This Thesis studies various aspects of the selection of adhesives for aircraft repairs. It was undertaken because of the need to repair a number of different aircraft types with a limited range of adhesives to minimise stockholdings and wastage of materials which have shelf-life limitations. The aspects studied were tensile strength, tensile modulus, elongation at failure, fracture energy, compression strength, compression modulus, water uptake, Tg dry and we t and diffusion coefficient. A computer programme written at Leicester Polytechnic was adapted to suit an IBM PC and this allowed water uptake within a lap joint to be related to time, diffusion coefficient and solubility coefficient.
The fracture energy data clearly separated the brittle composite "matrix resins" from the tougher "adhesives" • It was concluded that matrix resins and adhesives can be more easily and effectively compared using the fundamental properties of the resins themselves than by using the limited data normally supplied by the Manufacturers on their data sheets.
It was also considered that the simpler tensile, compression and wedge tests used in this programme could obtain more data, more quickly and more cheaply than the thick adherend or napkin ring tests usually advocated.
From the results obtained it was possible to suggest specifications for both composite matrix resins and adhesives for making bonded metal or composite joints. These should lead to the development of better matrix resins and adhesives.


text:
HomeBrent2019-02-12T19:36:59+00:00
Omniconnection LLC is a small independent game development studio based out of Gainesville, FL which is primarily focused on the multiplayer shooter genre using the Unreal Development Kit. Omniconnection was originally the name of a Information Technology company founded by Channing Burell. After an incredibly successful playtest of a hobby project titled, Grimoire, Brent Caulfield and Channing Burell decided that this crazy new mix of MOBA spells and FPS gameplay had huge potential and a new game development studio named Omniconnection LLC was founded in Florida on April 11, 2014.
As the project expanded Brent and Chan were joined in May 2014 by Kyle Phillips, formerly of Blizzard Entertainment. Then on August 9th Justin Dickerman-Stewart joined as the lead artist. With a Steam Early Access release date approaching the team was joined by Daniel Swearengin in January 2015 as a sound engineer.
On February 4th, 2015 Omniconnection launched it's first game Grimoire: Manastorm through Steam's Early Access program. On April 16th the team suffered a blow when lead programmer, Channing Burell parted ways. Shortly afterwards Kyle took over as lead programmer and then in May 2015 Erin "Saishy" Calmon was brought on as a programmer.
After a tough 9 months of lackluster sales and player numbers Kyle Phillips decided to leave Omniconnection to pursue more profitable goals leaving Brent as the sole owner and lead developer. Omniconnection released Grimoire: Manastorm on October 26th 2017 on Steam with a Free-to-Play business model.
brent[at]omniconnection.net
https://twitter.com/Omniconnection
https://www.facebook.com/grimoirethegame
© Copyright 2019 Omniconnection LLC | All Rights Reserved

redpajama_set_name: RedPajamaCommonCrawl


policy to prospective employees and volunteers.
and where they are safe and feel safe (CECV 2016).
with children should be part of a school's human resources practices.
August 2016 as part of their registration requirements.
about the school's child safety practices (including the code of conduct).
10(4)(d) about a particular individual within the previous 12 months.
- monitoring and assessing a job occupant's continuing suitability for child-connected work.
qualifications, experiences and attributes in relation to child safety are clear.
commitment to child safe practices.
Checks and staff professional registration requirements such as VIT registration.
who work with children in the school.
ensure that child safety is embedded in the school.
• Ensure inclusive practices in the school's development and training of staff and volunteers.
child safety and prevention of abuse.
feedback processes for employees at the school.


The next leg west was a 14 mile close fetch to the flashing lights of the Pwllheli mark 'O'. Sgrech managed to fly her Code Zero for most of this leg recording great speeds.
The last leg was a run to the finish - a line from the Plas Heli bridge, the National Sailing Academy to the Pwllheli Fairway Buoy. ISORA vice Chairman and former CHPSC Commodore Gerry Williams with assistance from Gwen recorded the competitors finishing times.
Silver fleet was won by the Aquaplane team, Mark, Jo and Jack Thompson, who are now strong contenders to become the Silver Class Champions.


Whether it's your new residential home; cottage; multi-level building or commercial property, choosing ICF is one of the smartest decisions you will make. ICF buildings require less energy to heat and cool, which will lower your monthly utility bill significantly, generally come with lower insurance costs as these structures are less likely to become damaged from fires, harsh climates or natural disasters. ICF is up to 3 times more sound resistant then conventionally built houses. Since they aren't built with wood, you'll reduce your maintenance costs as well. Simply put, you're getting quality, comfort and peace of mind.
In the past, the majority of ICF construction was primarily single residential units. However, over time it's popularity has grown due to the increasing utility prices, building code changes, natural disaster combat and buyer awareness. This technology has become very appealing for larger commercial projects like apartments, condos, hotels and even retail establishments. Benefits for the contractor may include; faster construction, lighter materials, ability to meet higher energy codes and flexibility.
A recent third-party Thermal Study by CLEB Laboratories proves that an Insulated Concrete Form (ICF) wall achieves up to 58% better R-Value and 149% better overallperformance than a traditional 2" x 6" wall for the same investment.
Insulating Concrete Forms Manufacturers Association(ICFMA) who recently commissioned CLEB Laboratories (formerly known as Air-Ins Inc.) conducted the first in a series of accredited whole wall thermal studies. This installment compared a 2" x 6" traditional insulated wood frame cavity wall to a standard 6 inch (150mm) core insulating concrete form (ICF) wall. The study was overwhelmingly revealing; confirming dramatically superior energy-efficiency performance and an overall better R-Value/RSI demonstrated by the ICF Wall assembly.
What does this mean for consumers? Consider two typical homes, each with 2,000 square feet of wall area – one constructed in wood frame to permitted code*, the other constructed using ICF technology and subjecting both to the same test condition. When incorporating the average kWH value for all North America, this study indicates that in many climate zones that during the most extreme cold conditions an ICF wall can save between $140 and $190 per month in equivalent electrical consumption when compared to a traditionally constructed wood frame wall. Why 'wood' you building with anything but insulated concrete forms.
What are other uses for ICF?
Do you have additional questions? Contact us anytime!


