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Q: Unity RPG status sheet fixes Currently to find my rank you have to go through this huge line of if statements, I was wondering if there a solution that could shrink this down in to just one pass, so instead of str, end, dex, ect.. being passed through in a bunch of if's, instead the a list called rank with a all the attributes going through and displaying the rank.
    [Range (0, 999)]
    public int strength;
    [Range (0, 999)]
    public int endurance;
    [Range (0, 999)]
    public int dexterity;
    [Range (0, 999)]
    public int agility;
    public int strengthRank;
    public int enduranceRank;
    public int dexterityRank;
    public int agilityRank;

    void Update () {
        Rank ();
    }

    void Rank () {
        strengthRank = (strength >= 0 && strength <= 99) ? 0 :
            (strength >= 100 && strength <= 199) ? 1 :
            (strength >= 200 && strength <= 299) ? 2 :
            (strength >= 300 && strength <= 399) ? 3 :
            (strength >= 400 && strength <= 499) ? 4 :
            (strength >= 500 && strength <= 599) ? 5 :
            (strength >= 600 && strength <= 699) ? 6 :
            (strength >= 700 && strength <= 799) ? 7 :
            (strength >= 800 && strength <= 899) ? 8 :
            (strength >= 900 && strength <= 999) ? 9 : 0;
        enduranceRank = (endurance >= 0 && endurance <= 99) ? 0 :
            (endurance >= 100 && endurance <= 199) ? 1 :
            (endurance >= 200 && endurance <= 299) ? 2 :
            (endurance >= 300 && endurance <= 399) ? 3 :
            (endurance >= 400 && endurance <= 499) ? 4 :
            (endurance >= 500 && endurance <= 599) ? 5 :
            (endurance >= 600 && endurance <= 699) ? 6 :
            (endurance >= 700 && endurance <= 799) ? 7 :
            (endurance >= 800 && endurance <= 899) ? 8 :
            (endurance >= 900 && endurance <= 999) ? 9 : 0;
        dexterityRank = (dexterity >= 0 && dexterity <= 99) ? 0 :
            (dexterity >= 100 && dexterity <= 199) ? 1 :
            (dexterity >= 200 && dexterity <= 299) ? 2 :
            (dexterity >= 300 && dexterity <= 399) ? 3 :
            (dexterity >= 400 && dexterity <= 499) ? 4 :
            (dexterity >= 500 && dexterity <= 599) ? 5 :
            (dexterity >= 600 && dexterity <= 699) ? 6 :
            (dexterity >= 700 && dexterity <= 799) ? 7 :
            (dexterity >= 800 && dexterity <= 899) ? 8 :
            (dexterity >= 900 && dexterity <= 999) ? 9 : 0;
        agilityRank = (agility >= 0 && agility <= 99) ? 0 :
            (agility >= 100 && agility <= 199) ? 1 :
            (agility >= 200 && agility <= 299) ? 2 :
            (agility >= 300 && agility <= 399) ? 3 :
            (agility >= 400 && agility <= 499) ? 4 :
            (agility >= 500 && agility <= 599) ? 5 :
            (agility >= 600 && agility <= 699) ? 6 :
            (agility >= 700 && agility <= 799) ? 7 :
            (agility >= 800 && agility <= 899) ? 8 :
            (agility >= 900 && agility <= 999) ? 9 : 0;

I'm wondering if I could get it to something like this
    [Range (0, 999)]
    public int strength;
    [Range (0, 999)]
    public int endurance;
    [Range (0, 999)]
    public int dexterity;
    [Range (0, 999)]
    public int agility;
    public int rank;

    void Update () {
        Rank ();
    }

    void Rank () {
        rank = (x >= 0 && x <= 99) ? 0 :
            (x >= 100 && x <= 199) ? 1 :
            (x >= 200 && x <= 299) ? 2 :
            (x >= 300 && x <= 399) ? 3 :
            (x >= 400 && x <= 499) ? 4 :
            (x >= 500 && x <= 599) ? 5 :
            (x >= 600 && x <= 699) ? 6 :
            (x >= 700 && x <= 799) ? 7 :
            (x >= 800 && x <= 899) ? 8 :
            (x >= 900 && x <= 999) ? 9 : 0;

redpajama_set_name: RedPajamaStackExchange


Call of Duty 2 Big Red One is the the first console version of Call of Duty 2. It will be coming out for PS2 Xbox and GameCube and the release dat is scheduled to be fall 2005. The game is said to be in many ways like Finest Hour, the console version of Call of Duty, but it will have a few upgrades even though it will run on the same systems. Not much information has been released on it but we will make sure to let you know as soon as anything is released. Meanwhile, enjoy the media.
Get all of your Call of Duty files right here!
Titles rated T - Teen have content that may be suitable for persons ages 13 and older. May contain violent content, mild or strong language, and/or suggestive themes.
The unit or division that you're in is the 1st Infantry Division or the Big Red One. I give this game a 9.0 because I thought it had o.k. graphics and awesome gameplay. This game is good.
I'm in C/co 1-18Inf, 2BCT, 1I.D. out of Schweinfurt, Germany, so of course I had to buy this game when it first came out (I know this is a couple years old now, but I've been busy, to include Iraq).
I didn't mind it to much, I thought it was fun. I do wonder though, what unit you're in while playing it. I recall them mentioning the 26th Infantry, which is our sister regiment.
it SUCKED kinda though wansnt bad.
It wasnt bad. but like i sead it is the online play that was what rilly got me into the game otherwise i would not play it.


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Local commissioner says town of Sandwich violated open meeting laws
The Massachusetts municipality finds itself in a big pickle
Written by Jessie Gomez
The Board of Selectman in Sandwich, Massachusetts is under fire this month following an open meeting law complaint filed by Barnstable County Commissioner Ronald Beaty.
The complaint calls out the town's Board of Selectmen for mislabeling an executive session item on the Board's December 20th, 2018 meeting agenda. In his complaint, Beaty writes that the description of the executive session topic was "not sufficiently specific to properly inform the public of what would be discussed" during the session. It also cites the Board's failure to routinely release executive session minutes, which is a mandate under Massachusetts Open Meeting Law.
Legally, boards like the Selectman can hold these private, executive sessions because they enter into discussion of private items such as bargainings, lawsuits, or applicants for a public job. However, each board still has the responsibility to review and release those minutes to the public.
Executive session minutes must be approved in a timely manner, just like open session minutes. Executive session minutes may be withheld from disclosure "as long as publication may defeat the lawful purposes of the executive session, but no longer." G.L. c. 30A, § 22(f).
"Open, transparent and accountable local government is of paramount importance," wrote Beaty to MuckRock via email. "When a public body violates the Open Meeting Law as outlined and alleged within the content of the complaint against the Town of Sandwich Board of Selectmen, it is detrimental to the public interest as well as a breach of the public trust."
Currently, Sandwich publishes its regular agenda items, but fails to publicly release executive agenda items or post them on their website.
Beaty hopes the Board takes action to ensure similar issues with the release of executive minutes do not happen again. He calls the failure to do so a "violation" and requests that all members of the public body and its staff be mandated to undergo training on the Open Meeting Law within 60 days, according to the complaint. Nonetheless, Sandwich isn't the only town who's failed to keep up with Massachusetts records law.
In 2016, MuckRock sent over 100 requests to towns all over Massachusetts to gage their responsiveness to records requests and check to see which jurisdictions have been keeping up with reviewing and releasing executive session minutes. Through each request, MuckRock found that Massachusetts towns such as Mashpee, Townsend, and Westford provided the records in question free of charge. Other towns like Lincoln and Pepperell asked for over $200 to release those same minutes.
After contacting the Board of Selectmen in Sandwich, Assistant Town Manager Douglas Lapp said the Board is set to discuss the complaint at the Board's first meeting of the year on January 24. However, it's unclear if the Board will begin to release its executive session minutes or respond to Beaty's complaint. Despite the complaint, it's clear that Sandwich is in violation of the law and not providing full transparency to its residents.
Beaty's complaint is embedded below:
Sandwich Selectmen OML Complaint by Ron Beaty Redacted (PDF)
Sandwich Selectmen OML Complaint by Ron Beaty Redacted (Text)
Do you have a public records issue in Massachusetts? Let us know!
*Image by Kenneth C. Zirkel via Wikimedia Commons and is liscened under CC BY-SA 4.0
Sunshine Spotlight: Massachusetts
State of State Public Records Laws
puns in the subtitle
Executive Session Minutes (Barnstable County) (Sandwich Town Clerk)
Caitlin Russell sent this request to the Sandwich Town Clerk of Sandwich, MA
This week's FOIA Roundup: More watchdogs on face stealing and Ukraine, a showdown in Chicago and local updates
by Beryl Lipton
This week's FOIA roundup: Ukraine redactions and new officials, bills and squabbles in the states
In Texas, Attorney General judgements on exceptions are the rule
by Joseph Ratliff

