text:
Art & Fashion January 25, 2019 January 25, 2019
Christian Niedan's History Storytellers — Part Seven: The Artist
by: Christian Niedan
The seventh installment of a twelve part series, recounting and expanding upon an array of interviews with an assemblage of historians and history-infatuated filmmakers. The series continues with a look at a pairing of environmental disasters in the country of Kazakhstan, as well as the impact of Genghis Khan, Stalin, and the Cold War had on the region, with an interview with Kazakhstan-born artist Almagul Menlibayeva…
The Aral Sea was once the world's fourth-largest lake — a vast saltwater expanse that, at the dawn of the 1960s, stretched over 26,000 square miles between Kazakhstan and Uzbekistan. It was during that decade when the Soviet Union diverted two rivers feeding the Aral (the Amu Darya and Syr Darya), rerouting them to irrigate neighboring cotton fields. The result was that the Aral shrank to a fraction of its former size, and the remaining waters split into much-smaller bodies. The shorelines of these new lakes lay far away from what were the old Aral's coastal fishing communities, with those in the dried-up eastern basin occupying what is now known as the Aralkum Desert.
As the Aral shrank, Kazakhstan-born artist Almagul Menlibayeva observed the resulting environmental and societal devastation in her country's southern region. Meanwhile, she also watched an unfolding fallout in the north of Kazakhstan, in the barren expanse of what had been the Soviet-era Semipalatinsk nuclear test field. Her artistic response to these two defiled wastelands was creating two short films that express the ecological and psychological issues impacting former-Soviet satellite nations like Kazakhstan two decades after gaining their independence. I interviewed Menlibayeva in May 2014 for my film website, Camera In The Sun, and she discussed the history of Kazakhstan's fraught Soviet relationship:
Almagul Menlibayeva: "Kazakhs were nomads. But in 1932, when the Soviet Union was in need of money to build up, they took from the Kazakhs all their camels and horses and possessions. This was the only way they made a living — and they took everything, and a lot of people just died from hunger. They suffered terrible years of hunger. During these two years, about thirty percent of the nomads died. That time rests deeply in the memory of any Kazakh. Then, everything became so Soviet-ized. In the Soviet Union, there was a kind of friendship between nations. But this was more like a conceptual friendship. It's as if there was only one artist – but it is easier to say, Stalin. So, how he sees it: 'What is this national friendship?' What it is: There was national nihilism. So there was some kind of picture of how to look like Ukrainians, or how to look like Kazakhs, and how in a kind of story they didn't have this — or they had this, and how it was difficult. So before 1917, it was 'everything was terrible.' And after 1917…it was kind of mythological, like in the Bible. This made here a very big impact on me also while I was working on this Kazakh identity. I'm a Kazakh-born person, but I grew up in a town with a Soviet school. I was completely a Soviet child. I didn't know my own language. Kazakhstan has 110 nationalities. During the Soviet Union, there were big programs for everything — mostly Soviet programs of agriculture or politics. It was a completely different place twenty years after 1917, and then it was a completely different place twenty years after that. So how did this [older] Kazakhstan look? How were they living? There were a lot of things that you really don't understand, and you don't know. But the possibility to understand and research a lot of things came after 1993, and slowly people start to discover. Actually, I remember they didn't believe when Yeltsin told them there was no Soviet Union. 'What is he saying? This is a drunk Russian.'"
When looking back beyond Stalin to study pre-Soviet Kazakh history, and the nomads who have long roamed its vast grasslands, another of history's most famous/infamous leaders continues to loom large over the country's national identity, even 800 years after his death…
Menlibayeva: "In Kazakhstan, there are many descendants of Genghis Khan. Some tribes fought for him, some tribes not. For example, when you look at Mongolia, there are different yurts, but the history and many things are not only Mongolia's. It was actually all Eurasia, Altai, South Siberia's history. There are many identities connected to the Turkic group of languages: Kazakh, Kyrgyz, Khakas, Turkish, Tatar, Azerbaijani, Turkmen. One's identity is strong, and then the other is Genghis Khan history. Each country's ruler tried to marry someone from the Genghis Khan family. It was like a European royal family. Something that changed the landscape was when Islam came to Central Asia. That was a difficult time, I think. Some people do not agree with me, but I think the real interesting culture (the nomads) started to lose their own real culture. So I think one change was when Islam came, and the second one was the Soviet Union. It was like an ideology which takes all your attention, one hundred percent. So you have to change yourself. Personally, when I look at myself, I would like to understand who I am. I have these kind of influences. So I try to take out one influence, and then another, and then I can understand who I am. I also read a lot about the art of the nomads. The art of the nomads was absolutely unpredictable. There were a lot of sad stories and dramatic stories. Women were beautiful, or very ugly. There was a wide palette of how it was. What we know remains a lot of very mysterious stories. For example, there is a legend about one man named Korkit, born old from childhood. Everywhere he went, he was running away from his death. This is very cinematic. There is a strong image that we are running from death, or would like to live longer. We are afraid to be old. But in Soviet art (and Soviet art after the fall), we don't have this. Everything is very formal. I think after fifty to sixty years, if you look and see what they did, you will not find anything, as there is no emotional truth. There's nothing there, because you remember something if it was really sincere. With dialogue, I'm sharing what I feel. Maybe someone will understand me in twenty to thirty years, or 100 years, and will recognize the same problems. I think this is very important. But this understanding of art from the Soviet time, and this post-Soviet time, makes me think that I'm struggling with something that's dead."
Weapons of death permanently scarred the landscapes glimpsed in Menlibayeva's 2013 work, "Kurchatov 22." The five-channel video installation focuses on the Soviet-era Semipalatinsk nuclear test field in northern Kazakhstan, and the ecological devastation wrought upon the surrounding steppe and its people by blasts occurring between 1949-1991, which Menlibayeva described to me:
Menlibayeva: "During the Cold War, there was a huge nuclear program running during these years, where there were about 456 explosions. It's everything we think of the Cold War. All the experiments were there. I went there, I filmed interviews with people who were children at the time and had survived. They saw something, they heard – as some of them didn't know what it was, as they were never informed of what could be the consequences of these experiments.
During the Soviet time, Kazakhstan was like a big laboratory. It was closed to the world. If we don't have information about Kazakhstan, it's because it was a secret place including the test field, Baikonur Cosmodrome. There was the gulag area with territory as big as France. There were a lot of people in gulags: so-called enemies of the state, intellectuals, musicians, writers. If you remember Solzhenitsyn, anybody Stalin consider as a danger. There were also a lot of military programs during this period. Kazakhstan started to really open its doors, and had the opportunity to invite people in, only after 1993. When you flew some places, you would see the very little airports. Those airports were only made for the military. So you see, it was quite limited. But the country played some kind of role, as it was Soviet territory during the Cold War times.
When the Soviet Union collapsed, things were left how they were. Concerning the nuclear testing, they took all the know-how with them, all the archives. There are a lot of things which people in Kazakhstan are just discovering. Like where it's really not good to go, because many places were in secret, and you have to find the people who know these things in order to avoid the dangers. The problem is also the archives. You know, the archives of the Soviet Union are partly closed, because it became what is now Russia. I mean, there are certain things you can access, but certain things you cannot access: records of people who were sick, or died, or what they died of. There was some kind of big research during Soviet time of why people were sick. When I was there, they now had a national nuclear foundation. They go to places, and they try to protect people. They also invite people who are sick, and see why they are sick. Also animals. There were a lot of things that were affected."
In 2011, Menlibayeva explored the effects of a disappearing Aral Sea within her 23-minute film, "Transoxiana Dreams," shot in now-dried-up regions of what had once been Kazakhstan's Aral coastline. The film won a main prize at Kino Der Kunst 2013. This international film festival in Munich, Germany celebrates the work of visual artists, and its jury praised Menlibayeva's film as a "personal and intimate vision of everyday life in an environmentally damaged landscape," as well as a "nomadic shamanesque revival through punk and surreal staged tableaux vivants." For Menlibayeva, it was about putting a human face to an environmental tragedy.
Menlibayeva: "It was interesting when I went there, to see how people are dealing with this ecological catastrophe. When you go there, you see how people live and what they do. Of course, you see that there are problems and how they deal with all these things. I would like people to know what happened there. I told that story through the eyes of a small girl. My hero is this small girl who doesn't understand what is going on. So now, as an artist, you can have a space to play and put in some fantasy images. I put her in this reality, and she explains what is going on. She is a victim of this situation, which she didn't choose. She was just born into it. She says in a dream she is helping her father. So I tried to put in a lot from Kazakh culture that believes in dreams and shamanism. It transformed and became very individualistic, very personal, like child's fear or a fantasy. I tried to make that space, and also put in a lot of information there into this dream. There was one island where, during the Soviet time, they were testing biological weapons. So the wind is blowing, and everybody is sitting at home. There is this terrible wind, which is a strange with a mixture of centaurs together with Soviets. These things are not understood by the young generation; they don't know what happened and what is going on."
Author's Note (Update): In February of 2018, Menlibayeva was awarded the Chevalier Order of Arts and Letters by the Ambassador of France in Kazakhstan at the TSE Art Destination gallery in Astana, Kazakhstan.
Throughout September and October of 2018, Menlibayeva both co-curated and presented her work alongside 20 women artists from four different generations for the "Focus Kazakhstan: Bread and Roses" exhibition in Berlin, Germany — a show described by its organizers thusly:
"This show comprises work in a wide-range of media by 20 artists created from 1945 to the present. Emerging Kazakh women artists are prefaced in the show by a group of eminent forerunners who have remained more or less invisible within the history of Soviet, Kazakh and world art. Against the tumult of Stalinist repression and its aftermath, the work of these women has forged a bridge between traditional Kazakh arts, crafts and ways of living, the Soviet avant-garde of the 1920s and '30s, socialist realism and a completely new approach to art making that emerged from the beginning of the 1980s. The works that these great grandmothers, grandmothers, mothers, and daughters of contemporary Kazakh art have produced reflect the melting-pot of ideas and influences between east and west arising from Kazakhstan's history of tumultuous political and social change."
Almagul Menlibayeva, Aral Sea, Art, Art History, Christian Niedan, Cold War, Genghis Khan, History, Kazakhstan, Russia, Semipalatinsk, Soviet Union, Stalin, Storytellers
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Azamora is een geslacht van vlinders van de familie snuitmotten (Pyralidae), uit de onderfamilie Chrysauginae.

