Traveling all over Europe while competing in the Longines Global Champions Tour is a dream come true for Taplow-based showjumper Tess Carmichael. Ever since childhood, all Tess wanted was to be surrounded by horses.
That wish became a reality when she bought her home, Hill Farm, in Buckinghamshire. Today, Tess competes for Great Britain at prestigious CSI2* events with her trusty partners, E. Harley, Atlantis PP Z, and Unique. SUCCEED plays a key role in keeping her horses happy and healthy throughout competition season.
Tess was persistent about getting into the saddle, despite growing up in a household with "non-horsey" parents. She started riding at a young age and schooled in multiple disciplines —including dressage, eventing and showjumping—but it was jumping that won her heart.
At just 12 years old, Tess earned her first showjumping trophy and was hooked. She was captivated by the sport's ability to test the partnership between horse and rider. "There has to be a huge amount of trust between the two, and developing this bond is what I enjoy most," Tess says.
As a young adult, Tess never outgrew her love of horses. She completed a degree in Business Management and started working at a banking headquarters in London, but continued to ride and compete on the weekends. After keeping this schedule for some time, riding twice a week just wasn't enough to satisfy her love for horses.
Tess realized she could no longer sideline her passion. She wanted to see horses outside her window every day and have her own farm to call home.
Once the thought blossomed, Tess couldn't deviate from the dream. When the right stable to purchase came along, Tess presented a strategic business plan to her parents and persuaded them to invest. They agreed, with one pending condition.
Tess now lives what she calls her "best life" at Hill Farm. She trains and develops horses to reach their full potential, all while maintaining a successful competition schedule.
Most of her horses were bought as youngsters, and she also has one homebred in the string that she has brought along from day one.
Tess and her team of showjumpers tour all over Europe, competing at international shows and CSI2* classes on the Longines Global Champions Tour. Her competition stops include major cities all across Europe: Rome, London, Paris, Monaco and Vienna, to name a few.
With 18 wins to her name, Tess continually guides her horses to success. In 2017, she won the Royal Windsor Amateur Grand Prix, a particularly special moment shared with friends and family at her home show. Tess has also enjoyed a much-deserved win at Monaco in the 2018 season on the Longines Global Champions Tour as well as two second places in Madrid.
Life on the road is rewarding for Tess, but it has its challenges. Competition horses face a demanding schedule that's very different from their natural way of life, which is why Tess prioritises time out of the stable and moving around regularly.
It's really important to me that my horses get regular access to forage and hard feed. Each horse is completely treated as an individual and has a feed program tailored to their personal needs.
When one of Tess's horses started struggling with hind gut issues and bloating, she noticed immediately and contacted her vet.
With the introduction of SUCCEED into her feeding program, Tess sees visible differences in all of her horses.
Atlantis is significantly more comfortable and happier to be ridden, with his digestive health in check, while Unique and E. Harley maintain their conditioning throughout the entire competition season.
I think for horses to jump and perform their best, they need to feel their best. SUCCEED helps maintain overall digestive health, even when traveling and competing.
Results speak volumes. Since Tess started all of her competition horses on SUCCEED, she's seen noticeable differences in her horses' overall digestive health, conditioning and happiness.
I recommend SUCCEED regularly because it's a product that I genuinely trust. I've had such great results from using it that I never think twice about encouraging other people to use it as well. SUCCEED works.
Keep a lookout for Tess Carmichael on the show jumping circuit. Tess is determined to build upon her current successes and rank up in future competitions.
You can follow Tess and her horses on SUCCEED Equine and Facebook.
Have you found Tess' story compelling and want to consider trying SUCCEED with your horses? Talk to your veterinarian today. SUCCEED is available through vets and at retail in the U.S. and Canada, and through vets in Europe, Australia, New Zealand, and Brazil.


text:
POOL: Top potting talent Luke Gilbert claims another world crown
Mark Plummer
mark.plummer@archant.co.uk
Read more from Mark Plummer
Updated: Tuesday, July 2, 2019 (07:52)
Luke Gilbert shows off his World Under 23 Championship crown. Picture: SUBMITTED
Huntingdon cueman Luke Gilbert is celebrating a wonderful World Championship double.
The teenage ace continued his meteoric progress in the eight-ball game by capturing the Under 23 title in Blackpool last week.
Gilbert beat Irish opponent Jordan Synnott 8-7 in the final after nervelessly producing a clearance in the deciding frame.
Gilbert's latest success came 12 months after he won the junior crown and highlighted his standing as one of the sport's top talents.
He had enjoyed smooth progress through the early rounds despite not hitting top form, but he upped the ante when blowing away reigning champion Cormac Kerr, of Ireland, in the semi-finals.
That 7-2 triumph set Gilbert up superbly for the showpiece clash against Synnott. It was a tight affair with the two players locked together at 5-5 before Synnott opened up a two-frame cushion to move to brink of victory, but Gilbert hit back with a bang to clinch another world crown.
"I was a bit concerned with my form going into the semi," admitted Gilbert. "Cormac was the reigning champion and had also won the junior title in the past, but I managed to take my chances.
"The 7-2 score flattered me a bit, but I was happy to get past such a tough opponent and reacg the final.
"I didn't know a lot about Jordan other than being told he had good results lately, but he showed his quality to get into a 7-5 lead.
"I remained calm, though, and used the experience I've gained while playing in a lot of tour events.
"Having the break in the deciding frame was good, the balls broke in a lovely way and I was to happy to win the title."
There was almost a Huntingdon double as Dom Cooney, beaten 10-6 by top seed Mick Hill in the final of the Men's event.
Gilbert also reached the last 64 of that tournament and the World Amateur Masters - going out of both events in deciding frames.
And Gilbert was part of the England side who finished as runners-up to Ireland in the Under 23 team event.
Gilbert and Cooney are practice partners and team-mates at the Mickey Flynn's club in Cambridge and recently won two national team titles. Another member of that side, Phil Harrison, won the World Amateur Masters.
Gilbert, who is based at The Court club in Peterborough, added: "I'm lucky to have a lot of good players around me to learn from. Phil is arguably the best player in the world and Dom has been getting brilliant results lately.
Gilbert is on the lookout for sponsors to help with the costs of his blossoming career. Anyone interested can make contact through his father, Ady, on 07544 663025.

