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Phred left the Herald building and carefully picked his way across Glacier Lake. It was the most direct route to Helpers Unlimited, the vocational school. There was never a danger of falling into the lake, for even in the summer it was frozen solid. But it was very slick, and Phred was slipping and sliding. By the time he had crossed the lake, he had landed on his bottom more than once.
"That's the last time I try to cut corners," Phred moaned, rubbing his back side. He pulled the bell cord on the door of the school. He waited for what seemed like a long time, then pulled the cord again.
"Can I come in?" Phred asked.
Brubaker stepped back and allowed Phred to pass, then he closed the heavy door. "What can I do for you?" he repeated his question.
Inhaling deeply, Phred said, "Gee, this brings back memories."
"What do you want?" Brubaker schreeched.
Brubaker's sharp tongue brought back memories, too. Phred snapped to attention. "I need to enroll, sir."
"Come into my office," Brubaker ordered as he strutted down the hall. "Please be seated." Brubaker gestured to a chair. "What do you wish to study?" He handed Phred a pamphlet.
"Helpers' Unlimited," Phred read. "There are three reasons helpers attend school: 1. To learn a trade, 2. To learn another trade, or 3. To 'find' him/herself." He dropped the flyer on Brubaker's desk. "I am now working at the' Herald,' and I need to study setting type," Phred said.
"And printing?" Brubaker asked.
"Yes, and printing."
"Follow me." Brubaker stood up and left his office. He marched down the long hallway, and Phred ran along behind him. Brubaker stopped at the end of the hall and pointed. "This is the printing division. You will learn to set type and print by trial and error. The use of wuffle dust is prohibited. Of course, in the event of a dangerous situation, the use of wuffle dust is authorized, but will be investigated. I will be in to check on you from time to time. Do you have any questions?"
"Where are the reference books?" Phred asked.
"They are where they have always been. The text books for this division are on the shelf over there, and the other books are in the library, which is still located at the other end of the hall." Brubaker frowned at Phred. "Do you have any other questions?"
Phred frowned back. "Nope."
"Very well, then. You are on your own." Brubaker left the room.
Phred went to the bookshelf, and found a large volume. He blew a huge cloud of dust from its cover. "Geez, no one's studied in this division for a long time," he said out loud. He climbed on a stool and began reading. He was so absorbed in the chapter that he didn't see Ria come in.
"Phred," Ria called.
Phred fell off the stool.
"I'm sorry. I didn't mean to startle you," Ria said. "I wanted to know who the new student was."
"That's okay. I'm not hurt. What are you studying, Ria?"
"Cooking," Ria said proudly.
"Cooking? What about your job at the Stables?"
"I know all of that already," Ria boasted.
"I guess you do."
"Yep," Ria said smiling. "So what are you doing here?" She pulled the book from Phred's hands and read "Setting Type: Fonts, Frames, and Frescos."
"I'm learning to print the paper."
"Zann needs help, so I'm the new roving reporter."
"I hear voices!" Brubaker shouted from down the hall.
"Was Brubaker mean to you?" Ria whispered.
"No, he was stern, though."
Ria frowned. "He's mean."
"He's not mean, Ria, just firm."
"He never smiles," Ria persisted.
"That's because he practically never handles any wuffle dust," Phred whispered.
"Oh." Ria nodded.
"Who else is here?" Phred asked.
"No one. Rissy used to be here, but she went to the Fix It Shop to take over for Boog."
"Yes, I know," Phred said. "So why are you studying cooking?"
"Duck said I might want to work someplace else someday. I don't, though. I love the reindeer; but Duck said 'you never know,' so I decided I could cook for him and the reindeer," Ria said proudly.
"Well, that's a nice idea," Phred said, smiling.
Ria looked over her shoulder. "Well, I better go. Brubaker will be back soon. He comes around a lot."
"That's his job," Phred said. "See ya later." Even now, he still felt a little intimidated by Brubaker.
Ria waved and went back to the kitchen classroom. She busied herself preparing Fudge Fondue.


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Mandatory Sexual Harassment Trainings in NY
On April 12, 2018, as part of the 2018-2019 New York State Budget, Governor Cuomo signed strong legislation to combat sexual harassment in the workplace. The anti-sexual harassment law requires all employers in New York adopt a sexual harassment prevention policy and training by October 9, 2018.
New York State developed a website Combating Sexual Harassment in the Workplace that includes model sexual harassment policy, model complaint form, model sexual harassment training program and Toolkit for Employers.
New York State has released guidance regarding the sexual harassment policy and training requirements.
New Model Sexual Harassment Policy
The New York State Department of Labor and Division of Human Rights have established the following requirements for the model sexual harassment policy:
Every employer in the New York State is required to adopt a sexual harassment prevention policy. An employer that does not adopt the model policy must ensure that the policy that they adopt meets or exceeds the following minimum standards.
The policy must:
Prohibit sexual harassment consistent with guidance issued by the Department of Labor in consultation with the Division of Human Rights
Provide examples of prohibited conduct that would constitute unlawful sexual harassment
Include information concerning the federal and state statutory provisions concerning sexual harassment, remedies available to victims of sexual harassment, and a statement that there may be applicable local laws
Include a complaint form
Include a procedure for the timely and confidential investigation of complaints that ensures due process for all parties
Inform employees of their rights of redress and all available forums for adjudicating sexual harassment complaints administratively and judicially
Clearly state that sexual harassment is considered a form of employee misconduct and that sanctions will be enforced against individuals engaging in sexual harassment and against supervisory and managerial personnel who knowingly allow such behavior to continue
Clearly state that retaliation against individuals who complain of sexual harassment or who testify or assist in any investigation or proceeding involving sexual harassment is unlawful
>> New York State Sexual Harassment Prevention Model Policy
Here is the model complaint form to be included in the sexual harassment policy for employees to report alleged incidents of sexual harassment.
>> Minimum Standards for Sexual Harassment Prevention Policies
Employers must provide each employee with a copy of its policy in writing. Employers should provide employees with the policy in the language spoken by their employees.
New York State has included an optional sexual harassment prevention poster as an optional tool to direct both employees and non-employees to your Sexual harassment Prevention Policy. If you choose to utilize the poster, it should be displayed in a highly visible place.
The sexual harassment prevention policy must be adopted by October 9, 2018.
Sexual Harassment Training Requirements
The New York State Department of Labor and Division of Human Rights have established the following training requirements:
Every employer in New York State is required to provide employees with sexual harassment prevention training. An employer that does not use the model training developed by the Department of Labor and Division of Human Rights must ensure that the training that they use meets or exceeds the following minimum standards. Model training materials are available to employers to download.
The training must:
Be interactive
Include an explanation of sexual harassment consistent with guidance issued by the Department of Labor in consultation with the Division of Human Right
Include examples of conduct that would constitute unlawful sexual harassment
Include information concerning the federal and state statutory provisions concerning sexual harassment and remedies available to victims of sexual harassment
Include information concerning employees' rights of redress and all available forums for adjudicating complaint
Include information addressing conduct by supervisors and any additional responsibilities for such supervisors
Each employee must receive training on an annual basis, starting October 9, 2018.
All employees must complete the model training or a comparable training that meets the minimum standards by October 9, 2019.
An "Employee" includes all workers, regardless of immigration status. Employee also includes exempt or non-exempt employees, part-time workers, seasonal workers and temporary workers.
New York State encourages employers to provide sexual harassment training to employees as soon as possible. Employers may be liable for employees' actions immediately upon hire, and the State encourages training as soon as possible.
>> New York State Sexual Harassment Prevention Model Training
>> New York State Sexual Harassment Prevention Training. The New York State Sexual Harassment Prevention Training is available in PowerPoint as well.
>> Minimum Standards for Sexual harassment Prevention Training
As of October 9, 2018, each employee must receive training on an annual basis. Employers should provide employees with training in the language spoken by their employees. New York State will translate finalized materials into Spanish, Chinese, Korean, Bengali, Russian, Italian, Polish and Haitian-Creole as quickly as possible. Additional languages may be added in the future.
Employers that do not adopt the model policy or training must ensure the sexual harassment prevention policy and training meets or exceeds the law's minimum standards.
Please feel free to contact us should you have any questions.

redpajama_set_name: RedPajamaCommonCrawl


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We both love the look of french braided bangs or a braid in the front of our hairdos. It's one of those quick hairstyles we use a lot on school days. But, I thought it might be fun to try something a little bit different with this basic style to change things up. So.... instead of starting the french braid in it's usual spot on the front/side, I started it in the back this time. Just a small tweek, but I love how it turned out!
To start: Part out a rectangular row about an inch wide where her part would normally be on the side/top of her head and then another part from the row you just made, straight down to her ear.
This is a little awkward :) but have her face you while you french braid starting at the back of her head and continue down the row until you get to the front.
Then have her turn to the side and continue french braiding until you get to her ear. After I made the turn to go across the front, I only took hair from one side to give it more of a round look. If you want to continue taking hair from both sides of the braid, it will finish looking more square, which would be super cute as well. When I got to her ear, I just tied the braid off with an elastic, added the flower, and put the ends in with the ponytail.
Love that! Braided bangs are common around here too, so this is a cute new way to change it up. Thanks!
That is a fun twist.
Oh I really like that little "twist" on a common style! You need something to make you stand out from the crowd :) I think I will try this on Little E, but I am not sure she has enough hair!
Thar haristyle is super cute. I am going to buy your book for both of my daughters for christmas. I have 1 granddaughter and the other daughter has a god daughter and babysits several cute little girls and their mommies are her good frioends. They will all have so much fun playing hair dress-up.
Stumbled across your blog today...Thank you for having a normal hair child!!
I look at all these hair blogs and the kids have freakishly thick hair! I can't imaged doing my girls hair in any of those styles because my girls don't have thick hair!
I will definitely be coming back here!!!
We did this today & I love it, thanks!
I LOVE YOUR BLOG!! Now that my daughter is getting older she protests about having her hair done. But, I'll never tire of seeing your hairstyles whether I get to do them or not. Thanks for continuing with your blog!!!
Cute! Love the flower clip too!