Soorten
A. brunnea Dognin, 1911
A. corusca Lederer, 1863
A. crameriana Stoll
A. flammeana Sepp, 1852
A. lata Druce, 1899
A. melanospila Walker, 1866
A. nobilis Druce, 1903
A. ochribasalis Hampson, 1906
A. olivescens Hampson, 1916
A. penicillana Walker
A. saturatalis Walker, 1859
A. socialis Schaus, 1913
A. sororia Druce, 1899
A. tortriciformis Walker, 1858
A. viridiplaga Schaus, 1904

Snuitmotten

redpajama_set_name: RedPajamaWikipedia


Dŵr Cymru Welsh Water is the fourth biggest company in Wales and sixth largest of the ten regulated water and sewerage companies in England and Wales. Responsible for providing over three million people with a continuous, high quality supply of drinking water and for taking away, treating and properly disposing of the wastewater that is produced. We operate and maintain a huge sewerage network comprising more than 30,000km of sewers, almost 2,000 sewage pumping stations and over 800 sewage treatment works.
The size of this network, combined with the age of some of the infrastructure, the unpredictable nature of weather and the difficulty of controlling unlawful discharges to sewers, means that preventing pollution from our sewer network is a major challenge. We recognise that the environmental damage and impact on our community caused by unpermitted discharges from our assets is unacceptable and work hard to prevent them.
We encourage anyone that spots a sewage pollution incident to report it directly to us via our See it Stop it Report it hotline 0800 085 3968 or via the website www.seereportstop.com, that way we can respond quickly to mitigate or prevent any potential impact.
For any pollution incident that is reported to us, we will inform Natural Resources Wales (NRW) or the Environment Agency (EA) depending on the location.
We deal with over 2,000 blockages a month, intervening to prevent flooding or pollution. Our sewer network is an 'open' system and we have little control over what enters it. Our analysis shows that blockages triggered by tree-roots, silt and debris in our sewers are reducing, but the number of blockage incidents caused by sewer abuse, such as fats, oils and grease, and nappies and wet wipes are increasing.
Adapting to our changing climate. As it rains more heavily and more often, and our towns and cities are also growing, there is more surface water than ever before entering the sewer. At Welsh Water, we are leading the way in developing and using new, innovative solutions to manage the amount of surface water entering our sewers. We have called this approach RainScape. This will help to reduce the risk of sewer flooding and pollution, and help to support economic development.
Working with Natural Resources Wales to look at the impacts of permitted discharges across Wales to understand where the permits may be contributing to rivers not achieving good status under the Water Framework Directive.


text:
#ifndef LightSource_h
#define LightSource_h

#if ENABLE(FILTERS)
#include "FloatPoint3D.h"
#include <wtf/PassRefPtr.h>
#include <wtf/RefCounted.h>

namespace WebCore {

enum LightType {
    LS_DISTANT,
    LS_POINT,
    LS_SPOT
};

class TextStream;

class LightSource : public RefCounted<LightSource> {
public:

    // Light vectors must be calculated for every pixel during
    // painting. It is expensive to pass all these arguments to
    // a frequently called function, especially because not all
    // light sources require all of them. Instead, we just pass
    // a reference to the following structure
    struct PaintingData {
        // SVGFELighting also use them
        FloatPoint3D lightVector;
        FloatPoint3D colorVector;
        float lightVectorLength;
        // Private members
        FloatPoint3D directionVector;
        FloatPoint3D privateColorVector;
        float coneCutOffLimit;
        float coneFullLight;
        int specularExponent;
    };

    LightSource(LightType type)
        : m_type(type)
    { }

    virtual ~LightSource() { }

    LightType type() const { return m_type; }
    virtual TextStream& externalRepresentation(TextStream&) const = 0;

    virtual void initPaintingData(PaintingData&) = 0;
    // z is a float number, since it is the alpha value scaled by a user
    // specified "surfaceScale" constant, which type is <number> in the SVG standard
    virtual void updatePaintingData(PaintingData&, int x, int y, float z) = 0;

    bool setAzimuth(float);
    bool setElevation(float);
    bool setX(float);
    bool setY(float);
    bool setZ(float);
    bool setPointsAtX(float);
    bool setPointsAtY(float);
    bool setPointsAtZ(float);
    bool setSpecularExponent(float);
    bool setLimitingConeAngle(float);

private:
    LightType m_type;
};

} // namespace WebCore

#endif // ENABLE(FILTERS)

#endif // LightSource_h

redpajama_set_name: RedPajamaGithub


text:
Val Camenish Wilcox
Wheat from the Chaff
Mildred Barthel
George Thrailkill
Paul Armstrong
To Know Nothing Save Jesus Christ, and Him Crucified
Harold B. Lee
Growing Older: Everyone's Challenge
What is the most effective way for a parent to instill in his children a desire for church activity?
Why the Psalms—how were they used, how did they come to be?
Rodney Turner
Why was there so much leprosy during Old Testament and New Testament times? It seems to be everywhere mentioned in the scriptures.
C. Wilfred Griggs
Is it possible that Shem and Melchizedek are the same person?
Alma E. Gygi
Will wickedness exist on the earth when Satan is bound during the Millennium?
Roy W. Doxey
Boston's Mormon Landmark: Abijah Tewkesbury's Office
Dean May
A Home Is Also a House
Neil and Joan Flinders
The Saints in Fiji
Janet Brigham and Herbert F. Murray
Teaching Children the Difference between "Mine" and "Thine"
Darnell Zollinger
Avoid Rejection: Be a Happy Genealogist
The Tabernacle of Ancient Israel
Edward J. Brandt
Searching the Scriptures: How to Make a Lasting Contribution
Robert J. Matthews
That Your Children May Know
Davis Bitton
Portraits in Miniature
Jennie Duran
Rosemary Petty
Ho Nam Rhee
Robert Scott Kelly
Pointers for Parents: "Collect Your Most Prized Possessions and Prepare to Evacuate"
Robert R. Porcaro
News of the Church
Meeting in Munich: An Experience in Love and Brotherhood
Doyle L. Green
The Tabernacle Choir: 106 Years of Missionary Singing
Priesthood in Action: Local Saints Cared for as Flood Waters Destroy Mexican City of Irapuato
Constitutional Responsibility Encouraged by First Presidency as Elder L. Tom Perry Appointed Chairman of Bicentennial Committee
New President Called to Serve London Temple
Assistant Commissioner Named for LDS Hospitals
State Fair Exhibit Has "Live" Mannequins
Church Trust Company Appoints New President
LDS Scene
Church Pavilion for Expo '74
Carriage House Dedicated
"Boston's Mormon Landmark: Abijah Tewkesbury's Office," Ensign, Nov. 1973, 17
Boston's Mormon Landmark:
Abijah Tewkesbury's Office
By Dean May
The Mormons have been almost unique among religious groups in America for the monuments built at stopping places along the march that led them to their Utah home. But monuments marking what they left in the East are few indeed, for the very act of leaving required that all their resources be brought along so they could build again. When the early Boston Saints set out to obey the spirit of the gathering they left nothing behind, for they did not expect to return. Almost miraculously, however, a monument has survived—a brick building at 82 Commercial Street—the same building in which Freeman Nickerson organized the first Boston branch in 1842.
My wife, Cheryll, our son Timothy, and I found that old building one fine day last May. A major freeway has cut through the row of buildings in which it stands, missing Number 82 by only a few feet. Urban renewal has leveled large areas just one street away. A fire at some time in the past damaged the upper stories, causing a renovation that flattened the once steep pitch of a slate roof and removed the uppermost row of windows. A vegetable packing firm has left its remnants scattered throughout the interior. But the building is still there, adding its simple sturdy grace to a street that has its character preserved after nearly 150 years. Quincy Market and Faneuil Hall are still just down the street. Long Wharf is behind handsome granite warehouses built in the 1850s. The port of Boston has become somnolently picturesque, a startling contrast to the bustling traffic of 1842 when Abijah Tewkesbury worked in his shipping offices in the building at 82 Commercial Street.
The story of that building is the story of Abijah Tewkesbury and Freeman Nickerson and the story of the early Church in Boston.
Always open-minded, Mr. Tewkesbury had examined the torrent of new ideas coursing through Boston in the 1830s and 1840s. In June 1841, a broadside had caught his eye, announcing that one Freeman Nickerson of Illinois would make a public defense of Joseph Smith and the Golden Bible. Mr. Tewkesbury vaguely remembered that nearly a decade earlier Mormons had appeared in Boston, but his interest had been caught by more recent newspaper accounts of terrible persecutions of the Missouri "Mormons." Though known even to his friends as an unbeliever, Mr. Tewkesbury decided out of curiosity to find out what an elder of this strange new religion might have to say.
Elder Nickerson's defense of Mormonism, held under the auspices of the Boston Free Discussion Society, began the last Sunday in June. The rules of the society called for alternating speeches of different points of view, and Elder Nickerson had no dearth of opponents. When challenged to produce the golden plates, or to perform a healing, the elder always gave the same response. He testified that he had met the Prophet, had asked God if the Prophet's work was true, and that God had given him assurance that it was. Mr. Tewkesbury, with others who attended the meeting, was probably more struck by the spirit of the defense than by its substance. One opponent reported that when Elder Nickerson spoke he imparted a "magnetizing influence," which was "wonderfully apparent."
The Mormon's delivery carried such power that it "reminded us of the Day of Pentecost." Mr. Tewkesbury came away with similar impressions, ultimately concluding that he must hear more. As the summer wore on he became convinced that the unlikely stories Elder Nickerson had brought to Boston were true. By fall he asked for baptism.
Abijah Tewkesbury was the first fruit of the lonely mission Elder Nickerson had begun half a year earlier amidst what the Council of the Twelve Apostles, on a previous visit, had termed "the opulence and splendor of that city—the Queen of the East." By March the number of converts had grown to just over 30, a group large enough to sustain a branch of The Church of Jesus Christ of Latter-day Saints. Brother Tewkesbury offered his shipping office as a meetinghouse and on a blustery March day in 1842 the Boston branch was organized in the brick building at 82 Commercial Street.
That old quarter of Boston has recently been designated a historic landmark and is being renovated and restored. The area is planned as a tourist center for Boston's celebration of the bicentennial of the American Revolution in 1976. Thus, the building seems destined to stand as a monument to New England Saints who met in a shipping office and learned the truths of the restored church.
Smoke-streaked No. 82 stands on Commercial Street with its second-story windows bricked in.
Quincy Market and red-brick Faneuil Hall.
Modern freeway slices through Commercial Street.
Illustrated by John Hammond
No Related Content
No footnotes, personal notes, or other related content available.

