In recent years, multiple crises in the Middle East and Africa have driven thousands of desperate people to attempt Mediterranean crossings in hopes of reaching Europe, and safety. Many have died en route, and those who have made it face a far-from-certain future, as European governments have proved reluctant to fully acknowledge, let alone commit to ameliorating, their plight.
In Charges (The Supplicants), Nobel Prize-winning writer Elfriede Jelinek offers a powerful analysis of the plight of refugees, from ancient times to the present, in which she responds to the immeasurable suffering among those fleeing death, destruction and political suppression in their home countries. Drawing on sources as diverse in time and intent as up-to-the-minute blog posts and Aeschylus' play The Supplicants, Jelinek asks what refugees want, how we as a society view them, and what political, moral and personal obligations they impose on us. Looking at the global refugee crisis of our current moment, she analyses challenges to the political, social and psychological realities in safe, comfortable Western countries, exploring what everyday language and media coverage reveal about Western perceptions of refugees. In a world where insecurity seems to spread by the day, Charges is a timely, unflinching account of how we treat those who come to us in need.
German original published by Rowohlt Verlag GmbH, Reinbek, under the title Die Schutzbefohlenen in 2013.


Five years ago, Karen found herself at a crossroads when the small software testing consultancy she co-owned was sold and her role ended. But she had no qualms about indulging her "midlife crisis" – at the age of 50, she realised she wanted something new.
After being her own boss for years, she wasn't ready to become an employee again.
So Karen bade farewell to her friends and left. New Zealand, with its outdoorsy reputation and thousands of miles of scenic coastline, was a natural choice. Several of Karen's friends lived there and she'd visited before.
Karen had managed to accumulate savings throughout her career. She began as an admin assistant in health insurance and went on to lead large departments in the sector. When she took an MBA mid-career, the business degree helped her secure new roles and double her salary. "I managed to save the difference in earnings," she explains. Years of putting money aside also allowed her to pay off her mortgage three years before her target age of 55.
And so she bought a basic second-hand camper van and explored New Zealand's North Island. "I deliberately went in winter – if I was going to live there, I wanted to know what it would really be like. And I can confirm, it's pretty empty," Karen smiles. She visited volcanic geysers, risked zip wires and crisscrossed the country. "Everyone I met told me I was brave going alone, but it wasn't the Middle East. I loved the freedom, and being accepted for who I was. It just filled me up again; it was what I needed." If she felt lonely, she updated her blog – "a nice way of keeping in touch with mates, and a way of maintaining sanity".
On her return, Karen dug into her savings to set up her own business, The Chameleon Guide, drawing on her experience in consultancy to support small businesses and help them develop. "This is another thing I couldn't have done without putting money aside," she says.


