Part-Time Indian to stay at Antioch High School.
I'm totally glad about the decision, but I'm a tad disappointed that this article kicks off by describing the book as "a novel sprinkled with racist language and descriptions of masturbation". Way to stir the pot, guys.
This article talks a bit about a new committee the school is creating in an attempt to prevent similar problems in the future.
See Buffy Summers kick poor mopey Edward Cullen in the face.


text:
'Pandorum' an imaginative cult classic in the making
Directed by Christian Alvart
Written by Travis Milloy
US, 2009
Three significant events have occurred in 2013 that lend credence to the claim sci-fi is on its death bed as far as mainstream moviemaking goes. Star Trek Into Darkness continued to drive its franchise further and further away from its ideological roots in pursuit of money spinning breakneck action with a loose plot better suited to the Mission: Impossible series; the announcement that Star Wars will be revamped under the tutelage of the very same J.J. Abrams shows that rather than create new iconic franchises the executives would rather bleed dry the old ones; and Avatar will be graced by three sequels, suggesting a lack of faith in fresh ideas on the part of James 'Mr. Innovation' Cameron.
We're a long way from Stanislav Lem and 2001: A Space Odyssey when you look at what is over the space-set horizon, a rather sad state of affairs when considering the advancements made in filmmaking technology. It seems that as the means to create alien worlds compellingly arrived, the writers who had sweated blood to paper over the cracks were on their way out, replaced by last minute scripters with a remit to include as much computer graphic friendly sequences as possible. Proper science-fiction, fuelled by ideas rather than explosions and dictated by necessity of setting rather than novelty no longer seems to be high on the list of anyone's priorities. And why should it? More original pieces in this field have not had the same success gradient. A shame, since profit isn't always an exact science when it comes to the movies. And sometimes one can take more solace from the diamonds in the rough when that particular course at least bares the hallmarks of different thinking. An example of this would be a particularly flawed recent outing which died a quick death itself, Christian Alvart's Pandorum.
With a lukewarm at best commercial release and generally loathed by critics, the 2009 sci-fi horror is a piece that is open to misrepresentation more than misinterpretation; it doesn't exactly tax one's intellect with its premise, components and occasional B-movie strains. Having been touted as a tight, claustrophobic and industrious psychological thriller about two astronauts who wake up on a damaged and seemingly abandoned vessel, it's understandable that there was some backlash upon the discovery that after the first half hour, the story quickly escalates into something much bigger and, at least on the surface, much more familiar. From some kind of mutant offspring of Dark Star, it gestates into a full blown apocalypse movie with monsters that are a little too similar to almost every horror film of the era, sans hand held camera. However, looking past this development and putting a little more faith in a dark and nightmarish story does allow one to enjoy a film that while not definitive, is certainly different.
Ben Foster and Dennis Quaid are the astronauts in question, awakening from stasis with no memory of their identities, purpose or location. Their ship, Elysium, proves to be significantly larger than one first imagines, as Foster explores the vessel and begins to find other crewmen, some dead, and waltzes straight into a hideous struggle for survival against packs of inhuman zombie like creatures who stalk the halls and nest in the holds. Quaid meanwhile attempts to restore the ship's systems above deck and runs into a rather unhinged young bridge officer who quickly becomes an evil muse. Each turn of a corridor reveals new truths, each one more horrifying than the last, and boils down to the harsh truth that the action unfolding is actually a matter of the human race's survival, in the most literal and ambitious manner possible. By film's end, we may know just what the monsters are but they are hardly the biggest problem.
What it lacks in originality Pandorum certainly makes up for in imagination, and every dud note Travis Milloy strikes with his inconsistent script is seamlessly covered by Alvart's impeccable direction which just screams 'born for the big stage'. It should be noted that when the screenplay does slack into inferior levels of quality, it is never a conceptual problem, merely the treatment of the here and now and the scene by scene. The very concept of the film, in true horror fashion, plays out like an incredibly vivid and monstrously bad dream, filled with shadows and darkness and crude creatures of the night (all of which look superb, incidentally) but moreover defined in its every moment of terror by an atmosphere that never lets up, never lightens, and always engulfs you in a sense of dread rather than peril. German director Alvart, making his biggest picture to date here, not only has composed control of the action and the visuals, he also manages to maintain the darkness constantly from beginning to end, replacing claustrophobia with fatalistic hopelessness. An edge of ambiguity surrounding the cabin-fever-esque mental disorder of the title just adds to the sense that there is no safe ground on board the Elysium, that there are potential enemies lurking within to accompany those without.
Casting Ben Foster as the principal protagonist helps this effort, as his nervy and untrustworthy demeanor is totally at odds with his story status as the main hero. Ever since he truly became a name actor by stealing the show in James Mangold's 3:10 to Yuma remake, Foster has made a career out of playing characters who are never fully sympathetic when on the right side of morality, and who ooze plausibility when edging towards villainous territory. This makes him perfect for the film, since we never truly trust him as he battles with the notion that he is imagining his terrible surroundings, a conflict we share in. The inactivity on Quaid's end seems to back up this theory in progress, only for a shocking switcheroo to show that we have been scrutinizing the wrong man. In a bigger, less bloody incarnation a Tom Crusie type may have plumped for the role and would doubtlessly have torpedoed a good part of the film's slight of hand. It's similar to Rufus Sewell's casting in Dark City, choosing a black knight to play a white one.
His acting, rather regrettably, is probably the only notable exercise of thespian prowess within the film, as characters range from the wooden (Quaid in the early stages) to the scenery chewing (Eddie Rouse during an engaging distraction via bondage and cannibalism). Antje Traue, making her Hollywood bow here (four years before her more notable role in Man of Steel), is mostly provided for the eye candy but is at least able to inject a little allure and coy suggestion into matters as a perhaps unconvincing biologist. But there is a sense that this was the best that Alvart had to work with, a cast mostly made up of B-movie players, and thankfully the events help to steal one's attention. Set pieces and ongoing mystery puzzle solving also lead one away from obsessing over the shaky dialogue, and the big reveals stop 'spot the movie' drinking games from getting out of hand. There are shades from many films within the piece, from the Alien franchise to Event Horizon, Resident Evil to The Descent.
The crux by which Pandorum finally is defined ultimately proves to be its greatest strength, the real truth behind the mayhem and anarchy. In a rare example of writing a story in the right order, everything builds up to a final denouement that lays the truth out clearly; the purpose of the Elysium, the origins of the mutant monsters, the fate that has beset the ship and its Biblically sized passenger contingent and, most crucially, the significance of Pandorum itself. Having played out for two thirds of the film as a subplot that seems set to be a red herring, it instead proves to be the cause of everything. These elements, the bigger stuff, is where other recent attempts such as Oblivion have failed, but here they are they rescue the film from being average entertainment and instead promote it to something more respectable. The nightmare wasn't a nightmare, it's just a dark new world brought about by that worst of intergalactic foes; ourselves. It's not just the grandeur that makes this work, it's the ingenuity.
Pandorum seems like a film that is destined for cult status in the same way that the aforementioned Dark City was. In terms of tone, style and sense of escalation the two share a lot of common ground, and also enjoy similar endings. They are concept pieces, defined by the over arcing idea at the heart of the action, and while this certainly doesn't reach the giddying heights of celebration that the greats take for granted, it should definitely be given more compassion for its successful efforts to tell a good story in a compellingly imaginative way. Its setting, huge Noah's Ark in space overrun by man eating monsters, is not a flashy attempt at gimmick but genuine necessity to act out its fundamental principles. It is inherently science-fiction in the way that Star Trek Into Darkness and Avatar are most certainly not. Though not challenging the status quo, or much else for that matter, it is as engaging and entertaining as a Hollywood blockbuster and shows something in its genetic makeup that most of these do not; heart, soul, thought and ideas.
But I suppose if it provided and still failed, why should we expect any more like it? The cult of yesteryear sci-fi cinema beckons…
Tags:Antje Traue, Ben Boster, Christian Alvart, Cung Te, Dennis Quaid, Horror, Paul W. S. Anderson, sci-fi

