
                                                     System.StringComparison
                                                     comparisonType), bool
                                                     StartsWith(string value,
                                                     bool ignoreCase,
                                                     cultureinfo culture)
System.String Substring                       Method string Substring(int
                                                     startIndex), string
                                                     Substring(int startIndex,
                                                     int length)
System.String ToBoolean                       Method bool IConvertible.ToBoolean(
                                                     System.IFormatProvider
                                                     provider)
System.String ToByte                          Method byte IConvertible.ToByte(Sys
                                                     tem.IFormatProvider
                                                     provider)
System.String ToChar                          Method char IConvertible.ToChar(Sys
                                                     tem.IFormatProvider
                                                     provider)
System.String ToCharArray                     Method char[] ToCharArray(),
                                                     char[] ToCharArray(int
                                                     startIndex, int length)
System.String ToDateTime                      Method datetime IConvertible.ToDate
                                                     Time(System.IFormatProvider
                                                     provider)
System.String ToDecimal                       Method decimal IConvertible.ToDecim
                                                     al(System.IFormatProvider
                                                     provider)
System.String ToDouble                        Method double IConvertible.ToDouble
                                                     (System.IFormatProvider
                                                     provider)
System.String ToInt16                         Method int16 IConvertible.ToInt16(S
                                                     ystem.IFormatProvider
                                                     provider)
System.String ToInt32                         Method int IConvertible.ToInt32(Sys
                                                     tem.IFormatProvider
                                                     provider)
System.String ToInt64                         Method long IConvertible.ToInt64(Sy
                                                     stem.IFormatProvider
                                                     provider)
System.String ToLower                         Method string ToLower(), string
                                                     ToLower(cultureinfo culture)
System.String ToLowerInvariant                Method string ToLowerInvariant()
System.String ToSByte                         Method sbyte IConvertible.ToSByte(S
                                                     ystem.IFormatProvider
                                                     provider)
System.String ToSingle                        Method float IConvertible.ToSingle(
                                                     System.IFormatProvider
                                                     provider)
System.String ToString                        Method string ToString(), string To
                                                     String(System.IFormatProvide
                                                     r provider), string IConvert
                                                     ible.ToString(System.IFormat
                                                     Provider provider)
System.String ToType                          Method System.Object
                                                     IConvertible.ToType(type
                                                     conversionType,
                                                     System.IFormatProvider
                                                     provider)
System.String ToUInt16                        Method uint16 IConvertible.ToUInt16
                                                     (System.IFormatProvider
                                                     provider)
System.String ToUInt32                        Method uint32 IConvertible.ToUInt32
                                                     (System.IFormatProvider
                                                     provider)
System.String ToUInt64                        Method uint64 IConvertible.ToUInt64
                                                     (System.IFormatProvider
                                                     provider)
System.String ToUpper                         Method string ToUpper(), string
                                                     ToUpper(cultureinfo culture)
System.String ToUpperInvariant                Method string ToUpperInvariant()
System.String Trim                            Method string Trim(Params char[]
                                                     trimChars), string Trim()
System.String TrimEnd                         Method string TrimEnd(Params
                                                     char[] trimChars)
System.String TrimStart                       Method string TrimStart(Params
                                                     char[] trimChars)
System.String Chars            ParameterizedProperty char Chars(int index) {get;}
System.String Length                        Property int Length {get;}

redpajama_set_name: RedPajamaStackExchange


Sorry, but I've been banging on about this issue for sometime.
Google has decided it wants to be big brother.
Through it's Chrome browser, it is forcing web site owners to add SSL (server-side security certificate) to their web sites.
It started warning us in 2014.
With each new Chrome update, the criteria has increased with more and more warnings.
www.google.com didn't accept your login certificate, or one may not have been provided.
So, what do we do, we close Chrome, access the very same page using Firefox.
I'll be honest, I sacked Firefox for being too slow and have been using Chrome.
I'll keep it simple: one more security warning and Chrome is out of here.


text:
Israele ha partecipato ai Giochi della XXX Olimpiade di Londra, che si sono svolti dal 27 luglio al 12 agosto 2012, con una delegazione composta da 37 atleti.

Il portabandiera della cerimonia di apertura è stato il velista Shahar Tzuberi, mentre quella della cerimonia di chiusura è stata la ginnasta Neta Rivkin.

Per la prima volta da Seoul 1988 lo stato di Israele non ha conquistato nemmeno una medaglia, sebbene diversi atleti abbiano raggiunto la finale.

Atletica leggera

Maschile

Femminile
Eventi concorsi

Badminton

Maschile

Ginnastica

Ginnastica artistica
Maschile

Femminile

Ginnastica ritmica
Femminile

Judo

Maschile

Femminile

Nuoto e sport acquatici

Nuoto

Maschile

Femminile

Nuoto sincronizzato

Tennis

Maschile

Femminile

Tiro a segno/volo

Maschile

Vela

Maschile

Femminile

Altri progetti

Collegamenti esterni

Olimpiade 2012
Nazioni ai Giochi della XXX Olimpiade

redpajama_set_name: RedPajamaWikipedia


text:
function colorTest(player) {
  const colors = [null, 'black', 'red', 'green', 'yellow', 'blue', 'magenta', 'cyan', 'white'];
  const capitalize = str => str[0].toUpperCase() + str.slice(1);

  const buildLine = (fg, bold) =>
    colors.map(bg => {
      let colorFunc = bold ? color.bold : color.reset;
      if (fg) { colorFunc = colorFunc[fg]; }
      if (bg) { colorFunc = colorFunc[`bg${capitalize(bg)}`]; }
      return colorFunc(' gYw ');
    }).join(' ');

  const outputLines = [' COLORTEST '];

  colors.forEach(fg => {
    outputLines.push(buildLine(fg, false));
    outputLines.push(buildLine(fg, true));
  });

  player.tell(outputLines.join('\n'));
}

redpajama_set_name: RedPajamaGithub


So, if you dare to leave the relationship, how do you know if it's a good decision? How do you know when there is no solution? Of course, each couple is different, but there are some pretty clear signs that a relationship should come to an end.
You're not in love. It seems obvious, but some people still with their partner even though it is not love. Maybe they don't know it yet, probably they don't want to face it, or perhaps because the esteem they feel outweighs the lack of love.
How to realize if this is your case? It may be because you have reached a point where it bothers you when he/she speaks, you think that he/she just says nonsense, you have no desire to see or spend time with him/her, you don't laugh with him/her as before, you do not want to kiss him/her or touch him/her, etc.
It's not like you imagined. If your partner is not as loving, as fun or as generous as you thought when you met him/her, and today you're still missing the image of him/her that you had assembled, perhaps you're not with the person you want to be. You can tell because you live waiting for a change, and you spend the day reproaching this or thinking that you wish it was more than that.
Do you realize how difficult we do it sometimes? Would not it be much easier to find someone who is as we want (hey, no one is 100% what you want, but it sure will be closer) than strive to change the person we have next to us?
You don't want the same. Whether in the immediate present or in the more distant future, your tastes and your life project have nothing to do. For example, you talk about the weekend and you agree. You think about the holidays and you want different things. You partner talks about his/her ideal future and it has nothing to do with yours. And lots of examples like these ones!
Long story short, you do not care about the same things, your values are almost the opposite and even have common hobbies. You are like day and night. And still you want to stay together?
You give more than you receive. You sacrifice for the other, you strive to do things that you like and you adapt to his/her life much more than he/she does to yours. From saying no to a plan with some friends, stop going to a party that you wanted very much to attend or even get away from a person he/she does not like.
And your partner, meanwhile, one day is the most loving man/woman on earth, and the next day is overwhelmed and needs a little more space. He/she makes plans without you or spend days without calling you, etc.
Do you think that is love? Well no, because we take care of what we really want, because when we are in love we call and because when you're with someone you want to see that person all the time. And no, no exceptions.
The negative outweighs the positive. Most times you see you fight over things more than spend a good time, your relationship is like a roller coaster of love-hate.
Or maybe you do not like how he/she treats you, make you do things you do not want to do, is very jealous, does not trust you and judge you or criticizes you for how you are.
You can even have reached a point where you disrespect each other, lie, humiliates each other, insult, etc. In addition, he/she always want to be right, he/she never asks for forgiveness and you blame yourself for everything that is wrong. And although again and again he/she tells you that everything will change, at the end nothing changes.
A fairly common sign in these cases is that your friends tell you that you've changed a lot since you're with him/her and think that you're not that person. But you resist taking the step of quitting.
The balance of your relationship is clearly tilted to the downside and you end suffering most of the time. Do you identify with these examples? True love has nothing to do with dominance, possession or control.
You're with him/her for fear of not being alone. The first thing that you should work on is that fear of being alone, because while you still have it, you will continue choosing the wrong person.
Learn to be alone is fundamental to know how to be a couple. Actually you have to know that you'll never be entirely alone, it is impossible to have a complete solitude, we are always surrounded by people and, whatever happens, you have yourself. That is the key, to take advantage of this relative solitude learn to love, until it comes a time that being with someone will become a choice, not a necessity.
Whatever happens, remember that the other person can not assure your happiness, the only happiness is worth to have comes within yourself.
Next What fruits contain more and less sugar?