redpajama_set_name: RedPajamaCommonCrawl


text:
By: BigRentz on August 12, 2020
Roller coasters are an American staple of fun and ingenuity. Their popularity has been around for centuries, with a vibrant and rich history. They date back to ice sledding in the 1400s in Russia. It finally came over to America in the early 1800s with the Mauch Chunk Switchback Railway in Pennsylvania, although it was initially intended to haul coal up a mountain.
By the early 20th century, there were 1500 wooden roller coasters around the country. Currently, Kingda Ka is the tallest roller coaster on Earth, becoming a marvel of ingenuity and construction.
In essence, a roller coaster is a machine that utilizes gravity and inertia to speed a train car through a track. Construction technology has come a long way since the Mauch Chunk Switchback Railway, though. More intricate designs, faster speeds and taller structures are now the norm.
Although it may seem a little complex at how roller coasters are built, their construction isn't far too complicated. Check out exactly how roller coasters are made, or jump straight to the infographic below.
As with all construction projects, before roller coasters are built, every aspect is designed first. This is to ensure maximum safety and thrills are implemented in the final ride.
Choosing Coaster Type
Figuring out the different aspects that make up the type of roller coaster is essential, as it can drastically affect the overall design of the ride. There are four aspects to be considered when choosing a roller coaster type, and they are:
Intended Rider – Depending on who the roller coaster's intended riders are, the ride can end up being very different. If they're going to be children, then the ride will have gentle hills and slopes. However, older riders look for intense speeds and extreme heights in their rides.
Material – Wood and steel are the two primary materials used for roller coaster construction. However, steel is used more due to its versatility and ability to provide elements such as smoother rides and going upside down.
Train/Cart Type – The train is the vehicle that transports the passengers through the ride. There are 18 different types of roller coaster trains, ranging from the classic side friction roller coaster, like Leap the Dip, or the modern inverted roller coaster, like Batman the Ride, where the track is located above the riders' heads.
Track Layout – The track layout of a roller coaster influences the entire ride. For example, a figure 8 track consists of at least one figure 8 shape in the course, and the corkscrew track contains sequential, helix-like loops that look like a corkscrew.
The designers can figure out these three aspects in any order or at the same. In this stage, it's all about figuring out what they want to build.
Adding the Hills and Loops
Part of the thrill of a roller coaster is the giant hills, big loops and sharp turns. These aspects aren't just designed for the thrill, though. They affect and change the train's speed and elevation throughout the ride.
The first hill of a roller coaster – known as the lift hill – is typically the largest. As the train comes down, kinetic energy is built up, which provides enough energy for the train to go throughout the entire ride. Without a big enough lift hill, the roller coaster won't be able to complete its ride.
Then, the loops help control the speed and force of the train throughout the ride.
Werner Stengel designed the full, 360-degree vertical loops used today in roller coasters in 1975. Stengel designed the loop, called the clothoid loop, to have a smaller curvature radius at the top, which causes the speed to slow down and allows the riders to stay in their seats while they're upside down.
To understand how this works, picture swinging a bucket of water over your head without spilling any on yourself. The inertia causes the gravity to press down on the water, even while upside down. The same is done to people when the ride is
However, that's not the only purpose of the loops: they can keep people from passing out. Too much g-force can cause someone to pass out. By slowing down the ride through the use of the vertical loops, the g-force is reduced. The bigger and faster the roller coaster, the more this effect would be noticeable.
Sometimes, amusement parks will have so many rides that designers will have to "thread" the roller coaster through other attractions. This can affect the coaster's overall design, which can add or hinder the hills or loops on the ride if they aren't calculated into the design.
The Lifts and Brakes
The roller coaster is a passenger train with connected cars moving on tracks. However, as there is typically no engine, gravity and momentum keep the ride moving. Here's a look at the different types of lifts that help bring the train up the hills and the braking systems are designed to help stop them.
Chain Lift – This is the most traditional way of getting the train to move up the lift hill. They resemble a bike chain or long conveyor belt and are responsible for the clacking sound that's heard when going up a hill.
Catapult-launch Lift – This is another way of moving the train up a hill in newer roller coasters. They're typically used in newer rides with space or height restrictions, using energy and compressed air to launch the train forward. There are six types of launch systems:
Electromagnetic systems launch using strong electromagnets that store lots of electricity. There are also two types of electromagnetic systems: Linear Induction Motor (LIM), which are older and less complex, and Linear Synchronous Motor (LSM), which are newer and more efficient, but also a little more complex.
Hydraulic launch systems use several pumps filled with hydraulic fluid and nitrogen, several launch cables and an engine (essentially a large wheel) to propel the train forward.
Pneumatic systems are like hydraulics but use air instead of liquid. They're usually simpler but less powerful than hydraulics, but the acceleration is consistent.
Flywheel systems use a large flywheel attached to a cable that rotates quickly to launch the train.
Catapult systems launch by dropping a weight, winding the cable and then pulling the train to its maximum speed. These roller coasters aren't very tall and only go about 60 mph.
Friction wheels use a motorized wheel that either keeps the trains speed or moves it faster using friction between the wheels and the train.
The Brake System – A roller coaster uses a brake system to slow down or stop it. There are two main categories of brake systems:
Trim brakes slow down the train.
Block brakes stop the train altogether.
The type of roller coaster the designer chooses to build will influence the kind of lift and brake system that's used for the ride.
Testing the Design
Once everything in the design phase is chosen, all that's left is to test it out. A simulation can be done with specialized computer software dedicated to roller coasters, which is how most tests are done. However, if new features are designed, a working prototype needs to be built in order to assess the feasibility of the new design.
If the prototype doesn't work, it can either be because the design of the new feature still needs to be worked out or it proves to be unsafe. Nevertheless, if the prototype fails, then the designer has to go back and reevaluate the design. If the prototype works successfully, then the manufacturing phase can begin.
The Manufacturing Process
Once the design of a roller coaster is complete, the site location is cleared of anything in the way. Building the actual roller coaster is done by first creating the support structure, which consists of the support beams and frameworks, and then the track, which is made up of the track and other parts that move the ride safely.
Installing the Support Structure
The support system is where everything from the roller coaster is going to be placed. Everything is installed from the bottom up, starting with the foundation. Holes are dug with an excavator and filled with concrete to set up a foundation, with wooden forms constructed to hold the form.
If the soil is sandy, piles of wood are driven into the ground to use as a foundation instead of concrete. Nevertheless, connector plates are attached to the foundation to connect to the support beams.
Depending on the type of material the designers decided to use, the installation may be slightly different.
For wooden roller coasters, the lumber is shipped to the site where it is cut and installed on the site.
For steel roller coasters, the parts are made in a factory to specifications and then shipped to the site to be assembled.
Nevertheless, the lower, main portions of the support structure will be lowered using cranes onto the connector plates that are attached to the support structures. The lower portions may be braced using wooden beams as the upper sections are installed.
The framework's design is calculated based on rider type, g-force and the amount of energy that the train uses. Typically, the support structure framework consists of cross beams connected to the support columns, not unlike how the superstructure is built in a skyscraper.
Installing the Track
Once the main support structure is in place, the tracks are installed on top. How they're installed depends on the type of material that's being used.
On wooden roller coasters, tie beams – beams connecting and strengthening two columns – are installed across the length of the track, throughout the length of the ride.
Roller coasters made of steel have the track sections shipped separately to the site ready in pieces. The pieces are connected, then bolted/welded on the support structure.
Part of the safety that comes with the roller coaster is the way the tracks keep the train wheels from derailing. Typically, wooden roller coasters have wide lips on the wheels that keep them from slipping out of the tracks, preventing sideways movement.
Once the track is installed, the chain lift or launch lift is installed along with any safety mechanisms and braking systems.
Safety mechanisms like the anti-rollback system or sensors are used to determine if the roller coaster has stopped working.
Once all of that is completed, the actual train cars will be shipped to the site. Test runs will be performed to make sure that everything is working as it should. Some personalization, like lighting, camera setup, and paint will be added based on the coaster's theme. Then the roller coaster will be ready to ride.
It should be noted that if the track isn't correctly installed, extensive injury and damage can occur. It's why everything from the support structure to the track installation has to be done precisely. Luckily, roller coaster injuries are incredibly rare, with only 1.2 riders injured per million.
Finding out how roller coasters are built is a marvel as it shows precisely how construction trends continue to be newly applied. That trend of roller coasters being taller, faster and longer will continue, finding new ways to provide riders with brand new thrills!
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For creative business owners, "sales" can feel like a four-letter word. Your skin may crawl as soon as you hear it. But sales are the lifeblood of any business. No matter who you are or what your service is, we are all in the business of sales and marketing. You can't grow your business if you don't have a regular, reliable way to bring in clients, right?
In this interview, sales and growth mentor John Klymshyn ("Coach K") explores the profoundly different experience between buying something and having someone sell it to you. Tune in to discover how this applies to attracting clients who will choose your company over the competition–and how you can get a system in place to nail it and scale it!
Are Your Sales Systematized or Scattershot?
How to overcome resistance to "selling" (and get emotions out of the way)—is it all in the word?
John Klymshyn (or as some clients call him: Coach K) has been teaching and coaching for a lifetime. He is the Sales & Growth Mentor for the NYU Business Incubators at the Polytechnic School of Engineering in New York City. Klymshyn teaches and guides execs, entrepreneurs and anyone who wants to improve sales, business development, fun, and communication in their lives. He is the author of three best -selling books, and travels teaching "Moving Conversations Forward".


text:
using System;
using System.Collections.Generic;
using System.Linq;
using System.ComponentModel.Composition;
using PatternSpider.Irc;
using PatternSpider.Plugins;
using PatternSpider.Utility;

namespace Plugin_Exalted
{
    [Export(typeof(IPlugin))]
    class ExaltedTarget: IPlugin
    {
        public string Name { get { return "ExaltedTarget"; } }
        public string Description { get { return "Throws Exalted (2e) dicepools against a specific target number and counts successes."; } }

        public List<string> Commands { get { return new List<string>{"et"}; } }

        private DiceRoller _fate = new DiceRoller();

        public List<string> IrcCommand(IrcBot ircBot, string server, IrcMessage m)
        {
            var response = new List<string>();
            var mesasge = m.Text;
            var messageParts = mesasge.Split(' ');
            int targetNumber;

            if (messageParts.Length < 3)
            {
                return new List<string> { "Usage: e <target number> <poolsize> [poolsize]..." };
            }

            if (!int.TryParse(messageParts[1], out targetNumber))
            {
                return new List<string> { "Usage: e <target number> <poolsize> [poolsize]..." };
            }

            foreach (var messagePart in messageParts.Skip(2))
            {
                int poolSize;
                if (int.TryParse(messagePart,out poolSize))
                {
                    if (poolSize > 2000)
                    {
                        response.Add("No Pools over 2000.");
                    }
                    else
                    {
                        response.Add(string.Format("{0} -- {1}", m.Sender, RollPool(poolSize, targetNumber)));
                    }
                }
            }

            return response;
        }

        private string RollPool(int poolSize, int targetNumber)
        {
            int[] rolls = new int[poolSize];
            var successes = 0;
            var response = "";

            for (var i = 0; i < poolSize; i++)
            {
                rolls[i] = _fate.RollDice(10);
                if (rolls[i] >= targetNumber)
                {
                    successes++;
                }

                if (rolls[i] == 10)
                {
                    successes++;
                }
            }

            if (rolls.Length <= 50)
            {
                response += String.Format("[{0}]", string.Join(", ", rolls.ToList().OrderBy(r => r)));
            }
            else
            {
                response += "Over 50 rolls, truncated to reduce spam";
            }

            if (successes == 0 && rolls.Contains(1))
            {
                response += " -- BOTCH";
            }
            else
            {
                response += string.Format(" -- {0} success(es).",successes);
            }

            return response;
        }

        public List<string> OnChannelMessage(IrcBot ircBot, string server, string channel, IrcMessage m)
        {
            return null;
        }

        public List<string> OnUserMessage(IrcBot ircBot, string server, IrcMessage m)
        {
            return null;
        }
    }
}

redpajama_set_name: RedPajamaGithub


5000+ Onshore Oil Production Investors as on April 2019. Find Onshore Oil Production Investors from 155 countries. Sell or Finance your Onshore Oil Production Business by sending your business proposal to pre-screened Onshore Oil Production Investors with verified contact details and background information and investment requirements. Join our 739,000+ Member Network Today to Sell or Finance your Onshore Oil Production Business.


