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Highlight/Interviews/Thailand
Mai Meksawan worked at the Bangkok International Film Festival since 2004, and was its programmer until the festival's final edition in 2009. He also programmed and co-organized several other festivals in Thailand. In 2007 he co-founded, with Pimpaka Towira and Ruengsang Sripaoraya, production and distribution company Extra Virgin, where its most successful title, Agrarian Utopia (dir. Uruphong Raksasad) screened in more than 100 film festivals worldwide and received 11 international awards. He founded production company Diversion in 2014. His most recent films as a producer include Manta Ray (dir. Phuttiphong Aroonpheng), winner of Orizzonti Award for Best Film at 2018 Venice Film Festival, Come Here (dir. Anocha Suwichakornpong), which premiered at Berlin Film Festival this year, and Anatomy of Time (dir. Jakrawal Nilthamrong), which is premiering at Venice Film Festival in the Orizzonti section right now.
Photo credit: Ong-art Wiseschotikul
What is your journey to film production? How did you end up becoming a film producer? What is your background?
I started my career as a festival organizer, working at the Bangkok International Film Festival which during most of the 2000s was Thailand's main international film festival.
I studied architecture in university but have finally never practiced it – interestingly, similar to Apichatpong Weerasethakul as well. And I then happened to apply for a position at the Bangkok International Film Festival, first in the publicity department, and ended up there through the years. I was one of the programmers there during the festival's latter years, until the government eventually stopped the funding and the festival was put to an end. During that time I got to know a lot of new up-and-coming filmmakers, the films of many of them we showed at the festival too and whom I ended up working with to help develop their projects. So as things progressed, I finally became their producer too. To be honest I can say that I did not set out to be a producer in the very beginning. It gradually happened in a natural and spontaneous way.
You produced Phuttiphong Aroonpheng's Manta Ray. How did you meet him? What made you want to produce Manta Ray?
It was through another filmmaker I work with, Jakrawal Nilthamrong. I first met Jakrawal in 2008 or so when we started working together to develop his debut feature film project. He introduced me to Phuttiphong, who was his long-time friend as well as a veteran cameraman. Phuttiphong is the director of photography of Jakrawal's short films too – as well as of his first narrative feature film Vanishing Point. During that time, we heard that Phuttiphong was also developing his own feature film project, titled Departure Day, as a director and so we decided to get on board. The project eventually became Manta Ray.
It was an interesting development. For a lot of other filmmakers I work with, they usually start off doing short films before evolving into feature films. The usual route for independent filmmakers in our region is spending their early years in their career making short films and sending them to festivals in order to build up their profile, which will help them land bigger fundings in order to make a feature film that will become their big breakout. But Phuttiphong took another path because he had an extensive experience in production, working as a cameraman and production designer for both independent and mainstream films. He did actually not make a lot of short films. He just had a very clear and focused idea of what he wanted to achieve in his debut feature film straight from the beginning – with a level of self-confidence that not a lot of first-time filmmakers can have.
What was the most difficult thing about producing Manta Ray? What was the budget of the film?
It was a bit over 400,000 Euros, which is quite high for a Thai independent film, especially for a first feature film. We were lucky to finally manage to get funding from China and France – respectively through Youku Pictures, which usually works with more commercial films, and through CNC's Aide aux Cinémas du Monde (World Cinema Fund) and Strasbourg's region fund.
The process was quite long and at times it felt quite uncertain how everything would eventually turn out. The long waiting period was perhaps the main challenge because Phuttiphong started the first draft of the script in 2009 and we ended up finishing the film in 2018. During that period though he actually also got married and started a family. There were also a couple of years in between when the project was put on hold because Phuttiphong was busy as a DoP for other films so we only officially resumed the project in 2016. The film ended up very different from the original script because in the beginning, when it was still Departure Day, Phuttiphong conceived it as a diptych – with a twin storyline where the first half of the film revolves around one set of characters in one location and the second half entirely with another set of characters and location altogether. And the two halves of the story are only interconnected in a loose and spiritual way. But later on, Phuttiphong decided to lift the first part of the story and turn it into a short film titled Ferris Wheel, which he completed in 2016. The short film was very well received and played a crucial role for us to get started and finally make the feature film, which is the second half of the story of the original script – about the fisherman who rescues a mysterious stranger, who turns out to be a Rohingya. It was quite a gamble but paid off very well. I think one benefit of the film taking a very long time to make is that, by the time we landed enough funding to actually get to start shooting, the project had been with Phuttiphong for so long that he already had a very clear picture in his head of what he wanted to do for each scene in the film. So when the time came for the actual shoot it went very smoothly.
Was the film released in Thailand? How did the audience react to it? Did the international audience react differently?
Manta Ray was released in Thailand in July 2019 – about ten months after the world premiere in Venice. By the time of the local release, it had extensively travelled in festivals and received several awards that helped a lot create buzz for the local press and audience. Given its specific form, the film mainly attracted local cinephiles, so we had a small but dedicated audience.
Regarding the difference between how local and international audiences perceived the film: the local audience tends to focus more on the cinematic style rather than the political context – from what we've seen. The international audience also tends to compare the film to the works of other Thai filmmakers they are familiar with, which I guess we cannot do anything about, whereas for the Thai audience, it's almost the other way round since a lot of people here noticed that the film feels quite different from most Thai films.
What is it in general that makes you produce films? How do you choose your projects? Do you have a specific editorial line?
So far I mostly work with people I have a close relationship with or have known very well for a long time. Making films is a very long commitment and requires a lot of perseverance, so you really need to believe in it and in the people making it –a good relationship is crucial. Given my personal taste, I have really only worked on auteur-driven arthouse films. They are the kind of projects I like and make me want to get involved. Back when I organized film festivals I enjoyed both the curatorial aspect – the work as a programmer – and the logistics pertaining to managing budget, operations and people, which is pretty similar to producing films in a way. But the festival scene in Thailand is very troubled and when you do a festival here, it is the people who finance it who have the final say on everything. So after a while, I realized that it was never going to be something of my own. At the end of the day, it is always going to be somebody else's festival you work for. And so I became more interested in producing because it allowed me to achieve something that I could truly call my own.
How do you finance an independent Thai movie as a producer?
In every way we can! Mostly through grants I suppose: a lot of Thai independent filmmakers who received recognition overseas rely a lot on supports through international – mostly European – subsidies like the Hubert Bals Fund, World Cinema Fund, CNC Aide aux cinémas du monde etc. We also used to have a local subsidy through the Thai Ministry of Culture's annual film grant, which helped support a lot of Thai films that went on to have successful international festivals career over the past ten years. Unfortunately, the program has been suspended a few years ago. So we have to keep looking for new financing sources. Private equity financing is a big challenge because it is next to impossible for independent films to recoup investments (although that can be true for commercial films too). An overwhelming majority of local films released each year in Thailand lose money and only a small fraction break even or make a profit because the production and distribution costs are always very high while the distribution revenues are getting smaller year after year. It is an extremely risky business. I once had a conversation with a producer from a very big commercial studio, who said that we independent producers hold an enviable position in a way, because we are completely free from the commercial demands of the marketplace and can afford to produce the kind of films we want to do without having to worry that it will not break even and generate enough profit to recoup the financiers' investments because that is never going to happen in the first place! Commercial producers need a commercial success for each of their films, which implies a severe limitation of what they can say or portray in their films because their career and whether they'll be able to produce the next film are at stake. Independent producers do not have that kind of pressure because once a film is finished, we proceed to work on the next one right away no matter if the previous film is a box office success or not. As a result, independent films have much more freedom to tackle a much diverse range of topics too. I had not really thought about it this way before and it is quite an eye-opening statement. It is not our intention of course to only make films for festivals and critical recognition without generating enough commercial income for our financiers because that won't certainly be a viable business model in the long run but at the same time it is important that everyone is realistic and has the same expectation of what will be the place of the film, once it is finished, in the marketplace – what level of commercial results it could generate and what kind of exposure it will get. We always need to make sure we work with partners, who share this same understanding, which is of course never easy and limits our options a lot. But we have to keep looking.
What are your upcoming production projects?
We completed Anocha Suwichakornpong's new film, Come Here, which premiered in Berlin earlier this year. It is her official third film following Mundane History and By The Time It Gets Dark, and it is generating good interests in the festival circuit. We're also very proud to present Jakrawal Nilthamrong's Anatomy of Time at Venice Film Festival. It is our biggest and most ambitious project so far, and also our first multi-territories co-production too – with co-producers from France, The Netherlands and Singapore. Jakrawal's background is in visual arts and his works are usually very experimental and non-narrative with major influence from Buddhism. But for this project it is comparatively more narrative than his other works and we are very excited about it. Another one is Uruphong Raksasad's Worship, which is a mix of documentary and fiction. Uruphong usually likes to explore the boundary between reality and fiction and his works always revolve around the lives and hardships of villagers in Thai countryside with strikingly beautiful cinematography that hides a dark hinge of melancholy. He is also now getting more political – which is quite natural given the way the Thai political situation is heading over the past year, where a lot of people are getting much angrier and outspoken – and the film also reflects this collective sentiment but in a more subtle way. We are also developing a new feature project by a first-time director Patiparn Boontarig. We have been working with him for a very long time as he is the First Assistant Director of Phuttiphong's and Jakrawal's films. The title is Solids by the Seashore and revolves around an intimate relationship between two young women in the south of Thailand – a predominantly Muslim region that is very culturally different from the rest of Thailand, which is long known as a Buddhist country. The south is also famous for tourism with its long stretches of coastline but has been suffering from worrying environmental damage over the years with the sea erosion. The local government has built a series of concrete seawalls to stop the erosion, which permanently damaged the beaches and ended up causing more erosion in different directions. The film also reflects on this issue and speaks about human's ultimate failure at fighting nature and repeatedly trying to control the world they are living in. Lastly, we are working further on Phuttiphong's new film Morrison. It is a more ambitious project and speaks about a subject that is totally different from his previous work – it's about the collective memory of Vietnam war in Thai society and rock & roll music. But it retains Phuttiphong's signature style of filmmaking with the similar atmospheric feel of Manta Ray but in a different direction.
Come Here by Anocha Suwichakornpong
How many independent/arthouse films are produced every year? How many are theatrically released in Thailand (in normal times)?
The independent scene here is active but I'm not fully sure about the exact number. Maybe something like 5-10 new films each year. Most of the independent films are actually released in cinemas here because most of the time the filmmakers self-release their films and directly talk to cinemas. Theatrical remains the principal way for Thai independent films to be seen by the local audience since there is virtually no DVD market anymore and arthouse films are usually not available on streaming. I guess one benefit of Thailand is that local cinemas are very open to release independent films so filmmakers can deal directly with exhibitors without the need of a distributor. But the catch is that the release can end up to be extremely limited: most independent movies would only get released on 2-3 screens – with only 1 screening a day and up to 2 screenings during weekends. So it is very limited. And cinemas can be very quick to remove the titles that do not perform well commercially within the first few days of release. So the films may be shown in cinemas for only 2 weeks maximum or even less than that. At the end of the day, they can be gone very quickly.
There are about 50 films (all genres and budgets) released per year, meaning one new local film released each week.
Since COVID, there has not been a lot of new independent films released in cinemas though.
How many movie theatres are there in Thailand?
There are two rival chains of multiplexes that dominate the market. Together they account for about 1,000 screens – one chain holding 60% and the other 40%. These chains do screen arthouse films too but in a very limited format as described above.
As far as arthouse cinemas are concerned, there are only two of them – all in Bangkok. And one of them actually closed last year due to the impact of COVID-19. So now we only have one 3-screen arthouse cinema left, so it is vastly underserved for a big city like Bangkok. Technically there is also another independent cinema in town although they do not screen DCPs. It also closed down this year due to the pandemic again but it has recently been taken over by a local independent distribution company that will keep the venue running and continue the screening program, which is good news.
That main arthouse cinema is "House Cinema", which is Thailand's first cinema dedicated to arthouse films. It is owned by Sahamongkolfilm, which is the country's biggest distributor. They started to release arthouse films in the late 1990s because at the time they bought a lot of films in bundles from sales agents and needed to have an outlet to release them and eventually opened their own cinema. The other arthouse cinema was the Apex cinema chain, which operated the country's last surviving standalone cinemas – they had three cinemas in the city center (Siam, Lido and Scala). After the emergence of shopping mall multiplexes, Apex switched their programming to focus on independent films, which became very popular. But it is very difficult to operate a standalone cinema in addition to a number of other factors too: the Siam was burned down during the violent crackdown by the military during the red shirt demonstration in 2010. The Lido closed down in 2018 when its landlord decided not to renew the lease and then the final nail in the coffin took place last year when the Scala had to close down because of the economic impact of COVID-19.
There was also the Bangkok Screening Room, which had been in business since 2016. It was also an independent cinema. It did not screen DCP though. It was affected by COVID-19 too and closed down at the end of March 2021. But fortunately, it is taken over by a local distribution company, Documentary Club, which will keep the cinema running.
There is no arthouse cinema in other cities so far. There are certainly growing arthouse audiences in many places but the market remains limited and it is obviously very expensive to operate a cinema. In cities like Chiang Mai, Khon Karen or Hadyai, where there are active university students communities, there are many audiences who are curious about independent films but the films would only screen in non-cinema venues instead such as local art galleries, bookshops or cafes. The screening quality is not high but it's become the only way for these films to be seen there.
Streaming has changed a lot in terms of audience habits. Nowadays – and even before COVID-19 –, cinema attendance has dropped and the audience is actually becoming more accustomed to watching content online rather than on the big screen. It's a development that is especially challenging for us given what we do.
Anatomy of Time by Jakrawal Nilthamrong
Are there many film festivals in Thailand? What kind of audience do they address?
Actually, there is practically none nowadays. Back when I worked at the Bangkok International Film Festival, we had two international film festivals showing arthouse films from Cannes, Venice and Berlin, which attracted a significant local audience (film lovers, students, young professionals, international communities etc.). And there was also a number of smaller thematic festivals through the year – about 1 or 2 every month – so the scene was quite active. But over the years, it has become harder and harder for festival organizers to keep afloat. A lot of festivals, including the one I worked with, had to end at some point. It's an unfortunate reality.
Why aren't there any film festivals and film grants in Thailand anymore?
It is a complicated issue and we can have a very long discussion about this but the bottom line is that art and culture never were a priority for the Thai government. When we had a big film festival organized by the government, the budget was very high and it generated a lot of buzz. But the money came through the tourism authority – not the ministry of culture – and the goal was to promote tourism in the country and was focused on the red carpet gala instead of film culture. In a way, it was good for us to work on the programming side for the festival under this context though because we had absolute freedom in the film selection: the government officials provided the financing and never interfered in the programming at all. That's not because they believed in artistic freedom but just because they didn't care about it – they just needed film screenings to call it a film festival, no matter the films. They just wanted a red carpet gala premiere, that's all! And it didn't matter what film was screened as long as they could bring in any local celebrities, who have nothing to do with the film itself, to walk on the red carpet before the screening. And once the film started they'd all just leave for dinner instead.
What eventually happened with the Bangkok International Film Festival was very dramatic: it ended in the late 2000s following a corruption scandal that resulted in the then head of the Thai tourism authority being arrested and jailed for conspiring with an American company to receive bribes! It tarnished the reputation of the festival forever and the tourism authority stopped doing it altogether.
As far as film grants set up by the Ministry of Culture are concerned, it actually started off in a suspicious way too… Thai government usually prefers not to support arthouse films; they'd rather just support commercial productions. It's just they had no choice but to support independent films since those are the films that are selected in international festivals.
The first edition of the grant was launched when the government had a plan to support a big-budget historical war epic from a commercial studio but they did it through the form of open-call grant instead, which raised a lot of eyebrows in the film community. When the grant application results were announced, it turned out that war epic project received something like 80% of the total grant money, with the 20% left split among 30 other projects or so – mostly independent arthouse projects. So the film community staged a protest against the unfair practice. And surprisingly, it worked – it usually doesn't. The government revised the grant decision and reduced the support for that war epic and reallocated the money for more independent projects instead!
Afterwards, the grant program was continued on a yearly basis and played an important role in supporting a lot of Thai independent films for a decade – including Manta Ray. The amount is not big because the Ministry of Culture doesn't receive a lot of budget from the government but it was helpful for local filmmakers. Later on, the grant program became less regular and eventually stopped at some point. There was no official explanation why it stopped – the Ministry of Culture would only say there is not enough budget for the given year while in fact it's just never been a priority.
How would you define Thai cinema through the years?
Thai cinema has a very long history dating back to the late 1890s when the Lumiere brothers held their early screenings in Paris and has evolved a lot over the decades. But most films are not really known outside the country because it was only from the 1960s onward that Thai film started to get international recognition and were shown in international film festivals. Major influential filmmakers are RD Pestonji, whose 1961 film noir classic Black Silk was the first Thai film to screen at the Berlin International Film Festival, and Cherd Sonsri who made The Scar, a 1977 classic that remains one of the most popular Thai films of all time.
Then there was a long slump during the 1980s and early 1990s before a new golden age arose from the late 1990s onward with a new generation of filmmakers who revolutionized the industry – such as Nonzee Nimibutr (Dang Bireley's and Young Gangsters, Nang Nak) and Pen-ek Ratanaruang (Fun Bar Karaoke, Monrak Transistor) followed by Wisit Sasanatieng, who made Tears of the Black Tiger which premiered at Cannes Un Certain Regard. Thai cinema culminated in the early 2000s with international success both in the commercial sector (with action and horror blockbusters) and in the arthouse scene (with Apichatpong Weerasethakul's films). Apichatpong's success definitely helped spark a new wave and a new generation of independent filmmakers.
The Scar by Cherd Sonsri
How do you see the future of Thai cinema?
Interesting question. I started my film career during the peak of the industry when Thailand had a big breakout with Ong-Bak, which became a major international success and launched the career of Tony Jaa, and also with a string of horror films that sold very well in the markets. The arthouse sector was thriving too with Thai films winning Cannes Jury Prize – and later our first Palme d'Or! But a decade later, it has changed a lot and there have been many ups and downs. On the industry side, I guess it's partly because a lot of people are usually trying to emulate recent successes and flooded the market with the same type of films – following martial arts action blockbuster Ong-Bak's international success, tons of martial arts action films poured in cinemas in the next few years. Same with supernatural horror films like Shutter, which sold well at film markets: in subsequent years, all the booths from Thai sellers at Cannes and AFM were only selling horror films! In the meantime, Arthouse films keep thriving in a way because there is still a steady stream of auteur-driven films being made that premiere at international film festivals every year.
However, filmmaking isn't a very sustainable career as it's very difficult to make a living from it. Many filmmakers had to stop and do something else at some point and then there's a new generation of younger people coming up.
Apichatpong continues to be very successful in his career of course but he has stopped making films in Thailand now because he always had a problem with government censorship. And since the military coup in 2014 the situation got worse and it severely put a limit to what he – and most local filmmakers – can say and portray in films. Many filmmakers had to make films that are critical of the authority in a very abstract way in order to avoid censorship.
At the end of the day, Thai cinema has always strived on its own as there has always been hardly any support – and when there is, it always remains short-lived and irregular. There's no such thing as a sustainable support system nor a recipe to success. A success today doesn't guarantee anything in the long run. It's only about surviving and bouncing back.
How has COVID-19 affected the movie industry in Thailand?
When we had the lockdown last year, all films productions were on hold and were only allowed to resume on the condition of strict health measures. Cinemas were closed for a period of time and attendance has dropped while fewer films were released too. So the distributors and exhibitors took a big hit. With the number of cases surging now, there is considerable economic ramification so it is getting even harder to find financing. The main effect might be the change in the audience behavior: people are now going to cinema less frequently and watch films on streaming platforms instead. For us this is difficult because given the kind of films we produce, we always prefer that people watch films in cinemas. It is a big challenge to overcome.
Interview by Françoise Duru
Anocha Suwichakornpong
Asian cinema
Cherd Sonsri
Jakrawal Nilthamrong
Mai Meksawan
Ong-Bak
Patiparn Boontarig
Pen-ek Ratanaruang
Phuttiphong Aroonpheng
RD Pestonji
Sahamongkolfilm
Uruphong Raksasad
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Phoenix Haus, Pierce Corporation and Rocky Mountain Manufacturing Joins Jump-Start Tax Credit Program.
On December 21, the Economic Development Commission, a division of the Colorado Office of Economic Development and International Trade (OEDIT), approved three more companies to join the Rural Jump-Start Tax Credit program in Mesa County. This makes 11 total local participants in the program since its inception January 2016.
Phoenix Haus: a Detroit transplant that designs open-sourced, carbon-free house templates, moved to Grand Junction in October and is in the process of hiring its 4th local employee.
Pierce Corporation: a manufacturer of irrigation systems that chose to move operations from Idaho and Oregon in large part due to the milder climate in Colorado's Grand Valley.
Rocky Mountain Manufacturing: a local startup manufacturing a new,patented prosthetic device.
The Grand Junction Economic Partnership (GJEP) has worked with all 11 companies on their applications to the program and projects together they will bring over 650 new jobs to Mesa County over the next five years. Each job is required to meet or exceed the average annual salary in the county($40,898 as of press time).
The Jump-Start Tax Credit program allows eligible companies to receive up to eight years of zero state income and sales & use taxes; zero county and municipal property taxes and sales & use taxes; and zero state income taxes for their employees. In exchange, the businesses will add a minimum of five net new jobs to the county in high-paying, highly skilled fields. The companies also agree to form a partnership with Colorado Mesa University, a local institute of higher education, through mentorship, internship opportunities and community involvement.