text:
The 30, Week 16: Opposites Attract
Game of NBA Thrones, Part 1
Dave Sandford/NHLI via Getty Images
The Limits of Control
Are the NHL and NFL losing their minds at the negotiating table?
by Charles P. Pierce on July 23, 2012
There was no stranger period of my sportswriting life than the baseball seasons — or, more specifically, the baseball offseasons — of 1985 to 1987. During that time, Major League Baseball conducted an experiment in laughably obvious mendacity. Management determined that the teams would collude to depress the prices in the free-agent market in direct violation of a collective bargaining agreement they had freely negotiated, and just as freely signed.
This, of course, required everyone in management to lie generally about what was going on, and to lie specifically about certain players. I heard general managers of baseball teams argue with a straight face that they had no room for Tim Raines or Jack Morris on their rosters. I heard A. Bartlett Giamatti, then the president of the National League, upbraid the press for not referring to the collusion as the "alleged" collusion, as though that weren't roughly the same thing as standing on a plain in Nepal and referring to the "alleged" Mount Everest. The whole thing came to a crashing end in 1990, when an arbitrator socked baseball's owners for $280 million. But the ill feeling and the bad faith continued.
Make no mistake, every commissioner who designed this strategy, every owner who colluded, and every GM who lied about it through that period should be as exiled as Pete Rose is from the game. In a very real sense, the owners and GMs "threw" their baseball jobs as surely as the 1919 Chicago White Sox threw theirs, and for the same reason — money. (In fact, the GMs probably threw their jobs worse than Buck Weaver did.) They kept faith with their fellow owners rather than with their fans. But those days teach me a few valuable lessons. The first is that, in discussing the financial situation of their respective leagues, the management side in professional sports can generally be assumed to be lying, at all times, and on all issues. The second is that, with very rare exceptions — and I think, for all his faults, Mark Cuban might be one of these — the management side of professional sports does not see the labor side as cooperative partners in a mutual enterprise. (This, of course, has resulted in the labor side's adopting much the same mentality, but it was management that historically inculcated this dynamic into the relationship.) And last, that labor disputes in professional sports are rarely about money, and almost always about power. The collusion was less about actual economics, and far more about management's attempt to win back de facto the power that they had lost de jure, in the courts and in front of various arbitrators, over the previous 20 years. Always and forever, baseball management will mourn the death of the reserve clause.
T his came to mind again recently, because a couple of our major leagues are behaving like idiots. First, the National Hockey League comes before its players with an initial proposal so hilariously weighted on the management side that it might as well have included a cover sheet that read: "If you want to move right to the lockout, check here." Right now, the NHL never has been in better shape. It's not the most popular sport in America, but it has a TV contract with NBC that is, frankly, far better than its national ratings deserve. Its teams in major U.S. media markets are thriving; the last three Stanley Cups have been won, in succession, by Chicago, Boston, and Los Angeles, and the New York Rangers and Philadelphia Flyers are both solid contenders. Management won the last confrontation by a knockout. Everybody involved in the NHL should be holding hands and dancing down Rue Ste.-Catherine together.
So, naturally, management came to the table with an opening offer best summed up as, "More us too, yes?" They want to claw back 11 percent of hockey-related revenues, reducing labor's share to 46 percent. They want to make it harder for players to reach free agency and they want to eliminate salary arbitration entirely. I suspect that, at one point while formulating the offer, someone proposed to have the players pay to launder their own gear on a rock in the Niagara River, but that the "moderates" among the owners managed to shoot that proposal down. This is an opening offer, to be sure, but it's a signifying one. That same day, the National Football League announced that it was planning to employ scab referees, since negotiations with the union representing the real referees had broken down. I am looking forward to seeing some schlub fresh up from Division III trying to call interference from 10 yards behind the play. In neither of these cases, though, do either of these proposals have anything to do with how much money the leagues in question are making, or how much they are pretending to lose. Both of them are about power. Both of them are about control. 'Twas always thus.
The only exception to this rule was the nearly catastrophic events surrounding the NBA at the end of the 1970s. The two sides managed to reach an arrangement to save the whole enterprise, but not until management consented to surrender some of its control — namely, to show labor the real books and to deal with them honestly, thereby demonstrating both good faith and the true depth of the league's fiscal abyss. Compare that to the preposterous propaganda attending last season's lockout, in which the NBA claimed that 22 of its teams were "losing money" and, therefore, the players needed to give back more than they had in the past. The first thing that happened was that actual financial reporters checked out this foolishness and didn't stop laughing until Valentine's Day. The lockout was about control, just as the silly dress code was about control, the quibbling over rap music was about control, the widespread panic over tweeting is about control. This is an intramural struggle for power in which the fans are as remote a factor to the conflict in question as Pakistan was to the Battle of Gettysburg.
Certainly, the NHL's initial bid and the NFL's threat to put scab officials on the field are opening gambits, but the mentality behind them is as clear and as plain as it ever was. And why shouldn't it be? The people who own professional sports team come from the same upper corporate class that has spent 30 years destroying the idea of the American economy being a mixed system and a cooperative venture rather than purely an engine of private profit. In all their other successful ventures, keeping down the workforce has been a primary goal. The creation of a passive workforce has been so thoroughgoing that it is now a discipline taught in America's finest business schools. Indeed, there is more than a little evidence that the elite from which we get our owners is rigidly and steadily fashioning for itself a country of independent owners and subordinate workers. Last week, for example, Rebecca Kemble of The Progressive reported on a meeting of a special committee of the Wisconsin State Legislature at which one state official said that, as far as he was concerned, the purpose of public education was to develop a "workforce."
"In workforce development we say," this fellow said, "you begin at birth and end at the grave."
This is the prevailing zeitgeist in the world in which all of the owners of our professional sports teams make their real livings. Why should they be expected to act differently toward the people who work in their enterprises than they have for their hobbies? Of course, the workers in the industry of sports have a number of advantages over the anonymous workers in America's other corporations, many of whom are hanging on by their fingernails. First, they are independently rich and independently famous. Their complaints command a spotlight. Second, they have strong and functioning unions; one can only guess what happened among the presiding blazers of the NHL when Donald Fehr took over as the head of the NHL players' union. And third, the enterprises in question literally cannot function without them. The Sacramento Kings can't save money by outsourcing the roster to Vietnam. Put these together, and you get the not uncommon complaint that the labor side in sports is "going too far," usually from people whose industries have crushed their unions and/or packed their jobs overseas. In reality, sports is one of the few arenas in which the battle for power and control between management and labor approximates what it used to be, back in the days when the country had both billionaires and a functioning middle class. And that sticks in several affluent craws.
So we get stories like the ones last week, in which the NHL owners demand a few additional pounds of flesh and the management of the NFL announces, seriously, that it might be willing to throw its quality of play to the seals. These are only opening bids, but what drives them all is something permanent and, as near as I've been able to tell, immutable. It's about control and, therefore, about power, and if once the Red Sox had given a damn about anything else, they could have had Jack Morris starting in the 1988 playoffs.
Charles P. Pierce is a staff writer for Grantland and the author of Idiot America. He writes regularly for Esquire, is the lead writer for Esquire.com's Politics blog, and is a frequent guest on NPR.
More From Charles P. Pierce
Snap Judgment: The Pats Deflate the Colts in Indy October 19, 2015
It's Time to Stop Being Stupid About Sports Gambling October 14, 2015
Beatdown: The Cubs Keelhaul the Bucs in Pittsburgh October 8, 2015
The Death of Evan Murray September 30, 2015
See all from Charles P. Pierce
Medieval Times: The Armored Combat League Makes Sport Out of Swords and Shields August 11, 2015
Your Non-Major Sports Heroes of Summer July 22, 2015
'Rembert Explains' Podcast: D'Angelo, and Reviewing the Year in Sports With Clinton Yates December 18, 2014
'B.S. Report': Chris Rock and Bill's Dad December 18, 2014
Arsenio Hall's Black Curling Bit vs. Steve Harvey's Black Curling Bit February 12, 2014