MGEN ROSELLER G MURILLO AFP, Commander, 1ID, PA, presiding officer during the turn-over of office of the Assistant Division Commander for Operations (ADCO) at Officer's Club House, 10 February 2018.
KUTA SANG-AN, Labangan, Zamboanga del Sur – The Joint Law Enforcement Operations of military and police neutralized the notorious Maute-ISIS remnants in Lanao del Norte on 2:30 a.m. February 8, 2018.
Troops of Joint Task Group Lanao del Norte (JTG LDN) under Joint Task Force "ZamPeLan" and Pantar PNP killed the terrorists, a certain Omar Daiser and two (2) others, and recovered high-powered firearms in a Joint Law Enforcement Operations at Brgy Lumba Punud, Pantar, Lanao del Norte.
"The subject has a standing warrant of arrest for the crime of robbery with homicide issued by the Marawi City Regional Trial Court. He is known to be an illegal drug user and pusher and a follower of Solitario Ali, former Mayor of Marawi City who is involved in illegal drug trade," said Alunday.
Daiser and two other unidentified terrorists were shot dead after resisting arrest and fighting it out with the enforcers. The operating troops also recovered four (4) M16 armalite rifles, one (1) M203 GL, one (1) FAL rifle and one (1) Pietro beretta 9mm pistol with markings PNP property, assorted ammunitions and bandoleers left at the site.
Major General Roseller G Murillo AFP, 1ID Commander said, "the government forces will continue to intensify its internal security operations in Joint Task Force "ZAMPELAN's" area of operations to neutralize the remnants of terrorist groups in Marawi".
The cadavers have been taken by the PNP Pantar for proper disposition and latterly claimed By Bokari Abdulgani, Municipal Councilor of Pantar.


text:
2 minute readNovember 11, 20223:16 PM UTCLast Updated ago
Standing ovations for conservative U.S. justices at Federalist Society event
By Jacqueline Thomsen
U.S. Supreme Court Associate Justice Samuel A. Alito Jr. poses during a group portrait at the Supreme Court in Washington, U.S., October 7, 2022. REUTERS/Evelyn Hockstein
WASHINGTON, Nov 10 (Reuters) - U.S. Supreme Court Justices Samuel Alito and Amy Coney Barrett received standing ovations from members of the conservative Federalist Society on Thursday at its first annual convention since the court overturned a nationwide right to abortion.
Justices Brett Kavanaugh and Neil Gorsuch also received applause at the event of the legal group, which is one of the most influential in the country and whose members have long criticized the 1973 Roe v Wade decision that the court overturned in June.
Alito, Barrett, Kavanaugh and Gorsuch have helped create a new conservative supermajority on the court.
The loudest applause at the event in Washington, D.C. may have been not for the justices but for Alito's opinion in the June ruling. Other conservative members of the court backed the ruling.
Alito did not mention the ruling or other aspects of the court's work during his brief remarks. But Stephen Markman, a former justice on the Michigan Supreme Court, said that if the ruling were forever associated with Alito, "I do not know of any decision on any court by any judge of which that judge could be more proud."
The comments were met by a standing ovation, with attendees turning to face toward Alito.
Barrett also briefly spoke at the event, largely honoring the late Judge Laurence Silberman, who served on D.C.'s federal appeals court and died last month. As she took the stage, Barrett said: "It's really nice to have a lot of noise made not by protesters outside of my house."
The conservative justices have been the subject of protests over their rulings, particularly after the abortion decision earlier this year.
Thursday's dinner celebrated the 40th anniversary of the Federalist Society, which particularly has influence in Republican circles. Leonard Leo, a long-time conservative legal activist, while serving as a Federalist Society executive helped compile a list of potential U.S. Supreme Court nominees that former President Donald Trump drew from during his tenure.
Leo also spoke at the event, recalling that the first time he attended the convention's dinner, the group struggled to fill a hotel ballroom. "Our movement has grown by leaps and bounds, and so has our impact," he said.
Reporting by Jacqueline Thomsen in Washington; Editing by Bradley Perrett
Jacqueline Thomsen
Jacqueline Thomsen, based in Washington, D.C., covers legal news related to policy, the courts and the legal profession. Follow her on Twitter at @jacq_thomsen and email her at jacqueline.thomsen@thomsonreuters.com.
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Assert builds are made specially for debugging purposes. They should render exactly the same output as daily and release builds, but are about 50% slower. Assert builds should display an error message once a problem is detected, before the host application crashes.
These error messages will also be displayed in silent mode - for example on nodes when using distributed rendering, where 3ds Max is running in command line mode. The error message will block rendering, so using assert builds on render farms is recommended only in special, supervised debugging sessions.
Assert builds are installed by copying appropriate files from the archive into 3ds Max installation directories (DLL files into root folder; DLR, DLT into /plugins/ folder). To make sure you have installed the assert build properly, you can go to Render Setup > System > About Corona Renderer / Licensing and see if there is a "WARNING: This is slower ASSERT version." message there, or you can go to Render Setup > Performance > Development / Experimental Stuff and press the "[DEBUG] Do Assert / Error" button to see "Corona debug assert" window in addition to standard Corona Error messages.
"Corona debug assert" window serves as a confirmation that the assert build has been installed properly.
Assert builds should only be used when the user is asked for this after reporting a problem. This usually happens in situations when "standard" bug reporting methods fail (such as showing error messages or sending dump files).
If there are no assert builds in this Dropbox folder, they will be provided to the user via email, support portal, or other communication channels.
Once the error message appears, please make a screenshot of it, or copy its content, and send it to us.