redpajama_set_name: RedPajamaCommonCrawl


The Nanaimo Foundation has served the communities of Gabriola Island and Ladysmith for more than 30 years. We provided our first grant to Gabriola Island in 1985, and our first grant in Ladysmith in 1987.
The notion of both the Gabriola Island Community Fund and the Ladysmith Community Fund came from residents of these two communities. Understanding the important role community foundations play in supporting strong communities, Gerry Stefanson of Gabriola Island and Bruce Whittington of Ladysmith approached the Nanaimo Foundation and together we began exploring ways to increase support to these two communities with dedicated community funds.
The Gabriola Island Community Fund Steering Committee is a group of volunteer Gabriola Island residents who are working together to establish and direct the Gabriola Island Community Fund to make meaningful and lasting impacts on Gabriola Island both now and forever.
This dedicated team serves to enrich the quality of life of people living on Gabriola Island.
The Ladysmith Community Fund Advisory Committee is a group of volunteer Ladysmith residents serving to establish and direct a permanent endowment fund for the community.
This team of community leaders brings together community assets and engages citizens and organizations to address current and emerging community needs in Ladysmith.


Nobody has covered a song of The Imaginary Suitcase yet. Have you seen someone covering The Imaginary Suitcase? Add or edit the setlist and help improving our statistics!
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Nobody has seen The Imaginary Suitcase live yet!


2 distinct and somewhat opposite web design trends we'll be seeing more of in 2016 are the use of rich illustrations and animation.
In the past web site designers have relied heavily on stock photography and image libraries to provide the visual elements of their designs. Something that has become more prevalent in 2015 and that will carry on into 2016 and beyond is the use of original art work either created using traditional or computer based art tools.
With consumers becoming immune to the stock photography that is often overused and repeated across web sites hand-drawn imagery offers warmth, authenticity and originality.
Some brands will soon be associated not just with their logo and colours but also with the art style that they contain. The integration of handmade artwork in web design may well become something of a branding calling card.
The web went through a period of embracing animation with the use of Flash, however once this lost its appeal due to cross platform, seo and usability issues the web became increasingly static for a good few years. However we are now again embracing rich animations, the web has never been more dynamic with so much use of animated elements within design, and it's only going to get better.
Animation if used well can engage the user and enhance storytelling. It can make a website feel more interactive and engage the user with an experience that is more than a basic portal to source information on a business, product or service.
As with any design tool it's important not to go over the top Overuse will distract the user and become irritating rather than enhancing. Animations should be kept simple and thematically consistent. By "thematically consistent" I just mean that the animations are used in a similar way throughout the website revealing important details and guiding users through a path. Animations should be used selectively within the site to illustrate important points or to indicate a required action.


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Proteases and antiproteases new potential biomarkers/variables for polytrauma survival modeling? a pilot research
Oleg Arnaut, Ion Grabovschi, Ruslan Baltaga and Serghei Sandru
Background: Despite big progresses in early management of trauma patients, traumas still represent an actual subject at international scale being the main cause of death for persons younger than 44 years. Polytrauma is the most unexplored and unsearched category of traumas. There is no international consensus according the most efficient scale, many of them returning different results in estimating the patient's condition complications and patient's mortality risk in case of trauma. The described situation makes us to search some solutions inclusively new factors with a higher predictive power in estimating the polytrauma patient's outcomes. We supposed that such an instrument could be different protease/antiprotease system's components. Objectives: The aim of this research was to estimate the predictive potential of proteases and antiproteases by polytrauma population survival rate modeling. Methods: In a prospective pilot study, 65 polytrauma patients admitted in acute period of trauma were analyzed. Plasma samples were collected at 3, 6, 12 and 24 hours after traumatic impact. We measured the values of two antiproteases concentration and enzymatic activity of six proteases. In order to identify the potential biomarkers for survival rate, we have compared proteases/antiproteases system components between survived and non-survived patients. The evidenced potential biomarkers were used for regression analysis modeling, discrimination, determination and calibration characteristics being estimated. In addition, the resampling procedure for model's stability estimation was applied. Results: The comparative evaluation among evidenced molecular phenotypes in survived and non-survived patients allows to consider a seria of primary outcome potential biomarkers/predictors. The outcome modelling by regression analysis used these potential predictors. Finally, five parameters, especially α2M3, CDEA3, ARDS, α2M6, CHEA6, EEA3 and CGEA12, were the components (efficient variables) from models that predict the survival rate using their values at 3, 6 and 12 hours after the trauma, results being adjusted to age, gender and ARDS diagnosis. Conclusions: In our research, we estimated the predictive potential of different protease/antiprotease system's components for polytrauma population. Using this data, three predictive models were obtained. Without any doubts, they can be used in clinical practice after validation and improvement by including more variables in equation. The identified survival prediction biomarkers could be used as base stones of potential therapeutic strategies
DOI: https://doi.org/10.24941/ijcr.38685.08.2020


Jay Lopez, D.D.S. assures patients that the x-ray images in our office are safely and accurately made using the latest in digital x-ray technology. Patients are exposed to the smallest amount of radiation, and their digital images can be instantly viewed on a monitor and enlarged to help both us and you see them accurately.
"When a patient comes in for the first time, I review the patient's medical and dental history, and based on this history recommend whether the patient should have x-rays now or sometime in the future," says Dr. Lopez. "I explain why I am making my recommendation. I stay abreast of the latest scientific evidence and follow guidelines set by the American Dental Association and Food and Drug Administration for the safest frequency, type and number of x-rays, depending on the patient's age, oral health risk factors, medical history, and the time passed since last x-rays were taken.
Dental x-rays are used to help find cavities, periodontal disease, abscesses, and abnormal growths. They aid in diagnosing the condition of the jaw joints and are essential for determining the exact position of tooth roots in the bone tissue.
Why have dental practices embraced digital x-ray technology, and why has Dr. Lopez invested in the best?
Digital X-rays are computer-generated images. These images require up to 90% less radiation than with conventional film type X-rays. The computer allows enlargement, highlighting, magnifying, inverting, clear viewing, color-coding and contrasting of X-ray photos for educational purposes and to detect dental concerns earlier to avoid costly procedures. These larger-enhanced images let you see what Dr. Lopez sees, so it's easier for you to understand how he will treat your teeth.
We can store it on our computer files, saving paper. For insurance purposes, referrals or patient education, the image can be accurately reproduced any number of times. This new technology adds further benefits for our patients. We can detect cavities far better – sooner and smaller – than with the old system. This means that we can treat them sooner and the process will be easier for you, before the cavities seriously weaken the teeth. In summary, digital X-rays are faster and allow us to provide better quality care.
What are the different types of X-rays we can take in our own office?
There are multiple types listed below, and each serves a purpose. In addition to the following types of x-rays that are done in most dental offices, we also have 3D Cone Beam Computed Tomography (CBCT). Dental Cone Beam Computed Tomography is a special type of x-ray used in situations where regular dental or facial x-rays are not sufficient. The scanner used for this type of x-ray has special technology that generates three dimensional (3D) images of dental structures, soft tissues, nerve paths, and bone. Images obtained with CBCT allow more precise treatment planning. Dr. Lopez uses these routinely in the planning of dental implant treatment.
Bitewing: These show the crowns of several upper and lower teeth in one X-ray. This type of X-ray is especially useful for showing cavities between teeth and changes in bone caused by periodontal disease.
Periapical: This X-ray shows the entire tooth, including all the roots and surrounding tissues in one X-ray. These X-rays show many kinds of disorders, including impacted teeth, fractures, abscesses, cysts, and tumors.
Full-mouth series: This is a complete set of bitewing and periapical X-rays that show all the teeth, roots, and related areas of the jaws – 18 X-rays in total. This Full-mouth series is taken once every 3-5 years.
Panoramic: A panoramic view X-ray shows all the upper and lower teeth, large portions of the jaws and other structures in one large image. It does not generally show enough detail to be useful for detection of decay and bone loss from periodontal disease.
Cephlometric: An X-ray image of the profile or frontal view of the head is referred to as a "ceph" and is used to diagnose facial growth and to plan tooth movements prior to orthodontic treatment. This type of X-ray image is not normally available or utilized in most general dentistry offices. This type is especially helpful in planning and treating cases that are either more complex or in growing patients.