When would you be able to move?
Please note, applicants income must fall under the threshold of BC Housing Income Limits. To check your income, please see the BC Housing Income Limit to ensure you are eligible to apply.


Thank you for deciding to apply for the Year For God programme. It is our intention that the application process should serve as a valuable tool in helping you, your church and us in YWAM, prayerfully evaluate whether this is the right course for you at this time.
The medical form has two parts: Part 1 is to be completed by the applicant and part 2 to be completed by your doctor. Please email us for the up-to-date Medical form. The doctor's section is then to be posted directly to: YFG Co-ordinator, Youth With A Mission, Overdale House, 96 Whitaker Road, Derby, DE23 6AP, United Kingdom. You will need to provide the doctor's surgery with a stamped addressed envelope for posting.
A non-refundable fee of £25 (GBP only) should be sent when you complete the application form. This can be paid by bank transfer (we can email bank details on request) or cheque (made payable to "YWAM" and sent to: YFG Co-ordinator, Youth With A Mission, Overdale House, 96 Whitaker Road, Derby, DE23 6AP, United Kingdom).
Finally, we pray that God will guide you clearly as you complete this form.


text:
NationalBack Page
Carbonated drinks cause chronic kidney diseases
By DS Sourav
Published : 11 Oct 2019 09:33 PM | Updated : 30 Aug 2020 01:01 PM
As drinking sugary carbonated beverages has serious bearing on good health, widespread spree of drinking soft drinks has raised alarming concerns due to its adversarial impact leading to chronic kidney diseases (CKD). According a Harvard Public School of Health (HSPH), soft drinks contain phosphoric acid, which forms stones in the kidneys.
Soft sugary drinks and fruit syrups can be the cause of kidney, heart and lung diseases. Researchers at the Johns Hopkins Bloomberg School of Public Health (JSBSPH) in the United States said that , regular drinking of sugary fruit syrup, soda and other beverages is likely to result in 'chronic kidney disease (CKD).
However, in Bangladesh health experts and doctors repeatedly warned against drinking of carbonated sugar beverage which commonly known as soft drink. After having dinner or heavy meal, it has become a common trend amongst people to drink carbonated beverages. Talking to The Bangladesh Post, medicine specialist Motaleb Ahmed of Dhaka Medical College and Hospital (DMCH) said, "Without acknowledging health threats we are drinking carbonated beverages. I often prescribe patients not to drink a lot, but they don't pay any heed to us".
In the long run, obesity and chronic kidney diseases are common among soft drinkers, he added. Mentioning soft drinks ingredients harm human body, he said, "These drinks contain phosphoric acid, which releases calcium from the body via urine." He added "Soft drinks contain sugar and acid, which erode the tooth enamel. As a result, the nerves are easily attacked, and the teeth are beheaded. There may be bruises at the base of the teeth, or even the teeth may be completely damaged".
The result is a deficiency of calcium in the body and bone. Then osteoporosis or bone loss occurs. Soft drinks contain high levels of fructose corn syrup. Studies show that high levels of fructose corn syrup increase the risk of heart disease and diabetes. KC Revolz, assistant professor at the Johns Hopkins Bloomberg School of Public Health in the United States, said that the soft drinks are being sold in the market every day and people, who have been drinking for years, are lacking constructive information on how harmful health can be.
Another study marks that, regularly excessively drinking sugary soft drinks are 61 percent more likely to suffer from CKD. In fact, sugary drinks are among the most fattening aspects of the modern diet. Sucrose and high-fructose corn syrup contain about 50% fructose, which can only be metabolized by your liver. Excessive amounts may contribute to nonalcoholic fatty liver disease.
Sugary drinks have powerful effects on your brain's reward system, which may lead to addiction. Multiple studies have determined a strong link between sugary beverages and heart disease risk. Scientists in America found that mice fed with the equivalent of five cans of sugary drinks a day had worse memories and twice the amount of brain deposits associated with the disease than mice without added sugar in their diet. This suggests that fizzy drinks could be linked with Alzheimer's.
98-year old patient discharged from hospital
14-point instruction to prevent corrupt practices of police
BCL for withdrawal of DU development fees
Sheikh Jamal's 66th birthday today
PM flies to Dubai today to join Air Show-2019
Covid-19 cases in Police cross 5000
SC fines City University for violating UGC direction
Rohingya relocation with UN funding: Govt