How long/How often can FluidFM probes be used?
Between 1 experiment and several weeks.
The lifetime of a FluidFM probe depends greatly on the experimental conditions, as well as on the applied filling, cleaning, and storage protocols.
Overall, it is important, that the users are in control of the challenges posed by their own experiments. Indeed, a deep knowledge of phenomena at the micro- and nano-scale involved in your experiment allows for better formulation of loading solution recipe, correct choice of protective coatings and correct storage protocol.
Inexperienced users we recommend to adhere to the standard protocols given by Cytosurge when handling, cleaning and storing the probes.
This way FluidFM probes can often be used for several experimental sessions and the lifetime varies between a few hours and one month.
Nonetheless, we do not recommend using the same probe for more than 1 month and remind that it is not possible to exchange or renew the liquid loaded in a FluidFM probe.
Drying out. A previously immersed probe is always at risk of clogging, once exposed to air. Thus keep it in liquid whenever possible and make sure the probe reservoir also does not dry out.
Biofilm formation. Bacteria are abundant even in very clean labs, during storage in liquid they form a biofilm on the probe and prevent further/meaningful measurements. Always clean a probe before storage and use appropriate antibiotics together with the storage solution.
Other factors which can limit the lifetime of a FluidFM probe are dirty or unstable suspensions, microscopic bubbles in the suspension, strongly acidic or corrosive operating environments, strong organic solvents, as well as inappropriate or exhausted coating.