Tamara Mumford and Eric Owens in L'Amour de loin.
On L'Amour de loin performed by the Metropolitan Opera, a performance by the pianist Fazil Say and the Orpheus Chamber Orchestra at Carnegie Hall, and other recent classical music performances.
City Opera presented a new work, Fallujah, by Tobin Stokes. In its revived form, City Opera has been presenting in a variety of venues. Fallujah was staged at the Duke on 42nd Street, "an intimate, flexible, black-box theater" (according to its self-description). It is a smart place for an opera, particularly a chamber opera, which Fallujah is.
Stokes is a Canadian, and the composer of at least one other chamber opera: Pauline, whose libretto is by Margaret Atwood, the famed Canadian novelist. The opera is about Pauline Johnson, a Canadian writer and stage performer who lived from 1861 to 1913. Fallujah, of course, is about the Iraq War, and in particular one of its worst battlegrounds: the city of Fallujah, in Anbar Province. The opera is also about the aftereffects of the war on soldiers and others. Its libretto is by an Iraqi American from Michigan, Heather Raffo.
The temptation, in writing about this opera, is to write—and write—about the Iraq War. Yet it is an opera, and none of us should babble on too long before getting to the music.
Fallujah is based on the testimony of a combat veteran, Christian Ellis, who was a U.S. Marine in Iraq. He had been a singer before going to war. One of the effects of his combat experience was that he forgot how to sing.
The Duke on 42nd Street is a smart place for an opera.
The story of the opera unfolds over seventy-two hours. Philip is in a veterans hospital. He suffers from post-traumatic stress disorder. He has flashbacks. His mother is waiting outside, desperate to see him. We learn that she adopted Philip when he was eight (if I have heard correctly). In the list of roles, she is described as "Philip's adopted mother," rather than just his mother. We are made to think that this makes a significant difference—that she is less than a mother. Yet the character certainly behaves in full maternal fashion.
According to our program notes, "Fallujah offers a rare, operatic glimpse into the mind of a veteran struggling with" ptsd. In a program note of his own, Christian Ellis says that "Fallujah is the first opera composed about the Iraq War and ptsd." There have been other pieces of music about the war. Maybe I should have "about" in quotation marks. The late Sir Peter Maxwell Davies described his String Quartet No. 3 as "an unpremeditated and spontaneous reaction to the illegal invasion of Iraq." Yet this quartet has no words, and can be "about" whatever the listener wishes it to be.
Tobin Stokes, too, wrote a program note. "War happens when we become too dysfunctional for peace," he says, "and art happens when we try to figure out why we're all so dysfunctional." The old spiritual says, "Ain't gonna study war no more." Maybe this composer should. Yet I feel sure his heart is in the right place. He also writes, "Over the past few years, chamber opera has become less predictable, more visceral, immediate, and more relevant." Music circles, I have noted, are in love with the present (and therefore with themselves). The conceit is that the present is smarter and more alive than the stuffy past. Perhaps every generation has been afflicted, to some degree, by this conceit.
Fallujah has a view of the war. It is not necessarily my view, and it may not be yours. One major objection I have is this: the opera gives the impression that the Iraq War was a contest between invading, occupying Americans on one hand, and Iraqis on the other. Works of art about Vietnam make this same mistake: pitting Americans against Vietnamese (rather than Americans in alliance with some Vietnamese against other Vietnamese). In Fallujah, there is just one, fleeting mention of Saddam Hussein, or so I remember—this monster who had created a "republic of fear," in Kanan Makiya's apt and memorable phrase. Also, you might get the impression, watching this opera, that U.S. soldiers in Iraq were racist sexual predators.
I could complain on—but I remind myself of this: Christian Ellis is entitled to his own experience, his own testimony, his own memories. His own interpretation. Plus, he was there and I was not. And I should, finally, address the music, in what is after all an opera.
Stokes has written an intelligent and effective score. It is unafraid to be simple. Also, it is unafraid to employ silences. There is some rock and roll, some jazz. There is Middle Easternish music, associated with the Iraqi characters. The music is sad, quizzical, rough, tender. Toward the end, there is a big ensemble, making me think of the octet that closes Lee Hoiby's Month in the Country, which itself drew from the closing quintet of Samuel Barber's Vanessa. If I am reading my (scrawled) notes correctly, the opera ends on a simple unison G, sung by mother and son.
The opera runs for an hour and twenty minutes and is unrelievedly grim. I think this is perhaps a mistake—not that levity goes with ptsd. But even Macbeth has some relief in the form of the porter scene (from which we apparently get knock-knock jokes). Is Fallujah exploitative? Well, sure, in that operas exploit their subjects. But does it cross a line, into emotional grossness? I don't think so. I think it flirts with it without crossing it.
In the leading role of Philip was LaMarcus Miller, a bass-baritone. He sang with awareness and skill, though at times I would have liked to pull his voice forward: it tended to be contained. Delivering a superb performance was the soprano Suzan Hanson, in the role of Colleen, the mother. Her acting was not so much opera acting as acting acting. She was downright riveting. The production is in the hands of Andreas Mitisek, and it is a very good production: not trying to do too much but doing enough. In this it resembles the score, come to think of it.
I myself have no desire to see this opera a second time. But I am glad it exists, and recommend it to people who are inclined to see such an opera.
What is it about the flute and Frenchmen? The star players tend to be French, and if they are not, they are from Geneva, like Emmanuel Pahud, or from Quebec, like Robert Langevin. The latter is the principal player in the New York Philharmonic. I have enjoyed listening to him over the years. He shows the possibilities of the instrument, including its colors. Also, he has one of the great mustaches in music: a white, floppy, bushy affair. His mustache seems almost part of his instrument. That would not be the case if he were, say, a cellist.
One night with the Philharmonic, Langevin played Mozart's Flute Concerto No. 2 in D. In the opening allegro, he was aristocratic, almost cool. I think the music could have used a touch more mirth. Also, some of the flute's lower notes could not be heard, as with a soprano. Yet this was obviously high-class playing. And the cadenza was a particular treat. Written by Langevin himself, it is virtuosic and fitting. I bet Mozart would approve.
In the middle movement—Andante ma non troppo—Langevin exhibited lovely and pure singing. I would call it genuine bel canto. Bellini might have purred. And Langevin strikes me as a musician with unusually high standards for himself. In the closing allegro, he was an elegant dervish. There might have been a squeak or two, but that only proved that we were not listening to a studio recording. When he finished, I thought, "What a great instrument." That is a tribute to the demonstrator of it.
Later, after intermission, a soprano appeared: Ying Fang, the newcomer from China. I first heard her last season at the Metropolitan Opera. She was the Young Shepherd in Wagner's Tannhäuser. "I heard a sound so sweet," says the shepherd. So did I. Ying Fang was amazing to hear. Last summer, James Levine had her sing in a Mahler Second that he conducted at the Ravinia Festival, outside Chicago.
With the Philharmonic, Ying Fang sang Exsultate, jubilate, the beloved motet by Mozart. As the orchestra played the opening pages, she looked like she could hardly wait to sing—like it was the biggest privilege in the world to sing this music (which it is). Her first note was right on. This makes a difference in a listener's ear, and in his brain. An imperfect first note can sour things from the beginning. As she continued the opening movement, Ying Fang was both clean and feeling. She always traveled to the center of the note. There was not a hint of portamento in this singing. Yet there was plenty of artistry. Sometimes the words could have been clearer, and Ying Fang did not show much of a lower register. But these problems were insignificant.
May Ying Fang be wonderful for a long time to come. I imagine she will be.
The recitative, she sang musically, not just rattling off words. In the aria "Tu virginum corona," she was notably small-voiced, but she did not force, which was wise. She was tender and angelic in this music—but not namby-pamby. The aria had a beautiful prayerful quality. And the closing "Alleluja" was incisive and joyous—with Ying Fang relishing every moment.
She is at the beginning of her career, and may never be better. The word "prime," remember, relates to "first." I'm going to tell a sorry truth, and please don't shoot the messenger: singers are often best at the beginning of their career, and are booked for thirty years regardless, based on their initial wonderfulness. May Ying Fang be wonderful for a long time to come. I imagine she will be.
This concert was an all-Mozart concert, conducted by Bernard Labadie, who, like Robert Langevin, is from Quebec. He is a well-known Baroque specialist. He began the evening with Mozart's Symphony No. 31 in D, "Paris." Immediately, he was authoritative. And so he remained. The Andante movement of this symphony had an interesting quality: it was conversational, smoothly so. Mozart brought a lot of happiness on this evening, as he typically does.
Fazil Say is a lover of Mozart, and one of his best friends in music. Indeed, Say has just recorded the complete piano sonatas of Mozart. With the Orpheus Chamber Orchestra in Carnegie Hall, he played a Mozart concerto, that in C major, K. 467. He played his part with character, panache, suavity, and glee. He brought his own cadenzas, and they were a hoot—ingenious hoots.
Say wrote the concerto in 1994, when he was in his mid-twenties. He was living in Berlin. And he was going to a museum—in particular, the ethnomusicology section of a museum. There, he listened to thousands and thousands of recordings. He was listening to folk music of Silk Road countries. And he put some of what he heard in his Piano Concerto No. 2. I might note that he nicknamed his concerto "Silk Road" before Yo-Yo Ma founded his project of the same name: a project that would become celebrated.
The concerto has four movements, or four sections. (There are no breaks in this piece.) They are called "White Dove, Black Clouds," "Hindu Dances," "Massacre," and "Earth Ballad." They relate to Tibet, India, Iraq, and Turkey. I should perhaps mention that Say himself is Turkish. I should also say that his piano, for this concerto, is a prepared piano: a piano with objects put on or between the strings, to produce different sounds. John Cage popularized this technique. Fazil Say has used it to good and musical effect. His concerto is full of interesting sounds, coming from both the piano and the orchestra. And these are not sounds for sounds' sake. They are not exotica for exotica's sake. They serve a musical purpose.
Say's concerto is full of interesting sounds.
Get ready for some made-up words—because I want to say that the concerto begins glissy, trilly, and chromatic. I thought of Ravel's Piano Concerto in G. There is a touch of minimalism along the way. And some brutality: refined brutality. At its silliest, the piece could be the soundtrack for a Kung Fu movie. I do not mean "silly" pejoratively. There is room for silliness in music, heaven knows (and as Mozart knew, and as Say proved, in that concerto). Say's work ends in simplicity and quietude. It also ends on time. It ends before it can be too long. Earl Wild said, "Music ought to say what it has to say, and get off the stage." Evidently, Say agrees.
I look forward to hearing this work again, preferably played, as with Orpheus, by the composer himself, who is a superb advocate of his own and others' music.
The Metropolitan Opera staged an opera written in 2000, L'Amour de loin, or Love from Afar, by Kaija Saariaho, the Finnish composer. She has spent her career in Paris. The libretto is by Amin Maalouf, a native of Lebanon, who has also spent his career in Paris. Indeed, he is a member of the French Academy. He has collaborated with Saariaho several times.
In L'Amour de loin, Jaufré Rudel, Prince of Blaye (Aquitaine), is bored with the lovers he can see. He wants one he cannot see, one who is far away. (Incidentally, Rudel is a big name in opera, given the late conductor Julius.) A pilgrim tells him about Clémence, Countess of Tripoli. She's the one! Jaufré becomes obsessed with her. A troubadour as well as a prince, he sings of her night and day. The pilgrim acts as their go-between. Finally, Jaufré travels to meet Clémence—and dies on doing so.
I think of another opera, Thaïs, by Massenet: one of the lovers dies just as the romance should begin.
The dream-like state of L'Amour de loin is interrupted now and then with wails, groans, or other outbursts. At one point there is clapping. An homage to Steve Reich, master of clapping? The opera ends with Clémence singing over Jaufré's lifeless body, in an angry Liebestod.
One difficulty I had: caring about the lovers, or would-be lovers, who are terribly privileged and terribly self-absorbed, making problems for themselves where none ought to exist.
In any event, the Met supplied an able cast. Jaufré was Eric Owens, the American bass-baritone. For about half the opera, his sound was wobbly, but it evened out, and he always sang with dignity. An American soprano, Susanna Phillips, was Clémence, and she emitted a pleasant ribbon of sound. She also sang with understanding and commitment. The pilgrim—known simply as the Pilgrim—is a trouser role, and it was taken by Tamara Mumford, the American mezzo. She put on little less than a clinic of singing. In the pit was another Susanna, and the composer's fellow Finn: Susanna Mälkki, who did her part in maintaining the spell of the opera.
Truly beautiful—lovely, dream-like, enchanting—is the production. It was conceived by Robert Lepage, the Canadian director (a third Quebecker for our chronicle). Not merely beautiful on its own, the production matches the score, note by note. Both the music and the production are shimmering.
Frankly, a little L'Amour de loin goes a long way for me. I am ready for the dream to be over. But this opera is greatly loved by many people, and they have a point.