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Washington — Cardinal William Baum, the archbishop of Washington from 1973 to 1980, died Thursday at the age of 88 after a long illness. He was a cardinal for 39 years -- the longest such tenure in U.S. church history.
Baum witnessed history from the Second Vatican Council through the election of the first Latin American pope, and he made history himself.
By the spring of 2011, he had worn the red cardinal's hat for nearly 35 years and surpassed the record of Baltimore Cardinal James Gibbons, who had been a cardinal from 1886 until his death in 1921. The soft-spoken Baum, whom some of the Vatican's Swiss Guards called "the gentle cardinal," found no merit in his longevity. "It's a gift from God," he said.
Services for Baum will include a vigil from 3 p.m.-6:30 p.m. July 30 at St. Matthew's Cathedral in Washington, a vigil Mass the same day at 7 p.m. and a funeral Mass at the cathedral at 2 p.m. July 31. Interment will be in the crypt of the cathedral.
His death leaves the College of Cardinals with 200 members, 120 of whom are under the age of 80 and therefore eligible to vote in a conclave.
Cardinal Donald Wuerl, the current archbishop of Washington, said in a statement that Baum would be "remembered for his kindness and dedication to the ministry to which God called him."
"Cardinal Baum was a joy-filled priest with a firm personal commitment to serve the Lord, which he did faithfully for 64 years of ordained life," Wuerl said. "With his death I have lost a longtime friend."
Pope Francis in a telegram Saturday to Washington's archbishop offered his condolences and "the assurance of my prayers to you and to all the faithful of the archdiocese" and imparted his apostolic blessing "as a pledge of strength and consolation in the Lord." He also expressed gratitude to Baum's long service to the church.
Baum in 1976 was named a cardinal, becoming at 49 one of the world's youngest cardinals. Beginning in 1980, he served at the Vatican, first as prefect of the Congregation for Catholic Education and then as major penitentiary, or head of the Apostolic Penitentiary, one of the Vatican's three tribunals, until his retirement in 2001.
One year earlier, the cardinal had participated in the conclaves that elected Pope John Paul I and later Pope John Paul II. While the public was surprised when the new Polish pope appeared on the balcony of St. Peter's Basilica, Baum said the world's cardinals were not surprised by his election -- they knew him well as a man of great faith, intellect and courage.
In 2005 following the death of St. John Paul II, Baum acted as the senior cardinal priest in the conclave that elected Cardinal Joseph Ratzinger, who took the name Benedict XVI. Only Baum and Ratzinger participated in the conclaves of 1978 and 2005, choosing three popes.
A pioneer in ecumenism, then-Msgr. Baum served during Vatican II as a theological expert, working with the Vatican's Secretariat for Christian Unity. He participated in drafting the council's landmark Decree on Ecumenism that was approved in 1964. That same year, the U.S. bishops formed their Committee on Ecumenical and Interreligious Affairs, choosing Baum as the committee's first executive director.
After serving in that role for five years and as chancellor in his home diocese, Baum was appointed by Pope Paul VI to be the bishop of Springfield-Cape Girardeau, Mo., in 1970. Three years later, the pope named him archbishop of Washington. From 1972 to 1975, he served as chairman of the U.S. bishops' Committee for Ecumenical and Interreligious Affairs.
On a larger stage, Baum led the Vatican Congregation for Catholic Education from 1980 to 1990 as it undertook studies of every U.S. seminary and oversaw the drafting of new guidelines for Catholic colleges and universities. In that capacity he oversaw, at the request of St. John Paul, the apostolic visitation of all of the seminaries and houses of formation in the United States.
"It [the catechism] is a great achievement. Every home should have it, and it should be read," he said. "We live in a world of flux. We're buffeted by winds [of change] in doctrines and ideologies. We need very much a sure Catholic guide to what the church believes, teaches and transmits."
William Wakefield Baum was born Nov. 21, 1926, in Dallas, but his family moved to Kansas City, Mo., when he was young. He wanted to be a priest from a young age, inspired by the faith of his family and by the example of his parish priest and the women religious who taught him, the Sisters of Mercy of what was then the order's Omaha, Neb., province*.
The cardinal's work in reaching out to people of other faiths made a lasting impression on his priests, including Fr. Tom Kalita, the pastor of St. Peter Parish in Olney, Md., who was ordained by then-Archbishop Baum in 1974. He praised the cardinal as a man whose dialogue with people of other Christian denominations was rooted in respect. "You build bridges by having a respect for individual persons. ... He always sees people as children of God, as brothers and sisters in Jesus," Kalita said.
As the archbishop of Washington, Baum issued pastoral letters on spiritual issues such as the Eucharist and Mary, and on social questions such as racism and capital punishment. In his pastoral on racism, he called it a "heresy and sin," and said racism was "one of the most serious violations of justice in our community and even in our church."
In 1995, Baum returned to Washington to celebrate a Mass marking his 25th anniversary as a bishop. He described his service in the church as "a pilgrimage of faith and thanksgiving."
*An earlier version of this story gave the incorrect province.


text:
La  est une ligne de métro à Tokyo au Japon gérée par le Bureau des Transports de la Métropole de Tokyo (Toei). Elle relie la station de Nishi-Magome à celle d'Oshiage. Longue de 18,4 km, elle traverse Tokyo du sud au nord-est en passant dans les arrondissements d'Ōta, Shinagawa, Minato, Chūō, Taitō et Sumida. Elle est également connue comme ligne 1. Sur les cartes, la ligne est de couleur rose et identifiée par la lettre A.