redpajama_set_name: RedPajamaCommonCrawl


Completing an inpatient rehabilitation program is a huge milestone that should be celebrated. However, because recovery is a lifelong process, it's just as important to know what to do after inpatient treatment is complete. In many ways, the hardest part of the journey begins after exiting the safe cocoon of rehab. Whether you are in recovery yourself, or you are supporting a loved one in their recovery, here are some tips to keep in mind.
Coming home can be a jarring experience for someone in recovery. While you've been away healing, life has gone on without you, so it's important to reassess the environment that awaits your return. What triggers are in your home? Are you strong enough to withstand any temptation, or what changes can you make? These memories may create strong cravings for someone who is freshly sober. Consider moving if temptation will be too great in your old environment.
Also, it's helpful to stick to a schedule. Most rehabilitation centers are extremely structured, and it's important not to have too much free time, once you're on your own. A routine helps stabilize your schedule and leaves less time to think about using again. Helping someone else through volunteering is a great way to fill your time, and research shows that giving back helps recovering addicts to stay sober.
Someone newly sober should be sure to prioritize their mental health. The majority of addiction problems begin with self-medicating, to cope with some form of mental illness or trauma. Therapy, support groups, and check-ups are all ways to stay accountable and deal with the underlying issues that lead to addiction.
The rehab facility will likely work with you on an outpatient treatment plan, once you complete the inpatient program. Once you have a plan, stick to it. Whether you are attending meetings, attending a supportive church, or are simply reconnecting with existing family and friends, a support system is critical to your success.
Self-care also includes eating a nutritionally balanced diet and exercising. Endorphins released during exercise can help undo years of damage that addiction caused to the brain.
Again, recovering addicts need a strong support system to succeed in their sobriety. It's likely that your relationships have suffered, either because you holed up in the throes of your addiction, or you socialized mainly with other addicts. Surround yourself with non-addicts who will be a good influence for you, and get used to trying fun, new sober activities. You may even discover a talent you never knew you had.
If your loved one is in recovery, try new things with them, such as a new sport, painting, exercise classes, gardening, or going to the movies.
Relapses don't happen instantly or even overnight. Rather, they are the result of a backslide into former behaviors and bad decisions that set you up to give in during a moment of weakness. Be sure to constantly assess whether the choices you're making are good ones. Concentrate on the healthy habits you learned while in treatment to relieve stress. Everyone has their individual breaking point, so don't get too close to finding yours.
Relapse is most likely to happen within the first six months, but recovery is a series of lifelong decisions, so don't get complacent. If your loved one is in recovery, pay attention if old habits seem to be creeping back. Communicate any concerns you have with empathy, and remind them that you love and support them.
Getting sober can be a rocky road, but anyone in recovery can tell you it's worth it. At United Recovery Project, we're dedicated to helping those with substance abuse problems to enjoy a successful, lifelong recovery. We can help you with the next step and advise you on what to do after rehab.
If you, or someone you love, is struggling, please contact one of our specialists to seek help.


The 2008 financial crisis taught risk managers to widen their scope when assessing a company's risk exposures.
Six common errors in judgment and perception might explain why we think sharks are more dangerous than pajama fires.
Insurers and brokers may need to seriously rethink the risk assessment process.


Azadi, M. (2014). Assessment of Soil cohesion of Soils on Tunnel Excavation. Journal of Structural Engineering and Geo-Techniques, 4(2), 1-4.
Mohammad Azadi. "Assessment of Soil cohesion of Soils on Tunnel Excavation". Journal of Structural Engineering and Geo-Techniques, 4, 2, 2014, 1-4.
Azadi, M. (2014). 'Assessment of Soil cohesion of Soils on Tunnel Excavation', Journal of Structural Engineering and Geo-Techniques, 4(2), pp. 1-4.
Azadi, M. Assessment of Soil cohesion of Soils on Tunnel Excavation. Journal of Structural Engineering and Geo-Techniques, 2014; 4(2): 1-4.
Excess pore pressure under seismic loadings has always been a main concern in geotechnical engineering practices. Undergoing the phenomenon in a soil can cause the effective stress and hence the shear strength of the soil to decrease considerably and large deformations happen in the area. Generally, increasing the pore pressure occurs under the undrained condition. If it can be formed the drain conditions, its consequences decreases seriously. The damages caused by Excess pore pressure are divided in to two groups, surface damages and underground structures damages. Generally, first case is visible after the seismic loadings about which wide researches have been carried out. But in the second group, the lack of these occurrences and investigation problems cause the underground structures damages to be assessed less. There are several reports on devastations caused by excess pore pressure in the surrounding soil of the underground structures. As stresses and deformations of the tunnel lining increase, the surrounding soil of the tunnel is liquefied and large deformations are observed in the area. And if increasing the pore pressure occurs in the surrounding soil of the tunnel, improvement of the surrounding area of the tunnel, the stresses and deformations should be controlled to be set on the allowable limit. Therefore, evaluation of excess pore pressure effects on the tunnel lining can be regarded as an important issue. This paper is designed to focus on the topic.


text:
Memphis lawyer appointed as judge in D'Army Bailey's former court
NASHVILLE - Gov. Bill Haslam appointed a Memphis lawyer Tuesday as the new judge for Shelby County's 30th Judicial District.
Memphis lawyer appointed as judge in D'Army Bailey's former court NASHVILLE - Gov. Bill Haslam appointed a Memphis lawyer Tuesday as the new judge for Shelby County's 30th Judicial District. Check out this story on commercialappeal.com: http://memne.ws/2rWwyRa
The Commercial Appeal Published 11:23 a.m. CT March 8, 2016 | Updated 4:36 p.m. CT June 7, 2017
NASHVILLE — Gov. Bill Haslam appointed a Memphis lawyer Tuesday as the new judge for Shelby County's 30th Judicial District.
Valerie L. Smith, 40, will fill the seat formerly held by Judge D'Army Bailey, who died last year.
Smith has been an attorney at Nahon, Saharovich & Trotz in Memphis since 2006. She has managed hundreds of cases and practiced extensively in court in Shelby County as well as circuit courts throughout the state, the Tennessee Claims Commission, bankruptcy court and federal court, according to a release sent by the governor's office.
She served as assistant district attorney general in Shelby County from 2000 to 2006, where she worked on numerous jury and bench trials, managed various aspects of criminal prosecution and worked on special assignments including narcotics prosecution and the anti-gang unit. Smith was a clerk for Shelby County Circuit Court Judge James F. Russell from 1999 to 2000.
"We're fortunate to have someone with Valerie Smith's experience to bring to the bench in the 30th District," Haslam said in the release. "Her service in the Shelby County District Attorney General's office and her years of work in private practice have prepared her to serve the people of the 30th Judicial District well."
Smith said she was "honored and grateful for this opportunity to serve the citizens of Shelby County as a circuit court judge."
Smith received her law degree from the University of Memphis in 2000 after receiving a bachelor's degree in business administration from the University of Memphis in 1997.
She has been involved in numerous community activities, including membership in the Junior League of Memphis since 2002 and the Mid-Town Memphis Rotary Club since 2011. Smith served as a board member for Mid-South Spay Neuter Services from 2012-2015 and for the Rotary Club from 2012-2014.
Shelby County's courthouse was named in honor of Bailey, a longtime local judge and civil rights leader, following his death.
Read or Share this story: http://memne.ws/2rWwyRa