redpajama_set_name: RedPajamaCommonCrawl


Many scientists dubbed relationships as a chemical addiction between two people. So, when a breakup happens, you experience both the paralyzing grief as well as the emotional and physical impact of addiction withdrawal. Published by Hypnosis in London on 6 March 2017, written by Malminder Gill.
When a breakup happens, it can feel like you're living in your own bubble. While the rest of the world continues, you are stuck in it – empty, alone, isolated, and sometimes, it can feel like everything's dead end. You feel like you can't go through the darkness and see the possibilities beyond it.
You wanted to stop the pain and even if you have all the logical reasons why you're better off without your ex, the withdrawal symptoms feel so strong not to give in. But giving in to such compulsion only brings you back to the cycle that makes you feel more isolated, a hole that's easier to get into than climb out.
The first step in breaking the cycle is forgiving yourself. Usually, after a breakup, the physical and emotional symptoms associated with the grief can be so overwhelming that it overpowers our rational brain. We make choices that are often self-destructive. However, feelings of shame for giving in to the withdrawal symptoms don't do anything good. They only put you to a more challenging situation that's harder to go through.
So, I encourage you to work your way towards forgiving yourself. If you need to feel the magnitude of the loss and grieve for it, then do it. Learn to acknowledge the powerful symptoms of withdrawal such as obsessive thoughts, depressive episodes, and physical and emotional pain. Recognizing these can help you fight through the paralysis brought by a breakup. It would also help you realize that giving in to the compulsive desires may alleviate these symptoms temporarily but it will only keep you stuck in that addiction phase and make your situation more complicated.
There are several reasons why many of us find it hard to let go of relationships. One is that we are so deeply connected with the other person. Arthur Aron and his colleagues have found out that when people are in close relationships, their concept of self becomes intertwined with their partner's self. This has both a good and a bad side. On the good side, it broadens our perspective of ourselves but on the downside, when the relationship ends, we also feel that we lose part of ourselves too.
It may seem productive to keep on rehashing things in your past relationship especially on things that you thought you did wrong or things that you may want to do differently. But it's not. Dwelling on these things are actually counter-productive.
So, each time you find yourself revisiting your past, try to pull yourself on your current situation. Focus on the relationships you have with your family and friends. Instead of wishing you've done things differently, try to get the lessons you learned from the past and tell yourself that they will help you in your future relationship.
If you look at the time you spent with your past relationship as time lost, then you'll only be filled with pessimistic thoughts.
Each time you find yourself thinking about these thoughts, try to shift your focus on the things you've gained. This will help you move on and make you feel empowered.
The end of a relationship can feel like a mini-death. Initially, you feel shocked and in denial. You can't believe that it's over. Then you started to feel the guilt and the pain. You started looking back at things you could have done better or things you shouldn't have done. Eventually, you'll come to the phase of acceptance.
Go through the feelings as they come; accept and do not resist.
One of the most difficult parts of moving on is the fear. There's that fear that the next relationship would end up the same way as the past. And it's a normal response especially if you experience prolonged distress after a romantic rejection. In one research, it shows that people who experience this have their self-image change for the worse.
Once you start linking that rejection to your concept of self, you are more likely to experience fear. You feel more guarded with new partners and may end up putting up walls around you. This stems from the fear that future relationship would fail, that no matter what you do, you would never find someone who would love you.
Researchers of the same study found out that those who experience less fear after a breakup are those people who drew a weaker connection between rejection and concept of self. Instead of looking at it as a personal flaw, they see breakups or romantic rejections as an unpredictable and arbitrary force. Some also view it as a universal experience and an opportunity for growth.
I know this is easier said than done so let me help you overcome that fear through hypnotherapy. Through hypnotherapy, I can help you form new thoughts, feelings, behavior or attitude towards your relationship problems. It can help you improve your self-esteem and confidence so you can be more ready for future relationship.
Love and being in a relationship is a great thing. But know too that when breakups happen, you have the power within you to go through the process and see the opportunities, including future relationship, beyond the grief.
Don't be afraid of falling in love again because if you're afraid to love again because of your past broken relationship, then you learnt the wrong lesson.
 "Inclusion of Other in the Self Scale and the structure of interpersonal closeness". Journal of Personality and Social Psychology. N.p., 2017. Web. 6 Mar. 2017.
 Howe, Lauren. "A Psychologist Explains Why Some People Take Breakups Harder Than Others". The Atlantic. N.p., 2017. Web. 6 Mar. 2017.
next post: Is your behavioral attachment style preventing love?


As SpaceX's South Texas operations continue full steam ahead in pursuit of the first integrated hop tests of a full-scale Starship prototype, the company's Starhopper and its complementary launch/hop pad are dramatically and visibly evolving on a daily basis.
This week's progress has been signified by the installation of familiar rocket hardware on the Ship and a burst of construction – centered around pipelaying, plumbing, foundation work, and berm-building – at its pad. Just a few hundred miles north of Boca Chica, SpaceX's team of propulsion engineers and technicians reached their own dramatic milestone, conducting the first static fire of a finalized version of the Raptor engine set to power Starship and Super Heavy (formerly BFR).
In the last ~10 days alone (Jan 24-Feb 4), SpaceX pad construction workers and contractors transformed the former dirt mound from a generally flat, planed surface with a spattering of shipping containers and building materials into a hive of welding rigs, propellant and water tanks, major plumbing progress, shaped earth, and the beginnings of new concrete foundations. Thanks to local student Austin Barnard's reliable drone photography, that pad-specific progress can be more properly visualized.
Taken on January 24th and February 4th respectively, the devil is definitely in the details when it comes to SpaceX's prospective Starhopper pad development. Most notable is the progress made with the rapidly developing propellant plant and ground systems infrastructure in the left half of the images, marked by hundreds of feet of freshly-installed piping meant to support the process of fueling Starhopper with liquid methane and oxygen. For a rocket as powerful as Starhopper (even with just three Raptor engines), cooling both the propellant and the concrete launch and landing pad is no less important, visible in the shape of three large water tanks (lefthand foreground) and a smaller radiator stack (just to the right of two taller, skinnier white tanks.
Aside from the rapid rise of the first BFR propellant farm and its supporting equipment, SpaceX has progressed into the installation of a trio of concrete foundations just to the right of the dirt berm and propellant tank area. Standing as close as it is to said propellant tanks, it seems unlikely that the new foundation-laying is related to the pad (or a stand) meant to support early Starhopper hop tests, although SpaceX's Falcon 9-era Grasshopper and F9R hop test vehicles operated about the same distance from its propellant infrastructure. SpaceX's South Texas site also features a sort of satellite pad at its east end (the right side in attached photos) that could have a future as an integration hangar or a secondary landing zone to allow for Starhopper to perform divert tests.
Depending on whether SpaceX actually intends to develop the land shown above into an actual full-scale launch facility for BFR (Super Heavy and Starship), it could also remain generally unchanged until Starhopper's hop test program has been run to completion, at which point everything seen above would likely be rebuilt from scratch to accommodate for any drastic changes in function. SpaceX's Boca Chica might simply be too small to support a pad capable of launching Super Heavy (nearly twice as powerful as Saturn V at full thrust), measuring in at considerably less than ~10 acres of usable area compared to LC-40's ~20 acres and Pad 39A's ~50+ acres. CEO Elon Musk has also hinted at using a giant floating platform for early orbital BFR launches, although that might prove even harder (and more costly) than building a traditional land-based pad.
Meanwhile, the aft engine/fin/tank section of SpaceX's Starship prototype (unofficially nicknamed Starhopper) has experienced a stream of hardware additions and improvements, modifying its relatively awkward and unfinished steel base with what appear to be Falcon 9-sized quick-disconnect umbilical panels, a functional propellant tank header, and mounting hardware for carbon-overwrapped pressure vessels (COPVs). By using hardware that is proven and easy to manufacture, SpaceX can save a huge amount of time that would otherwise need to be spent engineering subassemblies that (at risk of undervaluing the challenge) are generally known-quantities – more a matter of time and effort than an actual technical hurdle.
While they are clearly still in a rough, unfinished form, Starhopper's umbilical panels are already easy to recognize when compared alongside Falcon 9's iconic red and blue panel pairs. In essence, whereas Starhopper has been a largely unknown quantity with no familiar aspects since it began to come together late last year, the Starship prototype has recently had hardware installed that is finally revealing subtle SpaceX signatures in its design and assembly.


Nanofluids have novel properties that make them potentially useful in many applications in heat transfer, including microelectronics, fuel cells, pharmaceutical processes, and hybrid-powered engines, engine cooling/vehicle thermal management, domestic refrigerator, chiller, heat exchanger, in grinding, machining and in boiler flue gas temperature reduction. They exhibit enhanced thermal conductivity, and the convective heat transfer coefficient compared to the base fluid.
Optimizing cooling processes by fluid is very important in many industries such as power generation, transportation, automation and electronics. The equipment for heat transferring to achieve higher efficiency requires minifying of equipment and increase the heat transfer rate per unit area. Fluids such as water and ethylene glycol, due to their low thermal properties, have a limited ability to transfer heat. Conversely, metals have a thermal conductivity coefficient of up to three times of fluids. The idea of combination of these two materials in order to create a heat transfer field that acts like a fluid and conducts the heat like a metal is based on this theory. However, problems such as clogging and corrosion of fluid flow channels, rapid sedimentation and excessive pressure drop have been reported. One of the most suitable methods for solving this problem is the use of magnetic fluids and magnetic fields. Magnetic nano-fluid or ferrofluid are in fact a particular kind of nano-fluid in which magnetic nanoparticles of about 3 to 15 nm are stably dissolved in a base fluid such as water or oil. By applying the magnetic field in different directions and degrees, it is possible to control the hydrodynamic and thermal behavior of these fluids. This is an important advantage for this kind of nanofluids.