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DUBBELOP
Studio of Pauline Barendse and Jan Matthesius
VOORLIEFDE
Curriculum Vitea
MEMORY KEEPERS
BOCUSE D'OR NEDERLAND
CHP…? Jewelry
MAGISCHE EXPERIMENTEN
DIT IS MEESTERLIJK
for chp…? launched in paris
On January 20th 2016, Walter Van Beirendonck for chp…? was launched during Menswear Fashion Week in Paris. The Belgian fashion designer used an industrial squat in central Paris as the backdrop for 'WOEST' (Dutch for furious), his Fall 2016 menswear collection. As part of the collection, he designed ear plates and brass charms that have been developed and produced in cooperation with chp…? jewelry. The ear plates, inspired by traditional costumes from the Dutch region of Zeeland, are produced by Pauline Barendse of studio Dubbelop (Schoonhoven). The charms, that during the fashion show were draped around the models' heads with small jewelry chains, are 3D printed in polished brass. Some of the charms are also produced in an enlarged shape and can be worn as a pendant on a necklace.
Photos by Kim Weston Arnold / indigitalimages.com
Walter Van Beirendonck emerged in the international fashion scene in 1987 as part of 'The Antwerp Six' (with Dirk Van Saene, Dries Van Noten, Dirk Bikkembergs, Ann Demeulemeester and Marina Yee). He has produced collections under his label Walter Van Beirendonck since 1983 and is Head of the Fashion Department of the Royal Academy Antwerp.
See the full collection on VOGUE, an interview with Walter Van Beirendonck in Dazed Digital and backstage images via The Love Magazine


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Meet the Director: A Conversation with Randy Reyes
Rio Alberto February 24, 2022 Blog, Featured
Q: Tell us a little bit about yourself, and what you're doing here in Juneau.
A: Hello, my name is Randy Reyes. I am the director of The Brothers Paranormal and this is my first time in Alaska, from Minneapolis, MN!
Q: How did you first become involved with Perseverance Theatre?
A: Well, Leslie Ishii brought me to Perseverance Theatre. Leslie has been a colleague of mine for a long time. We started working together as part of the Consortium of Asian American Theaters & Artists. I was part of putting together the production in the Twin Cities, a co-production between Penumbra Theatre and Theatre Mu, directed by Lou Bellamy. This was another opportunity to do the play. And Leslie was in that production, so when she asked if I wanted to direct this production, I asked her if she wanted to be in this one as well, and she said yes. So I'm just very excited that she's going to be in the show and that she invited me to direct it here in Alaska, in Juneau, which is a gorgeous beautiful place that I'm totally in love with.
Q: Prior to the shutdown, when were you last able to be in a theatre?
A: Since the shutdown, I've done theatre projects. One was a theatre dance project that was not fully produced. It wasn't a play, so this is the first play in a theatre that I've done since the shutdown. And the other was a play set in a zoo.
Because of the new surge, we started this rehearsal process via Zoom. Yeah, it's very emotional actually. It's great to be back. It's great to be back in a theatre, great to be back in the process of creating, in putting up a play. I'm ready. I'm too ready. I'm so excited that I'm beside myself!
Q: What does it mean to you to be returning to creating in the theatre?
A: When the lockdown happened, I was trying to figure out how to continue to do theatre, and a lot of the theatre that was being done was through Zoom. And in the midst of that, living in Minneapolis, where George Floyd was murdered, and that really made me question what I should be doing as an artist. What kind of stories should I be telling? What kind of communities should I be lifting up? So I went into a little identity crisis during that, and then started to write more and do some Zoom things. But that was not theatre to me, it's video. It's not a live audience so it wasn't theatre. And I had to take time to mourn that. To mourn theatre not existing for a while. Having it come back means everything.
I'm very excited to be in the same room with actors. So many things happen in the room together, so many discoveries are made that are limited when you're in a box, a zoom box. And then the audience, that's another huge part of theatre is live audiences and how that affects the production. But I think I'm most excited to come back with a play like The Brothers Paranormal, a story of a Thai family and an African American couple. It's a story about home. It's a story about what haunts you, about trauma, about displacement, about climate change, and mental health… So to be with a cast as diverse as this, with a production team as diverse as we have, in a place, Perseverance, where Leslie's really emphasizing a culture of equity and diversity, justice and inclusion. It is an honor, it is so exciting, it's a great way to come back! I wouldn't want to come back to do anything else. Like if I were to come back to do a regional theatre production of A Christmas Carol, it would be fine, but to come back to this, especially in this magical place, Juneau, AK, it's a great honor.
Q: And we're honored to have you. Talk to me about some of the themes that struck you in this story, The Brothers Paranormal.
A: The thing that struck me initially when I first read the play by Prince Gomolvilas was the genre of horror, right? I was like, "Oh my gosh! Who writes live theatre in the horror genre?! I love that! I love the idea of being able to scare someone in a live setting. That was my initial response. But the play is so much more than that.
And then you have the Thai family who are dealing with issues around immigration, displacement and mental health. You don't see a Thai family represented in television, film, theatre in America, so that's very exciting. And then you also have African American representation with the couple also dealing with displacement and mental health. So to have those two ethnic groups in the same play when you're talking about the things that haunt you, and all the parallels between those two communities…it was the most unique play I've read in a long time and I am so committed to having this story told and to having people hear this story, not only the general public but especially from the Thai community and the Thai American community. To be able to see their story being told is very important.
Q: How can audiences expect to see these themes come forward in your work?
A: I did classical training as an actor at the University of Utah, and then went to Juilliard where I graduated in 1999 and throughout that whole time, I'd never been in a play where I played an Asian character. I'm Filipino American. So I had a really skewed idea of what kind of artist I was, and I thought I could do classical work. I didn't know what I didn't know, and I was naive in that way. But once I graduated from Juilliard, I had an agent, I was auditioning, and I realized I wasn't getting the same opportunities that my white counterparts were getting, and it didn't matter that I didn't feel like I was limited by being Asian…everyone else did. So I really had an identity reckoning where I had to find a way to embrace who I was.
It wasn't until I was cast in a workshop of Flower Drum Song that David Henry Hwang was doing, that I was part of an all Asian cast for the first time ever. And it was a different energy. It was a whole different game! I don't know how to explain it other than saying there was a sense of family that I'd never had before. There was a sense of understanding, there were shortcuts… It was just an easier room, and how I fit in that room was also very different. And that's not even a Filipino character. The first Filipino character I played was Magno in The Romance of Magno Rubio, and that changed my life. that was like, "Oh, this is my culture! I am an expert in this. I don't even have to try. I don't have to research. I just am. There's language in it, there was movement, we did stick fighting, we sang in Tagalog… I was born in the Philippines so that changed everything. Suddenly I wasn't acting, I was just being, and felt completely comfortable within that. And I realized that in other times, I was acting beside myself. I was acting apart.
I teach acting and I do this exercise where I have the students imagine their character. I remember doing this in a college, and I was having the students imagine their characters, what the character looks like, their hair, what they're dressed as, look at their hands, all this, their eyes. And I've never said this before, but in the moment I said, "Ok, look at their ethnicity. What is their ethnicity?" And I realized in that moment that every character that I had ever played I had imagined as white, and I almost had a breakdown right there. I wasn't using myself! I was not authentic to myself. I was acting like something rather than being. And from then on, my acting changed dramatically. I had to start from me. I was in A Christmas Carol and I had to figure out why I looked the way I did and why I was in A Christmas Carol. Any show, I had to start with the way that I look and justify that, find my backstory, and then I could move forward.
But that's how that all started. So I think that's why I'm so committed to this… We have three Thai Americans in this cast which is unbelievable, and I just want them to be able to bring themselves to the piece. To me it was life changing and totally changed me as an artist, to be able to play my own ethnicity or feel myself, feel comfortable to just use myself. And I know there's a lot of actors that never even have to think of that. It's just assumed. So yeah, I understand that journey, and I'm excited to share that journey with this cast.
Q: And we're excited as well, thank you. Okay – now some lighter questions: what is your favorite scary movie?
A: I think my all time favorite scary movie is Pet Semetary and I don't know why. I think that animals and kids who haunt people, freak me out. I used to watch The Twilight Zone and yeah, I've always been freaked out by when kids and animals come back to life, more than adults for some reason! And then The Ring really freaked me out. But I feel like where I was in my life when I saw Pet Semetary, it scared me in a profound way. Yeah what's the one with Jack Nicholson? Yes, The Shining, because that was more psychological, and I think that if you ask me what really scares me, it's how dark the human psyche can get. And that freaks me out more than gore. To see how dark a human can get, especially to their own family…that's horrifying.
Q: Which is scarer to you? Ghosts or vampires?
A: Ghosts.
Q: Ghosts or aliens?
Q: Ghosts or zombies?
Q: Ghosts or psycho killers?
A: Psycho killers.
To learn more about Perseverance Theatre's production of The Brothers Paranormal and to purchase tickets, visit ptalaska.org/tbp.