As teachers, we often put incredible effort into creating smart, fun sequences for our students, then find ourselves practicing just enough to get through the day. Yet we all know that a deep personal practice is essential, not only to create balance and joy in our own lives, but to nourish our ability to serve. This program offers teachers both a challenge and a solution: to give yourself ample time to reset, re-inspire, and restore. Each advanced, hour-long practice has a unique energetic intention, yet they're all designed to hone your skills and fill your well.
When we feel energized and inspired by our own practice, it's much easier to share that enthusiasm with our students. This class is all about opening up through strength and playfulness. We'll stabilize the lower body and create freedom in the shoulders and chest, so we can explore pincha mayurasana and scorpion at the wall. Props Needed: Wall space. Props Suggested: A block or bolster.
Breathe deeply and unfurl your sides to create inner balance and a feeling of spaciousness. We'll flow through poses like tree with lateral variations, half moon, vasisthasana II, and parivrtta janu sirsasana, building strength as we lengthen the side body, then coming down to the mat for a good stretch. Props Suggested: A block.
Actively restore your body and mind with a contemplative practice of forward bends and inversions. This calm, yet strong sequence is designed to ground and center you with pranayama and longer holds. We'll begin in child's pose on our bolster, move into hip openers and inversions like headstand and handstand, then conclude with nadi shodhana and legs up the wall. Props Needed: Wall space and a bolster or a few blankets.


Hiya! My name is Champ, I'm currently in Montgomery, AL and I'm ready to find my forever home.
I'm about 2 years old and am full of energy! The good thing is I run out of it quickly and when I do, I love to snuggle and be really close to my humans. I love dogs of all sizes especially ones that will play with me. I'm not a fan of crates (at all) and will hurt myself trying to get out of one so don't bother buying one for me.
I love my humans and get really anxious when I am separated from them by crate doors. I'm young so I still need supervision and training before I can be trusted alone all day long. I would prefer to be with my people anyway so I'd like a family that can spend lots of time with me. I love to run and explore so a fenced in backyard is a must. Having another doggo friend would be ideal because it would keep me busy and I have so much fun playing with my friends (and it helps wear me out)!
I would enjoy a family that is very active, even though I nap a lot (play hard sleep hard is my motto). I love to cuddle and be pet. My foster Mom says I am the best cuddler ever! I love meeting new people, especially kids, preferably ages 7 and up because I like to jump when I get super duper excited meeting people. I love attention and most of the time I am super gentle (again, I get a little excited sometimes). I just love humans (of all sizes) so you can take me with you wherever you go.
I am VERY food driven which makes training me really easy. I know a few basic commands but I could still use a little training time, which equals treats for me (YAY!)! My foster family loves me but it's time for me to find a family to call my own. If you're interested in adopting me please complete an adoption application (if you haven't already) and email my foster mom Allison.
Note: Champ is an adult GSP that has been neutered, vaccinated and temperament tested. His adoption fee is $375.
Hi There my name is Briar and I'm ready to find my forever home. I'm about 4 years old and am a typical young GSP – full of energy.
I do really well in daycare and play well with dogs of all sizes. I'm not a fan of crates and will hurt myself trying to get out of one so don't bother buying one for me. You see I really don't like being separated from my humans…even if it's just by a crate door. When you're gone from my view I get anxious. I'm young so still need supervision and training before I can be trusted alone all day long. And hey, I prefer to be with my people anyway so I'd like a family that can spend lots of time with me.
My perfect home would have a large fenced in backyard with at least a 6 foot fence (I have springs in his paws), or a large farm that I could run and explore. I do like to dig so I may be a good candidate for an e-fence "and" a privacy fence. If there's a cat on the other side of a fence I will do my best to go after it. Having another canine sibling would be lots of fun and would keep me occupied which means less chance I'll get bored and into trouble. I LOVE to run so I'd really love a family that will take me running. I love my leash walks too – they make me happy.
I love helping my foster Mom shop at Home Depot. I'm not shy about taking compliments for other shoppers about how good looking I am. I just love humans (of all sizes) so you can take me with you wherever you go. Oh and I'm high energy and love to be exercised daily (it's a must really – or I get bored and get into trouble). I'm not food driven but I do know basic commands and a few tricks (and I'm house trained). Plus, I'm a great dancer and love to greet you with a fox trot.
I make my foster Mom laugh because I sleep all the way under the covers – I make my own cozy cave. I'm great with everyone, including small humans, but definitely no cats since I have a strong prey drive.
My foster family loves me but it's time for me to find my own family. If you're interested in adopting me please complete an adoption application (if you haven't already) and email my foster mom Donna.
Note: Briar is an adult GSP that has been neutered, vaccinated and temperament tested. Her adoption fee is $375.


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/**
 * @author Anton Avtamonov
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package javax.swing.plaf;

public abstract class LabelUI extends ComponentUI {

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Built in Alpaca fabric, it is both warmer than wool, and hypo-allergenic. The half-waisted belt on the rear will not go unnoticed.
Tagliatore garments fit true to size we suggest taking your natural size for a perfect tailored fit.


Check out the day-to-day spoilers and a sneak peek video below to find out what's happening on ABC soap opera General Hospital during the week of October 31-November 4, 2016.
The residents of Port Charles celebrate Halloween; a case of mistaken identity angers Sonny; a surprising visitor causes turmoil.
Anna accepts a new assignment; Michael has questions for Nelle; Griffin asks Anna for help.
Franco struggles with jealousy; Alexis discloses her secret intentions to Sam; Curtis betrays Val.
Anna experiences déjà vu; Jason presses Curtis into telling what he knows; Nelle misunderstands something she hears.
Anna reveals a big surprise; shots are fired; Ava receives a frightful message.


This is a current favorite dinner around here, spicy ground beef wrapped up in lettuce. I know I started with a recipe for these at one point, but I'm honestly not sure anymore where it came from anymore and it's more of a loose outline than a recipe anyway.
For two people, you start with a pound of ground beef. When it's about halfway browned, I throw in a chopped jalapeno and a couple of minced garlic cloves. If I have a jar of Mrs. Kim's Soy-Pickled Vegetables onhand, I'll use a jalapeno and some garlic out of there. (It's one of my favorite products I've discovered through my column, very spicy but with excellent flavor. Their kimchi is delicious too.) If the meat is giving off a lot of fat, spoon it off. If I have some leftover vegetables that I want to use up, this is where I'll add them, finely chopped, to the pan.
Once it's browned, season with soy sauce, siracha, and a little bit of fish sauce, maybe a tiny bit of sesame oil, then simmer until most of the liquid is absorbed or evaporates. Turn off the heat and stir in the zest and juice of one lime, plus a handful of chopped cilantro. And that's it. Divide the meat between two bowls and serve it alongside a bowl of crisp, cold lettuce, any kind that will hold its shape. I'm using romaine here, but iceberg or butter lettuce works too. If you use a small amount of meat per roll (two tablespoons, maybe?), you end up eating roughly a salad's worth of lettuce.