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Planets Align for the 4th of July
Fireworks over Jodrell Bank, England, on the 2008 summer solstice. Photo credit: Andrew Greenwood.
News Flash: On 4th of July weekend, NASA forecasts lights in the sky. No, not those lights. Look beyond the fireworks. Almost halfway up the western sky, just above the twilight glow of sunset, a trio of worlds is gathering: Saturn, Mars and the crescent Moon.
The show gets going on Friday, July 4th. Red Mars and ringed Saturn converge just to the left of the bright star Regulus. The three lights make a pretty 1st-magnitude line in the heavens: sky map.
But that is just the beginning. On Saturday, July 5th, with weekend fireworks at fever pitch, a lovely crescent Moon joins the show. Saturn, Mars, and the Moon trace an even brighter line than the night before: sky map.
Scan a small telescope along the line. You'll see Saturn's rings, the little red disk of Mars, a grand sweep of lunar mountains and craters, and just maybe—flash!—a manmade incendiary. How often do you see fireworks through a telescope?
This is, however, more than just a flashy gathering of planets—it is also a gathering of spaceships and robots.
Each of the three worlds is orbited or inhabited by probes from Earth. Saturn has the Cassini spacecraft, studying the gas giant's storms, moons and rings. The Moon has two probes in orbit: Kaguya from Japan and Chang'e-1 from China. The pair, operating independently, are mapping the Moon and scanning for resources in advance of future human landings. NASA's Lunar Reconnaissance Orbiter will join them later this year.
Mars has more probes than the others combined. Three active satellites orbit the red planet: Europe's Mars Express and NASA's Mars Odyssey and Mars Reconnaissance Orbiter. The three not only study Mars with their own instruments, but also form a satellite network in support of NASA's Mars rovers Spirit and Opportunity and Mars lander Phoenix.
None of these mechanical specks are visible in a backyard telescope, but they are there, heralds of a growing human presence in the solar system. Tell that to your buddy at the fireworks show!
During the short night of July 5th, the Moon glides past Mars and Saturn so that nightfall on Sunday, July 6th, brings a different arrangement—a scalene triangle. The triad is easy to find in the hours after sunset. Look west and let the Moon be your guide: sky map.
In the nights that follow, the Moon exits stage left, leaving the others behind. Don't stop watching, though. Saturn and Mars are converging for their closest encounter of the next 14 years. After nightfall on Thursday, July 10th, the two planets will be just ¾ of a degree apart, snug enough to fit behind the tip of your pinky finger held at arm's length: sky map.
Now that's spectacular—no fireworks required.
Source: Science@NASA, Dr. Tony Phillips
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Citation: Planets Align for the 4th of July (2008, July 2) retrieved 18 January 2022 from https://phys.org/news/2008-07-planets-align-4th-july.html
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* Temperature control: One of the best ways to make your patio pleasant for more of the day – and more of the year – is to add simple temperature control features. If you live in a place where it gets uncomfortably hot during the summer, install misters around your favorite sitting areas to cool things down. Likewise, if you often find yourself heading inside because it gets too chilly in the spring and fall, a few strategically placed overhead heaters can extend your patio season.
* Shade matters: Awnings and umbrellas also play a huge role in regulating the temperature and comfort of your deck or patio. And now, shading options have become more sophisticated and easier to maintain than ever before. You'll never have to worry about damaged awnings on a windy day with a motorized awning system with wind sensors that work together to automatically retract your awnings when winds become too high. Retractable awning systems can also be accessorized with sun sensors that signal motorized awnings to open as soon as the sun rises, keeping your outdoor space cool from the start of the day. If adding a hint of warmth is needed, simply install an awning heater. All of these accessories can be managed by the same remote that controls your motorized awning. With a system like this, you can leave the days of fiddling with fussy patio umbrellas behind.
* An outdoor kitchen: No patio is complete without a grill, but do you find yourself making frequent trips inside for other prep work? Make outdoor cooking easier by adding a prep island that can be placed near your grill. And if you really want to go all out, look for options that feature outdoor sinks or small refrigerators hidden under the countertop.
* Entertainment connectivity: Well-placed speakers can bring the stereo sound of your indoor system out. By upgrading your system so it can be controlled from your wireless device, you can bring the conveniences of your digital music system outdoors and eliminate the need to get up to turn up the volume or flip to the next song.
* Take look at your lighting: High-powered outdoor lights on sensors might be helpful when you're bringing in the groceries at night, but patio entertaining calls for a little more subtlety when it comes to lighting. Consider zero-energy solar-powered fixtures around the perimeter of your patio for a gentle ambiance to light up your evenings. Motorized systems can also be connected to your lighting, allowing you to adjust brightness as needed from the comfort of your patio lounger.