text:
Christine Arand
Ashley Becker
Cassandra Black
Mara Bonde
Mardi Byers
Cynthia Clayton
Adrienne Danrich
Maria Kanyova
Tonna Miller
Stacey Tappan
Katharine Goeldner
Stephen Mark Brown
John Cudia
Christopher Burchett
Christopher Clayton
Jonathan Hays
Keith Phares
Hector Vásquez
Andrew Wilkowske
David Salsbery Fry
Craig Phillips
Adrian Rosas
Elaine Rinaldi
David Wroe
Daron Hagen
Marc Verzatt
A noted interpreter of Mozart and bel canto repertoire as well as Benjamin Britten and many of today's living composers, Keith Phares is regarded as one of his generation's most versatile artists.
Engagements this season have included Dandini in La cenerentola with Tulsa Opera; Charlie in Three Decembers with Des Moines Metro Opera; the Count in Le nozze di Figaro with New Orleans Opera; John Sorel in The Consul with Florida Grand Opera; and the world premiere of The Scarlet Ibis with the Prototype Festival. Future engagements include Zurga in Les pêcheurs de perles with Seattle Opera; and Charlie in Three Decembers with Florentine Opera.
Recent engagements have included Orin Mannion in Mourning Becomes Electra with Florida Grand Opera; the title role in Elmer Gantry with Tulsa Opera; Maxmillian in Candide with São Paulo Symphony Orchestra; Marcello in La bohème with Manitoba Opera James Halligan in the premiere of Eric Sawyer's The Garden of Martyrs; the title role in Der Kaiser von Atlantis in a joint production with Central City Opera and Colorado Symphony; Marcello in La bohème in his debut with Seattle Opera; and The Father in the premiere of Gregory Spears' Paul's Case with UrbanArias.
In previous seasons, the baritone sang Count Almaviva in Le nozze di Figaro with Opera Colorado; returned to Washington National Opera as Figaro in Il barbiere di Siviglia; joined Opera Hamilton as Eisenstein in Die Fledermaus; Portland Opera as Guglielmo in Così fan tutte; and Central City Opera as Charlie in Jake Heggie's Three Decembers. His recent concert engagements include San Francisco Symphony, Virginia Symphony and Columbus Symphony for performances of Carmina Burana.
For his debut with Florentine Opera, he portrayed the title role in Elmer Gantry, prompting Opera News to write that "Keith Phares's scrupulously rendered Elmer Gantry appears a strong contender for iconographic recognition. Beautifully vocalized and bursting with charismatic smarm (think Burt Lancaster with buttery legato), Phares's achievement will prove a difficult act to follow." A live recording of this performance is now available from Naxos records. Alongside Grammy awards for Best Contemporary Classical Composition and Best Engineering – Classical, it was been named Opera News' #1 Opera Recording of 2011.
During the 2008 – 09 season Mr. Phares made his San Francisco Opera debut in the company's premiere of Jake Heggie's Three Decembers, singing opposite Frederica von Stade. His performance was praised for his "rich, accurate voice; good looks; and fine acting ability to the part of Charlie, making his performance the highlight of the production." (San Francisco Classical Voice) Additional house debuts that season included the Opera Company of Philadelphia, where he played the role of Haly in L'italiana in Algeri; and Glimmerglass Opera where he played Dandini in a new production of La cenerentola. In addition, he sang Falke in
Opera New Jersey's presentation of Die Fledermaus; Kaiser Overall in Ullmann's Der Kaiser von Atlantis at the Greenwich Music Festival; and Ned Keene in Peter Grimes with Washington National Opera. The Washington Post remarked of his performance that he "sang with a marvelous frank lyricism as Ned Keene." He also offered a recital under the auspices of the Wolf Trap Foundation for the Performing Arts.
Mr. Phares made his Houston Grand Opera debut during the 2007 – 08 season under the direction of Patrick Summers in the world premiere of Jake Heggie's Last Acts (Three Decembers); and returned to the stage of Opera Theatre of Saint Louis in a new production of Martín y Soler's Una cosa rara. Continuing his commitment to bring the works of living composers to the stage, he sang the title role of Elmer Gantry, by Robert Aldridge, in a co-production with Nashville Opera and Montclair State University. Mr. Phares offered Five Movements for My Father in a program of chamber music by Susan Kander at Weill Hall in New York – his performance coinciding with the commercial release of this work on the Loosecans Music label.
Operatic highlights of recent seasons include his Metropolitan Opera debut, under the baton of James Levine, in the French triple-bill Parade; performances of The Pilot in the Francesca Zambello production of The Little Prince at New York City Opera and Boston Lyric Opera; Maurice Bendrix in Jake Heggie's The End of the Affair with the Lyric Opera of Kansas City and Madison Opera; Harlequin in Ariadne auf Naxos at the Dallas Opera; Chou-En Lai in Portland Opera's presentation of Nixon in China; Danilo in The Merry Widow in a return engagement at the Lyric Opera of Kansas City; Masetto in the acclaimed Günter Krämer production of Don Giovanni at the Spoleto Festival USA; and Sebastian in the North American premiere of Thomas Adès' The Tempest presented by the Santa Fe Opera in a new production by Jonathan Kent and conducted by Alan Gilbert.
Additional credits of note include Billy Budd at Washington National Opera; Sweeney Todd, Il ritorno d'Ulisse in Patria, and Die tote Stadt all at New York City Opera; Don Pasquale, La cenerentola, and The Mikado for Arizona Opera; Faust and Cold Sassy Tree with Utah Opera; Beatrice and Benedict at Santa Fe Opera; The End of the Affair at Madison Opera; and Così fan tutte and Il barbiere di Siviglia at Boston Lyric Opera. With Opera Theatre of Saint Louis, he has been seen as Charles Lindbergh in Loss of Eden by Cary John Franklin; and as Pip in Miss Havisham's Fire by Dominick Argento.
Concert highlights include Béatrice et Bénédict with the New York Philharmonic under the baton of Sir Colin Davis; Candide with the San Francisco Symphony and Patrick Summers; Gerald Barry's The Triumph of Beauty and Deceit with Thomas Adès and the Los Angeles Philharmonic; and a program of Rogers and Hammerstein songs with the Fort Worth Symphony Orchestra. He also has been honored to be affiliated for many seasons with the Marilyn Horne Foundation, under whose auspices he has appeared in numerous recitals and master classes throughout the United States.
A graduate of the Juilliard Opera Center, he was a national winner of the 1998 Metropolitan Opera National Council Auditions and a finalist in the 1999 Eleanor McCollum Competition of the Houston Grand Opera. He also has been recognized with a Richard Gaddes Grant from the Opera Theatre of Saint Louis and the 2000 Richard F. Gold Career Grant from the Juilliard School of Music.
Keith Phares in rehearsal for SISTER CARRIE with Florentine Opera.
Keith Phares, Baritone
ADAMS Chou En-Lai Nixon in China
ADÈS Sebastian The Tempest
ALDRIDGE Elmer Gantry Elmer Gantry
ARGENTO Pip Miss Havisham's Fire
BARRY Deceit The Triumph of Beauty and Deceit
BERLIOZ Claudio Béatrice et Bénédict
BERNSTEIN Maximillian Candide
BIZET Escamillo Carmen
BRITTEN Ned Keene Peter Grimes
Donald Billy Budd
Billy Budd (cover) Billy Bidd
CHADWICK The Padrone The Padrone
DONIZETTI Belcore L'Elisir d'amore
Malatesta La cenerentola
FLOYD Clayton McAllister Cold Sassy Tree
FRANKLIN Charles Lindbergh Loss of Eden
GLASS Horemhab Akhnaten
GLUCK Pierrot L'île de Merlin
GOUNOD Valentin Faust
Mercutio Roméo et Juliette
HEGGIE Bendrix The End of the Affair
Charlie Three Decembers
KORNGOLD Fritz (Pierrot) Die tote Stadt
LÉHAR Danilo The Merry Widow (in English)
MONTEVERDI Telemaco Il ritorno d'Ulisse in patria
Ottone L' incoronazione di Poppea
MOZART Guglielmo Così fan tutte
Count Almaviva Le nozze di Figaro
Masetto Don Giovanni
PORTMAN The Pilot The Little Prince
POULENC Le Gendarme Les Mamelles de Tirésias (in English)
PUCCINI Schaunard La bohème
Marcello La bohème
RAVEL Chat noir L'enfant et les sortilèges
ROSSINI Figaro Il barbiere di Siviglia
Dandini La cenerentola
Taddeo L'italiana in Algeri
Haly L'italiana in Algeri
SOLER Lubino Una cosa rara (in English)
SONDHEIM Anthony Hope Sweeney Todd
SULLIVAN Pish-Tush The Mikado
STRAUSS, J. Eisenstein Die Fledermaus (German/English)
Falke Die Fledermaus (in English)
STRAUSS, R. Harlekin Ariadne auf Naxos
ULLMANN Kaiser Overall The Emperor of Atlantis
ORATORIO/CONCERT REPERTOIRE PERFORMED
BRAHMS Requiem
FAURÉ Requiem
HANDEL Messiah (complete)
MAHLER Lieder eines fahrenden Gesellen
ORFF Carmina Burana
RAVEL Don Quichotte à Dulcinée
SAINT-SAËNS Weihnachts Oratorium
SCHUBERT Mass in G
Paul's Case, UrbanArias
If operatic meat and potatoes is what you want, Baritone Keith Phares as Paul's father is a succulent feast …Phares manages to break the sound barrier with profound, chill-inducing precision.
– dcmetrotheaterarts.com Apr. 21, 2013
Keith Phares as Paul's father embodies well the strict disciplinarian. His stern deep voice seems to carry all the pompous weight of a man formed and imprisoned by the industrial age society, and, at the same time, this singer actor touches me with a father's consternation over his lost son.
– dctheatrescene.com Apr. 23, 2013
La bohème, Seattle Opera
[Playing Marcello] Keith Phares, …was vocally superb and dramatically excellent.
– The Seattle Times Feb. 25, 2013
Keith Phares was …superb in the role of Marcello.
– The Sunbreak Feb. 27, 2013
Le nozze di Figaro, Opera Colorado
Keith Phares – also in his Opera Colorado debut – struck a noble figure and offered a commanding baritone as the Count.
– Opera News May 2012
Baritone Keith Phares has the rakish looks and commanding presence necessary for the lecherous and hypocritical, yet somehow sympathetic, Count Almaviva, and his resonant tone in the Act III revenge aria was another breathtaking moment.
– Daily Camera Feb. 16, 2012
…the performers sing as skillfully as they act. This is an ensemble piece and success depends on a well-rounded set of terrific voices, all supplied here. …great chemistry that extends to the rest of the cast as well. This is a comedy, balance is everything, and Keith Phares (as the Count), Twyla Robinson (the Countess) and Patricia Risley (as Cherubino) all find it, singing for laughs when appropriate, but tapping a rich, earthiness that gives their characters dimension.
– The Denver Post Feb. 12, 2012
Carmina Burana/Symphony Pops, Columbus Symphony
Baritone Keith Phares showed off an impressive range. …the strongest theatrical performer of the three. He is an engaging actor as well as a notable singer; through his gestures and musical expression, an audience can understand each turn of phrase… His presence is commanding yet unassuming; he is every bit the modern musical-dramatic actor.
– Columbus Dispatch Oct. 16, 2011
…Phares kicked off the evening with "Mab, la reine des mensonges" from Romeo and Juliet, immediately commanding the stage with his strong presence, rich, lush tones, and warm baritone voice. He patiently allowed his voice to swell with the powerful crescendos and climaxes of the music, and exuded an honest confidence that set him apart from the other soloists. When the music shifted to Broadway classics in the Second Act, Phares clearly became in his element as an impressive actor with a beautiful, expressive voice.
– Broadway World Oct. 17, 2011
La bohème, Santa Fe Opera
Baritone Keith Phares conveyed the musician Schaunard with dapper magnetism — a delightful counterweight to his friends' tendency to self-imposed gloom.
– Santa Fe New Mexican, Jul. 3, 2011
Carmina Burana, San Francisco Symphony
Baritone Keith Phares, with the largest share of the duties, rose ably to the occasion, particularly in the high vocal lines of "Dies, nox et omnia."
– San Francisco Chronicle, Nov. 5, 2010
CD Review: Here and Gone from Heggie's Passing By
Keith Phares and Paul Groves bring to the songs and duets an affecting sense of loss and regret as to the road not taken.
– theclassicalreviewer.com, Nov. 11, 2010
Heggie's attractive "Here and Gone" cycle is written for tenor, baritone and piano quartet, happily recalling Vaughan Williams' "On Wenlock's Edge." The singing is as fine as this distinguished lineup promises to be.
– startribune.com
Three Decembers, Central City Opera
The standout in the three-person cast under John Baril's baton was baritone Keith Phares, who created the role of Charlie at the world premiere in 2008. With his resonant, wonderfully multidimensional voice, Phares had power to spare but could also shape soft, poignant moments with a gentle sweetness that made Charlie empathetic and real.