En pratique, du fait de l'interconnexion avec le réseau Keikyū à Sengakuji, la ligne est coupée en deux, formant deux sous-lignes : (Narita -) Oshiage - Sengakuji (- Haneda) et Sengakuji - Nishi-Magome ; seulement un quart des trains parcourent toute la ligne Asakusa.

Histoire
La ligne Asakusa est la première ligne construite par le Gouvernement métropolitain de Tokyo. Son nom de projet était ligne 1 puis elle a été renommée ligne Asakusa en référence au quartier qu'elle traverse.

Le premier tronçon de 3,2 km entre Oshiage et Asakusabashi a été inauguré le . La ligne a été ensuite prolongée en plusieurs étapes, du nord au sud :
  : d'Asakusabashi à Higashi-Nihonbashi
  : de Higashi-Nihonbashi à Ningyōchō
  : de Ningyōchō à Higashi-Ginza
  : de Higashi-Ginza à Shimbashi
  : de Shimbashi à Daimon
  : de Daimon à Sengakuji (Mise en place de l'interconnexion avec le réseau Keikyū)
  : de Sengakuji à Nishi-Magome

Interconnexions
La ligne est interconnectée à Sengakuji avec la ligne principale Keikyū de la compagnie Keikyū et à Oshiage avec la ligne Oshiage de la compagnie Keisei.

Stations
La ligne comporte 20 stations, identifiées de A-01 à A-20.

Matériel roulant
La ligne Asakusa est parcourue par les trains des compagnies Toei, Keikyū, Keisei, Hokusō, Chiba New Town et Shibayama.

Notes et références

Voir aussi

Articles connexes
 Métro de Tokyo

Lien externe
  Site du réseau Toei

Asakusa
Tokyo, Asakusa

redpajama_set_name: RedPajamaWikipedia


In order to create change we MUST be financially free and I'm dedicated to equipping you with the tools necessary to get and stay debt-free. With more than 75% of Americans living paycheck to paycheck, it's easy to become discouraged and give up when it comes to managing your finances.
The number one complaint from working millennials is that they were never taught life money management skills in school or by their parents. As a result many of you are left feeling like the lack of financial education is the key contributor to living paycheck to paycheck. Sadly, it's not just millennials struggling financially.
These negative financial outcomes and low levels of consumer knowledge and confidence makes it obvious that financial literacy in America should be a national priority.
Given these factors, the sole focus of From Paychecks to Power is to empower you to gain financial freedom, ditch debt and manage your money with ease and effectiveness. Through one-on-one financial coaching, custom debt-elimination plans and a comprehensive financial education, Paychecks to Power is your trusted source for financial empowerment.
By all accounts I was living the American Dream. College educated, and working full-time for the government societal standards suggest that I should have been happy with the path I'd taken in life. While everyone from the outside looking in was thinking I was living my ideal life the reality is that I was seriously unhappy. I had those "good government benefits" and a decent salary but at the end of every month I just felt like I had nothing to show for all the hard work that I'd been putting in. Sick and tired of being sick and tired, paired with feelings of frustration and confusion led me to the ultimate decision to start living life on my terms. Finally, I got real about my current money story. Gainfully employed yet broke with material possessions, something had to give.
Fueled with the determination to change my life, eliminate debt and help others figure out how to attain financial freedom I committed myself to my purpose like never before. This was the pivotal moment personally and professionally.
Over the next 11 months I threw myself into a debt elimination plan that included me working overtime and afforded me the opportunity to pay off over $26k in debt. Somewhere in the process I realized that not only were people watching my progress but I was acquiring skills to help others successfully dig themselves out of debt.
In 2013 True Financial, LLC was started to help you win with your money.
Fast forward 3 years and never would I have imagined that with the help of True Financial, LLC I would coach clients to eliminate over $758k in debt, author a book and start the From Paychecks To Power movement.
My mission is to empower people financially to help them become uncomfortable with financial mediocrity. A lot of people are content with paycheck to paycheck living and working to pay bills their whole life. I want to be the catalyst that enables them to see themselves having financial freedom and achieving generational wealth.