It was a story about how you can make the site more convenient and simple for users. The book was called by the method of Usability by Steve Krug , and was kindly provided by the publishing house "Peter." But this is not the end of our cooperation, in "Peter" seriously interested in improving my technical skills by offering to read something else. I immediately liked the book for HTML5.Technology, we can say revolutionary to some extent, and which is relevant in our time, and I, to my shame, not very familiar with it. And let not a coder, but the work of constantly having to edit someone else's templates, whether the introduction of personal ideas or fix the mistakes of others.
Thus, the book - Learn HTML5. Library Specialist - 272 page paperback about the new Web standard markup documents HTML5. The publication is a translation of the English-language books (successful abroad) by Lawson, B., Sharpe, R., professional programmers that use HTML5 for a long time and know all its intricacies. Fortunately, here you will find detailed specifications and dry language to hundreds of pages, most of the books take very specific examples of working with HTML5. In them the authors are trying not only to show how to use some elements, but also give a detailed explanation of each. We can say that the "Library Specialist" is ideal for web designers or users of the HTML or XHTML, which would quickly learn as a new HTML5.
It begins with the story of what appeared HTML5. It turns out it might not be as many experts have decided that the future layout of web pages for XML. As a result, there were new specifications XHTML, but "full transition" has not taken place. And at the same time a group of like-minded people, where they were independent developers, representatives of Mozilla, Microsoft, Apple and many other well-known companies have focused on the creation of HTML5.Interestingly, a large enough role in the development process itself played a browser, they could (in part) to dictate terms. In any case, if it was a new language, but these or other browsers would not support it, the benefits of this were not enough. Hopefully HTML5 will be the most unique and versatile tool for all (or at least most) of the Internet browsers.
Actually, reading the book, I felt a great interest and even some inspiration about HTML5. Language practically all the main aspects and technological features of the modern Internet. After all, it is strange that during the video and audio content, geo-location applications, complex web projects, many still use the old HTML4 to XHTML, with some improvements. I remember when I was reading a book at the Institute for HTML4 - it was in terms of how this may be, 200 pages, but in the end of useful information from it could make an order of magnitude smaller. There is, in principle, and there was a big deal - tables, formatting, forms, two or three dozen tags, which are assessed at 90% of Internet pages. HTML5 in this plan went much further and it's great!
The book "Learning HTML5. Specialist Library "consists of 10 chapters, covering certain features of the language HTML5.
The basic structure - that which has undergone a change basic structure of web pages, the structural elements of the header, nav, footer, article. A study was conducted of millions of web sites for the definition of what constitutes a modern web, it is not surprising that many of the classes of the elements recur. Now, instead of "inefficient" DIV you can use the notation nav, which allows the browser to understand exactly where the navigation bar, etc.
Text - text formatting has undergone further changes.
Forms - were the new attributes, and types of input data.
Video and audio - a section on working with video content, players, etc.
Canvas - an element allowing to draw in 2D directly in the browser. In basic form it is certainly not impressive and more like an old Paint, but based on it can do cool and more sophisticated applications.
Data storage - Working with web store and SQL databases.
Independent work - the mobile Internet is now virtually everywhere and all, but not always the quality of communication allows you to work with applications online, stand-alone operation - the solution to all problems.
Drag and drop - an overview of the drag and drop.
Geolocation - as I understand it, is not part of specifications HTML5, but discussed in the book as one of the important and interesting technologies.
Messages background calculations and sockets .
In each chapter you will find the necessary minimum of information in order to understand the essence of certain innovations HTML5. Again, the text reads easily and contains lots of code examples with detailed explanation. The book is ideal for learning from scratch, and as a small allowance, which can be continuously from time to time to seek an explanation - it is unlikely you will soon need all the 10 chapters. Order the book "Learning HTML5.Library specialist. "Online can online publishers, Peter, in the same piece of one of the chapters in order to get acquainted with the contents of the product. For web designers uniquely useful thing, even before the introduction of HTML5 in runet will be more than one year.