– Opera News, Oct. 5, 2010
"Youthful baritone Keith Phares, who created the role in Houston, is a stellar Charlie, and as Bea, CCO regular Emily Pulley makes no effort to hide the mess that her life is."
– Daily Camera, July 11, 2010
Elmer Gantry, Florentine Opera
"Keith Phares and Patricia Risley gave stand out performances as Gantry and Falconer, and their scenes together lit up the stage."
– Opera Online, March 2010
"Keith Phares's scrupulously rendered Elmer Gantry appears a strong contender for iconographic recognition. Beautifully vocalized and bursting with charismatic smarm (think Burt Lancaster with buttery legato), Phares's achievement will prove a difficult act to follow."
– Opera News, Mar. 21, 2010
Cosi fan tutte, Portland Opera
"Keith Phares brought his incisive baritone and a compelling seriousness to Guglielmo."
– The Oregonian, February 6, 2010
"Add to the tuneful mix tenor Ryan MacPherson as Ferrando and the hunky baritone Keith Phares as the boyish Guglielmo. The goofy suitors strengthen the good chemistry. MacPherson proves himself an attention-getting tenor and comic and Phares is no slouch at singing and theatrics."
– ConcertoNet, February 2010
"Keith Phares used his resonant and expressive baritone to the utmost, and his Guglielmo was robust and totally convincing."
– Oregon Music News, February 9, 2010
Il Barbiere di Siviglia, Washington National Opera
"The excellent Figaro Keith Phares gave appropriate weight to his performance, and also all of the necessary virtuosity that is needed for a baritone in this difficult Rossini work."
– Drammaturgia.it, September 29, 2009
La cenerentola, Glimmerglass Opera
"Everyone once in a while, we veteran opera-goers are privileged to see a promising artist give a break-out performance that announces a giant step forward into major stardom. Such was the case with the wholly exceptional Dandini from the exciting young baritone Keith Phares in Glimmerglass's quite delightful Cenerentola One third into the first act of the Rossini (up to that point a wholly competent, if not yet quite sparkling rendition), Mr. Phares strode on through the door stage left, and did not so much inhabit the stage as take complete ownership of it. His first few utterances — virile, vibrant, "present" — caused the audience to sit up as one with immediately increased interest. Indeed, having thrown the gauntlet of vocal excitement and dramatic commitment in his opening aria, he urged the entire evening to a much higher level….nothing in his excellent prior work could have prepared me for this star-making role assumption. His voice now had even greater point and focus, his lower range filled the house without pushing, his trip-hammer melismas were spot-on, and his sassy upper register had a thrilling ping. His acting, always finely detailed, was on this occasion a veritable tour-de-force, totally in charge and in your face, and characterized by wryly funny gestures and takes. He was just up there having a hell of a good time, and so were we. And it does not hurt that he is as handsome as a young Alec Baldwin. What a joy to anticipate the doors that should now open to him at the world's major houses. The buzz at intermission was "who is that Dandini?" Keith, I do believe you have "arrived." A well deserved triumph for an artist with a great future."
– Opera Today, August 2009
"The second brilliantly executed comedic role in this production, and another effort likely to be remembered for years to come, was Keith Phares' Dandini – valet to Ramiro who is all too eager to play the role of 'prince for a day' at his employer's request. Making his entrance sporting a slick three-piece suit, fur coat and greased-back coif, Phares resembled a character culled from a '30s style gangster movie."
– MusicalCriticism.com, August 6, 2009
"The crowd loved him as it did bass Keith Phares as Dandini. He won many hearts with his resonant voice, stellar technique and comic flair, not to mention his good looks."
– The Daily Gazette, July 19, 2009
"The second brilliantly executed comedic role in this production, and another effort likely to be remembered for years to come, was Keith Phares' Dandini – valet to Ramiro who is all too eager to play the role of "prince for a day" at his employer's request. Making his entrance sporting a slick three-piece suit, fur coat and greased-back coif, Phares resembled a character culled from a '30s style gangster movie. The role of Dandini calls for a coloratura baritone – an uncommon vocal presence that, like the role of Angelina, demands great flexibility for the florid vocal embellishments. Phares' handsome baritone was at once evident in his tongue-in-cheek aria Come un'ape ne' giorni d'aprile, and his superb comedic acting spiced up the many ensemble numbers, particularly his second-act duet with Don Magnifico (Un segreto d'importanza). I was also impressed with the singer's rhythmic skills in the second-act sextet (Siete voi?), where his razor sharp dotted-rhythmic figures were as accurate as any of the instruments accompanying the singers from the pit."
– CNY Cafe Momus, July 19, 2009
"Tessier's handsome and affable Ramiro and Phares' gamesome, Cary Grant-like Dandini, determined to make the most of his opportunity to impersonate Don Ramiro, made for an inspired teaming."
– Examiner, July 24, 2009
"Baritone Keith Phares was very funny as his valet, Dandini, thrilled and nervous about disguising himself as his master…"
– Wall Street Journal, July 29, 2009
Peter Grimes, Washington National Opera
"It helps to have such strong singers as WNO marshaled. Keith Phares sang with a marvelous frank lyricism as Ned Keene, the decent but weak apothecary who lines up Grimes's new apprentice."
– The Washington Post, March 23, 2009
Three Decembers, San Francisco Opera
"Phares, making his S.F. Opera debut, was superb. He has a rock-solid baritone with a real warmth underpinning it; it was a pleasure to listen to him alone and in duet with Clayton, especially effective in a scene where brother and sister imagine themselves re-enacting what they thought to have been one of the happiest days in their parents' short-lived marriage."
– Contra Costa Times, December 12, 2008
"Baritone Keith Phares and soprano Kristin Clayton bring plenty of sympathy and vocal color to both roles…"
– The San Francisco Chronicle, December 13, 2008
"The bracing baritone of Keith Phares and the expansive and sure soprano of Kristin Clayton proved potent matches for von Stade."
– The Sacramento Bee, December 14, 2008
"Baritone Phares brought a rich, accurate voice; good looks; and fine acting ability to the part of Charlie, making his performance the highlight of the production for me."
"…committed performances by Keith Phares, Kristin Clayton…"
– San Francisco Classical Voice, December 12, 2008
"Clayton and Phares were spellbinding in the perfectly delivered and deeply emotional duet "Man in the Chair"…
– The Epoch Times, December 16, 2008
"Phares has a gorgeous, Broadway-style voice, and Clayton is especially fine in softer singing. The shoe duet, strong enough to have Imelda Marcos turning in her grave, was delightful."
– Bay Area Reporter, December 18, 2008
"Interestingly, the most complex role is not Maddy but Charlie, and Keith Phares' powerful baritone is a wonderful complement to von Stade. The role is demanding in its emotional range and Phares' voice shifts between outrage and tenderness with stunning ease. His extended aria that opens Part II, where he sings of writing his now-dead partner Burt "four little lines" each day, seems destined to become a staple baritone aria, and singers tackling it will forever be trying to live up to its original singer. Phares is clearly a name to watch."
– ConcertoNet, December 30, 2008
Last Acts (aka Three Decembers HGO premiere)
"Baritone Keith Phares…match[ed] von Stade in grand sound and polished technique."
– Charles Ward, Houston Chronicle, March 2, 2008
Elmer Gantry, Nashville Opera
"Keith Phares, charismatically seductive in voice and person, was ideally cast as Elmer, one of those operatic antiheros in the line of Don Giovanni and Tom Rakewell, who charm us even as we are repelled by their morally bankrupt nature."
– Opera News, February 2008
"Just as the film (starring Burt Lancaster) offers a more likable title character than the book's loathsome, conniving and perennially heartless protagonist, the operatic Gantry is a more appealing character, though still seriously flawed. The baritone Keith Phares deftly illuminated both Gantry's rapscallion ways and his genuine introspection with a warm voice and a lively stage presence."
– Vivien Schweitzer, The New York Times, January 25, 2008
"Keith Phares, as Gantry, has the confidence of someone who has been told he was good-looking since he was a baby, and the singer was blessed with an almost unctuously seductive baritone. He embodied the shallow jock turned sham artist."
– New Jersey Star-Ledger, January 25, 2008
The End of the Affair, Lyric Opera of Kansas City
"Keith Phares was magnificent as Maurice, his ringing, bronze baritone always pleasing to the ear and his ferocity making us both love and hate him."
– The Kansas City Star, April 22, 2007
Le nozze di Figaro, Arizona Opera
"For the opening night in Tucson, the part of the Count was sung by Keith Phares, who brings a kind of handsome suaveness to his role…"
– The Arizona Republic, November 15, 2006
Die tote Stadt, New York City Opera
"The second aria, from Act II, is "Mein sehnen, mein waehnen," a poignant treat for the baritone voice. Thomas Hampson is a strong proponent of this song as a recital piece and for this performance, the fine young Keith Phares put it over very beautifully. This was far and away the highlight of the afternoon and the crowd knew it, rewarding him with its warmest ovation. Mr. Phares sang the role of the pilot in "The Little Prince" last season and was quite impressive."
– The New York Sun, September 26, 2006
The Merry Widow, Lyric Opera of Kansas City
"Most convincing vocally and dramatically among the cast was baritone Keith Phares as Danilo, the widow's love interest who loves her but spurns her. He sang with bright, sinewy gold, and his natural stage sense was engaging."
Nixon in China, Portland Opera
"Keith Phares created an elegant Chou-en Lai."
– Opera, September, 2006
"Keith Phares is a Chou of Verdian authority, with a commanding baritone voice that adds moral weight to his character."
– The Oregonian, March 27, 2006
The Little Prince, New York City Opera
"The stupendous baritone Keith Phares…who has a warm, inviting tone and clarity and concision of singing style, was a magnificent pilot."
– New Jersey Star Ledger, November 14, 2005
"With his attractive stage presence and heroic voice, Phares was well suited to the role. He created a stalwart and likeable hero, and was a decided asset to the production."
– Bay Windows, February 24, 2005
The Elixir of Love, Arizona Opera
"Keith Phares has a, creamy baritone and fine comedic timing. As Belcore he had just the right swagger, and a voice so rich you kinda understood why all the women swooned over him, even though he wore his arrogance like medals on his army jacket."
– The Arizona Daily Star, February 2003
Il barbiere di Siviglia, Boston Lyric Opera
"Keith Phares was a personable, assured, and sexy Figaro with a pleasing baritone voice that tackled the score with ease and expressiveness."
– Opera Now, January/ February 2003
"Keith Phares was dashingly handsome in the title role and nimbly jumped his attractive light baritone over all the vocal hurdles."
– The Boston Globe, October 4, 2002
Marilyn Horne Foundation recital, Juilliard Theater
"His singing was so vivid and expressive, the German words so crisp, that the specifics of the texts almost didn't matter…and when Mr. Phares broke into a jaunty account in good old English of 'The Most Beautiful Girl in the World' from the Rodgers and Hear musical Jumbo, every snappy line and witty rhyme was an utter pleasure."
– The New York Times, January 23, 2002
Miss Havisham's Fire, Opera Theater of St. Louis
"Keith Phares was heart-rending and memorable as Pip, singing with a dark baritone and conveying worlds of grief with a single glance."
– St. Louis Post-Dispatch, June 4, 2001
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Q: Better way to nest javascript closest (not jQuery) I use vanilla javascript, no jQuery.
In my code I have something that looks like this:
item.closest('ul').closest('li').closest('ul').classList.add('active');