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Image credit: MycoWorks
Why we invested in MycoWorks
Rob Leclerc
Rob Leclerc is a founding partner at AgFunder, which is AFN's parent company.
MycoWorks, which produces a lab-grown leather from mycelium (the root structure of mushroom) announced its $17 million Series A earlier this week, after its unveiling at NY Fashion Week with a feature in Vogue Magazine a couple of weeks ago. The round was led by DCVC Bio, with investment from Novo Holdings, 8VC, Future Tech Labs, Susa Ventures, Cthulhu Ventures, Wireframe Ventures, and of course AgFunder. Here's a bit of a breakdown on why we're excited about MycoWorks.
The discovery
Both Impossible Foods and Modern Meadow were founded in 2011. Fast forward to today, and Impossible Foods is teasing a $3 billion to $5 billion valuation and can be bought in Burger King; while Modern Meadow, which initially focused on culturing animal cells to produce leather and has since pivoted to express biomaterial proteins through fermentation, is still not at commercial scale.
The story that repeats time and time again is that plant-based meat and dairy products like Beyond Meat and Impossible Foods rocket to market, but cell-ag approaches have been slow. And don't get me wrong, Modern Meadow has an incredible team, Andras Forgacs is as smart as they come, and I expect they'll get there; but harnessing biology is a really really hard problem. On the other hand, plants are incredibly efficient, robust, and inherently scalable bioreactors. With this observation in mind, we've spent a lot of time looking for startups that can harness the generative power of plants (and fungi), and it was on this quest that we discovered MycoWorks in the Spring of 2018.
I arranged for an introduction to MycoWorks' CEO, Matt Scullin, through a mutual acquaintance. Matt has a PhD in materials sciences, was a Forbes 30 under 30, and is a serial entrepreneur having founded Alphabet Energy, which generates energy from ambient heat sources. Matt had joined MycoWorks about six months prior to lead their commercialization effort, building on the incredible progress made by Phil Ross, who had been developing the technology for over a decade, and his cofounder Sophia Wang. After our first call, I knew this was someone we wanted to work with. While a lot of people think VCs are in the business of ideas, we're really in the people business and Matt is one of those rare entrepreneurs who is the complete package: deep technical abilities, crisp execution, a great storyteller who can paint a clear and vivid picture of the future. He's an exceptionally nice person which is important because these can be 10-year relationships. In our reference calls on Matt, which included some previous investors in Alphabet, everyone spoke highly of Matt and his professionalism.
MycoWorks' Team: Matt Scullin (Left), Sophia Wang (Middle), Phil Ross (Right)
A couple of weeks after meeting Matt, I visited MycoWorks' lab in San Francisco where I was given a master class in leather making. Leather making is still a craftsman's industry and the industry bible is a civil war era book called The Manufacturing of Leather published by Charles Thomas Davis in 1897. The top-grain is embossing. Color, that's dying. Shine, that's finishing. Thickness, that's from cutting. However, the secrets of the master leather makers and artisans, who produce leather for companies like Hermes and Louis Vuitton, are closely guarded.
MycoWorks took me through the process and showed me a whole variety of animal leather samples and their mycelium leather. Depending on the process, you often couldn't tell the difference between animal leather and MycoWorks' Reishi leather. In fact, some animal leather swatches, which represented the pinnacle of leather production, looked and felt like plastic!
Animal leathers are synonymous with luxury and quality, and so it's not sufficient to just look and feel great. It needs to be strong and durable like an animal-leather. And this is where MycoWorks stands out. The product is as tough and durable as leather, and they are constantly testing and improving the material properties for creasing (Bally Flex Resistance), abrasion, tensile strength, and colorfastness. Today they can meet the standards of leather, but as they continue to improve, it may be possible to create a material that has multivariate superiority over leather. Importantly, the material can be stitched and even used in athletic footwear, and MycoWorks has some strong IP that endows these properties. The material is also carbon negative or neutral. Mushrooms need no light; they feed off of cellulosic biomass; the waste stream is actually a valuable byproduct. This is a material for the circular economy and for people who don't want to compromise.
Today, I carry a couple of MycoWorks' leather swatches in my wallet. When I show it to people, I simply tell them that it's lab-grown leather – I'm sure Matt and the team are cringing at my barbarism here! But people will touch it, stretch it, and smell and have no idea that it is not animal-leather. It's magical to see their reaction when you tell them it comes from a fungus.
Animal leather is a big market, estimated at $95.4 billion in 2018 and projected to reach $128.61 billion by 2022, but environmentally and ethically it leaves a lot to be desired. Tannery chemicals and wastewater can negatively affect health and ecosystems, and that doesn't take into account the use of living animal hides. In 2013, Kanpur, India, became the largest exporter of leather. About 80% of the wastewater is untreated and dumped into Kanpur's main water source, the River Ganges. Farmland is swamped with blue-tinted water, poisoned with chromium III, lead, and arsenic. Decades of contamination in the air, water, and soil have caused a variety of diseases in the people who live in the area. Health problems include asthma, eyesight problems, and skin conditions including contact dermatitis, urticaria, hand eczema, fungal infection, and atopic eczema.
The use of synthetic leather alternatives, such as PU, has grown with conscious fashion designers like Stella McCartney leading the charge away from animal-based products. Today it's a $45 billion market, growing 10% annually, but synthetics come with their own problems. Most are made from plastic derivatives, including PVC, which Greenpeace calls the "single most environmentally damaging type of plastic." As with real leather, the process of manufacturing "pleather" also results in unwanted byproducts and potential contaminants, as well as a material that takes 100 years to biodegrade and has been linked with the release of harmful chemicals such as chlorides into the ground when placed in landfills.
MycoWorks is combining artisanal craftsmanship and high precision biomanufacturing. Two weeks ago they launched their first material, Reishi, for the high-end fashion industry; and while we can't name names yet, they've partnered with some of the most iconic fashion and footwear apparel brands in the industry to bring products to market. As MycoWorks scales, we believe they can ultimately bring their costs down to outcompete animal leather and provide a convincing alternative to petroleum-based leather whose microplastics are polluting soil and oceans.
To learn more about MycoWorks' incredible material, visit Made With Reishi. You can see MycoWorks and the rest of AgFunder's portfolio here.
agfunder, alternative protein, asia, biomaterials, Europe, impact investing, United States
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The spring game has wrapped up at Kroger Field with the blue team (the first-strring) coming away victorious by a count of 64-10. Kentucky's first-team offense and defense dominated the night, but there were some key individual performances to take away from Kroger Field.
At the beginning of the seventh season under Mark Stoops, UK's offense showed growth in the passing game and it's clear the personnel at the skill spots have the talent and ability to be very explosive. This team has a great chance to be the top scoring group of the Mark Stoops era.
The spring game is setup for the guys behind center to have a lot of success and that is unavoidable. Last night, UK's defense was in a vanilla coverage and could not really rush the passer. This schemed out football game is teed up for the quarterbacks to have a ton of success. With that said, we saw some growth from Terry Wilson.
The junior from Oklahoma City had the look of a timid quarterback for most of last season. The dual-threat quarterback was hesitant on making tight window throws and many times did not throw the football vertically with confidence. Today it didn't take long to see that Wilson is feeling himself.
On the game's opening drive, Wilson hit Lynn Bowden, Jr. on a skinny post for a 42-yard touchdown connection. A couple possessions later he hit Isaiah Epps on a deep post bomb that would've been one of the longest plays of the season last year.
The junior was playing with confidence and it appears the passing game has taken some steps forward this spring. Even his backup was able to have some success.
After struggling a bit with the second-team offense, Gunnar Hoak got a drive with the ones and went a perfect 6-for-6 on their way to a touchdown in the second quarter. UK's quarterbacks looked poised and confident all evening under the lights at Kroger Field. That is a very good sign.
A.J. Rose received the start with the ones and the redshirt junior got a lion's share of the carries behind the starting offensive line. The Cleveland native showed off some of his burst early and often at The Kroge.
For the day, Rose finished with 86 yards on 11 carries to go along with a reception out of the backfield. The first-time starter showed some power in the red zone to go along with his home run ability. It also seems clear that he has a clear RB2 entering the summer workouts.
Kavosiey Smoke redshirted last season before he arrived on the scene in the Louisville win with a big touchdown run in the fourth quarter. The Alabama native was a significant late recruiting win for Kentucky in the class of 2018 and he's now shown why he has a chance to make an impact this fall.
The bowling ball of a back busted out for an 87-yard touchdown on his first touch and continued to do some really positive things in the second half. For the day, he finished with 126 yards on three carries and proved to have some big time home run ability. Expect him to get plenty of touches this fall.
Running with the twos was redshirt freshman Christopher Rodriguez, Jr. and he had a rough day. The Georgia native was limited to just 3.4 yards per carry while on the white team and lost a fumble in the first half. At this point, it appears that he could be UK's best short yardage option, but he has some ground to makeup to pull even with Smoke.
Overall, it was a solid day for this group with plenty of big plays sprinkled in. The big question remaining will be if this group churn out yards and move the chains in important situational scenarios.
If the quarterbacks on your top offense are completing 88.8 percent of their throws that tells you that the pass catchers on the other end are doing their jobs. Lynn Bowden, Jr. got the party started in the first quarter and finished the day with 66 yards on four grabs. But the story from the spring game is what the surrounding pieces were able to accomplish.
Perhaps the star of the day was redshirt freshman Bryce Oliver who did all of his damage against the first-team defense. The redshirt freshman was a three-star prospect and a late addition to the class of 2018. After being on the punt return team that stuffed a Penn State fake in the first quarter of the Citrus Bowl, Oliver bursted onto the scene in his first spring game with 105 yards on eight grabs.
The Fort Lauderdale, Florida native made consistent, competitive catches with most coming away from his body forcing the young wideout to make extending grabs. The staff has gushed about the young wideout this spring and it's evident that he will be a big part of the rotation this fall.
On the first-team, Isaiah Epps recorded 97 yards on four grabs and it appears that the junior will UK's primary deep threat. Wilson hit Epps on a 60-yard bomb near the end of the first quarter. Following that we saw him get involved with some possession receptions.
There is a lot of pressure on Epps and fellow junior Josh Ali entering the 2019 season. The passing game will go on how these two upperclassmen go on the outside. It will be vital for them to become valuable pieces of the offense this season.
With Keaton Upshaw sitting out the spring game with a nagging hamstring injury, we saw only two scholarship tight ends on the field last night. Justin Rigg has proven to be a quality blocker during his career, but today he flashed some really valuable pass catching ability.
Brenden Bates received some quality reps while walk-on Drew Schlegel recorded a nice gain on a bootleg reception. Upshaw will give this positional group a vertical threat to run up the seam and that will be needed to keep opposing safeties from crashing down in run defense. Rigg is a very quality blocker and they have the depth to give the tight end spot some versatility.
Similar to the quarterback spot, there's not much pressure on the offensive line in a game like this. Due to the vanilla nature of the defense, Kentucky knew exactly what they were going to get from its opponent on the other side of the line of scrimmage. You still have to execute and that's exactly what the big guys did at the point of attack.
The most experienced positional group on UK's team created lanes in their zone blocking schemes and consistently gave Terry Wilson a clean pocket. The depth issue needs to be addressed, but there are not many better starting fives than what Kentucky currently has in John Schlarman's offensive line room.
You really couldn't have drawn up a better day for the Kentucky offense. Terry Wilson was sharp and efficient while the offensive line had their way with the opposing front. Both A.J. Rose and Kavosiey Smoke made some big plays while the receivers outside were able to create separation and produce some explosive plays.
It will be year four for the offense under Eddie Gran and they currently have a lot of things working in their favor. They need to develop depth and prove that the wideouts can consistently make plays, but as we sit right now they are in a good spot and most importantly healthy.
Everyone played great on offense, but Rodriguez did go against 1st string most of the day. He's going to be solid behind starting O-line.