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← Pope appoints Cardinal-designate Tobin as new archbishop of Newark
Q-and-A on instruction on proper handling of ashes following cremation →
Pope calls out apathy, greed preventing the end of human trafficking
Posted on November 7, 2016 by Administrator1
Students from the Archdiocese of Calcutta take part in a walk for peace against human trafficking last year in Kolkatta, India. (CNS/EPA)
By Carol Glatz
VATICAN CITY (CNS) — Indifference, criminal networks and powerful economic interests still pose a challenge to those fighting against human trafficking, Pope Francis said.
While much has been done in recognizing the seriousness and extent of this "true crime against humanity," he said, "much more needs to be done on the level of raising public awareness and effecting a better coordination of efforts by governments, the judiciary system, law enforcement officials and social workers."
The pope spoke Nov. 7 to more than 100 people taking part in the second assembly of RENATE — Religious in Europe Networking Against Trafficking and Exploitation. Network members and supporters were meeting in Rome Nov. 6-12.
In his speech to participants, the pope said this modern form of slavery was "one of the most troubling" open wounds afflicting the world today "and constitutes a true crime against humanity."
[Related: Religious women critical in fight against trafficking, says advocate]
The pope thanked those present, especially women religious, for their "faithful witness to the Gospel of mercy, as demonstrated in your commitment to the recovery and rehabilitation of victims," and for efforts in advocacy, education and building coordinated responses to the problem.
"I think especially of the distinctive contribution made by women in accompanying other women and children on a deeply personal journey of healing and reintegration," he added.
However, the pope recognized that one of the challenges they face "is a certain indifference and even complicity, a tendency on the part of many to look the other way where powerful economic interests and networks of crime are at play."
"For this reason, I express my appreciation of your efforts to raise public awareness of the extent of this scourge, which especially affects women and children," he said.
He said he hoped their meeting would help them become "a more effective witness to the Gospel in one of the great peripheries" of the world today.