While it works, it does not look that nice. I repeat closest three times.
Is it possible to so something smarter in this case?

A: There is no standard way of making this shorter.
You can:

*

*Add a class to the element you are trying to select. That would make your selector look like this :
item.closest('ul.myClass').classlist.add('active')

*Create a function that wraps the closest chain creation :
function closestChain(item) {
    return Array.from(arguments).reduce((acc, val) => {
        return acc.closest(val);
    });
}

closestChain(item, 'ul', 'li', 'ul').classlist.add('active');

*Or you can wait for the has CSS selector to be available

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The Wise Articles
Home > Mystery > Can An Onion Take an Astral Journey?
Can An Onion Take an Astral Journey?
Mehmet Aslan, 8 months ago 0
What is the astral and where can we find this unseen face of existence, this assumption of non-existence and bodiless form of levitation.
These definitions may be like studying the opening of an umbrella that came to the physical side from the non-physical side through a transformation from existence to non-existence. Through the ages, many shamans, priests, and other mystics have been interested in enlightenment and levitation. People whose physical bodies are much smaller than their astral ones have pursued the astral dimension and the techniques needed to reach it, regarding it as the only way out.
The Astral Body Structure
Astral Journeys According to the Nature of Beings
Astral Dimension Stages
Astral Dangers
The astral body has a structure that resembles a combination of steam and incense. It cannot be perceived physically, because it is odorless and colorless. You may, however, come across statements like "Your astral body will rise to the ceiling" during spiritual initiations, but these statements should be ignored. To see the subtle bodies in the colors of an aura, a person needs to be composed enough, and some trainings teach this process nowadays.
It is possible to see astral separation in all beings, whether embodied or bodiless or enlightened or not, even in fruit and vegetables, although their consciousness levels are very low. This provides an example experience for us when attempting enlightenment. Considering how two agricultural products can go into the astral dimension causes us to think, and we can witness the universal law operating without any interruption.
An onion has a fairly puny physical body in the dimension it exists. In fact, each layer of the onion is no more than aura layers, which cannot be seen by the physical body. Onions can only experience astral separation once because of their nature. As with other substances and beings, the astral dimension for onions is separate. This dimension is generally circular, with a wall restricting it completely. While travelling to the bottom of this dimension, there is increasing heat, a heavy smell of oil, and the reflection of metal. As an onion's astral journey is a one-off event, this information has been obtained through some hypnosis on someone who used to be an onion. Due to its heavy smell and the tear-inducing influence, it moved onto its next life as the incense of a sandalwood tree.
Corn seeds become separated from their cobs, and like with onions, this separation only happens once. Unlike with the onion, however, this separation is performed forcefully by human beings in artificial ways, such as with a knife.
We know that there is an unknown number of dimensions with layers in themselves. The astral dimension has seven major and seven minor layers. We have obtained some knowledge about the climate and creatures in the first three layers from a being we communicate with during hypnosis. In the first layer, the temperature is average, and there is no light. Seventy percent of the creatures there spend their time lying on the grass. Since the payment does not cover the debt, every semi-enlightened being born here has its third eye opened at birth. It comes to the layer with a debt of a million astral dollars, which is owed to the upper level. The remaining thirty percent make their livings by providing all manner of information to the physical world through various channels. Folk call them enlightened beings, masters, or light-like beings.
The beings in the second layers are the ones who survived in the world in their own times. The stayed away from worldly pleasures for the sake of enlightenment. They went to Tibet, shaved their hair, played with lamas on the grass, drank with Buddha, and then retired to this layer after completing their missions in the world. They are very bright beings. At this point, I would rather move onto the next level and skip the adverse side of life for these enlightened beings.
We were deeply touched by how there is nothing to see in the third level except vast sand basins and a few camels. This led us to consider whether the astral layers rise or fall in harmony with the physical levels. Due to our lack of information about this layer, it is better to proceed based on assumptions rather than facts. The beings here are supposedly connected with ancient Egypt, but the people of ancient Egypt are not seen here, and this brings some questions to mind. Did the camels build the pyramids with their hoofs? Or were the camels superior beings that used people? Is it true that aliens wrote the hieroglyphs on the walls? (For more information on this, please look up Eric Von Danieken's work.)
Is an astral journey dangerous? Every person who applies astral techniques asks this question first to himself and then everybody else, including the religious men who deal with supernatural beings. This should not be the question, however, and we should rather ask if our intentions are dangerous. To understand this, we need to ask ourselves some questions: What am I doing in this dimension? Where do I want to go? What am I going to do there? If the male candidates say they want to visit their girlfriends or some cute blond, it is frightening to imagine what would result from their negative energies. It is doubtful that an ill-intentioned astral traveler will bring a heavenly light to the being in that layer, and this might lead to a blood feud. I find it quite convenient to formulate strategies, no matter how opposed to war I am, but the beings of the first layer would never consider starting a war with us. The ones in the second one have already given up the concept of war, but we might be drowned by the camel spit on the third level.
To preserve our physical environment, I find it useful to have experiences with more universal aims, enlightening ones with birds and insects.
Tags #astral projection #mysteries #parapsychology #spirituality
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text:
RAM CI: Companies taking longer to repay debts in 2Q
Sulhi Azman
August 14, 2017 23:13 pm +08
KUALA LUMPUR (Aug 14): RAM Credit Information Sdn Bhd (RAM CI) reported that the average debt-repayment trend across industries showed a slow creeping up to 70 days in the second quarter of 2017 (2Q17), compared from 66 days in 1Q17.
This was the conclusion from its second industry debts turned cash indicators (i-DTC), which measures the avreage number of days companies in various industries — it measured 12 — take to pay their creditors after the invoice date.
While the majority of companies still grant credit terms in the range of 30 days, RAM CI said the Construction, Retail and Wholesale industries requires longer credit terms of 60 days to 120 days.
At the same time, RAM CI said its i-DTC indicators have revealed that companies in the services-related industry such as the information, communication & technology (ICT), financial services and real estate sectors experienced a decline trend in payment speeds over the same period.
"For the real estate industry that includes property companies and real estate firms, it is probably due to a slowdown in sales over the last two years which contributed to them being stretched in their cash flow," RAM CI said in a statement released today.
"As for ICT and Financial Services industries covering generally larger corporations such as banking & financial institutions, telecommunication and IT companies, it could possibly be due to a lengthening of payment processes," the credit reporting agency added.
On the other hand, RAM CI said companies in the Agriculture, Construction and Manufacturing, have a notably improved trend in terms of the speed in making payments over the last few quarters.
This, it said, is consistent with the broadly positive business prospects for these three sectors.
In addition, RAM CI added that the hospitality & food and beverage (F&B), together with the Education industry — the latest addition in the i-DTC — seems to be prompt paymasters with an average of 30-days payment for Hospitality & F&B, and slightly over 30 days for Education.
"For creditors who extend credit to companies in these few industries, it is important to continue to watch for the i-DTC trend and work out an appropriate payment process with their debtors to ensure they get paid promptly," RAM CI's Chief Executive Officer Dawn Lai said in the same statement.
"The RAMCI i-DTC data also indicated that the defaulted payments for total business corporations is on slower pace of increase with an average of 0.38% increase per month, representing a compounded growth rate of 4.56% over the 12-months period, compared with previous 12-months compounded growth rate of 7.41%," Lai continued.
This, RAM CI said, indicated a positive sign that the Malaysian economy condition is stabilising, consistent with the upward revision of gross domestic product growth and the broadly positive business sentiment of latest release of RAM Business Confidence Index, a quarterly business survey jointly conducted by RAM Holdings and RAM CI on over 3,000 corporates and small and medium enterprises (SMEs).
While managing cash flow is important in ensuring sustainability of their businesses, Lai said SMEs need to be more vigilant in their payment collections, taking into consideration the average i-DTC for their debtors' industries.
"Companies should make use of credit tools available in the market such as RAM CI's Trade Bureau service to continue to track their customers' payment behaviour. Take preemptive actions in payment follow up with early warning alerts to detect any first sign of deterioration of credibility on their customers," she added.
"It is our main objective to continue to make the effort to share detailed trade payment information such as this to assist companies better manage their cash flow and limit their credit risk," Lai said.
The RAM CI i-DTC indicators are based on more than 450,000 payment records on business corporations and SMEs measured between 3Q16 to 2Q17, and segregated by industry to allow a clearer picture of how fast companies in each industry pay their creditors.
The data was derived from RAM CI's Trade Bureau, an independent and neutral sharing platform established since 2004 with over 1,000 data contributors nationwide.


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text:
Q: Is it against the HIG for a UITableViewCell to remain Highlighted? Is it against the HIG for a UITableViewCell to remain Highlighted? Currently, when a cell is selected it just remains blue. I am unsure if I need to add:
NSIndexPath *tableSelection = [self.tableView indexPathForSelectedRow];
[self.tableView deselectRowAtIndexPath:tableSelection animated:YES];

A: The HIG says

Appearance and Behavior
A table view displays data in rows
  that can be divided by section or
  separated into groups. Users flick or
  drag to scroll through rows or groups
  of rows. Users tap a table row to
  select it and use table view controls
  to add or remove rows, select multiple
  rows, see more information about a row
  item, or reveal another table view. A
  table row highlights briefly when the
  user taps a selectable item.
If a row selection results in
  navigation to a new screen, the
  selected row highlights briefly as the
  new screen slides into place. When the
  user navigates back to the previous
  screen, the originally selected row
  again highlights briefly to remind the
  user of their earlier selection (it
  does not remain highlighted).
Always provide feedback when users
  select a list item. Users expect a
  table row to highlight briefly when
  they tap a selectable item in it.
  After tapping, users expect an
  immediate action to occur: Either a
  new view appears or the row displays a
  checkmark to indicate that the item
  has been selected or enabled.
In rare cases, a row might remain
  highlighted when secondary details or
  controls related to the row item are
  displayed in the same screen. However,
  this is not encouraged because it is
  difficult to display simultaneously a
  list of choices, a selected item, and
  related details or controls without
  creating an uncomfortably crowded
  layout.


text:
JLL New York Commercial Real Estate Blog > Liberty St
Tag Archives: Liberty St
Engineering firm signs 15-year lease to occupy entire 22nd floor, portion of 23rd floor at Class A, 2.3 MSF commercial office building
JLL recently completed a new, direct lease for AKF Group LLC at One Liberty Plaza in Lower Manhattan. The engineering firm signed a 15-year lease for 57,018 square feet at the Class A, 2.3 million-square-foot commercial office building owned by Brookfield.
The tenant was represented by Paul Mas and Michael Shenot, managing directors; Ruby Hwang, senior vice president; and Roxanne Tehranian, associate, all with JLL.
Brookfield was represented in-house by Jeremiah Larkin, senior vice president and director of leasing, and Duncan McCuaig, vice presidents of leasing, along with Newmark Grubb Knight Frank team of David Falk, principal and president of the New York tri-state region; Peter Shimkin, executive managing director; Hal Stein, managing principal; and Nick Berger, managing director.
"AKF Group is relocating its entire New York operations from the Times Square district to Lower Manhattan," said Shenot.
"Lower Manhattan continues to attract a diverse range of tenants from outside of the traditional financial services sector. We've seen similar commitments this year from media firms, technology groups and across all business service sectors."
AKF Group inked the 15-year lease and will occupy the entire 44,378-square-foot 22nd floor and a portion of the 23rd floor at One Liberty Plaza, located directly across from the World Trade Center between Liberty and Cortlandt streets in Lower Manhattan. The engineering firm is consolidating its presence Downtown from locations at 1501 Broadway and 330 West 42nd Street in Midtown.… Read More
Categories: Brokerage, Clients, Commercial Office Space, Commercial real estate, Downtown, Leasing activity, Manhattan office market, New York, New York metropolitan, New York office market, News, Thought leadership and tagged AKF Group, Brookfield, Cortlandt St, Duncan McCuaig, engineering, Jeremiah Larkin, Liberty St, Lower Manhattan, Michael Shenot, One Liberty Plaza, Paul Mas, Roxanne Tehranian, Ruby Hwang, Skidmore Owings & Merrill LLP.