redpajama_set_name: RedPajamaCommonCrawl


text:
Biogeography and Geomatics Unit
Welcome to the Biogeography and Geomatics research unit!
Biogeography is the study of the spatial distribution of plants and animals – "Life on Earth". Our research focuses on understanding historical and present interactions of humans, plants and animals with landscapes, and their effects on biodiversity, conservation and ecosystem services. We work at multiple scales, from pastures to regions, from genetic diversity to ecosystems, both in water and on land.
Geomatics is the acquisition, management and analysis of geospatial data. It includes geographical information science (GIS), Earth Observation (EO), surveying and geodesy. Our research develops methods to exploit the capabilities of geodata for a range of applications in Earth and environmental sciences. Presently our research focus is on questions related to the Arctic and sub-Arctic, including research into snow and permafrost. Both areas have become increasingly important for informing environmental policy relating to climate and land use change from the local to the international scale.
Our unit is responsible for two Master's programs (Landscape Ecology and Geomatics with Remote Sensing and GIS) and we are engaged in all three of the department's Bachelor level programs.
Tweets by LandscapeSthlm
Keep updated about what is going on in our group and what other research and social media news that we find interesting! Follow us on Twitter: @LandscapeSthlm. You also find the most recent tweets in the right column of our website.
Related research programs and study areas
Bolin Centre for Climate Research
FLEUR network
Other Research Units at Department of Physical Geography
Prof. Sara Cousins
E-mail: sara.cousins@natgeo.su.se
Phone: +46 8 16 47 67


text:
Associate Director of Development
The Nature Conservancy in Ohio
Southern Ohio
Since 1951, The Nature Conservancy has been doing work you can believe in protecting the lands and waters that all life depends on. As a science-based organization, we create innovative, on-the-ground solutions to our world's toughest challenges so that we can create a world in which people and nature thrive.
We're rooted in our Mission and guided by our Values, which includes a Commitment to Diversity and Respect for People, Communities, and Cultures. We know we'll only achieve our Mission by hiring and engaging a diverse workforce that reflects the communities in which we work. Whether it's career development, work/life balance, or a rewarding mission, there's lots of reasons to love life #insideTNC. Our goal is to cultivate an inclusive work environment so that all of our colleagues around the globe feel a sense of belonging, and that their unique contributions to our mission are valued.
YOUR POSITION WITH TNC
The Associate Director of Development works closely with the Ohio development team, Ohio Chapter Leadership and Ohio Board of Trustees to cultivate authentic and lasting relationships with The Conservancy's donors in southern Ohio. The compensation range begins at $64,300 and is commensurate with experience. A candidate located in a major southern Ohio market is strongly preferred.
The Associate Director of Development is a key position within the Ohio Development Team. They implement and coordinate effective multi-year strategies and plans for gift prospects, including corporate, foundation, and/or individual donors in the Greater Cincinnati and Dayton markets. The ADoD will build a portfolio of qualified donors, develop strong donor strategies, and build lasting donor relationships. They will effectively communicate the programs of the Conservancy in broad terms and engage donors through a variety of methods, such as meetings, presentations, events, and field trips. The ADoD will be responsible for direct asks to both global and local priorities to meet the funding needs of the Ohio Chapter and other Conservancy programs; and listen for opportunities for gifts of assets or other non-cash gifts, such as planned gifts and trade lands. They will use the Conservancy's donor database, develop donor proposals, and involve appropriate partners and staff, keeping them apprised of interactions, issues, or concerns, as appropriate.
RESPONSIBILITIES AND SCOPE
Manage a portfolio of 75 – 125 donors, including donors with the capacity to give over $100,000, once the portfolio is developed. Responsible for 75 – 125 visits and 225 – 375 moves annually. Annual fundraising goal of $500,000 or more, along with a goal for bequest notifications.
Act independently and in supervisor's stead as needed, exercise independent judgment to identify and solve problems.
Decisions may have program-wide impact and may bind the organization financially or legally.
Demonstrate sensitivity in handling confidential information.
Ensure compliance with TNC policies and procedures and external (donor/legal/IRS) requirements.
Financial responsibility includes working within a budget and meeting fundraising objectives.
Manage assigned projects, coordinating the work of peers and setting deadlines.
May manage or participate in complex or sensitive negotiations.
May supervise support or administrative staff.
Persuasively convey the mission of TNC to diverse groups who are important to the organization's overall prosperity.
Travel frequently and on short notice, work long and flexible hours as needed.
Work environment involves only infrequent exposure to disagreeable elements and minor physical exertion and/or strain.
Bachelor's degree and 5 years related experience or an equivalent combination of education and experience.
Experience building and maintaining long-term relationships with fundraising constituents.
Experience in asking for and closing gifts of $25,000 or more.
Experience in managing and tracking multiple prospects and donors.
Experience working with cross-functional teams.
Experience, coursework, or other training in fundraising principles and practices.
Multi-lingual skills and multi-cultural or cross-cultural experience appreciated.
Ability to determine an individual's interests, capacity and potential for helping the Conservancy meet its goals, and act appropriately to tie those interests with the Conservancy's work.
Ability to educate and inform prospective and existing donors about appropriate giving vehicles.
Ability to implement and manage fundraising plans, including individualized cultivation, solicitation and recognition plans.
Knowledge of current trends in the charitable giving in the areas of capital campaigns, major gifts or planned giving.
Demonstrated experience using listening, diplomacy and tact to build strong relationships and motivate donors and volunteers.
Proven ability to negotiate high profile or sensitive agreements.
Working knowledge of the basics of charitable gift planning.
AUTO SAFETY POLICY
This position requires a valid driver's license and compliance with the Conservancy's Auto Safety Program. Employees may not drive Conservancy-owned/leased vehicles, rental cars, or personal vehicles on behalf of the Conservancy if considered "high risk drivers." Please see further details in the Auto Safety Program document available at www.nature.org/careers.
Employment in this position will be contingent upon completion of a Vehicle Use Agreement, which may include a review of the prospective employee's motor vehicle record.
HOW TO APPLY www.nature.org/careers To apply to position number 49802, submit resume (required) and cover letter separately using the upload buttons. Applications will be reviewed in the order they're received . The deadline to apply is 11:59 PM EST on June 21, 2021. Click "submit" to apply for the position or "save for later" to create a draft application for future submission. Once submitted, applications cannot be revised or edited. Failure to complete required fields may result in your application being disqualified from consideration. If you experience technical issues, please refer to our applicant user guide or contact applyhelp@tnc.org. The Nature Conservancy is an Equal Opportunity Employer Our commitment to diversity includes the recognition that our conservation mission is best advanced by the leadership and contributions of people of diverse backgrounds, beliefs and culture. Recruiting and mentoring staff to create an inclusive organization that reflects our global character is a priority and we encourage applicants from all cultures, races, colors, religions, sexes, national or regional origins, ages, disability status, sexual orientation, gender identity, military, protected veteran status or other status protected by law. The successful applicant must meet the requirements of The Nature Conservancy's background screening process.
Careers at The Nature Conservancy
Erin O'Rourke
eorourke@tnc.org


