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Home News gary lineker reacts to liverpool win vs leicester on twitter raves about james milner
Gary Lineker reacts to Liverpool win vs Leicester on Twitter, raves about James Milner
John Blake
Former England striker turned popular football pundit Gary Lineker has showered praise on Liverpool via Twitter after the Reds earned an emphatic 3-0 win against Leicester City on Sunday at Anfield.
Both Diogo Jota and Roberto Firmino found the net while an own goal from Jonny Evans meant Liverpool climbed to second in the Premier League table, equal on points with Tottenham Hotspur and only separated by goal difference.
Lineker has hailed Liverpool's result as an 'emphatic victory'. He feels that it has been an 'exceptional display' from the Reds, despite the squad being ravaged by injuries.
Well played @LFC. An empathic victory from a superb side. Massive credit to Jürgen Klopp for conjuring up such an exceptional display despite the injuries. 👏🏻👏🏻
— Gary Lineker 💙 (@GaryLineker) November 22, 2020
The former great Leicester striker was also in awe of Liverpool midfielder James Milner who was simply outstanding on the night. Lineker has hailed Milner's impact as 'remarkable'.
He's remarkable. 👌🏻 https://t.co/sbaUvNJ2EI
The 34-year-old took the captain's armband in the absence of Jordan Henderson and played at right-back, filling in for the injured Trent Alexander-Arnold.
After Naby Keita got injured in the 54th minute, Milner dropped to midfield while Neco Williams took his place at right-back.
Class tonight, @JamesMilner 🤩 pic.twitter.com/ziEO8kBuc3
— Liverpool FC (@LFC) November 22, 2020
Milner – who joined Liverpool from Manchester City in 2015 – will arguably go down in the club's history as one of the best free signings of all time.
He is a leader on the pitch and has been a key player in Liverpool's massive success under Klopp. The three-time Premier League winner is a versatile player and Klopp has used him in multiple positions in the past few years. Whichever position he has played at – right-back, left-back, central midfield, wide left, wide right – his performances have always been exemplary.
Against the Foxes, he registered 104 touches, completed 57 out of 64 passes attempted, created five chances and picked up an assist (his 85th in the Premier League) for Firmino's goal.
The manner of the victory sends an ominous warning to all the potential rivals who are hoping to snatch the title away from the Champions.
With 56% of ball possession, and 24 shots attempted, it has been a complete dominance against a well-drilled Leicester side that won six games in a row prior to their visit to Anfield.
All the talks of Liverpool being vulnerable before the Foxes' visit due to their depleted squad have been put to bed with such a rampant display, and in the process, they have also established a new club record of going 64 home league games unbeaten.
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Home » Fashion Blogs » Marques'Almeida Fall 2022 Ready-to-Wear Collection
Marques'Almeida Fall 2022 Ready-to-Wear Collection
This film of Marques Almeida's models striding breezily through the sea off the northern Atlantic coast of Portugal might give a misleading impression. This wasn't yet another stop in the long trail of outdoor fashion spectaculars that have airlifted the fashion caravan all over the map this summer. For this, no one traveled very far. There was no front row of celebrities, influencers, and editors fanning themselves in the July heat. Marta Marques and Paolo Almeida stage their shows in Portugal because it's where they live.
Marques explained how much time and how many people were involved with pulling off this sea-show scenario in the town of Viana do Castelo on the north Atlantic coast—not a one-off event, but a tussle with the tides filmed at the exact point when their models appear to be walking on water, using a sea wall as a runway. "We spent weekends there, studying the tides, asking local people's advice, and practicing, which meant twice a day for 20 minutes when the sea's at the right level," she laughed.
They chose the place for many reasons—to them, it's an ideal, ocean-facing symbol of the vibrant Portuguese cultural energies that are manifested in the 46 look collection: multi-textiled "psychedelic" patchworks, a giant rag-coat of many colors, a straw hat as big as a canopy, cobwebby knits, and maxi-shirts billowing out over their signature wide, slouchy jeans. "Viana do Castelo is a small-ish town, but with a lot of craft tradition, and it has a very supportive local council with a woman leader in charge of arts events."
This summer's collection—it's launching on the Marques Almeida e-commerce site tomorrow—was another adventure in one of the long-term missions they've set themselves: "to empower creative communities and preserve ancestral knowledge; to make sure that artisanal techniques do not disappear over time, and are celebrated and regenerated to extend their presence in our modern lives."
Their spectacular show-pieces are commissions from five artisans and artists who they're spotlighting on their website as Marques Almeida M'AKERS—women who use recycled and found materials as a matter of traditional practice. The multi-colored chubby was woven by Fatima Ferreira, a traditional rug-maker who works next door to the designers' home in Porto. "She sources scraps from nearby textile factories, and makes them on a wooden loom her grandmother taught her to use."
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Waylon Tribute
posted by Dani Lynn Howe - Mar 2, 2017
Two years ago country stars came out to celebrate Waylon Jennings, and now that tribute is finally hitting the airwaves. "Outlaw: Celebrating the Music of Waylon Jennings," which was recorded in 2015 in Austin, Texas, is set to air on CMT April 7th at 9pm. The show, which will also be released as a CD/DVD package on the same day, features performances by Eric Church, Chris Stapleton, Toby Keith, Willie Nelson, Sturgill Simpson, Alison Krauss, Robert Earl Keen, Jennings' widow Jessi Colter and their son Shooter Jennings and more. The show's closing number features an all-star lineup performing "Luckenbach, Texas" and a preview of the performance has just been released. Check it out....
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What a fabulous show last night at the wonderful Paramount Theatre in Seattle. I knew I was in for a long night as not only was this a show that they would play music spanning their 40+ years of hits, but also be performing the album Point of No Return in its entirety.
Tonight was going to be extra special as I had a meet and greet with the band prior to the show. Although there are only 2 original members of the band still performing (Kerry Livgren – Drums and Rich Williams – Lead Guitar), all members of the current band were incredible. Current Lead vocalist and keyboardist, Ronnie Platt (been in the band since 2014) just tore it up. His vocals were spot on to the sound of Kansas and he brought with him just a ton of energy. Billy Greer, Bassist (who also did a lot of vocals) has been in the band since the mid '80's and was also awesome to hear and see. The rest of the band (7 members in total) completed an incredible lineup who all sounded and performed as you would want them to…with power and passion.
With the meet and greet, we were able to meet and, very briefly talk to all the band members as we had them personalize and sign something (I had them sign my copy of Point of No Return album of course). They were very friendly and seemed to genuinely enjoy meeting the fans. They have some very passionate fans…case in point the guy who sat to my right. He was the most intense seat dancer that I have ever experienced. He violently shook the entire front row of seats all the while playing his air drums with more passion than Tommy Lee at a Motley Crue show…I mean he wasn't playing a four piece, Ringo Starr drum set, he was playing full on Neil Peart from Rush. It is great to see someone so passionate about what was clearly his favorite band, I just wished he wasn't sitting right next to me.
The show started around 7:30, which was pretty early, but they needed to start early with all the music that that had lined up. The set list was great, starting the show with some awesome classics as well as music from their last studio album (The Prelude Implicit – 2016). Some of my favorites were of course the classics, Hold On, Song for America and People of the South Wind. Of course the entire Point of No Return album set was fantastic, with songs such as Paradox, Portrait, Hopelessly Human and of course Dust in the Wind. They closed the show out with the only song that could possibly play that could stand up for such a strong night of music and that was of course Carry On My Wayward Son.
This was the best two and a Half hours of music I have heard in quite some time…thanks Kansas for all the music and memories!