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SR&ED Payments Beginning to Flow to Canadian Tech Following Delay Caused by COVID-19
Funds from the federal government's Scientific Research and Experimental Development (SR&ED) tax incentive program that have not been released due to the COVID-19 pandemic are now starting to flow.
"It might just buy them enough time for the federal government to get the 75 percent wage subsidy right."
The COVID-19 crisis reportedly delayed nearly $200 million in tax credits for tech companies after the Canada Revenue Agency (CRA) paused business auditing as it moved to remote work. This meant companies not yet audited were ineligible to receive the funds.
In a LinkedIn post late last week, Bryan Watson, partner at Flow Ventures and former council member of the Canadian Advanced Technology Alliance (CATA), confirmed that some of the backlogged SR&ED credits are starting to reach companies. In the post, he noted that Russ Roberts, senior vice president of tax, finance, and advocacy at CATA, recently spoke with leaders at the CRA who told Roberts the agency is looking to expedite the processing of claims.
Last week, The Logic reported that Kitchener-Waterloo company Encircle received confirmation that its SR&ED money was coming. Watson also confirmed to BetaKit in a recent interview that several Quebec companies have received SR&ED funding, although SR&ED is handled internally by the province of Quebec, rather than by the federal government.
SR&ED provides financial support in the form of tax credits or refunds to corporations, partnerships, or individuals who conduct scientific research or experimental development in Canada. Watson noted this is one of the few federal programs that most tech companies in Canada are eligible for in the age of COVID-19.
A recent survey conducted by CATA found that 66 of its 250 member companies (one-third) say they would not survive without SR&ED money. As a partner of Flow Ventures, which helps companies apply to SR&ED, Watson said he suspects that number is actually much higher.
"This is a cash flow issue more than anything else right now. Companies just took a huge hit," Watson told BetaKit. "I'm not seeing all of these other programs being able to help [tech companies] and the companies that I work with."
"I think that's an understated number. I think it's actually a lot higher and I certainly have a few horror stories to validate that," he said, explaining that one manufacturing company he spoke to, which was the top employer in its city, reduced its employee headcount from 42 to four because it had not received SR&ED funding.
In March, the CRA announced it was suspending most of its business auditing for four weeks due to the pandemic, which rendered companies scheduled to be audited ineligible to receive money from the SR&ED incentive program.
Watson told BetaKit the CRA indicated to him it did not have the infrastructure to work from home and perform their regular duties, leading to the delay in SR&ED credits being sent to companies.
"CATA certainly thanks the government for deciding to recognize SR&ED as a critical service."
In addition to handling SR&ED funding, the CRA is also now in charge of administering the sizeable number of applications for the Canada Emergency Response Benefit and will soon be working to administer the Canada Emergency Wage Subsidy, signed into law over the weekend, as well.
The CRA reportedly told The Globe and Mail Sunday that it is now able to handle requests from SR&ED claimants.
A CRA spokesperson told The Globe the agency paid out $13.4 million in claims between March 30 and April 7, which decreased the backlog from $195.2 million to $181.8 million. That spokesperson also said there are now 1,600 SR&ED claims under review.
The news that SR&ED has started to flow comes a few days after CATA CEO Suzanne Grant penned a letter to Prime Minister Justin Trudeau calling for the immediate release of SR&ED money.
"CATA certainly thanks the government for deciding to recognize SR&ED as a critical service," CATA spokesperson Paul Brent told BetaKit.
RELATED: BDC launches matching investment program for Canadian VC-backed companies affected by COVID-19
On its website, the CRA states that it is doing "everything it can to ensure claimants receive the credits to which they are entitled, as soon as possible."
It added that no new SR&ED audits will be started but existing audits will be completed as soon as possible so that businesses have access to their credits faster. The agency added that claims accepted at this time may be subject to a review or audit at a future date to ensure eligibility.
Details about when the remaining funding will be released and what the auditing process will continue to look like are both still unclear.
Watson expressed hope the CRA can deploy all of the backlogged money within the next few weeks.
"If I were to ever be very positive about CRA, the time is now. If they can pull this off, they will be the hero of the innovation ecosystem," Watson said. "It might just buy them enough time for the federal government to get the 75 percent wage subsidy right and allow early-stage companies to tap it."
RELATED: Here are the final details on the Canada Emergency Wage Subsidy
"SR&ED is the only money that companies are actually entitled to, assuming that they don't file fraudulent claims," Watson added. "It's not a grant. It's not some people sitting in a backroom, pronouncing judgment on this being a good company. If you follow the rules, file appropriately, document your expenses and claim, you are entitled to that money."
CATA said it is continuing to work on its second recommendation, that the federal government create a Resilience and Rebound fund of $3.6 billion. The fund would provide zero-interest loans for firms that have proven track records and are pre-qualified for programs like SR&ED.
"We want to ensure we don't lose hundreds of billions in past investments for research that developed intellectual property, plus protect 85,000 jobs," Brent told BetaKit. "Layoffs have already begun in the tech sector."
StartUp HERE Toronto is a publishing partner of Betakit and this article was originally published on their site.
#CATA #Encircle #Flow Ventures #Government of Canada #SR&ED


text:
News Listing Charlotte Dujardin clinches national title at Hartpury
Charlotte Dujardin clinches national title at Hartpury
23 Dec 2020 | Dressage |
Dressage legend Charlotte Dujardin and Mount St John Freestyle finished the year in scintillating style to become 2020 LeMieux national champions, after two exceptional days of competition in the international indoor arena at Hartpury.
The duo secured the prestigious title after achieving the highest combined score from the two tests at the LeMieux National Grand Prix Championships 2020 – the LeMieux Grand Prix and the Horse Health Freestyle.
Charlotte and Mount St John Freestyle, who took bronze together at the 2018 World Equestrian Games, topped the standings for the Grand Prix on the first day with a phenomenal score of 83.04.
The top 15 combinations from the Grand Prix then went forward to contest the Freestyle on the second and final day of the championships yesterday.
Charlotte and Mount St John Freestyle continued from where they had left off on the opening day, finishing in first place again with a superb score of 90.20, for a combined total of 173.24.
Charlotte also finished in second place overall riding Gio (167.150), with Carl Hester and En Vogue in third spot (163.6).
"It's fantastic to have had these national championships and what a way to start my Christmas!" said Charlotte.
The showpiece event, run by British Dressage in accordance with Covid protocols, featured six former national champions among its 30 horse-and-rider combinations.
Phillip Cheetham, Director of Equine at Hartpury, said: "Many congratulations to Charlotte and Mount St John Freestyle on becoming national champions after what has been a fantastic couple of days.
"We were absolutely delighted to host such a prestigious competition and provide a platform for so many great riders and horses to showcase their talents.
"It was extremely disappointing that we weren't able to welcome spectators this year, but hopefully everyone who watched the event online was still able to enjoy the event and get behind their favourite riders and horses."
Full results from the LeMieux Grand Prix Championships and other competitions held at Hartpury are available here
Hartpury offers a range of equine-related diplomas, undergraduate and postgraduate degrees and PhDs, and provides students with access to world-class equine facilities to support their studies.
Picture: Carl Hester riding En Vogue (left) and Charlotte Dujardin riding Mount St John Freestyle on a lap of honour at Hartpury (credit: Kevin Sparrow)
Hartpury to host 2022 FEI Dressage and Eventing European Championships (YR/J)
Event News Update (7 May 2020)


text:
Wilhelm Molterer (n. 14 mai 1955, Steyr) este un politician austriac. Din 2007 este vice-cancelarul Austriei și liderul Partidului Popular Austriac.