text:
1948 Talbot Lago T26 Grand Sport Figoni Fastback Coupe created for the 'Zipper King'
Concours Sensation - Full story of the Talbot-Lago T26 Grand Sport created for the 'Zipper King'. Reborn after a life hidden in America, this unique Talbot is making waves on both sides of the Atlantic. Words Mick Walsh. Photography James Mann.
Written by Mick Walsh Friday, 15 November 2019 08:51
1948 Talbot Lago T26 Grand Sport Figoni Fastback Coupe - created for the 'Zipper King' / 110103 Chassis / 6016 RS / UK 2019 James Mann and Drive-My EN/UK
1948 Talbot Lago T26 Grand Sport Figoni Fastback Coupe
1948 Talbot Lago T26 Grand Sport
1948 Talbot Lago T26
Talbot Lago T26 Grand Sport Figoni Fastback Coupe
Figoni & Falaschi
Read 1704 times Last modified on Friday, 15 November 2019 10:14
Cd/Cx: 0.39
Type: Petrol
Engine: 4.5-litre
Fuelling: Tripple Zenith-Stromberg Carburetors
Aspirate: Natural
Power: 190bhp at 4200rpm
Torque: 223lb ft at 2400rpm
Drive: RWD
Trnsms: 4-Speed Manual Wilson
Weight: 1599kg
Economy: 19mpg
Speed: 115mph
0-60mph: 11sec
'ZIPPER KING' CZECHS IN - TALBOT-LAGO T26 GS: CONCOURS SENSATION
After the Second World War, Talbot-Lago was one of the first manufacturers to launch a range of exclusive, high-performance cars with its spectacular T26 Grand Sport. These 4.5-litre straight-six-powered exotics were the ultimate high-performance Grand Routiers, good enough for a Grand Prix team and to win Le Mans.
"The performance often surprises other entrants. On the Oxfordshire run we had no trouble keeping up with the Ferraris"
Although the engine now had revised Rileystyle twin high camshafts and the brakes were improved with hydraulic operation, the cars were very much updated pre-war designs. Just 29 were built and delivered in chassis form to France's greatest coachbuilders, who were struggling in the tough post-war economy. France's unyielding tax system, which hit owners of high-priced cars heavily, ultimately eradicated such splendid tradition, sadly.
Just one Grand Sport was created by Figoni et Falaschi, the preferred coachbuilder of successful zip-fastener manufacturer Monsieur Fayolle. Italian-born founders Giuseppe Figoni and Ovidio Falaschi were renowned for some of the most flamboyant bespoke bodywork in the 1930s, particularly with Delahaye. Figoni continued to model designs in clay in his office after WW2 before his bodybuilders created the full-size version. Some claimed his heyday had passed, but winning the Grand Prix d'Élégance et de Confort at the 1949 Paris Salon with this Grand Sport coupé confirmed his status.
How involved the wealthy Fayolle was with the styling of his bespoke Grand Sport isn't recorded, but Figoni had a reputation for stubborn direction. Who came up with the chrome zipper motif over the front to celebrate Fayolle's business isn't known, either, but the rest of the styling has the bold signature of Figoni, including the goutte d'eau (teardrop) window shape.
Like many traditional coachbuilders, Figoni struggled with the pontoon body trend and he couldn't resist embellishing it with bold details, such as the chrome sill feature that wrapped around the rear wing to enhance the fastback line. The front, with its cyclops headlamp matched with two spotlights in the droopy-shaped grille, had an aquatic look that French magazines tagged squale (shark). Figoni continued this nose style with various custom Simcas.
The Grand Sport was delivered to Fayolle on 8 October 1948, joining a Figoni-bodied Talbot Record in his garage. Mysteriously for such a stunning design, the new Grand Sport wasn't shown at any concours events, which were all the fashion in France. Within a year it seems Fayolle was tired of the car, possibly due to overheating – or alternatively his business interests had taken a dive and he'd failed to pay the bills.
The coupé was returned to Figoni, who displayed it at the 1949 Paris Salon where it created a sensation together with the sublime Delahaye 175 Convertible. Talbot historian Peter M Larsen has found no details of the Figoni Grand Sport's life in France during the '50s before it turned up in California, possibly after import by Roger Barlow, who was the foreign-car specialist at International Motors Inc, based on Sunset Boulevard in Hollywood.
The Grand Sport's survival is undoubtedly down to Lindley Locke, a lab technician at UCLA who spoke fluent French and had a passion for Gallic coachbuilt cars. Through the 1950s and '60s, Locke combed classifieds, visited used-car dealers, and searched junkyards to save unloved Talbots. Often bought for bargain prices and in poor shape, they were stored away in lock-ups around Los Angeles. Here these legendary coachbuilt beauties remained until Locke's death in 2001, when his widow Betty started clearing out his little-known hoard.
In the Czech Republic, František Kudela and his son Robert had long dreamed of restoring a Grand Sport Talbot. Their lifelong automotive passion goes back to Kudela senior's first car, a pre-war two-cylinder 998cc Aero that he still owns. "My father has been collecting for more than 50 years," Robert explains. "Along with the Mercedes-Benz 500K, he'd always loved the styling of the Grand Sports. When he retired from the family business, we set up a workshop next to the factory for his car hobby and we then started looking for a Talbot-Lago project."
When the sale of the Baillon collection was announced in 2010, the barn discovery of the sensational Saoutchik-bodied Grand Sport, chassis 110109, gave them hope. "These short-chassis cars are super-rare, only 29 were built," recalls Robert. "We had to go to Rétromobile to bid on the car but it all turned into a nightmare. The car was in terrible condition and the bidding went crazy. The price went high beyond our limits and it eventually sold to Slovakia for a mad price. I thought our dream was gone."
The following day, the Kudelas acquired a copy of an expensive new book on the Talbot-Lago Grand Sport: "As I was paying, a bald-headed chap tapped me on the shoulder and thanked me for buying a copy. It was the author, Peter Larsen. We exchanged emails and a few weeks later I made contact asking if there were any other Grand Sports available. Peter said he would investigate for us."
To Kudela's excitement, Larsen discovered that a trio of little-seen Grand Sports could be available in California. The cars had been saved in the 1960s by Locke. Most of his collection had been sold, but the three Grand Sports remained with his widow. One was the unique Figoni-bodied coupé, chassis 110103, which had been crashed in the early '60s by a mechanic while on test in the Pasadena area of north-east Los Angeles. The distinctive front had been badly crunched on impact with a street light. The then-owner, Ron Alkbee, had lost interest in the Talbot and Locke had acquired the wreck for a giveaway price. Few saw the Talbot for the following five decades until the Kudelas jetted out to secure a deal for two Grand Sports.
With the Figoni coupé back at the workshop in Chropyn, the analysis and dismantling began. "We were lucky the early restoration had barely been started," says Kudela. "The car arrived mostly in boxes after the previous specialist had decided the project was too much for him.
In some ways it was a blessing the damage was at the front, otherwise it would have been repaired and not stored away all those years."
The first stage was to remove the body to check the chassis was straight, and a special buck was made for support. "The original wood was in good condition and we used 90% in the rebuild," says Kudela. "The standard of Figoni's craftsmen impressed us. Unlike Italian coachbuilders, the French used an English Wheel, rolling the aluminium rather than hammering out the panel shapes."
The interior was totally original. Although the leather trim had been affected by the California sun, the Czech team soon found the original colour in areas that had been hidden in shadow and under upholstery edges. The distinctive instruments, switchgear and steering wheel were all renovated and refitted.
Most of the brass body trim features, including the sill and side flash, had survived, but the damaged front from the accident proved a challenge: "We found some original grille parts in boxes but the rest had to be remade in our workshops. Historians Peter [Larsen] and Ben Erickson were really helpful with photographs to scale up the details." Once the Kudelas were happy with the design and fit, the parts were sent to England for chroming by Genius of the Lamp in Birmingham. The loom was original but too fragile to use; it proved the perfect reference to match the original style.
Only after a successful pre-assembly, with white primer to check fit and body gaps, could the final painting be undertaken. The show pictures from the 1949 Paris Salon reveal a Notrolac promotional sign on the windscreen, which denotes a special lacquered finish over the paint. "Although the body colour had been stripped in America, we found areas of the original paint under hinges," says Kudela.
"From this we were able to match and mix the correct blue." Final touches included renovating the plastic sunroof: "All through the project we wanted to preserve as many of the original features as possible. The sunroof was discoloured but we managed to polish out the scratches and save it."
The wheel covers, however, were missing and had to be remade. "It seems they were impractical and photos from 1956 show them already removed," says Kudela. "This proved a real challenge. From historical photographs we scaled up the disc design and then made a 3D model before sending the plans to American specialist Mike Rabin to have a set made. They were unique to this Grand Sport. We eventually decided to make them in brass and have them chromed rather than the option of aluminium. Both techniques were used in period." The mould to press out the discs was eventually made in Kudela's workshop then sent to California. "Mike had just celebrated his 75th birthday and had decided to retire," reveals Kudela. "This was his last project."
The final touch for the car's Pebble Beach debut was to recreate the distinctive Dior coat, as featured in the 1949 fashion shoot outside the Figoni works at Rue de L'Église in Boulognesur- Seine. The photographs were for the Salon preview issue of Réalités from October 1949 and, although taken in monochrome, the printed pictures were hand-tinted, which gave a clear guide to the stylish coat's colours. Robert's wife, Petra, contacted stylist and friend in the Czech fashion world Yvona Leitner to make the coat.
With the final testing done, the Talbot was transported to California and Kudela's dream of showing a car at the world's most famous concours became reality. Although the T26 was immaculate, the Kudelas had no hesitation about taking the Talbot on the pre-event Tour d'Elegance. Not seen in public for nearly 60 years, the Figoni coupé created a buzz when it was unloaded at the Equestrian Center. Many try to guess the potential Best of Show as the cars line up for Thursday's run and the 'Zipper' Talbot was the car everyone was talking about.
With a sporty chassis under the Figoni coachwork, and crisp exhaust evoking the Le Mans Talbot-Lagos, it sounded as good as it looked as it rasped along Highway One. For the Kudela family, driving to Big Sur and back with beautiful views of the Pacific was unbelievable.
On the famous Pebble Beach fairway three days later, the quality of the restoration and the authenticity of the finish greatly impressed the judges and the Talbot won its class. Late in the afternoon, when the top three contenders were called to the awards ramp, it lined up with David Sydorick's Alfa Romeo 8C-2900BTouring Berlinetta and the Lehrman Collection's 1929 Duesenberg J Murphy Town Limousine. At the final count the Alfa won, but the Kudelas were rightly proud that aCzechrestorationonits debut came so close to the ultimate concours gong.