We want children to have a 'feel' for numbers—the ability to work flexibly in solving number problems. That is called numbersense. Numbersense is the mastery of number concept, number relationships, and place value and their integration. Mastery means (a) understanding, (b) effective and efficient strategies, (c) fluency, and (d) applicability. Numbersense leads to the mastery of numeracy.
Mastery of numeracy should be an essential outcome of the elementary school (grades K through 4) mathematics curriculum. It is the facility in executing the four whole number operations, including standard algorithms, correctly, consistently, and fluently with understanding.
Poor numbersense in children is due to inefficient strategies such as relying on sequential and rote counting of objects (e.g., blocks, chips, fingers, or marks on a number line). Learning facts and procedures through rote memorization without understanding does not help children in making connections between numbers, arithmetic facts, concepts and procedures. When they encounter new concepts or need to apply mathematics ideas to problems, they find it difficult. And, they give up easily. As a result, many are termed "slow learners." Often, our pedagogy turns them into slow learners.
Able children are shown and practice efficient, effective, and elegant strategies. Less able or children with special needs simply are not shown the same techniques. With inefficient and less effective strategies, children end up spending enormous amounts of time deriving even the simple facts. This makes the tasks laborious and they either do not succeed or lose interest and lag behind.
Definitions of arithmetic operations such as: addition is counting up, subtraction is counting down, multiplication is only skip counting forward, and division is skip counting backward, do not lead to efficient strategies. For example, less successful children see subtraction as an isolated concept without connecting it with addition. They do not capitalize on learned addition facts. A similar situation happens with division. They end up spending more time on acquiring mastery of subtraction and division facts with limited results. These children have difficulty becoming flexible and fluent in arithmetic facts. Mastery of arithmetic facts is an essential element of numbersense. When addition and subtraction are shown as inverse concepts/operations, the mastery in one reinforces the other. Similarly, after initial introduction of multiplication, children should be taught that multiplication and division are inverse operations.
Mastering arithmetic facts using efficient and effective strategies and models frees children's working memory. Then, they can engage in learning and mastering higher order thinking skills and applications, easily and effectively. Higher order thinking is dependent on flexible numbersense and the mathematical way of thinking.
The mathematical way of thinking is the ability to: observe patterns in quantity and space, visualize relationships, make conjectures, predict results, and then communicate observed connections and their possible extensions using mathematics language and symbols. Mastering arithmetic facts is a necessary, though not sufficient, condition for higher mathematics. Competence in numbersense translates into effective mental math—the hallmark of mathematical thinking.
Children with numbersense make connections, generalizations, abstractions, and extrapolations of number patterns they observe and processes they have mastered. They link new information to the existing knowledge and develop insights about number and their relationships.
Spatial: The spatial aspect of number is determining the relationships between numbers by their locations and proximity with each other. The child knows a number when she can locate and place the number on an empty number line in relation to other numbers (to the right of, left of, how far from, or how close to a given number). Being able to point to a number and its place on a number line is not enough to understand number relationships.
Spatial aspect also relates to positional aspect of number: e.g., the second from the start, third person in the row, tenth's book in the row, etc. The numbers in this form are called ordinal numbers. Children learn ordinal numbers before they learn the quantitative aspect of number.
Quantitative: The quantitative aspect of number is the value of the number. How big? How small? More than? Less than? It is the understanding that a number represents the magnitude of a collection. It is knowing that number is the property of the collection, not just the result of counting. And that the last number used in the count, from any direction, indicates the size of that collection. This value has a unique place on the number line. This is the cardinal aspect of the number (the magnitude, numberness).
Numberness is to know: Is the number bigger than another number? What number is half-way between 10 and 20? Can you place 'three numbers' between 45 and 55? What digit is in the tens' place? What is the value of the digit in the tens' place? What is 10 more than 67? What digit in the given number has the highest value? What is 8 + 6? What should we add to 9 to get to 17? What is the difference between 17 and 9?
On the whole number line above, what number comes after 17? Place 22 on the number line. What number comes before 45? Is the number 29 closer to 20 or 30? To answer these questions, the child refers to the spatial idea: Where is that number located in relation to other number(s)?
If a child can answer these questions only by the help of a number line, then that is not indicative of mastery of the number. Applying only spatial, sequential counting to derive arithmetic facts disadvantages children.
Many children use only the spatial aspects of number in deriving and understanding number relationships (facts). When they have to answer questions such as: What is 5 more than 7 or 2 groups of 7 they get the answer by counting on a number line, objects, or on fingers. Truly understanding number relationships and acquiring efficient strategies for mastering arithmetic facts, one needs to integrate spatial and quantitative aspects of number. To learn efficient strategies for mastering numbers facts one needs: (a) sight facts (including making ten), (b) what two numbers make a teen's number (e.g., 16 = 10 + 6, and (c) what is the next tens after 43, etc.) Instructional models such as Visual Cluster Cards, Cuisenaire rods, and Empty Number Line help in this integration and acquiring effective, efficient strategies.
The concept of place value is an example of this integration. To know the whole number 235 well, one has to focus on the spatial aspects of the digits (1's, 10's, and 100's places; although the numbers increase to the right, the place values of digits in a multi-digit number increase to the left) and the values of these individual digits contribute to the understanding of the value of the whole number itself. For example, both the Standard (5,694) and the Expanded Forms (5000 + 600 + 90 + 4) and later on, Place-Value form (5×1,000 + 6×100 + 9×10 + 4×1), and Exponential form (5×103 + 6×102 + 9×101 + 100) of the number take advantage of understanding and mastery of quantitative and spatial aspects of number. The same concept is then extended to factions and decimal numbers.
To develop number relationships, forming a visual image of a number line is important. This means: (i) mentally locating numbers on the number line, (ii) recognizing the patterns and structure of the number system, (iii) extending those patterns (e.g., 3 comes after 2, so 23 comes after 22, 73 comes after 72, 173, comes after 172), and, (iv) applying these patterns to solve quantitative problems. This competence is the beginning of developing a robust numbersense.
Children develop number relationships through routine counting while interacting with their environment as part of normal growth and development. Playing with games, toys and remembering number rhymes and stories bring out counting and number relationships. Board games, using dice, dominos, and playing cards are opportunities for learning number relationships. However, informal and infrequent play may be slow or inefficient for the development of number relationships. Formal exposure to appropriate, diverse activities and effective strategies assures efficient development of numbersense in children. For example, Number War Games using Visual Cluster CardsTM (VCC), dominos, and dice are excellent examples of such activities.
Children's practice of meaningful, strategic counting is an important preparation for developing efficient calculation strategies. Counting is a complex process. It involves several sub-skills and takes considerable time to become fluent and competent. Unitary counting (sequential counting from 1) is children's first exposure to the structure of number line, but it becomes progressively complex with age and grade. For example, it should progressively include counting by 2s, 5s, 10s, 100s, by a unit fraction, proper fraction, mixed fraction, decimal, etc., starting with any number and moving forwards and backwards. Such progressively complex counting strengthens numbersense.
As children become competent in counting, they begin to visualize the number line—number patterns, locations of numbers and their relationships. Crossing the decade/century and realizing the counting patterns is an important achievement for children in understanding the structure of our Base Ten number system. Children's observed number patterns on real and visualized number line help them develop strategies that give them power to develop and understand efficiency of arithmetic operations. For example, a child observes that 42, 52, 62, 72, and 82 is a sequence of numbers increasing by 10 and they occur 2 after respective decades (tens). She, later, uses it to solve a real problem: what is the change when she has spent 52 cents from a dollar? She discovers that the change could be calculated by counting up by 10 from 52 till she reaches 92 and then 3 more to 95 and 5 more to the dollar (e.g., 4 dimes + 3 cents + 1 nickel = 40 + 3 + 5 = 48 cents). And a little later, she realizes, 52 and 5 tens is 102, that is 2 more than the dollar, so change is 48 cents. Or, 50 + 5 tens = 100, but we should have started at 52, so it 50 – 2 = 48 cents. Similarly, at a later date, to find the product 16×3, a child thinks: 16 is 10 + 6. 10×3=30, 6×3=18, 30+10=40, 30+18=48, so 16×3=48.
What To Do During Counting?
Counting should be a whole class activity, first oral and then in writing. Counting should begin with a number line (with numbers marked and displayed from 0 to a number beyond 100). A portion of the number line, preferably from 0 to 35 should be at children's eye level and rest on the wall.
During the counting activity, the teacher should emphasize when a decade is complete. She should help children see that something important is happening when they reach a new decade—a new group of tens. Similarly, she should point out what is happening immediately after and before tens numbers (e.g., multiples of 10). She should emphasize what is before and after the new decade (the new ten). Knowing what is before and after that decade is a difficult concept for many children. For example, she should point out that when the count reaches a new tens, e.g., 30, 40, 50, …, the cycle of the count of 1, 2, 3, 4, 5, 6, 7, 8, 9, 10 is complete and then repeats again and again.
…29, 30, 31, 32, 33, 34, 35, 36, 37, 38, 39, 40, 41, 42, 43, 44, 45, 46, 47, 48, 49, 50, 51, 52, …etc.
This cyclic pattern is the key to understanding number relationships. Initially, counting should be done on a number line in linear form (as seen and discussed above) so children develop the idea that numbers are continuously increasing to the right and decreasing to the left. In later grades they will extend it and understand the idea of positive infinity (+∞) and negative infinity (−∞).
When children see the progression of number in a 10×10 grid form, they see cyclic patterns much more clearly. This understanding of number relationships and structure leads children to arithmetic operations.
Most children develop this structure independently with little help from others. However, for others, it is important to formally develop it.
It is important to begin counting on the horizontal grid (shown above). Some children, because of their mid-line crossing problem (MLCP) may not discern the pattern easily as they do not see the horizontal numbers on a number line as "equidistant." For example, many children with MLCP, see the equidistant numbers displayed in the first row (below) as in rows two or three where the numbers are not equidistant. In row two, they are jumbled up in the two ends and in the third row, they are jumbled up in the middle.
When the numbers are organized vertically, it is easier for them to see the patterns.
Number Grids are horizontally (figure one) and vertically organized (below) One). The Horizontal Grid is a 10×10 grid, with entry of 1 in top left most cell. Each row ends with a multiple of 10. The Vertical Grid is a 10×10 grid with top left most cell with entry of 1. Each column ends with a multiple of 10. The procedure for counting using the grids is the same as the number line. Counting on grids can be done horizontally and vertically.
On one side of the room hangs a clothes line (low enough so children can reach it and high enough so it does not interfere in their movement). On clothes pins write numbers in dark ink from 1 to through 100. The multiples of ten numbers are written in red. Similarly, the numbers with 5 in the one's place are written in green.
The numbers: 1, 5, 10, 15, 20, 25, 30, 35, 40, 45, 50, 55, 60, 65, 70, 75, 80, 85, 90, 95, 100 are known as Bench Mark Numbers—important in our Base-Ten system. With practice, children see all numbers in relation to bench-mark numbers. Bench-mark numbers serve as the markers for estimation, location of numbers, and approximating the outcome of arithmetic and algebraic operations.
Place the numbers in two buckets. Numbers 1 through 30 in one bucket and numbers 1 through 100 in the second.
In later grades, children encounter other bench mark numbers, such as: ½ (.5, 50%, etc.), square numbers, certain products of numbers (e.g., multiplication tables), π, standard trig functions (e.g., trigonometric function values of 30°, 45°, 60°, etc.) and important parent functions in algebra.
The teacher points to the clothesline and asks each child, in turn, to pick a number from the bucket and place it on the clothes line in its place. Children take their turn placing their numbers. A child can move or adjust the place of the numbers already placed on the line in order to locate his/her number. Teacher should ask children the reason for the placement of their numbers, adjusting the numbers on the number line, and the relationship of their number with other numbers, particularly with the bench-mark numbers.