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Kenneth William Dudine, age 91 of Jasper
Kenneth William Dudine, age 91 of Jasper, Indiana, passed away at 6:10 p.m. on Wednesday, September 23, 2020 at St. Charles Health Campus in Jasper, IN.
Kenneth was born in Jasper, Indiana on March 28, 1929 to Theodore and Hildagarde Matilda (Lehnen) Dudine. He married Bettye (Leinenbach) on November 28th, 1953 at St Mary's Catholic Church in Ireland, Indiana. She preceded him in death on June 19th, 2011.
Kenneth worked as an educator for his entire career. After graduating from Indiana State Teachers College in 1951, he began his teaching career in Mattoon, Illinois teaching math and science. He came back to Ireland in in 1958 to take a teaching role there, and along with Bettye, helped care for her father. Ken received his Master of Science Degree from Indiana State University in 1966 and took a role as guidance counselor in Fremont, Indiana in 1967.
In 1969 Ken became the guidance director at Martinsville, Indiana High School and did that role for five years. Ken always loved teaching in the classroom, so in the fall of 1974 he went back to the classroom to teach math at Paul Hadley Junior High School in Mooresville, Indiana. He taught there for twenty years, retiring in 1994. He never stopped teaching even after he retired, often helping family members with math problems and in his later years often working through math problems with his three grandchildren on the phone.
Ken had a huge passion for many things.
He was a devoted husband, father, grandfather, brother, uncle, and friend. He was "Uncle Kenny" to so many people on both the Dudine and Leinenbach sides. In his later years he was a member of St Joseph's Catholic Church in Jasper, where he often sang in the choir. He always loved music and while living in Ireland was the choir director at St. Mary's Catholic Church. He often sang for family members weddings and even sang the Nation Anthem at Ireland H.S. basketball games. He and Bettye loved to take drives and explore. Especially after they moved to Scottsdale, Arizona in 2007. They often would just jump in the car and a take off exploring that part of the country and the desert beauty. He loved to birdwatch and always had a variety of birdhouses and feeders wherever he lived.
When Bettye passed away in 2011, Ken wanted to come back home to Jasper. He wanted to be where he was familiar and where so many family members still lived. In his later years, back in Jasper, he was able to reconnect with so many friends and family members, enjoying life and being surrounded by the hometown and family he loved so much.
Surviving are his two sons, Ted Dudine and his wife Corinne of Scottsdale, Arizona and Kenneth (Chip) Dudine II and his wife Gwen of McKinney, Texas. Also three grandchildren: Kelci Cabana (Thomas), Collin and Carson Dudine and two great grandchildren, Grayson Race Cabana and Hunter Belle Cabana.
Preceding him in death besides his wife are both his mother and Father. Also, Sisters Dorothy Meyer and Mary Ann Titzer and brothers Charles and Robert Dudine.
A Mass of Christian burial for Kenneth Dudine be held on Tuesday, September 29, 2020 at 10:30 a.m. at St. Joseph's Catholic Church in Jasper, IN with entombment to follow at Fairview Cemetery Mausoleum.
A visitation will be held from 9:30 a.m. until the 10:30 a.m Mass time at St. Joseph's Catholic Church.
Masks and social distancing will be required for the visitation and Mass.
Memorial contributions may be made to St. Joseph's Catholic Church or to a favorite charity.


Описание This website is for sale! webteleradio.ru is your first and best source for information about web tele radio . Here you will also find topics relating to issues of general interest. We hope you find what you are looking for!


Protection for the Snake River and the Wyoming Range mountains still coming?
This popular bill to keep the drilling rigs out of the steep, unstable, scenic Wyoming Range, south of Jackson Hole has stalled due to the election campaign.
It looks like there's going to be a lame duck session of Congress. Harry Reid says he may add this bill and also the "Craig Thomas Snake Headwaters Legacy Act," to add 387 miles of rivers and streams in the Snake River drainage to the national Wild and Scenic Rivers System, to an omnibus public lands bill.
These bills are sponsored by Wyoming's Republican senators, two very conservative men. The leading opponents have been the natural gas drilling interests and Senator Larry Craig (who doens't want protection for the Snake River, which flows into Idaho).
Senators may hear energy, river bills. By Noah Brenner, Jackson Hole News and Guide.
Nice to see that there are still a few CONSERVATIves interested in CONSERVATIon.
After the election is better than never, but I do wish it was earlier than this. I have spent the last three weeks hunting in the Wyoming Range and this is the truely the best place in the world. I even saw two wolves!
Forgot to add, that I have a ton of pictures of the range that are alot farther south than the ones you have posted in the past. So if you ever need some let me know.
That's great that you saw wolves. For folks' info, this is in the recently disestablished "predator" zone in Wyoming, and the most likely corridor of wolf dispersal into Utah and Colorado.


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Q: Ajax Jquery Post to MVC action keeps on in-definitively (many times) I am doing a test, well, try to make the skeleton code to post and answer AJAX calls from a MVC view to my controller's action vice-versa and my POST is going at the right place and the answer data seems to work as well but it KEEPS ON POSTING in-definitively back to my action. Im no PRO with JQuery and I am trying to figure out what is missing in my client side script. I tried to use e.preventdefault but I doubt this is the right way to handle this issue. Here is my code:
My post/MVC action will return this (like i said its a test/skeleton):
                return Json(new
                {
                    Result = true,
                    Message = "Call Successfull."
                }, JsonRequestBehavior.AllowGet);

This is the result script onSuccess
    function OfferAjaxOnSuccess(data) {

        if (!data.Result) {
            alert(data.Message); // my own MessageBox
            return;
        } else if (data.Result == true) {
            alert(data.Message); // my own MessageBox
        }

    };

Finally the Ajax form post instructions:
 @using (Ajax.BeginForm("SendOffer", "Product", FormMethod.Post, new AjaxOptions() { OnSuccess = "OfferAjaxOnSuccess" }))
            {

As I said, my problem is that the alert(...); inside onsuccess method and post popup will indefinitively!? Why? and what is missing or wrong in my code/script? I tried already to figure out what is on your FAQ but can't seem to see what is missing or wrong...
Thank you in advance for advice and help :)
Mart

redpajama_set_name: RedPajamaStackExchange


FRANKFORT, Ky. - Conservationists are in Frankfort today, telling lawmakers that budget cuts are handcuffing efforts to protect public lands - land often used for recreation.
Ruth Banberger, the Sierra Club's legislative chair, said the state is "robbing" funds specifically earmarked for land-conservation programs by sweeping millions of those dollars into the general fund to help cover budget shortfalls.
"The conservation programs have been cut to the bone," she said. "They were cut to the bone in the last administration and they're being further cut to the bone in the current administration."
Funding for public-lands protection took an $8 million hit in the current two-year budget cycle and Gov. Matt Bevin has proposed cutting another $10 million administered by the Heritage Land Conservation Fund over the next two years.
David Phemister, the Nature Conservancy's state director, said the cuts are having both an immediate and lasting impact on opportunities to protect public lands.
"If we stop doing that sort of work, opportunities for people to get out and enjoy nature, to revive their spirits, to have clean air, clean water, we're going to lose those opportunities," he said. "So, it's really important to make these investments now."
Phemister said the budget cuts have stalled conservation projects and reduced funding for the management of public lands. The Heritage Land Conservation Fund has protected nearly 90,000 acres at 130 locations across the state.
The Nature Conservancy is part of a broad coalition of nonprofit and faith groups, outdoor sports enthusiasts and conservation interests that are asking lawmakers to restore dollars to land conservation programs. Phemister says it's about the environment and the economy.
"Outdoor recreation is big business in Kentucky," he said. "If we stop investing in it, those business opportunities are going to decline over time."
Phemister says one common misconception is that protected lands are off limits to the public. He said the great majority are open to activities such as hiking, fishing and birdwatching.


Financial Reporting And Analysis Solutions Manual 13e - Need Any Test Bank or Solutions Manual Please contact me email:[email protected] If you are looking for a test bank or a solution manual for your academic textbook then you are in the right place. 11/15/2018. 11/15/2018. 11/15/2018. 11/15/2018. 11/15/2018. 11/15/2018. 55 11/15/2018. 55 11/15/2018. 11/15/2018. 11/15/2018. 11/15/2018. 11/15/2018. 11/15/2018. 11. The MS2711E can locate and identify out-of-band spurious signals when analyzing a wireless base station transmitter, while the field strength mode allows users to measure propagation and coverage, or to pinpoint electromagnetic (EM) leakage in broadcast systems..
SAP FI Configuration T-Code Organizational Structure 1. Define Company code – OX02 / Copy Company Code – EC01 2. Define / Edit Chart of Accounts – OB13 / Copy Chart of Accounts – OBY7 3. Assign Company Code to Chart Of Accounts – OB62 4. Maintain Fiscal Year Variant – OB29 5. Assign Company Code to Fiscal Year Variant – OB37 6. Define Posting Period Variant - OBBO 7.. Learn from the experts on both sides of this critical area of law. Obtain powerful judgments—and then collect on them! Or discover effective defense strategies and how to respond to a judgment.. 1.These explanatory notes relate to the Health and Social Care Act, which received Royal Assent on 27 March 2012. They have been prepared by the Department of Health in order to assist the reader of the Act. They do not form part of the Act and have not been endorsed by Parliament. 2.These notes.


As a member of the USA Women's Flag Football team, it's easy to see Sam's hard work and drive for success in the office. Sam loves working with the Austin team at Quest Groups because it gives her the opportunity to work with a tenacious team that truly values communication. She loves connecting candidates with the right career opportunity that enhances their lives for the better.
Why do you love what you do at Quest Groups? I love what I do at Quest Groups because our company fosters an environment to be exactly who you are.