If I had was paid by the hour for every hour of my life I have spent trying to answer the question "What is dramaturgy?" I would probably have enough to pay back my student loans by now. It is a term that seems to defy a clear definition.
Some dramaturgs seem to work in rehearsal rooms, some seem to work more closely with writers and scripts pre-rehearsal. Institutional dramaturgs will remain loyal to the productions of just one venue, whilst those on the freelance circuit are free to work for as many or few companies as their time and career permit.
In terms of the tasks that dramaturgs undertake in these scenarios, these are also hard to pin down. Katalin Trancsenyi, dramaturg and author of Dramaturgy in the Making (essential reading!) lists some specific roles, such as: "help planning the season" and "commissioning new work", these appear to be institutional activities. However, she also lists actions. If you "Collate, cut, track, edit, rewrite, construct, arrange, etc.", you are "doing dramaturgy".
In short, dramatrugy encompasses a rich and varied range of practices, that are practised in varying amounts and in different scenarios by each individual. he ideas I present below aim to offer a more practical and less philosophically speculative way of considering the role.
1: Building relationships is essential. As with nearly any role in the theatrical universe, your best chance of getting a script in your lap or being invited into a rehearsal room is to know those involved. Dramaturgy is defined by how you impact on something that is in development, whether that be a programme of work, a script or devising from scratch in the R&D stage, it is collaborative role. Keep your head up, your ears pricked and when the moment comes, show people what you can do! Then they can see for themselves that they want you on their team. See if there are any networks for dramaturgs in your area, or join director's networks (clearly stating your intentions), and meet people that way. If you're in the UK, the Young Vic Director's Network is a good place to start. Read scripts. Ask questions. Get involved in conversations. Go get 'em!
Read scripts. Ask questions. Get involved in conversations. Go get 'em!
2: Diversify that skill-set. Just because the role isn't labelled "dramaturg" doesn't mean it isn't dramaturgical. Get in those rehearsal rooms, read those scripts, get up in the lighting rig. Dramaturgs are the theatre's jack-of-all trades, any skill you bring to the table with your writers and directors might play a part – you just never know when the skill, however obscure it may be, might come in useful. Remain curious, and keep learning.
3: Know who's who: It only takes a scroll down the "about" page of a recognised dramaturg to reaffirm my 2nd point, dramaturgs aren't 'born' they are made, by years in other roles wearing a variety of hats. Take a look at the CVs of dramaturgs the world over, what kind of roles got them there? Who were they working for, and with? What kind of training do they have? This information could give you ideas for the kind of direction you want to take, or potentially offer assurance if you feel your scatter-gun CV is off-track. Whilst actively stalking these individuals is definitely not encouraged, it will also help you know who to tap on the shoulder and (gently) grill at that next press night.
4: Recognise your contribution: You may be a dramaturg already and not even know it. Dramaturgs frequently go uncredited for the work they produce. Sometimes this is because the company don't recognise the role of the dramaturg, and sometimes it is down to the individual themselves. Actors can be unwitting dramaturgs! Where they are credited, the part you made cannot be clearly defined. Do not be afraid to recognise, take credit for and stand up for your contribution. The voice of the dramaturg as a mediator between all the elements of the production can have a greater impact than it might appear when the titans of the directors, producers and leads are clashing heads. In an industry that is sadly ever bludgeoned with funding cuts, knowing and recognising your contribution will also help to justify your worth to the company.
5: When you get there, remember why you are there: When you finally ARE the dramaturg in the room, it is important to clarify your role in the process. Different individuals have different expectations of what a dramaturg is and what a dramaturg does! In order to get the most out of your experience in whatever it is you have decided to undertake, clarify your responsibilities as early on as possible. Will you just be involved in the script process, or in the rehearsal room too? Will you be fully immersed in the rehearsal process, or popping in from time to time? You don't want to find yourself weeks or months into a project having used none of the actual skills you wanted to work on. Be specific! Perhaps the writer or director doesn't know what they want from a dramaturg, in which case it is useful to be able to qualify the skills you possess and how they could be made use of. However, it is also important you make sure you don't limit yourself and get put in a dramaturgical box by a writer or director. You don't want to be stuck in the corner sharpening pencils. Remember, a dramaturg is a collaborator and a good dramaturg brings out the best that they can in everyone involved in the project.
6: Dramaturg on: The more the profile of the dramaturg is raised, the more the theatre industry will prick up its ears. Part of the dramaturgical struggle is the mysticism that still lingers around the word itself. Help clarify what it is you do, or want to do, and more directors, writers and theatres will sit up and take note. Keep making good work, keep the conversation going, don't keep yourself, your work or your process a secret and before long… they'll wonder what they did without one!


text:
West Virginia Folklife 2017 Activities Report
Posted by West Virginia Folklife Program on January 16, 2018 January 16, 2018
Lorelie Nicolas-Tenney harvests sorghum at Appalachian Acres Farm in Upshur County
West Virginia Folklife Program- Fiscal Year 2017 Activities Report
What is the West Virginia Folklife Program? The West Virginia Folklife Program is a project of the West Virginia Humanities Council, dedicated to the documentation, preservation, presentation, and support of West Virginia's vibrant cultural heritage and living traditions. West Virginia Folklife is supported in part by the National Endowment for the Arts (NEA) Folk & Traditional Arts Program. The West Virginia Folklife Program employs West Virginia's first state folklorist to carry out this work.
Blues, soul & gospel singer Doris Fields (Lady D) is a 2017-2018 Folklife Apprenticeship Program Master Artist
What has the West Virginia Folklife Program done lately?
In 2017, we launched the West Virginia Folklife Apprenticeship Program, with support from the National Endowment for the Arts. The program supports five master-apprentice pairs in folklife and traditional arts apprenticeships statewide. We continued our statewide folklife fieldwork survey documenting traditional artists and tradition bearers across the Mountain State. In addition to recording 16 oral history interviews with 38 participants in 15 counties, we also held six public interest meetings to inform the public on our work and the broader study of folklife.
We collaborated with West Virginia Public Broadcasting to produce the short audio and video documentary "Building a Broom by Feel: James Shaffer, Charleston Broom & Mop" on West Virginia's last handmade commercial broom maker. The audio piece aired on West Virginia Morning and Inside Appalachia. The video piece continues to air on the West Virginia Channel and went viral on Facebook with over 650,000 views. The video documentary screened at the American Folklife Center at the Library of Congress, as part of its ethnographic film event on September 30.
West Virginia Folklife has also facilitated collaboration of those engaged in folklife activities across the state, worked to expand opportunities for traditional artists in West Virginia, and continued to execute our course of action for an ongoing state program.
Old-time musician and collector Jim Costa performs at the West Virginia Humanities Council
Other West Virginia Folklife Programs:
-We partnered with the Southern Foodways Alliance to produce the Helvetia Foodways Oral History Project, documenting traditional foodways in West Virginia's Swiss community with eight oral history interviews, audio slideshows, photos, video, writing, and transcripts.
-We hosted the second "West Virginia Folklife Presents" free concert at the MacFarland-Hubbard house with Summers County old-time musician Jim Costa and University of North Carolina folklorist Zoe Van Buren. The concert was at capacity with 60 in attendance. We also partnered with McArts to host a concert with activist songwriter Elaine Purkey at Ya'sou Greek Restaurant in McDowell County.
– State folklorist Emily Hilliard published an article on the Folklife Program's work in Helvetia in the summer issue of the National Endowment for the Humanities' Humanities Magazine and for the Bitter Southerner. She also wrote the introduction to Patrick Gainer's Folk Songs from the West Virginia Hills, reprinted by WVU Press. Hilliard contributes a regular column to Goldenseal magazine.
-We operated the toll-free West Virginia Folklife Hotline at 1(844)618-3747 where the public can leave "tips" on tradition bearers and community traditions they believe should be documented.
-We maintained the West Virginia Folklife Program blog and social media sites, drawing over 3,500 followers.
-We established an archival partnership with West Virginia University Libraries, which will become the repository for all of our collected materials, making them available to the general public.
-West Virginia Folklife was featured in the Charleston Gazette-Mail, on West Virginia Public Broadcasting, and the West Virginia Metro News radio network.
– Hilliard presented on the Folklife Program's foodways documentation at the Appalachian Studies Association Conference in Blacksburg, as part of the panel "Cornbread Convocations and Dancin' Dumplin's: Engaged Scholarship Programs in Appalachian Foodways." She also presented on an Appalachian Foodways panel at WVU's New Story conference, and attended the American Folklore Society annual conference and the Conference on the Future of American Folkloristics.
bluesconcertcraftfolkfolklifefolklorefoodlaborMusicNEANewswriting
Previous Post Announcing Our 2017-2018 Master Artists & Apprentices!
Next Post The State Folklorist's Notebook: A Visit with Frank & Jane George


text:
Q: TypeError: this.sqlites.executeSql is not a function Hi we are creating on hybrid mobile app. We are trying to save data into SQLite using Ionic3 & Angular4. So we add plugin to our project then we tried like this:
import { Component } from '@angular/core';
import { NavController } from 'ionic-angular';
import { SQLite, SQLiteObject } from '@ionic-native/sqlite';
import { Platform } from 'ionic-angular';

@Component({
    selector: 'page-home',
    templateUrl: 'home.html'
})
export class HomePage {
    sqlites:any = null;
    constructor(public navCtrl: NavController,public plt: Platform) {
        this.sqlites = new SQLite();

        this.plt.ready().then((readySource) => {
        this.sqlites.create({
            name: 'userInfo.db',
            location: 'default'
        })
        .then((db: SQLiteObject) => {
            db.executeSql('CREATE TABLE IF NOT EXISTS usernameList(id INTEGER PRIMARY KEY AUTOINCREMENT,name TEXT,age NUMBER,address TEXT,education TEXT)', {})
            .then(() => alert('Executed SQL'))
            .catch(e => console.log(e));
        })
        .catch(e => console.log(e));
    });

}

    user = {};

    save(user){
        this.sqlites.executeSql('INSERT INTO usernameList(name,age,address,education) VALUES(?,?,?,?)', [user.username,user.age,user.address,user.education])
        .then(()=>alert("insertFine"))
        .catch(e => console.log(e));
    }

}

In above code we are creating table in constructor it's working fine then we tried to insert data into table using save button action. But we are getting error ERROR
TypeError: this.sqlites.executeSql is not a function. (In 'this.sqlites.executeSql', 'this.sqlites.executeSql' is undefined) — main.js:183

Please guide us. What do we miss?