Although cancer immunotherapy was initiated by William Coley more than a century ago, the field of cancer vaccines is in an early stage of development. Only recently, major advances in cellular and molecular immunology have allowed a comprehensive understanding of the interaction between the immune system and the tumor. Data from several preclinical and clinical trials have confirmed the positive effect of the cancer vaccines which accompanied in several cases by positive clinical outcomes. In our article we try to discuss the new cancer vaccine strategies which are under development or in a clinical phase stage.


text:
GM's Guide: Combat Encounters
Posted on June 30, 2017 July 3, 2017 by Imperium Romanum
Running Combat Encounters
"I rolled a sixteen to hit, an eight for damage, and I don't want to hear how he died."
"Is it my turn yet? I want to shoot another one in the eye!"
The most important thing to know about running combat encounters is that you shouldn't do it as much as most GMs do. It's understandable why GMs tend to guide encounters towards violence. The combat rules in almost any major RPG (certainly in every edition of D&D) are more fleshed out than any one other field of activity, and that makes it easy to run. It's important not to try and nudge players towards specific approaches towards encounters, though. For the same reason GMs tend to fall back on them, players will fall back on combat regularly as well. They'll also want not to do that sometimes, however, and you should let them explore alternative options to resolving an encounter besides stabbing it to death. Don't think of any encounter as a "combat encounter." Players get to decide what kind of encounter it is. Don't fall into the trap of feeling like you're doing something wrong if your players end up talking their way through most or all of the encounters.
But okay, your players have decided they do want to stab this particular encounter to death. Running an effective combat encounter comes down to two things, description and tactics. The right level of description depends a lot on both the group and the context of the fight. As the DM of the Rings quote above illustrates, some players like to hear how awesome they were when killing an orc and others just want to get another mini off the battle map. Generally speaking, it's good to describe the first few times a certain monster type attacks, dies, or uses a special ability. The first time the party fights a goblin shaman, describe the goblin shaman reaching into his components bag for a sliver of never-melting ice and alchemical salt, slapping them together between his hands, and then when he parts them again a cone of cold shoots out to cover the battlefield. If the goblin casts another cone of cold in the same fight, shorten it down to something more like "the goblin claps his materials into a cone of cold." If goblin shamans are common or long-lived enough to get three or four castings of the spell out, it's probably best to just say he's casting cone of cold again. Likewise with plain old goblins making regular attacks or dying off.
It can't be stressed enough how important it is to know your group, though. If your descriptions of monster attacks are feeding into player descriptions of their own attacks or dodges, it might help keep the energy high much longer. It can also drag out the fight and kill the pacing.
Tactically, it's important to make full use of your monsters' abilities to the extent of their temperament. While it is reasonable that a dim creature might do things like charge out of a chokepoint to fight the party out in the open even when outnumbered, or that a cautious creature might conserve its special abilities until their situation is desperate out of fear that there might be another battle after this one is over, in general monsters want to win, know how to use their own abilities, and it is out of character for them to do anything else but what is most likely to defeat the PCs (with the exception of suicide tactics). Making good use of abilities makes enemies seem more distinct from one another, it puts pressure on the party to come up with specific counter-strategies to different enemy abilities and rewards their thoughtfulness if they succeed, and it helps maintain verisimilitude. Both challenge and fantasy benefit from monsters fighting smart, at least so long as they're in an environment they're familiar with.
Of course, smart monsters are more likely to TPK the party, and this leads to a temptation amongst some GMs to have monsters act like idiots, quietly lose half their hit points, or decide to flee just as they've seized the upper hand. Completely cleaning out the cast of main characters to replace them with new ones is not generally good for a story (even Game of Thrones rarely kills more than one major character at a time, and is usually illustrating a point about irrelevance of morality to military or political success when it does so), so GMs are rightly hesitant to do it, but trying to prevent it last minute is a sloppy solution. We'll talk more about how to defeat your party without killing them all in the Art of Adventures and the Art of Campaigns. For now, what's important to keep in mind is that monsters must fight to the best of their ability to survive in order to maintain both challenge and immersion. Being defeated is disappointing when it happens, but it makes it obvious that the victories are genuine, not just given to them by fiat because the DM is their friend and refuses to ever let them lose.
On a similar note, it was mentioned earlier that PCs might try specific tactics to try and neutralize monster abilities. Some of these are within the bounds of the existing combat rules, like positioning themselves so that no more than two of them can be hit by an AoE attack. Others, like trying to fire ballistae with chains attached in order to hit a flying dragon and force it to the ground where the melee characters can hack at it, will have to be improvised. A similar temptation to letting the party avoid TPK by fiat is to allow any plan the party comes up with to succeed by fiat, or worse, evaluating whether you think it's clever or foolish and then deciding its success or failure by fiat.
The key to success in D&D isn't supposed to be guessing what the DM wants you to do, nor guessing what the DM thinks is cool. That's metagaming, and you shouldn't be punishing your players for avoiding metagaming. As much as possible, the key to success in D&D is supposed to be about interacting with the world as though it were an objective thing. That's roleplaying, and in order to encourage it, the DM needs to be as objective as possible. That means not asking yourself "is this plan clever enough that it deserves to succeed" or "will the success of this plan be exciting?" What you should be asking is "what happens next?" The details for how to do that are in the Art of Rulings, but this is left here as a reminder that the short term excitement from a successful plan is not worth the long term ennui that comes as the players gradually realize that the game they're playing isn't about actually being clever, but rather about sounding clever enough to impress a capricious or condescending DM.
When designing opposition for combat, it's important to avoid just opening up a portal to the Elemental Plane of Orcs. Enemy variety is one of the most critical things to keeping combat interesting, and that means not just describing enemies as being different from one another, but also giving them different combat abilities. Not just different ability scores, an enemy with 2 less HP but 1 more damage per attack is barely distinguishable, but combat abilities. A powerful attack on a recharge, an ability that does lots of damage but has a one round wind-up and can be interrupted if it's damaged, an ability that inflicts a status effect, an ability that changes the positioning game (for example, flight, burrowing, or incorporeality), an ability that limits the players' ability to deal damage like fire resistance or immunity forcing the Wizard to dig through the spellbook for something other than his standby fireball, and so on. Don't just give these abilities to bosses, hand them out to mooks as well. Mooks who are fire resistant or who can fly and attack at range or who explode one round after they die make the entire adventure interesting and memorable, not just the final encounter.
An encounter almost always benefits from having at least two types of enemy who have some kind of synergy with one another. For example, a weak enemy with a powerful ranged attack on a recharge will cower behind bigger, tankier enemies while trying to recharge. A healer and buffer who keeps the front line healthy in the melee. Debuff casters who reduce the movement speed of party members, while ranged attackers kite them. Sometimes these encounters work best with one mini-boss supported by lots of weak enemies, sometimes as two different mooks mixed together, and sometimes just two or three powerful enemies, each with unique abilities. The "two or more types" isn't a universal law, only a general rule, so don't apply it to situations where it doesn't make sense (many wilderness encounters) or where a lone monster really would be more appropriate (a powerful, legendary monster fought in its lair probably doesn't need any help). Default to multiple enemy types in each encounter, but don't feel straitjacketed by it.
Don't tell the players directly what the enemies can do. Give them the same information that enemies will use to select targets. Some enemies have heavy armor and others don't, and just like the monsters, players can probably guess that the lightly armored monsters are reasonably likely to be casters, especially if they don't have any obvious weapons, and obviously once a monster has cast a fireball, the players can be pretty confident that the monster can do so again, and that other similar looking monsters likely have similar abilities. Clever monsters might intentionally mislead players by giving casters weapons they can't use, just to make them look like archers, but generally speaking monsters are dressing to impress one another with the abilities they actually do have, not confuse enemies into thinking they can do things they can't.
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USW graduates employed on ground-breaking TV fantasy, His Dark Materials
Students and graduates from the University of South Wales (USW) Film and TV School have been working on the production of the epic new TV drama, His Dark Materials.
Adapted by writer Jack Thorne from Philip Pullman's acclaimed series of novels, the series will have its global premiere on Sunday 3 November on BBC One and BBC iPlayer.
His Dark Materials is a Bad Wolf production. Through their not-for-profit educational initiative Screen Alliance Wales (SAW), Bad Wolf continues to develop relationships with local schools, colleges and universities, building career pathways and supporting young Welsh talent. Working with USW's Film & TV School Wales, SAW promotes a wide range of skills needed to work in the film industry, including traineeships, placements and shadowing, and an online networking and jobs portal.
Filming of His Dark Materials took place predominantly at Wolf Studios Wales in Cardiff and on location around the UK. More than 40 USW students and graduates have been involved in all stages of production and across a wide variety of roles. Filming is already underway on season two.
Tom Ware, Head of USW Film and TV School Wales said: "Everyone at USW is thrilled that, thanks to our close partnership with Screen Alliance Wales, we are able to create so many opportunities for our students and graduates to work on this ground breaking series. To be able to support so many talented young people now and on future series is both an honour and a privilege."
Andrew Creak, Caerphilly, BA (Hons) Film Graduate
Andrew is a production assistant trainee on His Dark Materials. Last year, he was on a work placement on season one, which led to a subsequent interview for his current role.
Andrew said: "I chose to study at USW as it's close to where I live and it has close connections with industry, such as Bad Wolf. Also, the creative arts industry is booming in Cardiff. I think one of the many reasons for this is that there are so many diverse locations for filming, everything you could need is within a 40 minute drive from the city centre.
"My degree involved different aspects of industry from film theory, history of film, to practical assignments making short films etc. We learnt all the different aspects of production – all working together to make something beautiful.
"It feels amazing to go from graduating to working on a high-quality BBC/HBO production. Studying at USW gave me the confidence to apply for work experience. During my first week, I got to work with one of my favourite actors but my favourite part of my role is being able to see every single part of the production – from pre-production through to post-production.
"This is my first proper job working in the industry. I never thought I would go into a role like this. I didn't even know this job existed when I started studying film.
"I would advise students to use their initiative and apply for lots of work experience. Be nice and people will remember you.
"Working for Bad Wolf has been phenomenal. The things I get to see and do as part of the production has been beyond what I could have imagined."
Ben Jenkins, Cwmbran, MA Film (Production Management) Graduate
Ben Jenkins has always had an avid interest in the business side of television. Since graduating from the Masters course, Ben has worked on productions such as; Bargain Hunt, Casualty, and Da Vinci's Demons. From there he went on to work as
Jane Tranter's Executive Assistant at Bad Wolf. Ben is now Operations Executive on His Dark Materials.
Ben said: "I researched the production management courses available and USW offered the exact high-quality course I wanted to study.
"Many of the tutors are industry professionals themselves, so there is not just great course content but they created contacts and opportunities for us.
"You no longer have to go to London to work in this industry, there are opportunities on your doorstep. Through Screen Alliance Wales, there are links to provide a minimum two-week work paid placement which gives a taster of the industry and a realistic experience of your potential career.
"Screen Alliance Wales also arrange traineships in various roles, which can be a springboard from graduating to traineeship to crew member, working from a runner upwards, which is how most people start in the industry.
"My advice to anyone thinking about working in this industry would be to grab any opportunity that is offered to you. These experiences will set you above your competitors.
"The film industry in Wales has exploded over the past four years. It is an incredible opportunity for Wales that we can build something like His Dark Materials. Viewers can expect a highly enjoyable visual experience with gripping drama."
Sarah Notley, Newport, BA (Hons) TV & Set Design Graduate
Sarah Notley studied BA (Hons) TV and Set Design at USW, and is now Art Director on His Dark Materials.
Sarah said: "Growing up in Wales, Cardiff was very enticing. I wanted to stay close to home and USW had amazing opportunities. I wanted to be a part of that.
"TV and Set Design was the perfect course for me creatively. Working on TV and film means there is no limit to what you can create.
"A large part of the course was learning to draft, so that was something I enjoyed and wanted to continue doing. As soon as I finished my course I knew that's what I wanted to do. I worked on different productions, and then was approached to apply for an opening as a draftsman, which I jumped at.
"A designer I knew called me to come in and work on designing Wolf Studios, after that I was asked to be on the drawing team. My first job was with Bad Wolf and I haven't stopped since, which is fantastic.
"His Dark Materials is very different from anything else I have worked on. A stand-out moment for me was last year. We had a huge location build for season one. The scenery was beautiful and the location was close to home. We created a set of 20 buildings inside a quarry. It was a long process involving a lot of people. It was a real highlight when we handed over the finished product for filming.
"Then the visual effects add to our level of work and the whole scale of this show is elevated. It adds a whole other level to what we have created.
"It's hard for me to watch the production on screen and not critique my own work. I always watch everything twice. The first time I will analyse it. If I don't do that I don't think I am doing a good job as art director. There is always something to improve upon and grow from. The second time I watch, I can relax and enjoy it.
"Nothing like His Dark Materials has been seen before. There are multiple worlds in the books, it's beautiful that we can explore those worlds on screen. That level of detail from the books really comes across on the screen.
"After being in the industry for a while, I have rarely worked outside Wales, I have been really lucky. I think Wales is a massive hub. USW is producing talented graduates and has enabled the industry to grow quickly. So many productions are here enticing people to come to Wales, they know there are professional crew members here."
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Lar is 16 years old and lives in Nonghet District, Xieng Khouang Province. This region of Laos has some of the highest levels of unexploded ordnance contamination in the country.
A lasting legacy of the Vietnam war, this means that safe spaces to play are limited, and many young people here have never had the opportunity to take part in organised sport. Lar is one of them.
Lar has yet to miss a training session since she began playing rugby.
Since she first set foot on the rugby field, Lar's experience in the game has been extremely positive.
Winning games is not a priority, as Lar says it is more important for the players to know that they have tried their best, and to focus on how to improve their game play in the next match. But achieving first place at the end of the competition was a proud moment for everyone.
"We all improved our rugby skills, helped each other as friends and teammates, and had much better communication while playing," explains Lar.
In 2017, Lar travelled to Belfast to compete in a tag rugby competition as part of the Women's Rugby World Cup. She was one of five player from Laos who made up the Southeast Asia Dragons team, which also included 10 other ChildFund Pass It Back players from Vietnam and the Philippines.
It was an incredible experience for her: "I felt so happy because I had a chance to visit Ireland; a place I have never been before. I also learnt new rugby skills, such as passing, and I had the chance to learn some Filipino and Vietnamese from the other ChildFund Pass It Back players.
Today, Lar is a young woman who knows that passion, perseverance and hard work can pay off. As a rugby player with ChildFund Pass It Back, she has not only taken part in the adventure of a lifetime, but now has life-long skills, knowledge and increased personal confidence on which to build her future.