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The Symphony of Southeast Texas (SOST) presents a great way to kick off the yuletide season with family and friends at "Home for the Holidays" on Sunday, Dec. 4, at 3 p.m. at the Julie Rogers Theatre in Beaumont.
The Symphony of Southeast Texas (SOST) continues its Classics Series at the Julie Rogers Theatre (765 Pearl) in downtown Beaumont on Saturday, Nov. 19, with "Triumphant Tchaikovsky," featuring wonderful triumphs from one of the greatest composers of all time. Beethoven's "Egmont Overture," Bizet's Symphony in C and Tchaikovsky's Violin Concerto make for an international program of time-honored classics. The concert will begin at 7:30 p.m.
The Symphony of Southeast Texas (SOST) is taking the magic of music to the next level by performing three very different concerts at three different locations within the next two weeks, giving everyone in Southeast Texas the opportunity to experience live orchestra music at its best.
"Our theme this season is 'SOST Fantastique' and we want to perform great and memorable music that everyone can enjoy at the Julie Rogers Theater and around the community," said SOST Music Director Chelsea Tipton II.


The greegolpeta (formerly greegapeta) is equal to E100##100##100##100##100##3 in Extended Hyper-E Notation. The term was coined by Sbiis Saibian.
The name of this number is based on the numbers "greegold" and "gugolpeta".
↑ Saibian, Sbiis. Extended Hyper-E Numbers. One to Infinity. Retrieved 2015-06-13.


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Our outstanding facilities across the Junior and Senior School, along with high-quality teaching and our supportive environment, are key to creating the unique Grange experience which allows our students to live their education.
As you'll have read from our history, we have an ambitious and flexible attitude; always looking to improve the school by providing modern, state of the art facilities so we remain at the forefront of education.
We believe that sport and exercise is a very important part of the educational experience we provide. The sports centre will be backed up by an array of impressive sporting facilities already available at The Grange. Extensive and beautifully maintained playing fields; an impressive Sports Pavilion; a recently built Sports Hall at the Junior School; AstroTurf sports pitches and tennis courts are just some of the facilities available. At the nearby River Weaver the school also has its own boathouse for our rowing teams.
Our Sixth Form Centre provides a state of the art base for students to think, communicate, learn and occasionally relax! The purpose-built centre accommodates over 200 Sixth Form students providing a café, common room, quiet work rooms, classrooms and seminar rooms and a dedicated careers area. Standing in an enclosed area of the Grange Senior School site, the facility provides a strong sense of Sixth Form identity whilst remaining an integral part of the wider school.
The Performing Arts form a vital part of life at our school. Our inspiring 350 seat theatre provides the perfect venue for our excellent productions and musical performances whilst a number of drama studios provide an ideal space for day to day teaching and learning. The theatre also has a year-long programme bringing theatre productions to the local community.
We also offer high-quality music rooms in both the Junior and Senior Schools which are fully equipped with the instruments and IT facilities necessary for learning and composition.
Other highlights include a number of fully equipped science labs at the Junior School which allow for the subject to be taught effectively from an early age; provision for every Sixth Form art student to have their own personal studio space in which to create; a spacious and well stocked Library; interactive whiteboards in many classrooms to support cutting edge teaching and learning and high bandwidth Wi-Fi across both sites to ensure that we move seamlessly into the future.


text:
Broadway 6622 N PRR Alco RSD-15 As-Delivered Scheme Paragon4 Sound/DC/DCC #8611
Broadway 6622 N PRR Alco RSD-15 As-Delivered Scheme Paragon4 Sound/DC/DCC #8611. 6622 Alco RSD-15, PRR #8611, As-Delivered Scheme, Paragon4 Sound/DC/DCC, N. The Alco RSD-15's were built between 1956 and 1960 in Schenectady, New York. The RSD-15 was powered by an Alco 251 16-cylinder V-type engine.
The locomotive rode on 3-axle trucks with all axles powered by GE model 752 traction motors. The trucks have asymmetrical axle spacing because of the position of the traction motors. The six-motor design allowed for higher tractive effort at lower speeds than a similar four-motor design.
The RSD-15's could be ordered with either a high or low short hood, and the low hood versions quickly earned the nickname "alligators" due to their unusually long noses. In 2022, we are offering models of the RSD-15's in N scale with DCC & Sound for the first time. We are offering models of RSD-15's from 9 railroads in 10 distinct paint schemes.
All road numbers and paint schemes are prototypically accurate. We are also building three models that were very similar in real life - two C&O RSD-7's and a CP RSD-17. The models will be BLI RSD-15 models with the C&O and CP paint schemes applied. There wasn't a lot of detail variation among the RSD-15's, and we are making three distinct models - a standard low-hood model, a standard high-hood model, and a PRR-type high hood model with different locations for the bell and horns.
Independently controllable lights in each RSD-15 model: Headlight Rear Light Cab Light Front & Rear Numberboards. Industry-leading Model Features: Paragon4 Sound & Control System featuring ROLLING THUNDER Integral Dual-Mode Decoder with Back EMF for Superb Slow Speed Operation in DC and DCC Precision Drive Mechanism Engineered for Heavy Towing and Smooth Slow Speed Operation All Wheel Electrical Pick-up ABS Body with Die Cast Chassis for Maximum Tractive Effort Premium Caliber Painting Prototypically Accurate Paint Schemes and Road Numbers Many Separately Applied Details such as Handrails, Grab Irons, Horns, Bell, and Antenna Prototypical Light Operation Prototypically Accurate Sounds for the Alco RSD-15 Diesel Locomotive MicroTrains-compatible couplers (2) Will Operate on Code 55, Code 70, and Code 80 Rail Minimum Operating Radius: 9 inches. Broadway Limited Imports is proud to introduce Paragon4: The new benchmark for premium HO sound-equipped locomotives.
These DC and DCC-Sound equipped locomotives feature the ALL-NEW Paragon4 sound and control system. Each Paragon4 locomotive comes with BLI's own integral DCC Decoder factory installed. Paragon4 locomotives offer Dual Mode DC and DCC operation with superb back EMF motor control, improved DC motor control, built-in capacitor pack for more reliable electrical pick-up, industry best on-board sound with Rolling Thunder functionality, Pro Lighting Mode for prototypical light control, Switcher model for precise low speed control, recordable DCC operation for automated playback, and the same excellent detail level as Broadway Limited's Paragon3 Series models. Paragon4 Sound & Control System Features: Operates in DC & DCC with improved DC speed control (use DCMaster for DC Sound) Built-In extra capacitance to navigate imperfect track Pro Lighting Mode offers individual control of all lights on model Switcher Mode for precise low speed control Record & Play Operation - Records and plays back sounds and movements once or repeatedly for automatic operation High Resolution Audio Quillable Horn for various whistle lengths and patterns Choice of 3 selectable Horns Alternate Whistle / Horn where applicable for locomotive with air horn and steam whistle - both the main whistle and alternate can be easily played Adjustable bell ringing interval for faster or slower bell Numerous user-mappable functions with available keys Multiple realistic passenger and crew sounds play on command Grade Crossing Automatic Signal Automatic Forward / Reverse Signal Prime Mover sound intensity varies with load Individually adjustable sound volumes for each effect EZ Reset Button for quick return to factory default settings Specifications on this page subject to change.
Note: Pictures may be of another Road Number. Let me know how many you want and I'll send an offer. Customer ordered the wrong product, or just don't want it. DO NOT OPEN THE ITEM IF YOU ARE GOING TO RETURN IT! Must be in original box unopened with no damage to the package or packaging (we need to be able to resell that product as new). Items must be in "new, unaltered and unused condition". Do not tape anything to the item. That is 20% of the items price you paid. Wrong item sent or defective product. If we make a mistake by sending you the wrong item or you get a defective product we will make it right at no cost to you. This item is in the category "Toys & Hobbies\Model Railroads & Trains\Railroads & Trains\Locomotives". The seller is "crazymodeltrains" and is located in this country: US. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech Republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, South Africa, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Bahamas, Israel, Mexico, New Zealand, Philippines, Singapore, Switzerland, Norway, Saudi Arabia, United Arab Emirates, Qatar, Kuwait, Bahrain, Republic of Croatia, Malaysia, Brazil, Chile, Colombia, Costa Rica, Panama, Trinidad and Tobago, Guatemala, Honduras, Jamaica, Antigua and Barbuda, Aruba, Belize, Dominica, Grenada, Saint Kitts-Nevis, Saint Lucia, Montserrat, Turks and Caicos Islands, Barbados, Bangladesh, Bermuda, Brunei Darussalam, Bolivia, Ecuador, Egypt, French Guiana, Guernsey, Gibraltar, Guadeloupe, Iceland, Jersey, Jordan, Cambodia, Cayman Islands, Liechtenstein, Sri Lanka, Luxembourg, Monaco, Macau, Martinique, Maldives, Nicaragua, Oman, Peru, Pakistan, Paraguay, Reunion, Vietnam.
Brand: Broadway Limited
Type: diesel-locomotives
Manufacturer: Broadway Ltd
Road Name: Pennsylvania Railroad
Hobby Type: Trains