A: Its because this.sqlites is of type SQLite. Which doesn't have a method executeSql. An SQLiteObject on the other hand does.
You should inject SQLite in the constructor:
export class HomePage {
    // If you inject SQLite in the constructor you dont have to declare sqlites
    // here
    // sqlites:any = null;

    constructor(private sqlites: SQLite) {
    ...

You can store the SQLiteObject that is returned from this:
this.sqlites.create({
    name: 'userInfo.db',
    location: 'default'
})
.then((db: SQLiteObject) => {
    this.db = db;
    ...
}

Then you can use it anywhere in your class, like in the save()-function:
save(user){
    this.db.executeSql('INSERT INTO usernameList(name,age,address,education) VALUES(?,?,?,?)', [user.username,user.age,user.address,user.education])
    .then(()=>alert("insertFine"))
    .catch(e => console.log(e));
}


text:
#if UNITY_ANDROID && !UNITY_EDITOR
#define USE_ANDROID
#endif

/**
 * @author zeh fernando
 */
using System;
using UnityEngine;

class AndroidUtils {

	// Use:
	// runOnAndroidUiThread(someMethod)
	public static void runOnAndroidUiThread(Action target) {
		// Calls an Android activity on the UI Thread (needed for some interactions with Views)
		#if USE_ANDROID
			using (var unityPlayer = new AndroidJavaClass("com.unity3d.player.UnityPlayer")) {
				using (var activity = unityPlayer.GetStatic<AndroidJavaObject>("currentActivity")) {
					activity.Call("runOnUiThread", new AndroidJavaRunnable(target));
					// Other examples:
					//string a = activity.Call<string>("someNomw", param);
					//window.Call("setFlags", flagsValue, -1); // (int)0x7FFFFFFF
					//window.Call("setStatusBarColor", unchecked((int)_statusBarColor)); // for an uint
				}
			}
		#else
			Debug.Log("[Android] Would call [" + target + "] later on the UI thread");
		#endif
	}
}


Quickly create your own customisable IVR solution with our flexible, drag and drop IVR builder.
Completely Customisable – Easily build your own IVR phone menu optimised for your business.
Intelligent Skilled-Based Routing – Effectively handle calls so your customers can be routed to the right people, first time.
Easy Set Up – Your IVR can be set up and have customers routed in minutes.
Visualize and Create your Interactive Voice Response.
ContactNow drag and drop IVR builder simplifies application creation allowing you to build customer experiences easily. The IVR builder will help you connect customers to the right agent to ensure they receive the service they deserve.
You can choose from a library of actions and link them by dragging connectors between those actions. Every aspect of your Interactive Voice Response can be customised; call flow can be dynamically altered by obtaining instructions from the customer's own systems, and up to the second data can be received from customer databases. Record your messages or use our Text to Speech, and build anything from a virtual reception to an automated credit card collection system.
Manage inbound calls the way you want to make sure your customers receive the service they deserve.
Every part of your Interactive Voice Response can be customised exactly how you want it. Choose from a library of components to build anything from a virtual reception to an automated credit card collection system. You can even add custom audio messages by uploading your own recordings or using our Text-to-Speech converter.
Making sure your customers reach the right people quickly is fundamental. With our IVR builder, you can create an intelligent call routing system to automatically distribute incoming calls to the team or individual who can provide the best assistance to a customer.
Combine our powerful components to supercharge your IVR.
Map each connection to a number so customers can use their keypad to navigate through your IVR. Use an audio message to announce the options available.
Upload an audio file or use our Text-to-Speech converter to add greetings, updates or provide extra information to customers at any point in your menu.
Transfer calls to an inbound queue or even redirect calls to another IVR so that customers reach the right people, as quickly as possible.
Collect and store key presses from the customer with the Capture component. Add an audio prompt and save the data entered.
Send customer information to a third party service, allowing you to build data collection systems or verify their identity.
Transfer a call out of your system by entering a number for the IVR to automatically dial. Useful for transferring calls between departments or external locations.
Repeat values stored in a variable back to customers using our Text-to-Speech converter. Customers can confirm their information to increase accuracy.
Set an outcome against a call when the caller passes this component. Use it to dynamically update the outcome of the call based on the options selected.


text:
The Project's Waleed Aly is in no mood to attend Malcolm Turnbull's negative gearing party
By Kate Aubusson
Updated April 28, 2016 — 12.19am first published April 27, 2016 — 7.01pm
PM grilled over negative gearing claim
Bill Shorten was the unlikely hero of Waleed Aly's latest declamation lambasting the government's negative gearing policy, casting the opposition leader as the annoying neighbour we should all listen to.
Aly was in no mood to celebrate the Prime Minister Malcolm Turnbull's unwavering support of the negative gearing status quo, having previously stated he rents his family home because he and his wife can't afford to buy in Richmond.
"Economists agree, negative gearing pushes house prices up, contributes to making our houses some of the most expensive in the world, and if you're from generation X, Y, or a millennial, it's one of the reasons you've been locked out of the market," he said on The Project on Wednesday night.
Labor's plan to rein in negative gearing and increase capital gains tax was "good news", Aly said, adding they would make houses less of an "investment for the rich, and more of a, you know, a home".
'So good luck if you're single': Waleed Aly was in no mood to celebrate the PM's support of the status quo. Credit:Channel 10's The Project
Aly mocked Turnbull's decision to parade the Mignacca family before the media.
The Mignacca family, the PM explained, were using negative gearing to buy a home for their one-year-old girl.
"So to recap: negative gearing has contributed to you generations X, Y, and millennials not being able to buy a home… but it's got this baby one… so it all evens out, yeah?" Aly said.
He challenged the outcry from proponents of negative gearing that people from a spectrum of socio economic backgrounds use tax avoidance measures, brandishing a list of the top 10 electorates that claim the highest average losses through negative gearing.
The Project highlighted the top 10 electorates that claim the highest average losses through negative gearing. Credit:Channel Ten's The Project
"Up the top there is Wentworth. The Prime Minister's own electorate," Aly said.
He leapt on Turnbull's touting the BIS Shrapnel report, deemed "manifestly ridiculous", which the Prime Minister said was proof that Labor's plan would take a sledgehammer to property prices.
If Turnbull wouldn't supply modelling The Project would, pointing to the Australian National University's Centre for Social Research and Methods modelling that showed Labor's policy would slow the growth of house prices, increase new construction and raise billions for the budget each year.
The independent report found: Labor's policy could be "the biggest housing affordability policy the country has seen" .
Dropping some hard truths on The Project's young (and single) audience members, Aly said: "Right now, when you want to buy your first home, the cost of the average house is roughly 4.3 times household income.
"Which is amazing considering so many more houses have two incomes now. So good luck if you're single," he said.
In defiance of Turnbull's "common sense" claim during his 7.30 appearance on Tuesday night, Aly awarded that modest accolade to the opposition leader.
"[Shorten is] saying things have got out of control, and he's selling us common sense. Moderation. Tax reform. All really boring things, which is a problem," Aly said.
He compared Shorten to an annoying neighbour complaining over the back fence, and a used car salesman that would drive a would-be-buyer to boat ownership, suggesting the opposition leader's policy suffered from lacklustre sellability.
"Bill's saying shut the party down, and we all know, no real Aussie likes a party pooper.
"That's until you realise that unless you're a baby boomer, or apparently an actual baby, you're not invited to this party.
"It's time we shut the party down," he said.
Aly's regular segment 'Something We Should Talk About' is co-written by Aly and The Project's Supervising Producer Tom Whitty.
Most Viewed in Culture


text:
Carriera

Club
Cresciuto nel settore giovanile del , dal 2017 al 2020 ha militato nella seconda squadra impegnata in Fußball-Regionalliga. Acquistato dallo , il 28 ottobre ha debuttato fra i professionisti giocando l'incontro di KNVB beker perso ai rigori contro l'.

L'8 novembre 2021 viene annunciato il suo acquisto da parte del , con cui giocherà a partire dalla stagione 2022-2023.

Nazionale
Il 13 ottobre 2019 ha debuttato con la nazionale nigeriana giocando l'amichevole pareggiata 1-1 contro il . A partire dal 2020 diventa titolare della selezione nigeriana, venendo convocato per la Coppa d'Africa 2021.

Statistiche
Statistiche aggiornate al 29 novembre 2020.