Politicieni austrieci
Nașteri în 1955
Oameni în viață

redpajama_set_name: RedPajamaWikipedia


text:
/**
 * This test file verifies the execution order and contents of events emitted
 * by QUnit during the test run. They are expected to adhere to the js-reporters
 * standard.
 */

// These tests are order-dependent
QUnit.config.reorder = false;

function removeUnstableProperties (obj) {
  if (typeof obj !== 'object') {
    return obj;
  }

  delete obj.runtime;
  delete obj.stack;

  Object.keys(obj).forEach(function (key) {
    if (Array.isArray(obj[key])) {
      obj[key].forEach(removeUnstableProperties);
    } else if (typeof obj[key] === 'object') {
      removeUnstableProperties(obj[key]);
    }
  });

  return obj;
}

var assertion1 = {
  message: 'assertion1',
  passed: true,
  expected: true,
  actual: true,
  todo: false
};

QUnit.on('assertion', function (data) {
  if (data.message === 'assertion1') {
    QUnit.config.current.assert.deepEqual(
      removeUnstableProperties(data),
      assertion1,
      'verifies assertion data contains the expected and actual values'
    );
  }
});

QUnit.module('Events During Test', function () {
  QUnit.test('test1', function (assert) {
    assert.expect(2);
    assert.true(true, 'assertion1');
  });
});

redpajama_set_name: RedPajamaGithub


Mount Isa Celebrates brings together a star-studded line-up of performing artists, with an impressive array of instrumental and vocal talent born and bred in the city.
Mount Isa Community Ensembles (MICE) has inspired the creation of one of the world's most remote symphony orchestras. In their debut performance, the orchestra will share the stage with more than 300 musicians, including the Mount Isa Community Chorus and Combined Schools Choir.
Headlining both performances will be jazz star James Morrison, stunning vocalist Emma Pask, internationally renowned concert pianist Ambre Hammond, violin virtuoso Ian Cooper, and the John Morrison Trio.
The grand finale will be a world premiere performance of Symphony of the Inland Sea by acclaimed Australian composer, Matthew Dewey. This evocative work is inspired by the extraordinary landscape in and around this iconic city.
Mount Isa Celebrates is proudly presented by Queensland Music Festival and Mount Isa City Council.
This project has received financial assistance from the Queensland Government through: Arts Queensland's Playing Queensland Fund; and the Regional Arts Development Fund, a partnership between the Queensland Government and Mount Isa City Council to support local arts and culture.
This project has been assisted by the Australian Government through the Australia Council, its arts funding and advisory body, and the Regional Arts Fund, which supports sustainable cultural development in regional, remote and very remote Australia. The program is delivered in partnership with Artslink Queensland.
Additional choral skills development supported by the Pavetta Foundation.


text:
To provide you with the best experience, Crowne Plaza JFK Airport uses its own and third-party cookies on its website for technical, analytical and marketing purposes. By continuing to browse our site, you're agreeing to our use of cookies. Please consult our Cookie Notice for more information.
Idlewild Restaurant & Bar
Nearby Attraction
The Presidential Suite
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Belmont Park Racetrack
Green Acres Shopping Mall
Aqueduct Racktrack
Wildlife Preserve
Belmont Park Racetrack Green Acres Shopping Mall Aqueduct Racktrack Wildlife Preserve
The Jamaica Bay Wildlife Refuge is the United States Department of Interior's only "wildlife refuge" administered by the National Park Service. All other national refuges fall under the aegis of the United States Fish & Wildlife Service. The Jamaica Bay Wildlife Refuge covers 9,000 acres (20 square miles) of open bay, saltmarsh, mudflats, upland field and woods, two man-made brackish ponds—117-acre "East Pond" and 45-acre "West Pond" and small fresh water ponds, including Big John's Pond. The Wildlife Refuge is part of the Gateway National Recreation Area.
The Jamaica Bay Wildlife Refuge is open dawn to dusk year-round, and the Visitor Center hours are every day from 8:30am – 5pm. The main lot is open dawn to dusk and parking is free. (If the lot is full - which is rare - visitors can park ¼ mile south in Broad Channel.) The Center has a bookstore, natural history exhibit area, restrooms, and lecture room. National Park Service Rangers offer bird walks, workshops, and other activities from the Center. Check their website.


Contech International Health Consultant offers a broad spectrum of technical services ranging from primary research and execution of large-scale healthcare projects to serving governments as think-tank on national health issues by supporting to set policy principles and strategic directions. Today, Contech International is the leading consulting organization in Pakistan, comprising of highly regarded healthcare professionals who are recognized for their technical superiority, client gratification/innovation, and commitment to the field of public health.
Contech International experts have helped to improve public health especially mother and child health all over Pakistan.


The Original Rain Saver Gutter Kit just got better with the introduction of their brand new Leaf Guard. Now you can collect your water and keep it clean. Leaf Guard helps prevent leaves entering your bucket as you are collecting water. Simply place in the top of your bucket to enjoy a cleaner water supply.
For more detailed information see our review below.
The Rain Saver Gutter is one of those products that was borne from necessity!
Have you ever sat under your awning watching the rain fall and pool around your flooring and wished there was a way you could catch all that water and store it in your tanks?
Michael, who is the inventor of the Rain Saver Gutter did exactly that when he was camping at Bruney Island Passage. Not wanting to relocate just to get water, and sick of filling jerry cans and caring them back and forth, he thought long and hard about it all and came up with a novel idea on how to convert an existing awning, into a gutter that can collect rain water just as efficiently as any household guttering system.
We met Michael at the Brisbane Caravan and Camping show and saw his product in action. He showed us how quick and easy it was to install, and gave a demonstration of how it collects rain water.
The video below shows how it all works.
Can be a little fiddley to attach, better to use more clips than less to get the required fall without the "roll" bellying. Weight of water in bucket & hose tends to be heavier than the Velcro tabs can hold resulting in the bucket falling to the ground. Catches plenty of water.
Have just received items ,quality is good arrived right on the day they predicted.will add when I have used it.
Products arrived in a timely manner and are as described on the web, I have not road tested them yet but keen to see good results.
What a great product. Remote camping and free water. No more pumping from a creek or dam, no more jerry cans, no more carting heavy water all over the country side, just hook it up and wait. Sometimes all you need is a heavy dew, you'll be surprised how much water you get.
Sit back and relax knowing mother nature is looking after you.
Definitely need this if you are camping remotely. Good quality and came with bonus clips. Quick delivery also.


I was very excited to build this Demon EVO250 quadcopter, as this is going to be a powerful mini quad setup: running 6045 propellers on 4S.
In case you missed my review on this frame, here it is.
After a PID tuning session, it flew really good !
And some racing practice with this frame.
Just like any other builds of mine, I need to prepare my ESCs first, which is flashing them with either SimonK or BLHeli firmware. Flashing BS 20A ESC is the same way as to the 12A version.
Only concern I have with these 20A ESCs are size, and weight. They are almost twice as heavy as the 12A ESCs. Since the motor and prop combination I am going to use, will draw far less than 20A current, and I won't put much load on the BEC either, I decided to remove the heatsink.
I also removed some of the unnecessary wires.
Weight reduction is amazing, a total 40% saving!
And I will be soldering the motor wires directly on the ESC pads.
This is the first time I am using a built-in PDB on a mini quad, so I was looking forward to seeing a cable minimal clean build. Assembling of this frame is very easy, and I tinned all soldering pads on the PDB beforehand.
Soldered battery plug on PDB.
ESC mounting on Arms. I put a double sided sticker to secure the ESC, then wrap the ESC and arm with 20mm heatshrink tube. I like mounting ESCs on the arm, just under the propellers, so they get cool down when in the air. Some people like to keep them inside / between bottom plates, I really don't think it's a good idea if you are powering your electronics with the BEC, here I explained why.
Soldering the ESC on the PDB. All the signal wires are hidden underneath the PDB, and will come out from the side.
And more wires soldered to the PDB, for LiPo battery voltage measuring, FPV system powering etc. I don't like exposed soldering joints, so for now I am using electrical tape to cover them up (yellow tape). Once I am happy with reliability, and make sure everything works, I will cover the soldering joints with liquid electrical tape for better appearance, and insulation.
The simple PDB seems to be assuming we don't use OSD, or maybe I understand it the wrong way. I had solder the power and ground wire of the FPV camera JST cable on the PDB, but leaving the signal wire on a female jumper wire. The camera signal will go into the MinimOSD.
I can adjust PID settings via OSD menu on the field.
And here we installed the MinimOSD, VTX, mini voltage regulator (on top of the VTX).
And I am making this tilted angle FPV camera with nylon spacers, vibration damping balls and 2mm cable ties.
This is also my first time using tilted motor mounts as well.
When using angle motor mounts you don't need to tilt your camera that much, some say it helps the speed but i actually don't think it makes much a difference in that aspect, but I think it does improve aerodynamics especially when you fly forward fast, As you fly forward, the quad is not tilted as much, so air resistance is smaller.
The biggest drawback I think is the air flow from front motors causes disturbance to the rear motors, so the quad might behave weirdly sometimes, making tuning more difficult.
Total weight of my EVO250 build is 770g, including GoPro and Battery.
As I pointed out in the review, this frame is very well made and strong. It has a few hard crashes, I only broke a few nylon stand-offs so far.
One of the crashes was caused by a very stupid mistake. Sharp edges on the soldering of XT60 plug punctured through the heatshrink, and caused short on the frame. Unfortunately the top plate is connected to the VTX ground, and as that happened, I was in the air and I totally lost video and crashed.
It's very important to make sure there is not sharp or pointy edges in your soldering, where you need to cover with heatshrink tube, otherwise heatshrink become ineffective in insulation.
What the flight time of this quad with its 1800 mAh battery?
But when I turn this mode off, everythings fine, all motors run good.
sounds like ACC is not working properly? have you tried calibrating your quad on a level surface?
"Hi Oscar" ,just checked out your build , wow i might have to considering doing a tear down, nice… great idea on the camera btw..i was thinking bout the 2300 kv s but now you got me looking at the 1960kv….btw could ya please send me a link for blheli 14 . i hear it may also stop my motors from twitching …need that extra edge this sunday at the races lol….
Still having trouble with the PIDs on my EVO. EVO250 frame, BAT: 3S; ESC: 12A VooDooQuads HP Series SimonK; Motors: HP 2300 2300kv; FC: Naze32 (Cleanflight 1.9); Gemfan 5030; GoPro HeroBlack4 w/ The Frame mounting; TX: Spektrum Sat; VTX: TS58500 w/ Fatshard CCD cam.
What did you settle on for PIDs on this build? Just completed mine as well.
Any suggestions? Is the rocking from low I?
this is horizon mode? you can only tune PID in acro mode. also the jello is from how you mount your camera i think.
What is the motor to motor diagonal distance? With 6045s on, that doesn't look to be a true 250 X frame (and maybe it isn't supposed to be).
motor to motor distance is the diagonal motors distance. This on the Evo250 is exactly 250mm, so it's a true 250 frame.
But not a 90deg by 90deg X then? A bit squashed like the front side of a deadcat (except front and back)?
Very nice article as always. I can't wait to build my own and thanks to you I think I'll avoid a lot of mistake , thanks for that :).