In the beginning of the year, the teacher should use numbers from 1 to 30. After about 2 months, she should use numbers up to 100 and beyond. After half-year, the teacher should give children an empty number line (ENL) on a sheet of paper where two end numbers are written, and she dictates numbers and children locate the number's place and write the numbers on the ENL.
The teacher should give children a sheet of paper (2"×11") each side having an Empty Number Line (ENL) drawn on it with two end numbers. The end numbers change every week.
Ÿ She dictates 10 random numbers between the two end numbers and children locate the number's place and write the numbers on the ENL as the numbers are dictated. After children have located the numbers they compare their ENL with their partners and come to agreement on the locations of these numbers. The corrected locations are placed on the ENL on the other side of the paper. This activity should be part of a daily math lesson.
The same activity as in the grades 2 through 3, but the choice of numbers changes. The numbers can be whole numbers, fractions (unit fractions, proper fractions, mixed fractions), decimals, and percents.
The same activity as in grades 4 through 6, is repeated but the choice of numbers changes. The numbers can be real numbers (whole numbers; fractions—decimal numbers, percents; integers; rational numbers and irrational numbers).
Every day, before children arrive, the teacher places cards with random numbers written on them (numbers appropriate to grade level). Each child picks a card, and when children line up, each child follows the order by the number on his/her card. Children keep their cards ready; before any classroom activity, the teacher calls on them by specific criteria: The person with the card between 1.5 and 1.6 will answer the next question. The choice of numbers changes every day.
Daily counting is a warm-up activity for grades K through 8. It could be part of the calendar activity in grades K through 2. The choice of number to count with should be related to the main mathematics concept taught in the classroom that day. For example, when children, in the third grade, have been introduced to fractions, it is a good idea to count by unit fractions. Similarly, when children are adding and subtracting fractions with same denominators, counting should be backward and forward by a proper fraction. It is one of the tools for helping children to have a deeper understanding of number.
Each child should have a Math Notebook where all of his/her mathematics work is recorded. It is the sequential record of classroom mathematics writing: language, concepts, operations, definitions (examples and counter examples), conjectures, proofs, formulas, calculations, constructions, drawings, sketches (geometrical shapes, figures, diagrams, etc.), summary and reflections on class mathematics work. The written work should be done in pencil. Only when the teacher wants a short answer, an example, immediate feedback to a definition, concept, or a procedure, children can use individual white boards. In math notebooks, one can have several examples in succession, so children see emerging patterns. Individual white board work does not leave a history of their work and they may not be able to observe patterns. We, as math teachers, should remind ourselves and our children that: "Mathematics is the study of patterns. It has deep structures." For this reason, we should help children to observe these patterns in their work and recognize the structures that emerge from these patterns.
Here are the points to consider during the daily counting process (at least five minutes). Each teacher should adapt these to suit her students' and her instructional needs.
The teacher should announce the counting number and start number (later children can select the starting number and the counting number). These numbers should change each day.
During counting, when children give their numbers, the teacher should repeat each number clearly enunciating each word. This is particularly important at the Kindergarten through second grade.
The teacher should record the numbers from the count on the board creating columns and rows. Children record the numbers on their graph papers in the same way, in columns and rows. The starting number should be placed in the uppermost left corner of the paper (in the first full column of the paper). Leave one column between the columns for comments. As the columns of numbers emerge, the number of entries in each column must be same. For example, begin with 4 numbers in each column. Each day, change the number of rows up to about 10. Having the same number of entries in each column will produce patterns both horizontally (in rows) and vertically (in columns). It makes counting a rich activity. It also provides opportunities for differentiation. "High flyers" can be asked to give numbers horizontally and others vertically.
During the counting, the teacher should ask specific children to come forward and record the number on the board. The child writes the number on the board in the appropriate place. The teacher takes this opportunity to model the writing of multi-digit numbers: Are they of the same size? Are they at the same level? Are the digits equidistance? Are they aligned with each other?
Counting activity should include counting both forward and backward (not necessarily on the same day).
Each child should have the opportunity of responding a few times during the counting.
The choice of a number for counting begins from the easier one in the beginning of the year to bigger and more difficult numbers as the year progresses. For example, one should begin counting by 1 forward and backward in the beginning of the Kindergarten and counting by 10 toward the end of the year.
Counting by 2 can be assisted by using the Number line, Hundred's chart, using the Cuisenaire rods' staircase, the standard number grid, or Vertical Number Grid.
Counting by 10 can begin concretely, using the Cuisenaire rods and then without them. For example, begin counting by a number, say 7, ask a child to pick up the 7-rod (black). Write the number on the board. The child gives the rod to the child to his right and that child adds the 10-rod and calls out the number (17). The teacher writes the number on the board, starting the first row or column (below is the example of the first row). The process is continued for several more times. And then the teacher encourages children to extend the pattern without the rods. She keeps it on till children can give the next few numbers without the help of rods. Next day the counting by ten can begin with picking another rod. Toward the end of this forward counting begin counting backward from the last number.
When the teacher begins any counting, she asks who has the next number, and then the next one, till several numbers in the count are generated. This should be done by volunteers first and then by randomly selecting children or the ones who need support. One should take advantage of high flyers' knowledge of numbers as a starter. Never give the number easily. Try to derive the number with the help of children using decomposition-recomposition process. Someone will come forward. I have never been disappointed in any class, in any school. Some child in every school, in every class comes up with the next number and then others pick up the theme and the pattern and the learning process and counting begins. When a particular child is stuck on getting a number, give him clues: start with the facts he already knows. For example, if the child (Kindergarten level) does not know what comes after 54, go back to the child who gave 51, and continue, most times the child will come up with the number. If he still does not come up with the number, ask him: what comes after 4? If he answers correctly. Ask him: what comes after 14? Etc.
It is important that the teacher openly acknowledges the child who gives the correct number by children clapping twice in unison. Never leave a child without success. Help each child to taste success, even if it is just what comes after 7 or before 7.
Once a pattern begins to emerge and children understand the task and the count, ask them to write the next five numbers and place them in the proper places—in the correct columns so that they can observe the emerging pattern in numbers. As children write the numbers, the teacher walks around the room asking each student to give an example. Some children will readily observe the emerging patterns, both vertically and horizontally. Avoid having children give the pattern too soon. Instead, devote enough time discussing the numbers so most of the children see the patterns. It may take several days.
Do not disclose the pattern, let children arrive at the pattern. Ask teams of two children to discuss the number relationships and the process. Let them arrive at different patterns. Only when most children are able to give the correct entry, then ask a child (not a high flier) to articulate the pattern.
This counting will result in a Dynamic Vertical Grid. In the beginning of the year, the counting will take longer; however, as it becomes a routine, it will take less and less time and more will be accomplished. Soon the counting process becomes an important means for making formative assessment of children's numbersense.
During the counting, the teacher should ask a great deal of questions about the numbers—place value, digits, values of digits, location of the number, one before, one after, 10 more, 10 less, what is the next tens, what is the next whole number, etc. These questions instigate mathematics language, concepts, and mathematical ways of thinking.
The teacher can make up impromptu mathematics problems: What is the difference between 2 consecutive numbers (in the same row, in the same column, both in the same row but few cells apart, both in the same column but a few rows apart, etc.).
Teacher: Let us count by 5 forward starting with 49. We will write the numbers in the first column. You do the same on your graph paper.
The first column and the beginning of the second column is derived together.
Teacher: What are we adding to 99?
Teacher: What is 1 more than 99?
Teacher: Good! We have added 1 to 99. Where did we get 1 from?
Child: Did it come from 5?
Teacher: Yes! That is good. Now, what is left from 5 to be added after adding 1?
Teacher: 4 is added to what number?
Teacher: Very good! What is 100 + 4?
Teacher: Good! So, 99 + 5 is what number?
Teacher: Now continue. What is the next number?
Child: That is easy. 104 + 5. I know 4 plus 5 is 9. So, 104 + 5. That is 109.
Then the teacher moves to another child.
If a child has finished writing 5 numbers, she checks his work. If it is correct, she asks him/her to check other children's work as they finish the task. If two children have finished writing the numbers, you ask them to compare their entries with each other and make corrections. If they have any disagreements, they should come up with consensus by supporting their arguments. When many more children have written all the five numbers, ask them to compare the answers in pairs. Keep on making pairs to correct each other's work and checkers to check other children's work. The teacher, with the children's help, writes the five numbers on the board. The teacher should begin with the child who was struggling and then move on to others.
Children who are able to complete the task earlier, are asked to write 7, 8 or more entries. The numbers in red are the entries provided by children.
Then the teacher asks children to work in pairs to identify the numbers in the place indicated by "___".
When children (in teams) have found the number in the indicated place, she asks them to supply the numbers. She records them on the board in a separate place than the grid. She discusses their answers and asks for their methods of finding these numbers. Children defend their answers. Exact answers are identified. Then, the most efficient methods for finding the exact answers are identified. Entry in the place is made. If time permits, she creates more places with the red line (___).
The Modified Vertical Grids are effective in helping children improve the numbersense and to assess if children have acquired the structure of the number system. In vertical grids some of the entries are left blank to perform formative assessment. Children are asked to give the missing numbers by counting horizontally and vertically.
Numbersense is a constantly evolving skill for a child. One of the processes is to relate the new numbers being introduced to the numbers the child already knows. In the third grade a new set of numbers (fractions) are introduced in earnest. Therefore, it is important to begin to relate fractions with whole numbers and with each other.
In third grade, counting using whole numbers (1, 2, 5, 10, 100, and 1000), starting from any number should continue. However, towards the end of the year, when the concept of fractions is being introduced to children, the teacher should introduce counting by a unit fraction. A unit fraction is a fraction with numerator as 1. Following is an example of counting by a unit fraction (e.g., ⅕) starting from 4. All other elements of counting procedure remain the same as before.
During grades four through six, our focus is on understanding and operating on fractions (and all the other related concepts). In the fourth through sixth grades, we need to relate fractions to each other and whole numbers, decimals, and percents. Although in fourth grade counting using whole numbers (1, 2, 5, 10, 100, 1000, and unit fractions) starting from any number continues, children should begin counting by proper fractions. In the fifth grade, they should add counting by mixed fractions. Following is an example of counting by a mixed fraction (e.g., 1⅖) starting from 4. All other elements of procedure remain the same. In these grades, they can also count by decimals.
The objective of the daily counting tools (Number line, Open/Empty Number Line, Horizontal and Vertical Number Grids, Modified Number Grids, Hundreds Chart, Modified Hundreds Chart, Dynamic Number Charts, etc.) is to develop and improve numbersense. This objective can be achieved if children are given enough practice in counting using these tools and if they achieve the bench-marks in this activity at their grade level.
Each classroom should have clear display and use of these tools. However, they should not be overused for deriving addition, subtraction, multiplication, and division facts and operations. Their overuse makes children dependent on counting as the only strategy for developing arithmetic facts.
 See Games and Their Uses in Mathematics Learning by Sharma (2008).
 See the goals of counting at each grade level in Part One of this series on Numbersense.
 For the numbers to be used at each grade level see previous posts on Numbersense on this blog.
 See the Numbersense Part 1 in this series of posts.
 See first post in this series on Numbersense.
Thank you, Bob. I enjoyed having you in my course. You asked very good questions.


