The end of year final grand slam, the US Open is about to begin. The competition will be so stiff. Big crowds will flock in Flushing Meadows. However, there are also fans in the UK who would like to watch but cannot make it to New York to enjoy the game. If you are one of these, do not worry, there is a new way you can enjoy the action with the others while still in your house. So, which is the best channel to watch from?
The Amazon Prime Video has elite streaming rights to the tournament. Therefore, if you are up you will have to subscribe to their survives. Once you subscribe, you can watch it on your phone, computer, tablet or via the Amazon Prime app if you own a smartphone.
Nevertheless, if you want a long haul partnership, then you should go for Prime Instant Video membership. It goes for £7.99 every month but you can still pay a one-off £79 sum to enjoy all the actions plus other benefits like films, to shows and music.
This tournament will happen between 26th August and September 8 which are convenient dates for the free trial. For the £7.99 a month membership, you will receive a free next-day delivery on any eligible products you buy on Amazon. The US Open, part of the four annual Grand Slams is among the major events in the tennis calendar. The action is meant to feature utmost sports with big names. This is because there are very few injuries in both men and women.
When will the coverage begin?
Live streaming will run on a daily basis from 4 pm to 4 am. However, on Amazon Prime, they will be running the full-day highlights every morning at 7 am. so, in case you miss any session you can heed to the highlights for updates.
Catherine Whitaker, the Tennis co-host will be in charge of the Amazon's coverage. Moreover, other existing presenters like Daniela Hantuchova and Greg Rusedski will also take a hand. Other past professionals; Jimmy Connors, Mark Petchey and Jim Courier will still take part in the coverage.
In conclusion, you do not have a valid reason to miss this year's tournament. watch US Open 2019 live on Amazon Prime and you will the same experience as the people in up. Besides, it is very cheap and c convenient.
Regarding the excitement of the upcoming big event in the tennis world, you will surely want to get the most updated information about the US Open 2018. No one can deny that the winner's prediction is always an exciting topic to discuss.
This year's US Open Tennis will introduce a lot of spectacular moments. And probably, it is going to be like an old time again. For instance, we are expecting to witness the favorite athletes such as Roger Federer, Rafael Nadal, Novak Djokovic, and Juan Martin del Potro. With these names themselves, it goes without saying that the US Open 2018 will be fantastic.
Here are the ATP ranking points in the US Open Series.
There is an explanation for why Stan Wawrinka got the low point, along with other names like Novak Djokovic and Andy Murray. They skip about second half of the season in the previous year because of the injuries that they had been experiencing. The wave of injuries has convinced many people that it could be the tennis generation transition.
However, it is not true at all. What people speculated back then is wrong. On the contrary, all these athletes look healthy and fresh now. They have recovered from the wave of injuries and claimed to be ready for the US Open Tennis 2018. Wawrinka has been in the old-shape, and he is prepared to beat his opponents.
Andy Murray, in the other side, had his first victory against Stan. Meanwhile, Novak Djokovic has made to prove himself to the world after winning the title at SW19.
Roger Federer had been in the overbearing position at Wimbledon. It looks like he can be dominating in every faucet except after being upset by Kevin Anderson in the last-8. Regardless of the fact, he remains a favorite athlete. sNot to mention the number of fans who will be rooting for him in the US Open Tennis venue will be the x-factor for him.
As Roger Federer has a good position, Nadal is also ready to carry his racket to the grass and remind the public that he is a countable contender.
From Canada, we can see Sascha Zverev as the Canadian Masters defending Champion. However, the injuries seem still haunt him because of his defeats in the last two Slams.
The US Open is going to be in Flushing Meadow, NY. Once again, this prestigious festival will stop the city. Undoubtedly, the US Open is by far the most exciting tennis event in the United States and one of the most prestigious Grand Slams in the world. Although we haven't the idea about the draw yet, experts convince us that the top contenders are Novak Djokovic, Roger Federer, Rafael Nadal, Andy Murray, and Alexander Zverev.
The final grand slam of the tennis calendar is around the corner. It is just a month away. With the US Open approaching 27th August at the USTA Billie Jean King National Tennis Center, everyone realizes that there are the things to play for.
We can't neglect the fact that there has been the "Big 3" concept of the men's tennis. These consist of Roger Federer, Novak Djokovic, and Rafael Nadal. The prospect has split the first three Majors of 2018 between them. It is still not clear who is going to be the 4th.
With a month away, Federer would be looking to put an energetic show at Cincinnati Masters. Some people wish that Federer reach the final of the 2018 US Open. May bet bless it. The King of Clay Rafael Nadal will be defending the US Open champion. Nadal is back to where he belongs to. But to reach it, Nadal will have to defeat the rival Novak Djokovic, Milos Raonic, Juan Martin del Potro, Marin Cilic, Kevin Anderson and Dominic Thiem for the title. For the champion like him, it is not easy to do that.
So, who will win this year's US Open Tennis championship? Don't miss the spectacle to find out.
The US Open Tennis 2018 is fast approaching. If you have been following the tennis sport in the US, you must not want to miss this spectacle. Here we are going to share everything that you need to know about the 2018 US Open, including the dates, ticket information, and many more.
Wimbledon has been interesting. But now, both athletes and fans are welcoming another Grand Slam. The upcoming prestigious event will happen to be the 2018 US Open Tennis this August.
Some diehard fans will love to see their favorite athletes to play on the court. If you are interested in reserving your seats, you will need to purchase the tickets as soon as possible. Are you worried about how to get the ticket? You shouldn't. You can find the tickets information easily on this page.
The upcoming 2018 US Open Tennis is not only the first Grand Slam of the year, but it is also the historical record where the officials hold the US Open's 50th Anniversary.
Back then in 1968, the US Open was established in five categories of competition: men's singles, doubles, women's singles, and doubles and mixed doubles.
For all the diehard fans of tennis sport, it is excellent news for you. The 2018 US Open is coming in the next month! The first day will happen on Monday, August 27. The competition will last until Sunday, September 9.
The 2018 US Open is set to happen at the USTA Billie Jean King National Tennis Center in Flushing Meadows, Corona Park, New York.
If you haven't been there, there is no need to worry. If you need the directions to Flushing Meadows, all you need to do is just open the US Open official website and check its transportation guide. The information includes how you reach the location as well as its routes and parking.
The price of the tickets will depend on how many rounds you are planning to see, which day you are watching the US open, as well as the location of the seats. These factors can make differences in the tickets' prices. A single game could cost you around $100, whereas the ticket plans can save you more but you need to spend up to thousands of dollars. Check the official site of the US Open to see the FAQ about the tickets sold for day and evening sessions. You will also need to view which tickets that have assigned seating.
You could grab your tickets through the Ticket Master website. It is the official ticket provider of the US open. On-site tickets are also available in the Box Office. Resellers are also available online because the US officials allow people to resell their tickets in the fan-to-fan environment. That's why you must be very careful when looking for the tickets from the third party site.
If you are not planning to attend the venue, live streaming can be your best option to follow the matches. The good thing here is that you can get the access through the US Open App. For the channel viewers, you could tune in ESPN. The US Open officials also announce that you can follow the live results from their official site. If you prefer to see the textual information, that could be helpful for you. The TV schedules will be available approaching the US Open main events.
Chances are you will find tons of free live streaming providers out there. But beware when using such services because they often come with spyware and malware. To prevent something terrible from happening, you could update your antivirus and anti-malware.
It is also the great idea to follow the US Open Social media accounts since they will keep posting the updates and highlights.the official social media accounts will display the great contents that you can enjoy from the festivity.
For the first time, the officials of the US Open procure the video review for the US Open 2018. Later, the US Open courts are available for all the matches in singles, doubles and mixed doubles. All the types of games will feature the electronic line-calling and video review. The USTA announced the news last Friday.
It is a slight change for this year's US Open Courts. It will be the very first time that the US Open showcase the technology. Not to mention that it will happen in every match of the US Open 2018. Actually, the electronic line-calling was available from 2006. But the replay and review feature is the first happenings this year.
For this year's spectacle, four top courts will optimize the technology. They are Arthur Ashe Stadium, Louis Armstrong Stadium, Court 17 and Grandstand. These courts will provide instant-relay team within the arena of the US Open Courts this year. There will be a centralized office that will operate the re-review process for other matches as well. Last year, 7 courts had the capability.
The US Open 2018 is set to happen on August 27. Although it is a month away, the preparation has been in the severe plan. The officials will make sure that the video review in US Open 2018 will improve the experience for viewers. For the first time, the video review will happen at the courts of the US Open 2018.
The electronic line-calling and video review in 2018 will be the more enhanced and improved versions of the latest technology. The team of officials has been conducting the preparation seriously so that all of the techies will be in the prime conditions. These will perform for catering to singles, doubles, and mixed doubles.
The USTA stated that it would be the first time that every match would have the technology mentioned above. There will be dozens of people who will operate the electronic review process from the central operative office. The US Open will expand the uses of the court by using the tennis replay.
It is indeed the high-tech replay that the viewers and spectators will see in the upcoming prestigious event in the tennis world. The viewing will be available in all matches. The new integration finally happens after twelve years after the starting of the use of Hawk-Eye instant replay system in the Grand Slam events. This fall, the viewers will see the brand new replay system in the US Open. So, if you are not planning to attend the venue when the prestigious event happens, you can enjoy every spectacular moment of the matches from your favorite screen. You will see a lot of different replays from different angles with higher quality.
No matter what you would like to see in the US Open Tennis 2018: the men's and women's singles, doubles, and mixed doubles matches, the electronic line-calling will be able.
The expansion is also advantageous for the players. These will capture any slit moment so that the concerned folks can see the replays to discuss what's happening. It is something that we couldn't see in the past. Spectators are also found with this new change. The trajectory of the ball is the crucial thing for analysis. If you are diehard fans of tennis sport, you would agree that the computer-generated path of the ball is essential. The operators claim that the image can be precise within 3.6 millimeters. The result will also happen on the giant video boards.
With these new techies, the risks of errors will be minimized well. The US Open officials had this idea since the error during 2004 quarterfinal match between Serena Williams and Jennifer Capriati. You would probably have known the details. If you haven't, you could check back on the past sources. At that time, Capriati won the Match 2-6, 6-4, 6-4 because of the error. The next day, the US Open Officials apologize to Williams and sworn to seek the mistakes.
Two years later, the new replay technology system was available to Ashe and Armstrong avenues. But it has evolved and planted on USTA Billie Jean King National Tennis Center. And for this year, the spectators can see it in all courts.
For both courts attendances and the viewers around the world, it is essential to catch up all the moments happening in the US Open Tennis. If you are like other tennis fans, you will want to follow every single moment of your favorite game happening on the court.
It is an excellent news for all the diehard fans of the tennis sport. The officials of the US Open Tennis Championships have been making few changes for better purposes. One of the developments for this year's tournament is the instant replay additions to all the courts for all matches. With this change, it will make the US Open Tennis Championships as the first of tennis' four Grand Slams. That will also make the upcoming championship as the second tournament with multiple courts to offer it for every match.
The upcoming US Open will conduct the replay system in a remote broadcast control center. This centralization is similar to the system that we usually see in many team-sport leagues. The remote broadcast control center will have more dynamic spectacles for the viewers. The other 12 courts will feed into a remote trailer complex housing. For this new replay feature, the officials dispatch around five dozen of technicians and replay operators. The workspace is a non-public area. They will locate it from the two main stadiums in Flushing, N.Y.
Dave Brewer, the tournament director, confirmed the new advancement of the replay and stated that it was one more advancement or one more innovation. Folks reacted to this news positively. Not only for the viewers, but the new replay system also benefits the players.
The new replay system was proposed years ago. Why this year? Why now? You might ask the question. It has a thing to do with the renovation of the USTA Billie Jean King National Tennis Center. The restoration of the place took roughly five years and costed the officials around $600 million. The repair focuses on the new roof on the Arthur Ashe Stadium and new Louis Armstrong Stadium that opens this year. With the complete renovation, the technicians will wire all the side courts for the replay.
The officials have been doing some video simulations to test the new replay features. The on-site video simulation shows where the ball lands. This will air on the digital scoreboards that are located in each court of the event.
It is indeed an advancement for all the parties involved in the US Open Tennis 2018. The on-site video simulation will be a pivotal role in succeeding the new replay features. The US Tennis Association representative claimed that the new replay features would be prevalent for the future projects as well.
The USTA owns and operates the Open. They also plan to conduct the replay for all professional singles, doubles, as well as mixed doubles matches. So, all the players in different categories can take the benefits of the replay features.
Because of the cost and logistic factors, the development can happen, and ones need to have much time to actualize it.
Some players get the benefits of the challenges, and other players do not understand them. In the US Open, Courts 4, 5 and six are laid out in sequence.
It is true that the US Open was the first tournament that provided a replay for players. It all began in 2006. And then, many tournaments follow the trend. However, that does not limit to what kind of tournament that needs the replay. For instance, seven of Wimbledon's 18 courts also use replay. Last year, the US Open had it on seven of its 16 courts.
You might be wondering about the cost of having the replay. At one court for three weeks, it costs around $80,000. Perhaps the only problem for some tournaments is the space that they don't have for accommodating the equipment and personnel. However, this matter will be quickly solved by operating the replay remotely. With the current technology, it is far from impossible.
Sony's Hawk-Eye system is the dominant provider of the upcoming US Open replay. For this year's US Open, the company will dispatch around 50 employees on site to handle the replay.
Wimbledon would seed Serena William. However, the US Open confirmed that they would change the seeding policy if a return from pregnancy comes into play. The changes will inevitably happen because the Official of US Open has confirmed it although they didn't mention the name of the player individually.
This year's US Open is the fourth and final Grand Slam tournament of the year in September. The official will revise the seedings if the pregnancy has a thing to do with the current rankings of the player. This statement shows the seriousness of the official to pay attention to the pregnancy issues. The USTA president and chairwoman Katrina Adams said that they would seriously revise the seedings if the pregnancy had been proven to be a factor in the rankings of the player.
The seeders didn't give one of the 32 seeds for Williams, the 23-time Grand Slam singles champion when she came back from having a daughter on Sept.1 last year. It happened at French Open in May. Because of the maternity and pregnancy, her ranking had been down to no. 453. She could get involved in the significant tournament if she wanted to. It is because the WTA is protected ranking rule. However, when talking about the seeding, it will be up to Grand Slam organizers. They could decide whether or not giving Williams the seed.
As we know, Williams has many achievements in her entire career. Williams ended up in the semifinals of her last eight US Opens. She only missed the New York event in 2010 and 2017. Six times are the record that she has. She has been ranking in no. 183.
The US Open seeding protocol will now change and leverage the party of the pregnancies. Now it is essential. The official will dictate the different seeding for those who have been playing after the pregnancy.
The United States Tennis Association, Katrina Adams, admitted that the players who return from pregnancy should not be "penalized" for having a family. That sense. We have been arguing about this for years, but there has been no response from the officials about how should the seeding system work reasonably.
The public was questioning about the seeding policy since it didn't seem fair. The USTA's can give the good news after debating over the seeding of Williams at the last month's French Open.
Williams was not seeded because she was on hiatus because of her pregnancy. She did not join the competition because of her condition. Williams was in the no.1 rank before giving birth. And now, she is down to no. 183.
Currently, under the WTA rules, rankings are not protected if the players are injured or pregnant. The seeds are distributed based on the player's ranking. That means the recent win-loss records hold vital role to give the player seeds. Unfortunately, the WTA rules do not protect players who are injured or pregnant.
There is a possibility that she will be seeded in the upcoming US Open. The good news is that the US Open changes its approach to seeding the players, especially those who come back from the pregnancy. Folks criticized the officials when Williams returned to the French Open last month. For Katrina Adams, the president and chairwoman of the USTA said that it was the right thing to do. What do you think? Is it the right thing to do?