Since that Pebble Beach debut, the Figoni Talbot has been shown twice in Europe, returning to France for the first time in 60 years for the Chantilly Concours d'Elegance in June of this year, and a few months later at Salon Privé at Blenheim Palace in September. "The Talbot is really sporty to drive," saysKudela. "The performance often surprises other entrants. On the Oxfordshire road run [as part of Salon Privé] we had no trouble keeping up with the Ferraris.The 4½-litre straight-six has great torque and on the dyno produced 200bhp at 4200rpm.With the Wilson preselector the gearchanges are fast, and the hydraulic brakes are really good. It's very much a sports car beneath the coachwork."
At Chantilly and Blenheim the car again impressed judges, garnering Best of Show at both, and is now in the running for the Peninsula Classic's Best of the Best Award. There it will be pitched against two fabulous Bentley 8 Litres, which are owned by the award founder and a respected judge; it will be fascinating to see how the result turns out when announced in Paris in February 2020, 70 years after the Talbot was first displayed at the Paris Salon just down Avenue des Champs-Élysées.
For the Kudela family it has already been an amazing journey, and they are now focusing on their second Talbot-Lago Grand Sport restoration, this time of the spectacular Antem coupé. The car had uprated Grand Prix Talbot specification from new and is scheduled to make its debut at Pebble Beach next August.
I'll put money on another Czech restoration being a favourite for Best of Show.
Petra, Robert Kudela's wife, used her connections in the fashion industry to have a copy produced of the Dior coat worn in a magazine photoshoot. Clockwise from top left: original interior was renovated and refitted; straight-six produces a reported 200bhp; badge honours Figoni founders; a wooden buck was designed and made to support the body; chrome details are a signature of Figoni's work. Clockwise from above left: French press christened Talbot a 'shark' because of its front; leather interior remained but had suffered in the sun; businessman Antonio Lago bought out the ailing Talbot company; details survived car's early crash; in-situ at the Kudela family workshop.
Mick Walsh
Road test Drive-MY editor
drive-my.com/en/social/profile/418-mickwalsh.html
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If you've ever visited the great cathedrals in Europe, you might assume that the apostles were larger-than-life stained-glass saints with shining halos who represented an exalted degree of spirituality. The fact of the matter is that they were very, very common men.
It's a shame they have so often been put on pedestals as magnificent marble figures, or portrayed in paintings like some kind of Roman gods. That dehumanizes them. They were just twelve completely ordinary men—perfectly human in every way. We mustn't lose touch with who they really were.
I recently read a biography of William Tyndale, who pioneered the translation of Scripture into English. He thought it wrong that common people heard the Bible only in Latin and not in their own language. The church leaders of his day, incredibly, did not want the Bible in the language of the people because (like the Pharisees of Jesus' day) they feared losing their ecclesiastical power. But against their opposition, Tyndale translated the New Testament into English and had it published. For his efforts he was rewarded with exile, poverty, and persecution. Finally, in 1536, he was strangled and burned at the stake.
One of the main things that motivated Tyndale to translate Scripture into the common language was a survey of English clergy which revealed that most of them did not even know who the twelve apostles were. Only a few of them could name more than four or five of the leading apostles. Church leaders and Christians of today might fare just as poorly on the test. The way the institutional church has canonized these men has actually dehumanized them and made them seem remote and otherworldly. It is a strange irony, because when Jesus chose them, He selected them not for any extraordinary abilities or spiritual superiority. He seems to have deliberately chosen men who were notable only for their ordinariness.
What qualified these men to be apostles? Obviously it was not any intrinsic ability or outstanding talent of their own. They were Galileans. They were not the elite. Galileans were deemed low-class, rural, uneducated, people. They were commoners—nobodies. But again, they were not selected because they were any more distinguished or more talented than others in Israel at the time.
[He] must be blameless, the husband of one wife, temperate, sober-minded, of good behavior, hospitable, able to teach; not given to wine, not violent, not greedy for money, but gentle, not quarrelsome, not covetous; one who rules his own house well, having his children in submission with all reverence (for if a man does not know how to rule his own house, how will he take care of the church of God?); not a novice, lest being puffed up with pride he fall into the same condemnation as the devil. Moreover he must have a good testimony among those who are outside, lest he fall into reproach and the snare of the devil.
Titus 1:6-9 give a similar list. Hebrews 13:7 also suggests that church leaders must be exemplary moral and spiritual examples, because their faith must be the kind others can follow, and they will be required to give an account to God for how they conduct themselves. These are very, very high standards.
By the way, the standard is no lower for the rest of the church. Leaders are examples for everyone else. There's no acceptable "lower" standard for rank-and-file church members. In fact, in Matthew 5:48, Jesus said to all believers, "Be perfect, just as your Father in heaven is perfect."
Frankly, no one meets such a standard. Humanly speaking, no one "qualifies" when the standard is utter perfection. No one is fit to be in God's Kingdom, and no one is inherently worthy to be in God's service. All have sinned and fall short of God's glory (Romans 3:23). There is none righteous, no not one (Romans 3:10). Remember, it was the mature apostle Paul who confessed, "I know that in me (that is, in my flesh) nothing good dwells" (Romans 7:18). In 1 Timothy 1:15 he called himself the chief of sinners.
So there are no intrinsically qualified people. God Himself must save sinners, sanctify them, and then transform them unqualified into instruments He can use.
The twelve were like the rest of us; they were selected from the unworthy and the unqualified. They were, like Elijah, men "with a nature like ours" (James 5:17). They did not rise to the highest usefulness because they were somehow different from us. Their transformation into vessels of honor was solely the work of the Potter.
Many Christians become discouraged and disheartened when their spiritual life and witness suffer because of sin or failure. We tend to think we're worthless nobodies—and left to ourselves, that would be true! But worthless nobodies are just the kind of people God uses, because that is all He has to work with.
Satan may even attempt to convince us that our shortcomings render us useless to God and to His church. But Christ's choice of the apostles testifies to the fact that God can use the unworthy and the unqualified. He can use nobodies. They turned the world upside-down, these twelve (Acts 17:6). It was not because they had extraordinary talents, unusual intellectual abilities, powerful political influence, or some special social status. They turned the world upside-down because God worked in them to do it.
God chooses the humble, the lowly, the meek, and the weak so that there's never any question about the source of power when their lives change the world. It's not the man; it's the truth of God and the power of God in the man. (We need to remind some preachers today of this. It's not their cleverness, or their personality. The power is in the Word—the truth that we preach—not in us.) And apart from one Person—one extraordinary human being who was God's Son incarnate, the Lord Jesus Christ—the history of God's work on earth is the story of His using the unworthy and molding them for His use the same careful way a potter fashions clay. The twelve were no exception to that.
The apostles properly hold an exalted place in redemptive history, of course. They are certainly worthy of being regarded as heroes of the faith. The book of Revelation describes how their names will adorn the twelve gates of the heavenly city, the New Jerusalem. So heaven itself features an eternal tribute to them. But that doesn't diminish the truth that they were as ordinary as you and me. We need to remember them not from their stained-glass images, but from the down-to-earth way the Bible presents them to us. We need to lift them out of their other-worldly obscurity and get to know them as real people. We need to think of them as real men, and not as some kind of exalted figures from the pantheon of religious ritualism.
Let's not, however, underestimate the importance of their office. Upon their selection, the twelve apostles in effect became the true spiritual leaders of Israel. The religious elite of apostate Israel were symbolically set aside when Jesus chose them. The apostles became the first preachers of the New Covenant. They were the ones to whom the Christian gospel was first entrusted. They represented the true Israel of God—a genuinely repentant and believing Israel. They also became the foundation-stones of the church, with Jesus Himself as the chief cornerstone (Ephesians 2:20). Those truths are heightened, not diminished, by the fact that these men were so ordinary.
Again, that is perfectly consistent with the way the Lord always works. In 1 Corinthians 1:20-21 we read, "Where is the wise? Where is the scribe? Where is the disputer of this age? Has not God made foolish the wisdom of this world? For since, in the wisdom of God, the world through wisdom did not know God, it pleased God through the foolishness of the message preached to save those who believe." That is the very reason there were no philosophers, no brilliant writers, no famous debaters, no distinguished teachers, and no men who had ever distinguished themselves as great orators among the twelve Christ chose. They became great spiritual leaders and great preachers under the power of the Holy Spirit, but it was not because of any innate oratorical skill, leadership abilities, or academic qualifications these men had. Their influence is owing to one thing and one thing only: the power of the message they preached.
On a human level, the gospel was thought a foolish message and the apostles were deemed unsophisticated preachers. Their teaching was beneath the elite. They were mere fishermen and working-class nobodies. Peons. Rabble. That was the assessment of their contemporaries. (The same thing has been true of the genuine church of Christ throughout history. It is true in the evangelical world today. Where are the impressive intellects, the great writers, and the great orators esteemed by the world? They're not found, for the most part, in the church.) "For you see your calling, brethren, that not many wise according to the flesh, not many mighty, not many noble, are called" (1 Corinthians 1:26).
"But God has chosen the foolish things of the world to put to shame the wise, and God has chosen the weak things of the world to put to shame the things which are mighty; and the base things of the world and the things which are despised God has chosen, and the things which are not, to bring to nothing the things that are, that no flesh should glory in His presence" (1 Corinthians 1:27-29). God's favorite instruments are nobodies, so that no man can boast before God. In other words, God chooses whom He chooses in order that He might receive the glory. He chooses weak instruments so that no one will attribute the power to human instruments rather than to God, who wields those instruments. Such a strategy is unacceptable to those whose whole pursuit in life is aimed toward the goal of human glory.
With the notable exception of Judas, these men were not like that. They certainly struggled with pride and arrogance like every fallen human being. But the driving passion of their lives became the glory of Christ. And it was that passion, subjected to the influence of the Holy Spirit—not any innate skill or human talent—that explains why they left such an indelible impact on the world.