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Posted on July 23, 2010 by Anne - No Comments on The scourge of the passive interviewer, part II: do we really want the creator's fine Italian hand to be quite this visible?
The scourge of the passive interviewer, part II: do we really want the creator's fine Italian hand to be quite this visible?
No time for my usual weighty tome today, I'm afraid: the houseguests, they are a-coming. As in any minute.
So let's cut right to the chase and continue yesterday's discussion of, well, when it is and isn't a good idea to cut to the chase in a dialogue scene. Specifically, in that ubiquitous species of dialogue where one character is trying to elicit information from another.
In my last post, I brought up how frustrating many professional readers find it when a narrative forces them to follow a poor interviewer through an information-seeking process that seems one-sided or lacking in conflict. Or when — heaven forbid — the answers just seem to fall into the protagonist's lap without significant effort on her part, exactly as if — wait for it — SOMEONE HAD PLANNED for her to happen onto precisely the clues she needed to solve the book's central puzzle.
What a happy coincidence, eh? And just in time to wrap up the mystery by the end of the book, too.
This marvelous atmosphere for coincidence does not always occur at the end of a plot, either. Ineffectual interview scenes are often employed, as we saw yesterday, to slow down a plot, creating false suspense. If the protagonist is too lazy, too clueless, or just too dimwitted to ferret out the truth early in the book, it's substantially easier to keep the reader in the dark about salient details of the variety that might cause a reasonably intelligent reader to figure out whodunit by the end of Chapter 2.
But that's not the only pacing problem an ineffectual interview scene can cause. A protagonist who is bad at asking questions — and his creative Siamese twin, the antagonist or supporting character who is suspiciously eager to cough up information — are also frequently used as means to speed up a narrative by shoehorning necessary information into the plot.
It's a classic tell, not show strategy, high on both backstory and ability to move the plot along, low on conflict, believability, and character development. See, for instance, how in the following sterling example, the lethal combination of a passive interviewer and a too-active interviewee compresses what could have been a relatively lengthy but conflict-filled interrogation scene into a few short exchanges:
"Wait a second," Millicent the agency screener mutters upon encountering a scene like this. "Who is interviewing whom here?"
Oh, you may laugh, but this kind of inverse interview, as well as plot giveaways every bit this broad, turn up in manuscript submissions and contest entries all the time. These techniques may well be the quickest way to tell a story, but as you may see, they make it pretty easy to see the wheels turning in the authorial mind. Not to mention being almost laughably unrealistic.
Neither of these quite legitimate complaints would necessarily be Millicent's primary objection to the scene above, however. Any guesses?
Hint: it's one of her perennial pet peeves. Oh, wait, that doesn't narrow it down very much, does it?
Give yourself a gold star and a pat on the back if you instantly cried, "This kind of implausible exchange pulls the reader out of the story!" Even though a reader would have to be pretty obtuse indeed (or very into the postmodern conceptual denial of individual authorship) not to realize that any protagonist's adventures have in fact been orchestrated by a writer, a too-obvious Hand of the Creator can yank the reader out of the story faster than you can say, "Sistine Chapel ceiling."
To work on the printed page, fate has to move in slightly more mysterious ways. Or at least in more interesting ones.
Was that wind that just blew my cat from one side of my studio to the other the collective irritated sigh of those of you who have been laboring to revise Frankenstein manuscripts? "Oh, fabulous, Anne," the bleary-eyed many whimper, wearily reaching for their trusty highlighter pens. "Now I not only have to scrub my manuscript until it gleams at the sentence level, but I also have to make sure all of my interview scenes are both plausible AND contain surprising plot twists? When do you expect me to be ready to submit this baby, 2018?"
Well, yes and no. No, I don't expect you to spend years polishing your manuscript — unless, of course, it needs it — and yes, I do expect your work to abound in gleaming sentences, believable, conflict-ridden interview scenes, and twists I couldn't see coming. So, incidentally, does Millicent.
That's enough homework to keep you busy for quite a while, I think. So I'll just sign off now…
Just kidding. There's actually a magnificently helpful revision tip buried in the example above: interview scenes are legendary in the biz for drooping, even in an otherwise tight manuscript. Especially, if you'll forgive my saying so, toward the middle and the end of a book, where protagonists — or is it their creators? — often become a tad tired of searching for the truth.
At that point, crucial clues hidden for years like Ali Baba's treasure frequently start leaping out of the woodwork, screaming, "Here I am — discover me, already!"
What does that mean for your revision, you ask? Since almost every book-length plot involves some element of detective work, however minor, it's worth triple-checking ALL of your manuscript's interviews for flow, excitement, and plausibility. In fact, I would recommend making those interview scenes your first stops for tightening (or, less commonly, slackening) the pace of your narrative.
(Yes, yes, I know: I'm being unusually generous with the boldface today. I want to make sure to hammer home these points before folks come banging on my door, expecting to be charmingly received.)
Do I sense that some of you are resisting the notion of taking on such a wide-ranging revision project? Okay, time for me to haul out the even bigger guns: besides presenting a pacing problem, clues that seem too anxious to fling themselves in a protagonist's way, feigning casualness when they are discovered littering the path, can actually render said protagonist less likable to readers.
Why? I refer you back to our question-light reporter above. Just as it doesn't make a character seem like a stellar interviewer if he just strolls into a room at the precise psychological moment that the taciturn miner who's kept his peace for 57 years abruptly feels the need to unburden himself to the nearest total stranger, it doesn't make a protagonist seem smart if he happens upon a necessary puzzle piece without working to find it.
And the protagonist is not the only one who runs the risk of coming across as a trifle dim-witted: a mystery or conflict that's too easy to solve or resolve doesn't offer the reader much food for conjecture. Readers like to feel smart, after all; piecing the puzzle together along with (or even a little ahead of) the protagonist is half the fun, isn't it?
It's considerably less amusing when the protagonist just stumbles onto necessary information, is slow to act, or isn't on the ball enough to ask the right questions of the right people. While a poor interviewer is almost always an obstruction to the reader finding out crucial information, too-garrulous antagonists and the interview scenes that enable their yen to spout monologue tend to make the stakes seem lower.
Why, you gasp in horror? As convenient as a suddenly chatty secret-hider can be to moving the plot along, information discovered too easily runs the risk of seeming…well, ordinary.
Think about it from a whole-plot level for a moment. If the reader gets to watch the protagonist run down a false lead or two, struggle to remove that rock from in front of the cave to rescue the Brownie troop, a brace of nuns, and three golden retriever puppies gasping for breath within, genuinely have to put two and two together in order to make four, etc., it's not only usually more exciting, but your protagonist will come across as smarter, more active, and more determined than if she just stands around while these things happen around her — she'll also be more likable, someone a reader might be eager to follow throughout an entire book.
(And no, Virginia, that last bit's not a foregone conclusion. If the reader, particularly a professional one, does not either like or love to hate a manuscript's protagonist(s), he's unlikely to keep reading for long. Just a fact of the life literary.)
Now let's apply that plot-level logic to an interview scene, shall we? If the information the protagonist is seeking just drops into her lap, as it does in the example above, the reader has no reason to become invested in the search: after the first couple of times, tremendous, long-held secrets being blurted out will simply become expected.
But what if our scheming reporter above had been forced to try really, really hard to pry Mrs. Quinine's whereabouts out of Ernest Borgnine? What if he was not only recalcitrant, but had an agenda of his own? What if he told her half-truths that would require still more backstory to render useful? Wouldn't the information she elicited — even if it consisted of precisely the same set of facts Ernest blurted out spontaneously in the version above — seem more valuable? Or at least more fun for the reader to watch her ferret out?
The answer to both of those last two questions was yes, by the way.
Contrary to popular belief amongst that apparently sizable portion of the aspiring writing community that wants to kill conflict on the page practically the moment it draws its first breath, readers like to see protagonists struggle to achieve their goals. It's interesting, as well as character-revealing.
Yes, yes, I know, Virginia — you're worried about your manuscript's getting too long, or the pace dragging, should you include a few digressions in your hero's pursuit of whatever MacGuffin he's desperately seeking throughout the story. (Although, frankly, I would prefer that you didn't just keep spontaneously shouting out these questions.)
While it is quite reasonable to draw a line on the length of a manuscript you're planning to submit to an agent, whether a particular scene seems overly lengthy to a reader is largely a matter of presentation, not actual number of lines on a page. There are plenty of short books, and even short scenes, that, to borrow a phrase from industry parlance, read long. (And speaking of eliciting, if you're not aware of how thick a sheaf of papers tends to elicit a knee-jerk rejection from Millicent, please see the BOOK LENGTH category on the archive list located on the lower right-hand side of this page.)
How might a savvy self-editor put this advice into practice? Glad you asked. Try divesting your interview scenes of any and all plot shortcuts or too-easy revelations, up to and including:
(a) any line where anyone's pointing out something obvious ("Hey, aren't you the guy who's been walking around town, asking all of those pesky questions?"), or
(b) any line that consists entirely of one character agreeing with or simply prompting another to speak (while "Yes, dear," may be charming to hear in real life, it seldom adds much to a scene), or
(c) simple yes or no answers to simple yes or no questions (almost never the most interesting way to frame a question or response), or,
(d) any new development that's not actually surprising ("Wait — you mean that your long-lost brother first described as a miner on pg. 4 might possess a map to the very mine we need to explore? Astonishing!"), or
(e) any scene where the interviewer doesn't have to work to elicit information from the interviewee.
These may not seem like big cuts, but believe me, they can add up. In many manuscripts, making those omissions alone would free up pages and pages of space for new plot twists, if not actual chapters of 'em.
And yes, I did jump from the line level to the scene level in that last one; thanks for noticing, Virginia. It's worth your while to consider whether a low-conflict interview scene is even necessary to the storyline; could your protagonist glean this information in another, more conflict-producing manner?
That question is not a bad one to write on a Post-It note and stick to your computer monitor, incidentally. If a scene — or even a page — does not contain recognizable conflict, it's a prime candidate for trimming.
A grand chapter to start excising the unsurprising: the first, since that is the part of any submission that any Millicent, agent, editor, or contest judge is most likely to read. Especially the first 5 pages or so — if you're going to have your plot surprise or your protagonist impress the reader with her interview acumen anyplace in the book, make sure that she does it here.
Chant it together now, long-term readers: unless the opening pages grab Millicent, she's not going to keep reading. (No, not even if her boss asked you personally to send the entire manuscript.)
That's just common sense, really. An agent, editor, screener, and/or contest judge needs to get through the early pages of a submission before getting to its middle or end. Therefore, it would behoove you to pay very close attention to the pacing of any interview scene that occurs in the first chapter, particularly within the first few pages, as this is the point in your submission where a screener is most likely to stop reading in a huff.
Was that giant gust of wind the collective gasp of all of you out there whose novels open with an interview scene? I'm sympathetic to your frustration, but next time, could you aim away from my cat?
How did I know half of you would be frustrated right about now? Easy: an AMAZINGLY high percentage of novel submissions open with interviews or discussions of the problem at hand. The protagonist gets a telephone call on page 1, for instance, where he learns that he must face an unexpected challenge: violà, an interview is born, as the caller fills him in on the details.
And he says, and I quote, "Uh-huh," four times.
Or the book opens with the protagonist rushing into the police station and demanding to know why her son's killer has not yet been brought to justice: another interview scene, as the police sergeant responds.
"Uh-huh," she says. "Go on, Mrs. Smith."
Or the first lines of the book depict a husband and wife, two best friends, cop and partner, and/or villain and victim discussing the imminent crisis: bingo.
"Uh-huh, that's the problem," one of them says ruefully. "But what are we going to do about it?"
Or, to stick to the classics, this dame with gams that would make the 7th Fleet run aground slinks into the private dick's office, see, and says she's in trouble. Bad trouble — as opposed to the other kind — and could he possibly spare a cigarette?
"What kind of bad trouble?" he asks — and lo and behold, another interview begins. Probably with a lot of agreement in it.
There are good reasons that this scene is so popular as an opener, of course: for at least the last decade and a half, agents and editors at conferences all over North America have been urging aspiring writers to open their books with overt conflict, to let the reader jump right into the action, without a lot of explanatory preamble. And conversation is a great way to convey a whole lot of background information or character development very quickly, isn't it?
Or, to put it in the language of writing teachers, dialogue is action.
Those of you who have been hanging out here at Author! Author! for a good long time are giggling right now, I suspect, anticipating my launching into yet another tirade on what I like to call Hollywood narration (a.k.a. Spielberg's disease), movie-style dialogue where characters tell one another things they already know, apparently for no other reason than to provide the audience with background information as easily and non-conflictually as humanly possible.
As it happens, you were right, oh gigglers. Openings of novels are NOTORIOUS for being jam-packed with Hollywood narration. As in:
"So, Selene, we have been shipwrecked on this desert island now for fifteen years and seven months, if my hash marks on that coconut tree just to the right of our rustic-yet-comfortable hut. For the first four years, by golly, I thought we were goners, but then you learned to catch passing sea gulls in your teeth. How happy I am that we met thirty-seven years ago in that café just outside Duluth, Minnesota."
"Oh, Theodore, you've been just as helpful, building that fish-catching dam clearly visible in mid-distance right now if I squint — because, as you may recall, I lost my glasses three months ago in that hurricane. If only I could read my all-time favorite book, Jerzy Kosinski's BEING THERE, which so providentially happened to be in my unusually-capacious-for-women's-clothing coat pocket when we were blown overboard, and you hadn't been so depressed since our youngest boy, Humbert — named after the protagonist of another favorite novel of mine, as it happens — was carried off by that shark three months ago, we'd be so happy here on this uncharted four-mile-square island 200 miles southwest of Fiji."
"Well, Selene, at least for the last week, I have not been brooding so much. Taking up whittling at the suggestion of Jason — who, as you know, lives on the next coral atoll over — has eased my mind quite a bit."
"Yes, I know, Theodore. How right you were to follow Jason's advice, given that in his former, pre-atoll life, he was a famous psychologist, renowned for testifying in the infamous Pulaski case, where forty-seven armed robbers overran a culinary snail farm…
Well, you get the picture. That's not just information being handed to the protagonist without any sort of struggle whatsoever; it's backstory being spoon-fed to the reader in massive chunks too large to digest in a single sitting.
Since I have lectured so often on this extremely common manuscript megaproblem, I shall let this example speak for itself. (And if it doesn't, I refer you to the many, many posts under the HOLLYWOOD NARRATION category on the list at right.) Suffice it to say that about the nicest comment this type of dialogue is likely to elicit from a professional reader is a well-justified shout of, "Show, don't tell!"
More commonly, it provokes the habitual cry of the Millicent, "Next!"
Did you notice the other narrative sins in that last example, by the way? Guesses, anyone?
Award yourself high marks if you dunned ol' Selene for over-explaining the rather uninteresting fact that she managed to bring her favorite book with her whilst in the process of being swept overboard by what one can only assume were some pretty powerful forces of nature. As character development goes, this is the equivalent of knocking Gilligan on the head with a coconut to induce amnesia when the Skipper needs him to remember something crucial: a pretty obvious shortcut.
Besides, as much as I love the work of Jerzy Kosinski, in-text plugs like this tend to raise the hackles of the pros — or, to be more precise, of those who did not happen to be involved with the publication of BEING THERE (a terrific book, by the way) or currently employed by those who did. Besides, revealing a character's favorite book is not a very telling detail.
I hear writerly hackles rising out there all over the reading world, but hear me out on this one. Writers who include such references usually do so in the rather charmingly myopic belief that a person's favorite book is one of the most character-revealing bits of information a narrative could possibly include. However, this factoid is unlikely to be of even the vaguest interest to someone who hadn't read the book in question — and might well provoke a negative reaction in a reader who had and hated it.
Out come the Author! Author! hymnals again: it's never a good idea to assume that any conceivable reader of one's book will share one's tastes, literary or otherwise. Or worldview.
But let's get back to analyzing that Hollywood narration opening. Give yourself an A+ for the day if you immediately said, "Hey, if the island is uncharted, how does Selene know so precisely where they are? Wouldn't she need to have either (a) seen the island upon which she is currently removed upon a map, (b) seen it from space, or (c) possess the magical ability to read the mind of some future cartographer in order to pinpoint their locale with such precision?"
And you have my permission to award yourself a medal if you also cried to the heavens, "Wait — why is the DIALOGUE giving the physical description here, rather than, say, the narrative prose?"
Good call. This is Hollywood dialogue's overly-chatty first cousin, the physical description hidden in dialogue form. It tends to lurk in the shadows of the first few pages of a manuscript:
Jefferson glanced over at his girlfriend. "What have you been doing, to get your long, red hair into such knots?"
"Not what you're thinking," Mimette snapped. "I know that look in your flashing black eyes, located so conveniently immediately below your full and bushy eyebrows and above those cheekbones so chiseled that it would, without undue effort, be possible to use them to cut a reasonably soft cheese. Perhaps not a Camembert — too runny — but at least a sage Derby."
"I'm not jealous sexually." Jeff reached over to pat her on the head. "Having been your hairdresser for the past three years, I have a right to know where those luxurious tresses have been."
She jerked away. "Get your broad-wedding-ring-bearing fingers away from my delicate brow. What would your tall, blonde wife think if you came home with a long, red hair hanging from that charm bracelet you always wear on your left wrist, the one that sports dangling trinkets from all of the various religious pilgrimage sights you have visited with your three short brunette daughters, Faith, Hope, and Gertrude?"
Granted, few submissions are quite as clumsy as this purple-prosed exemplar, but you'd be surprised at how obvious aspiring writers can be about it. Remember: just because television and movie scripts can utilize only the senses of sight and sound to tell a story doesn't mean that a novelist or memoirist must resort to Hollywood narration to provide either backstory or physical details. We writers of books enjoy the considerable advantage of being able to use narrative text to show, not tell, what we want our readers to know.
Pop quiz, campers: why might introducing physical descriptions of the characters through opening-scene dialogue seem a bit clumsy to someone who read hundreds of submissions a month?
Well, again, it's common, but this time, at least, that's not the primary reason. Any guesses?
If you said that Jeff and Mimette are telling each other things they obviously already know, throw yourself a party. In this era of easily-available mirrors, it's highly unlikely that anyone would not know that he possessed, say, dark eyes, and even the most lax of personal groomers would undoubtedly be aware of her own hair's color and length. Thus, the only reason this information could possibly appear in dialogue between them, then, is to inform a third party.
Like, for instance, the reader. Who might conceivably prefer to be shown such details, rather than hear them in implausible dialogue.
Once again, though, poor text has given us the gift of a revision tool. A pretty good test for Hollywood narration: if a statement doesn't serve any purpose other than revealing a fact to the reader, as opposed to the character to whom it is said, then it's Hollywood narration. And it should go — to free up page space for more intriguing material and good writing.
If you also said that Jeff and Mimette are engaging in dialogue that does not ring true, give yourself extra credit with sprinkles and a cherry on top. With the exception of medical doctors, art teachers, and phone sex operators, real people seldom describe other people's bodies to them.
It's just not necessary. My SO has just walked into the room to tell me that our guest have arrived, but I cannot conceive of any impetus that might prompt me to say to him, "Rick, I don't mean to startle you, but your eyes are green!"
His eyes are indeed green, and I might conceivably want you to know it. But honestly, was just blurting it out — and to him, no less — the most interesting way to introduce this information?
In the interest of scientific experimentation, though, I just tried saying it out loud. It did not produce scintillating conversation. Turns out that being possessed of a mirror — nay, several — he already knew.
Who could have seen that plot twist coming, eh? And aren't we all stunned by the depth of that character and relationship development in the last few paragraphs?
Oh, here come my guests: blue eyes, brown hair; brown eyes, red hair. I must go and remind them of the exact circumstances of how we all met. You know, just in case the neighbors happen to be listening.
Hey, that's not the kind of information we'd want bystanders to pick up on the street, is it? Keep up the good work!
CategoriesAgency screeners' pet peeves of the notorious variety, Art Of Revision, Beginning and ending a book, Character development tips, Conflict-building, Constructing a narrative, Contest entry bugbears, Craft! In-depth analysis, Creating sufficiently odious antagonists, Dialogue that adds to the scene, Dialogue that moves quickly, Dialogue that moves TOO quickly, Dialogue that rings true, Editing dialogue, Editing for complexity, Editing for length, Editing for pacing, Editing for style, Editing the opening pages, False suspense, First pages agents tend to dislike, Frankenstein manuscripts, Hollywood narration, Hooks, Interview scenes that work, Manuscript megaproblems, Memoir craft and marketing, Pacing a scene, Passive protagonists, Picking up the pace, Plausibility, Plot development, Protagonist likability, Pulling the reader out of the story, Purging protagonist passivity, Realistic dialogue, Revision tips, Sagging in the middle, Show don't tell, Suspense-building, Tension-building, Writing memoir
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Congratulations on your stellar academic performance during your first semester at Mason! As a way to show to congratulate you all, we want to recognize your freshman academic performance and are cordially inviting you to our annual College of Humanities and Social Sciences (CHSS) Freshman Academic Achievement Celebration. Sign-in begins at 3:30 p.m. We look forward to seeing you there!