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text:
You are here: Home / Aaon / Florida Man A Tease; Basks In Warm Power Plant Discharge, Eats 10% of His Weight Daily, At Risk of Starving. Thanks To Those Feeding The Florida Manatees
Florida Man A Tease; Basks In Warm Power Plant Discharge, Eats 10% of His Weight Daily, At Risk of Starving. Thanks To Those Feeding The Florida Manatees
Manatees and Dugongs in Danger | Blue Realm | Free Documentary Nature
A manatee is seen here at a zoo in Tampa in January 2021
Miami (AFP) – Florida's manatees — which are increasingly facing starvation, largely as a result of pollution — are going to be fed directly by wildlife officials, in what they called an "unprecedented" step to prevent further die-off.
The pilot program will start with Indian River Lagoon, on the Sunshine State's east coast southeast of Orlando, federal and state authorities announced Wednesday.
Many manatees migrate to this area in winter, to bask in the warm water discharged by a nearby power plant and to graze on seagrass.
But over the last decade, heavy runoff from nearby farms and urban areas has caused algae blooms to explode, which increasingly threaten the sea mammals' main food source.
The algae blocks out sunlight, which seagrass needs to grow, while also releasing poisonous toxins.
At least 1,017 manatees have died so far in 2021, with the most deadly winter months still to come.
"This unprecedented event is worth unprecedented actions," announced Thomas Eason, the deputy director of Florida's Fish and Wildlife Conservation Commission.
Under the new program, only a small number of individuals will be authorized to feed the manatees in the Indian River Lagoon, and only if necessary, Eason explained, reiterating that the general public should not do so.
In captivity, manatees are fed a diet of salad, cabbage and other vegetables.
Also known as sea cows, manatees are large animals of about 10 feet (three meters) in length and weighing between 800 and 1,200 pounds (360-540 kilos).
They can eat up to 10 percent of their weight every day, so any decrease in seagrass growth can have dire consequences.
Save the Manatee, a local non-governmental organization, praised the new program, with executive director Patrick Rose calling it a "significant move to help prevent another severe loss of manatees due to starvation."
Florida Man Florida Manatees on Towleroad
Adam Rippon married fiancé in spontaneous wedding on New Year's Eve; 'Simple' Ceremony With Jussi-Pekka Kajaala, 3 Years After Tinder Meet
Betty White Death: Los Angeles Zoo 'Blown Away' By $70,000 Worth Of Donations In Memory Of Late Comedian
Florida suspends health official who urged staff to get vaccinated
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text:
Q: Laravel pusher listen to a private event: error 403 page forbidden I am using laravel 8, vue.js and pusher to create events with broadcast functionality.
Everything works fine. On pusher I receive the content sent by the event. The problem arises when I go to listen to the event on the frontend. The error that appears is always the same.
http://127.0.0.1:8000/broadcasting/auth 403 (Forbidden)
This is the code for listening to the event:
  Echo.private(`CallEvent.${data.session_id}`).listen(
          "PrivateCallEvent",
          e => {
             console.log(e)
          }

This is the related channel
 Broadcast::channel('CallEvent.{session}', function ($user,Session $session ) {

if ($user->id == $session->user_1 || $user->id == $session->user_2) {
    return true;
}
 return false;
});

This is the Private event:
    public $message;
public $event;

/**
 * Create a new event instance.
 *
 * @return void
 */
public function __construct($message,$event)
{

    $this->message= $message;
    $this->event= $event;
    $this->dontBroadcastToCurrentUser();
}

/**
 * Get the channels the event should broadcast on.
 *
 * @return \Illuminate\Broadcasting\Channel|array
 */
public function broadcastOn()
{
    return new PrivateChannel('CallEvent.'.$this->event['session_id']);
}

}
Pusher API message:
API message
Channel: private-CallEvent.353, Event: App\Events\PrivateCallEvent
Socket ID: 133983.19535029
14:12:03
{
"message": "test",
"event": {
"id": 607,
"message_id": 320,
"session_id": 353,
"user_id": 1,
"type": 0,
"created_at": "2021-11-09T14:12:03.000000Z",
"updated_at": "2021-11-09T14:12:03.000000Z"

}
}

redpajama_set_name: RedPajamaStackExchange


Not everyone likes using new technology, but if you don't keep up with the latest tech trends in your sector, you could be left behind. And one area in which this is becoming increasingly apparent is the commercial property sector. Technology applications in commercial property have come on in leaps and bounds in recent years, yet not everyone is embracing the benefits it can offer. In this piece, we're going to explore the advantages to be gained by looking at what's available and how it can help you do better - instead of waiting until your competitors get in first!
Traditionally, real estate wasn't a very high tech business; typically, marketing the business relied mostly on direct mail, print ads in industry publications and expos. In fact, even in 2006, one study found that 52% of companies surveyed didn't have a website, but that's all changing. Today, every business needs a website. It's your shop window for the entire world and it's how most customers will find you.
But, it's what you do next that will make all the difference to the success of your deals. That might mean hiring a digital marketing expert to bring it all together. This key member of staff will be the interface for all your online activities, developing a sound digital marketing strategy to support the business and your sales team, and provide the metrics that shows what's working and what isn't, so you can concentrate on doing the things that matter – closing deals.
an efficient and lean way of generating leads through digital channels.
and maximum CPC to ensure their ads appear on the first page at least 80-85% of the times.
which results in in more enquiries generated.
allow them to tap into the pull of the influencers that will come out of the Awards alumni.
The past few years have seen a huge upsurge in mobile technology. With more people working and doing business on the move, if you can't take your commercial property business onto a mobile platform, you risk losing business to rivals that do.
Cloud-based information storage and applications can cut infrastructure costs and enable you and your employees to do business wherever they are in the world. Of course, to make the most of these technologies, you have to implement flexible, adaptive working processes and environments, but those companies that do are seeing the rewards. After all, when you're dealing in real estate, the properties you manage can be in a wide range of geographical locations, so your employees need to be able to work wherever they're needed.
While property companies have long used generic software applications for basic business tasks, such as accounts and order processing, newer solutions are coming onto the market that are specifically designed for commercial real estate functions, such as property management, leasing software, marketing and analysis. More and more companies are using these niche-specific applications, because they can be tailored to work in the way you like to do business, helping your save time and money – and can deliver added value to the business. All-in-one solutions, such as RealBase by Realla can be a huge benefit, streamlining and coordinating processes and providing one single interface for every aspect of your operations.
It's also important to keep an eye out for the next big thing. Technology never stops moving, so it's up to you to have someone on your team that can see what's coming next.
Big data is transforming every industry. Commercial property is no different. Data is critical when it comes to decision-making and there has been a real consolidation of online real estate information in recent years. That's information you can use to make better decisions and drive better business outcomes.
One emerging technology that can help you make the most of this data is Artificial Intelligence (AI). Crucially, AI technology allows you to automate processes that you would otherwise take a lot of time, resources and costs. For example, this technology can instantly produce insights and intelligence your sales team can use to drive prospect conversion – before the competition has even had a chance to look at the data. AI chatbots have already proven themselves valuable in helping brokers make better decisions.
And that's just the beginning. Goldman Sachs Research estimates that the market for virtual reality (VR), for use in 3D property visualisation tools alone could generate as much as $2.6 billion by 2025. That doesn't mean a robot is going to take your job. People will always want the human connection, but by integrating these technologies into your business, it could make your job a lot easier, minimise room for error and improve conversion rates.
Chatbot technology helps to automate and deliver communications digitally between.
your product/service with preloaded answered and powered by a learning algorithm.
if they come from humans, not robots.
Technology can be daunting, but in the competitive commercial property market, no matter what size your operation, it can help you do more with less and compete with much bigger players. And if it's a question of cost, ask yourself, what will it cost your business if technology isn't part of your long term strategy?