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Marion Bartoli, coach of a young Indian heiress: "At her age, I had the same delay as her"
The 2013 Wimbledon winner is spending the week at Les Petits As, the Under-14 World Cup. For the past few months, she has been training six days
In the freshness and grayness of the Tarbes exhibition center, the luxury of the towers of Dubai and the palm trees at the edge of the water seem far away.
Residing in the United Arab Emirates, Marion Bartoli nevertheless chose the Hautes-Pyrénées prefecture and its view on a clear day of the Pic du Midi to spend her week.
Twenty-five years after having participated as an apprentice champion at the Petits As, the World Cup for the under-14s, the former world No. 7 returns there as a coach.
The 2013 Wimbledon winner has been mentoring young Pallavi Patel for a few months following an almost unlikely encounter.
"I was invited to attend the final of the Al Habtoor tournament that I had won in 2005, says the Habs, well wrapped up in the stands, after the dry defeat in the 1st round of his protected, elderly 13 years old.
At the same time, there were youth events.
I saw Pallavi, I thought she had interesting qualities even if there were a lot of things to work on.
Her dad came to see me at the end saying to me:
Here we are a little stuck on the training structures in Dubai, we feel that if she wants to have a chance we have to do a lot more.
They asked me to try it out and I agreed.
Pallavi's father is a rich Indian businessman (there is a strong Indian community in Dubai) who once competed in the American university championships under the colors of Virginia Tech.
"I admit that I only half believed it when I asked Marion," he smiles.
But it's an incredible opportunity for our family
(she also coaches Pallavi's cousin)
and we see the progress day by day.
Marion Bartoli in the stands during the match of his protege PHOTOPQR / LA DEPECHE DU MIDI / BASTIEN ARBERET
The last Frenchwoman titled in Grand Slam does not count her hours.
Finally Yes.
Three of tennis and two of physics six days a week. "You know me, jokes the one who is also a host on RMC, adviser to Jelena Ostapenko or at the head of a line of health products and estimates her weeks of work at 75 hours.
When I do something, it's all the way!
At the foot of the Burj Khalifa, where places are expensive for practitioners, the former French No. 1 hardly has to struggle to reserve training slots.
Pallavi's father indeed has his own court… "It has always been my dream, he slips.
But I hardly have the right to go there anymore, my daughter is on it all the time.
"A few weeks ago, Marion Bartoli had organized, for the whole family, a meeting in France with the legendary Venus Williams.
A post shared by Chirag patel (@xx.twinturboceeg.xx)
"Returning to youth competitions 25 years later is both nostalgic and fun"
For Marion Bartoli, the experience has many facets.
Between bath of youth and passage of witness.
"I recognized myself a little when I was little with not many people who gave me my chance, she breathes.
I wanted to give them one by investing myself fully with them.
I love to transmit.
Looking back 25 years later on youth competitions is both nostalgic and fun.
We started from zero so it was extremely difficult.
We still see today all that he lacks, especially in terms of experience.
But I had lost here in the first round of the French qualifications and that did not prevent me from succeeding in my career.
The goal is to continue learning, to realize the level, the intensity, the striking, that she tries to play as much as possible with these girls for a week
(in training, in doubles and in consolation)
and that she leaves with clear ideas on what she could improve and the desire to do more.
It is difficult to see the parallel between the little girl from Retournac trained in the iconoclastic methods of Doctor Walter and the frail Indian with the golden spoon as a dampener.
And yet.
"But it reminded me so much of my project," she says.
With an ambition to succeed and so many doubts, questions… The environment is of course different, but these people asked themselves exactly the same questions.
I said to myself why not take up the challenge to also see where it will take me in the training part, to explain to young people the high level, the discipline, the mental, the physical, tennis... See if they have the marrow and the ability to get there.
It can go very quickly and I'm proof of that, you shouldn't be afraid to work.
Unofficial godmother of the Petis As
With Jelena Ostapenko, who consults her before each match, we are in the finish.
The precision of the very high level.
With Pallavi, it's still big work.
"The work is necessarily much easier with Jelena, she analyzes.
All the bases are anchored.
But you can shape a youngster, you feel the impact you can have on him.
Everything is to be done.
If it works, the satisfaction is increased tenfold.
In a site with a largely outdated charm that has hosted Nadal, Murray, Gasquet, Mauresmo, Henin, etc.
Bartoli, who came with her family, feels at home among the future pros.
So much so that she insisted on helping out with the organization.
"When Marion Bartoli comes to see you saying:
you have to find something for him," laughs Jean-Claude Knaebel, the historical director of Les Petits As. this Tuesday evening.
"I loved my time here, she justifies.
It was a turning point in my career.
From Les Petits As in 1998, my dad bought two ball machines, I went to two training sessions a day and I understood that I had to do a lot more.
I only played in France and I didn't understand anything about the Russians, Czechs, Americans, etc.
At the same age, I had the same delay as Pallavi.
Source: leparis
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Sackville North is located approximately 75 kilometres northwest of Sydney. Sackville North is adjacent to Sackville, surrounded on the north, west and south by the Hawkesbury River.
Brewongle Environmental Education Centre on Chapel Hill Road is a NSW government run school. It is on the site of the old Sackville North Public School, a NSW Heritage listed site, which has an 1878 sandstone classroom and residence.
On Mud Island Road, is an 1869 sandstone church and graveyard. Sackville Cemetery located on Sackville Ferry Road was dedicated on 2 December 1899. It was also known as "Maroota General Cemetery".