The Nile Valley is the birthplace of one of the first and most resilient great civilizations. In the course of its long and distinguished history, Egypt has bequeathed to us a legacy of spectacular monuments and a dazzling array of artefacts. However, unimposing sites and objects of everyday life also provide an invaluable insight to the various aspects of ancient Egyptian society and are just as important as the more spectacular sites and 'treasures'. The archaeological record is a finite resource, which is easily destroyed without proper protection. Today, such archaeological sites and monuments all over Egypt are threatened by urban sprawl, development projects, agricultural expansion, pollution and looting.
There are an incredible number of sites and monuments everywhere in Egypt, as well as the countless artefacts in museums and storerooms, requiring constant monitoring, protection and maintenance. This is a task beyond the resources of any one nation. ECHO, a charitable company was founded in 1998 to help in securing the protection and conservation of Egypt's threatened heritage.
ECHO regards the education of students, professionals and the public as the one of the most effect, long-term, sustainable and least expensive means of safeguarding the threatened cultural heritage. Through ECHO you can make a difference.
Following the success of several fieldschools held at Kafr Hassan Dawood (KHD) in the 1990s and the publication of the book Standards of Archaeological Excavation, ECHO wants to establish an annual fieldschool at this large Predynastic and Late Period site to train Egyptian students in the methods, practice and theory of archaeological fieldwork.
The cost of providing food, lodging and tuition for each Egyptian student is £300. The funding will also be used to cover the costs of refurbishing the Research and Conservation Centre at KHD, including plumbing, electrics, a solar hot water system, new roofing, furnishings, beds, and shelving and storage for the archaeology stores. An internet connection is also desirable so that the team can keep all our supporters informed of progress at the site.
ECHO plan to run the first fieldschool at Kafr Hassan Dawood from December 2012 to January 2013 to coincide with the University of Winchester/Egypt Exploration Society/Ministry of State for Antiquities Wadi Tumilat research project.
A donation of £10 will cover the cost of one day's training and accommodation.
A donation of £60 will cover the cost of one week's training and accommodation.
A donation of £300 will cover the cost of one student's training and accommodation for the entire period of the fieldschool.
A donation of £1,000 will allow three Egyptian students to participate in the fieldschool.
The names of all donors will be included in the final publication of the site and placed on the ECHO website.
In the summer of 2011 ECHO sponsored an Egyptian student to study part of the Egyptian collection at the Petrie Museum of Egyptian Archaeology in London as part of the PhD research. This proved to be a great success and we now want to extend this programme, to not only cover periods of research studying collections outside of Egypt, but to undertake formal degree course in Europe and the USA.
The funding will also be used to cover to provide financial support, tuition fees, lodging and return flights from Egypt to UK for students wishing to research and study specialist courses and/or archaeological or Egyptological collections in Europe and the USA.
To provide financial support and tuition fees for underprivileged Egyptian students, especially women students, who prefer to study in Egypt to be close to family and community.
Ultimately four students (two men and two women) would be awarded an ECHO scholarship every year.
A donation of £15 will cover the cost one day's accommodation.
A donation of £30 will cover the cost one day's tuition fees at a US or European university.
A donation of £210 will cover the cost one week's tuition fees at a US or European university.
A donation of £10,000 will allow one Egyptian student to undertake either an MA or MSc abroad.
A donation of £30,000 will allow one Egyptian student to undertake a PhD abroad.
The names of all donors will be placed on the ECHO website and anyone fully sponsoring a student will be acknowledged in all the works that result from their studies.
Following the success of the first ECHO conference held in London, we are currently engaged in organising a second conference, a Workshop on Cultural Heritage Management in Revolutionary Times to be held in Alexandria in September 2013. Due to the recent upheaval in Egypt more and more sites have been put at risk from looting, vandalism and illegal encroachments and artefacts held in magazines and museums put at risk of theft. This conference will be a platform for professionals to discuss ways of improving the security of sites and artefacts.
This money will be used to cover the costs of staging a conference in Alexandria in 2013. This will include the cost of hiring a venue for the day, food and drink for the delegates and speakers and the cost of return flights and accommodation for the conference organisers and bursaries for delegates.
A donation of £12 will cover the cost of one conference organiser's accommodation.
A donation of £50 will cover the cost of printing promotional posters.
A donation of £400 will cover the cost of one conference organiser's flight.
A donation of £4,000 will cover the cost of the entire conference and will be regarded as sponsorship and treated accordingly in the promotion of the event.
The names of all donors will be placed on the ECHO website and a single sponsor will be included on all promotional material.
The education of children in the importance of ancient history and the preservation of cultural heritage is one of ECHO�s main objectives. The Wonder of Egypt is a children's history book written by Fekri Hassan for ECHO. The book is over 100 pages long and will be illustrated profusely throughout.
The funding will be used to cover the fees and expenses of a graphic designer to complete the illustrations so that the book can be published.
A donation of £10 will help to illustrate this book.
A donation of £50 will cover the cost of one illustration.
A donation of £5,000 will cover the cost of illustrating this book and will be treated as a single sponsorship and acknowledged accordingly.
The names of all donors will be placed on the ECHO website and included in the list of acknowledgements in the book.


text:
Q: php report for last x months grouped by months and days I am trying to create a php report in which data gets grouped by months and then days (and then time slots for each day--but that can wait a while). The format is something like:
2013->April->Monday->Data
2013->April->Tuesday->Data
...
2012->December->Monday->Data
...
I have the following code:
 $lastmonth = strtotime ( '-'.$monthrange.' month' , strtotime ("now")) ;
 $arr_months = array();
 $timestampformonths = strtotime("now");
 $arr_daysofweek = array();
 for ($i = 0; $i < $monthrange; $i++) {
   $arr_months[] = strftime('%B', $timestampformonths);
   $timestampformonths = strtotime('-1 month', $timestampformonths);
 }
//tempdump($arr_months);tempstop();//April,March,February...