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MistressTheodoraFeelMeBigCockRuthSableYoureXstacy .EstellaBootychristopher3434SandySugarlipsErika787 .Sweet1Natashasexpasion121SnezhanaSweetAshlyRose .10inckoreandollKenAceAngelRussellAmazingCandyxxx .KARINAvsTAVYsexyfoxy22KatrinaHotLovesexyfoxy22 .AmberHazeDulceColMilidollAline7kyra .RomanCaidenNNICOLAS8zombieboiRomanCaiden .SeleneEvansLaura71PerfectASS21LaraHiltonn .MistressTheodoraRuthSableKatrinaHotLoveDulceCol .SnezhanaSweetNNICOLAS8a0MachoMichaelSoHotMenny .ANDHREYLOVEmmaRyderKatrinaHotLoveErickaLust .
4EverIntoFet1shSandySugarlipsSoHotMennyYoureXstacy .AshlyRoseErika787ReddTurnzHeadsDebbieSEXY .EmmaWilderHarukaTomoRosseSweetsebastian69queen .TanyaforyouEmmaRyderJanetteFoxDulceCol .YoureXstacyAmberr4AmberHazeJenny88 .MilaKerr4EverIntoFet1shCurvyKitty92AmberHaze .DinaDiRosePowerOfLustLillyRoonewJOY .GalvinRicardNewAmoresexyfoxy22IreneFrost .10inckoreandollGoldenNikkySonnyaDarlinM1STRESSLOVE2CUM .MayaNicolleEmmaRyderMilaKerrHotFoxy4u .AvaGarrnLaraHiltonnAliriaRomanCaiden .


Espresso…the purest form of the coffee beverage. No other brewing method holds the mystic, flavor, and esteem as does the coveted espresso. It is truly sad that an estimated %80 of coffee shops don't even know how to properly brew this great drink! Espresso is unparalleled in the way it exposes the coffee for what it is…there is nowhere for subpar beans to hide. This drink has been enjoyed by the elite, and it has not been very practical for the regular 'Joe' to enjoy a genuine espresso for a reasonable amount of effort, or for a reasonable price…until now!


text:
//
//  AduuView.h
//  libAduu
//
//  Created by LingYun on 13-8-15.
//  Copyright (c) 2013年 LingYun. All rights reserved.
//

#import <UIKit/UIKit.h>
#import "AduuDelegate.h"
#import "AduuConfig.h"

@interface AduuView : UIView

//默认是随机切换
@property (nonatomic,assign)                      AduuBannerAnimationType bannerAnimationType;

//切换效果持续时间间隔 默认0.6
@property (nonatomic,assign)                      CGFloat animationDuration;
//刷新广告时间 默认15秒
@property (nonatomic,assign)                      NSInteger updateTime;

/**
 *	初始化AduuView
 *
 *	@param	sizeIdentifier	banner大小标志
 *	@param	delegate	AduuDelegate
 *
 *	@return	AduuView
 */
- (id)initWithContentSizeIdentifier:(AduuBannerContentSizeIdentifier)sizeIdentifier delegate:(id<AduuDelegate>)delegate;

/**
 *	开始获取广告
 */
- (void)start;

/**
 *	停止获取广告
 */
- (void)stop;

/**
 *	设置banner广告位置
 *
 *	@param	point	banner坐标
 */
- (void)setAduuViewOrigin:(CGPoint)point;