August 01, 2018 16:05 ET | Source: Papa Murphy's Holdings, Inc.
VANCOUVER, Wash., Aug. 01, 2018 (GLOBE NEWSWIRE) -- Papa Murphy's Holdings, Inc. (NASDAQ:FRSH) today announced financial results for its fiscal second quarter ended July 2, 2018.
Revenue was $30.8 million compared to $36.1 million in the second quarter of 2017.
Comparable store sales decreased 2.4% compared to the second quarter of 2017, including a 2.2% decrease at global franchise-owned stores and a 4.6% decrease at Company-owned stores.
Selling, general and administrative expense was $11.4 million, compared to $10.8 million in the second quarter of 2017.
Reported Net Income was $1.4 million, or $0.08 per diluted share, compared to a Reported Net Loss of $(6.1) million, or $(0.36) per diluted share in the prior year second quarter.
Pro-Forma Net Income(2) in the quarter was $1.0 million, or $0.06 per diluted share, compared to Pro-Forma Net Income of $1.2 million, or $0.07 per diluted share, in the prior year second quarter.
Adjusted EBITDA(2) was $4.6 million, compared to Adjusted EBITDA of $8.0 million in the prior year second quarter. Prior year second quarter Adjusted EBITDA included a benefit from the Brand Marketing Fund of approximately $2.8 million driven by a combination of an additional Brand Marketing Fund contribution of 0.85% of sales during 2017 and the timing of marketing expenses that were heavily weighted to the first quarter of the prior year.
Franchise-owners opened two new stores in the quarter, all in the US market.
Please note that results reflect the first quarter adoption by the Company of two new accounting standards (ASC topic 606 – Revenue from contracts with customers, and ASC topic 842 – Leases). 2017 financial results have been adjusted to reflect the implementation of these standards.
Weldon Spangler, Chief Executive Officer of Papa Murphy's Holdings, Inc., stated, "We continue to stay focused on our strategy of relevance and convenience, and during our first full quarter with our new e-commerce platform, OLO.com, we were pleased with the improvement in mix, the stability of the platform and the enhanced guest experience that the platform has delivered.
Comparable Store Sales represents the change in year-over-year sales for all comparable stores, including international. A comparable store is a store that has been open for at least 52 full weeks from the comparable date (the Tuesday following the opening date). As of the end of the second quarter of 2018 and 2017, we had 1,454 and 1,477 comparable stores, respectively.
System-wide Sales include net sales by all franchise-owned and Company-owned stores.
Adjusted EBITDA is defined as net income (loss) before interest expense, provision for (benefit from) income taxes and depreciation and amortization, with further adjustments to reflect the elimination of various expenses that the Company considers not indicative of ongoing operations. For a reconciliation of Adjusted EBITDA to net income (loss), the most directly comparable GAAP measure, see the financial tables accompanying this release.
We expect a diluted share-count of approximately 17.0 million.
Papa Murphy's Holdings, Inc. will host a conference call to discuss the second quarter financial results on Wednesday, August 1, 2018 at 5:00 PM Eastern Time. The conference call can be accessed live over the phone by dialing 877-407-3982 or for international callers by dialing 201-493-6780. A replay will be available after the call and can be accessed by dialing 844-512-2921 or for international callers by dialing 412-317-6671; the passcode is 13681662. The replay will be available until Wednesday, August 8, 2018. The conference call will also be webcast live from the Company's corporate website at investors.papamurphys.com, under the "Events & Presentations" page. An archive of the webcast will be available at this location shortly after the call has concluded.
Forward-looking statements in this press release include statements relating to the Company's projected comparable stores sales growth or decline, projected new store openings, projected selling, general and administrative expenses, projected Adjusted EBITDA, projected refranchising activities, projected cash provided by investing activities, projected cash provided by operating activities, projected effective tax rate, projected diluted share count, plants for refranchising and future financial or operational results and business strategy, including the expected effects of the Company's strategic initiatives.
Any such forward-looking statements are not guarantees of performance or results, and involve risks, uncertainties (some of which are beyond the Company's control) and assumptions. Although the Company believes any forward-looking statements are based on reasonable assumptions, you should be aware that many factors could affect our actual financial results and cause them to differ materially from those anticipated in any forward-looking statements. Please refer to the risk factors discussed in the Company's annual report on Form 10-K for the fiscal year ended January 1, 2018, (which can be found at the SEC's website www.sec.gov); each such risk factor is specifically incorporated into this press release. Should one or more of these risks or uncertainties materialize, the Company's actual results may vary in material respects from those projected in any forward-looking statements.
* Prior year results have been adjusted to reflect the impact of adopting the new revenue (ASC Topic 606) and lease (ASC Topic 842) accounting standards effective January 2, 2018.
In 2018, this represents primarily gains on the refranchising of Company-owned stores. In 2017, this represents primarily non-cash charges associated with the impairment and disposal of store assets upon the decision to close stores.
Reflects the tax expense associated with above adjustments at a normalized tax rate of 25.5% (2018) and 38.5% (2017), which represents the estimated long-term effective tax rate in effect in the respective quarter.


October 30th, 2013. Martinique. Retracing footsteps of a poet, playwright and politician, Aimé Césaire. A judo class for young men lead in the cultural centre in Césaire's hometown of Basse-Pointe. Cesaire emphisized thet in healthy body rests a healthy mind. Piotr Redlinski for The New York Times.


EIN for international shipping from U.S.
Eliminate the Social Security Number (SSN) as an Identification Number in the Automated Export System (AES).
Export Declaration (SED) for international shipping]) or AESDirect.
shipping through the Web site of the Internal Revenue Service (IRS).
DATES: Effective Date: This rule is effective March 24, 2010.
implement provisions in the Foreign Relations Authorization Act (Pub.
for international shipping] or AESdirect.
time to come into compliance with the final rule.
Export Declaration (SED) for international shipping] or AESdirect.
for a fee at Dun and Bradstreet's Web site at http://www.dnb.com/us/.
15 minutes when applying online or by phone.
or authorize a third party to prepare the form on their behalf.
for international shipping on their own behalf.
shipping if they are not opening a business.
to obtain an EIN for international shipping from the IRS.
or passport numbers optional when filing the EEI.
can be obtained at the IRS Web site free of charge within 15 minutes.
shipping on behalf of an individual.
is not as sensitive a form of PII as either a driver's license or SSN.
complexity than EIN for international shippings.
any delays in exporting as a result of the implementation of this final rule.
experienced) delays in the export process due to the interim rule.
it delay implementation of this final rule.
have their account manually transitioned.
as the USPPI identification number when filing on behalf of the USPPI.
shipping cannot be used as the USPPI identification number.
Declaration (SED) for international shipping] record is not required.
To ensure the confidentiality of the USPPI's and the U.S.
purposes in the AES [filing Shippers Export Declaration (SED) for international shipping].
Declaration (SED) for international shipping].
Security concur with the provisions contained in this Final Rule.
to allow for notice and opportunity for public comment, USPPIs and U.S.
has determined that it will make this rule effective on March 24, 2010.
a current, valid OMB control number.
on August 5, 2009, is adopted as a final rule without change.