text:
Jaquirana is een gemeente in de Braziliaanse deelstaat Rio Grande do Sul. De gemeente telt 4.429 inwoners (schatting 2009).

Aangrenzende gemeenten
De gemeente grenst aan Bom Jesus, Cambará do Sul, São Francisco de Paula en São José dos Ausentes.

Gemeente in Rio Grande do Sul

redpajama_set_name: RedPajamaWikipedia


At last – I have a quilt top! I finally made time to sew the final four blocks together and am loving the results.
I worried a little that I was using fabrics with too wide a range of color but I'm thrilled with how the Bloomsbury Gardens prints look in this quilt top. I actually grew to like the prints more as I made this quilt and I'm very happy with my choices. The pattern is Fireworks by Thimble Blossoms. I found it time consuming to piece, but the results are worth it.
My first block remains my favorite one. I love those reds and teals together.
I saved all the extra half square triangles as I pieced this quilt and am considering sewing them all together to use as part of the quilt back. It will be time consuming as many of them are small, but at this point that is my goal.
Your Fireworks quilt is so pretty! I have been wanting to make one for a while and now I'm inspired to start picking out fabrics for my own.
Oh I love this! I am working on a lone star of paradise quilt, kind of the same just squares in corners.. Yours gives me the push to keep going! I love the color way you used. I love having all the extra HST's I think I will do pillows to go with my quilt when finished.
I just finished my Fireworks quilt and I was wondering how you quilted yours.


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* The TSA has announced that iPads need not be removed from any case or sleeve.