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2130 Evdokiya eller 1974 QH1 är en asteroid i huvudbältet som upptäcktes den 22 augusti 1974 av den sovjetisk-ryska astronomen Ljudmila Zjuravljova vid Krims astrofysiska observatorium på Krim. Den har fått sitt namn efter upptäckarens mor, Jevdokija Jefimovna Sjtjelokova.

Asteroiden har en diameter på ungefär fem kilometer och tillhör asteroidgruppen Matterania.

Referenser

Huvudbältesasteroider
Matterania-asteroider
Småplaneter namngivna efter personer
Astronomiska upptäckter av L Zjuravljova
Astronomiska upptäckter 1974

redpajama_set_name: RedPajamaWikipedia


Hello, hello, hello. How are you doing Sacrament-ooooo? I am quite flattered by the invitation from Brandon to contribute here. This time I'm just going to tell you a bit about myself.
I am a stand up comic from Modesto. It's been almost 3 years since my first open mic. Since then, in addition to performing, I write a monthly column for our local entertainment magazine the Modesto View; I have won a Modesto Area Music Award (MAMA) for comedy; and I have formed, with my big guy, a production company: FEarlisha Presents. FEarlisha Presents produces music and comedy shows in the 209. The "Earl" in "FEarlisha" has been a musician for 20-ish years. I recently lost my office job of 13 years and 50 is around the corner, so I am going forward hard–I don't want to be a desk jockey again.
I plan to share my columns and video that I contribute to Modesto View as well as creating new content from time to time. My columns generally talk about local events and my videos are short interviews with comics from the Modesto/209 area.
All 209 comics spend regular time in Sacramento because of more mics/venues. Up until a few months ago, we didn't even have an open mic in the 209, but now we have multiple locations. (Honestly, I could've counted, but I'm really lazy. I'm going to say like more than a handful, but not 10.) That being said, I know that Sacramento comics are super supportive of the 209 and just as many come out to our rooms as go their way.
I attribute the willingness of Sacramento comics to travel to the Modesto/209 area despite the fact that we're a smaller market is that we get really great audiences who are engaged and will sit through even an open mic with enthusiasm you don't see at some showcases. I'm generalizing, so please don't argue with me, but please, let me know about the friendliest rooms around, I'd love to visit.
It's the first of the month, so I'll be publishing that column soon. Thanks for reading.
So, that's a little about me. Thanks for reading. Find me on Facebook at Felicia Aleman Comedy.


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ACE High var et troposcatter-kommunikationssystem, som daterer tilbage til 1956. Systemet blev dekommissioneret i de sene 1980'ere.

I alt var der 82 stationer lokaliseret i ni forskellige NATO-lande. Nato havde bl.a. en troposcatter-radioforbindelse fra Norge via Torphøj i Danmark til Tyskland. Det kaldtes NATO's Troposcatter Relay Network.

Troposcatter forbindelser benyttes ikke så meget mere. Forbindelserne foregår nu via satellit.