text:
Q: Why are all the SAS capabilities unlocked from the start in career mode? Recently, I started to play KSP again, and I noticed that even though I used the most realistic settings to make the game challenging, right from the start I get all the SAS capabilities unlocked even with Jebediah being only LVL 0.
Is this some kind of new feature? I can't find an option to disable this anywhere.

A: Ok I found it, this is a bug with the 1.11.1 version. Hopefully it'll be fixed soon.

redpajama_set_name: RedPajamaStackExchange


text:
As Portas de Split () são um estreito no mar Adriático entre as ilhas Šolta e Brač, na Dalmácia. e que permitem aceder por via marítima à cidade de Split, na Croácia. O estreito tem 1 milha náutica de comprimento e cerca de 800 m de largura. A norte do estreito fica o Canal de Split (Splitski kanal). O ilhéu Mrduja fica neste estreito.

Ver também
 Split
 Canal de Split
 Dalmácia
 Brač
 Šolta

Mar Adriático
Estreitos da Croácia
Split

redpajama_set_name: RedPajamaWikipedia


Acts of mass violence in the U.S., defined as three or more people killed in a public location, are occurring at an unprecedented rate.
November 14: Five individuals in Northern California were randomly killed by a gunman.
Acts of mass violence are challenging our nation, our communities and our first responders. While the tactics used by the assailants in each of these four events differed vastly, during each attack the first responders did their best to respond quickly and in a coordinated manner.
With no end in sight to mass violence, first responders and communities must review their preparedness and develop response and recovery training that includes integrated response and civilian trauma care.
First responders need to adopt an integrated response philosophy and train often to ensure a coordinated and effective response. Acts of mass violence are generally unpredictable and often evolve quickly with little warning. Several jurisdictions have adopted the rescue task force concept, as seen in Las Vegas, and more jurisdictions around the nation are applying similar tactics to their training.
Glen Simpson, special events manager with Community Ambulance stated that, "The mass casualty incident at the Route 91 concert in Las Vegas affirmed the value of our pre-planning and contingency-planning efforts.
"Over the years, we have trained for various active shooter scenarios and have developed a framework for responses that includes discussions regarding egress, ambulance staging and accurate triaging. Such planning and training played a large role in our ability to effectively act/respond to an event none of us could have envisioned in our worst nightmares. While we know there's no way to imagine every possible scenario we may encounter, we constantly train for an array of possibilities.
In order to be fully prepared for any act of mass violence, all local agencies (law enforcement, fire, EMS and dispatch) must create trusted relationships between one another. Together they must establish what a comprehensive, integrated response and recovery plan looks like in their jurisdiction. They need to discuss details about establishing unified command and determine cross-disciplinary training schedules.
In addition to integrated response training, first responders must train civilians in basic trauma care, as civilians will be at the scene and potentially able to provide medical aid to victims.
Research shows that an individual can bleed to death in less than three minutes from a traumatic injury. First responders should provide awareness training and hands-on trauma care training (to include tourniquets) to community members at a minimum on an annual basis.
Educating civilians on rapid medical care before an attack will help improve victim survivability.
Review after-action reports and leverage existing resources and publications about integrated response training tactics.
Connect with responders who were on scene and find out if you can attend one of their upcoming exercises. I've attended rescue task force trainings in major cities in the east and west coast.
Watch PoliceOne Roll-Call Videos and listen to podcasts that discuss current trends.
Attend conferences hosted by groups like the National Tactical Officers Association (NTOA), Advanced Law Enforcement Rapid Response Training (ALERRT) and the International Public Safety Association (IPSA), that center on integrated response.
Apply to serve on national level working groups that address these issues to learn from your peers and shape integrated response policy and training.
IPSA is launching a new Acts of Mass Violence: Public Safety Response and Recovery Initiative and is seeking first responder subject matter experts to be involved. Since federal funding is not currently available, the effort is being kick started through a #GivingTuesday fundraiser. IPSA is currently accepting donations to support this effort.
Recent acts of mass violence have no jurisdictional boundaries. These events evolve quickly, and they occur with little to no warning. First responders know the modus operandi and weaponry will vary and there is a range of assailant planning tactics from impulsively acting to extensive strategy. For jurisdictions to be fully prepared, they must have a comprehensive, integrated response and recovery plan that includes all allied emergency responders.


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Striker Sharp transfers to the Bucks
Keeper Alex gets his cap
Saints off the mark despite late scare
Belle tolls for Saints at Port Talbot
Corbett Sports Welsh Premier League
THE Corbett Sports Welsh Premier - the national league of Wales - will again kick-off 2011/12 with 12 clubs after being reduced in size from the previous 18 in 2010, which saw the relegation of Caersws, Cefn Druids, Connah's Quay, Porthmadog, Rhyl and Welshpool.
Afan Lido return to the top flight as Welsh League runners-up, replacing Haverfordwest County who were relegated.
No clubs were promoted from the Cymru Alliance after champions Gap Connah's Quay failed to gain the FAW domestic licence.
There is no route for promotion from the Welsh Premier, although the champion side is entered in the Uefa Champions League, with two clubs entered in the Europa league along with the Welsh Cup winners.
The league is sponsored by the Principality Building Society.
Total Network Solutions changed their name to The New Saints in June 2006.
Airbus UK changed their name to Airbus UK Broughton in August 2007.


We are very excited to announce that we will be installing a luxury, self-catering Shepherd's Hut in our lovely gardens in April 2019 when bookings will open.
The Shepherd's Hut will be located overlooking green fields and moors, yet within the heart of the charming village of Coxwold inside the North York Moors national park.
If you have never stayed in a Shepherd's Hut before, this is the one to start with… do not accept a poor substitute!
We have created a boutique Shepherd's Hut for two adults with all the luxury you would expect – and a few little surprises – to make your time with us truly memorable.
Everything at our boutique Shepherd's Hut has been designed with our guests' comfort and relaxation at the forefront of our minds… romantic luxury inside the North York Moors! Attention to detail and thoughtful touches throughout will make your stay in this boutique Shepherd's Hut both comfortable and relaxing.
Please note: photos on this page are illustrative only and do NOT show our Shepherd's Hut. Our Shepherd's Hut is being made created by the same craftsmen but to our unique specifications.
Whilst the luxury self-catering holiday cottage does not have a washing machine or dryer, we are happy to provide a laundry service (for a small charge) with drying facilities after wet days available in our boot room situated in the courtyard.
Coxwold – Although we don't have a village shop we do have a village garage, tea rooms, village pub and interior/gift shop!
Ampleforth – The closest place to Coxwold for provisions and newspapers is the post office/shop which is almost opposite one of our favourite coffee shops – Kirks. Ampleforth is also where our local doctor's surgery is located.
Easingwold – Our nearest place for good local shops and banks. On the market square you can find anything from great butchers and bakers to a hardware store, florist, wine merchant and coffee shops! Also, a Barclays Bank with cashpoint.
Helmsley – A thriving small town with lots of interesting shops centred around the lovely Market Square. Well worth a visit.
The Shepherd's is not suitable for dogs or children. We have two well-behaved black Labradors ourselves who will not allowed to roam into our luxury self-catering Shepherd's Hut!
For the benefit of all guests, the Shepherd's and gardens are designated as non-smoking areas.
Our luxury self-catering holiday cottage is located in the heart of the picture-postcard village of Coxwold, nestled within the North York Moors national park.
Location, location, location: our location is hard to beat! Enjoy the best Yorkshire can offer: from gastro pubs and charming market towns to fascinating heritage and amazing country walks.
North Yorkshire has something for everyone when it comes to enjoying the great outdoors. From walking and cycling to hot air balloon rides, gliding, motor sport days and so much more.