text:
import { Component, OnInit } from '@angular/core';
import { Service836Service } from '../../services/service-836.service';

@Component({
  selector: 'app-comp-836',
  templateUrl: './comp-836.component.html',
  styleUrls: ['./comp-836.component.css']
})
export class Comp836Component implements OnInit {

  constructor(private _service: Service836Service) { }

  ngOnInit() {
  }

}

redpajama_set_name: RedPajamaGithub


Wednesday, January 5 Icy cold morning. No fog today, and an incredible sunrise, with bands of pink and gold against a sharp blue sky. I'm in a small Hyundai sedan and snug and warm in the back seat. The driver is a slightly plump pleasant-looking fellow with a beatific smile and wire rimmed glasses. In his black jacket and trousers and white shirt, with a close-cropped thinly-haired head, he's a stereotypical country preacher. He graciously accepts our toll contributions. It's a quick ride today, moderate traffic. When the San Francisco skyline comes into view it's a knock-out. The early sun is bouncing off the high rise windows making a golden light show. The toll gates are nearly empty – where is everybody? Maybe skiing in all that lovely Sierra snow.
Thursday, January 6 We are squealing and moaning in the carpool line this morning. There's a really dense frigid fog and a brisk wind that feels like small sharp knives on your skin. After about 5 minutes of this agony cars start pulling up. One rider ahead of me in lin is a guy I frequently see. He's huge – must weigh well over 300 pounds. When I've watched him getting into cars the car noticeably sags. Two drivers this morning turn him down, refusing him a ride. Poor fellow. I and another lady get into a small and tidy 4-door Dodge sedan. I'm in back next to a child's car seat. The driver is being stingy with the heat. I can see it turned down to the lowest setting. Perhaps because he himself is a quite large fellow. The sun is out in Berkeley – no fog, but the city is invisible, covered in the same thick fog we left in Vallejo.
Friday, January 7 Brrr. That damp cold wind is still with us out here in the casual carpool line. About 20 riders are lined up waiting and shivering. The lady in front of me has a horrible cold and I instantly decide not to get in a car with her, even if it means waiting longer. The rider in line in front of her turns down a ride so the coughing, sneezing lady takes the ride. I move up behind the rider who declined the ride and ask her why. "The car smelled like cigarettes and the ashtray was overflowing", she said. I agree I would not have taken the ride either. After 10 minutes our ride is a big lovely BMW sedan, the full luxury model. Warm. Yum. A young very pretty dark-skinned driver greets us. Unfortunately, just after we enter the freeway she gets on her cell phone and spends the entire 40 minute commute laughing and chatting and I stop relaxing. She occasionally adjusts the heat and radio (KISS-FM) with her one free hand.
It's a very gray morning, no lovely sunrise to welcome us on our journey. But traffic's light and we're breezing along at 70 mph. (and with only one hand!).
MUNI BUS SHELTERS. I usually walk the 3 blocks up Fremont from the carpool drop off to Market Street and catch a bus. Often I have to wait in the bus shelter, and I've noticed that it's really not much of a shelter, especially in this cold, wet miserable weather. The good feature about it is that is has automated signage that keeps riders informed when the next bus is coming. I noticed in Monday's Chronicle (January 3 Bay Area section) that SF Chronicle writer Will Kane wrote about the bus shelters, and it sounds like I'm not the only one who finds them lacking in, well, shelter.
They are aesthetically pleasing to look at, but they're full of cracks and openings and on a rainy, windy, 40-degree 7 o'clock commute morning, they provide little comfort. The designer, Olle Lundberg, disagrees, saying they needed to be open for people who are disabled or in wheel-chairs, but I've seen people in wheelchairs trying to navigate in and out of them and it isn't easy. They're just not wide enough for people to really get into out of the weather and they are very breezy.
Muni has installed 100 of these shelters so far, with 1,000 more planned before 2013. The cost per shelter, $10,000 is underwritten by Clear Channel in exchange for exclusive advertising rights.
Inadequate bus shelters are perhaps a small issue, compared to the greater woes of commuting and working and getting through each day, but when added to the frustrations of traffic, tolls, inadequate public transport, it matters.


text:
RENEWABLE MATTER
Issue 34 of Renewable Matter magazine is available.
Transport is a top priority for decarbonisation strategies. But the transition to electric transport is not enough: alternative fuels, especially biofuels and hydrogen, will play a key role in the next decade. Alexandru Floristean of Hydrogen Europe and Elisabetta Tola write about it, among others, in a dense number of inquiries and interviews on the future of the transport system.
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1.27 Trillion Euro: That's How Much the Bioeconomy is Worth in the EU5
Renewable Matter # 08 / January-February
In Europe's leading countries, the bioeconomy employs over 7 million people. While, globally, exports amount to $2.396 trillion, 12.6% of the world trade. That's the snapshot of the situation by Intesa San Paolo's study.
A production value of over €1.27 trillion and 7 million workers. These are the bioeconomy figures in Europe's five major economies (Germany, France, Italy, United Kingdom and Spain) according to La Bioeconomia in Europa ("The Bioeconomy in Europe") study conducted by Centro Studi di Intesa Sanpaolo, Italy's largest group and one of Europe's leading banking groups, in collaboration with the Italian Association for the development of biotechnologies (Assobiotec). The analysis, at its second edition, was presented last December in Turin and represents an accurate snapshot of the bioeconomy's value in each analysed country. A chemical sector's snapshot that is partly real and partly only potential: indeed, not all chemical compounds that could currently be obtained from bio...
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Ethical Code and Code of Conduct
ReteAmbiente s.r.l. via privata Giovanni Bensi 12/5, 20152 Milano - Tel. 02 45487277 - Fax 0245487333 Codice Fiscale e Partita IVA 10966180969 - www.edizioniambiente.it


text:
Home News Community Further increase in social housing income limits confirmed by local TDs
Further increase in social housing income limits confirmed by local TDs
A further increase in income eligibility limits which will see more people across Laois eligible for social housing has been announced.
Social housing income limits will be increased by €5,000 across the country and will take effect from 1 January 2023.
The baseline income threshold for Laois increased from €25,000 to €30,000 on October 1 and that will now increase again to €35,000 from January 1 next year.
So says Minister for State Sean Fleming and Fine Gael TD Charlie Flanagan.
Minister Fleming said: "I am pleased to see this further increase in the social housing income limits for Laois.
"This change will ensure that the thresholds better reflect housing costs in Laois and allow more people to qualify for social housing and Housing Assistance Payments.
"From 1 January 2023, a single person in County Laois will be eligible for social housing up to an income of €35,000.
"For a family of two adults and two children that family will be eligible for social housing up to an income of €38,000.
"Housing is a vital issue for this Government and I am committed to ensuring affordable housing, private housing and social housing are delivered all across Co. Laois."
Deputy Flanagan added: ""I welcome the announcement by An Taoiseach on Saturday last that Government is set to increase all social housing income limits by €5,000 across all three bands on an interim basis from 1st January next.
"I am very pleased that Government has agreed, to my Fine Gael colleague's proposal, for a minimum €5,000 uplift for all social housing income limits to be introduced. This will make more people eligible for Social Housing and HAP (Housing Assistance Payment).
"The previous increase in general social housing income limits was April 2011 (when average earnings per employee were €35,915 according to the CSO). However, average annual earnings are now approximately €45,324, which is over a 20% increase since 2011.
"The recently published 'Review of Income Eligibility for Social Housing Support' report under the Housing for All document, which was supported by the Fine Gael Parliamentary Party and councillors nationwide, according to this review, the current three band structure for social housing income limits is no longer internally logical given the increase in rents over time.
"I acknowledge that the Minister for Housing recently approved proposals to develop options for a revised or new social housing income eligibility model, which is proceeding under the auspices of the Housing Agency.
"Government is focused on achieving targets set out under Housing For All, which commits to delivering of 47,600 new build social homes from 2022-2026, with funding in place this year to deliver 11,800 social homes, including 9,000 new build homes.
"However, it is necessary for us to redouble our efforts in accelerating the delivery of housing supply, particularly given the current additional pressures on the sector.
"I strongly believe this interim increase of €5,000 to all social housing income limits, will make a real positive difference to people lives, making more individuals and families eligible for social housing schemes which is vital to keep pace with our evolving housing needs here in Laois."
SEE ALSO – Laois secondary school unveil new jerseys ahead of All-Ireland volleyball encounters
Charlie Flanagan
Sean Fleming
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