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Fitness Sports Performance Workout Plans Nutrition
Endurance Exercise and Your Gut: Strategies to Outrun the Runs and other GI Complaints
Geoff Lecovin | Stay Updated with NASM!
Adverse gastrointestinal (GI) complaints, such as cramps, nausea, vomiting and diarrhea are common problems faced by up to 90% of endurance athletes. Exercise-related gastrointestinal symptoms are inconvenient, can adversely affect performance and in some cases, may have long-term health consequences.
Causes of exercise-induced gastrointestinal complaints are multifactorial and can include:
Decreased GI perfusion
Changes in motility
Increased permeability and decreased nutrient absorption
Mechanical factors
Nutritional factors
(De Oliveira, E. P. et al. 2014)
Also read: A Gut Check on Gut Health.
Decreased Perfusion to the Gut
Hypoperfusion (reduced blood flow) of the gut during exercise can range from mild circulatory changes to ischemia. The consequences of hypoperfusion include injury to the cell lining, decreased gastrointestinal permeability and epithelial cell barrier dysfunction.
Strenuous exercise causes the release of catecholamines from the sympathetic nervous system, inducing splanchnic (visceral) vasoconstriction, while, at the same time, shunting circulation to other tissues, such as the heart, lungs, muscles, and skin, in order to meet the needs of exercise. The shunting of blood from the viscera to the active tissues can lead to gut mucosal ischemia, increased mucosal permeability and in turn cause nausea, vomiting, abdominal pain and diarrhea.
(van Wijck, K., et al. 2012)
Heavy exercise can induce changes in motility throughout the intestinal tract resulting in decreased peristalsis, decreased lower esophageal sphincter tone and increased transient lower sphincter relaxation. These changes have been linked to gastroesophageal reflux during exercise and can adversely affect gastric emptying.
(De Oliveira, E. P. et al. 2014) (Strid, H., et al. 2011)
Absorption and Gut Permeability
High intensity exercise compromises intestinal blood flow and can lead to increased intestinal permeability, gut damage, impaired gut function and decreased nutrient absorption.
Gut mucosal damage can also result in a dysbiotic microbacterial environment with the invasion of pathogenic bacteria and their endotoxins into the blood circulation.
(Øktedalen, O. et al. 1992) (Pals, K. L. et al. 1997)
Mechanical Causes
Mechanical causes of gastrointestinal problems have been correlated to posture. This is commonly observed in runners and cyclists and believed to be the result of the repetitive high-impact mechanics and postures that result in damage to the intestinal lining.
Repetitive gastric perturbations can contribute to gastrointestinal symptoms such as flatulence, diarrhea, and urgency. In addition, poor posture and biomechanics can lead to gastrointestinal symptoms due to increased pressure on the abdomen.
Aerophagia (swallowing air) due to increased respiration while concurrently drinking from water bottles can also result in stomach distress.
(De Oliveira et al. 2009) (De Oliveira, E. P. et al. 2014)
Nutritional Causes
Nutrition strongly influences gastrointestinal distress. Fiber, fat, protein and fructose can all cause gastrointestinal symptoms.
Dehydration and inadequate fluid intake can also exacerbate digestive symptoms.
Gastrointestinal complaints during endurance events are more likely to occur with the ingestion of fiber, fat, protein, and concentrated carbohydrate solutions (beverages with high osmolalities >500 mOsm/L). These foods delay gastric emptying causing a shift of fluids into the intestinal lumen.
Beverages containing multiple transportable carbohydrates (e.g., glucose and fructose) reduce the likelihood of developing gastrointestinal symptoms.
Training the Gut
Conditioning or training the gut can be a strategy to reduce gastrointestinal distress, by helping athletes to get more accustomed to fluid and food ingestion during exercise.
Training the gut can help to improve nutrient absorption and improve tolerance to fluids and foods during exercise, thereby reducing the chances of gastrointestinal distress.
(Murray, R. 2006)
Also read (for nutritional tips on gut health): Probiotics: Can They Help You Workout?
Many athletes use anti-inflammatory medications (NSAIDs) to relieve or prevent pain. The use of NSAIDs has been associated with numerous gastrointestinal complications, including mucosal bleeding, or perforation, increased gastrointestinal permeability, gut barrier dysfunction and gastrointestinal symptoms as those previously mentioned.
(Hirschowitz, B. I. 1996) (Van Wijck, K. et al. 2012)
Heat exposure during exercise can lead to intestinal ischemia due to shunting of the blood from the viscera to the skin and muscles. Intestinal ischemia increases capillary permeability and can lead to mucosal lesions and hypoxia. In addition, the rise in capillary permeability has been attributed to the production of free radicals.
Heat acclimatization and maintaining optimal hydration can help mitigate or prevent some of the negative consequence of hyperthermia.
(Lambert, G. P. 2004)
Blood flow to the gut and liver is reduced during exercise up to 80%. Decreased splanchnic blood flow and oxygen supply adversely affects nutrient absorption, motility and the mucosal integrity of the GI tract, resulting in GI complaints.
GI symptoms occur more often during competition in a warm environment due to the combination of systemic dehydration and lower plasma volume.
(Gisolfi, C. V. 2000) (Ter Steege, R. W. F. 2012)
Practical Guidelines:
Avoid high-fiber foods the day of competition and for several days leading up to the event
Identify and avoid food intolerances and sensitivities (e.g., dairy, gluten, etc.)
Avoid sugar alcohols (e.g. sorbitol, mannitol, xylitol)
Avoid NSAIDs such as Ibuprofen
Avoid high-fructose foods. A fructose and glucose combination may be better tolerated
Avoid dehydration- prevention is the key
Ingest carbohydrates with sufficient water
If you opt for carbohydrate drinks, choose products with lower carbohydrate concentrations in order to prevent very high concentrations and osmolalities in the stomach
Practice new nutrition strategies before the race day to identify what works for you
See the NASM Nutrition Certification for even more on this subject. If you love nutrition, why not commit to another revenue stream and become a coach. Follow this link to learn more.
De Oliveira, E. P., Burini, R. C., & Jeukendrup, A. (2014). Gastrointestinal Complaints During Exercise: Prevalence, Etiology, and Nutritional Recommendations. Sports Medicine (Auckland, N.z.), 44(Suppl 1), 79–85. http://doi.org/10.1007/s40279-014-0153-2
De Oliveira, E. P., & Burini, R. C. (2011). Food-dependent, exercise-induced gastrointestinal distress. Journal of the International Society of Sports Nutrition, 8, 12. http://doi.org/10.1186/1550-2783-8-12
Gisolfi, C. V. (2000). Is the GI system built for exercise?. Physiology, 15(3), 114-119.
Hirschowitz, B. I. (1996). Nonsteroidal anti-inflammatory drugs and the gut. Southern medical journal, 89(3), 259-263.
Lambert, G. P. (2004). Role of gastrointestinal permeability in exertional heatstroke. Exercise and sport sciences reviews, 32(4), 185-190.
Marriott, B. M. (1993). Effects of Exercise and Heat on Gastrointestinal Function.
Institute of Medicine (US) Committee on Military Nutrition Research; Marriott BM, editor. Nutritional Needs in Hot Environments: Applications for Military Personnel in Field Operations. Washington (DC): National Academies Press (US); 1993. Available from: https://www.ncbi.nlm.nih.gov/books/NBK236233/ doi: 10.17226/2094
Murray, R. (2006). Training the gut for competition. Current sports medicine reports, 5(3), 161.
Øktedalen, O., Lunde, O. C., Opstad, P. K., Aabakken, L., & Kvernebo, K. (1992). Changes in the gastrointestinal mucosa after long-distance running. Scandinavian journal of gastroenterology, 27(4), 270-274.
Pals, K. L., Chang, R. T., Ryan, A. J., & Gisolfi, C. V. (1997). Effect of running intensity on intestinal permeability. Journal of Applied Physiology, 82(2), 571-576.
Strid, H., Simrén, M., Störsrud, S., Stotzer, P. O., & Sadik, R. (2011). Effect of heavy exercise on gastrointestinal transit in endurance athletes. Scandinavian journal of gastroenterology, 46(6), 673-677.
Ter Steege, R. W. F., & Kolkman, J. J. (2012). Review article: the pathophysiology and management of gastrointestinal symptoms during physical exercise, and the role of splanchnic blood flow. Alimentary pharmacology & therapeutics, 35(5), 516-528.
van Wijck, K., Lenaerts, K., Van Bijnen, A. A., Boonen, B., Van Loon, L. J., Dejong, C. H., & Buurman, W. A. (2012). Aggravation of exercise-induced intestinal injury by Ibuprofen in athletes. Med Sci Sports Exerc, 44(12), 2257-2262.
van Wijck, K., Lenaerts, K., Grootjans, J., Wijnands, K. A., Poeze, M., van Loon, L. J., ... & Buurman, W. A. (2012). Physiology and pathophysiology of splanchnic hypoperfusion and intestinal injury during exercise: strategies for evaluation and prevention. American Journal of Physiology-Gastrointestinal and Liver Physiology, 303(2), G155-G168.
Geoff Lecovin
Dr. Lecovin is a chiropractor, naturopathic physician and acupuncturist. He graduated from the Los Angeles College of Chiropractic in 1990 with a Bachelor of Science in Biology and Doctor of Chiropractic, earned a Masters in Nutrition from the University of Bridgeport in 1992, and then went on to complete the Doctor of Naturopathic Medicine and Masters in Acupuncture programs at Bastyr University in 1994. Dr. Lecovin completed another Masters in Exercise Science from California University of Pennsylvania in 2015. He holds additional certifications in exercise and nutrition from the National Strength and Conditioning Association (CSCS), International Society of Sports Nutrition (CISSN), Institute of Performance Nutrition (ISSN Diploma and Performance Nutrition Diploma), International Olympic Committee (Sports Nutrition Diploma), Precision Nutrition (Nutrition Coach) and National Academy of Sports Medicine (CPT CES PES Nutrition Coach), where he is also a Master instructor.
What to Eat on Rest Days to Best Support Muscle Growth
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A Nutritious Obsession?: How Orthorexia Changes Our View of Food and Fuel in Fitness