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Taylor Swift Teams With Dixie Chicks on Poignant New Tune, "Soon You'll Get Better" [Listen]
by Jim Casey | @TheJimCasey | August 23, 2019
Taylor Swift dropped her seventh studio album, Lover, on Aug. 23.
The 18-song offering features a notable collaboration with the Dixie Chicks on the new tune, "Soon You'll Get Better," which Taylor co-penned about her mom, Andrea, who has been battling cancer.
During a YouTube Live Stream on Aug. 22, Taylor revealed the song was "really, really hard to write . . . We as a family decided to put this on the album, and it's something I'm so proud of, but it's just really hard. I can't sing it. It's hard to just emotionally deal with that song."
The song features background vocals from the Dixie Chicks, as well as stripped-down banjo and fiddle.
Listen to "Soon You'll Get Better."
photo by O'Connor, AFF-USA.com
written by Jim Casey | @TheJimCasey | published August 23, 2019 7:56 AM
category: NCD News | related posts: Dixie Chicks, Lover, Soon You'll Get Better, Taylor Swift
Read more country music news at Nash Country Daily!
← Brantley Gilbert Talks Growing Family, Songwriting Roots, New Album "Fire & Brimstone," Upcoming Tour & More
Barack Obama's Summer 2019 Playlist Includes Lil Nas X's "Old Town Road" Featuring Billy Ray Cyrus →
Roger Miller Tribute Concert to Feature Willie Nelson, Kris Kristofferson, Trisha Yearwood, Chris Janson & More
Watch Kelsea Ballerini & Halsey Perform "Graveyard" From Upcoming Episode of "CMT Crossroads"
CMA Honors Alan Jackson With the "Joe Talbot Award"
Luke Combs Will Be the Musical Guest on "Saturday Night Live" on Feb. 1
Listen to Old Dominion's Poignant New Single, "Some People Do," Which Was Co-Penned by Thomas Rhett
Charity Concert at Nashville's Ryman Auditorium to Feature Dolly Parton, Lonestar, Lee Greenwood, Abby Anderson & More


text:
Q: Ask for theory about the weighted L^2(R^d) space. Dear MOs,
I am now considering the following norm:
$$
||f||_{H}^2 :=  \iint f(x) H(x,y) f(y) d x d y\:.
$$
where the integral is over the whole space $R^{2d}$ and $H(x,y)$ is some non-negative definite kernel. Denote the space of functions with finite $||\cdot ||_{H}^2$ norm to be $L_H^2(R^d)$. If $H(x,y)=\delta_0(x-y)$, then the above norm reduces to the standard $L^2(R^d)$ norm and in this case $L^2(R^d)=L_{H}^2(R^d)$. For convenience, you can also assume that $H(x,y)$ is non-negative.
First question
Is there a general theory on this space? What are the weakest assumptions we need to put on the kernel $H(x,y)$?
Clearly, it can be more than functions, say measure (Dirac delta). I think that (if you assume that $H$ is non-negative)

*

*$H(x,y)$ cannot go beyond measures.

*$H(x,y)$ should be locally integrable. (Recall Dirac $\delta$ is locally integrable.)
When $H(x,y)$ has the form $H(x,y) =h(x-y)$ for some function or measure $h$, then there are theories by Gel'fand and Vilenkin (Generalized functions, Vol.4) that uses the Fourier transform to find the spectral measure $\mu$ corresponding to $h$:
$$
||f||_{h}^2 = \int \widehat{f}(\xi) \overline{\widehat{f}(\xi)} \mu(d \xi)\;,
$$
where $\widehat{f}$ is the Fourier transform of $f$ and the overline is the complex conjugate.
Second question
My second question is closely related to my motivation of this post. As we know that, if $f\in L^2(R^d)$,then $f*J_\epsilon\in L^2(R^d)$ and also
$$
||J_\epsilon * f||  \le ||f||,\quad\text{and}\quad \lim_{\epsilon\rightarrow 0_+}||J_\epsilon*f-f||=0\;,
$$
where $J$ is a molifier ($J$ is nonnegative, real-valued, belonging to $C^\infty(R^d)$ with compact support, $\int J(x) d x=1$, $J(x)=0$ if $|x|\ge 1$),  $J_\epsilon(x)=\epsilon^{-d}J(x/\epsilon)$ and * denotes the convolution. The question is whether this result can be extended to the case of $L_H^2(R^d)$. More precisely, whether the following statement is true:

If $f\in L^2_H(R^d)$,then $f*J_\epsilon\in L^2_H(R^d)$ and also
$$
\lim_{\epsilon\rightarrow 0_+}||J_\epsilon*f-f||_H = 0\;.
$$

Certainly, we need to put appropriate assumptions on $H$, which is related to the first question.
Thank you very much for any hints and help! :-)
Anand

A: Formally, we can define an operator $A$ on $L^2({\bf R}^d)$ by setting $$Af(x) = \int H(x,y)f(y) dy.$$ Then $$\langle Af, f\rangle = \int\int f(x)H(x,y)f(y) dxdy = \|f\|^2_H$$ (I am assuming real scalars, as I think you are). That is, you are just defining $\|f\|_H$ to be $\|A^{1/2}f\|$. The kernel $H(x,y) = \delta_0(x,y)$ corresponds to the case where $A$ is the identity operator.
I don't know if there's a definitive answer to the question of what the weakest possible assumptions on $H$ are, but any bounded positive operator $A$ will define a seminorm by the formula $\|A^{1/2}f\|$. It will be a norm if and only if $A$ has no kernel.
For your second question, as long as $\|J_\epsilon*f - f\| \to 0$, we will have $\|A^{1/2}(J_\epsilon*f - f)\| \to 0$ for any bounded positive operator $A$, that is, $\|J_\epsilon*f - f\|_H \to 0$.
I guess the point is that your problem can be approached by looking at whether integrating against $H$ defines a bounded operator on $L^2({\bf R}^d)$.