Eksterne henvisninger
 NATO´s Troposcatter Relay Network
History and details
Photographs of an installation
Troposcatter communication network maps
ACE High site by Gerrit Padberg and Roger Camperi

NATO


Uncover what hosting providers really offer whenever they say 'free website templates'.
In case you have little if any previous experience, starting your own website could seem complicated. Coding and website design are not the easiest things to get good at, so if you want to start your world wide web presence, you may use site templates. A theme is a pre-made Internet site that you can modify by adding your own written text, images, links within the site or to external content, etc. Some themes may be more complex and may provide you with more options for instance picking out the color scheme or the number of columns on the site via an easy-to-use visual interface, so even if you have never created a site before, you may still build a beautiful and professionally looking one with only several clicks.
If you obtain a cloud hosting plan through our company, you'll be able to use countless website themes totally free. We have a website builder with over 70 web themes, each with different styles and color schemes. The templates also feature numerous pre-defined pages that will enable you to build your website without difficulty - with a couple of clicks you can add a Contact Us or a Directions page for a company site, for instance. If you'd prefer to use a script app for your website, we'll also give you access to lots of web templates for some of the scripts that we provide with the hosting solutions, including WordPress, Moodle and Mambo. You will not need to spend a lot of money on web design or paid templates as we will provide you with everything you need to create a unique and exquisite site.
With a semi-dedicated server package through us, you will be able to use countless templates to build your site. We have a number of software instruments which you can use to develop the website online, so you will not have to download or set up anything on your PC. For simpler web sites, we have a site builder tool, which comes with more than 70 web templates and each of them features a number of pre-defined pages. You may also select the style and the color scheme depending on your taste. For more dynamic websites, we have a script installer with apps like WordPress, Mambo and Moodle, which feature countless web themes whose settings can be controlled via the script admin area, so you do not need any coding skills to develop a beautiful site. All web templates we provide come with each and every semi-dedicated solution, so you can forget about paying hundreds of dollars for paid templates or website design services.


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Track and Cross Country: Men's and Women's
Buffalo Men's and Women's Cross Country opens at Colgate
There might be something here, folks.
By Matt Gritzmacher Sep 6, 2015, 12:00pm EDT
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Football wasn't the only UB team to start their season yesterday, though they do everything with a little more flair than everyone else. Buffalo's full complement of fall sports is now in action after Men's and Women's Cross Country opened their season racing in Colgate's Harry Lang Invitational.
This year's edition of the Invitational had much larger fields than 2014, when it was solely a dual meet between Colgate and Syracuse and UB opened their season in Pittsburgh. This weekend, in addition to UB, Navy, Bucknell, Albany, Binghamton, and Utica all joined the event.
To the extent that anyone should care about results, Syracuse is the cream of the crop among this field, boasting the #3 men's team and #17 women's team in the nation. But you and I shouldn't care about results, for one because for all intents and purposes this was a preseason race, with UB only even bringing 12 women and seven men, and for two because to even try to have runners operating at their best at this point in the season would be to set the teams up for failure when the more important races come; a typical training regimen builds up to a 'peak' that lasts a few weeks before falling off again, and to aim for top fitness now and to hope to carry it through to the MAC Championships on Halloween would be a mistake.
For what it's worth, Syracuse didn't win either race despite their rankings, so don't take it too seriously.
That said, it's not that we can't take anything useful from the day.
The men will be returning six of their seven top finishers from 2014's MAC Championships, but brought three freshmen today. Keeping in mind that this was a four-mile race, while most men's races are five miles, and without any knowledge of the relative pace of the courses, Everett Geiger put down a time today that would have had him int he mix for UB's seventh spot at least year's MAC Championships.
None of these runners were among UB's contingent at the conference championships, so it's good to see them get a crack at a race. Whelan in particular would have pulled about half a minute off his 2014 times had he maintained the same pace and the race been extended to five miles. Keep in mind that roughly this is Buffalo's second string - at least that's how I see it - right now.
The women have two departed seniors to replace from last year's group, but have also touted the incoming freshmen as UB's fastest-ever recruits, and put together some impressive times yesterday with more presumed first-stringers in the pack. I'll again offer caveats against comparing courses and reading too much into early-season performances, but this entire field of seven is well faster than UB's top performer least year's season-opening 5Ks in Pittsburgh and Buffalo.
In fact, Corinne Birchard, the UB leader in each of those early 2014 races and much of the season, finished 20 seconds behind Hopkins while still improving on her 5K times from last year. On the whole, the UB women look to be starting this year a full minute faster than last. That difference last year would have moved them from seventh to third at the MAC Championships. Same caveats as I've mentioned a few times here, let's not throw a parade, but let's acknowledge the good things.
Even the UB Stampede next weekend may not give us a great look of where the Bulls are at - we'd then have to wait another week for the women and another three for the men - but it's good to see another pair of teams under way and seemingly already improving on last year.
Transfer Portal gives and takes away from everyone

redpajama_set_name: RedPajamaCommonCrawl


My oldest friend (totally joking) has turned 30! We (a group of three married couples) frequently tease Alan for being an old man. Amongst all of us, he's the oldest and I'm the youngest…we are 19 months apart! So, in the spirit of laughter, I made him a larger than normal card with large letters and numbers (aka "large print")!
Nice card! How do you create the lettering for the card? Any recommendations? Thanks!
Thanks! The letters are premade chipboards.
Oh Joy of Joys, you've been "nominated" for the Versatile Blogger Award. This is, so far as I know, a completely bogus award given with the requirement that you (1) thank the person who gave it to you, (2) post links to 15 blogs you have "nominated" to receive this award, (3) notify those 15 bloggers of their "nomination," (4) post seven random things about yourself, and (5) post the Versatile Blogger Award on your site.
Seriously, though, I like your blog. Check out the post on my site for some other great blogs to look at (if you're into that sort of thing).
wow, that's pretty cool! thanks for the nomination!


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Tag : Occupational Disease
On this Injured Workers Day, in the midst of COVID-19, Canada's unions are calling on all levels of government to do more to prevent workplace injuries, illnesses and deaths, and to strengthen the workers' compensation system. The current pandemic presents a monumental challenge in the fight to prevent workplace injury, illness and death. As Canadian jurisdictions begin to open up…
Canada's unions mark National Day of Mourning in solidarity with frontline workers
Canada's unions are asking Canadians to observe this year's National Day of Mourning in remembrance of workers who have lost their lives as a result of incidents in the workplace. This year, that includes a number of frontline workers who have lost their lives due to COVID-19. "As communities mourn workers we've lost this year, including many in recent weeks,…
Canada's unions support nurses, midwives and all health care workers
For World Health Day 2020, the World Health Organization is celebrating the International Year of the Nurse and Midwife. Right now, nurses and midwives are working shoulder to shoulder with all health care workers at ground zero of the largest pandemic in modern history. Health care workers are working overtime, playing a critical role for their patients across the country…
Supporting workers in a time of crisis: Key steps for governments and employers
Canada's unions are calling on the federal government and its provincial and territorial counterparts to provide immediate income support to workers in self-isolation, quarantine or who are addressing child care needs. Income support will be critical to minimizing the economic impact of COVID-19. In addition, the Canadian Labour Congress is calling on all governments and employers to take every step…
Canadian workers have the right to refuse unsafe work, the right to be informed about hazards in the workplace, and the right to participate in health and safety discussions. Employers must fulfill their obligations to keep workers safe.
Canada's unions applaud asbestos ban regulations
Canada's unions applaud the federal government for introducing regulations to ban the import, export, manufacture, sale and use of asbestos and asbestos-containing products. The regulations, announced in December 2016 will come into force on December 30, 2018. "This is a critical step on the long road to banning asbestos, and will, without a doubt, save lives for generations to come,"…
The asbestos miners' strike begins
On midnight February 14, 1949, workers at four Quebec asbestos mines walked off the job and with that action started a major political and cultural shift not only in that province but the history of Canada. It was, as Pierre Trudeau later wrote, "a violent announcement that a new era had begun." "What I found [at Asbestos]… was a Quebec…


When I got older I knew him as the man who was taking pictures of everyone in Tamworth (as well as every bird and beast that paraded past his door). He didn't just take your picture, he made sure you got a copy, often as soon as the next day, and he put a copy into a ring binder, too, with your name on it, to join the growing collection of photos of townspeople and visitors that now resides in the Cook Library.
Ten years ago I moved in next door to Steve and Ginny, into the last of the many houses Steve built in the area, and learned that Steve's ingenuity and creativity extended far beyond photography and telescopes. His house, where it wasn't piled high with books that represented the breadth and diversity of his and Ginny's interests, was full of his projects in wood—from intricate display cases for Ginny's fan collection to shelves for the vials of many-colored sand brought back from visits around the globe. The neighborhood was dotted with his steepled birdhouses—he brought us several as soon as we moved in. Because of this, and because he kept the feathered set in plenty of seed, the neighborhood was full, too, of birdsong.
Technology did not daunt him. When the world went digital, Steve went digital, too—and he would still bring prints by the next day, or even hours later. In his late seventies and early eighties he put his entire record collection onto CDs, a process that at the time was far beyond my software ken.
A week or two ago I posted here the "Fun a Day Anthem" by Jonathan Mann, who has set himself the task of writing a song a day, every day. One of the things that was so remarkable about Steve was that he seemed to live by a similar philosophy: just keep practicing your art(s), day after day after day. He was testament to just how prolific this makes one—all those albums of photographs, all the stools and boxes, napkin rings and carvings in his house and, because of his generosity, also in many of ours. And in the trees! Imagine our excitement when we discovered that an ivory-billed woodpecker (painted by his grandson Christian) had taken up residence outside his house.
And he exemplified "slow and steady wins the race." When he decided in his early eighties that he needed to enlarge his workshop, he drove every day, sometimes a couple of times, to Silver Lake Hardware, returned with several pieces of lumber jutting out of the back of his trunk, and just kept at it. In this way he finished his project, as he always did, long before we ever finished any of ours.
So much curiosity, so much willingness, when he wanted to do a thing, to try—to just go ahead and do it, to figure it out—and such generosity with the fruits of his labor! May we all in some way share the works of our hands and hearts with our community as Steve did. He enriched us all. We grow 'em big in Tamworth.