Presenze e reti nei club

Cronologia presenze e reti in nazionale

Note

Altri progetti

Collegamenti esterni

Calciatori della Nazionale nigeriana


text:
This page requires Javascript. Your browser either doesn't support JavaScript or you have it turned off. Please enable JavaScript before you proceed.
Mediacheck
Labour & Industry
Indigenous Affairs
Rights & Justice
Urban Planning & Architecture
The Barometer
Support The Tyee
Tyee News
Weekly Archives
BC's Global Symbol? The Log Cabin
At Turin Olympics, that's our contribution to 21st century architecture.
By Helena Grdadolnik 26 Aug 2005 | TheTyee.ca
British Columbia will be represented at the 2006 Turin Olympic Games by a log cabin. I suppose we are not sending an igloo because it would melt?
Announcements, Events & more from Tyee and select partners
Over 1,000 Tyee Readers Contribute to Election Reporting Fund
Now, the work begins to dig into the questions you want answered. Thank you!
Tyee Recognized for 'Outstanding' Reporting on Surveillance and Privacy
Reporters Bryan Carney and Andrew MacLeod to receive award from BC privacy advocacy group.
It is no wonder that people outside of Canada have strange misconceptions about life here. In my travels I have come across many who believe that we all commute to work by dog sled and eat maple syrup daily. The reality in this province is that a large percentage of the population lives in glass and concrete condominiums and can choose to eat from a variety of first-rate restaurants. The request for proposals issued by the Ministry of Economic Development for the project asked that the house be "distinctively British Columbian, both inside and out". With this in mind, why is that the ministry chose to fund the construction of an outdated and irrelevant building form?
The project, named BC Canada House, will be designed and constructed in 100 Mile House by Sitka Log Homes and Oberto Oberti Architects. The house will be shipped in parts and assembled in the Piazza Valdo Fusi, one of Turin's most prominent public spaces. The 4500 square foot building will be filled with BC and Canadian products. From January to March 2006 it will be used to showcase our industry and culture to the world and to host delegates, visitors, athletes and media from Canada and abroad.
The qualified entrants were asked to propose "a BC-themed house" that would "celebrate British Columbia's and Canada's past, present, and future". A log cabin represents neither the present nor the future of the province, but even its past relevance can be called into question.
Log cabin kitsch
The Tyee is supported by readers like you
Join us and grow independent media in Canada
The romantic vision of the log cabin didn't exist in North American until the US presidential campaign of William Henry Harrison in 1840. Harrison fabricated the myth to exploit the country's urban/rural divide between the Democrats and his own party the Whigs (now the Republicans). The Democrats had claimed that the Whigs lived in log cabins and drank dirty cider - this implied that they were nothing more than uncultured hillbillies. The Whigs masterfully proceeded to turn this insult around; they built their entire campaign around the romance of living in a log cabin. Since then, many American presidents have falsely claimed to have been born and raised in a log cabin because the rustic life it symbolized came to embody the notion of an honest American life.
The log cabin was a building type imported to North America from Northern Europe where there was a tradition of its use in rural areas since the seventeenth century. Oliver Neumann, assistant professor in the School of Architecture at UBC, relays the history of these one-room shelters. "As long as there were trees and you had an axe, you could build a house in a day or two. Log cabins were only ever used as transitional shelter when an area was first settled. The method of construction was crude and used under necessity, not choice. Even fur traders had built framed houses instead when they had the time."
Historically, the length of a log home was determined by the length of the logs available, now log home builders are making larger more spatially-complex interiors that require sophisticated joinery. Professor Neumann remarked that "log building used to be a method of construction, but it has now become a style". If this is the case, then why don't we keep the look if that is desired, but use a more contemporary technology that uses material more efficiently?
'Newest, most advanced'?
Professor Neumann has been researching alternative technologies for the fabrication of wood buildings. He described the high level of craft and skill that goes into the construction of the type of log homes built in BC, but questioned its end. "It's like painting an amazing Renaissance painting today. The execution of the painting might be good, but why do it?"
The BC Canada House was supposed to be "showcasing the newest and most advanced British Columbian and Canadian technologies" according to the design guidelines in the RFQ/RFP. A log home is not a great example of sustainable building design, despite the fact that Sitka Log Homes is moving towards more environmentally sustainable options for log home construction. Five years ago, the company used wood harvested primarily from living old growth forests, now as much as 80 percent of the wood that is used in their homes is dead standing wood selectively logged from forests killed by the pine beetle infestation. Log construction is extremely resource heavy; to build a similar sized house framed with 2x6 wood studs only a fraction of the amount of wood needs to be used.
One technology that Professor Neumann believes has potential is CNC (computer numerical control) technology where machine tools are controlled by a computer to reduce the manufacturing time of complex cuts and 3-D forms. This technology opens up possibilities to use leftover or shorter lengths of wood in the framing of buildings.
"A log home was essentially a box. It had no sensitivity to the surrounding landscape, but BC has another long-standing tradition that can rival the log home". The tradition that Professor Neumann refers to is a regional style of architecture that is based on an awareness of the environment and a history of post and beam wood construction. It started in the late 50's with architects like Ned Pratt, Ron Thom and Arthur Erickson and continues to have a legacy today in the work of the Patkaus and a younger generation of architects today.
'A very romantic picture'
When I asked Walter Bramsleven, general manager at Sitka Log Homes why he thinks we should represent BC and Canada with a log home at the Turin Games he answered, "Log home building is becoming and has been a staple of the BC economy for a long time. It is probably one of the fastest growing economies in BC right now. It is bringing in a lot of money to the province from outside. BC has a long-standing tradition of log building. We have the finest quality log home builders here. This is a high end, high value-added product. We employ 35 full-time people. There is more employment per wood than a sawmill."
The BC Canada House will not be the first Sitka Log Home in Italy. The company has been successfully exporting log homes internationally for some time; the US makes up 75 percent of their sales and they have shipped a house to Australia, several to Korea, and built one last year in the Italian Alps. While there may well be a burgeoning niche market for these buildings and exporting log homes rather than raw natural resources is a step in the right direction, I do not believe that this is the type of building that should be promoted and endorsed by the BC government through public funds.
I asked Mr. Bramsleven if he thought that a log home was a stereotypical image that the world has of BC and Canada he responded by saying that "nothing defines Canada more than a log home; it paints a very romantic picture. Everyone's idealistic vision of winter is sitting around a fireplace in a log cabin on a ski hill. This is a well-defined Canadian image."
The BARK Design Collective do not agree that this image is beneficial to the international promotion of our culture and industry. They have been trying to export a more contemporary brand of BC and Canada that isn't tied to maple syrup and log homes.
A 21st century 'cabin'
Coincidentally, BARK is also sending a cabin overseas: the All Terrain Cabin (ATC) will be sent full of BC and Canadian-design wares to Japan this fall for one of the world's largest annual contemporary design events - Tokyo Designer's Block. The 480 square foot cabin unfolds from what is essentially a standard twenty-foot long shipping container. The ATC and the products within include truly cutting-edge technologies and a real diversity in materials and methods. I would recommend the Ministry of Economic Development look at this project as a model of how to promote BC and Canada by moving confidently forward in the twenty-first century without resorting to nineteenth century nostalgia.
Helena Grdadolnik will be writing an occasional series on architecture in British Columbia for The Tyee. We acknowledge the support of the Canada Council for the Arts which last year invested $17.6 million in visual arts throughout Canada.
Grdadolnik is a freelance writer, a founding member of SpaceAgency and an instructor at the Emily Carr Institute of Art and Design. She can be reached at hgrdadol@eciad.ca
Forward by Email
Would you like to receive The Tyee's headlines free by email?
Yes, every day.
Yes, once a week.
Yes, once a week, national news only.
I already subscribe.
Show form again »
Daily Weekly National (weekly)
When subscribing to a newsletter edition you'll also get early notice on Tyee events, news, promotions, partner messages and special initiatives.
Further to the provision of the Personal Information Protection Act, personal information is kept confidential by TheTyee.ca and will not be sold, traded, released, shared or distributed to any other individuals, organizations or agencies without prior consent or notification.
Measures have been enacted to ensure the integrity of personal information and to protect it from misuse, loss or alteration. All information submitted to The Tyee is only available to employees or sub-contractors who are bound by agreement with The Tyee to keep the information private. E-mail addresses are only used for the purposes of Tyee-related correspondence or comment moderation.
If you have concerns related to your privacy please contact us at info@thetyee.ca
Show me the comments!
Is the NDP already radical enough?
Already too radical, I'm scared.
Not radical enough, but just a little bit.
Not radical enough, and have a long way to go
Full Regina Manifesto (please, go all the way)!
Take this week's poll
News travels fast
Never miss a story. Get The Tyee's independent, reader-funded reporting sent straight to your inbox, for free. You'll also get early notice on Tyee events, news, promotions, and special initiatives.
Send me the weekly edition
Send me the daily edition
Send me the national edition (weekly, just national stories)
Your privacy is important to us. We will never share, rent, or sell your email address.
Please don't show this to me again.