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What happened to the 10 youngest scorers in the Champions League?
From Peter Ofori-Quaye to Mariyan Ognyanov via some rather more familiar names, these players all made their mark in Europe at the very start of their careers. What happened next?
• Breel Embolo: the Basel schoolboy who Liverpool should fear
Nick Ames
@NickAmes82
Tue 9 Dec 2014 06.01 EST Last modified on Wed 21 Feb 2018 07.48 EST
Basel's Breel Embolo missed this chance against Real Madrid but did score against Ludogorets in the group stages this season. Photograph: Laurent Gillieron/AP
1 Peter Ofori-Quaye, 17 years 195 days
Rosenborg 5-1 Olympiakos, 1 October 1997
Ofori-Quaye's was a curious career. Born in Accra, he was playing in Greece for Kalamata at the barely believable age of 15 as part of an influx that, briefly, made the region more famous for its quantity of Ghanaians than its olives. A big move to Olympiakos was not long in coming and Ofori-Quaye, physically mature for his age and with a keen eye for goal, was fast-tracked into the first-team squad. He was an unused substitute in the Greeks' first Champions League tie of the 1997/98 season, against FC Porto, and was on the bench again for the next game in Rosenborg. These were the days when the Norwegians were a group stage staple, and they breezed into a four-goal lead that – with the likes of Roar Strand, Harald Brattbakk and Sigurd Rushfeldt among the scorers – feels vaguely nostalgic in itself. Introduced on the hour with little left to lose, it took just nine minutes for Ofori-Quaye to make good his reputation as game young gunslinger. A very fine finish it was too, sticking out a leg to control a cross from the left, creating a yard of space and swiveling to arrow a accurately into the bottom-left corner. As he ran back towards the centre-circle, he engaged in the customary we-can-do-this-now-lads geeing-up of his colleagues with the authority of a senior pro.
He has gone past that stage now. Ofori-Quaye, now 34, has not been on a club's books since 2012 and even that, a short spell with Bechem United back in his homeland, was something of a false extension to his playing days. Ofori-Quaye spent six years with Olympiakos and, even if he became something of a Championship Manager sensation after his early heroics, never lived up to his early billing. He was part of a successful squad but seven goals in his first season was as good a tally as he would rack up and, still just 23, he was released in 2003. Returning briefly to Ghana, he came back to Europe in 2005 but, in spells with OFI Crete, Hapoel Kiryat Shmona and AEL Limassol, ended up doing little more than play out time in a career that had shot its bolt far too early.
2 Mateo Kovacic – 17 years, 215 days
Dinamo Zagreb 1-7 Lyon, 7 December 2011
There is no getting away from the fact that Dinamo Zagreb's 2011-12 Champions League campaign was an utter embarrassment. A respectable start, losing 1-0 to Real Madrid, had been followed by four subsequent defeats that included a 6-2 hiding at the Bernabéu and a 4-0 thumping by Ajax. By the time they hosted Lyon – who needed to win, hope Ajax lost to Real and that a seven-goal turnaround manifested itself in the meantime – their race was long since run and they were obliging enough in helping the French side win theirs. Seven times Ivan Keleva's net bulged, four of them courtesy of Bafetimbi Gomis – who helped himself to the fastest Champions League hat-trick – and Lyon's goals all came between the 45th and 75th minutes.
Yet that was all after they had gone a goal down five minutes before the break. Dinamo, who had been reduced to 10 men after 28 minutes, broke their duck for the tournament when Fatos Beqiraj burst clear on the right and forced Hugo Lloris into two superb saves before Kovacic, a regular in the team now after making his debut the previous year, reacted faster than a sluggish defence to torpedo the opener in from a matter of feet.
Lyon's unthinkable response and a 3-0 defeat for Ajax ensured their progress to the knock-out stage, with suspicions raised in the aftermath that something underhand had occurred. All of that made Kovacic's feat a footnote but he has been prominent enough since, helping Dinamo win yet another league title that year before joining Internazionale in January 2013. A delightful footballer with a brain beyond his years, a superb passing range and a deft change of pace, he started for Croatia at the World Cup and, still just 20, has much better nights than that cold, much-questioned night at the Maksimir ahead of him.
3= Cesc Fábregas – 17 years, 218 days
Arsenal 5-1 Rosenborg, 7 December 2004
This time it was Rosenborg receiving a battering, and this time the headline goal was administered by a player whose career would stand the test of time. The secret was already out where Fàbregas was concerned: he had become Arsenal's youngest goalscorer the previous season, in a League Cup match against Wolves, and had scored his first Premier League goal three months before the Norwegians, already eliminated arrived in London. Arsenal were already 2-0 up when, in the 29th minute, Fàbregas took an instinctive Robert Pires pass, flicked it around a defender and hooked into the net with his left foot. It helped put Arsenal into the last 16, although Bayern Munich – naturally – would quickly extinguish their flame. Fàbregas, though, had served notice of the kind of performance he would put in against Patrick Vieira and Juventus a season later. While the way in which his Arsenal career ended is a cause of lingering regret for player and club, he has been at it again for Chelsea this season – scoring in November's 1-1 draw against Schalke.
3= Bojan Krkic – 17 years, 218 days
Schalke 0-1 Barcelona, 1 April, 2008
Bojan is beginning to show that he can do it on a cold afternoon in Stoke, but a breezy April evening in Germany's industrial heartland gave an early pointer that this could be a talent for all seasons. The goal, which arrived six months after he had become Barcelona's youngest-ever scorer, was not much to look at – a jab into an empty net after Thierry Henry, running onto a piece of outside-of-the-boot Andrés Iniesta genius, had seen his first shot blocked and squared the rebound to his young colleague – but it made him the first 1990s-born player to score in the Champions League and gave Frank Rijkaard's side a vital first-leg lead. They would lose to Manchester United in the semi-finals; Bojan himself went on to spend a couple of years looking as if he could one day give Lionel Messi a run for his money before fading out and spending short, moderate spells at Roma, Milan and Ajax. Scoring against Arsenal at the weekend suggests that, at the least, he would be able to hold his own against opponents of group stage quality now.
5 Martin Klein – 17 years, 241 days
Panathinaikos 2-1 Sparta Prague, 27 February 2002
Spoiler: nobody else on this list has seen their career pan out quite as obscurely as Klein, who flung his blond mop at a late free-kick towards the end of second group stage (remember what a slog that all was?) game in Athens and gave Sparta Prague, 2-0 down already, a few seconds of brief excitement. The defender had come on as a first-half substitute and, this display of bravura seemingly having made enough of an impression, he would play from the start for a 3-0 defeat against Real Madrid two weeks later. Behind him was a 19-year-old Petr Cech, but they soon moved in different directions as Klein failed to impress on rare opportunities in the domestic league and joined FK Teplice, where he had already spent time on loan, at the start of 2004. Six decent years there restored his stock but moves to Konyaspor, in Turkey, and the Hungarian side Ferencvaros seemed ill-chosen and he returned to Teplice last season. So far, so underwhelming, but the 30-year-old can now be found in Kazakhstan with FC Kaisar, from the city of Kyzylorda, who were promoted to the country's Premier League last year. 2002 seems a long, long time ago.
6 Breel Embolo – 17 years, 263 days
FC Basel 4-0 Ludogorets, 4 November 2014
The night before bonfire night was also a schoolnight for Embolo, who was due to be up and about at 7am the next morning. But the Cameroon-born forward got his hard work done fairly early against the Bulgarians, and announced to the wider public a talent that had already made a huge stir in Switzerland. His goal, in the 34th minute, was borne of a combination of power and poise. Taking a dink from Fabien Frei perfectly on his chest, he outmuscled a defender and, although facing away from goal, adjusted his body to slot a bouncing ball into the corner. He created his team's third goal too – and has taken such explosive form into his domestic performances since.
7 Aaron Ramsey – 17 years, 301 days
Fenerbahce 2-5 Arsenal, 21 October 2008
Ramsey was an almost painfully shy figure when he first arrived at Arsenal but, after admitting to finding the increased speed of training almost impossible to handle early on, quickly showed that he knew when to make a big noise. Coming on as a substitute 73 minutes in for his fifth appearance since joining from Cardiff, this was intended to be little more than a late runout in a game that Arsène Wenger's side were leading 4-1, although the Turks quickly scored another. Further danger having been averted, Ramsey appeared 20 yards out in the dying minutes to make completely sure with a venomous finish off a post. Goals would then be infrequent for the Welshman until last season, when his purple patch cranked into gear with a superb brace against, yes, Fenerbahce last August.
8 Karim Benzema – 17 years, 353 days
Lyon 2-1 Rosenborg, 6 December, 2005
This list owes a an unserviceable debt to Rosenborg, who cropped up a third time almost a year to the day after laying out the red carpet for Fàbregas at Highbury. The youngster catered for this time was making only his second professional start and his first appearance in the Champions League, and well he might because Lyon, now halfway through their seven-year period of Ligue 1 dominance, had already qualified from Group F while Rosenborg were virtually certain of third place and a Uefa Cup spot. Alongside another tyro destined for bigger – or at least other – things in the form of Hatem Ben Arfa, Benzema started brightly and came close twice early on before, 33 minutes in, he seized onto a John Carew cutback and swept Lyon into a fairly inconsequential lead. That was equalised in the second half and it was left to Fred, Brazil's venerable attacking totem a full eight and a half years later, to stir the senses with an injury-time winner.
These days, Benzema is perhaps in the form of his life with Real Madrid and seems finally to have the confidence – in himself and from others – to be labelled among the world's leading strikers. He has scored at least five Champions League goals in six of the last seven seasons, including the current one. Dead rubbers sometimes provide the ideal opportunity to bring a red-hot talent to life.
9 Alex Oxlade-Chamberlain – 18 years, 44 days
Arsenal 2-1 Olympiakos, 29 September 2011
Oxlade-Chamberlain became the youngest Englishman to score in the competition and, only seven weeks after signing from Southampton, wasted little time in doing so. It was an excellent goal, capitalising firstly upon the self-appointed role of playmaker that Alex Song adopted in his final season at Arsenal by latching onto the Cameroonian's diagonal ball and secondly upon some absentee defending caused by Marouane Chamakh's decoy run before, having journeyed from right to left into the penalty area, he fizzed a left-footer past a rooted Franco Costanzo. He has progressed to become one of the more dynamic players in a relatively one-paced Arsenal team but it took him another three years to make a similar mark in Europe – putting Arsenal 3-0 up against Anderlecht on 4 November this season before things took a turn for the decidedly unexpected.
10 Mariyan Ognyanov – 18 years, 60 days
Levski Sofia 1-3 Chelsea, 27 September 2006
Levski Sofia's group stage campaign of 2006-07 took some beating for sheer misery. Chelsea, Barcelona and what was, back then, a very useful Werder Bremen side made for a sextet of fixtures that looked ill-starred from the beginning for the Bulgarian champions and, although they were only handed out one real thrashing – 5-0 by Barcelona – an overall record of played six, lost six, scored one, conceded 17 tells a tale of Dinamo Zagreb-esque proportions.
What it does not tell is the story of their goalscorer. Mariyan Ognyanov's 89th-minute goal in the national stadium was well taken, drilled clinically past Petr Cech from a high, bouncing ball down the middle, but was very much a postscript to a Didier Drogba hat-trick. The Levski player's finish, though, hinted at big things to come: he had not long turned 18 but had already played in the first team over the past two seasons, scoring a couple of goals in the league.
It turned out to be a false dawn, although not quite irredeemably so. Ognyanov failed to turn this breakthrough into consistent form but, after being loaned to little Belasitsa Petrich, the midfielder returned to Levski and scored twice more in the Champions League qualifiers against the Andorran side Sant Julià.
He was not to make the grade and in January 2012 signed for Botev Plovdiv, then of the second tier but swiftly enough promoted to the first. A mainstay of the team now, he made his full international debut in August 2013 and currently leads the Bulgarian top flight's assists charts. This is all respectable enough for the 26-year-old, although time is running out for his fame to extend beyond a precipitous-looking place in this top 10.


Apply here for the latest entry level KEMRI jobs in Kenya. Vacancies in administration, driving. accounting and more.
Maintains cleanliness and order of the front office plus answers telephone and receives visitors and participants.
Kenya Certificate of Secondary Education or its equivalent qualifications from a recognized institution.
Prepare and submit timely and accurate financial monthly reports on usage of project funds to multiple donors and sponsors for various studies.
Bachelors degree in Commerce (Accounting or Finance option), Business Administration (Accounting option) or its equivalent qualification from a recognized institution.
Kenya Certificate of Secondary Education or its equivalent qualifications from a recognized institution and valid and clean driving License classes –A,B,C, and E.
Data collection, compilation, cleaning, investigational analysis and processing for entry into databases.
Bachelor's degree in Mathematics and computer Science or a related field from a recognized university and at least one year experience in data entry/data management.
Order corresponding supplies such as drugs, clinical items and other pharmaceutical items from approved vendor(s) and sponsor organization(s).
Diploma in Pharmacy/ Pharmaceutical Technology from PPB accredited institution and at least three years' experience.


text:
Q: php session not working, tried all sorts I've been stuck on a problem for the past 3 hours and its driving me mental in regards to PHP sessions. Iv moved on from session_is_registered to $_SESSION and it dont want to work.
See code below (is in all files right at very top on pages i ant to protect with login):
    <?php

     session_start();

     if(!isset($_SESSION['user']))
         header("location: login.php");

    ?>

On another page access.php I have a form with two input boxes and submit button to check input and cross reference it with db. When incorrect values are entered i get message "Invalid login" which is right.. But when i type correct details leads me back to login.php page asking to login.
I am saving session and checking details as follows:
    <?php
    session_start();
    include("dbfile.php");

    $sql = mysql_query("SELECT id FROM myTable WHERE user=$username AND pass=$pass");

    if(mysql_num_rows($sql)==1){

             $_SESSION['user'] = "Test";
             header("location: account.php");
    }else{

             header("location: login.php");
    }
     ?>

unfortunately i am on a shared server which has register_globals off but am not sure if that is the problem. if i echo the output of the session o nother pages i get nothing. Like its not even registering/ssaving the session.
I have cookies/js enabled on browsers. Infact, i have tested on 4 browsers but same result. Whos gonna be the life saver on this one..