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Public school supporters call for results at final School Funding Commission hearing
From the Wisconsin Public Education Network
Wisconsin public education supporters united at the Capitol Monday to send a final message to members of the Blue Ribbon Commission on School Funding, which is holding the last of its statewide tour of public hearings in Madison.
"We have attended every single one of these hearings," said Heather DuBois Bourenane, Executive Director of Wisconsin Public Education Network. "And we have heard superintendents, board members, parents, and teachers say the same thing from one end of the state to the other: Our system of school funding is not working and is not fair.
"We believe every student in every public school in Wisconsin deserves equal access and equal opportunity to receive an equally excellent public education. The state is not currently meeting this obligation. To do so, our public school districts and community members have made clear their needs for a funding formula that is predictable, sustainable, transparent, and adequate to meet student needs."
These advocates called on members of the Blue Ribbon Commission to take what they have heard and use it to develop a comprehensive plan — including policy and budget recommendations, and future legislation — to address the funding inequities in the current system.
"We heard so many unique stories around the state," DuBois Bourenane said, "but clear patterns emerged. We took careful notes and compiled a summary of the main categories of concerns. The bottom line is that the state is not meeting its moral, legal, or constitutional obligation to our children."
The bulk of public testimony at Blue Ribbon hearings has revealed five main issues of concern for school leaders and community members:
Revenue limits, which vary widely and do not correspond to financial need, are unfair and widen the gaps between "have" and "have not" districts.
The funding formula is broken, overly complicated, and doesn't do what it's supposed to. It should be overhauled to adequately meet the most pressing needs of our students (particularly to address poverty, needs of English language learners and students with special needs, mental health issues, and challenges facing rural schools).
Special education funding is inadequate and must be sufficiently restored. Public schools have a mandate to meet the needs of every child, and local communities should not be responsible for paying the lion's share of these increasing costs.
Wisconsin's teacher crisis creates tensions within and between districts, and has resulted in winners and losers as many (and especially rural) districts cannot afford to "compete" with others.
The growing costs of privatization and the lack of taxpayer transparency for publicly funded private schools is problematic and costly for urban and rural schools alike.
Commission member Dr. Julie Underwood, the Susan Engeleiter Prof. of Education Law, Policy & Practice at the University of Wisconsin-Madison, hopes the Commission's findings will lead to a system where children are treated equitably: "We have heard from the public. We have heard from fiscal experts. We have heard from Wisconsin school administrators. The message is clear; we are falling short on our responsibilities to our children. They deserve better."
"In the 2011 Budget Repair Bill, schools were cut $1.6 billion. That cut continues to harm Wisconsin's children today. The few increases to funding that we have had, have come nowhere near making up for the damage done," Underwood said.
"In spite of Wisconsin's history of open and transparent public policy making, school finance is not open and transparent," Underwood added. "Transparency is threatened by a complexity that makes it difficult — if not impossible — to understand certain programs. For example, the school levy credit looks like a funding path for public education, when in fact it is a program for property tax relief. Another example is when local school districts have to levy additional taxes if they want to make up for the funds which are sent to the private schools under the state's various voucher programs. We need truth in budgeting."
"Wisconsin schools are facing dire levels of unmet needs for students with mental health and behavioral health challenges," said Joanne Juhnke, policy director for Wisconsin Family Ties. "Ten years of frozen special education funding is ten years too many, and our staffing ratios for school social workers and counselors and psychologists are sadly inadequate. Wisconsin will continue to struggle to build the kinds of school-based relationships that lift our children up when the funding is stretched this thin."
Pecatonica School District Superintendent Jill Underly shared these concerns, and said she worries that rural schools are impacted disproportionately by the current system. "I hope that the Blue Ribbon Commission looks at the innate funding inequities that smaller, rural schools in particular face compared to larger more populated school districts with much higher property values that are able to raise revenue without much taxpayer impact," Underly said.
"Our students deserve the same quality of instruction, facilities, and programming — the same opportunities — that their peers receive in higher populated areas. On the other end of that, I sympathize a bit with the faster growing districts that cannot fully plan for growth and are cash-strapped. I also empathize with Green Bay and Milwaukee that have a lower value per student member but have higher needs like poverty and English language learners."
Like many others who have testified at public hearings, Madison teacher Andrew Waity said he worries the combined impact of under-resourcing our public schools while expanding private school tuition subsidies stretches resources to the limit.
"The dysfunctional funding system we have creates inequities across our state and puts unnecessary financial strains on local school budgets and taxpayers," said Waity, President of Madison Teachers, Inc. "This is compounded by policies and budgets on the state level that have cut funding for schools and diverted substantial amounts of money to non-instrumentality charter schools and private school vouchers."
"People who understand best the challenges facing our schools have spent the past six months sharing their concerns, and have called on the members of this Commission to produce results. We're here today to let them know we expect them to deliver," said DuBois Bourenane. "There is no mystery surrounding what our schools need to succeed; the mystery is why we haven't provided the resources for them to do so.
Watch the Wisconsin Public Education Network news conference:
See more on the Wisconsin Public Education Network Facebook page.


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Biografia
Müller si è laureata in economia aziendale presso l'Università libera di Berlino nel 2011, poi ha conseguito un master presso l'Università Zeppelin di Friedrichshafen nel 2014. Successivamente, ha lavorato come consulente di gestione e project manager. È entrata a far parte di Volt nel 2019, lasciando il proprio lavoro nel 2020 per dedicarsi a tempo pieno all'attivismo.

Nel 2020, Müller si è candidata alle elezioni locali di Colonia, città in cui ricopriva i ruoli di "City Lead" e responsabile della campagna elettorale per Volt. Nel 2021, Müller è stata la candidata capolista di Volt alle elezioni federali. Successivamente, nel dicembre 2021, è stata eletta presidente federale di Volt Germania.

Note

Voci correlate
 Volt Europa

Altri progetti

Politici di Volt Europa
Studenti dell'Università libera di Berlino


It's been a long time coming, but the premier issue of Symbolia is out. This brand-new tablet magazine is all about graphic journalism, and my contribution is the story of Zambia's psychedelic rock movement and one of its biggest stars, Keith Kabwe–anti-colonial freedom fighter turned dope-smoking rock star turned Pentecostal preacher and gemstone miner. My friend and colleague Damien Scogin did the illustrations, which are out of this world.
The equatorial sun has set and the dusty streets are cooling, but you wouldn't know it inside the concert hall. The place is suffocatingly hot, packed with people. They have come in their multitudes, from mine workers and secretaries to government ministers, to see Keith Kabwe sing.
The band vamps, propelling itself into the song. The drums set a driving beat, followed by the bass and then the guitars, fuzzed-out and in the red. A klieg light illuminates a long rectangular box at center-stage: a coffin.
As the music peaks, the coffin opens. A skeleton springs out, a boneyard apparition in an Afro and floppy bellbottoms. The audience gasps, then roars its approval. The skeleton grabs the microphone and begins to sing. Another Amanaz show has begun.
You can download the iPad version here, and the PDF version here. The iPad version gives you the full effect, with sound files of Amanaz songs and my interviews with Keith. Both are free, but if you like what you see please subscribe to get the next six issues.


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Military Channel – amerykański kanał telewizyjny poświęcony tematyce związanej z militariami. Kanał powstał po rozłączeniu się kanału Discovery Wings na Discovery Turbo i Military Channel.

Najpopularniejsze programy
 Historia Oręża
 Futureweapons
 Top Ten
 Unsolved History

Linki zewnętrzne
 Oficjalna strona

Discovery Communications
Amerykańskie stacje telewizyjne
Anglojęzyczne stacje telewizyjne


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US throws in the towel, says Turkey can buy Russian S-400
Defense Secretary James Mattis says Ankara's purchase of Russian air defense is their choice
by RussiaFeed November 14, 2017 120 Views
(Sputnik) – In September, the press service of Russia's Federal Service for Military-Technical Cooperation (FSMTC) said that Moscow and Ankara had reached an agreement on the delivery of S-400 systems to Turkey. Erdogan said that Turkey had already put down a deposit for the S-400 systems. On September 29, Russian presidential aide Vladimir Kozhin confirmed that Turkey had made an up-front payment for the S-400s, adding that the delivery is scheduled for 2019.
In late October, NATO's Military Committee Chairman Gen. Petr Pavel warned Turkey that there may be consequences if the country procured Russia's S-400 air defense system, adding that it will prevent Turkey from becoming part of any integrated air defense system.
On Monday, US Secretary of Defense Jim Mattis also warned Turkey about the pitfalls of the decision.
"That's a sovereign decision for Turkey. Clearly, it will not be interoperable with NATO. So they're going to have to consider that if they go forward," Mattis.
The S-400 Triumph is Russia's next-generation mobile surface-to-air missile system carrying three different types of missiles capable of destroying aerial targets at a short-to-extremely-long range. It integrates multifunctional radar, autonomous detection and targeting systems, anti-aircraft missile systems, launchers, and a command and control center.
RussiaTurkeyUSS-400James Mattisimgx
Russia and Egypt are rapidly boosting military ties
Pentagon spokesman whines and cries over US allies buying Russia's S-400
Theresa May screams 'Russia' as her domestic support collapses
NFL owners plot to remove Dallas Cowboys owner Jerry Jones