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I was having lunch in a windswept fishing village in the middle of nowhere. Laundry snapped furiously in the breeze while seagulls circled over gaggles of fishermen tending their nets by tatty white houses. Viavélez—population 80—is so insignificant that even the most detailed maps fail to acknowledge it. And two years ago, the chilly Cantabrian Sea nearly washed away Taberna Viavélez Puerto, the restaurant where I was eating a meal that, in L.A. or London, would have critics leaping with excitement. I took a slow slurp of tea-and-chocolate soup, then broke the gossamer band of bitter chocolate encircling a tart tomato gelée and Szechwan pepper ice cream. It was the sharpest dessert I'd tasted all year. And this wasn't even the best restaurant I'd discovered on my trip to Asturias, the misty and remote region east of Galicia in northern Spain.
Having roamed Spain for almost a decade to report on its astounding gastronomic developments, I've stopped being surprised at the edgy inventiveness that flourishes in unlikely places. But Asturias?Spain's answer to the Scottish Highlands, this is where Spanish lovers of agriturismo come to hike in the Picos de Europa, Europe's last great mountain wilderness, go white-water rafting, and explore the cliffs and beaches on the 200-mile coast. The population is puro y duro and so is the food: mountain cheeses like the smelly blue cabrales, dense charcuter'a, never-ending beans. The regional masterpiece is fabada, the Asturian cousin of cassoulet, and the local tipple is sidra, a diabolically acidic apple brew consumed in dim taverns called chigres. Sidra is poured at arm's length into wide-bottomed glasses; you swallow your aerated inch, splash the rest onto the sawdust-covered floor, and start over. The average Asturian male consumes about 10 liters of the stuff a day. Napa Valley this isn't.
And yet. Madrid restaurant critics had whispered to me about a quartet of Asturian chefs who were cooking up a revolución conceptual among the pig farms, cornfields, and shepherds. I packed my bags.
First on my list was the village of Arriondas, at the foot of the Picos de Europa. Why this drowsy pueblo is home to not one, but two, Michelin-starred avant-garde restaurants is anyone's guess. Queasy after the previous night's intake of sidra, I walked into El Corral del Indianu and found it unexpectedly sleek—thick stone walls painted an electric Bermuda blue, white tablecloths set with Modernist tableware. José Antonio Campo Viejo, the chef-owner, has raven hair and an impenetrable mountain accent. I tasted his soup. One just-cooked clam floated in an iridescent purée of peas, releasing sweet-briny perfumes of the sea into the concentrated sweetness of early summer. It was heartbreakingly lovely. By the third course, I felt a rush of adrenaline: I've discovered a genius!
Whereas Ferran Adrìa, the guru whose Catalonian restaurant kicked off Spain's culinary revolution, operates in an abstract realm akin to theoretical physics, Campo Viejo constantly references the local vernacular: exploring its nuances of smokiness, rendering unctuous sausage-and-bean combos into crisp counterpoints, blurring boundaries between sea and woods, sweet and savory, high and low, liquid and solid.
Dusted in coarse cornmeal—an allusion to chicken feed—a little hunk of foie gras masqueraded as blood sausage in a pool of musky, hyper-reduced garbanzo broth; next to it was a chicken "bonbon" with a molten foie filling. Pote asturiano, a wintry extravaganza of cabbage and pig parts that normally cries out for Mylanta, was deconstructed into a Fabergé-pretty assemblage of porcine ravioli and quivery sausage mousses suspended in a diaphanous young cabbage purée.
This is food where each detail could be a star dish in itself—like the nuggets of lamb sweetbreads glazed with Pedro Jiménez (a raisiny sherry) accessorizing bream from the river Sella, in a play of sweet flesh against crisp skin. The pig in two textures was a study in altered states, the flesh "melted" in the oven to a smooth creaminess, the skin brittle—a savory crème brûlée from the fourth dimension. For dessert, Campo Viejo unveiled his latest experiment: a zany marriage of sweet peas and foie gras.
Save for a few master classes with Adrìa, Campo Viejo is entirely self-taught.
Before my second dinner in town, at Casa Marcial, I drove up to see the nearby mountain lakes. The serpentine road threaded beside plunging ravines and lookouts onto Kodak-moment alpine panoramas. El Cas'n, my lunch grail, turned out to be an idyllic shed with a view of glacial Lake Enol cupped by stony, primordial hills. Cowbells provided a Steve Reichean sound track to my meal of wild boar chorizo and baby goat, roasted until the meat fell apart into succulent shreds. When a monster cow approached and fixed its gaze on my wedge of pungent cabrales, I fled.
Casa Marcial, run by Campo Viejo's drinking buddy Nacho Manzano, is in an old farmhouse on a hill overlooking rolling foothills that are swathed in an eye-popping green. More green awaited me inside: an iced cucumber soup poured around a green pepper sorbet swirled with green olive oil. I went on to a silken-fleshed river salmon in a pool of melon gazpacho, and a backyard chicken braised a deep mahogany brown, its gizzards folded into one big raviolo. In retrospect, this was a fine meal. But after the bravura at Corral, Manzano's style felt a bit green.
My next restaurant, El Cabroncín, took me from the Picos to a weird suburb of Oviedo (the region's industrial capital, with a medieval core) that made the Jersey Turnpike look almost lyrical. My taxi driver—I would never have found the place if I'd been driving—circled around a car dealership and a cosmetics factory, then finally located the proper dirt road and deposited me in a suddenly pastoral patch by a stone house and an hórreo, one of those raised wooden granaries that are to Asturias what covered bridges are to Vermont. Before long, I was sipping Quercus—a new bubbly from boutique cava-producer Agust' Torelló—and admiring a tableau of clams, berberechos (Cantabrian mini-clams), and percebes (Galician goose barnacles) arranged on a delicate fennel purée.
A fragrant sauté of wild mushrooms came next, crowned by a Day-Glo—orange egg yolk in a crunchy serrano-ham basket. It was exactly the kind of smart neo-rustic dish I wanted to eat here, beneath old wooden beams supporting a pitched farmhouse roof. Gilding the lily was a glass of elegant '96 Roda I rioja reserva recommended by Pepe Vega, Asturias's star sommelier. Pedro Martino, the practically teenage chef, makes a mean salmon in sidra, but his true calling is meat—whether it's an ibérico pig, as spoon-tender as good Memphis barbecue, or Castilian baby lamb shoulder, cooked to the same jammy softness and paired with tiny rare lamb chops. I adored the wooden box holding shot glasses of iced herbal infusions; the funky dessert wine from the Canary Islands; the cool sophistication of apple cannoli in a bittersweet licorice sauce. I also liked the ridiculously low bill.
I didn't particularly like the idea of driving 100 miles to the Galician border for lunch. On second thought, a slow trip to nowhere would be an excuse to explore Asturias's little-visited northwestern coast, gorge on fresh-off-the-boat seafood, and sleep at a casona de indianos, one of the extravagant turn-of-the-century mansions that appear like fantastic white elephants all over the region. Built by indianos—Asturians who returned home with fortunes made in Latin America—some are being converted into inns.
I found such a casona, Villa La Argentina, in the old whaling town of Luarca, and ate pristine shellfish at the restaurant Sport. The following day I went on to Viavélez for lunch at Taberna Viavélez Puerto (where our story began). I was the only guest. Paco Ron, the chef-owner, greeted me on a terrace tented in billowy fabric. Ron has lived and cooked in Madrid, Barcelona, and San Sebastián. He appeared disheveled and disillusioned. His food was quietly dazzling.
First came a martini glass filled with frozen goat cheese foam that melted into the warm ethereal sweetness of beet mousse underneath. An egg yolk stuffed with smoky salt cod peeped from a bowl of asparagus soup. A cardamom-scented sauce of sweet corn and a reduction of blackberries flirted with the dark, chocolate notes of squab. Once a year Ron prepares a banquet for the town's fishermen; they reward him year-round with their prize catch, such as the hake that he served with a silky potato emulsion and peppery young turnip greens sprinkled with sea salt. The dish was the essence of purity and refinement.
That night, in the Art Nouveau guest room of Palacete Peñalba (designed by a disciple of Gaud'), I tossed and turned in my bed, dissecting Ron's lunch. How can one actually stuff a poached egg yolk?Or produce ravioli out of cabbage—each the size of a bean!—that burst with a complex bacony reduction?And above all, how can anyone make a living cooking virtuoso Michelin-starred food in a windswept fishing village in the middle of nowhere?
Base yourself at the Parador de Cangas de On's (Villanueva; 34-98/584-9402, fax 34-98/584-9520; doubles from $93). Taste sidra, chorizos, and cheeses at the bucolic El Bodegón del Dobra (Carretera Cangas de On's, Punto Pontón, Km 150; 34-98/584-9195). Have lunch at El Casín (Lake Enol; 34-98/592-2927; $25 for two) and dinner at El Corral del Indianu (14 Avda. de Europa, Arriondas; 34-98/584-1072; tasting menu for two $72) and Casa Marcial (La Salgar; 34-98/584-0991; tasting menu for two $69).
Stay at the lavish Hotel de la Reconquista (Calle Gil de Jaz; 34-98/524-1100, fax 34-98/526-6380; doubles from $168). Dine at El Cabroncín (Carretera Paredes N1, Lugones; 34-98/526-6380; tasting menu for two $42). Consider visiting Gijón, the world's greatest repository of faded Art Nouveau architecture.
Drive to Luarca for dinner at Sport (8 Calle Rivero; 34-98/564-1078; $45 for two) and overnight at Villa La Argentina (Villar de Luarca; 34-98/564-0102, fax 34-98/564-0973; doubles from $45). Drive west for lunch at Taberna Viavélez Puerto (Viavélez; 34-98/547-8095; tasting menu for two $69), and end the day with seafood paella at Marisquer'a Peñalba (Figueras del Mar; 34-98/563-6166; dinner for two $40). Sleep at Palacete Peñalba (Figueras del Mar; 34-98/563-6125, fax 34-98/563-6247; doubles from $56).