text:
New Illinois child & family policy discriminates against Christians who are not pro-LGBT
Dr. Eowyn
Three days ago, I published a post on a new law, Bill 89, that was recently passed by the Legislative Assembly of Canada's Ontario Province, which enables the government to legally seize children from parents who refuse to accede to their children's fantasy of being "transgender" and/or provide them with body-mutilating "gender-reassignment" surgery that does no such thing. (Bill 89 is now law, specifically Chapter 14 of the Statutes of Ontario, 2017.)
For "transgenderism" being a psychological disorder and the fiction of "gender-reassignment" surgery, see:
American College of Pediatricians speaks truth on transgenderism
The truth about transgenderism and 'gender reassignment' surgery
About Canada's totalitarian Bill 89, FOTM's Dave commented that "We're next."
Well, it turns out that the USA is already there.
On May 5, 2017, the State of Illinois' Department of Children and Family Services (DCFS) instituted sweeping changes to its policies and procedures in caring for children with gender dysphoria which essentially weed out Christian and other employees and volunteers who cannot in good conscience support and promote transgender ideology.
In signing the department's enhanced procedures to be followed when providing services to LGBTQ chiildren and youth, Illinois DCFS Director George Sheldon said:
"The youth in our care have the legal right to be free from verbal, emotional and physical harassment in their placements, schools and communities; and the adults involved in their care have a legal and ethical obligation to ensure that they are safe and protected. LGBTQ youth have the right to be treated equally, to express their gender identity and to have the choice to be open or private about their sexual orientation, gender expression and gender identity. They need to feel free to be who they are."
Doug Mainwaring reports for LifeSiteNews on June 1, 2017 that the revised procedures command that:
"In no instance should LGBTQ children/youth be placed with a non-affirming caregiver who is opposed to sexual orientations that differ from the caregiver's own. Nor should LGBTQ children and youth be placed with caregivers who are unwilling/unable to support children and youth whose gender identity or gender expression differs from traditional expectation."
Furthermore, the caregiver must accede to the "transgender" child/youth's preferred pronoun, no matter how nonsensical, as in calling oneself "they":
"The child/youth's chosen name and preferred gender pronoun (including gender-neutral pronouns such as 'they' or 'ze/hir') must be respected."
Mainwaring points out that in order to assure consistent achievement of that goal, the new policy requires "any person who is involved with DCFS children/youth will complete mandatory training in LGBTQ competency" — which is a requirement to attaining a child-welfare license.
The Illinois DCFS new policy was created under the guidance of the American Civil Liberties Union of Illinois (ACLU), Pride Action Tank and other pro-homosexual and transgender organizations.
Peter Sprigg of the Family Research Council observes that while the new policy "portrays itself as being based in science, it is 100 percent ideological."
Indeed, In a landmark report published last year, Lawrence S. Mayer, M.B., M.S., Ph.D., scholar-in-residence in the Department of Psychiatry at the Johns Hopkins University and a professor of statistics and biostatistics at Arizona State University, and Paul R. McHugh, M.D., professor of psychiatry and behavioral sciences at the Johns Hopkins University School of Medicine, found that "transgender" identity is extremely fluid: Only a minority of children who express gender-atypical thoughts or behavior will continue to do so into adolescence or adulthood. There is no evidence that all such children should be encouraged to become transgender, much less subjected to hormone treatments or surgery.
Sprigg states that the new policy is "Discriminatory against anyone with traditional moral values, in particular, Christians." Laurie Higgins of the Illinois Family Institute agrees. She writes:
"Denying people of … faith the opportunity to foster or adopt children constitutes the antithesis of a commitment to diversity and puts the lie to DCFS's claim to care about the needs of children. The number of available foster and adoptive families will decrease.
[The revised procedures will have] a chilling effect on DCFS staff, volunteers, foster parents, and others whose 'speech and behavior' will be monitored and evaluated according to ideological criteria by the state of Illinois.
Forget the democratic process. Forget free speech, freedom of religion, and the conscience rights of American citizens. Forget the welfare of vulnerable children. The state of Illinois heels to the commands of LGBTQ activists; it has embraced a new creed based on the LGBTQ vision of the human person. The only winners are progressive activists and lawyers eager to fill their litigation dockets. The losers? Illinois' most vulnerable children."
~Eowyn
Dr. Eowyn's post first appeared at Fellowship of the Minds
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Piles burn east of the junction of Highway 169 and Interstate 17, with 200 acres completed and another 100 started Thursday.
Originally Published: February 1, 2018 1:29 p.m.
Verde Ranger District fire managers are continuing fuels treatments east of the junction of Highway 169 and Interstate 17, with 200 acres completed and another 100 started Thursday.
The work, which is expected to go through Friday, Feb. 2, is conditional on weather conditions, according to a news release. Benefits from these treatments help to reduce hazardous fuels adjacent to the wildland urban interface and increase ecosystem and community resilience.
The work area, Cienega piles, is located along Forest Road 68D and Forest Road 732. Piles are a result of the Cienega fuel break and consist of cut and piled juniper along the roadway. Daily acreage totals are contingent weather conditions.
Smoke will be visible from Highway 169 and I-17 but impacts should be minimal. In the interest of safety, forest visitors are reminded to obey all traffic signs and use caution when traveling along FR 68D and FR 732. Burning of debris left over from thinning projects require moisture in the surrounding vegetation and typically produces much lighter smoke than broadcast burning.
All prescribed fire activity is dependent on the availability of personnel and equipment, weather, fuels and conditions that minimize smoke impacts as best as possible and approval from the Arizona Department of Environmental Quality (www.azdeq.gov).
For more information, visit http://www.fs.usda.gov/prescott/ or call 928-567-4121.


text:
New York's MTA Board Approves Agency's $17 Billion Budget for 2020
Some board members question authority's decision to hire 500 police officers
Members of the New York City Police Department patrol in a subway station in New York.
Photo: Stephanie Keith/Getty Images
Paul Berger
@pdberger
paul.berger@wsj.com
Dec. 18, 2019 5:51 pm ET
New York's Metropolitan Transportation Authority board approved a $17 billion budget for 2020 over the objections of some of its members who questioned the authority's recent decision to hire 500 police officers.
The budget approval comes at the end of a tumultuous year for the state-controlled agency, which runs New York City's subway and bus systems, as well as two commuter railroads.
Earlier this year, the authority revealed cost-cutting plans to overhaul its 74,000-strong workforce by consolidating and streamlining agency functions. The changes include trimming up to 2,700 mainly nonunion jobs in 2020.
The MTA also recently clinched a contract deal with its largest union, Transport Workers Union Local 100, following months of public acrimony between union and MTA officials. That deal, which included average annual pay increases of a little over 2% over the next four years, is expected to be approved by a vote of union members in the coming weeks.
But it was the MTA's decision in September to hire 500 police officers that proved the most controversial move among board members who had to approve the spending Wednesday.


After these things Jesus went over the sea of Galilee, which is the sea of Tiberias. And a great multitude followed him, because they saw his miracles which he did on them that were diseased. And Jesus went up into a mountain, and there he sat with his disciples. And the passover, a feast of the Jews, was nigh. When Jesus then lifted up his eyes, and saw a great company come unto him, he saith unto Philip, Whence shall we buy bread, that these may eat? And this he said to prove him: for he himself knew what he would do. Philip answered him, Two hundred pennyworth of bread is not sufficient for them, that every one of them may take a little. One of his disciples, Andrew, Simon Peter's brother, saith unto him, There is a lad here, which hath five barley loaves, and two small fishes: but what are they among so many? And Jesus said, Make the men sit down. Now there was much grass in the place. So the men sat down, in number about five thousand. And Jesus took the loaves; and when he had given thanks, he distributed to the disciples, and the disciples to them that were set down; and likewise of the fishes as much as they would. When they were filled, he said unto his disciples, Gather up the fragments that remain, that nothing be lost. Therefore they gathered them together, and filled twelve baskets with the fragments of the five barley loaves, which remained over and above unto them that had eaten. Then those men, when they had seen the miracle that Jesus did, said, This is of a truth that prophet that should come into the world. When Jesus therefore perceived that they would come and take him by force, to make him a king, he departed again into a mountain himself alone.
The customs of Jesus' day were such that the size of a large gathering was determined by counting the number of adult men. a. From the related Scriptures, who was present besides the 5,000 men? b. Does their presence suggest a bigger miracle than if only five thousand men had eaten?
Why did Jesus ask Philip how they were going to get enough food?
Who told Jesus about the five loaves and two fish?
Who had brought this food along?
How much was left over?
What was the response of the crowd?
Did Jesus go along with their desire to make Him a king?


text:
By Jere Vanhala
In Apex Legends
Conquer Gaming finishes first in the Apex Suomiliiga2019-06-012019-06-01https://conquergaming.org/wp-content/uploads/2019/03/600px-conquer_gaming.pngConquer Gaminghttps://conquergaming.org/wp-content/uploads/2019/06/apex.png200px200px
Apex Suomiliiga's (ASL) season 1 has finished. The league ran for four consecutive weeks with the games being played on every Friday night. The first week of ASL was played on the 10th of May and the last on the 31st of May. The league was organized by Apex Finland and sponsored by Elisa Viihde.
The 12 qualified teams for the league were divided into Alpha and Bravo divisions. After each single week of play, the three best teams in the Bravo division went up to the Alpha division, and respectively Alpha's three worst teams dropped in to the Bravo division.
The leagues point system was simple. In the Alpha division winning a match gave you six points and a kill one point. In Bravo, winning a match gave you only three points and a kill only 0,5 points. This meant that to stay in the Alpha division and to be able to win whole league, teams had to play every week and every single game well. There was no room for mistakes.
Conquer Gamings play was very smooth and the team managed to stay in the Alpha division every single week. After two weeks of play it was obvious that Conquer Gaming and YMCA eSports Blue were the two teams fighting for the title.
Before the last week of play, YMCA eSports Blue was six points ahead Conquer. Still, our boys Mimu, Rette and ZeroNothing handled the pressure well and did an amazing job, smashing enemies and collecting 128 points from the final week. This absolutely amazing performance secured the first place and 750€ paycheck for Conquer Gaming.
How it feels like to be a champion?
After the last games, it was time to interview our Apex Team's Captain Sebastian "Mimu" Vesala, who commented on their league performance and future plans briefly:
"We came into the final day of the league with full intentions of winning it but I don't think anyone of us was expecting us to get such dominating games to pull off the win. Just the other day we won another league (Apex.Pro League) that also lasted 4 weeks. Getting back to back wins on such a short notice feels really good. I'm really proud of what we've built up with the team and we are looking forward to the future of the game.
Our future plans still remain the same. To get to the top of the EU scene and to be a top tier team within the scene. That means practicing via Apex.Pro League for future customs and taking part on other tournaments/leagues. There is no stopping this train."
More information about the league can be found here (FIN) and here (ENG).
apex, legends