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Opiseu
To nab a sales manager who's at large after murdering his family, a detective investigates the man's colleagues, who seem to be hiding something.
Director: Hong Won-chan, Won-Chan Hong
Actors: Eui-sung Kim, Ko Asung, Seong-woo Bae, Sung-woong Park
Keywords:Opiseu
Unspeakable grief and the seductive explorations of young adulthood lead Cody, a beautiful 18-year-old girl, into a tawdry world of sex, drugs and sadomasochism. When Cody meets a mysterious and…
Female adventurer Parker joins a crew of male trophy hunters in a remote wilderness park. Their goal: slaughter genetically recreated dinosaurs for sport using rifles, arrows, and grenades. After their…
Genre: Action, Adventure, Sci-Fi, Science Fiction, Thriller
Nun's Deadly Confession
Dr. Morten Holst is a psychiatrist who struggles with as many problems, if not more, as his wide range of unique patients. A detective finds himself in a threatening situation…
Killer Elite
Based on a shocking true story, Killer Elite pits two of the world's most elite operatives—Danny, an ex-special ops agent and Hunter, his longtime mentor—against the cunning leader of a…
Genre: Action, Adventure, Crime, Thriller
Super Dark Times
Teenagers Zach and Josh have been best friends their whole lives, but when a gruesome accident leads to a cover-up, the secret drives a wedge between them and propels them…
In the near future, a weary Logan cares for an ailing Professor X in a hideout on the Mexican border. But Logan's attempts to hide from the world and his…
Genre: Action, Drama, Sci-Fi, Science Fiction, Thriller
Kandahar Break: Fortress of War
In 1999, a British mine clearance engineer working for the Taliban government in Afghanistan must flee the country when he becomes embroiled in a deadly game of intrigue and betrayal.
Two young couples are driving through a remote forest when their car breaks down. When a run-in with a curious grizzly bear ends up with the bear being shot to…
In the late eighties, the USSR government enlists Tomas, a devoted member of the Communist Party, to travel back in time to future London and document how Socialism has thrived.
Three thugs kidnap Emma, the daughter of a drug kingpin, and have no idea that murderous blood that runs through her veins. As time passes, the unlucky threesome finds themselves…
Genre: Action, Crime, Horror, Thriller
Haunting of Cellblock 11
A group of ghost hunters must up their game to compete in the competitive world of paranormal TV shows, leading them to a truly haunted prison with a grisly past…
Respect the Jux
A corrupted young man ventures to the United States in quest of the American Dream, and forms a band of robbers to obtain it.
The paths of a desperate man and an imprisoned young woman cross unexpectedly in the den of a mysterious killer.
The overnight stock crew of a local supermarket find themselves being stalked and slashed by a mysterious maniac.
Blessed Are the Children
After getting an abortion, Traci Patterson begins to suspect that something sinister is following her and her friends.
In 2006, with the ever looming dangers of the underworld in Malaysia, Don broke the morale of his associates by infiltrating the gang with an alias and taking advantage of…
Mark 13 is a government-built killing machine programmed with artificial intelligence, able to repair and recharge itself from any energy source. Through a series of coincidences, the cyborg's head ends…
Genre: Horror, Sci-Fi, Science Fiction, Thriller
In a dystopian future, a totalitarian regime maintains peace by subduing the populace with a drug, and displays of emotion are punishable by death. A man in charge of enforcing…


Scot's College provided co-located but physically separated common rooms for year 12 and 13 students. The brief focused on achieving both social and study collaboration between year groups requiring the removal of the wall to provide a single space for students to better prepare for the university environment that they will soon encounter.
A new Hub has been created in the heart of the Scot's campus providing a dual purpose common room at lunch breaks and then study space and a flexible learning environment for teaching, individual and group study, presentations and school events.
The new space creates a cafe, social zone and spaces for multiple groups to inhabit including staff. All spaces are connected to an outdoor learning area. Technology consists of a range of shared interactive audio-visual equipment and support for personal devices throughout. A dedicated careers space is also provided. Study areas support open plan collaborative learning and study booths have been added to encourage both individual and group study.
Material selections for the interiors provide appropriate acoustic and fit for purpose environments and also reflect Scot's College branding and ethos.


Billy Tucci Sgt. Rock: The Lost Battalion #2 Double Splash Pages 18-19 (DC, 2009). Sgt. Rock lights up the enemies with a well tossed phosphorous grenade, giving him and his men time to fall back from the ensuing onslaught in this chaotic double-page splash, created in graphite on two sheets of Bristol board with an image area of 20.5" x 14.25". Signed and in Excellent condition.


Primary assignment will be to serve as liaison between customers and our financial institution. It is also your duty to help qualified applicants acquire loans in a time.
Utilize professional judgment to determine which potential borrowers represent good risk opportunities for the organization.


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'Coming to America' Sequel, 'Scarface' Remake Score California Tax Credits
The latest round of feature films to qualify include a new, untitled Jordan Peele project and a 'Deadwood' movie spinoff.
By Gregg Kilday
Gregg Kilday
More Stories by Gregg
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April 9, 2018 11:00am
Photofest
A Coming to America sequel, which director Jonathan Levine and Black-ish creator and writer Kenya Barris are working on for Eddie Murphy, and Ford v. Ferrari, a racing car movie that director James Mangold is developing, are among nine new film projects that have been selected for a total of $55.5 million in tax credits under California's Film and TV Credit Program 2.0.
The two projects are both considered big-budget movies that the California Film Commission has made a special effort to keep in the state. Fox's Ford v. Ferrari — which is planning 67 shooting days in the state, with locations in Kern, Orange, Santa Rosa and San Bernardino counties doubling for locales including Florida, Michigan, England and France — is on track to spend more than $78 million in California on qualified expenditures (defined as wages to below-the-line workers and payments for equipment/vendors). Paramount's Coming to America sequel is proposing to spend $64.6 million in-state on qualified expenditures.
The latest list, the third and final film round for fiscal year-three of Program 2.0, includes five other studio films and two indies, with Universal's Scarface remake, HBO's Deadwood feature film spinoff from the series of the same name and an untitled feature from Get Out's Jordan Peele among them.
Kenya Barris, Jonathan Levine Tackling 'Coming to America' Sequel (Exclusive)
A total of 39 film projects applied for the current round of tax credits during the March 7-13 application period.
With two new big-budget movies on its roster, the program is now attracting films that were ineligible for California tax credits under the state's first-generation incentive program, which was closed to projects with total budgets exceeding $75 million. But Program 2.0 has changed that, attracting such big-budget efforts as A Wrinkle in Time, Bumblebee, Call of the Wild and Once Upon a Time in Hollywood.
"California's expanded tax credit program was successful from day one in attracting TV projects and mid-range features, and it's succeeding over the long term with big-budget film projects like those announced today," California Film Commission executive director Amy Lemisch said Monday in announcing the selections. "While our tax credit is more modest than what's offered by some competitors, filmmakers understand that California can still provide the best value thanks to our superior talent, infrastructure, weather and locations."
Based on data provided with each tax credit application, the nine conditionally approved film projects are expected to employ nearly 500 cast, 1,600 crew, and 30,000 extras (including stand-ins measured in man-days). They will generate an estimated $288.6 million in overall qualified spending across the state.
"The opportunity to produce projects here in California not only creates jobs and economic activity in-state, but it allows us to use the incredible resources we have in our own backyard," said Jeff LaPlante, president of physical production for Universal Pictures. "California provides an extraordinary setting that is adaptable for film production, and our ability to utilize tax credits locally benefits the community and many people across the industry."
Should any of the projects announced Monday not get a final green light, applicants may withdraw from the program and their tax credits are reassigned to one or more other projects currently on the waitlist.
The next application period for feature film tax credits will be held June 18-22.
Universal's 'Scarface' Reboot Loses Director David Ayer (Exclusive)


Several years ago I co-led a MOPS group, and I noticed a sad trend. All the wives complained about their husbands missing the mark on their expectations. I'm realizing that this theme plays out in a lot of marriages.
As wives, how can we avoid this pitfall that leads to hurt, anger, and resentment?
We can set our husbands up for success by communicating our specific needs. This will eliminate the guessing game and reduce disappointment from unmet needs.
Ladies, we are no longer playing the dating game of wishing, waiting, and wanting. This is marriage. This is real life, and it is forever. Carve a path for your spouse, so he can easily navigate the discovery of how to meet your innermost needs.
Expressing your specific needs to your spouse will set them up for success and can lead to a happier, more fulfilling marriage. This does not mean hinting around your needs. Women, you need to be deliberate and specific.
I'm not talking about dropping hints by leaving a Redbox DVD on his desk for much craved alone time or telling him how your friend's husband always tells her how beautiful she is when you're seeking kind words from his lips. I also don't mean yelling at him to "just help with the kids".
Be intentional and specific but flexible. For example, instead of asking him to watch a show with you because you need his time, you can tell him I really need some alone time with you, can we (fill in the blank). If you need help with the kids, don't just ask "for help".
Be specific. A lot of men are lost when you leave it open like that. When you ask him to step in and help, be specific. Think about what will bring the most lift? You might ask him to play with the kids for 10 minutes while you finish dinner or give the kids a bath. Again, specifics are key!
Of course, your husband might still miss the mark, but you have at least set him up for success by specifically making your needs known. For example, when my need to connect with my husband isn't being met, I will flat out tell him: I need more time with you. I don't expect him to drop everything at that moment, but I do expect that he will respect the fact that I'm not feeling connected to him at that time.
Often he is clueless to the fact that I need his time and is thankful for the reminder. He loves me enough that he wants to know and fulfill those innermost needs. This goes both ways though. My husband communicates his needs to me in return. Sometimes I don't receive it well, but I always do my best to meet that specific need.
Whatever your need is, communicate it with your spouse. At least give them the chance. If they still aren't meeting that need, then you can discuss hurt feelings.
Don't expect that your spouse knows what you need at every juncture of life.
When I say share your innermost needs, I mean pure honesty, humbly go to your husband and communicate what's inside. It may be time with him, telling you he loves you more, kissing you more, or any other need, even as little as giving the kids a bath tonight or him thanking you for making dinner.
This can be hard! Many times I've humbled myself and shared deep needs with my spouse. I've been amazed at the results. He showed his love by fulfilling that need and honoring me at that point in time.
If we don't share our most specific needs with our husbands, they are just stumbling in the dark bound to miss the mark. Let's set them up for success by giving them very specific ways to connect with us and meet our needs, but be prepared, this goes both ways. As we become humble, honest, and open with our spouse, they will in turn do the same.
I'm a God-fearing, hardworking wife and mom to 4 very active, young boys. I share all things boys, parenting, marriage, adventure, and special needs.