text:
Childhood Years
Source: Junichiro Tanizaki (trans. Paul McCarthy), Childhood Years: A Memoir (London: Collins, 1990, orig. pub. 1957), pp. 137-138
Text: There were some good places like the Yurakukan, falling somewhere between a legitimate theater and a vaudeville hall. The result was that a variety of interesting and unusual entertainments were presented: it was there that I saw my first motion picture and my first Western-style marionette show. According to One Hundred Stories of the World of Meiji by the late Yamamoto Shogetsu, the first presentation of a motion picture in Tokyo was around February 1897 at the Kabukiza; and the Yurakukan must have begun showing them soon after. They were either simple records of actual events taken on the spot on trick shots, and the ends of the reel would be joined together so that the same films could be projected over and over. I can still remember a scene, endlessly repeated, of high waves rolling in on a shore somewhere, breaking, and then receding, and of a lone dog playing there, now pursuing, now being pursued by the retreating and advancing waters. There was also a scene of a long line of horses in the distance at the edge of a broad plain, looking as small as grains of millet, They came rushing straight towards the camera, growing bigger moment by moment until finally they were upon us. Suddenly they veered away into the distance, to be succeeded by another thin line on the horizon.
Then there were scenes reminiscent of the upheavals that attended the French Revolution or the persecution of the Protestants after the Reformation: aristocratic-looking women are being dragged to the place of execution, placed on a great pile of bundled faggots, and burned to death; the smoke billows forth and the women are enveloped in flames; at last the fire and smoke die down to reveal only ashes – not even the outlines of the bodies remain.
There was yet another scene in which two beautiful, almost naked women, one on either side of a devil dressed like Mephistopheles. He summons one of them and orders her to lie on a table shaped like a chopping block. He then wraps her body in a huge sheet of glistening black material like carbon paper. A sign is given, and the body of the woman in its black wrappings rises into the air. Then from the area of her feet flames appear and begin to lick at her body, moving upward and finally consuming her, paper wrappings and all.
Comments: Junichiro Tanizaki (1886-1965) was a major Japanese novelist, who also worked for a time as a scriptwiter for the Taikatsu studio in the 1920s. The films he recalls at Yurakukan are a mixture of 1890s and 1900s works: waves breaking on a shore was a common subject in some the earliest film shows; the trick films and the burning of the women would have been a few years later (possibly French Pathé productions). Film reels could not be joined end-to-end to be projected on an endless loop. The first projected motion pictures were exhibited in Tokyo in March 1897 (preceded by showings in Osaka in February).
Luke McKernan May 25, 2015
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Luke McKernan says:
@FashionFilmFest has suggested that the film with Mephistopheles, two women, black material and flames could be Le Spectre Rouge (France 1907), made by Segundo de Chomón for Pathé. There is certainly a strong similiarity.
Dawid Glownia says:
"There was also a scene of a long line of horses in the distance at the edge of a broad plain, looking as small as grains of millet, They came rushing straight towards the camera, growing bigger moment by moment until finally they were upon us."
This is probably "Cavalry Passing in Review" (1897) as Tanisaki's recollections are similiar to film's description from Edison Catalog reproduced on imdb:
"Showing Troop A, U.S. Cavalry, Fort Meyer, Va. They are first seen coming round a bend of the road, half a mile distant, and seem to be riding harder and harder as they approach. Flashing helmets, sabres and spurs makes this a very brilliant spectacle."
This is quite possible, especially given that Edison films featured strongly in the first Japanese film shows. Films of cavalry galloping towards the camera were not uncommon at this time, however (all the film companies copied the ideas of their rivals), so the identification can't be for certain. Many thanks for the suggestion.
Tanizaki's description of first three films sounds similar to the vitascope program presented at the Kinki-kan in March 1897, so it was probably a vitascope screening.
I don't know how reliable is the information that "Cavalry Passing in Review" was shot in April 1897. If it's true that would mean that different film was screened both in Kinki-kan and in Yuraku-kan.
As for the "scenes reminiscent of the upheavals that attended the French Revolution or the persecution of the Protestants after the Reformation" my guess would be that it was actually "Joan of Arc" (1895), as that film was certainly imported along with vitascope.
However, in that case the plural form "women" is problematic. Maybe Tanizaki meant that the film was looped so it seemed like a series of burnings (I doubt it). On the other hand his memory could have been obscured at that time. Another possibility is a slight mistake in translation, but without confrontation with the original verison of Tanizaki's memoirs it's just guessing.
The Vitascope identification is a likely one. The other films he mentions I think comes from the early 1900s – the French revolution or St Bartholomew's Massacre film sounds like a Pathé film of that period, and we have an identification for Le Spectre Rouge. Such memories are always going to be hazy and feature some overlapping, though the evidence suggests Tanizaki recalled specific films rather than generic types.
I just got that idea – when Tanizaki writes about scenes "reminiscent of (…) French Revolution or the persecution of the Protestants after the Reformation" it may be "Les Martyrs de l'Inquisition" (1905, Pathé).
According to Kyokkō Yoshiyama a Pathé film about Inquisiton was screened at Tokyo's Kinki-kan in April 1906 and banned due its excessive cruelty. I assume that film concerning Inquisition would contain some scenes of women being burned as stake.
It just so happens that I've seen Les Martyrs de l'Inquisition – there's a copy of it at the BFI. It is amazingly lurid, as you may gather from the BFI's catalogue description. http://collections-search.bfi.org.uk/web/Details/ChoiceFilmWorks/150000844. You'll see that it includes an auto da fé or burning at the stake, but says nothing about women victims (and it's too long since I saw the film for me to remember – I best remember the manic excitement on the faces of the Inquisition when a man is rotated on a wheel). But allowing for some haziness in Tanizaki's memories, it could possibly be the film.
A fascinating twist to this story of the film is that the BFI's copy came from the collection of a Swiss catholic priest Joseph Joye, who collected films around the 1905-1915 to show to schoolchildren. Goodness knows what lessons were drawn when he showed them Les Martyrs de l'Inquisition.
I've had a look through the Pathé catalogue using the search term 'bûcher' (burning at the stake) and not found anything that has a number of aristocratic women so killed. But of course it could be the film of another company, though it sounds more like a Pathé film than anyone else's.
http://filmographie.fondation-jeromeseydoux-pathe.com/
Samuel L Leiter says:
One of the most fascinating, detailed, and memorable of all Meiji period memoirs. A great read for anyone interested in the culture of that period as it affected the great Tanizaki Junichiro in his childhood. Especially valuable for those interested in the theatre of the time.
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text:
Home > News > News Archive
International workshop on productivity challenges impacting the Southwest Indian Ocean
A group of marine scientists from all over the world gathered at Nelson Mandela University this week for an international workshop that sought to explore the potential role of atmospheric deposition in driving ocean productivity in the Southwest Indian Ocean.
Mandela Uni Ocean Sciences and Engineering collaborate on research
Nelson Mandela University's School of Engineering recently supported ocean research with airborne drones and a kite borne surveillance system to study marine mammals up close - not possible from the research ship.
Marine Spatial Planning research making waves with ocean health and management
Marine Spatial Planning research at Nelson Mandela University is continuing to make waves with new research including the impacts of the pandemic on coastal tourism.
Shell v Wild Coast: Science, research and erring on the side of caution
The entire issue of prospecting or production for oil, gas or any other substance in the little understood marine environment has to start with how to safeguard it against potential damage.
Mandela University's FishFORCE signs MOU with Open University of Mauritius
Nelson Mandela University and the Open University of Mauritius signed a Memorandum of Understanding to collaborate on establishing a Fisheries Law Enforcement Academy as part of FishFORCE's expansion to cover much of the Western Indian Ocean.
Prof Boswell: conference and book launches
Research Chair in Ocean Cultures and Heritage, Professor Rose Boswell, will attend a Seas and Oceans Health conference in Italy in the first week of June.
Act now to mitigate marine crisis
We have to alert the world to the impending food security, livelihoods and marine ecosystems disaster in the Western Indian Ocean (WIO), which extends from South Africa all the way up the east coast of Africa.
OCH researcher invited to international conferences
Dr Elena Perez-Alvaro, a researcher for the Chair in Ocean Cultures and Heritage at Mandela University, has been invited to attend the 2022 United Nations Ocean Conference, to take place in June/July in Lisbon, Portugal.
Societal impact ranking accolade for Mandela University
Nelson Mandela University's growing reputation as a leading Ocean Sciences hub was recently recognised with a top place nationally in the Life Below Water category in the international 2022 Times Higher Education Impact Rankings.
Spatial planning – secret to sustaining marine resources
We have to work out how to share our oceans between a mounting number of stakeholders in a manner that values and conserves our rich marine resources. Professor Mandy Lombard is finding a way, Heather Dugmore reports.
First graduate in newly introduced master's degree in Maritime Studies
New Business Development Manager at the Transnet National Ports Authority, Nozipho Booi, is the first MPhil in Maritime Studies graduate at this year's Autumn Graduation at Nelson Mandela University.
All the world's a stage, and the oceans are becoming the new theatre of the developmental agenda in South Africa
As the campaign against Shell intensifies, it is clear that local communities in South Africa are culturally diverse, hold rich knowledge foundations, espouse an environmental holism, and are deeply concerned about ocean and coastal health.
Coastal exclusive estates have social, economic and environmental impacts
Recently, South Africans witnessed protests against Shell's proposed 3D seismic survey of the Wild Coast and the Amazon/River Club development in Cape Town.
French honour for Mandela Uni marine biologist #R2bP
Reasons to be Proud - #R2bP: Dr Lorien Pichegru, a marine biologist at Mandela University and Acting Director of the Coastal and Marine Research Institute, has received the Chevalier de l'Ordre du Merite (Knight of the Order of Merit) award from the ambassador of France in SA.
There is an urgent need to protect marine intangible cultural heritage in South Africa, and Africa
Close analysis of global heritage identification and conservation reveals enduring inequalities.
Research and innovation vital for burgeoning ocean economy
Research and innovation in the ocean economy is essential if SA and Africa are to nurture the sector and contribute to the growth of the national and continental economies.
Africa requires a country and university to take the lead
Africa requires a country and university to take the lead in governance and intellectual development for the blue economy and sustainable conservation of the continent's oceans, says Emeritus Professor Martin Tsamenyi who is being conferred with an Honorary Doctorate of Law (Maritime Law) from Nelson Mandela University during the virtual graduation ceremony for the Faculty of Law on Thursday 22 April.
A day on the beach 100 000 years ago
Humans delight in creating patterns in the sand, and more than 100,000 years ago it would appear we were no different.
Mandela student makes MaskBook Project mask for Paris Agreement Climate Summit
Nelson Mandela University's Institute for Coastal and Marine Research (CMR), together with Visual Arts student Mr Luke Rudman had the opportunity to be involved in the international artistic initiative the MaskBook Project, which recently formed part of the fifth anniversary of the Paris Agreement.


text:
Gergely Mihály (eredeti neve 1945-ig: Gergely Sándor, majd 1945-1950 között ifj. Gergely Sándor) (Varbó, 1921. november 9. – 2007. július 28.) József Attila-díjas magyar író, újságíró, eszperantista.

Élete
Gergely Mihály 1921. november 9-én született Varbón Gergely Mihály és Koba Zsófia gyermekeként.

Tanulmányait a Marxizmus-Leninizmus Esti Egyetem filozófia szakán végezte 1963-1966 között.

1936-1950 között Diósgyőrött vasesztergályosként, acélnemesítőként kezdte pályafutását. 1942-1944 között katona volt. 1945-ben az Új Utakon, 1945-1948 között pedig a Diósgyőri Munkás című lapok alapító szerkesztője, 1948-ban műszaki vezetője. 1949-1950 között a gyár sajtófőnökeként dolgozott. 1950-1952 között a Rádió irodalmi osztályának lektora. 1952-1953 között az Írószövetség fiatal írók titkára volt. 1956. januárja és novembere között az Írószövetség titkára. 1957-től szabadfoglalkozású író. 1968-1972 között a Magyar Nemzet külső munkatársa volt. 1969-1977 között a Hungara Vivo című eszperantó lap, 1973-1977 között pedig a Világ és Nyelv szerkesztője. 1988-1998 között a Józan Élet Szövetség elnöke, valamint a Művészetbarátok Egyesületének elnöke. 1991-1998 között a Művészet és Barátai szerkesztője. 1995-től a Móricz Zsigmond Kör elnöke. 1996-ban számos műtárgyat adományozott az új Faluházban lévő Varbói Galériának. Hosszú évtizedekig Budapesten élt, 2007. július 28-án hunyt el. Szülőfalujában, a varbói temetőben helyezték örök nyugalomra. A sírjánál Kalász Márton mondott búcsúbeszédet.