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Referenced by SolidModel::computeConstitutiveModelStress(), PLC_LSH::computeCreep(), PLC_LSH::computeLSH(), PLC_LSH::computeStress(), createElasticityTensor(), and SolidModel::createElasticityTensor().
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Loved the Peter Rabbit movie. It was beautiful animation and cleverly done connecting the real with the animation. Took two friends who needed a emotional lift and they loved it, too.
Call Me by Your Name is an Oscar contender. I loved it, it is beautiful ! Beautiful setting ( villa in Northern Italy in 1983) beautifully shot, beautiful people. They dont come more preppy picture perfect than Arnie Hammer.
It is about a 17 year old boy's relationship with his father's research assistant one summer. The screenplay is by James IVory of Merchant/Ivory films, you know, all of those British costume dramas.
hammond character. The last scene, as the credits roll, the boy stares off center of camera and we see his face as he remembers past events and thinks about the future. This scene earned his OscR nomination I am sure.
I hate it that any more, what seems like 85% of the good films come out within a six week period, mid November to January. I have seen 7 of the 9 Oscar nominated films, and a few others with nominated performances. I have pretty much seen every5ing I want to see although am onnthe fence about The Post.
Unrest, by Jennifer Brea--a PBS documentary about living with ME/CFS, often written off by the medical community as an all in your head woman's disease, even though studies show an immunological origin with mitochondrial involvement. Denmark doesn't come off well in this film, nor does the state of research in this country.
Went to the movies and saw Wonder with Julia Roberts. Really enjoyed it!
Saw Game Night over the weekend. It was soda-out-my-nose funny.
Spring, Summer, Fall, Winter and Spring again is a movie that I've seen a few times and every time I see something different.
Just watched All Of The Queen's Horses last night . It's about Rita Crundwell and how she stole 52+ millions dollars over the course of 20 years from the city of Dixon Illinois ( pop 17K) . She used that money to fund a lifestyle that did not match her 80K a year job as a comptroller for the city of Dixon. The people of her town assumed that she made her money selling and breeding high end horses. Horse people know that there is not that kind of money in horses. It was assumed and hinted at that she had family money that was from investing in cell towers . She had both sides fooled.
I did not know her personally, however being in the horse show world myself, I would see her ads in the Quarter Horse Journal and the results of all the major shows.
I didnt know there was a documentary about her, will look for it.
I watched it off iTunes.
I discovered some Robert Altman movies, like 3 Women, Nashville, Vincent and Theo (Vincent Van Gogh), and Engmar Bergman, the Swedish director: The Magician, Wild Strawberries, Autumn Sonata.


text:
When it comes to your brand's identity, don't predict – prepare.
Covid-19, Strategy
By Brett Zucker, CMO of Monotype
Remember back when 'The Future' was a comfortable place that belonged to dense analyst reports, dramatically-lit conference stages, and glossy strategy decks? That future is, suddenly – and across pretty much every market vertical -happening right here, right now.
As COVID-19 swept the globe, trends that had been brewing for decades were accelerated like never before. Many businesses have had to adapt to not just digital-first but digital-only. In a matter of weeks, entire workforces went remote, while at the same time fielding an avalanche of customer enquiries and launching new products and services to help meet an entirely new set of customer needs.
I've always believed that predictions by futurists and analysts only get you so far. The last six months have proven that to thrive; brands need to be prepared… and prepared for anything. Every company board has digital transformation where it belongs at the top of the agenda – but to be ready for any eventuality, that transformation needs to be framed as a continual process, a constant evolution – not as it so often is, a final destination.
Interestingly, while many business leaders I speak to are focused on achieving digital transformation within their business, few thought before the pandemic to include their brand identity (and the creative team who manage it) in that process – despite the fact that brand identity is their single biggest consumer touchpoint. So when it comes to brand identity, what does digital transformation look like, and what does being prepared actually mean in practice?
Being prepared means being ready as a brand to adapt to ever-changing circumstances – whatever those circumstances happen to be. Right now, we're dealing with a pandemic, but a well-prepared brand should, in theory, be ready to respond not just to force majeures and global crisis, but micro-trends, consumer shifts, new technologies… in fact, new anything.
A brand identity is not, of course, just a question of logo and colours. At its most effective, brand identity is a unique, consistent customer experience of company voice, visual style, and vision. Consistency in brand identity matters even more in times of change – because only with consistency can a business win and maintain their customers' trust. But how to be consistent while at the same time being prepared for anything?
Let's look at the last six months as a case in point. Customer behaviour has changed faster than ever before, and with it, the demands and expectations of customers. Those businesses with digital transformation in place have rapidly launched new apps, services, and products. But core to the successful adoption of these new offerings is the brand's identity and its ability to flex around new offers while remaining consistent.
Consistency of identity signals to customers that you've put thought and care into the offer. It reassures them they'll receive the same level of quality and service they expect from the experience they knew before. And it helps show at first glance that it's really you and not a scam. Pandemic-related scamming is up 400%, so anything that allows secure brand trust is at an all-time premium. Brands that have invested in developing their proprietary font are in a great position here, but every brand now needs to specifically assess how they are maintaining brand consistency – and how successfully they are conveying trust.
And brand consistency is where many businesses have fallen. A consistent but agile brand identity simply isn't possible without a unified creative team, empowered with the right tools, platforms, and software. That's why, for many organisations, the sudden shift to remote has been especially challenging for their creative team, disrupting the creative process itself. For example, designers need to be in constant sync – sharing ideas, drafts, feedback, and of course, brand assets. Companies are learning that collaboration tools aren't 'nice to have' extras – they are an essential part of being prepared. Without them, the creative process itself is at risk, and with it, the brand's consistency and innovative capacity.
The interpersonal aspects of collaboration are easier to solve with video conferencing, Slack, email, and old-fashioned phone calls, but sharing assets and files is a different story. Many brands still store assets like fonts on local servers or even individual team members' computers, which creates a significant challenge when teams can't access them. Cloud-based asset management provides a central management system teams can access from anywhere, anytime. Coupled with cloud-based design programs, this allows your creative teams to work unimpeded come what may.
None of us – not even the most highly-paid futurist on the conference circuit – could have predicted COVID-19 and the impact a near-global lockdown would have on the way we live and work. It's been heartening to see that the investment many businesses made in digital transformation have enabled them to rise and meet the challenge for their customers with new products and services. However, the pandemic has also shown that creative teams have all too often been left out of digital transformation projects, even though they are among the most impacted by changes such as remote working and the need to deliver consistent brand identity across rapidly-changing products and services.
While we can't always predict what will happen, we can ensure our brands are prepared to meet whatever challenges arise, and in times like these of uncertainty and change, I predict that's something consumers will increasingly value.
More posts from Opinion ->
The metaverse – is it the real deal?
once a distant, futuristic idea, the concept of an immersive, virtual shared space is coming – and it has the capacity to change everything, writes Chris Pottrell of Nebula…
NDA Contributor 26 January 2023
Making the technical side of digital less intimidating to women
This series aims to myth-bust misconceptions about the digital industry by showcasing the journey and talent of some of our fantastic women in digital.
Three capabilities your data clean room should provide
James Prudhomme, CRO at Optable believes that the emergence of data clean rooms and data collaboration platforms is bringing another layer of data quality and reliability to the table….
Gen Z and Millenials turned off by 'questionable' content
We know that misaligned content erodes the impact of ads, leading to decreased impact on metrics like purchase intent, for example. But, what about the content in the grey area? MAGNA and Channel Factory have researched the issue…
NDA Staff 24 January 2023
Attention is more than a metric for advertisers – it's a driver of outcomes
half of UK consumers are spending more time consuming content than they did pre-pandemic, according to DoubleVerify…
Most business leaders feel B2B marketing is boring
82% of marketing leaders find B2B marketing boring and repetitive, according to research from Raconteur's B2B marketing agency alan.
Tyrone Stewart 17 January 2023


So you've written your blog post and that's it, right? If only. In an ever increasingly crowded community, you need to be getting your site seen by the right people.
Well, of course you are – but what we mean by this heading is that to attract readers, old and new, your posts need to be interesting enough to share, and with a catchy headline/title to pull people in. Why should people share your links? What's more likely to get shared – a post that's helpful and interesting or one that feels like an obligation for product that was sent to review?
Linking to other blogs is good – not just because it's helping other bloggers out (yay!), but because it's getting your site seen and potentially shared. In WordPress, at least, if someone shares a link in their blog post to a blog post on a WP site, then the owner receives a pingback – that's always nice to see as a blogger, and it sometimes brings new blogs to your attention!
This week, we'll be sharing how we keep @bonjourblogger tweeting all day – this will be useful for those of you with small businesses especially!
This is something we should really do better ourselves but depending on your content, newsletters can be really helpful to drive traffic to your site. You could send out exclusive content to your newsletter, a digest of recent posts, or maybe even some of your favourite links from the week.
What drives the most traffic to your blog?


text:
Selena Gomez Stars In Coach Spring 2018 Campaign
Today, Coach announces the launch of Selena Gomez's second campaign as the face of Coach for the Spring 2018 collection. The singer, actress, producer and philanthropist embodies the optimism of the original American house of leather in a series of images set in New York City that spotlight the new bags.
The campaign pictures Gomez resting on a window ledge in a loft with a quintessential prewar fire escape and the iconic Empire State Building in the background. It's magic hour and the images capture the endless possibility of the night ahead in the city that never sleeps. "Creative Director Stuart Vevers makes New York feel like a town, a real community," says Gomez. "It just feels like this is where the brand really lives."
Gomez carries key bags from the Spring 2018 collection, including the Parker, an all-new silhouette with handles that convert to a shoulder strap. The lightweight style is crafted in quilted nappa leather with bold colorblocking and rivets for a graphic touch. The Parker bag launches in February. A version in Coach's Signature Canvas and smooth leather with a Tea Rose turnlock closure will launch later in the season.
"The Coach girl is real—she's riding the subway or, this season, hanging out in her cool NYC apartment," said Vevers. "Steven Meisel's photography brings a layer of magic to those seemingly everyday situations. Whilst Selena has a warmth that's special—there is also an authenticity and realness to her that brings the campaign to life."
To achieve this vision of the campaign, Coach brought together its long-time team of collaborators: photographer Steven Meisel, stylist Karl Templer, creative director Fabien Baron, makeup artist Pat McGrath and hair stylist Guido Palau.
The campaign consists of five images, with the first launching in stores in January. A short film featuring outtakes from the shoot, and set to the tune of Gomez's latest hit, "Wolves," along with five 15-second videos spotlighting the keys bags of the season will run on digital channels.
#CoachxSelena