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AC Milan launches Twitch channel as streaming platform ramps up sports focus
Written by Jonathan Easton
2nd December 2020 @ 10:33
Current Serie A league leaders AC Milan will become the latest top European football club to launch a dedicated channel on Amazon's increasingly non-gaming-oriented streaming platform Twitch.
Launching on December 3, the channel promises to offer "a lot of live formats developed with the club's partners."
The club said that the Twitch channel will serve as a hub "for its entire community featuring content from our men's and women's first teams, youth sector, legends and archive materials."
In particular, content will include live Q&A sessions with current and former AC Milan players hosted by Milan TV journalists, with the channel offering three weekly shows at launch.
Lamberto Siega, marketing and digital director AC Milan, said: "The launch of AC Milan's official channel on Twitch is another important brand-new step in the Club's digitization process: our aim is to connect, bring together and thrill the more than 450 million Rossoneri fans all over the world. We are convinced that this is the right path to make AC Milan both a sports icon and a benchmark in entertainment and digital innovation."
Pontus Eskilsson, VP of Partnerships EMEA at Twitch, said: "Twitch is a community of superfans who gather every day to participate in and interact with their entertainment. Our community is AC Milan's community and this channel makes the most of everything Twitch has to offer."
The launch comes as the Amazon-owned Twitch looks to increase its focus on sports via a dedicated sports content channel. That launched with support from Spanish champions Real Madrid, along with Serie A champions Juventus, Ligue 1 champions Paris Saint-Germain and English FA Cup winners Arsenal.
Since then, Spain's La Liga has also launched a dedicated channel, becoming the first major European sports competition to launch an official account on the Amazon-owned streaming platform.
Tags: AC Milan, Serie A, Twitch
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Vapor degreasing is the cleaning process by condensing solvents vapors on the object that is being cleaned. The process doesn't require any water or scrubbing. Instead, the machine, a vapor degreaser, uses solvent vapors to cleanse and remove contaminants off of parts. The process is used to clean various materials during manufacturing such as plastic, glass, metal, gold, and ceramic.
How does Vapor Degreasing work?
At its most basic configuration, a vapor degreaser contains two tanks that are called sumps, a metal basket, and bands of cooling coils. One sump boils the solvent (boil sump) and the second sump (rinse sump) collects the solvent distillate. You can take a look at our selection of vapor degreasing solvents here.
As a secondary cleaning method, the parts may be dipped into the boil sump, and ultrasonic added for additional agitation.
The parts that will be cleaned are placed in a metal basket that is lowered within the machine. The basket remains above the boiling solvent and below the cooling coils. The vapor degreaser boils the solvent. The solvent vapors rise but don't escape because they're trapped within the machine by a layer of refrigeration via cooling coils.
The vapor then condenses on the surface of the parts dissolving the contaminants. As the solvent drips off the objects it removes the soils with it. This is a closed-loop process, so the solvent is cycled over-and-over again. The vapors go up into the cold trap, condense and run back down into the rinse sump. The rinse sump then overflows into the boil sump. The soil stays in the boil sump and will not travel with the vapor, and will not cross-contaminate parts or the rinse sump.
Those who wear glasses will find this process familiar. It happens when someone leaves a hot room or outside, and then enters a cool room. The warmer, more humid air outside will condense as a fog on your colder glasses. Once you step back inside to the dryer air, and your glasses will clear. This is essentially the same process as the term "reflux method" -warm vapors condense back into liquid when cooled.
In Which Applications and Industries Are Vapor Degreasing Used?
Almost any industry in which precision cleaning is paramount to the manufactured parts, vapor degreasing can be found. It is common in automotive, aviation and aerospace, medical device manufacturing, jewelry manufacturing, and electronic assembly.
Various methods have been developed along the way including vapor only cleaning, vapor-spray-vapor, liquid-vapor, boiling liquid-warm liquid-vapor, spray-under-immersion, vacuum degreasing as well as ultrasonic cleaning in conjunction with almost any of these.
What Are the Benefits of Vapor Degreasing?
The clear benefit of vapor degreasing is the superior cleaning that it delivers and it is a very repeatable process, not as dependent on operator technique and manual cleaning methods. The use of vaporized solvent avoids cross-contamination, which is a problem with cleaning methods that reuse solvents or cleaning solutions from part-to-part. The use of solvents enables that objects dry quickly without a secondary drying process.
Although vapor degreaser solvents are generally expensive compared to other cleaning materials, they are continuously recycled in the closed-loop process, which can make it an economic method of cleaning. In addition, compared to batch or inline systems common with aqueous cleaners, vapor degreasing doesn't require heating water, rinsing, drying parts, or treating wastewater during post cleaning.
With the exception of co-solvent or binary solvent degreasing, it's important that a vapor degreaser solvent is as close to an azeotrope as possible, which means all the solvent constituents boil at around the same temperature. This ensures the formulation does not change as the solvent is vaporized and reconstituted hundreds of times in the closed-loop cycle.
Selecting and qualifying a vapor degreasing solvent is in itself an involved topic that we will cover in later papers. In short, you will need to identify a solvent that cleans your particular soil well, does not damage your parts if they are sensitive to solvent exposure, falls within your local environmental guidelines, and at the lowest possible toxicity. Many companies are actively replacing n-propyl bromide (nPB) and Trichloroethylene (TCE) based solvents because of the high toxicity and risk factors, like cancer.
If you have any questions that we didn't cover here be sure to post them below. We'll make sure to answer them and add them to future updates in this post. And if you would like to speak with a specialist from Techspray about vapor degreasing contact us today.