Magánélete
1951-ben feleségül vette Nagy Gabriellát. Két gyermekük született; Péter (1952) és Zsófia (1955).

Művei
 Gyárkémények árnyékában (vers, 1946)
 Harc az üveggyárban (regény, 1950)
 Éhségtábor (regény, 1952)
 Szülőföld (elbeszélés, 1952)
 Örvény (kisregény, 1955)
 Julika (regény, 1956)
 Józsáék (regény, 1958)
 Kálvária és karrier (novellák, 1960)
 Omlás (kisregény, 1962)
 Ez a mi korunk (szociográfia, 1963)
 Bálvány (filmforgatókönyv, 1963)
 Fekete páva (regény, 1964)
 Atlasz, mire rendeltettél? (novellák, 1966)
 Vihar és szivárvány (regény, 1967)
 A háborúnak nincs vége (regény, 1969)
 Röpirat az öngyilkosságról (1969, 1972)
 Rácsok (novellák, 1972)
 Életünk, halálunk (regény, 1972)
 Halló, Központi Ügyelet! (novellák, 1977)
 Költő és király (regény, 1979)
 Amikor nincs háború (novellák, 1979)
 Röpirat az öngyilkosságról; 2. átdolgozott, bővített kiadás; Medicina, Budapest, 1981
 Szakmám a lelkiismeret (röpiratok, tanulmányok, cikkek, 1981)
 Pokolhegyiek (novellák, 1982)
 A Kozmosz 15. törvénye (tudományos-fantasztikus regény, 1984)
 Karambol cserbenhagyással (regény, 1985)
 Egy tárlatlátogató tűnődései (naplójegyzetek, 1991)
 Mi, gyalogrendűek. Korkép hetven jegyzetben; Hét Krajcár, Budapest, 1995 (A magyar valóság könyvei)
 Bruegel varázslatai (tanulmány, 1998)
 Anyanyelv, világnyelv – Bábel? (1999)
 Ébredj, emberiség! Röpirat hetven kiáltásban; Hét Krajcár, Budapest, 2001
 Vége a művészetnek? avagy Miért csiszolták a kőbaltákat?; Hét Krajcár, Budapest, 2001
 Búza Barna keresztútjai; Művészetbarátok Egyesülete, Budapest, 2001
 Az artista balladája. A szerző válogatása műveiből: elbeszélés, regény, novellák, napló; Hét Krajcár, Budapest, 2004
 Hatalomvágy, halálveszély. Naplómból, 1942–2007; Hét Krajcár, Budapest, 2007

Díjai
 Munka Érdemrend (1964)
 Miskolc város irodalmi díja (1972)
 Borsod megye irodalmi díja (1981)
 Munka Érdemrend ezüst fokozata (1981)
 Szociális Kultúráért Emlékérem (1987)
 Krúdy Emlékérem (1993)
 Köztársasági Elnöki Arany Emlékérem (1996)
 A Magyar Köztársasági Érdemrend lovagkeresztje (2002)
 Egyetemes Kultúra Magyarországi Lovagja (2003)
 Varbó község díszpolgára (2006)

Jegyzetek

Források
 Hermann Péter: Ki kicsoda 2002 CD-ROM, Biográf Kiadó
 [ A magyar irodalom története]

További információk
 Kortárs Magyar Írók
 Stop.hu
 A varbói Falumúzeum; Gergely Mihály életútja varboitelkesek.lapunk.hu

1921-ben született személyek
2007-ben elhunyt személyek
Magyar írók
Magyar újságírók
Magyar eszperantisták
József Attila-díjasok
Nagy Lajos-díjasok


text:
The following is a list of notable Welsh musicians and musical groups.

Traditional
This category includes music that has its roots in the Middle Ages and Renaissance or the instruments of these periods, as opposed to traditional vocal music or folk music (see below).
Nansi Richards – a triple harp player
Robin Huw Bowen – a triple harp player
Ceri Rhys Matthews – a multi-instrumentalist, plays the pibgorn or Welsh bagpipes, wooden flute, and others
Fernhill – a folk band, that features Ceri Rhys Matthews and often employs the pibgorn
Carreg Lafar – a traditional Welsh folk group, featuring Antwn Owen Hicks, Linda Owen Jones, Rhian Evan Jones, James Rourke and Danny Kilbride

Choirs
Côr Godre'r Aran
Gwalia Singers
Morriston Orpheus Choir
Pontarddulais Male Choir
Treorchy Male Voice Choir

Choral conductors
Sioned James (1974-2016)

Classical
Charlotte Church
Hannah Stone
Rebecca Evans
Bryn Terfel
Gwawr Edwards
Katherine Jenkins
Aled Jones
Catrin Finch
Wynne Evans
Llŷr Williams
Shân Cothi

Folk
Ar Log
Fernhill
Dafydd Iwan
Sian James
Carreg Lafar
Julie Murphy
Max Boyce
Meic Stevens
Morus Elfryn
Roy Harris
Allan Yn Y Fan
 Martyn Joseph
 Novo Amor

Pop, rock and metal

60ft Dolls
The Alarm
Amen Corner
Anhrefn or Yr Anhrefn
Attack! Attack!
The Automatic
Badfinger
Y Bandana
Billy Bibby & The Wry Smiles
The Blackout
Blonde on Blonde
Bonnie Tyler
Bright Light Bright Light
Budgie
Bullet for My Valentine
Candelas
Catatonia
Cate Le Bon
Catfish and the Bottlemen
Colours of One
Cowbois Rhos Botwnnog
Crys
Cuba Cuba
The Darling Buds
Datblygu
Dave Edmunds
Deke Leonard
Donna Lewis
Ricky Valance
David Alexander
Desecration
Dream State
Dub War
Duffy
Elin Fflur
Euros Childs
Feeder
Funeral for a Friend
Future of the Left
Gene Loves Jezebel
Goldie Lookin Chain
Gorky's Zygotic Mynci
Green Gartside
Gruff Rhys
Gwenno
Himalayas
Holding Absence
Jarcrew
Jayce Lewis
John Cale
John Lawrence (musician)
The Joy Formidable
Karl Wallinger
Kids in Glass Houses
Kristian Lavercombe
Llwybr Llaethog
Lisa Scott-Lee
Los Campesinos!
Lostprophets
Love Sculpture
Man
Manic Street Preachers
Marina and the Diamonds
Mary Hopkin
mclusky
Murry the Hump
Neck Deep
People in Planes
Pino Palladino
Gary Pickford-Hopkins
The Oppressed
Pocket Venus
Pretty Vicious
Roger Glover
Racing Cars
Sassafras
The School
Scritti Politti
Shakin' Stevens
Shirley Bassey
Shooting at Unarmed Men
Sibrydion
Sion Russell Jones
Skindred
Spencer Davis
Stereophonics
Super Furry Animals
Sŵnami
Tigertailz
Tom Jones
Toy Horses
Who's Molly?
World Party
Young Marble Giants
Yws Gwynedd

Electronic
DJ Sasha
High Contrast
Hybrid
Underworld
Tim Wright aka. CoLD SToRAGE

Bluegrass
The Beef Seeds

References

Welsh bands
Musicians
Welsh


text:
Twarynski's Flyer debut will be complete family affair
October 3, 2019 Wayne Fish breaking news, Hockey
Carsen Twarynski (center) with his dad, Rob (right) and mom, Kim.
PRAGUE, Czech Republic – Kim Twarynski didn't care if the Flyers' season opener was on Mars, she wasn't about to miss her son Carsen's NHL debut with the Philadelphia Flyers.
As it turned out, the flight from Calgary to Prague felt just about as long as a voyage to another planet.
But no doubt Kim, and Carsen's dad, Rob, will have this precious memory for years to come and all the flying will be worth the effort. They wanted to make this a surprise visit and they certainly achieved that.
For the record, the Twarynskis began their voyage with a four-hour flight to Toronto. Then, after a three-hour layover, there was another flight which took the better part of 10 hours.
They finally made it and it was great surprise for rookie Carsen, perhaps the longest shot of the training camp to make the opening night roster.
Twarynski, a 2016 third-round (82nd overall) draft pick, said he's always had to overcome the odds to play hockey at its highest levels and the Flyers are no exception.
His mom goes along with that assessment.
"He does have the willpower and the drive,'' Kim said. "I mean I know going into camp this year, he was like 'I'm going to make this team.' He outright said it.
"In terms of the past, he's just always been that underdog. There's always a guy that everybody talks about and he's never been that guy. Which is fine with us because sometimes it's better not to have all that attention. I don't think he's out there to prove anybody wrong. Just out there to prove it to himself that he can do it. And we know he can do it. He did it himself."
The Twarynskis were willing to fly anywhere for this special night.
"It is a big deal,'' Kim said. "You know, it's just like anything in life, there's always one opportunity to have a first time. So you know, we're there for the first of everything else. So this is something that we just have to be here for."
Carsen appreciates the gesture his parents are making.
"It's awesome,'' he said. "I had a feeling they were trying to get down here but I wasn't sure they were going to because of the distance.
"It was nice to see them this morning and I'm glad to have their support here. It was a long travel day for them. Even if I knew they were coming, it would have exciting regardless.''
As for the underdog role, Twarynski isn't concerned about getting into the media spotlight.
"I don't care about attention,'' he said. "I love hockey. This has been a goal of mine ever since I was young. To be on the opening night roster is just another door opening.
"The work is nowhere done yet. You can get sent down at any time. I did the work to make the roster, now I have to do more work to stay on it.''
Bunnaman ready to go
Across the room, fellow rookie Connor Bunnaman was also gratified to know he will be seeing his first NHL action against the Blackhawks.
"It means everything,'' he said. "Obviously I thought it was going to be a different experience to becoming an NHLer, my first game. But it's a cool experience. I couldn't be more happy.
"Coming in here (today) there was a little bit of nerves. But I guess tomorrow is going to be a lot more.''
Bunnaman said the turning point for him came in the preseason game at Boston on Sept. 23.
"I played pretty well in that game,'' he said. "That's when I really thought I could stick around for the whole year.''
>Farabee shaken about missing the cut
Rookie Joel Farabee failed to make the final roster cut and when asked about it on Thursday, got a bit emotional.
"It's pretty disappointing,'' said Farabee. "I thought I had a good camp. At the end of the day, they want me to develop, so I'm excited to go the Lehigh and play for coach (Scott) Gordon, and I think we're going to have a really good team down there.
"You just have to stay mentally tough. I took it pretty hard, but I'm not too worried."
>No long-term injury list for Patrick yet
General manager Chuck Fletcher said he hasn't thought about putting third-year center Nolan Patrick (migraine headache disorder) on long-term injury yet. Patrick would have to sit out 10 games and a minimum of 24 days in order to quality. That rule was put in to prevent teams from "stashing'' players in order to gain salary cap relief.