Police are appealing for witnesses after a man was punched following a road rage incident on the M1.
The incident occurred at around 1.30pm on Saturday 7 November when two vehicles were involved in road rage leaving junction 9 and heading towards Dunstable.
The offender driving a dark coloured car and described as white, aged around 35 and of average build tailgated the victim and cornered his vehicle. The victim wound down his window to speak to the offender, who subsequently punched him in the face.
Anyone with any information, or who saw the altercation between a blue BMW and dark coloured car, is asked to contact police on 101.


While you might think being busy must mean you are being productive, you would be wrong. There is difference between being busy and being productive.
The greatest difference between busy work and productive work, is passion. If you have passion and drive for your job then you will find that you are productive. On the other hand, busy work will often feel like tasks that you have to do, not want to do. Often busy work is what keeps you from being productive. We have all been there, checking emails every ten minutes, getting ready to start working, filing and editing. Such behaviors is also known as procrastinating.
To avoid procrastination it helpful to reevaluate your time spent at work. Identity the areas of your time that need improvement, and then take practical steps to shift from being a busy person to a productive one.
Time management is an important quality for productive people. Take the steps to identify what is distracting you. Focus on results and not multitasking. In the case of insurance sales, focus on the sales and conversion numbers. Focus on obtaining leads and schedule your goals. If your goal is to gain 10 new clients in a week, implement a plan.
If you love what you do and take pride in growing your agency, changing your work habits should come with ease.


If you are looking for a lot of light, make sure the bulb is facing out and not against the wall. In fact, deciding where to use the lights could be the hardest part of your outdoor lighting business. So as soon as you install the lights in the lawns or gardens, you are free from any worries and continue to receive the lights with minimal maintenance for years. Despite the fact that the lights in the chain are quite flexible, they can not bend at a 90-degree angle. Placing outdoor lights for parties such as rope lights or flower-shaped string lights along the surfaces of the table can create excellent decorative adhesion.
The decorations are available in different types and varieties and you can choose the ones you prefer. You can also use other beautiful or decorations for honeymooners. In addition, for the garden, Christmas decorations become more special with this type of products.
There is a wide selection of string lights readily available, ranging from cool garlands to pretty floral lights. The lights for the outside arches became a way of my first reconstruction of the patio. The simple white lights for the ropes are a good starting point.
Lights for gazebos come in various types of design. The lights also give a shine to the balcony at night. Thus, they play an important role in Hanukkah furniture. Measure the distance you want to cover to make sure you have sufficient lights there.


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Home Nigeria THISDAY, LASUTH, 104 Others Nominated for Healthcare Excellence Award
THISDAY, LASUTH, 104 Others Nominated for Healthcare Excellence Award
By Martins Ifijeh
THISDAY Newspapers, the Lagos State University Teaching Hospital, LASUTH, Sokoto State Ultra Modern Trauma Centre and 103 other institutions and individuals have been nominated for the 2017 Nigeria Healthcare Excellence Award (NHEA).
The winners, who the organisers said have contributed to the country's health sector in various capacities between June 2016 to May 2017, would be announced at a grand ballroom ceremony on June 23, 2017 at Eko Hotel and Suites, Victoria Island, Lagos.
According to the jury, some of those nominated for different categories are Reddington Hospital Group, The Bridge Clinic, Nigerian Turkish Nizamiye Hospital Abuja, Access Bank, Delta State Contributory Health Insurance Scheme, Diamond Bank, Kaduna State Primary Healthcare Under One Roof, AVON Healthcare Limited, AXA Mansard Health Limited, St. Nicholas Hospital, and Amino Kano Teaching Hospital.
Others are University College Hospital, Ibadan, JNC International Ltd, Medplus pharmacy, Fidson Healthcare Plc, Greenlife Pharmaceuticals, Ondo State Trauma and Surgical Centre, Pharmanews, Health Matters on TVC, Sterling Bank, Lagoon Hospital, Pathcare Laboratories, National Eye Centre Kaduna, Smile 360 Dentals, Fidelity Bank, University of Nigeria Teaching Hospital, Nsukka, Prof. Ezekiel Olasunkanmi of Babcock University, among others.
According to the Chairman, Jury Board, Dr. Anthony Omolola, several thousands of nominations were made by Nigerians across the country through E-voting, SMS voting, survey monkey, among others, adding that the Jury Board painstakingly made the selections for the final nominees based on set criteria.
 "In some categories, we had to visit these nominated institutions, made our own research before the final nominees were finally selected, adding that they also worked in partnership with other external accreditors like First and Sullivan in Asia and Anadach Group, USA, who monitored the whole process. The final winners will be announced at the grand ceremony later in the month," he added.
While stating that the award is aimed at recognising and celebrating the achievements of personalities and organisations who have contributed immensely to the growth and development of the Nigerian health sector in the year under review, he said the winners will be announced in a grand ceremony that will bring all major healthcare players in the country under one roof.
 The award, dubbed the 'Oscar' of the Nigerian healthcare, focuses on outstanding performances, the creation of new business models, recognising and embracing new trends in the health sector, the role of technology, and the capacity of organisations and individuals to influence and set new performance standards in Nigeria and beyond.
THISDAY won the print edition of the Healthcare Media Excellence Award for 2016 after being nominated along side The Punch, Vanguard Newspapers and BusinessDay Newspapers.
 The organisers, last year said THISDAY won the print media category for its zeal in advocating and promoting the cause of excellence in the field of healthcare in Nigeria.
Healthcare Excellence Award
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Jacqueline Ronson
1.21.2016 10:53 PM
6 Scientists Who Made Great Discoveries Experimenting on Themselves
Ethics dictates that a scientist should never subject another person to a treatment he would not undergo himself. These researchers took that advice literally.
David K / Flickr
For centuries, bold and curious scientists have used themselves as guinea pigs in the name of discovery. It was a common practice in the 19th and 20th centuries, especially in the fields of psychology and medicine, as doctors often considered themselves the most reliable witnesses to the effects of a certain drug or other regimen. These days, the practice has fallen out of favor, since a sample size of one falls far short of the standards of a double-blind trial.
But even today, researchers continue to experiment on themselves, sometimes because no ethics board would approve testing on another human, sometimes out of sheer curiosity, and sometimes out of desperation.
Here are six great moments in the history of science conducted on one's self.
The first big trip.
The First Acid Trip
Chemist Albert Hofmann first synthesized lysergic acid diethylamide (LSD), but had no idea of its halluncinogenic powers until 1943, when he accidentally injested a small amount. Realizing his discovery, he did what any good scientist would do and began experimenting on himself. His first purposeful acid trip was on April 19, 1943, when he famously rode his bicycle home while under the influence of the drug.
"Now, little by little I could begin to enjoy the unprecedented colors and plays of shapes that persisted behind my closed eyes," he wrote of the experience. "Kaleidoscopic, fantastic images surged in on me, alternating, variegated, opening and then closing themselves in circles and spirals, exploding in colored fountains, rearranging and hybridizing themselves in constant flux. It was particularly remarkable how every acoustic perception, such as the sound of a door handle or a passing automobile, became transformed into optical perceptions. Every sound generated a vividly changing image, with its own consistent form and color."
The Alcoholism Miracle Pill
Olivier Ameisen was a brilliant cardiologist until alcoholism took over his life. None of the available treatments were enough to keep him away from the bottle. It was out of desperation that he took an unconventional tack — experimenting on himself with baclofen, a muscle relaxant that had shown promising results in tests on addicted lab animals. Ameisen upped his dose gradually until he reached a level where his alcohol cravings simply evaporated. He tells the tale in his 2009 book, Heal Thyself.
The face of testicular fortitude.
Ball-Crushingly Strong Anesthesia
In 1898 German surgeon August Bier figured out that a dose of cocaine injected into the spinal fluid could serve as an effective anesthesia. In order to prove it out, he had an assistant, Augustus Hildebrandt, attempt to inject him with the drug. But Hildebrandt messed up, and Bier ended up leaking spinal fluid out of a hole is his neck. Rather than abandon the experiment, the two men switched places and Bier injected Hildebrandt with the cocaine. He proceeded to stab, hammer, and burn his assistant, pulling pubic hair and crushing his testicles. The pair subsequently went out for a boozy dinner, perhaps in an effort to forget that day's traumatic events.
Effortless Weight Loss
Neuroscientist Michael Graziano recently reported on a weight-loss experiment he performed on himself. The goal was to lose weight without effort. The theory is that, when we deprive ourselves of food through dieting, we elevate our hunger mood, which causes us to eventually give into cravings and eat more than we might have otherwise. Graziano proceeded by avoiding foods that crank up our hunger mood (carbs), welcoming foods that make us feel satiated (fats), and allowing himself to eat until he was full at each meal. The result? Fifty pounds shed over eight months, all without engaging in a battle of willpower.
The Parasitic Allergy Cure
What would it take for you to willingly put parasitic hookworms against your skin, so that they can burrow through your skin, live in your intestines, and feed off your blood? Immunologist-biologist David Pritchard did just that in 2004, all in the name of science. He had a hypothesis that hookworm infections reduce allergy and asthma symptoms, and needed to test on human subjects. He agreed to be the guinea pig, in order to appease his ethics committee. The experiment later allowed for wider testing on humans, who reported miraculous relief of allergy symptoms.
Self surgery is not for the faint of abdomen.
The Coke-Fueled Operation
On 15 February 1921, American surgeon Evan O'Neill Kane was lying on an operating table waiting to have his appendix removed. Suddenly, he had an idea for an experiment: Could he complete the operation on himself? He ordered the doctors and nurses to back off, injected the wall of his abdomen with cocaine and adrenaline, cut himself open and removed the appendix. It took half an hour, and the only mishap was when his intestines popped out from inside him when he leaned too far forward. He recovered quickly.
Scientists discover the reason why anxious people smoke marijuana
Yesterday's lunch could become tomorrow's hydrogen fuel, scientists say
By Thor Benson
Scientists find a new cause for an insidious brain virus
By Marnie Willman