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On Unstable Ground
By Laura Phipps and Elisabeth Sherman, assistant curators
Mathew Cerletty (b. 1980), Shelf Life, 2015. Oil on canvas, 50 x 60 in. (127 x 152.4 cm). Collection of the artist. Image courtesy the artist and Office Baroque, Brussels; photograph by EPW Studio, New York.
A tension pervades the paintings of Nina Chanel Abney, Mathew Cerletty, Jamian Juliano-Villani, Caitlin Keogh, and Orion Martin. Although they approach their subject matter in very different ways, they share an interest in representing, while upending our understanding of, the phenomenal world. More than simply a categorical style, here representational implies a designation, characterization, or stand-in for reality that intimates a certain falseness. In a society at once fascinated by and suspicious of the concept of "truthiness"—a visceral belief that something is true despite an absence of evidence—it is not surprising that the veracity of representation would be regularly undermined. Underscoring our unease, the artists in Flatlands manipulate their subjects in order to impart their own brands of bizarre unreality. Objects such as Martin's boot or Cerletty's vest; bodies, like Abney's and Keogh's flattened women; and places—Cerletty's verdant field, Juliano-Villani's underwater rock garden—are plucked from life. The departures that these artists make from perceived reality—constructing a figure from traffic cones, revealing the insides of a woman's torso, suspending a home aquarium's inhabitants in motionless perfection—key up otherwise innocuous subjects and lay bare their sinister undertones.
The paintings in this exhibition heighten that apprehension by simultaneously seducing and repelling the viewer. Complex compositions, vivid colors, and luscious surfaces, along with subject matter that is curious, sexually charged, or simply beautiful, draw viewers deep into their imaginary worlds. Once there, however, the garishness of those same colors, the dizzying density of the compositions, and the ominous, frightening, or uncanny characters and narratives force us back out, disturbed by what had just intrigued. These competing sensations are at the core of the power of these paintings, allowing them to stay perpetually dynamic and exciting.
The featured artists also share a similar approach to illusionistic space, or depth of field. Their compositions are shallow and sometimes tenuous, as in Abney's patently flat scenes and Juliano-Villani's distorted perspectives. They don't recede deep into an illusionistic distance but stop short, like the scenic flats used to define space on theater and movie sets, conveying a sense of superficiality, even claustrophobia and anxiety. And, like tales performed on stages and screens, the subtle narratives implied by the artists' invented worlds are often allegorical in nature, their straightforward construction veiling a more complicated intent.
Today, the virtual hyperconnectivity of our daily lives masks a disconnect from the physical world, leading to a yearning for the tactile. Representational art answers this desire to be tethered to reality at a time when the world around us feels so insecure. The paintings in Flatlands also reveal a latent aspect of contemporary American life: the atmosphere of extremes, with fear and unease on one side and ambition, seduction, and luxury on the other. Around the globe, governments, economies, and the environment are becoming increasingly precarious, while forces of instability continue to mount and socioeconomic inequalities accelerate. Conversely, however, aspirations for over-the-top lifestyles show no signs of abating, and social media flaunt an endless parade of flawless self-presentation. The distance these artists create between the real world and their altered verisimilitudes leaves us apprehensive. We recognize ourselves, our longings, and our fears, and yet the mirror these paintings hold up is a funhouse version, warping our familiar comforts into something disturbingly revealing.
Mathew Cerletty's unique environments play with the psychology of familiarity and recognition, highlighting the disquiet lurking in the uniform, prosaic, or bland. He has said that having grown up in the down-to-earth suburban Midwest allows him to "find unique territory in the generic."1 Through intense focus on a banal text (Night of Our Lives; 2014) or the transformation of recognizable objects, like a fish tank (Shelf Life; 2015) or item of clothing (Returns & Exchanges; 2015), into ambiguous and menacing forms, he deviates from convention in otherwise traditional or straightforward scenes. In other works, he merges multiple painting techniques: Almost Done 2 (2015) combines a faithfully illusionistic self-portrait of the artist driving a lawnmower under a painterly cloud with a flat, circular yellow sun hanging over too-smooth blue and green fields indicating sky and grass. These juxtaposed styles complicate any sense of seamless representation, reinforcing the paradoxical nature of his bizarre yet mundane worlds.
Cerletty's process has always begun with academic painting techniques that have fallen mostly out of favor in recent decades. Alongside his unabashed use of these old-fashioned styles stands his interest in the painstaking, skillful labor of his paintings—approaching the meticulous rendering of hundreds of individual sequins as worthwhile in and of itself, for example. His method challenges contemporary trends, which are characterized by cool, conceptually grounded processes, casually haphazard abstraction, and expressionistic figuration. Cerletty's early figurative paintings are indebted to John Currin (b. 1962), whose academic portraiture style reveals a preoccupation with class and taste through his perversions of ideals of beauty. In contrast, Cerletty's fixation on taste manifests not in such exaggerations but in his fastidious process, so earnest it verges on embarrassment due to the time and labor spent, as well as his specifically middlebrow content. His water towers, lawn mowers, J. Crew oxford shirts, and women—lying down, drinking milk, doing yoga—are so banal that his intense focus on them can seem perplexing, but also dryly and darkly humorous. Further accentuating the peculiar nature of these otherwise quotidian subjects, each of Cerletty's three paintings in Flatlands makes use of a mirroring effect, a technique he frequently employs. This doubling—whether it's a fish unaware of its twin reflected on the water's surface above or the perfectly symmetrical sequined pattern on an ornate vest—creates a perception of reality and its doppelganger, with Cerletty's paintings sitting firmly in the in-between space.
Jamian Juliano-Villani (b. 1987), Haniver Jinx, 2015. Acrylic on canvas, 36 x 24 in. (91.5 x 61 cm). Collection of the Solomon R. Guggenheim Museum, New York; purchased with funds contributed by the Young Collectors Council and additional funds contributed by Stephen J. Javaras and an anonymous donor, 2015. Image courtesy the artist and Tanya Leighton, Berlin; photograph by Gunter Lepowski.
Beyond its confusing duplication of reality, a painting like Shelf Life also challenges the immediate sense of recognition it promises. Though the aquarium of exotic fish and fauna that Cerletty paints is certainly familiar from countless doctor's offices, restaurants, and classrooms, a close examination reveals an unease specific to the painting. The tank is tightly confined within the canvas's boundaries, without suggestion of a world beyond its edges; the artist says that he "think[s] of the aquarium's location as the painting itself."2 Additionally, the finely rendered fish and plants are purportedly alive yet appear still, as if frozen in place. Even the bubbles and ripples of the water seem static, emphasizing the feeling of claustrophobia.
Unlike Cerletty or Orion Martin, both of whose processes are deeply informed by classical technique, Jamian Juliano-Villani's approach comes from outside of traditional art history. Her reliance on airbrushing—a technique more commonly found on cars, skin, and cardboard signs in store windows than on stretched canvases—connects her work to popular culture and street aesthetics. This association is reinforced by the images that populate her dense paintings. Juliano-Villani voraciously sources imagery, drawing directly from comics, cartoons, technical manuals, and subcultural references. Extracted and crammed into a new context, each rubs up against others culled from altogether different times, places, and sensibilities, such as in To Live and Die in Passaic (2016), where a figure made of an orange peel carries his own segments as he walks across the clear blue water of an aboveground swimming pool. Within one painting, the references can span generations and decades. The resulting scenes incorporate humor, as Cerletty's do, but on a much faster register. Whereas his humor is dry and slow to reveal itself, Juliano-Villani's jokes land fast and, like cringeworthy punch lines in a dark comedy, dissolve into discomfort.
Caitlin Keogh (b. 1982), Intestine and Tassels, 2015. Acrylic on canvas, 84 x 63 in. (213.4 x 160 cm). Collection of the artist. Image courtesy the artist; photograph by Jordan Freeman.
Juliano-Villani carefully considers every form she uses, researching cultural references as diverse as Japanese kappa creatures (Haniver Jinx; 2015), forms in an installation by Edward Kienholz (1927–1994) (Boar's Head, A Gateway, My Pinecone; 2016), and a character from a 1980s public service announcement (To Live and Die in Passaic). Her mashups convey a profound respect for the work of those she is referencing, like the profane animations of Ralph Bakshi (b. 1938) and Wilfred Limonious's (1949–1999) vivacious illustrations for reggae albums. Many of her pieces germinate from written lists and phrases, quick notations of ideas to seed the beginnings of paintings that explode into the visual overabundance that has become her signature style. This abundance can be seen in Haniver Jinx, where she has placed an apparently smiling Jenny Haniver—a "mermaid" carved and configured from the preserved carcass of a ray fish—in the middle of a bourgeois foyer as if it is a hostess greeting her guests. Beyond the obvious curiosity of the main figure, the scene is filled with other provocative objects: a locked box covered with suggestive lumps, dramatically draped furniture, cartoonish shadows, and a literal fish out of water. Juliano-Villani's obsessive research and deep understanding of the sources of her subject matter imbue the works with a greater sense of authority than the often crowded compositions, jarring juxtapositions, or frightening forms may immediately imply.
Like Cerletty, Juliano-Villani also looks to fine artists whose work may be currently overlooked by the mainstream art world. Both cite the influence of Patrick Caulfield (1936–2005), a British artist whose Pop-related paintings from the 1970s combine different styles of representation, such as photorealism and illustration, in the same work. Caulfield focused on banalities as emblems of modern life—a concept embraced by Cerletty and Juliano-Villani in their own ways: while the former throws a spotlight on the banal, the latter warps banality until it is nearly unrecognizable. Despite their contrasting approaches, both artists highlight an underlying discomfort with these mundanities of everyday existence.
Caitlin Keogh similarly creates a sense of unease with reality in her large, graphic paintings, and, like Juliano-Villani, she blends wide-ranging source material. Rather than keeping their original texture, however, Keogh translates all of her references into her signature style, collapsing them into a new whole. In Intestine and Tassels (2015), for example, she has adorned a mannequin-like female torso with accessories from two very different contexts. Around the nonexistent neck of this headless form, Keogh has draped two necklaces copied straight from the painting Judith with the Head of Holofernes (c. 1530), by Lucas Cranach the Elder (1472–1553), in addition to a decorative rope and tassels based on images she has accumulated over the years. The figure's pink viscera are drawn in the same simple, economic manner as the necklaces, the torso, and the cord tied around the chest, reflecting Keogh's interest in depicting "idealized or fictionalized versions of interiority."3 With a background in technical illustration, she carefully and precisely describes each element of her paintings in clear, clean lines. The artist has said that she strives for an "informational clarity, a kind of explicitness" in the way that her paintings speak.4 Absent of any illusionistic flourishes, color acts as her only addition, distinguishing one form from its neighbor. Keogh collects each of these disparate objects like words strung together to form a sentence; once assembled, however, the grammar often falls apart, allowing for a friction between disjunctive elements.