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Graffiti in New York City plays the part in a well defined administrative feedback loop. After the street art is illegally applied to an urban surface, city administrators begin the process of recording, tracking, and removing it. A process that supports efficient administration and maintains record of measurable results, all in the fashion of today's Smart City. Graffiti is identified and reported by the public through the city's 311 service and by the city's Street Conditions Observation Unit through regular patrol of the streets. As the publicly available data set on graffiti shows, each report of graffiti is given a geographic coordinate to help cleanup crews locate and remove the marking. However, this coordinate gives the graffiti a virtual presence that can be mapped and projected back on to the physical space – a transfer from one screen to another.
While this information system is efficient, it does not effectively reverse graffiti or keep urban spaces graffiti free. Instead, the city's process retraces an abstraction of each particular graffiti unit on a variety of surfaces. It leaves a trace on the street: as paint over a wall that does not necessarily match the original color. And it leaves a trace on hard drives: a record of the graffiti in the form of meta data detailing coordinates, street name and number, governing police precinct, and the length of time the tag endured from identification to subsequent removal.
I propose in this project to follow New York City's data set on graffiti as a guide to the city – a spontaneous, self generating map where every newly registered tag becomes a destination. I will use it to visit both sites where graffiti was recently reported, but also recently removed. The idea would be to collect photos of the graffiti and notes on its context in order to add dimension to the electronic trace produced by the city process of graffiti removal. With photos and details of the tags we can look for patterns in these temporal layers mapped on the city. Are some tags removed faster than others? Is there a discernible motion to the removal process as the cleaning trucks move across the city map? Where are the frictions and tensions – where does the city resist erasures and what affect does it have on the mechanism employed to perform it? What surfaces are the tags on and in what condition are those surfaces? What kind of domains or territories are defined by the identification and removal process? By analyzing images through image analysis tools, might we find spatial patterns in the present data set?
I aim to consider this process through the lens of Friedrich Kittler's computer metaphor for the city. Graffiti and its removal is a write-rewrite process with a textually beyond the urban surface. My intention is not to focus on the cultural history of graffiti – its practitioners and their methods – but rather to foreground this write-rewrite information system. A system that operates on a unit of cultural expression that is site specific in a physical location, yet also extended into a mappable virtual sense. The unique opportunity here is to evaluate this system with current data on graffiti. An opportunity to do a kind of digital video recorder like capture of the city in process: to record, rewind, and replay a write-rewrite drama between the city and its people.


These error messages may occur in two formats available with FLEXlm or may appear in a format customized by the application. The full path for the rational executable can be omitted if both the lmgrd.exe and the rational.exe are placed in the same directory. Other supporting information (optional) Error messages were improved in v6. To display this online manual in Acrobat Reader, choose Help > SystemVision Online Manuals > Getting Started from the main menu.
All rights reserved United States English English IBM® Site map IBM IBM Support Check here to start a new keyword search. The server must be restarted for options file changes to take effect. -102 A FLEXid borrow error occurred. -103 Terminal Server remote client not allowed. -104 Cannot borrow that long. -106 It could also be an IPv6 issues besides just the firewall. The system returned: (22) Invalid argument The remote host or network may be down.
The vendor must have enabled support for this feature in the vendor daemon. Cause When you get a license file for floating licenses from the License Key Center it contains VENDOR/DAEMON lines for both the "rational" and the "ibmratl" vendor license daemons even if The server has pooled one or more INCREMENT lines into a single pool, and the request was made on an INCREMENT line that has been pooled. -94 Attempt to generate license To display this reference guide in Acrobat Reader, choose Help > SystemVision Online Manuals > User's Manual from the main menu.
Post 11 of 17 Share Report Re: FlexLM Error: (lmgrd) adskflex exited with status 4 signal = 444 Options System Error: 10049 "WinSock: Invalid address"For further information, refer to the FLEXnet Licensing documentation,available at "www.flexerasoftware.com".Status--------Flexible License Manager status on Wed 5/22/2013 08:06[Detecting lmgrd processes...]License server status: [email protected] License file(s) on System Error Number (optional)--a UNIX or Windows OS error code last set by the operating system. The "How do I…" section provides quick instructions on some common tasks.
Help Topics Help Topics provide information on basic product usage. These numbers are unique error identifiers and are used by FLEXlm vendors for more advanced support assistance. These drivers are available at www.macrovision.com or from your software vendor. -113 Two FLEXlock checkouts attempted. Reservations are made in the options file.
Your cache administrator is webmaster. Watson Product Search Search None of the above, continue with my search Starting License Server fails with message 'No features to serve' License Server; No features to serve Technote (troubleshooting) Problem(Abstract) How do I contact the SystemVision team if I have additional questions? Please try the request again.
Mention me with @TravisNave HOT: Download Aborted | Invalid Serial Number | Windows 10 Support | LiteHTML.DLL error | Error 8 or 9 during installMy Expert Contributions to the Discussion Groups: Also, what do you get when your PING your servername from the server itself? How do I contact the SystemVision team? The default port numbers for the cameo vendor daemon is 1101.
This manual does not cover installation or licensing for SystemVision. Either one or two of the above daemons has been specified in the VENDOR lines in the license file, but do not have corresponding license in the license.dat (or rational_server_perm.dat) file. Stop the license server Make sure all daemons are stopped Use the task manager to make sure that there are no running processes named lmgrd.exe/rational.exe/ibmratl.exe. What resources are available for learning how to use SystemVision?
When we try to start the vendor daemon, we get the error: (cameo) tcp_s is bad!!! The system returned: (22) Invalid argument The remote host or network may be down. The vendor daemon can't handle any more users. VHDL-AMS Quick Reference: IEEE VHDL-AMS 1076.1 is the industry standard mixed-signal high-level description language for electronic and multi-domain systems.


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George Charles Bingham, 8. Earl of Lucan (* 21. September 1967, London, England) ist ein britischer Peer. Bis zum 3. Februar 2016 führte er den Höflichkeitstitel Lord Bingham.

Er ist der einzige Sohn von Richard John Bingham, 7. Earl of Lucan und seiner Frau Veronica Mary Duncan. Er hat zwei Schwestern Lady Frances Bingham (1964) und Lady Camilla Bloch QC (1970). Sie sind Nachkommen von George Bingham, 3. Earl of Lucan, der für seine Teilnahme am Krimkrieg bekannt ist.

Leben
Bingham besuchte das Eton College und studierte am Trinity Hall College an der Universität Cambridge. Er war im Merchant Banking tätig und arbeitete bis 1999 bei Dresdner Kleinwort Benson. Anschließend war er für Bailey Coates Asset Management eine Aktienfondgesellschaft tätig, die 2 Milliarden US-Dollar erwirtschaftete. Er verließ die Gesellschaft 2004. Seitdem arbeitet er als Freier Mitarbeiter für verschiedene Finanzgesellschaften im Mittleren Osten und Nordafrika.

Binghams Vater Richard Bingham, 7. Earl of Lucan, verschwand im November 1974 nach dem Mord an Sandra Rivett, dem Kindermädchen der Familie. Fast 20 Jahre nach dem Verschwinden erlaubte der High Court of Justice eine Todeserklärung, um den Nachlass regeln zu können. 1998 beantragte Bingham mit eidesstattlichen Erklärungen der gesamten Familie (mit Ausnahme seiner Mutter) und der Metropolitan Police, seinen Vater für das House of Lords für tot erklären zu lassen. Der Lord Chancellor, Lord Irvine of Lairg, sah sich jedoch nicht in der Lage, Bingham offiziell zuzulassen, ohne dass eine Sterbeurkunde vorläge. Im Oktober 2015 beantragte Bingham auf der Grundlage des Presumption of Death Act 2013 eine Sterbeurkunde für seinen Vater.

Bingham glaubt nicht, dass sein Vater für den Tod von Sandra Rivett verantwortlich ist.

Am 3. Februar 2016 erlaubte eine Richterin des High Court die Ausstellung einer Sterbeurkunde und ermöglichte Bingham damit, den Titel Earl of Lucan zu erben.

Bingham heiratete am 18. Januar 2016 Anne-Sofie Foghsgaard, die Tochter des dänischen Unternehmers Lars Foghsgaard. Das Ehepaar hat eine Tochter und einen Sohn.

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Earl of Lucan
George, 08 Earl Of Lucan
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Geboren 1967
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redpajama_set_name: RedPajamaWikipedia


Penrhyn (also called Tongareva, Mangarongaro, Hararanga, and Te Pitaka) is the most remote and largest atoll of the 15 Cook Islands in the south Pacific Ocean..Located at 1,365 km (848 mi) north-north-east of Rarotonga, 9 degrees south of the equator.. It sits atop the highest submarine volcano in the Cooks, 4876 m (15,917 ft) above the ocean floor.. It is composed of a ring of coral 77 km (48 mi) around. The lagoon covers 233 square kilometres (90 mile²) of which 62 square kilometres (24 mile²) is covered with pearlshell...Land area is 9.84 square kilometres (2,432 acres).. Maximum elevation less than 5 m.. Population according to the 2001 census was 351 with a decrease by 2011 to only 213 inhabitants..The religion of the inhabitants of the island is divided, 75% of the population belong to the Cook Islands Christian Church while the remaining 25% belong to the Roman Catholic Church..
Captain Otto von Kotzebue meets the inhabitants of Penrhyn Atoll, 30 April 1816..
Last edited by lightgiver; 03-02-2015 at 09:38 PM.