Our AR/G36 Single Bungee Cover Pouch provides quick and convenient access to a stored 5.56 magazine. Offering a choice between standard cover flap and bungee cord retention, this compact, lightweight mag pouch integrates with both MOLLE and SlickStick™ web platforms, allowing you to adapt your gear loadout to the mission at hand. Built-in elastic compression reduces noise while maximizing stability, while DuraFlex™ hardware ensures reliable action in a wide range of operational settings. A water-repellant coating and heat treated seals ensure weather protection for use in inclement environments.
ULTIMATE Upgrade Series - BOOST, 40K Custom, Kort..
Minestrimmel, Respawn zone, 30 meter..
Marui - VSR-10 Sniper, 30 skuds magasin..


text:
SamRCox17
Stories By SamRCox17
Admittedly late… What to take from England's qualifiers
So England finally stumbled over the line to yet another major tournament and already the media and public are getting out...
By SamRCox17
Arsenal's Arteta and Manchester United's Carrick; Suave passing, Interceptions and Running the Show
It's hardly the new Vieira versus Keane, but Arsenal and United have managed to find themselves with two surprisingly similar players....
PSG and Sweden's Zlatan Ibrahimovic – Man of many talents
Zlatan Ibrahimovic is one of the most fascinating and headline making personalities in football – the towering Swede is never found...
Transfers and their Stature Implications
After what many fans seem to consider the bemusing choice of Chelsea to invest over £25 million on another attacking minded...
English Football
Who are favourites for League One promotion – Wolverhampton & Peterborough?
As a division that is so often incredibly competitive it's grown in quality and also in prestige in the last few...
Is Barcelona's Fabregas the signing Manchester United need?
One of the longer running sagas of this summer, Cesc Fabregas to Manchester United is a rumour that can't stay out...
Mark Hughes' Stoke City are Sparking Into Life
Stoke City are no small-time club, they arrived back into the Premier League big time a few years ago, having worked...
How much is Liverpool's Luis Suarez worth?
One of the most controversial characters in world football at this moment in time has been causing yet more trouble this...
Could we have the greatest Premier League season of all time?
Obviously – as with all seasons – we could have the greatest season, but are the chances of quite something magnificent...
Why Chelsea's Torres and West Ham's Carroll needed to succeed for the sake of Football and everyone's sanity
On that fateful day where mayhem ensued at the end of the January transfer window in January 2011; football changed quite...


text:
Features, Interviews, Music March 14, 2018 March 14, 2018
Groove and Emotion: A Conversation with Pale Waves
by Maggie McHale
Pale Waves © Nicole Almeida
article by Maggie McHale and Nicole Almeida
"I feel like some people, because our songs are quite poppy, they don't think that our songs have any thought or meaning, and they definitely do," Heather Baron-Gracie firmly states of her band, Pale Waves. "We almost think too much about them, and what they should sound like, and what they should mean."
All The Things I Never Said – Pale Waves
Maybe it wouldn't be initially explicitly obvious, but Pale Waves are nonetheless pure pop perfection to their core. The Manchester, UK-based four piece – comprised of Baron-Gracie, drummer Ciara Doran, bassist Charles Wood and guitarist Hugo Silvani – have seamlessly crafted emotionally provocative, sonically sanguine pop gems that essentially define the term earworm. Blending together a variety of influences, Pale Waves have uniquely curated a fluid sound that has garnered rampant praise and adoration. Through it all, they're just making the music that they want to make.
"…[T]hat's what we want our sound to be…groove and emotion," Doran notes.
Importantly, Pale Waves are not only transforming pop music, but they're doing it their own way. They have taken total autonomy over their sound and vision, independently producing their four-track EP, ALL THE THINGS I NEVER SAID, (released 2/19/2018 via Dirty Hit), and writing and directing a variety of their own music videos. Pale Waves are getting straight to the point, and it's paying off tenfold.
Pale Waves poignantly tap into fraught love, something so perennial to Millennial culture. Their songs contain emotionally honest lyrics, sugar-coated with glowing instrumentals, from glistening synths to flamboyant guitar licks to punchy drum hits, and define ubiquitous sentiment through palatable sounds. It is pop music for the emotionally elevated soul. It is pop music that we didn't think we needed, yet so desperately deserve.
Watch: "Television Romance" – Pale Waves
A CONVERSATION WITH PALE WAVES
Atwood Magazine: What, usually, is the songwriting process like? Talking about progression and everything, do you go into every song – going into writing every song – with a similar mindset? Or do you kind of try and spread it out?
Heather Baron-Gracie: It varies, really. It can start by myself starting the song, or Ciara starting the song; like, she'll write a lot of the music, or like, I'll just come to her with a song on my guitar. Like, "New Year's Eve," you [Ciara] started that like –
Ciara Doran: Yeah, I started that like, last Christmas [2016], that whole bridge bit.
Perfect, right around the holiday season.
CD: Yeah, most of it was written on Christmas Day, like, musically; which is pretty cool. I don't know, as soon as I sent it, Heather was like, "I want this to be about New Year's Eve." So, it always kind of had an idea around it. I find that songs that already have like, a really strong idea, turn out really good; and they're really fast to write as well.
Listen: "New Year's Eve" – Pale Waves
Do you usually do the instruments first, and then the lyrics?
HBG: A lot of the time, yeah, but sometimes not. Well, the guitar always gets put on last, really, doesn't it?
CD: Yeah, but the rest of the music is normally there.
So you at least have a bass line, and then whatever else.
HBG: Yeah, a bass line, then drums. Ciara usually writes the drums, then the bass line, then synths and stuff.
CD: Then Heather will listen to it, and if she doesn't like it, then we won't do it.
HBD: There's this one song that Ciara never got over, but I just can't write to it.
CD: I wrote in on the last North American tour, and it's like a whole, finished song, and Heather's just like, "Eh." Maybe this tour she'll come around to it.
It's okay! So when you're writing a song, and getting the lyrics down, do you – are you inspired by...personal experience?
CD: Heather does write about personal experience.
It sounds like it! The lyrics have a very narrative quality about them.
CD: That's what we want.
HBG: That's what usually happens.
Do you have a favorite lyric that you've written?
CD: I've got my favorite lyric [tattooed] on my arm, but that's a song no one's ever heard before, but it's my favorite Pale Waves song, and it's my favorite thing she wrote.
HBG: I can never change that lyric now!
It's alright, you can release it as a B-side if you do change it.
HBG: I think probably my favorite lyric is probably "Noises" or "My Obsession." Or, are you asking for a specific line?
Well, do you have a specific lyric that you can share?
HBG: It's probably from "My Obsession." "When death comes, you'll sure be heaven's obsession."
Listen: "My Obsession" – Pale Waves
Super cool. Do you have any inspirations that would be kind of surprising to people, based on the type of music that you make? Is there anything that you listen to, if you told somebody, they'd be like, Oh, I would never have guessed that.
CD: I listen to a lot of R&B. You'll probably hear that a lot in the new stuff.
HBG: I listen to a lot of like, really depressive stuff.
CD: I don't.
We want it to be emotional, but also like, making it fun.
It's good to bring your influences together!
CD: Heather's a bit more emotion, I'm a bit more like, funky. I'm into like, beats.
Technical stuff.
CD: It's a good mix.
HBG: It's like groove, and then emotion.
CD: And that's what we want our sound to be! We want it to be emotional, but also like, making it fun.
HBG: Not like, super sad.
Your genre is emotional groove.
CD: Yeah, exactly!
HBG: Like The Cure, but groovy.
Nice! That works as a brand for you guys.
CD: She'll be writing a song, and she's like, "Oh shit, it's supposed to be happy!"
HBG: Recently I've been writing happy songs though! Which, I'm quite shocked by.
And your artwork—you have such a defined aesthetic, with your pictures and stuff, but your artwork is just black. How and why did you make that decision?
HBG: It's not like, too pretentious; it's just like, you know when you click on artwork, if you seem something on Spotify—
CD: It kind of defines the song straight away.
HBG: There's like, an expectation. So, there's no expectation, it's just music.
Take it for what it is!
HBG: It's just purely music, then, and there's nothing to be distracted by. It's kind of cool, actually.
So what has been the best part about the successes that you've seen so far? What have you enjoyed the most?
CD: Seeing what the music means to people. And we'll meet people, and they'll go to Heather and be like, "Your lyrics have helped me emotionally," and that's crazy for people to say that to her, because like, what the songs are for is to share emotion with people, that people will also –
HBG: Relate to. And it makes them feel better their own situation, or experience.
CD: That's really nice, to know how much that means to people.
HBG: And a lot of people have become friends through the band, which is the cutest thing.
CD: It's lovely. I think a couple got together.
HBG: I think that's happened a few times now. So that's pretty cool.
That's so sweet! So talking about, making connections with people, why do you think music matters? What makes it so important to you – or just in general?
HBG: For me, I need music to express myself.
CD: Heather's not a big talker, so everything she feels is put into songs.
HBG: I think it helps people express themselves, really.
CD: And even if you don't write music, you need music.
HBG: People who don't listen to music, it's like – you're fucking weird. It's like saying you don't like food.
It's like one of those basic necessities in life.
HBG: 100%.
You said you're writing happier lyrics now—do you think that your melodies will become a little mellower?
HBG: Nah, we've got to stay poppy.
CD: I don't know, she only writes fucking pop anyway.
HBG: I love pop music.
Do you think there's an expectation that you're trying to meet, just based on people knowing you through Dirty Hit? Do you think you're trying to break away from that and prove yourselves in a different way?
HBG: What do you mean?
People have some sort of idea of who you are based on your tour that you did with The 1975.
HBG: Totally. We're definitely trying to prove ourselves.
Yeah, and you're so new – you're doing a great job, by the way. Not diminishing that fact at all; you guys are doing wonderfully.
HBG: Yeah, we definitely are trying to prove ourselves. Like, this EP we've done completely ourselves. We shot music videos that we did ourselves. From "New Year's Eve," this is purely us. People can't really say that someone else has done this.
CD: And I mean, it was scary for us to release a song that wasn't produced by George [Daniel] and Matty [Healy]. It was a big leap, you know what I mean? It wasn't a comfort anymore.
HBG: Because people are so obsessed with them, so like…
CD: Exactly. I don't know, Matty and George are receiving it well.
HBG: I think it's the best received song yet. And Matty and George have expressed how much they like it, so for them to like, say they loved this song, is a really nice feeling. It's nice for people to see us as pure Pale Waves, because no one really knows how much involvement The 1975 have. We know.
We want people to realize how much we put into the songs.
You guys absolutely deserve to stand on your own, because you're so talented.
CD: It's been like, special for them to be involved in the first two songs, and how they produced it, but you know—
HBG: We're ready to be on our own now.
They gave you guys so much experience as well, like with the tour, and MSG.
HBG: That was sick.
CD: They've helped us so much, and really supported us at the start.
Everyone needs a mentor! And going off of that—what do you want people to know about you, and your music? If you could sum it up, what would you want people to know about you as a band?
HBG: I feel like some people, because our songs are quite poppy, they don't think that our songs have any thought or meaning, and they definitely do. We almost think too much about them, and what they should sound like, and what they should mean. I don't know. We want people to realize how much we put into the songs. These days, people think that pop is really easy to write, and doesn't mean [anything], and that's absolute bullshit.
And what do you have planned for the future?
HBG: We want to do an album. A really good album. And we've got loads more tours, and festivals.
Connect with Pale Waves on
📸 © Nicole Almeida
:: Stream Pale Waves ::
Maggie McHale
More from Maggie McHale
Premiere: Jen Awad Laments Nostalgic Longing on "Love Is Dead"
Jen Awad's "Love Is Dead" is a gritty, melancholic ode to the...
In His Own Sweet Time: An Interview with The Fratellis' Jon Fratelli
Today's Song: The Avalanches are Seeing "Colours"
"Attention. Deficit. Disorder.": Bendigo Fletcher Enjoy 'Fits of Laughter' on Dazzling Debut Album
Change is a Good Thing: Passion Pit's "Kindred" Takes on New, Happier Themes
Our Take: The 1975's Epic 'Notes on a Conditional Form' Is an Odyssey of Sound & Substance
Premiere: The Anthemic Glitz & Emotional Glam of UHURU's "Riddle"
Previous articleEP Premiere: Avoid the Riptide with Racquet's Impassioned Debut EP 'Artifacts'
Next articlePremiere: Tom Gallo Gets Tender on Dreamy "Home (If This Is Love)"
Premiere: The Raw Love of "Keep Me Up" by Lady Clementine's Fantastic Party