//build array of days of week backward, starting today
$timestampfordays = strtotime("now");
$arr_daysofweek = array();
for ($i = 0; $i < 7; $i++) {
 $arr_daysofweek[] = strftime('%A', $timestampfordays);
 $timestampfordays = strtotime('-1 day', $timestampfordays);
}

foreach ($arr_daysofweek as $dayoftheweek) {
 foreach ($arr_months as $currmonth) {
    $currmonth_datetime = strtotime($currmonth);
    $prevmonth_datetime = strtotime('-1 month', $currmonth_datetime);
     for($i = strtotime($dayoftheweek, $currmonth_datetime); ( ($i >= $lastmonth) && ($i <= strtotime("now")) && ($currmonth_datetime > $prevmonth_datetime) ); $i = strtotime('-1 week', $i)) {
        echo date('l Y-m-d', $i) . "<br />";//Monday 2012-04-02 00:00:00
    }
}

}
There is a problem with this code:
There are repeats. For example, the output currently starts as 'Wednesday 2013-04-03' and then displays through 'Wednesday 2012-04-04' fine but then again displays 'Wednesday 2013-03-06'; I think it is the loop for the month inside the loop for the days.
Please feel free to completely redo this code! I won't even mind removing the foreach loop for the $arr_daysof week and instead hardcode a few loops for each day--though that would not be elegant.
Thanks!
* Code update: I think I have fixed the problem of repeats; will post more later if needed *

redpajama_set_name: RedPajamaStackExchange


Within the past year, I have been able to install freeipa clients on devuan ceres and join my freeipa domain.
Package python-ipalib is not available, but is referred to by another package.
No installation candidate! I have not had this problem in the past on ceres (probably 2 months ago on a fresh install and it worked OK).
After much Internet searching, I finally discovered 'python-ipalib' in https://pkgmaster.devuan.org/bannedpackages.txt. I assume, because the FreeIPA project is very Fedora-driven (the distro I used to use primarily), it has some kind of systemd hooks or some such.
Does anyone have any ideas as to how I can setup my freeipa client on devuan ceres? Frankly, I'm not opposed to ascii or jessie; just the last time I evaluated it it was only in ceres in the first place. I'll get my wine stable from winehq, and any old version of Firefox is good enough for me.
If I need to make a dummy package that satisfies some arbitrary string dependency, I can do that. If I need another package listed from apt-cache search ipalib or libipa, I'm fine with that. Whatever it takes to get my domain logins, centralized sudoers, and optionally my centralized ssh host keys. If I have to manually configure sssd, cert trust, and ldap/kerberos, I can do that too, but obviously freeipa client does all that for you.
With equivs you rather easily define an empty dummy package that satisfies an installation dependency. It has excellent documentation (well, at least I understood to use it, to dummy out the avahi nonsense).
Does anyone have any ideas as to how I can setup my freeipa client on devuan ceres?
You could remove the systemd dependency and rebuild it. Or better yet take on long-term maintenance of the package for Devuan.
Thanks for the tip about equivs! I will check it out. In the past, I've hand-crafted some dummy dpkgs (oddjob-mkhomedir being one of them) but if there's some tool that automates it, that'd make life simpler going forward.
I love FreeIPA and also non-systemd distros. Those don't usually combine very well, however.
I am intrigued by being a package maintainer. I've never had the privilege or responsibility before. Additionally, I know so extremely little about the debian-esque way packages are maintained. Also, I barely know how to build a dpkg. I come from the Fedora/rpm world where I've just started using the free, public build servers of COPR for myself.
Here's a question about the topic: would compiling an application without features [dependent on systemd] for devuan be permitted? Or do applications need to be basically the same as upstream? I'm not entirely sure what in python-libipa would depend on systemd, but if a feature doesn't fit my use case, I wouldn't care if I have to disable it. I don't know the first thing about [modern] programming, so I wouldn't be able to fix it. If it cannot be provided in the main repos as a crippled version if necessary, I certainly wouldn't be able to take it on.


text:
Q: Running time consuming task + update winform I have the following scenario:

*

*A Dialog window calls a time consuming Network task

*Wait for task result

At the same time I would like to update a progress bar or a textbox with some status -- So I tried the following:

*

*

*

*Backgroundworker -> Progress bar in BW

*Network Task in UI THREAD

*-

*

*Tasks -> Network function

*Background worker -> progress bar

In Both cases my GUI doesnt update till the task result is fetched. Would really appreciate if you can point me in the right direction..
private void button1_Click ( object sender, EventArgs e )
{
   bw.RunWorkerAsync(); // Updates a textbox
   Task<bool> test2 = new Task<bool>( () => _AuthHandler( sender, e, textBox1.Text, textBox2.Text ) );
   try
        {
            test2.Start();
            bool result = test2.Result;
            //bool result = _AuthHandler.Invoke( sender, e, textBox1.Text, textBox2.Text );
            if ( result )
            {

                //Do Somethin..
            }
         }
    catch(Exception e) {
        //Do Something
    }
}
// -------BW TEST CODE --------//
    public void  smthn ()
    {
        textBox3.Text += ".";
    }
    void bw_DoWork ( object sender, DoWorkEventArgs e )
      {
          for(int i = 0;; i++)
          {
              bw.ReportProgress( i );
              Thread.Sleep( 250 );
          }
       }

    bool result = false;
    void bw_RunWorkerCompleted ( object sender, RunWorkerCompletedEventArgs e )
    {
        MessageBox.Show( "Result Set" );
        result = (bool)e.Result;
    }
    void bw_ProgressChanged ( object sender, ProgressChangedEventArgs e )
    {
        if ( textBox3.InvokeRequired )
        {
            this.Invoke( new Action( smthn ) );
        }
        else
        {
            smthn();
        }
    }

A: You're blocking the UI thread until some non-UI work has completed.  Don't do that.  Have the UI thread do UI work, schedule non-UI work to be done in another thread, and then have it just do nothing; it'll go back to handling other UI events.
The BackgroundWorker is specifically designed for having a UI do some non UI work and the update the UI with progress or results.  Have the DoWork method of the BGW do your actual work, update the progress bar in the updated handler, and do display the results in the completed handler.  The BGW will take care of running all events besides the DoWork event in the UI thread, so you don't need to manually invoke to the UI thread.
The reason that your code isn't working is because you're blocking the UI thread by waiting on the task, and since it's blocked, the UI updates scheduled from the BGW's progress event don't have an opportunity to run until the whole thing finishes.