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Home Hoboken Brownstone Company
Hoboken Brownstone Company
New Renderings of Three-Building, 1,181-Unit Mixed-Use Project Approved at 305 Coles Street, Jersey City
New renderings have been revealed of the three-building, 1,181-unit mixed-use project at 305 Coles Street, in downtown Jersey City's emerging SoHo West neighborhood, located just south of Hoboken. The project, approved by the city's Planning Board in May, will encompass roughly 1.2 million square feet. Its tallest tower will rise 23 stories, while the others will stand between 14 and 16 stories. There will be 89,000 square feet of retail space, in addition to a 681-car parking garage, Jersey Digs reported. All of the apartments would be rentals, ranging from studios to three-bedrooms.
Four-Story, 155-Unit Residential Building Proposed at 39 New York Avenue, Jersey City
3:30 pm on August 16, 2016 By Reid Wilson
The Hoboken Brownstone Company is proposing to build a four-story, 155-unit residential building at 39 New York Avenue, in the Jersey City area known as The Heights. A rendering of the project — being designed by Matawan, N.J.-based Chester, Ploussas, Lisowsky Partnership — has been revealed by Jersey Digs. The residential units will be rental apartments and a parking garage will be located in the cellar. Plans for the building are expected to go before the Jersey City Planning Board in the fall, although community meetings are already ongoing. No variances are required at this time, but an environmental remediation is currently underway at the site and is expected to wrap up in early 2017. The developer and government officials have also discussed plans to turn the adjacent county-owned property along New York Avenue into a public park. The 2nd Street stop on the Hudson-Bergen Light Rail is located three blocks away.


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Home Uncategorized Matt Goss Net Worth
Matt Goss Net Worth
Matt Goss is an English musician, singer and songwriter. He is best known as the lead singer of 1980s pop group "Bros". Matt Goss net worth as reported by Celebrity Net Worth is estimated to be $4 million.
Matt was born on September 29, 1968 in London, England. He started his musical career as the lead singer of band "Bros". The band features his twin brother Luke Goss as a drum player and Craig Logan as the bass player.
The band was huge success in late 1980's. Their debut album which was released in 1988 went 4x platinum in UK British Phonographic Industry, 5x platinum in Ireland and reached number 4 in Australia. Some of the popular singles from the album were I Owe You Nothing, I Quit, Drop the Boy and When Will I Be Famous?.
In 1989, the Goss brothers released their second album "The Time". It was also a hit and reached No. 4 in the UK Albums chart. Their third and final album "Changing Faces" was released in 1991 after two brothers parted ways to go solo.
In 1995, Matt went solo and released single "The Key". Till now, he has sold over 5 million records worldwide and has been performing all around the world. In 2010, he signed a three year contract with Caesars Palace and won several awards from the show. He has also appeared in a Yorkshire Tea television advertisement campaign.
Matt then signed a record deal with Decca Records for the album "Life You Imagine". The album was eventually released in 2013 and gave a hit single "When Will I Be Famous".
Matt has also written two books. His first one titled "More Than You Know: The Autobiography" published in 2005 reached No. 1 on the Best Sellers list. His second one titled "Bear Crimbo" is a children's story book which was published in 2010.
Matt Goss Net Worth: $4 million
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BY Michael Gelfand
Learn more about Michael
A Guide to Bass Bridges
The importance of the humble bridge.
Every component on or in your bass is there for a reason, but some have bigger and more important jobs to do than others. There are those parts with an obvious purpose, and others that are more mysterious. Tuners, nuts, pickups, pots, knobs, switches and straphangers all have clear functions to perform … though they also may be imbued with style points as a side benefit. But when you get down to it, whether you're talking function or form, there's no part of your bass with a more important role to play than the bridge.
Don't be deceived by its dense but shiny good looks: The bridge is deceptively complicated.
This was something I didn't know when I first started playing bass. (That's because, as every parent has discovered, teenagers know everything.) My attitude when it came to learning anything about my instrument was, just stop talking and hand me the screwdriver. So, armed with youthful ignorance and ham-handed luthery, I attacked my first bass' bridge and turned what was an already finicky instrument into an unplayable, jangling nightmare.
These days I know that the bridge should not be disrespected, because it is actually the fulcrum for everything your bass does. For starters, it's the platform that enables the strings to pass over the pickup(s), and it also serves as the high-mass contact point for strings to connect with the bass' body. In large part, that's where vibrations — and therefore, the sound of the instrument pre-amplification — live and die. And yet we're still only scratching the surface of what the bridge does and how it works.
The bridge, which is sometimes referred to as a tailpiece, doesn't just attach the strings to the body. Each string passes over an individually adjustable saddle designed to be moved slightly forward and backward (affecting intonation), as well as up or down (affecting the all-important playability factor of string height, or "action"). These small tweaks enable the proper set-up for your bass. Without that ability … well, think about having a car where you never rotated the tires, and where the chassis sat on a suspension made from mattress springs and barbed wire. You can drive it, but is it comfortable and efficient? How does it feel when cornering at high speed?
Adjustable screws on the saddles enable them to be moved slightly forward or backward, up or down.
A correctly intonated bass responds with perfect pitch whether you're playing an open string or anywhere up and down the neck. String height — the desired amount of space between the bottom of the strings and the crown of the frets — is a subjective preference. The two things are co-dependent in that every slight adjustment made to a saddle's height will affect the intonation for that string, and every millimeter adjustment of the saddle forward or backward to intonate the bass will impact the action. (There are other factors that come into play here — particularly the tension of the truss rod underneath the fretboard — but that's a story for another day.)
Top-Loading vs. String-Through-Body
Top-loading bridges have a slot (or a drilled hole) through which each string must be threaded, gripping the ball-end of the string so that the adjustable tuner at the top of the neck can be used to create the appropriate tension required for the string to vibrate. The pickup then captures those vibrations and converts them into a signal that can be amplified. You'll find top-loading bridges in Yamaha RBX and TRBX basses.
A top-loading bridge.
String-through-body bridges are slightly different in that the string runs into holes located on the underside or bottom of the bass before it passes through the body and over the saddles. The "break angle" at which the strings pass over the saddle (which creates the right amount of downward pressure to maximize string performance) is steeper than it is with a top-loading bridge, and although it's a nuanced thing, some players say that string-through-body bridges deliver more resonance and sustain. Yamaha BB Series basses incorporate diagonal body-through stringing, whereby the strings are angled at the saddle and pass through the instrument to the bridge at a 45º angle, as opposed to the traditional vertical stringing method, which places more stress on the strings.
A string-through-body bridge.
A great way to find out which type is better for you is to get your hands on a Yamaha bass (such as a BB Pro Series, BB 700 Series, BB 400 Series or BBPH Peter Hook Signature BB bass) that comes equipped with a Vintage Plus or Vintage Plus Light bridge. These "convertible" bridges offer both top-loading and diagonal body-through stringing (which can be set to either of two different angles for extra tonal shaping ability — the rounder side of the saddle giving a slightly duller sound, and the more angled area of the saddle producing a slightly tighter one), which gives you the flexibility to choose the approach you prefer.
Yamaha Vintage Plus convertible bridge.
And then there's the unique bridge design of the Yamaha BBNE2 Nathan East Signature Bass. It features individual saddles attached to the body of the bass for each string. This serves to reduce interference from other string vibrations for minimal cross-talk between the strings, thus prolonging sustain while adding extra punch and note definition. The end result is a strong low end with excellent note separation and clarity.
Yamaha BBNE2 bridge.
Two more things to consider when it comes to bass bridges are mass and material. It's logical to think that the heftier the bridge, is the more likely it is to improve tone and enhance sustain, though in my experience, I find this to be quite nuanced. I have some basses fitted with high-mass bridges, and other ones with rickety bridges that look like they were fabricated in a hardware store basement, yet in a blind listening test most people probably wouldn't hear much of a difference between them.
I do think, however, that the bridge material matters. The sonic characteristics and advantages of steel, zinc, brass and other metals can be argued by metallurgists (which I am definitely not), but in general, more expensive basses tend to come with heavier bridges made of more expensive metals. For example, entry-level Yamaha RBX and TRBX basses have bridges made of zinc or steel, while higher-end BB Series instruments (including the aforementioned BBNE2) have brass saddles for a slightly deeper low end, paired with steel bridge plates that deliver a brighter tone, making for more of a "hi-fi" sound. Most Yamaha signature basses (including the Billy Sheehan Attitude 30th Anniversary, Billy Sheehan Attitude Limited 3 and John Patitucci TRBJP2 models) have solid brass bridges.
Personally, I'm comfortable with function over form any day of the week. And here's what I do know: Well-made basses typically come with well-made bridges. As long as what you've got in your hands (or what you're shopping for) is a bass that boasts a bridge that is stable, doesn't have sharp edges, and most importantly, allows for precise adjustments, it'll probably do the job just fine.
Check out Michael's other blog posts.
Click here for more information about Yamaha basses.
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