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Oropezella is een geslacht van insecten uit de familie van de Hybotidae, die tot de orde tweevleugeligen (Diptera) behoort.

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Deze lijst is mogelijk niet compleet.
O. sphenoptera (Loew, 1873)

 9


Last Class in Baghdad is a unique window into the lives of Iraq's last Jewish community. The stories told by students and teachers conjure up times of fun, peace, fear and hope. The school was a critical barometer of the changing fortunes of the Jewish community.


Cox Analytical Systems is a leading provider of XRF scanners. With these instruments you can scan along long samples to determine the variation of a wide range of elements along a scanned track. Our Itrax XRF scanners retrieves a wealth of information in short time, non destructively and cost efficient. Itrax stands for XRF scanners with unique constructions that offer several competitive advantages. These analytical instruments find their applications in scanning of drill cores, wet sediment cores and wood in Geology, Petroleum Engineering and Research, Mineral Exploration and Research, Forestry, Environmental Research, Paleoclimate Research, etc.
If you need a XRF scanner that offers high sample throughput and analytical quality, you have come to the right place. These scanners also offer scanning at variable scanning resolution, analyses without touching the sample surface, a wide element range, and the different scanners are adapted for different sample types and needs.
Cox Analytical Systems have been supplying analytical instruments since the 90's, and was founded by a group of researchers specialized in XRF. This knowledge is proving itself in several unique constructions, all having cutting edge performance. We keep pushing the limits for XRF scanning again and again.
Below you find a list of some basic features of our different instruments, as a help to select the right scanner for your needs.
The table to the left clarifies some of the basic features of the Itrax scanners. More details are found under Product Line in the menu.
Itrax technology can bring down the cost per analysis by keeping the sample throughput and data quality at a maximum.
XRF scanning is a fast growing technique, and the reasons are that this technique offers a combination of several usful features; a wealth of information about a wide range of chemical elements, a sample detail that is high enough for many examinations, fast and precise analyses, a minimum of sample preparation, and quantitative results.
The graphs below each show an element profile from a multi element scan of a core. Each profile contains 3,000 measurements with a spot size and step of 0.2 millimeter. Each spot was measured during one second only. The two graphs, one in red and one in black, display the same Manganese profile, as recorded in two consecutive scans. The average Manganese concentration is ~0.07%. Can you find a scanner that does it faster and with better repeatability?
The Itrax Scanners support a strong need to understand our current and future climate, by reveling detailed historical climate data from sediments as well as wood. Other applications includefields like exploration for oil, gas and metals, as well as research in geology, forestry and environment. Our scanners are thereby found in research and education as well as in the industry. Over the years, several hundred scientific articles have been published that contain data from Itrax scanners. You find them listed under Downloads.
Send us a message! It will find it's way to us, wherever you are.