@end


Franke Monje – Water Skier Extraordinaire!
Frank Monje liked to waterski! He liked it a lot! Frank and his family had a cottage on Emerald Point in the 1960s and 70s and later another cottage near Bonnie Castle. Relatives told me that during summer nights you could count on Frank waterskiing on Sodus Bay almost every night weather permitting. He would start on two skis and then go to single slalom skiing. He would then change to water skiing backward all the while chewing on a toothpick and smiling the entire time. Another thing that you could count on with Frank was always having a black lab as a side kick. He had many of them over the years. He would spend those nights on the Bay when he could not ski tossing stones into the water which his black lab "Smokey" would retrieve for hours on end. A later black lab named "Surf" would waterski with him!
Frank's family migrated from Holland in 1912 and settled in the Newark area. Outside of waterskiing, Frank was an outstanding and well known mason who among other things did cobblestone restoration which takes both a great deal of skill and patience. Frank was a humble man but he liked challenges. He always liked to push the envelope especially when it came to waterskiing. This is why in 1977 he decided to waterski from Sodus Point to Canada and back only telling a few friends he was going to do it. After nearly 4 hours, Frank returned exhausted and triumph.
Frank Monje and friends the morning he crossed the lake. Photo courtesy of Vicki Bolleman Fischer.
So what's a fella who likes challenges to do, for an encore after this?
The following year on September 2, 1978, Frank waterskied (again on one ski) 115 miles from Fort Niagara, Canada to the Sodus Point Coast Guard Station in 4 hours and 18 minutes. At the end of the trip he was so exhausted he had to be carried to the dock, but he did it!
Sadly, Frank Monje has now passed away but if they have waterskiing in Heaven, you know where you can find him.


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Baker wins south-east England award for services to athletics
Chichester City beat Steyning in the RUR Cup - picture gallery
SportCricket
Chris Jordan and Phil Salt to leave Sussex after rejecting contract offers
Chris Jordan and Phil Salt will leave Sussex when their contracts expire at the end of this season.
By Steve Bone
Friday, 27th August 2021, 9:00 am
Updated Friday, 27th August 2021, 9:58 am
The England pair were offered new contracts by the club but have decided to take up new challenges.
Jordan is rejoining Surrey while Salt is switching to Lancashire - the host county for the Manchester Originals in The Hundred, for whom he has been playing in recent weeks.
A Sussex CCC statement said: "We are disappointed to bid farewell to two players that have developed into extremely fine players, represented their country and played in some of the most high-profile leagues around the world during their time at Sussex.
Chris Jordan in Blast action for Sussex / Picture: Getty
"However, we fully respect their decisions and understand their reasons for moving on to new clubs, where we wish them every success.
"Everyone at Sussex Cricket would like to thank Chris and Phil for their service and contribution both on and off the pitch. We are very proud of them and what they have achieved while wearing the Martlets and will miss their company. We look forward to enjoying their performances for the remainder of the season."
See Sussex CEO Rob Andrew talk about the pair's departures and the upcoming trip to Vitality Blast Finals Day in the video above.
Jordan said: "To be saying goodbye to everyone at Sussex has to be one of the toughest things I've had to do to date. In my time at the club I have realised my dream of playing international cricket and I have formed lifetime relationships.
Phil Salt has had a fine Blast campaign for Sussex but is moving on / Picture: Getty
"I now feel it's time for me to take on a new challenge. I am very proud to have represented such a great club. I want to thank the entire back room staff and my teammates who have been a part of the journey but most importantly the fans and supporters who have made the entire experience extremely special.
"I want to wish everyone at Sussex the best of wishes because the club will always hold a special place in my heart. GOSBTS."
Salt said: "It will be with mixed emotions that I leave Hove at the end of the season. It has been an incredible journey for me since I first came down to Sussex at 17.
"I'd like to thank my teammates, the entire coaching and backroom staff, the Sussex fans for their brilliant support, and all those who work so hard behind the scenes to make Hove the special place that it is.
"This has not been an easy decision to make. Sussex is a special place to play cricket and I will be forever grateful to the club for giving me an opportunity back in 2013.
"There are too many people to thank over the course of the last eight years, I've met some outstanding people and formed lifelong friendships both on and off the pitch and for that I am extremely thankful.
"I wish everyone at Sussex all the best in the future. The club is in good hands with James Kirtley and Ian Salisbury with an exciting group of young players who I hope will bring the club success in years to come.
"Finals Day is going to be a great occasion and hopefully we can put in a performance to make you guys proud and bring the club a trophy. #GOSBTS"
SussexLancashireRob AndrewEnglandSurrey
Worst ever conditions? Chichester cross country team unfazed by mud and rain
Five Sussex teams win in Isthmian League south east - report and Hillians slideshow
Bognor held by Horsham - the match in pictures
Sporting behaviour to the fore as Chichester and Bognor pupils vie for football honours
Chichester WILL stage 10k in 2022 - but a new-look one