Say hello to pretty Sarah! She is the tried and true companion that you'd be lucky to have. You can rely on her to always make you laugh with all the cute little things she does. Her mother is Luna, a beautiful friendly Golden Retriever, and her sire is Rusty a handsome white Standard Poodle. If you're looking for a puppy with the sweet temperament and intelligence of Goldens and Poodles, a Goldendoodle is a great choice. Sarah was raised with care in our loving family environment and mother is on the premises. You are most welcome to come for a visit!
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I inspected and removed the remaining damage from the recent septoria on the tomato plants today. Since the copper/sulphur dusting they're all looking good with no further signs of infection. I have read about some adverse health affects - respiritory irritation etc - from dusting with copper, as well as it being harmful to fish and bees, so I'd like to avoid using this treatment again, and have been researching organic options.
Our tomatoes suffered badly from late blight last year. Our small backyard has high fences, and combined with being in a built up area, lacks good air circulation so I was already taking anti-fungal precautions such as watering only at the base of the plant. A few days of rainy weather made keeping the leaves dry impossible though, and shortly after I started seeing the dreaded septoria spread.
I should mention that I'd also been spraying the plants with aspirin water weekly. Hard to say whether it helped or not, but I've decided to discontinue it for now to avoid wetting the leaves unless absolutely necessary.
Bicarb Soda Fungicide - based on the Cornell University study.
Shake well before and during application. Spray both sides of leaves every five to seven days.
Brew as directed and mix 1:10 with normal watering.
I've also mulched the plants with sugar-cane mulch to keep the spores in the soil from splashing up on to plants, and will up the Seasol feeds.
We had some powdery mildew on our grapevine and sage last year, so I will also try the Bicarb spray on those and the new zuccini plants as a preventative.
Applied the Bicarb Soda spray Dec 16th to tomatoes, zucchini, rose and sage. It didn't emulsify very well and I think horticultural oil might work better than cooking oil + soap. Applied lime sulfur to the grapevine.
Now using Eco-Rose which is Potassium Bicarb rather than Sodium, mixed with Eco-Oil to make it stick. See post 'Eco-Rose and Eco-Oil'.


text:
Q: How to pass query parameters in react native WebSocket connection I have a server where I can make a WebSocket connection. When a device makes a WebSocket connection (when the app starts/splash screen), the server looks for the query parameter in the URL, which has the auth token of the user and if the token is correct, the connection is approved, else connection is rejected.
This is how the code looks on the react native client side:
const socket = new WebSocket(`ws://${website}/?token=${value}`);
socket.onmessage = (messageEvent) => {
    console.log('>>> socket on message:', messageEvent.data);
};
socket.onopen = function () {
    socket.send("hello world connection");
};
socket.onclose = () => {
    console.log('Socket disconnected');
};

This works fine in my iOS emulator, and the iOS emulator has a WebSocket connection to mine server. However, I have an android phone (testing via LAN), and when I open the app, I get an error saying:

Unable to set ws://192.xxx.xx.xx/token=aut sfiseft2sefsefs..... as default origin header

But, if I remove the query param from the URL
const socket = new WebSocket(`ws://${website}`);

This works fine, but since I cannot pass the token in the query params, I get an error from the server.
How can I pass query parameters to the WebSocket connection in android? What am I doing wrong?

A: I have the same issue. Solve the issue by using encodeURI() before passing the url to WebSocket.
const uri = encodeURI(`ws://${website}/?token=${value}`);
const socket = new WebSocket(uri);

This works for me.


text:
package org.apache.jackrabbit.oak.plugins.document.blob.cloud;

import org.apache.jackrabbit.oak.plugins.blob.cloud.CloudBlobStore;
import org.apache.jackrabbit.oak.spi.blob.AbstractBlobStoreTest;
import org.junit.After;
import org.junit.Assume;
import org.junit.Before;
import org.junit.BeforeClass;
import org.junit.Test;

/**
 * Tests the {@link CloudBlobStore} implementation.
 */
public class MongoCloudBlobStoreTest extends AbstractBlobStoreTest {
    @BeforeClass
    public static void setUpBeforeClass() throws Exception {
        try {
            Assume.assumeNotNull(CloudStoreUtils.getBlobStore());
        } catch (Exception e) {
            Assume.assumeNoException(e);
        }
    }

    @Before
    @Override
    public void setUp() throws Exception {
        store = CloudStoreUtils.getBlobStore();
    }

    @Override
    @After
    public void tearDown() throws Exception {
        ((CloudBlobStore) store).deleteBucket();
        super.tearDown();
    }

    @Override
    @Test
    public void testGarbageCollection() throws Exception {
    }
}


The Who's 'Lifehouse' graphic novel!
Guess you can file this one under "Better Late Than Never". The Who's shelved project, 'Lifehouse', is going to be made into a graphic novel (four decades after it's intended release).
The band abandoned 'Lifehouse' to record their 1971 record, 'Who's Next'.
You've had a couple chances to hear 'Lifehouse' (a 1999 BBC radio drama and in The Lifehouse Chronicles box set). Now, a they're releasing it as a 150 page graphic novel (which should be released in July 2020).
What a cool idea! Which album would you like to be given the same treatment?


My family and I went to our local AMC Theater last weekend and watched the movie called Frozen. I know where kind of late. We were supposed to watch it last Christmas but we went out of town instead.
Anyhow, the movie was great! It's very entertaining and funny. The animation was extravagant and breathtaking. The characters behind the scene did a fabulous job! Hey, it's Disney after all!
Featuring the voices of Kristen Bell and Idina Menzel, "Frozen" is the coolest comedy-adventure ever to hit the big screen. When a prophecy traps a kingdom in eternal winter, Anna, a fearless optimist, teams up with extreme mountain man Kristoff and his sidekick reindeer Sven on an epic journey to find Anna's sister Elsa, the Snow Queen, and put an end to her icy spell. Encountering mystical trolls, a funny snowman named Olaf, Everest-like extremes and magic at every turn, Anna and Kristoff battle the elements in a race to save the kingdom from destruction.
John took the kids to watch this but I did not go. Then Rylie watched it again with friends.


We were in 8th grade when "the incident" occurred. You were guys; so to you it was probably all in fun, a game of sorts. But to me, it was pain. My feelings were involved—I had liked you all at some point, and you knew that. That didn't stop you. That doesn't matter. You did a serious number on my self-esteem.
My trust: shattered. Like a glass hitting a concrete floor from 50 feet in the air.
My self-esteem: crushed.Like a boulder rolling over an ant.
Your words are super-glued to the inside of my brain. Like a tape they are on repeat, never to be forgotten, just turned down. Your actions are like a bad movie being replayed over and over again. Although, sometimes, the screen is turned off, granting me a brief reprieve.
Because of you, I learned that there is pain. Because of you, I learned not to trust. Because of you, I learned how to build walls. Because of you, I fell straight down—fast and hard.
Because of you, I learned that there is beauty in pain. Because of you, I learned that trust should be earned. Because of you, I learned how to tear down walls. Because of you, I started fighting for my footing.
I'm stronger than I seemed to you, apparently, because I fought for my right to be here. Even when the odds were not in my favor, I fought—my strength coming from those around me, and coming from somewhere deep within me. I do matter. I do have value.
It's true, you know. It would have been easier to give up; it would have been easier to just do what you said. But, that would be akin to me admitting defeat, which is not something I do easily. I prefer winning and coming out victorious. So I fought. And I fought hard. Even when the air was knocked out of my lungs again and again, I got up screaming through the pain, determined to prove you wrong. Because, let's face it. I'm a girl; therefore, I'm always right.
I'm not angry anymore. I've grown up. I've moved on. I've forgiven. And now, I'm saying goodbye to you, to the bitterness, to the sorrow. I'm letting go. I'm free.
Nothing took the pain away more than cutting. So, that's what I did. Multiple times a day, every day for two years. The wounds have faded now, but the scars are still there. The words they said don't have as much of an impact anymore, but sometimes they come back loud, and I have to resist the urge to pick up that razor.
A lot can happen in 4 years. I entered Freshman year as quiet and insecure. I ended Senior Year as loud, and sometimes obnoxious, sometimes confident, but mostly insecure. I'm still broken, but I've seen beauty come from my brokenness. I'm beginning to see healing that is coming from the rain. After 4 years I've proved them wrong.