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The best 4K Blu-ray players for home cinema aficionados
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Verity Burns
Long live the disc! To get the very best picture quality out of your movie marathons, take a look at our pick of the best 4K Blu-ray players you can buy
In the era of Netflix and iPlayer, taking the time to faff around with Blu-ray discs will, for some, seem wholly unnecessary. But for movie buffs who want to get the very best picture quality from their home cinema setup, Blu-rays are the only thing that make sense.
Even as streamed services have made strides forward with picture quality, the 4K HDR picture you'll get from a streamed service compared with a 4K HDR Blu-ray disc is night and day. To truly reap the visual benefits of the technology, discs are where it's at.
A good 4K Blu-ray player will even make the best of your dusty old disc collection. Any regular HD Blu-rays or even – gasp – DVDs that you have will make the most of the improved upscaling technology on board a 4K Blu-ray player, breathing new life into your old favourites.
So what do you need to look out for when buying one? The very best 4K Blu-ray players will support advanced HDR formats like Dolby Vision and HDR10+ - Dolby Vision remains the most popular of the two if you have to choose, but some support both. You'll also see they can decode object-based surround sound formats like Dolby Atmos or DTS:X, but you will need compatible speakers to make the most of this.
Cyber Monday has arrived and discounts on a wide range of tech and gadgetry are now live. The WIRED team has uncovered the top deals around right now. Here's the best Cyber Monday deals.
What is the best 4K Blu-ray player?
For its balance of feature, performance and value for money, the Panasonic DP-UB820EB (£299) has got to be the pick of the bunch, and should do an outstanding job for most home cinema setups. It's the best 4K Blu-ray player for most people in 2021.
View the Panasonic DP-UB820EB for £299 on Amazon
If your budget is a little bit smaller, the Sony UBP-X700 (£198) - i.e. the best budget 4K Blu-ray player - won't leave you disappointed, delivering a picture performance that belies its sub-£200 price tag.
View the Sony UBP-X700 for £198 on Amazon
Got money to burn? Panasonic's flagship player, the DP-UB9000 (£849) is top class. Its price tag won't suit many budgets, and its capabilities may even be too much for some setups, but if you're looking for the best 4K player money no object – this is it.
View the Panasonic DP-UB9000 for £849 on Amazon
WIRED Recommends is your definitive guide to the best technology. Every product featured has been properly tested by WIRED reviewers. Read our list of the best headphones for our favourite picks in every category.
Panasonic DP-UB820EB
WIRED Recommends: This Panasonic player is the best all-rounder
Outputs: 2 x HDMI, 7.1 multi-channel analogue, 1 x optical digital | HDR10/Dolby Vision/HDR10+ support?: Yes/Yes/Yes | Dimensions (hwd): 6.3 x 43 x 20.4cm | Weight: 3.5kg
Serving up a lot of the advanced video processing tech of the flagship DP-UB9000 (below), the Panasonic DP-UB820EB (£299) offers up a fantastic balance of features and performance at a good price.
Most importantly, it covers off all the main HDR formats, including HDR10, HDR10+ and Dolby Vision, so you won't have to scour the small print of your discs to find out whether it uses a format that is supported. Whatever you're playing, you're going to get the best out of it.
The picture it produces is top notch too. Colours are punchy and detail levels are outstanding. Feed it a standard Blu-ray and the upscaler does a good job at raising the bar so pictures are crisper and more insightful.
Sound gets another big tick in the DP-UB820EB's "buy it" column. There are 7.1 analogue outputs if you need them, as well as twin HDMIs to give flexibility to those who prefer to, or need to, run a separate audio output to the picture. Movie sound is bold and authoritative, but it could be a little more musical with CDs if we are being picky.
As far as extra features go, we really like the HDR Optimiser, which allows you to tweak the HDR performance depending on your viewing situation, giving added pop and brightness to a picture in a brighter room, for example. There's also voice control with a choice of Google Assistant or Amazon Alexa, too.
On-demand services are likely to be covered off by your TV, but Netflix and Amazon Prime Video are both accessible via the player if you need them, giving you the best of both worlds. It's worth noting there's Dolby Vision and Dolby Atmos support in the former too, which the app on some older 4K TVs may not have.
It's a superb all-rounder that will be a fantastic addition to most home cinema setups.
Pros: Punchy; detailed picture; all HDR formats supported; flexible audio options Cons: Could be more musical
Price: £299 | Check price on Amazon | John Lewis
The best affordable 4K Blu-ray player
Outputs: 2 x HDMI, 1 x coaxial | HDR10/Dolby Vision/HDR10+ support?: Yes/Yes/No | Dimensions (hwd): 4.5 x 22 x 32cm | Weight: 1.4kg
If you're looking for a 4K Blu-ray player at a slightly more accessible price point, the Sony UBP-X700 (£198) offers a whole lot to love at a price under £200.
With Dolby Vision and HDR10 support, it covers off the two main HDR formats you're going to want on board, and serves up a picture performance that is packed with fine detail. Sony is well known for its outstanding subtle picture processing and that's all on show here, with a picture that goes over and above what we've come to expect at this price point.
You'll lose a little of the premium finish on the build, which is largely plastic but it still looks smart enough to display underneath your shiny new 4K TV.
Audio performance is strong too, with twin HDMI outputs and support for Dolby Atmos and DTS: X, plus it does a great job with music for this level, and can playback 24-bit/192kHz tracks in WAV, FLAC and DSD.
For streaming, you've got 4K HDR support with Netflix and Amazon Prime, plus other additions like BBC iPlayer, YouTube, Spotify and Demand 5 too.
Pros: Subtle picture performance; natural colour handling; fast loading Cons: No HDR10+ support; slightly cheap build
Price: £198 | Check price on Amazon | Argos | Currys
Panasonic DP-UB9000
The best for home cinema aficionados
Outputs: 2 x HDMI, 7.1 multi-channel analogue, 1 x optical,l 1 x coaxial | HDR10/Dolby Vision/HDR10+ support?: Yes/Yes/Yes | Dimensions (hwd): 48.1 x 43 x 30cm | Weight: 7.8kg
For many people, forking out this much money on a Blu-ray player would seem a little OTT. But if you're a home cinema enthusiast with the AV kit to match, this player will be an outstanding addition to your setup.
From the outset, it's clear the DP-UB9000 (£849) is a premium machine. The build is all aluminium, to help protect against audio-disrupting vibrations, and a quick read of the spec sheet shows it means business on the inside too, with a high-quality chipset ensuring the very best in picture and sound quality.
As you'd expect at this level, no matter your audio setup, you're covered here, with stereo and 7.1 analogue outs as well as the twin HDMI outputs too for the very best in audio performance.
For those with the kit to make the most of it, the picture quality is that much more subtle and insightful than you'll find with cheaper machines, alongside bright, punchy colour handling that looks stunning with HDR pictures in particular. Of course you're covered for all the main HDR formats too, so it'll do right by whatever you're watching.
That includes older discs too. Its upscaler delivers a clean, crisp picture that benefits from the extra processing under the hood.
As for music, the high-end DACs inside the DP-UB9000 ensure there's an impressive amount of musicality up for grabs. CDs sound superb, as do high-res streams, but fans of legacy formats like SACD and DVD-Audio won't find their discs supported here. A minor downside for an otherwise excellent machine.
Pros: Very best picture performance; good upscaling; all HDR formats supported; great build quality Cons: No SACD and DVD-Audio support
Best for all-round entertainment
Outputs: 1 x HDMI | HDR10/Dolby Vision/HDR10+ support?: Yes/No/No | Dimensions (hwd): 10 x 29 x 36cm | Weight: 4.5kg
Back when Blu-ray discs first launched, Sony's PlayStation 3 proved itself to be a machine of many talents, by supporting the new movie format alongside its gaming discs. It started something of a trend and now both the PS5 (£449) and Xbox Series X (£450) support 4K Blu-ray, adding a string to their bow for gaming fans.
Which you buy is unlikely to be swayed by how good the Blu-ray performance is, however the PS5 does have the edge over the Xbox Series X in this area, offering up better colour subtlety and smoother playback to the well-trained eye.
That said, it's worth noting that the Xbox Series X does offer Dolby Vision and Dolby Atmos support where the PS5 doesn't, but this is only for its built-in streaming services. When it comes to Blu-rays, it's HDR10 support only with both machines.
That means it offers a middling HDR performance compared to the other Blu-ray players in our list, but if you're looking for a multi-purpose machine for gaming and movies, the PlayStation 5 offers the very best picture for the disc fan. [Low/unreliable stock, natch]
Pros: One-stop shop for gaming and movies Cons: No support for advanced HDR formats
Price: £449 | Check price on Amazon | John Lewis | Argos | GAME
Panasonic DMP-BDT180EB
If you don't need 4K…
Outputs: 1 x HDMIl | HDR10/Dolby Vision/HDR10+ support?: No/No/No | Dimensions (hwd): 4.3 x 31 x 18cm | Weight: 1kg
Perhaps you just need a Blu-ray player for a second TV in a bedroom or kitchen, or maybe you just want to be able to play your old discs, and stream the rest. Either way, a 4K Blu-ray player might be overkill for your needs, and in that case the Panasonic DMP-BDT180EB (£79) is a great choice.
Pop in a Blu-ray and you'll enjoy stacks of crisp detail, punchy-yet-realistic colour handling and an unshakeable motion performance. Its upscaler does fine work with DVDs too, and despite some added picture noise and expected loss of detail in dark scenes, they're still perfectly enjoyable to watch.
The machine's 4K upscaling isn't quite as strong by comparison, and you may find a 4K TV's upscaler does better, but you can play around with the settings to see what works best for you. Considering the quality of the HD picture it produces, you're unlikely to feel hard done by at this price.
It's price also means the DMP-BDT180EB is pretty light on frills or extra features, but you do have access to streaming services such as Netflix, Amazon Prime Video and BBC iPlayer if you need them. You'll just need to hardwire the player via an ethernet cable, as there's no Wi-fi on board.
A stellar budget Blu-ray player for those who don't need 4K.
Pros: Crisp detail; smooth motion; strong colour handling
Cons: 4K upscaling leave a little to be desired; lightweight build feels cheap
Price: £79 | Check price on Amazon | John Lewis
TopicsWIRED RecommendsSmart Home


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Sirotkin: There is a cure
Three races into the season and Williams finds itself last in the standings, the only team still to score a point.
Worryingly however, the team has not looked even likely to score a point having only once (Stroll, Australia) made it into Q2.
While most point to the team's driver choice and self-admitted financial concerns, the team points to the FW41 itself. Despite using the same engine as the works Mercedes and Force Indias it is clearly lacking speed, particularly on straights, a major worry for the team in Baku, scene of last year's podium finish for Stroll.
Teammate Sergey Sirotkin however, is confident the Grove outfit will overcome the problem.
"There is a cure," he told reporters. "We found something which is not really giving us exactly the performance and numbers we were expecting, which affects basically all the way how the car works.
"Now we are flat out to solve this," he confirmed, "and we think that once this issue can be solved, the car will open up and work as it was originally planned.
"It's a tough moment for us," admitted the Russian, "but personally, I am enjoying that it gave us a very strong challenge, I think there's a very good spirit and a clear and obvious task ahead of us.
"The way we are all trying to solve it has really united the team and I am really enjoying being at the factory, staying together with the team, fighting every single day to solve the problem.
"It's not that nice to be not the quickest car out there but I am very confident that one day we will get over it and that day I will be very proud for all of us that we stayed united and worked harder than anyone else to get on top of it."
"Unfortunately we haven't recovered enough of the cornering speed to compensate for losing that straight line speed this year," added teammate Stroll.
"We don't have the handling benefits that we were looking for, we've lost a good chunk in our strong point and we have not gained enough in our weak point."
Check out our Friday gallery from Baku, here.
Article from Pitpass (http://www.pitpass.com):


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Media Decoder | NBC Will Keep the Rights to Many of O'Brien's Comedy Bits
NBC Will Keep the Rights to Many of O'Brien's Comedy Bits
Whenever Conan O'Brien comes back to television, his show is likely to look significantly different. NBC is claiming that it owns all the comedy bits that were created during Mr. O'Brien's run, first on the "Late Night" show and for the past seven months on "Tonight."
That even includes one of the most recognizable comedy characters of recent years Triumph, the Insult Comic Dog. The character was created by Mr. O'Brien's onetime writer (and longtime friend) Robert Smigel, and NBC claims it owns the character in partnership with Mr. Smigel.
But NBC also can — and apparently will — claim ownership of other signature comedy bits created on Mr. O'Brien's shows, including some of his classic routines like "The Year 3000" and Conando.
One member of Mr. O'Brien's staff said the show was unworried and was planning to come up with new routines — or maybe some clever variations on the old ones. One suggestion: different animals doing vulgar things.
NBC also had some concern that Mr. O'Brien might take his anger with the network to the next step. He might seek to undermine Jay Leno's return to "The Tonight Show" by making a guest appearance with David Letterman — or maybe Jon Stewart or Stephen Colbert on Comedy Central — on the first night Mr. Leno comes back to "Tonight" after the Olympics.
However, one participant in the discussions said that possibility was taken care of in the settlement: Mr. O'Brien will not be able to do any interviews for a period of time that extends beyond the date of Mr. Leno's March 1 return.
Air America to Cease Broadcasting Immediately
Steinbeck Family Now Supports Google Book Plan