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Military Photo: Raptors Over Mt. Fuji
Four F-22 Raptors from the 199th Fighter Squadron fly alongside a U.S. Air Force KC-135 Stratotanker from the 909th Air Refueling Squadron during fifth-generation fighter training near Mount Fuji, Japan, April 1, 2021. (U.S. Air Force photo by Senior Airman Rebeckah Medeiros)
PHOTO: Valkyrie
PHOTO: French Air Force Rafale


Busted out the pink for this one, which is to support my Aunt (and those with breast cancer). Check out my "50 For the Fight" tab.
What a freezing start. Plenty of runners starting off in trash bags. At the startn line my goal was to run easy and enjoy. I figured anything under 4 hrs would be acceptable, shooting for closer to 3:40.
I stuck with the 3hr 40min pacer for the first 7 miles. Todd and I decided we both needed to hit the potty. We increased to a 7 min/mile pace so we could do the deed and catch the pacer in stride. After the quick stop I popped out right in time to catch the pacer. However, Todd was not around. I thought he might have just taken longer or was grabbing some goodies at the aid station. I figured he would catch up. After a few miles I slowed down because I had not seen Todd. I slowed and then caught back up to the pacer. At mile 15 I still had not seen Todd and so I stopped and tried to look back on the trail for him. I then went slow for a couple miles thinking he would make his way up, but he did not come up from behind. So, I picked up the pace for the remainder.
I got to the last .3 of the race and my daughter ran in with me!That was the best part of the day! I saw Todd at the finish and come to find out… he didn't get a restroom back at mile 8 so he just took off! He finished ahead!!! He ran strong! I finished in 3 hrs. 58 min.
The entire race was well supported. They had aid stations every 2 miles. However, the aid stations only had liquid and gels… kind of a bummer. Trail was nice as it was groomed dirt. The shirt design was not too admirable… they need a new design!
Overall, I am sticking to the ultras. The marathon distance was not very engaging. I enjoy the climbs and crawls of an ultra. I look forward to difficult terrain and the near falls (or complete falls). I enjoy the mental exhaustion of an ultra. The marathon distance seems like a sprint race and not much time in solitude. Just some thoughts!


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gio, lug 09-2015 From July 9th to 16th the enchanting island of Ortigia will host the International Film Festival. Three cathegories: short movies, full lenght movies and documentaries.
ven, mag 15-2015 From May 15th to 17th 2015 the traditional Flower Festival of Noto, with events, art, music and good food.


The program is broken into two categories, Gold and Platinum, and further segmented by company size (large, medium, small). Employers interested in being recognized in 2019 can apply for this program by completing an application, paying a nominal application fee, and meeting the necessary criteria. We encourage you to learn more about the program and consider applying as applications for the 2019 program are now being accepted as of today, January 31! Visit HIREvets.gov to get started and show how you are supporting our nation's heroes.


Explanation: It's easy to get lost following the intricate filaments in this detailed mosaic image of faint supernova remnant Simeis 147. Also cataloged as Sh2-240 and seen towards the constellation Taurus, it covers nearly 3 degrees (6 full moons) on the sky. That corresponds to a width of 150 light-years at the stellar debris cloud's estimated distance of 3,000 light-years. The remarkable composite includes image data taken through narrow-band filters to highlight emission from hydrogen and oxygen atoms tracing regions of shocked, glowing gas. This supernova remnant has an estimated age of about 40,000 years - meaning light from the massive stellar explosion first reached Earth 40,000 years ago. But this expanding remnant is not the only aftermath. The cosmic catastrophe also left behind a spinning neutron star or pulsar, all that remains of the original star's core.


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SwAF Gripens Participate in NATO Exercise Ramstein Alloy
Swedish Air Force Gripen fighters recently joined several NATO Air Forces to participate in Ramstein Alloy, an air policing exercise conducted over the Baltic Sea.
The exercise, which took place between 20th and 21st of this month, had the participation of Italy, Germany, Poland, Estonia, Latvia and Lithuania. The simulated exercises covered several real-mission like scenarios e.g. slow interception in the event of loss of communication, air policing drills and interoperability building missions. The scheduled exercises included Dissimilar Aerial combat training (DACT), command and control procedures, air to air combat training, as well as a search and rescue exercise.
The two-day exercise is conducted three times every year in various Baltic states. All exercises are planned by NATO's Allied Air Command, the same entity that oversees all Air Policing over European NATO nations.
The Baltic States joined NATO in 2004, and ever since, the Baltic Air Policing mission started because Estonia, Latvia, and Lithuania do not have their own Air Forces.
Exercise Ramstein Alloy gives the participating nations an opportunity to practice routine procedures and enhance interoperability among NATO and partner air forces. More than 16 fighter aircraft participated this time, including the Swedish Gripen fighters and the Finnish F/A-18 Hornet.
Read the full story here.
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Military Type Certificate for Gripen E obtained
In November, Saab was granted a Military Restricted Type Certificate (MRTC) for Gripen E, which attests that the aircraft has met all the airworthiness and flight safety requirements set by the Swedish and Brazilian military authorities, represented by the Swedish Military Aviation Safety Inspectorate (FLYGI) and the Industrial Fostering and Coordination Institute (IFI) in Brazil. T
The Czech Gripens have returned from NATO mission after a six month deployment in Lithuania
The Gripen fighters of the Czech Air Force, which have been operating in Lithuania for six months, landed on Friday 30th September, at their home air base in Čáslav, Czech Republic. From 1st April to the end of September, the airspace of Lithuania, Latvia and Estonia was protected by the Czech Air Force as part of NATO's Integrated Air and Missile Defense System.
Interview part two: Flying all Gripen variants, from A to E
1 min +
In this second episode of the interview, C.W Lemoine and Saab test and demo pilot André covers the transition from flying Gripen A to Gripen E. But also some other interesting stuff like how it is to be a solo demo pilot.
Interview part one: From flying Draken to Gripen
In this first interview by C.W Lemoine, Saab Gripen test and demo pilot André talks about flying operational the legendary Draken and mighty Viggen fighter before he moves up to Gripen. Enjoy the interview.
True Collaboration web series : The Flight Test Campaign
The flight test campaign for Gripen E is essential to obtain results that contribute to the development of the Brazilian Gripen. In this episode of the True Collaboration web series, you will learn more about the roles of pilots from Saab, FAB and Embraer, and how they work together to execute this activity.
Czech Gripens flying QRA to check on a civilian airliner
Czech Air Force Gripens conducted a QRA (Quick Reaction Alert) a night in January due to a suspected explosive aboard an airliner overflying the territory of the Czech Republic, reports iDNES.cz. The suspicion ultimately proved to be a false alarm.
True Collaboration web series: The Gripen Flight Test Centre
Check out how the integration between the teams from Sweden and Brazil is carried out and understand the great importance of the GFTC for the establishment of procedures and the testing of new features of the Brazilian Air Force fighter.
Czech Gripens to Guard Baltic Airpace This Year
Czech Air Force will send their Gripen fighters for a six-month Baltic Air Policing mission starting April this year to protect the airspace of in Lithuania.
Working with Gripen E - A lifestyle choice
A lot has been talked about the capabilities of the new Gripen E fighter - its split avionics, advanced electronic warfare system, improved range, world class weapon system, reliable countermeasures system, modern human machine collaboration, cost-efficiency and so on. What has been less discussed is the people behind the fighter of tomorrow.
How Gripen E's upgradability is making aircraft 'generations' obsolete
In the video here, Daniela, Saab Avionics Engineer, explains why Gripen's upgradability is truly a game-changer. As she points out, with Gripen E, Saab decided to embrace the speed of technological change. The new avionics system in Gripen E is allowing us to update its data or software in hours.