A credit card is required to confirm your reservation. If you do not have a credit card you can direct deposit 50% of the total fee (or one nights accommodation whichever is higher. Bank transfer details will be included in your confirmation email. Please note: Christmas and Easter Holiday periods and other NSW public holiday dates full payment is required at the time of booking.
Payments by creditcard attract a 1.9% PayPal merchant fee if paid in person using an Efpos machine or 2.9% if payment is made manually using an Efpos machine. These are bank fees and not our fees.
Bank transfer facility is available which does not attract a merchant fee.
For cancellations made within 7 days of booked arrival, the cost of one night's accommodation will be levied as the cancellation fee. This fee is waived, or the deposit refunded, only if the suite is able to be re-let.
During Christmas and Easter Holiday periods and other NSW public holiday weekends, cancellations made within 7 days of booked arrival will attract 100% of the total booking fee as specified in your confirmation. This fee may be waived only if we are able to fully re-let the suite.


Don't worry if you don't have your golfer information yet. After completing your registration, you'll have the option to download a PDF to register your golfers later. Questions? Contact Mary Anne Christensen at (904) 595-5794 or donate@beacheshabitat.org.


text:
Home News DeSoto City Councilmember Takes Key Role with City of Grand Prairie
DeSoto City Councilmember Takes Key Role with City of Grand Prairie
Brown-Patrick Joins Grand Prairie As Business Manager for Retail Attraction, Business Retention and Enterprise Development
DESOTO – Focus Daily News readers have likely heard her name when thinking of DeSoto, now Kay Brown-Patrick has another addition to her resume.
Brown-Patrick recently joined the City of Grand Prairie as the Business Manager for Retail Attraction, Business Retention and Enterprise Development. She came to the City of Grand Prairie Economic Development Department after serving as Business Development
Administrator for the City of Denton where she developed, implemented, and managed the city's Business Retention and Expansion plan and programming.
She has also served in various economic development roles for the cities of Waxahachie, Irving, and Bedford and as Community Programs Coordinator for the City of Lancaster.
"We are impressed with Kay's experience in business retention and expansion," Marty Wieder, City of Grand Prairie Economic Development Director said. "She has also worked with the Governor's Office to pursue and land Special Events Trust Fund monies for big sports events like the International Cricket Council's 2024 ICC T-20 World Cup that has been awarded to the West Indies and the United States. The City of Grand Prairie is glad to have her on board as we work hard to keep the excellent businesses we already have here and pursue new development opportunities."
Brown-Patrick was offered the position when the city's former Business Manager accepted an opportunity in economic development with another city.
Goals For Grand Prairie
Brown-Patrick's goals in her new position are in alignment with Grand Prairie's City/Department goals, which include attracting new retail development, formalizing a business retention and expansion program especially for major employers, large retailers and entertainment attractions, initiating a retail strip center/store front revitalization program, creating an entrepreneur development program with emphasis on franchisee training and minority business assistance, and working to pursue and land Special Events Trust Fund monies for the International Cricket Council's 2024 ICC T-20 World Cup.
"We are certain that with all the years' experience and knowledge she has in these areas, Kay will keep us moving in the right direction," said Cami McKillop, City of Grand Prairie, Communications and Marketing Department. "Kay's role in creating, implementing, and managing the Business Retention & Expansion program will assist in Identifying and addressing local businesses' needs by providing quality assistance and access to resources in order to retain the businesses or help them expand."
Expansion In The Turnpike Corridor
Grand Prairie has already been blessed to realize a good deal of retail and restaurant growth in that city, especially along the President George Bush Turnpike Corridor.
More recently the city has welcomed North Texas' first Chicken N Pickle restaurant and entertainment attraction, as well as a Longhorn Steakhouse, Twin Peaks and Tiff's Treats. Brown-Patrick will help the city continue to identify others who can join them on this corridor and elsewhere in Grand Prairie."
She has her Master of Public Administration degree from the University of North Texas and completed the Oklahoma University Economic Development Institute in 2019. She is a member of the International Economic Development Council, Texas Economic Development Council, Texas Municipal League and National Forum for Black Public Administrators.
"I am excited to have been selected to join the economic development team at the City of Grand Prairie. Grand Prairie has a lot of new development opportunities happening citywide and I am excited to be a part of the efforts to ensure we maintain that momentum," Brown-Patrick concluded. "I look forward to serving the business community while helping facilitate new commercial development, retaining the businesses we have, and developing our growing entrepreneur base."
DeSoto City Councilmember
Kay Brown-Patrick
Previous articleBusiness Closures/Cancellations For Today 2/23
Next articleDFW Area School Closures Due To Weather Thursday 2/24