text:
New Bugbear worm races up virus charts
Update: A variant on the fast-spreading Bugbear worm has emerged near the top of security firms' virus charts after appearing in the US and Australia overnight, with the UK particularly badly affected
By Iain Ferguson and Matthew Broersma | June 5, 2003 -- 09:06 GMT (02:06 PDT) | Topic: Tech Industry
A new variant of the Bugbear virus -- Win32.Bugbear.B -- has emerged and threatens corporate and home computer systems, according to antivirus experts. The worm has spread quickly during the day, hitting the UK particularly hard, according to data from email provider MessageLabs.
Computer Associates expert Jakub Kaminsky on Wednesday confirmed the company's antivirus laboratories had received their first sample of the variant from an Australian user late on Thursday afternoon, Australian time.
Security firm iDefense first found Bugbear.B in Australia and the US on Wednesday, and said it has since gained ground rapidly. MessageLabs, which runs outsourced email servers for 700,000 customers around the world, said it has labelled the worm "high risk", and reported more than 22,000 infections in 110 countries as of 4.20 p.m. BST. At that time, 16 percent of the cases were in the UK.
MessageLabs said the worm was the second most rapidly spreading on its charts, narrowly trailing W32/Sobig.C-mm, which also emerged this week.
The first Bugbear worm spread rapidly last autumn, creating about 320,000 infected messages in its first week, according to MessageLabs. This week has already seen another significant virus threat emerge with the spread of W32/Sobig.C-mm, which has generated about 30,000 infected messages per day this week, according to MessageLabs.
Like the first worm, Bugbear.B is a mass-mailing virus that infects Windows PCs. After it infects a PC, the virus searches the machine for email addresses and sends a message out to each address, with a copy of itself attached. Bugbear also grabs a random address from those found in the email program on the PC and uses it in the "From:" line of the messages it sends. This disguises where the actual emails are coming from and makes it difficult to alert someone that their system is infected. The virus also attempts to spread by copying itself to other computers that share their hard drives with the infected system.
Bugbear also searches for any of a long list of security programs or antivirus programs and halts them if they are running on the victim's machine. In some cases, Bugbear can also cause printers on a network with infected PCs to start printing a large amount of raw binary data.
More dangerously, the virus installs a keylogger that records what the user types -- a method of capturing passwords -- and a Trojan horse backdoor, communicating on port 1080, which allows an attacker to take control of the system.
The virus uses a flaw in the way Microsoft Outlook formats email using MIME (multipurpose Internet mail extensions). The flaw, if left unpatched, allows the virus to automatically execute on a victim's PC if Outlook displays the text of the message. While the flaw and its patch are more than two years old, some users have still not fixed the problem.
Computer Associates' Kaminsky said that reporting of the virus was likely to increase over the next few hours as European and United States residents awoke and accessed their email inboxes. "Probably tomorrow, we should have more records from Australian users," he told ZDNet Australia.
He predicted that the variant -- also known as W32/Kimjo.A-mm and W32.Shamur -- would spread widely over the next couple of days, before increased consumer awareness, anti-virus vendors updating their offerings and users subsequently installing new patches slowed its progress.
While home users face the greater individual threat from the variant, the infection of a large corporate network would see it "truly spread like wildfire" due to its propensity to try to propagate through email addresses found by searching through specific files, and to spread over a network, Kaminsky said. However, most companies who are up to scratch with their virus defenses automatically block the file extension types through which the variant is delivered -- .pif, .scr and .exe.
Kaminsky said blocking any executable attachment -- particularly with double extensions, which characterise both the original BugBear and its variant -- was "a good idea" and a natural precaution for companies.
CNET News.com's Robert Lemos contributed to this report.
For all security-related news, including updates on the latest viruses, hacking exploits and patches, check out ZDNet UK's Security News Section.
More from Iain Ferguson
Are virtual currencies reality or illusion?
Digital payments: Challenges for Asia-Pacific
Cloud still not fully understood by customers, service providers
Low power extends battery and human life


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A bright, beautiful cotton dish towel with an uplifting "Happiness Blooms From Within" message! Images of honeybees and flowers with cute polka dot accents make for a great addition to your kitchen. Machine washable, 28" x 28"


In this video Wayne Leahy, head of applications at Element Six, talks about how Alicona Metrology transformed the way they look at cutting tools. By using the Alicona Cobot System Element Six has transformed the capacity by a factor of 10 in terms of pure productivity. They have moved measurement tasks into production to measure tool wear in process, work piece surface condition and map the life of a cutting tool in as many signals as possible.


text:
Signifier and Signified: Helen Rebekah Garber at Gallery Wendi Norris
By Matthew Smith / December 18, 2014 / SF Bay / Leave a comment
Helen Rebekah Garber | Haniel I, 2014, Oil on linen, 60 x 60 inches (152.4 x 152.4 cm), Courtesy of Gallery Wendi Norris
Helen Rebekah Garber's paintings must be heavy. They're covered head to toe in thickly impastoed oil paint revealing a layered painting process that must surely take months to complete. The paintings (on view in "Numbers" at Gallery Wendi Norris through January 9, 2015) seem heavy not only because of their size and impastoed heft but also because from a distance their nearly monochromatic surfaces can resemble talismanic rock engravings. They hang on the walls like sacred tablets. There's a kind of spiritual allusion in Garber's forms, at once seeming to reference mandalas, religious altarpieces, and Mayan hieroglyphs. The paintings speak to a kind of transcendentalism that we also find in the paintings of Chris Martin (like "For Paul Thek") or even Forrest Bess (like "Before Man"). But up close Garber's paintings tell a different story.
If Garber's paintings seem like large monochromatic talismans from a distance upon closer inspection what emerges is an overwhelming materiality, a surprising sculptural thingness that breaks down into a million paint globs. At this microscale Garber's supreme command of color becomes evident as her monochromatic grays yield to dabs of blue, green, yellow, and red that guide the subtle changes in the hues of her compositions. Unlike someone like Forrest Bess, who was deeply committed to the spirituality he assigned to his paintings, Garber's interest in this kind of imagery seems derived less from spiritual truth-seeking and more from a painters interest in image-making and in the way that meaning is ascribed to form.
Hung alongside the paintings are a series of diptychs made in graphite and gouache on paper. Each diptych references a Walt Whitman poem using a lexicon of symbols adapted from Sir Thomas Moore's Utopian alphabet. Smaller in scale and lacking the performative gestures of her larger works, it's easy to overlook them. But the pairing is important. The diptychs, in their open ended semiotic language — are they modernist fonts? architectural plans? electronic circuity? — remind us that in abstraction meaning is ultimately constructed by us, the viewers. And that suits this savvy artist well.
Helen Rebekah Garber | Brooding and Blissful Halcyon Days, 2014, Graphite and gouache on paper, 22 x 30 inches each panel (56 x 76 cm), Courtesy of Gallery Wendi Norris
Helen Rebekah Garber | Katholikon for P., 2014, Oil on linen, 60 x 60 inches (152.4 x 152.4 cm), Courtesy of Gallery Wndi Norris
Helen Rebekah Garber | Mars in Place of the Ideograph, 2014, Oil on linen, 72 x 50 inches (182.9 x 127 cm), Courtesy of Gallery Wendi Norris
Helen Rebekah Garber was born 1976 in State College, Pennsylvania and grew up in New York City. She graduated with a BFA from California Institute of the Arts in Valencia, California in 2007. Her work has been exhibited at numerous venues in the United States and Europe including The Laguna Art Museum; Charlie James Gallery, Los Angeles; 31 Grand Gallery, New York; Bronwyn Keenan Gallery, New York; and Per Mari E Monte Arte, Naples, Italy. She has been featured in publications including The New York Times, New American Paintings, Art ltd., Spin Magazine, and The Frankfurter Alleingman Zeitung. She has received critical attention from writers including, Roberta Smith, Peter Frank, Howard Halle and David Pagel. Helen Rebekah Garber lives and works in Los Angeles.
– See more at: http://newamericanpaintings.com/blog/signifier-and-signified-helen-rebekah-garber-gallery-wendi-norris#sthash.1kCzeYuE.dpuf


text:
Kevin O'Connor pleased with 'deserved' win
B Team Head Coach reflects on 2-1 victory over Wolves
Kevin O'Connor was reasonably happy after his team won 2-1 against Wolverhampton Wanderers U23 on Thursday afternoon. The B Team Head Coach spoke to iFollow just after the final whistle blew on his team's second win in as many weeks.
"It was okay," said Kevin. "The conditions didn't help. I thought we played okay at times, especially in the first half. That was more of what we were looking for. In the second half we certainly ground it out a little bit and looked dangerous on the counter. I'm pleased with the win but I still think we could have done more."
Wolves had a penalty saved in the second half by goalkeeper Ellery Balcombe, who returned to the starting lineup after missing two previous matches. Reece Cole and Herson Rodrigues Alves also got back to action in what was a strong test for Brentford B.
"It was a tough game," said Kevin. "They sat off us a little bit so it was slightly different than usual. We had a lot of the ball at the back and so we tried to find the spaces and the gaps to then create chances at the other end.
"I'm pleased for Ellery, he deserved that today because he played well. I'm also pleased to see the two boys come back and come on at half time to make an impact. We need to get them fitter and get them back into the team."
Kevin also looked ahead to the Manchester City fixture on 19 December, his squad's last one of 2017. Last time out, The Bees won 5-2 at the Etihad Campus, something that Kevin thinks will add another dimension to the game.
"They are going to be desperate to beat us after we went up there and managed to beat them. They will come down with a strong team, it will be a very tough game. We have to prepare right and give it our best shot."