Keogh delves deep into the corners of art history, reinterpreting familiar references, such as the surrealist still lifes of René Magritte (1898–1967) or the adornment of a Mannerist portrait, and reviving otherwise overlooked histories like Christina Ramberg's (1946–1995) diagrammatic female torsos or the florid canvases of Philip Taaffe (b. 1955) from the 1970s Pattern and Decoration movement. One oft-used source, seen overlaying a drawing of a ribcage in Vines (2015), is the floral patterns of Victorian designer, poet, and socialist activist William Morris (1834–1896), a major inspiration for the Arts and Crafts movement. Morris's belief that true art, as both a decorative and a functional part of life, must question its connection to moral, social, and political doctrine aligns closely with Keogh's own philosophy. She incorporates signifiers such as Morris's patterns, pastel palettes, and simplified figures to express her engagement with ideas of labor, the degradation of the terms beauty and decorative in contemporary art, and the politicized body. All of Keogh's references are selected to fill her compositions with the weight of their history, shrewdly enriching the work with the politics and positions of these artists from previous generations.
Keogh's depictions of the female form—headless and idealized, like store mannequins—are simultaneously alluring and powerful yet vulnerable, suggesting the artistic and political battles over the body that she is determined to fight. As in Intestine and Tassels, Keogh often enacts a sanitized trauma on them, punching neat holes through the torsos' images, putting the visceral insides on display on the outside, or implying a quiet threat with a casually draped rope. In this work, by obliquely pointing to the potently feminist tale of Judith's decapitation of Holofernes, she takes the suggestion of violence a step further. These dualities are reminders that, despite decades of advancements by feminist artists, the female body continues to be a site for the male gaze, an object to be manipulated into fantasy and stripped of its own agency. Keogh's women are at once mindless objects and their own forces of beauty and ferocity.
Nina Chanel Abney (b. 1982), What, 2015. Pigmented inkjet print, acrylic, and spray paint on canvas, 96 x 112 in. (243.8 x 284.5 cm). Alison Wolfson Family Collection. Image courtesy Kravets Wehby Gallery, New York.
Whereas Keogh deploys limited numbers of streamlined forms to convey complex political ideas, Nina Chanel Abney overloads her canvases with equally simplified shapes, in turn obscuring and revealing the content embedded within them. She works intuitively, almost automatically, with music and books as well as news and images sourced from the internet constantly feeding her information as she paints. Much like Juliano-Villani, Abney parses the cacophony of life into discrete elements. Words found on city streets—checks cashed, ATM, cool, sorry we're closed—share space with geometric forms and bodies, as visually chaotic as the hurried world around us. In her 2015 painting What, central figures are surrounded by circles, Xs, hearts, and bars that fill and spill out of blocks of color defining the background. The overall effect is of a staccato rhythm that keeps the eye dancing around the canvas, alighting on high notes or getting lost in the noise. Her typically larger-than-life paintings envelop viewers and force a kind of confrontation with the elements of the work.
At times, Abney's painting takes social justice as its main subject—increasingly so as the news stories filling her studio are more and more politicized. In What and other recent works, police and citizens tussle and face off in aggressive conflicts, the geometries around them exploding to animate the scene. Abney shares Keogh's interest in the politicized body, both painters simplifying and highlighting the human form to locate moments of manipulation and violence.
With her rudimentary vocabulary of shapes, Abney frustrates easy readings of race and gender roles, combining and confusing expected representations of each character in her scenes. Sometimes she alternates skin tones within a single face, giving a pale face a dark nose or vice versa. In What, two figures—one white, one black—are kneeling at the feet of a police officer, both seemingly in the role of detainee yet both wearing yellow police badges. Here the complications are less about twisting real life into fiction, as in Cerletty's and Juliano-Villani's work, and instead present a version of reality that forces us to confront our own unconscious prejudices, without providing answers to the challenging questions these biases pose. Abney's paintings demand that we engage with their difficult subject matter long after we've walked away from her work. As she explains, "I've become more interested in mixing disjointed narratives and abstraction, and finding interesting ways to obscure any possible story that can be assumed when viewing my work . . . I want the work to provoke the viewer to come up with their own message, or answer some of their own questions surrounding the different subjects that I touch in my work."5
All of the artists in Flatlands share an interest in the surface of their works, an attention to the design and finish that is reminiscent of the concerns of pattern or product design. Abney's surfaces suggest almost no illusionistic depth, resembling collaged paper more than painted canvas. Orion Martin, on the other hand, paints his forms so carefully that the final effect nearly appears computer generated rather than created by hand. If Keogh and Abney reveal the political in the decorative, Martin is interested in the power of the decorative and, like Cerletty, the lure of the unblemished surface.
Orion Martin (b. 1988), Bakers Steak, 2015. Oil on canvas, 51 1/2 x 35 1/2 in. (130.8 x 90.2 cm). Collection of the artist. Image courtesy the artist and Bodega, New York.
Like Juliano-Villani and Abney, Martin manipulates otherwise unrelated ideas—sourced from his own inventions, low-resolution images found online, and knickknacks from his studio or home—into a new whole, dreaming up objects and tableaux that have their origin in the world around him but which ultimately result in something quite oddly otherworldly. In Triple Nickel, Tull (2015), for example, he combines two elements, a fanciful high-heeled boot and a theater's backstage, in a way that is visually and conceptually perplexing. The boot is so finely rendered that each stitch and grommet looks touchably real, yet the form itself has a flatness and weightlessness that contradict that illusion. The stage set, however, is more impressionistically depicted, conveying a dreamlike quality that seems to make it more easily inhabitable by the viewer's imagination than the bizarre precision of the boot.
Martin intentionally invents scenarios that are difficult to paint; he sets up problems for himself that don't have real-world, logical solutions. As with the boot in Triple Nickel, Tull, he is often pursuing a hyperreal effect, asking, "How convincing can I make it look?"6 In this, his adversary and tool is light: how it passes through or bounces off surfaces, obscures or highlights them, and reveals their material properties absent the sense of touch. His skillful handling of its manifestation—highlights and shading—gives the boot its tactile realism and the setting its drama and dreaminess. Martin's uncanny paintings convince the viewer, if only for a moment, that his impossible scenes or creations could exist in the real world, while simultaneously undermining this impression through their patent impossibility. His preoccupation with surface and its tenuous relationship with veracity feels very au courant in a society in which so much is experienced online: despite all the information available for consumption, we are left touching only the smooth glass of the screen.
Like Juliano-Villani and Keogh, Martin shows a strong affinity with the work of the Chicago Imagists of the 1960s and 1970s. While Juliano-Villani's paintings more closely recall the verbal confusion and violence of the Hairy Who's aesthetic, and Keogh's interests lie in the politicalization of the body evident in the work of Ramberg and other Chicago artists, Martin's paintings synthesize the fantastical realities and slick surface obsessions of painters such as Barbara Rossi (b. 1940) and Jim Nutt (b. 1938). Martin's combination of recognizable and inert subject matter points away from the scatological references in much of the Chicagoans' work yet often shares their proclivity toward bodily aggression. Whereas the curves and forms of the boot in Triple Nickel, Tull echo the corsetry of Ramberg's feminist depictions of undergarments, the tight laces crisscrossing the smooth pink ribbing of its opening verge on anthropomorphism, implying sexual organs and bondage. This insinuation of both seduction and pain, in combination with the darkness behind the theater curtain, signals a sense of enticing dread.
These five artists use the tools and current vernacular available to them to comment on pressing concerns of our zeitgeist. Through their painted illusions of reality, each is shaking the ostensibly stable ground of daily life and revealing it as a false construction. Abney and Keogh engage directly with a revived and necessary urgency around race and gender politics, while Cerletty, Juliano-Villani, and Martin unravel our world in more oblique ways. Yet despite their disparate practices, their works share a common dynamic, simultaneously attracting and repelling the viewer. This taut push and pull of anxiety and desire creates a dialogue with the viewer, as if each painting begins a thought that trails off in an ellipsis, inviting us into the work to complete the thought. Despite this invitation, the challenging and unsettled nature of these works frustrates this exchange and questions our assumptions of representation and reality, leaving us pleasantly disquieted.
1. Mathew Cerletty, correspondence with the authors, December 20, 2015.
2. Cerletty, correspondence with the authors, December 13, 2015.
3. Caitlin Keogh, conversation with the authors, December 17, 2015.
5. Huffington Post, "Nina Chanel Abney's Paintings Mix the Pretty, the Political and the Perverse," February 20, 2012.
6. Orion Martin, conversation with the authors, August 26, 2015.
Jan 14–Apr 17, 2016
Jamian Juliano-Villani
Caitlin Keogh
Orion Martin
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Rijeka and Red Bull Salzburg Draw in First-Leg of Third Qualifying Round of Champions League
By Daniela Rogulj 26 July 2017
The Croatian champions dominated and missed opportunities in the first half, while the Austrian side completely controlled the match in the second.
In the first match of the third qualifying round of Champions League, Rijeka drew at Red Bull Salzburg (1:1), leaving the fate of the competition to be decided at Rujevica next week, reports Goal.hr on July 26, 2017.
The first-leg of this qualifying round proved to be quite interesting; while the Croatian champion dominated in the first half, the Austrian side completely dominated in the second. Rijeka was at an advantage with Gavranović's goal in the first, but things quickly turned when Red Bull's Hwang equalized in the second. Nonetheless, Matjaž Kek's team returns home with a positive result, having secured a crucial away goal.
Here's a rundown of the match.
Rijeka had their first opportunity in front of the net in the 9th minute where Gorgon struck from a distance. Gavranović, however, struck the ball into the penalty box and missed the goal. Just a few minutes later, Heber's volley was stopped by Walke, and in the 25th minute, Župarić's header was also just short of the goal.
Red Bull was impotent during these moments, and Rijeka's brilliant play on the wings gave them the lead after 30 minutes. After pushing the ball up to the right, Rijeka's Ristovski ran up the wing and placed a perfect cross to Gavranović who scored a stunning diving header for Rijeka. A celebration was had by more than 3,000 Rijeka fans in Salzburg.
Red Bull threatened Rijeka in the 35th minute with a distance shot from Minamino, but Rijeka's goalkeeper Sluga was there to defend the blow. Rijeka was still comfortably in the lead at halftime.
However, at the beginning of the second half, the Austrians quickly equalized with a goal by Hwang. Rijeka lost the ball and Red Bull's Yabo took advantage, passing a through ball to Hwang who put the ball past Sluga. The game was now tied (1:1).
From that moment on, the next half hour was played by only one team on the pitch, and that was Salzburg. The Austrian club dominated and created opportunities, whereas Rijeka completely struggled to keep possession. Salzburg could have increased their lead after 72 minutes, but Rijeka was lucky that the shot by Yabo went wide of the goal.
Rijeka's weak play in the second half means they too failed to find the target. Mišić struck in the 84th minute and Župarić shot from the left, but both failed to see the back of the net. Gorgon was also close, but there was no such luck for the Croatian side. In the very end, Rijeka couldn't shock the host and settled for a draw.
Translated from Goal.hr
Tagged under: hnk rijeka red bull salzburg champions league champions league qualifications salzburg rijeka
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