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Tag Archives: Jenna Fischer
The Office – "The Lover"
This review is going to seem somewhat hypocritical, as I have always been a known supporter of serialized sitcoms. However, there are times when there are elements in previous episodes that I don't necessarily want to see continue, left to remain as an enjoyable aside that is left to the audience's imagination. Even heavily serialized shows like The Wire would often introduce small elements that aren't part of some broader serialized storyline but rather sit under the surface and add to our understanding of these characters.
I know that I was being more than a bit idealistic, but I had really hoped that The Office would resist the temptation to take Michael's rendezvous with Pam's mother and follow it through to this logical but blown up conclusion. That small moment in "Niagara" was a shocking moment for the coda, but for it to turn into an entire episode played out like melodrama more than an episode of comedy. The episode succeeds in finding some comedy in the setup to the situation, with Pam's realization proving to be an absolute highlight, but once things become about yelling things begin to fall off the rails a little.
It isn't that this is a failure, as I thought the episode did a few interesting things on the dramatic side of things, but in its desire to be both comic hijinks related to the scenario and a depiction of Michael Scott's eternal sadness it never quite connected on either front.
Filed under The Office
Tagged as Affair, Chicano Mural, Chills, Comedy, Dwight, Entertainment, Episode 7, Fedora, Honeymoon, Jenna Fischer, Jim, Listening Device, Love, Mallard, Meredith, Michael Scott, NBC, Pam, Pam's Mom, Ryan, Steve Carell, Television, The Lover, TV
Season Premiere: The Office – "Gossip"
When The Office premiered last year, it was with an hour-long episode which broke a number of rules in terms of pacing and everything else. That was an episode that was about establishing a relationship between Michael and Holly, and about emphasizing the impact of Michael and Pam's time apart on their relationship. When the latter story came to a climactic moment at the end of the episode, it felt wholly earned, and really made the episode stand out as likely the show's best premiere to date.
"Gossip" is not interested in doing any of that, really. If "Weight Loss" was a complex game of parkour designed to get from Point A to Point B in the most inventive and complex fashion (with its various time periods and the weigh-ins to provide a sense of progression over the summer months), then this year's premiere is a far simpler equation. The episode's Point A is Jim and Pam keeping her pregnancy a secret, and the Point B is the office finding out about said pregnancy, and Paul Lieberstein's goal as a writer is to get there in a strong twenty-one minute segment of comedy.
And by keeping things simple, the show creates an engaging and funny premiere, one which doesn't aim for the heights of last year nor does it really need to. By drawing comedy out of a very simple but well executed concept that plays to Michael Scott's strengths as a character (and thus faults as a human being), we get a story that takes a common workplace element (gossip, clearly) and lets it loose in a group of characters we know and love.
It isn't rocket science, and that's what makes it work so well: this isn't a show that needs bells and whistles, or one-hour premieres, to make me laugh. And while I might like The Office best when Michael is given a bit more credit, the episode walked that fine line with great success for a wholly satisfying (if not mind-blowing) premiere.
Tagged as Affair, Andy Bernard, Creed, Ed Helms, Entertainment, Episode 1, Gossip, Interns, Jenna Fischer, Jim Halpert, John Krasinski, Lies, Michael Scott, NBC, Office Season 6 Premiere, Pam, Parkour, Pregnancy, Premiere, Rumors, Season 6, Season Premiere, Stanley, Steve Carell, Television, TV
2009 Emmy Nominations Analysis: Power to the People?
Power to the People?
2009 Emmy Nominations Analysis
The people have the power, and the people have pretty darn good taste.
That's the story out of this year's Emmy award nominations (click here for Cultural Learnings' list, and here for the Academy's) where a few key surprises and a couple of major snubs indicate that the popular vote was not in any capacity an absolutely travesty for the Academy, as some quite logically predicted. I spoke earlier this week about just what the definition of popular would end up indicating, and the answer appears to be a healthy combination of an appreciation of great television and an eye for trendy selections. The result is an Emmys where nearly every category has a silver lining, and where a few snubs are not enough to give the impression that there's going to be some very deserving winners in this field.
Mad Men and 30 Rock Dominate
There is no surprise here, don't get me wrong: no one expected the iron grip of these two shows to stop after dominating last year's proceedings. However, the scale of that domination is quite ludicrous. 30 Rock has 10 acting nominations, 4 writing nominations, 3 directing nominations, plus its nod for Best Comedy Series and all of its other technical nods. The result is an absolutely staggering number of nominations, and I'm happy about it: I like seeing Tracy Morgan, Jack McBrayer and Jane Krakowski all get nominations for their work along with Fey and Baldwin, and although the four writing nominations kept other shows out of the running they are four pretty fantastic episodes.
Mad Men, meanwhile, didn't add quite as many nods, although it did pick up a Lead Actress nomination for Elisabeth Moss, which makes me extremely happy. As I said in my preview, I really expected January Jones in the category, but I prefer Moss' less showy role at the end of the day. Still, combine with Hamm (also nominated for his guest stint on 30 Rock) and Slattery returning (I'd have preferred Kartheiser, but I'll take it), and its own four writing nominations (plus a directing nod), and the show is without a doubt dominating on the drama side of things.
Out with the "Popular," In with the Popular
In the biggest shocker of all considering the popular vote, the Comedy Series category had one shocking exclusion and one suprising (but oft predicted) inclusion. The exclusion is the most popular comedy on television, in terms of viewers – Two and a Half Men failed to secure a comedy nod, something it has done in years previous. This makes me question the definition of popular, especially with the inclusion – Family Guy, the first animated comedy series since The Flintstones to make it into the category. While The Simpsons always chose to compete in the Animation category because it also reflects the work of the animators, Family Guy chose to cut out the animated part and compete with the big boys, and it paid off. However, unlike last year where they could submit their Star Wars special in order to get credit for the animators, this year they're left off entirely, so MacFarlane's ego is being boosted at the expense of the show's direction.
The Sophomores Triumph
No one was quite sure what would happen with Breaking Bad, a second year show that won Emmys last year but without much support around it. Well, we have our answer: although snubbed out of both directing and writing, the series picked up a nomination for Drama Series, and Aaron Paul snuck into the highly competitive Supporting Actor (Drama) category for his work on the show, in addition to Bryan Cranston's nomination for Lead Actor. Damages also impressed, delivering nominations for William Hurt (undeserved, but whatever), Rose Byrne, Glenn Close, Ted Danson (Guest), as well as Series and Directing nods.
The Freshmen Fail
True Blood had a real shot at some awards love, but it was empathically shut out of the proceedings: it'll probably contend with United States of Tara for best Title Sequence, but with no Drama Series or Lead Actress love, it's clear the Emmys didn't find its vampire story appealing. That's unfortunate for the show, but it's a trend: no Freshman series broke into the series categories, and only Simon Baker (The Mentalist) and Toni Colette (United States of Tara) made their way into the major categories.
HBO "Domination"
In a popular vote, nobody quite knew where HBO would end up, but the answer is in far better shape than people anticipated – although Mad Men and Breaking Bad have AMC as the new "it" network, HBO is still holding some cache. Not only did Big Love score a huge surprise nomination as the 7th contender in the Drama Series race, but Flight of the Conchords is honestly the biggest story of the awards. With a Comedy Series nomination, a shocking Lead Actor nomination for Jemaine Clement, plus both writing and directing nominations, the show blew onto the radar like it wasn't struggling with growing pains in its second season. While everyone saw the show's Carol Brown getting an Original Song nod, the love wasn't anticipated. The network also performed well with In Treatment, which missed the Drama Series race but picked up three acting nods (Byrne, Davis, Wiest).
The Year of How I Met Your Mother
I let out an extremely girlish "Yay," nearly dropping my computer, when How I Met Your Mother was listed as one of the nominees for Outstanding Comedy Series (and I even predicted it!). I know it has no chance in the category, but its nomination is a vindication of the highest order that voters went with the popular vote, and that it jumped from not even being in the Top 10 to being in the Top 7. I call it the Year of HIMYM, though, because Neil Patrick Harris has an open door to pick up an Emmy for Supporting Actor in a Comedy – long live Barney Stinson.
After the jump: Surprises! Snubs! Etc.!
Filed under Emmy Awards
Tagged as 2009, 24, 30 Rock, 61st Primetime Emmys, Aaron Paul, Amy Ryan, Analysis, Animated, Battlestar Galactica, Better Off Ted, Big Love, Boston Legal, Breaking Bad, Cherry Jones, Comedy Series, Dexter, Drama Series, Elisabeth Moss, Elizabeth Mitchell, Emmy Nominations, Emmy Snubs, Emmys, Entertainment, Family Guy, Flight of the Conchords, Friday Night Lights, HBO, How I Met Your Mother, James Spader, Jenna Fischer, Jeremy Piven, Jim Parsons, John Krasinski, Jon Hamm, Justin Timberlake, Katherine Heigl, Kristen Chenoweth, Kristen Wiig, Lost, Mad Men, Michael C. Hall, Michael Emerson, Neil Patrick Harris, Nominations, Nominees, Padma Lakshmi, Portia De Rossi, Pushing Daisies, Rainn Wilson, Simon Baker, So You Think You Can Dance, Surprises, Television, The Big Bang Theory, Tina Fey, Top Chef, True Blood, TV, United States of Tara
2009 Emmy Award Predictions: Supporting Actress in a Comedy Series
Supporting Actress in a Comedy Series
There are some years where you expect a lot of turnaround in categories, and this is a fine example of that: Kristin Chenoweth is unlikely to make it back for canceled Pushing Daisies, Vanessa Williams could lose her spot with Ugly Betty's fall from cultural relevance, Amy Poehler is focusing her efforts on the Lead Actress race, and even last year's winner Jean Smart could be in trouble with Samantha Who? being canceled. This leaves only Holland Taylor, whose role on Two and a Half Men seems to be pretty safe in terms of garnering another nomination, and thus five spots are potentially open for new entrants into the category.
Chances are that some of those faces will actually be familiar ones, just those which have been out of the category as of late. Elizabeth Perkins has made it here before for her role on Weeds, and there's every chance that she could return. She could be joined by Conchata Ferrell of Two and a Half Men, who could return depending on the way the popular vote reacts to Two and a Half Men: was its success driven by popularity or by its traditional sitcom familiarity in the panels? Only time will tell, for now.
The one return that feels absolutely necessary is Jenna Fischer, who did some really strong work on The Office and deserves recognition for it after being snubbed last year. Similarly, Jane Krakowski is playing a tough role on 30 Rock, as Jenna is often used in ways that don't really do the character justice and turn it into a thankless, one-note part of the show. However, when she has strong material (like when she faked her death, or had an epic battle with Tracy resulting in Jenna wearing black face), she's absolutely fantastic, and deserves to ride the show's momentum to a nomination.
The new contender in the field, meanwhile, is Rosemarie DeWitt, whose role on United States of Tara showed some nice evolution. While the similarity of this role to her role in Rachel Getting Married (woman jealous of her damaged and thus attention-seeking sister) was at times a detriment to understanding how good she is at it, it'll work well for voters who know her from that film and who know that she probably deserved a shot at the Oscar with her performance, and likely deserves a shot at the Emmy here.
Predictions for Supporting Actress in a Comedy
Rosemarie DeWitt ("United States of Tara")
Jenna Fischer ("The Office")
Jane Krakowski ("30 Rock")
Jean Smart ("Samantha Who?")
Holland Taylor ("Two and a Half Men")
Vanessa Williams ("Ugly Betty")
Tagged as 30 Rock, Conhata Ferrell, Elizabeth Perkins, Emmys, Entertainment, Holland Taylor, Jane Krakowski, Jean Smart, Jenna Fischer, Kristen Chenoweth, Nominations, Predictions, Pushing Daisies, Rosemarie Dewitt, Samantha Who?, Supporting Actress, Supporting Actress in a Comedy, Television, The Office, TV, Two and a Half Men, Ugly Betty, United States of Tara, Vanessa Willams
The Office – "Surplus"
Last season, an episode like "Surplus" would have felt like a godsend at this stage of the season. After getting bogged down in hour-long episodes with no direction, something so driven by office politics and Michael's inability to make a decision would feel like a breath of fresh air.
Instead, it felt a little bit too slight. While the charm was there, and it was a nice showcase for Jenna Fischer's Pam in particular, I think I was missing something to set the episode apart. While the central storyline had its charms, the B-Story felt more like a predictable distraction, and I'd rather have eschewed the plot entire in favour of a more complete reaction to the crisis of Copier vs. Chairs.
But, nonetheless, I consider it a good sign for the show: a show that has a problem with excess needs one of these every now and then, an episode that is almost entirely fat-free and plentiful in, if not stuffed with, comedy.
Tagged as Burlington Coat Factory, Chairs, Copier, Dwight Schrute, Entertainment, Episode 10, Jenna Fischer, Jim, Michael Scott, NBC, Pam, Season Five, Surplus, Television
November 6, 2008 · 11:52 pm
The Office – "Customer Survey"
My complaint about The Office recently was that it felt inorganic: that between the concerns over Pam and Jim's future, and the sad departure of Amy Ryan, and the battle between Dwight and Andy feeling like something we've dealt with too often in the past, last week's episode just felt "off." This week, things are less momentous but, to be honest, more consistent with what I come to expect from the show.
And on all of the fronts involved, we just got a more full-featured storyline: while removing the focus from Michael is rough when Holly brought such a great new dynamic to his character, we got to see Jim and Pam move to the center of the narrative even while entirely apart. The episode's gimmick seemed like it could be quite lame, but it was used in a couple of charming ways and proved a potent device for the conclusion. Combine with some smart use of Michael and Kelly Kapoor, and you have an episode that just felt more natural to me, even with a bug in its ear.
Tagged as Customer Survey, Entertainment, Episode Six, Jenna Fischer, John Krasinski, Kelly Kapoor, NBC, Season Five, Stephen Merchant, Television
The Good, the Bad and the Ugly: Dissecting the 60th Annual Primetime Emmy Awards Nominations
Emmy nomination morning is kind of like Christmas morning – you're all excited about it as it approaches, wary of the potential surprises and the like, etc. But, unlike Christmas that ends in the complete elimination of suspense, the Emmy Awards are the start of a whole new game. In this case, not only do we react to what just happened (The good, the bad and the ugly of it) but also to what will happen in September when somebody in each of these categories has to win one of the darn things.
For now, it's time to take a look at the big stories out of this morning's nominations (You can check out the fill list here).
30 Rock Domination
The Good: With a ridiculous 17 nominations, 30 Rock is the most nominated series at the awards. This includes nods for the series itself, Alec Baldwin, and Tina Fey, along with two writing and one directing nomination for the series, along with well deserved guest acting noms for Elaine Stritch, Edie Falco, Carrie Fisher, Will Arnett and Rip Torn.
The Bad: The rather unfortunate snubs of Jane Krakowski and Jack McBrayer sting a little bit, but they had tough races and this isn't too much of a surpise.
The Ugly: Steve Buscemi and Tim Conway do not deserve guest acting nominations for this show – Buscemi was great, but he was barely in the episode, while Conway coasted on his past success with a role that never fit into the episode. Matthew Broderick, Dean Winters and David Schwimmer all did considerably better work on the series, and that they are not represented here is extremely unfortunate.
Lost is Back in the Race
The Good: In perhaps my favourite news of the ceremony, a bump to six nominees in the Drama Series category sees Lost make it into the fray ahead of Grey's Anatomy, securing its first nomination in the category since its first season. Michael Emerson also grabbed a Supporting Actor nomination, as expected, while I'm extremely pleased to see Michael Giacchino pick up a nod for his great composing for "The Constant."
The Bad: Still a bit annoyed that so few other supporting players were eligible for the major awards, so it's a bit disheartening to see most of the show's nominations coming from sound editing, mixing, editing, etc. when the cast is so deserving.
The Ugly: Despite getting the show nominated for an Emmy, no room is found for "The Constant" in writing or directing categories; the latter isn't too disappointing, but the former is a bit more surprising and disheartens me as to Lost's chances in the major categories.
Pushing Daisies Blooms…and Busts
The Good: Announcing the nominees was good luck for the ever charming Kristin Chenoweth, who along with co-star Lee Pace picked up an acting nomination to go with the series numerous technical, writing and directing awards resulting in the third highest total with 12 nominations.
The Bad: Unfortunately, they weren't joined by their co-star Chi McBride, who really should have made the Supporting Acting Top 10.
The Ugly: And yet, despite all of this, the show failed to net a nomination for Best Comedy Series, an omission that just doesn't make any sense. I will rant about who I think should have gotten the boot in a moment, but this is an oversight that will haunt the Emmys for a long time in my books, and is surprising considering both Pace and Chenoweth making their respective races.
Damages Gets it Right
The Good: So much, mainly the fantastic inclusion of Zejlko Ivanek in the Supporting Actor race, is right with this picture. Along with Ted Danson, they are a strong force in that category, and they're joined by Glenn Close in the Best Actress race, and writing/directing/series nominations for the fantastic pilot.
The Bad: While it's not quite what I'd call a bad thing, it's a big surprise to see Rose Byrne snubbed in Supporting Actress Drama. Mind you, I was never a fan of her performance so I would personally not put her into the category, but that Emmy voters didn't is surprising.
The Ugly: Not much, to be honest – while I felt the series fell apart at the end, the nominated performers and the Pilot were both great, so I'm content with this performance.
The Rise and Fall of The Office
The Good: Rainn Wilson and Steve Carell return to the nominations circle along with their series this year, including a number of directing and writing nominations for the uneven but very solid fourth season.
The Bad: Amy Ryan, fantastic in the finale "Goodbye, Toby" gets snubbed for her great turn in the episode, joining Sarah Chalke as examples of Emmy voters ignoring great performances from younger female competitors in favour of older ones (With Sarah Silverman being the only youth candidate, and a kind of annoying one).
The Ugly: Jenna Fischer, deserving of a win last year, doesn't even break into Supporting Actress Comedy this year, and John Krasinski literally has his spot stolen away in Supporting Actor. Apparently the love for Jam at the Academy is limited, which is unfortunate as they both do great work.
Tagged as 30 Rock, Amy Poehler, Anne Dudek, Awards, Battlestar Galactica, Blair Underwood, Breaking Bad, Damages, Dexter, Emmys, Entertainment, Entourage, Flight of the Conchords, Glenn Close, Grey's Anatomy, House, How I Met Your Mother, Hugh Laurie., In Treatment, Jeff Probst, Jenna Fischer, Jeremy Piven, John Krasinski, Kevin Dillon, Kristin Chenoweth, Lost, Michael C. Hall, Michael Emerson, Michael Giacchino, Neil Patrick Harris, Nominations, Pushing Daisies, Satuday Night Live, Snubs, Survivor, Ted Danson, Television, The Amazing Race, The Colbert Report, The Office, The Wire, Tina Fey, Two and a Half Men, Ugly Betty, Vanessa Williams, Zeljko Ivanek