A: Try $_POST['username'] and $POST['pass'] in your query, the variables $username and $pass don't exist if register_globals are turned off. (Which they should be.)
If you want to see whether sessions are working or not, try this:
<?php
    session_start();
    var_dump($_SESSION);
    $_SESSION['works'] = 'yes';
?>

On the second page view you should get a result on the screen. :)

A: try this one When u r usinvariable in query and the data type is integer then you have to write ".$variable_name." if variable is datatype is varchar then you have to write like "'.$varable_name.'"
<?php
    session_start();
    include("dbfile.php");

    $sql = mysql_query("SELECT id FROM myTable WHERE user="'.$username.'" AND pass="'.$pass.'" ");

    if(mysql_num_rows($sql)==1){

             $_SESSION['user'] = "Test";
             header("location: account.php");
    }else{

             header("location: login.php");
    }
     ?>

A: try this
$sql = mysql_query("SELECT id FROM myTable WHERE user='$username' AND pass='$pass'");

if(mysql_affected_rows()>0){

         $_SESSION['user'] = "Test";
         header("location: account.php");
}else{
         // die(mysql_error()); use this if you think maybe there is an error
         header("location: login.php");
}

A: If you are getting problem like your php session not working in all pages of your site, than don't worry here you can easily solve your problem if your problem match to my problem i have previously in my site and i solve.
So suppose in your login page you started your session as...
session_start();
$_SESSION['islogin'] = 'true';

but your 'islogin' session is not working for all the pages except few pages. Than may be there is problem in your url. Please check there is a 'www' in your url. If not than add 'www' in your url and try again. If you want to add 'www' in your url using htaccess file than try following.
RewriteEngine On
RewriteCond %{HTTP_HOST} ^[^.]+\.[^.]+$
RewriteRule ^(.*)$ http://www.%{HTTP_HOST}/$1 [L,R=301]

Add these three lines of code in your .htaccess file.
May be this changes solve your problem.


P1: What is a better way to find a cure to prevent diseases for humans, without harming any in the process? Animals have been used most commonly by researchers in order to find the right medicine to help. According to the organization Understanding Animal Research, animals are known to "suffer from similar diseases to humans including cancers, TB, flu and asthma." This helps compare the reaction animals have with the reaction of humans. Since particular animal bodies are very similar to humans, about 95%, it only seems right to test it on them first.
P2: This method kills two birds with one stone. First off, humans will not be harmed throughout this process and if everything goes well, there will also be a solution in the end. For example, cancer survivors have "doubled in the past 40 years." This would not have been possible if it was not for animal research. Thanks to these animal methods the pre-clinical contract research organization Pharma Models states, "oncologists have achieved a great amount of knowledge in their field and extended the lifespan of countless patients." World-wide, numerous of human's lives have been saved due to animal testing.
P3: When it comes to finding another method of finding cures, there is nothing that would be able to replace all the animals in research. Yes, even though there are other procedures available to not harm animals, there is nothing as great as using them. The bodies of mice, rats, fish and birds have all been found with a similar body system as humans. Because of that, animals are just as susceptible to diseases as humans are, allowing researchers to find the cure on them just as easy. From the result of this type of research, there have been medicines created starting from asthma and insulin to cancer and kidney transplants. The medicine just keeps growing and only will continue with the help from animals.
P4: If humans were to be tested more often than animals, it would just lead to an "extremely complex" method. Researchers would only be able to retrieve helpful information in small intervals which would not allow them to study more of what is going on inside the rest of the body. Also, some tests are straight up unethical to use on humans. The lives of some could be put in danger, exposing them to chemicals that should have been experimented on animals beforehand. Animals do not have the same rights as humans do. Since they do not have the same "cognitive ability or moral judgment" as humans, it gives researchers a go ahead to continue using them. When it comes to certain products, "the US Food and Drug Administration endorses the use of animal tests", like makeup. They do this to ensure the safety of the human consumers. When it comes to an extent, this is the least harmful thing animals go through. Minimal animals are used for testing meanwhile, billions of cattle, chickens and pigs are being eaten everyday which is not compared to the number that is being tested on.
P5. Animal testing is not about purposefully harming the animals, its about the outcome that comes from it. If there was no benefit in the end from these experiments, it would not be worth it. There is a whole lot of information out in the world about medicine that no one knows about. Since there are so many unanswered questions, we can not just guess this type of knowledge. Having animals available allows researchers to test and see what else is out there. If they stop using animals and rely on technology for alternative methods, there is no guarantee it will relate to a real living thing. So, using animals for testing gives researchers the ability to observe and experiment without taking away the actuality of it.
P6: Not only has "animal research been regulated by the federal Animal Welfare Act", but animals receive a benefit out of these tests as well. If it were not for some being tested on to find a cure, there would be "millions of animals who would have died." Also, it would not have resulted in "saving endangered species from extinction." Animal testing may have its downsides but there are also lots of upsides to it all. Humans are getting a benefit out of these test and are able to live a better, healthier life. If it were not for these few animal groups used for experimentation, there would be a higher rate of deaths per year. Animals and humans having a very similar body system creates an easy task for researchers. Even though animal testing may have negative sides to it, the positives help overlook that.
"Animal Testing – ProCon.org." Should Animals Be Used for Scientific or Commercial Testing? N.p., 24 May 2016. Web. 03 Apr. 2017.
Chu-Carroll on April 2, 2009, Mark C. "Can Simulations Replace Animal Testing? Alas, No." Good Math, Bad Math. Seed Media Group, n.d. Web. 01 May 2017.
"Medical Benefits." Speaking of Research. N.p., 06 Apr. 2016. Web. 05 Apr. 2017.
Pharma Models. "Animal Testing Significantly Advances Cancer Research." Animal Testing Significantly Advances Cancer Research. N.p., 13 May 2014. Web. 05 Apr. 2017.
This entry was posted in A09: Rebuttal Argument, dunkindonuts. Bookmark the permalink.
Then, instead of letting their claims stand, you need to refute them by attacking their methods, their evidence, their credibility, or their conclusions.
You've made some intriguing claims of your own that you haven't backed up yet. I hope you can. You say "alternative methods" can replace animal testing and produce even better results, cheaper and more humanely. You haven't named a single method. Nobody will believe you until you do. Do you have primary sources for that?
I have added in-text citations when needed.
I will be making sure to add alternative methods that are available to my final paper as I have found some but just did not add it in my paper.
OK, Dunkin. Add this back into Feedback Please when you're finished if you want another look.
I have added P5 and talked more in P6. I tried to elaborate more on how using humans or alternative method is not that great as it seems and why they should continue with animal testing as my rebuttal.


Groups who meet mostly just to ride. Not usually a membership or commitment required. Some Groups are more "organized" & have requirements.
Organized Clubs that form for a cause, purpose, or end result. Membership almost always required, most require initiation periods & regular meetings.
Talk with others in your area who may want to start a Group or a Club together. Once you get it going, we can move the thread up to the correct Category.


text:
import threading
import time
from queue import Queue
from Adafruit_IO import Client, AdafruitIOError

# Internal
from readers import *
#from readers_pi import *

class Worker(threading.Thread):
    """ A worker thread which sleeps for a set interval then reads a current
    temperature using the get_temp method of the passed reader object
    """
    def __init__(self, interval, reader, queue):
        super().__init__()
        self.daemon = True
        self.interval = interval
        self.reader = reader
        self.queue = queue

    def run(self):
        while True:
            time.sleep(self.interval)
            reading = self.reader.read()
            self.queue.put(reading)

def printr(writing_queue):
    while True:
        message = writing_queue.get()
        print(message)

class PhpWriter(threading.Thread):

    def __init__(self, queue):
        super().__init__()
        self.queue = queue
        self.url = "http://www.cutsquash.com/add-reading.php"
        self.key = PHP_KEY
        self.daemon = False

    def run(self):
        while True:
            # Get the reading from the queue
            reading = self.queue.get()

            # Add the secret key
            reading['key'] = self.key

            # Add to the db
            # TODO handle connection errors
            response = requests.get(self.url, params=str(reading['temp']))
            print(reading)

class AioWriter(threading.Thread):

    def __init__(self, queue):
        super().__init__()
        self.queue = queue
        self.aio = Client(AIO_KEY)
        self.daemon = False

    def run(self):
        while True:
            # Get the reading from the queue
            reading = self.queue.get()

            temperature = reading['temp']
            id = reading['id']
            try:
                self.aio.send(id, temperature)
            except AdafruitIOError as e:
                print(e)

if __name__ == "__main__":

    # Set up queue and workers
    q = Queue()
    workers = list()
    workers.append(Worker(600, WebReader("web"), q))
    #workers.append(Worker(60, DHTReader("dht"), q))
    workers.append(Worker(0.1, SerialReader(), q))

    # Set up thread for output
    p = PhpWriter(q)

    # Start threads
    for worker in workers:
        worker.start()
    p.start()

redpajama_set_name: RedPajamaGithub


Starting in 1929, weary travelers along the recently designated U.S. Highway 66, who arrived in the small Oklahoma city of Miami, received not only the usual hot food and lodgings but also a unique feast for the senses. When it opened on April 18, 1929 along Miami's Main Street segment of Route 66, the Coleman Theatre was proudly billed as the most elaborate entertainment facility between Dallas and Kansas City. Local mining magnate, George Coleman, who conceived and funded the theatre, determined to give Miami--and Mother Road travelers-- the very best entertainment in the most modern surroundings.
The Coleman's Spanish Revival style exterior was a favorite choice of the Jazz Age, and this stucco palace is considered one of the best surviving examples in Oklahoma. In its heyday, the Coleman rivaled the Spanish Revival theaters found in the "big city" (Oklahoma City) down the road. Above the east, Main Street entrance is a dominating, curvilinear gable topped with three ornate finials. Underneath this gable are compound arched windows with exquisite, hand-carved terra cotta ornamentation. The east façade's parapet wall with low relief carvings and a central spire-like bell tower are also trademarks of the style. Around the corner, hovering above the south, First Street entrance are twin bell towers with balconettes, wrought iron railings and red tile hip roofs. In order to diversify income, the design of the theatre's ground floor included offices and shops along both Main and First Streets.
Entering the theatre, contemporary visitors experience the treat of seeing a remarkable period piece. Restored to its 1920s splendor, the theatre's gaudy Louis XV decor mightily competes with any entertainment program then or now. The interior offers intricate historical detailing, a fully restored original chandelier, and carved winding staircases flanked by gilded candelabra-toting statues.
Opened in 1929, the Coleman Theatre still remains in business. In 1989, the Coleman family donated the building to the City of Miami. With the support of private and public funding, including a matching grant from the Federal Economic Development Administration, hundreds of community volunteers helped restore the historic Coleman Theatre. Even the old Mighty Wurlitzer, long thought lost, is back. The theatre was listed in the National Register of Historic Places in 1983.
The Coleman Theatre is located at the corner of 1st and Main Sts. in downtown Miami, OK. It remains an important entertainment and commercial center for the community and is a popular stop for travelers along Route 66. The theatre offers free tours Tuesday through Friday, from 10:00am to 4:00pm, and 10:00am to 12:00pm on Saturdays. For hours and programs, call 918-540-2425 or visit the Coleman Theatre's website.