A: Your Network task should be run in the background thread by using the DoWork() method, calling ReportProgress() as needed  Then, in your main UI thread, subscribe to the ProgressChanged event, and update your ProgressBar

A: Thanks Guys.. I realized I was blocking the UI thread. SO I have made a generic class with two Background workers, progress events, bar and an on-completed event -> Which invokes the post-processing functions. I guess this is the method most of you are recommending.
Though are there any alternatives? What about async/await


text:
namespace KeeAnywhere.StorageProviders.Azure
{
    partial class AzureAccountForm
    {
        /// <summary>
        /// Required designer variable.
        /// </summary>
        private System.ComponentModel.IContainer components = null;

        /// <summary>
        /// Clean up any resources being used.
        /// </summary>
        /// <param name="disposing">true if managed resources should be disposed; otherwise, false.</param>
        protected override void Dispose(bool disposing)
        {
            if (disposing && (components != null))
            {
                components.Dispose();
            }
            base.Dispose(disposing);
        }

        #region Windows Form Designer generated code

        /// <summary>
        /// Required method for Designer support - do not modify
        /// the contents of this method with the code editor.
        /// </summary>
        private void InitializeComponent()
        {
            this.m_bannerImage = new System.Windows.Forms.PictureBox();
            this.m_btnOK = new System.Windows.Forms.Button();
            this.m_btnCancel = new System.Windows.Forms.Button();
            this.m_lblAccountName = new System.Windows.Forms.Label();
            this.m_txtAccountName = new System.Windows.Forms.TextBox();
            this.m_lblAccessToken = new System.Windows.Forms.Label();
            this.m_txtAccessToken = new System.Windows.Forms.TextBox();
            this.m_btnTest = new System.Windows.Forms.Button();
            this.m_lblTestResult = new System.Windows.Forms.Label();
            this.m_txtItemName = new System.Windows.Forms.TextBox();
            this.m_lblItemName = new System.Windows.Forms.Label();
            ((System.ComponentModel.ISupportInitialize)(this.m_bannerImage)).BeginInit();
            this.SuspendLayout();
            //
            // m_bannerImage
            //
            this.m_bannerImage.Dock = System.Windows.Forms.DockStyle.Top;
            this.m_bannerImage.Location = new System.Drawing.Point(0, 0);
            this.m_bannerImage.Name = "m_bannerImage";
            this.m_bannerImage.Size = new System.Drawing.Size(354, 60);
            this.m_bannerImage.TabIndex = 5;
            this.m_bannerImage.TabStop = false;
            //
            // m_btnOK
            //
            this.m_btnOK.Anchor = ((System.Windows.Forms.AnchorStyles)((System.Windows.Forms.AnchorStyles.Bottom | System.Windows.Forms.AnchorStyles.Right)));
            this.m_btnOK.Location = new System.Drawing.Point(186, 178);
            this.m_btnOK.Name = "m_btnOK";
            this.m_btnOK.Size = new System.Drawing.Size(75, 23);
            this.m_btnOK.TabIndex = 7;
            this.m_btnOK.Text = "OK";
            this.m_btnOK.UseVisualStyleBackColor = true;
            this.m_btnOK.Click += new System.EventHandler(this.OnOk);
            //
            // m_btnCancel
            //
            this.m_btnCancel.Anchor = ((System.Windows.Forms.AnchorStyles)((System.Windows.Forms.AnchorStyles.Bottom | System.Windows.Forms.AnchorStyles.Right)));
            this.m_btnCancel.DialogResult = System.Windows.Forms.DialogResult.Cancel;
            this.m_btnCancel.Location = new System.Drawing.Point(267, 178);
            this.m_btnCancel.Name = "m_btnCancel";
            this.m_btnCancel.Size = new System.Drawing.Size(75, 23);
            this.m_btnCancel.TabIndex = 8;
            this.m_btnCancel.Text = "Cancel";
            this.m_btnCancel.UseVisualStyleBackColor = true;
            //
            // m_lblAccountName
            //
            this.m_lblAccountName.AutoSize = true;
            this.m_lblAccountName.Font = new System.Drawing.Font("Microsoft Sans Serif", 8.25F, System.Drawing.FontStyle.Bold, System.Drawing.GraphicsUnit.Point, ((byte)(0)));
            this.m_lblAccountName.Location = new System.Drawing.Point(15, 69);
            this.m_lblAccountName.Name = "m_lblAccountName";
            this.m_lblAccountName.Size = new System.Drawing.Size(90, 13);
            this.m_lblAccountName.TabIndex = 0;
            this.m_lblAccountName.Text = "Account Name";
            //
            // m_txtAccountName
            //
            this.m_txtAccountName.Location = new System.Drawing.Point(138, 66);
            this.m_txtAccountName.Name = "m_txtAccountName";