text:
Q: How can I select and save data row in a table? C# ASP.NET MVC 5 I have to select rows from a table and then I have to send it to my data base in SQL SERVER to process that data. I thought that I can save this selected items into a JSON string and then the Stored Procedure can receive that string.
I have this in my .cshtml file:
@model List<model.entity.Recibo>
@{
    ViewBag.Title = "Recibos Pendientes";
}

RecibosPendientes

            ID Recibo
            Fecha
            Concepto de Cobro
            Seleccionar

        @foreach (var objetoRecibo in Model)
        {

            Ver
            @objetoRecibo.IdRecibo
            @objetoRecibo.FechaEm
            @objetoRecibo.NombreCC

            <input name="RecibosMarcados" type="checkbox" value="False" />

        }

    <button type="button" class="fa-cc-visa" onclick="">Pagar</button>

It looks like this.

I am not pretty sure how to save the selected ID columns and save it into a JSON string when I press the Pagar button.

A: Use a <Form> tag, and the id that you want to send should be put in a hidden input. e.g.
<input type="hidden" name="IdRecibo[@objetoRecibo.IdRecibo]" value="@objetoRecibo.IdRecibo">

The name is made unique by having an array notation in the name attribute.  You need to have a method to deal with the form post request as well.  I suggest having a read about that in an asp.net book or microsoft's documentation.

redpajama_set_name: RedPajamaStackExchange


A player's rating indicates his percentile rank in CAPS. griffinfinity is outperforming 90.13% of all CAPS players. A player's score is the total percentage return of all his picks subtracting out the S&P. A player's accuracy is how often that player has made correct predictions.
"Make the most of all that comes...the least of all that goes"


Garrett GTX2860R Stock Location Turbo & Manifold for 2.0T FSI / TSI 40 | EXOTICSPEED INC.
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Come to Dugger Family Farm in Morristown, Indiana, for a free afternoon of learning and socializing with other farmers. Hosted by Indiana Farmers Union, this event will walk guests through the basics of the Food Safety Modernization Act and how it may affect them as produce growers. Participants also will learn the basics to start writing a farm food safety plan to safely grow their farm operations.
Indiana Farmers Union advocates for the economic and social well-being and quality of life of Indiana family farmers and consumers and their communities through education, cooperation and legislation. INFU promotes the sustainable production of food, fiber and feed. For more information about Indiana Farmers Union, visit www.indianafarmersunion.org.
Date: April 15, 2:30 to 4:30 p.m.


It's hard to believe but 2015 sees the 150th anniversary of Alice In Wonderland. For this writing prompt your character is inquisitive just like Alice. Maybe they won't have such grand of adventure as she did but what gets their interest and what are the consequences?


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Home » Hard Rock » Aerosmith - Night In The Ruts (1979)
Aerosmith - Night In The Ruts (1979)
*U.S. first pressing.
This pressing was mastered by George Marino.
Contains 9 tracks total.
Label Number: CK 36050
© 1979-1988 Columbia Records
Night in the Ruts Review by Greg Prato
By the time Aerosmith's sixth studio release was issued, 1979's Night in the Ruts, guitarist Joe Perry had finally left the band after years of drug-fueled bickering with singer Steven Tyler (forming the Joe Perry Project by year's end). Most of the tracks were completed before Perry's departure, with replacement Jimmy Crespo filling the few empty spaces. And while the band looks back upon this period as hazy and frustrating, Night in the Ruts is a surprisingly coherent and inspired album. Although it's not up to par with such classics as Toys in the Attic or Rocks (although it could have been if the band weren't in such a state of turmoil at the time), it was definitely leaner and more focused than their last studio release, Draw the Line. Highlights include the striking opening rocker, "No Surprize," which recounts the band's early history, as well the driving yet melodic "Chiquita," the jamming "Three Mile Smile," the furious "Bone to Bone," and a pair of covers -- the Yardbirds' "Think About It" and the novelty number "Reefer Head Woman." The only lowlight is a weak cover of the Shangri-Las' "Remember (Walking in the Sand)," which was inexplicably issued as a single and included on 1980's Greatest Hits. While the album performed respectfully on the charts, the ensuing tour did little to boost sales -- it was marred with canceled dates and lackluster performances brought on by Tyler's substance abuse.
tags: aerosmith, night in the ruts, 1979, flac,