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American labor law played with the concept of sectoral negotiations in the 30s, before the National Labor Relations Act of 1935 made corporate negotiation the norm. But the idea, which has long been dormant, returns. Below is a timeline of the events that led to the preliminary agreement that still needs to be approved by workers: As Kate Andrias, a university of Michigan law professor, wrote in the Yale Law Journal, sectoral bargaining is "a more inclusive and political model of labor relations, with parallels with regimes in Europe and elsewhere. And it has the potential to save and guarantee one of the most fundamental commitments of labour law: to contribute to greater economic and political equality in society. This is the recent victory in a wave of class actions taking place across America. Workers will not let greed dictate our lives, and we will not tolerate a system that has been manipulated against us. Everyone`s bosses should take note of this – we will not take it anymore. At the time, automakers most often limited their black employees to the dirtiest, lowest-paying jobs, with little hope of ascension. And employers were not interested in opening contract negotiations to deal with civil rights issues. This became most evident in the late 1960s, when Reuther, a life-long supporter of black civil rights, was frustrated that negotiations with automakers had failed to generate profits for black UAW members. Overall, the deal is positive for the union, Wayne State`s Masters said. Because of their greater scope, sectoral negotiations would create a better forum to achieve things such as equal pay for women and more opportunities for people of color. Sectoral negotiations should also lead to greater opportunities for workforce training. Employers no longer have to worry that other companies would debauch their employees as soon as they train them.
The UAW and GM announce that they have reached a preliminary agreement that still needs to be approved by members before the official end of the strike. It is a branch negotiation. In Europe, countries such as Germany and France have long been conducting extensive sectoral negotiations. This type of negotiation leads to much broader protection of workers against dismissal and other benefits. Some of today`s Democratic presidential candidates — Bernie Sanders, Pete Buttigieg, Beto O`Rourke — supported the idea of sectoral negotiations. They like this concept because sectoral negotiations would give workers a much better chance of making a profit. And unions would have a much stronger ability to achieve goals. Frustrated by the limitations of collective bargaining, Reuther complained that collective bargaining, once so promising, focused only on another nickel in the wage shell. The UAW sued GM for its restructuring plan and said it violated a 2015 collective agreement. UAW President Gary Jones said at the Detroit union convention that job security and stopping the relocation of U.S.
jobs to Mexico was the top priority of contract negotiations. But even when the law created a process in which workers could negotiate their unions, the law also limited the scope of conflict. Instead of broad domestic economic issues, U.S. labor law has limited contract negotiations to strict problems in the manufacture of a given business — compensation, hours, social benefits, etc. . . .
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Hall of Fame - Neil Finn
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Neil Finn is a songwriter. He was born in Te Awamutu on May 27, 1958, the youngest child to accountant, Richard Finn, and Irish immigrant, Mary Finn (nee Mullane). Neil's happy childhood included parties in the family home, complete with wine and song, catholic priests in attendance, and an obligatory performance from Neil and older brother Tim. Mother, Mary, was known for her enthusiastic songs on the piano...all in the same key, while their father, Richard, though a music enthusiast, was tone deaf. The boys both took music lessons, beginning with piano, and their mother taught them to sing in harmony.
Though Tim was the more reluctant performer of the two, in 1972 he went on to form one of the most successful bands to ever originate from New Zealand, Split Enz. Neil was too young to join the band initially, as he was still in school, but sometimes opened for Split Enz as a solo artist in the band's early years. When Neil left school, because they would not let him major in music, he took a job as a hospital orderly and formed a band called After Hours.
One day, Neil's unexpectedly got a call from older brother Tim, asking him to join Split Enz as lead guitarist. Though Neil only was proficient on acoustic guitar, not electric, he agreed to join...eventually. As the story goes, Tim was surprised when Neil said he would have to think about it....after all, he had his current band to consider. Split Enz was taking a big leap of faith, trusting in his talent and ability to learn, and after a period of keeping his guitar playing low in the mix, and band members refusing to play on the same side of the stage as him (he was that bad) eventually Neil grew into his role. And then some. Not only is Neil a skilled and respected guitarist today, but some of Split Enz's biggest hits are Neil's originals, including "Message to My Girl" and "I Got You". Not long prior to joining Split Enz in 1977, Neil was introduced to Sharon Johnson, who he married in 1982, and with whom he had two children, Liam (1983) and Elroy (1989).
After Split Enz broke up in 1984, Neil and Australian Enz drummer, Paul Hester, formed a band called The Mullanes with Australians Nick Seymour and Craig Hooper. Craig soon left the band, and the name changed to Crowded House, reflecting the cramped quarters in which they lived while in Los Angeles, recording their self-titled debut album,. Crowded House managed to break the US market with #2 hit song, "Don't Dream It's Over", something Split Enz had been unable to accomplish. However, in the US, their success was short lived, and they were known as one-hit-wonders, while in the rest of the world, they were just getting started. Crowded House went on to record 3 more albums, "Temple of Low Men", "Woodface" and "Together Alone", which, despite increasing success in Europe, Australia and elsewhere, had little success in North America. Elsewhere in the world, the band continued to have success, their fourth album receiving high critical acclaim. Also, multi-instrumentalist, Mark Hart, who had toured with the band for years, joined as an official member for their fourth album. During the tour for "Together Alone", Paul Hester, after years of suffering with bouts of depression, reached a breaking point and felt the need to leave the band. He was replaced by drummer, Peter Jones for the remainder of the tour, but the band broke up shortly after. Their final concert, entitled Farewell to the World, took place on the steps of the Sydney Opera House in 1996, before an audience of an estimated 150 thousand people.
Neil went on to release two solo albums, "Try Whistling" This and "One Nil" (known in some parts of the world as "One All", which has an alternate track listing). Both albums, fan favorites, received higher critical acclaim than commercial success. The same is true for the two Finn Brothers albums with brother Tim, "Finn" and "Everyone is Here". Neil's other projects include a soundtrack for New Zealand movie, Rain, and various collaborations. Of particular note is the 7 World Collide projects, which featured Neil and friends in a super band of sorts, and including Johnny Marr, Eddie Vedder, Phil Selway, Ed O'Brien, Lisa Germano, Sebastian Steinburg and others. The second project did not include Eddie Veddier, but saw the addition of Wilco, including Jeff Tweedy, KT Tunstall, and New Zealanders Don McGlashan and Bic Runga. Both projects saw the involvement of Neil's brother Tim and Son, Liam, with the second involving, as well, Neil's younger son, Elroy, and wife, Sharon. In fact, the second project was a family affair all around with other band members' families getting involved.
After the death of drummer Paul Hester in 2004, Neil felt drawn to rekindle his musical and personal relationships with Nick Seymour and Mark Hart, and the result was a new Crowded House album, "Time on Earth", with Beck drummer, Matt Sherrod. The album is laden with echos of the grief and loss regarding the death of their former band-mate. The second album from reformed Crowded House, "Intriguer", showed a new band, carving a new identity. Both albums included world tours.
After the second reformed Crowded house tour, Neil and Sharon Finn found themselves dealing with the new experience of "empty nest", and began having late night jams in their pyjamas. Sharon was a novice on bass guitar, and, so, Neil, so as not to place himself as the "superior" musician in the duo, chose an instrument where he was not proficient, the drums. The recording that came out of these jams evolved, with the the help of friend, Sean Donnelly, into tracks for an album under the name Pajama Club, the spelling reflecting the origin of the band: Pa and Ma having a jam...in their pyjamas! The original name was to be Pajama Party, but the name was already taken. The band did little touring, with drummer Alana Skyring, before its current hiatus, with no word on whether it may reemerge.
Neil's third solo album, due out mid to late 2013, which involves his wife and both sons - a true family affair. Also, Neil has co-written and performed the song for the closing credits for the movie "The Hobbit: An Unexpected Journey", released in December, 2012.
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