1. Eligibility: This Campaign is open only to those 18 or older at the time of entry. The Campaign is only open to legal residents of the US and is void where prohibited by law. Employees of Dreaming Amelia Designs, LLC, its affiliates, subsidiaries, advertising and promotion agencies, and suppliers, (collectively the "Employees"), and immediate family members and/or those living in the same household of Employees are not eligible to participate in the Campaign. The Campaign is subject to all applicable federal, state, and local laws and regulations. Void where prohibited.
2. Agreement to Rules: By participating, the Contestant ("You") agree to be fully unconditionally bound by these Rules, and You represent and warrant that You meet the eligibility requirements. In addition, You agree to accept the decisions of Dreaming Amelia Designs, LLC. as final and binding as it relates to the content of this Campaign.
3. Campaign Period: Entries will be accepted online starting 11/26/18 and ending 11/30/18. All online entries must be received by 11/30/18.
4. How to Enter: The Campaign must be entered by following these steps: 1) Follow @dreamingamelia on Instagram 2) Tag a friend in the comments section. You may tag multiple friends. Each friend you tag is a separate entry. Entries will be limited to 10 per contestant. The entry must fulfill all Campaign requirements, as specified, to be eligible to win a prize. Entries that are incomplete or do not adhere to the rules or specifications may be disqualified at the sole discretion of Dreaming Amelia Designs, LLC. You may not enter more times than indicated by using multiple email addresses, identities, or devices in an attempt to circumvent the rules. If You use fraudulent methods or otherwise attempt to circumvent the rules, your submission may be removed from eligibility at the sole discretion of Dreaming Amelia Designs, LLC.
5. Prizes: The Winner(s) of the Campaign (the "Winner") will receive a pair of Dreaming Amelia Legwarmers (shipping included). Value of $46. Actual/appraised value may differ at time of prize award. Shipping costs are included as part of the prize and the Winner will not be required to pay for item shipment. If the Winner has already purchased a pair of Legwarmers from Dreaming Amelia, they may choose to substitute the prize for a Dreaming Amelia Designs gift card of comparable value. No other prize substitution shall be permitted except at Dreaming Amelia Designs, LLC. discretion. The prize is nontransferable. Any and all prize-related expenses, including without limitation any and all federal, state, and/or local taxes, shall be the sole responsibility of Winner. No substitution of prize or transfer/assignment of prize to others or request for the cash equivalent by Winner is permitted. Acceptance of prize constitutes permission for Dreaming Amelia Designs, LLC to use Winner's name, likeness, and entry for purposes of advertising and trade without further compensation, unless prohibited by law.
7. Winner Selection and Notification: Winner will be selected by random drawing under the supervision of Dreaming Amelia Designs, LLC. Winner will be notified by tagging on Instagram in the comments section of the original post within 48 hours following selection of Winner. Dreaming Amelia Designs, LLC shall have no liability for Winner's failure to receive notices due to spam, junk e-mail or other security settings or for Winner's provision of incorrect or otherwise non-functioning contact information. If Winner cannot be contacted, is ineligible, fails to claim the prize within 14 days from the time award notification was sent, the prize may be forfeited and an alternate Winner selected. Receipt by Winner of the prize offered in this Campaign is conditioned upon compliance with any and all federal, state, and local laws and regulations. ANY VIOLATION OF THESE OFFICIAL RULES BY WINNER (at Dreaming Amelia Designs, LLC sole discretion) WILL RESULT IN WINNER'S DISQUALIFICATION AS WINNER OF THE CAMPAIGN, AND ALL PRIVILEGES AS WINNER WILL BE IMMEDIATELY TERMINATED.
law, to print, publish, broadcast, distribute, and use in any media now known or hereafter developed, in perpetuity and throughout the World, without limitation, your entry, name, portrait, picture, voice, likeness, image, statements about the Campaign, and biographical information for news, publicity, information, trade, advertising, public relations, and promotional purposes without any further compensation, notice, review, or consent.
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11. Disputes: THIS Campaign IS GOVERNED BY THE LAWS OF [the United States of America/Oregon/Washington County] WITHOUT RESPECT TO CONFLICT OF LAW DOCTRINES. As a condition of participating in this Campaign, participant agrees that any and all disputes that cannot be resolved between the parties, and causes of action arising out of or connected with this Campaign, shall be resolved individually, without resort to any form of class action, exclusively before a court located in [location] having jurisdiction. Further, in any such dispute, under no circumstances shall participant be permitted to obtain awards for, and hereby waives all rights to, punitive, incidental, or consequential damages, including reasonable attorney's fees, other than participant's actual out-of-pocket expenses (i.e. costs associated with entering this Campaign). Participant further waives all rights to have damages multiplied or increased.
13. Sponsor: The Sponsor of the Campaign is Dreaming Amelia Designs, LLC, 9085 SW Inez St. Tigard, OR 97224, USA.
15. By entering the Campaign, You, the Contestant, have affirmatively reviewed, accepted, and agreed to all of the Official Rules.


Pontrilas Merchants is a family owned business with strong family values and part of the Pontrilas Group of Companies. We offer all your timber and building supplies from our new purpose build 6 acre site, everything from cement to kitchens.
With 5 generations of experience in the timber industry, today the group take logs from the forest all the way to machined finished kiln dried timber. As well as home grown timber Pontrilas Merchants source specialist timbers from around the world. Timbers can be cut and pressure treated in our own facility to meet customers' specific requirements.
Over the last 5 years a lot of money has been invested into modernising and expanding the Pontrilas Sawmills. The state of the art sawmilling facility has the capacity to cut, mould/plane, kiln dry, treat and grade timber.
The kilns are powered by a biomass boiler, using carbon neutral waste products from the sawmill to dry our timber.
Pontrilas Merchants is half a mile down the road from the two sawmills, which are located on a 27 acre site near the Herefordshire village of Pontrilas. Close proximity to the M4 and M5 provides good access for delivery all across England and Wales.
A family business that started in the small village of Pontrilas in 1947, Pontrilas Merchants has a wealth of experience in manufacturing and the timber trade. A traditional knowledge of the market has combined with a commitment to continually invest in modern plant and machinery to provide customers with the highest quality products and efficient deliveries.


Excellent Investment Opportunity!!! Running automotive business - All equipments included! Established clientele. Owner is also leasing part of the property to an inspection business. Seller will provide sales data to qualified buyer.


This entry was posted on April 12, 2016 by Rachel.
Phone cases may protect your phone, however many models don't protect your screen! You spend hours staring at your screen and what would be worse than seeing a huge scratch all day long? Because of this, we'd have to say that the second most essential accessory for your smartphone is a screen protector!
On Apple's official website, you can find many different types of screen protectors, but today we'll be highlighting the anti-glare screen protector called the Tech21 Impact Shield. For £24.95, you can ensure that your screen is protected against any scratches and fingerprint smudges. The protector's three-layer structure will help absorb any impact directly on your screen. In addition, it is finished off with an anti-glare material so you can see clearly see your screen, regardless of how the lighting situation is!
Tired of your battery dying when you're away from home? Well thanks to our third accessory, you should no longer run into this problem. A solar charger for your iPhone will definitely make life easier. You don't have to remember to bring your charger anywhere and you will have a cover that fits your iPhone perfectly. Your phone is charged using solar power, so during the day, your battery should always be full! Furthermore, you will further promote the trend of being environmentally friendly, so you will slowly help the world become a better place!
Going on a trip? Need a GPS to show you the way? If you're in the car, you shouldn't be steering with one hand and holding onto your phone in the other. With an iPhone stand, you can focus on your driving while being guided by Google Maps each step of the way. Stay safe on the road while having a good time doing it!
The Montar Universal Car Mount by Winnergear is the perfect solution for your road trip! This accessory grips on tightly to your smartphone and is stable while driving, so you shouldn't worry about any bumps. Additionally, you can place it anywhere you'd like, whether it be flat on the dashboard or hanging from your windshield!
So, we've reached the last must-have accessory for the iPhone. What's better than a set of speakers so you can share your music with friends or family while at the park on a late summer afternoon? Our recommended product is definitely the retro-styled DAB+.
With this product, you're not only getting high quality sound, but also nostalgic value out of your radio. Aesthetically, it looks like a classic old-timers radio from the 1990s, but it lasts up 15 hours and has a unique dock specifically made for Apple's Lightning port!
So, these have been our 5 essential must-have iPhone accessories. What do you think? What iPhone accessories do you have and which ones did we miss? Give us some suggestions in the comments section below!
This entry was posted in iPhone, Phone cases, Gift ideas, Accessories, Smartphones and tagged speakers, car mounts, battery chargers, screen protectors, phone cases, accessories on April 12, 2016 by Rachel.