            this.m_txtAccountName.Size = new System.Drawing.Size(207, 20);
            this.m_txtAccountName.TabIndex = 1;
            this.m_txtAccountName.TextChanged += new System.EventHandler(this.OnTextChanged);
            //
            // m_lblAccessToken
            //
            this.m_lblAccessToken.AutoSize = true;
            this.m_lblAccessToken.Font = new System.Drawing.Font("Microsoft Sans Serif", 8.25F, System.Drawing.FontStyle.Bold, System.Drawing.GraphicsUnit.Point, ((byte)(0)));
            this.m_lblAccessToken.Location = new System.Drawing.Point(15, 94);
            this.m_lblAccessToken.Name = "m_lblAccessToken";
            this.m_lblAccessToken.Size = new System.Drawing.Size(88, 13);
            this.m_lblAccessToken.TabIndex = 2;
            this.m_lblAccessToken.Text = "Access Token";
            //
            // m_txtAccessToken
            //
            this.m_txtAccessToken.Location = new System.Drawing.Point(138, 91);
            this.m_txtAccessToken.Name = "m_txtAccessToken";
            this.m_txtAccessToken.Size = new System.Drawing.Size(207, 20);
            this.m_txtAccessToken.TabIndex = 3;
            this.m_txtAccessToken.TextChanged += new System.EventHandler(this.OnTextChanged);
            //
            // m_btnTest
            //
            this.m_btnTest.Anchor = ((System.Windows.Forms.AnchorStyles)((System.Windows.Forms.AnchorStyles.Bottom | System.Windows.Forms.AnchorStyles.Left)));
            this.m_btnTest.Location = new System.Drawing.Point(12, 178);
            this.m_btnTest.Name = "m_btnTest";
            this.m_btnTest.Size = new System.Drawing.Size(75, 23);
            this.m_btnTest.TabIndex = 6;
            this.m_btnTest.Text = "&Test";
            this.m_btnTest.UseVisualStyleBackColor = true;
            this.m_btnTest.Click += new System.EventHandler(this.OnTest);
            //
            // m_lblTestResult
            //
            this.m_lblTestResult.Location = new System.Drawing.Point(12, 151);
            this.m_lblTestResult.Name = "m_lblTestResult";
            this.m_lblTestResult.Size = new System.Drawing.Size(330, 24);
            this.m_lblTestResult.TabIndex = 9;
            this.m_lblTestResult.Text = "TestResult";
            this.m_lblTestResult.TextAlign = System.Drawing.ContentAlignment.MiddleLeft;
            this.m_lblTestResult.Visible = false;
            //
            // m_txtItemName
            //
            this.m_txtItemName.Location = new System.Drawing.Point(138, 117);
            this.m_txtItemName.Name = "m_txtItemName";
            this.m_txtItemName.Size = new System.Drawing.Size(207, 20);
            this.m_txtItemName.TabIndex = 11;
            //
            // m_lblItemName
            //
            this.m_lblItemName.AutoSize = true;
            this.m_lblItemName.Font = new System.Drawing.Font("Microsoft Sans Serif", 8.25F, System.Drawing.FontStyle.Bold, System.Drawing.GraphicsUnit.Point, ((byte)(0)));
            this.m_lblItemName.Location = new System.Drawing.Point(15, 121);
            this.m_lblItemName.Name = "m_lblItemName";
            this.m_lblItemName.Size = new System.Drawing.Size(39, 13);
            this.m_lblItemName.TabIndex = 10;
            this.m_lblItemName.Text = "Name";
            //
            // AzureAccountForm
            //
            this.AcceptButton = this.m_btnOK;
            this.AutoScaleDimensions = new System.Drawing.SizeF(6F, 13F);
            this.AutoScaleMode = System.Windows.Forms.AutoScaleMode.Font;
            this.CancelButton = this.m_btnCancel;
            this.ClientSize = new System.Drawing.Size(354, 214);
            this.Controls.Add(this.m_txtItemName);
            this.Controls.Add(this.m_lblItemName);
            this.Controls.Add(this.m_lblTestResult);
            this.Controls.Add(this.m_btnTest);
            this.Controls.Add(this.m_txtAccessToken);
            this.Controls.Add(this.m_lblAccessToken);
            this.Controls.Add(this.m_txtAccountName);
            this.Controls.Add(this.m_lblAccountName);
            this.Controls.Add(this.m_btnOK);
            this.Controls.Add(this.m_btnCancel);
            this.Controls.Add(this.m_bannerImage);
            this.FormBorderStyle = System.Windows.Forms.FormBorderStyle.FixedDialog;
            this.MaximizeBox = false;
            this.MinimizeBox = false;
            this.Name = "AzureAccountForm";
            this.StartPosition = System.Windows.Forms.FormStartPosition.CenterParent;
            this.Text = "Azure Storage Account Configuration";
            this.FormClosing += new System.Windows.Forms.FormClosingEventHandler(this.OnFormClosing);
            this.FormClosed += new System.Windows.Forms.FormClosedEventHandler(this.OnFormClosed);
            this.Load += new System.EventHandler(this.OnFormLoad);
            ((System.ComponentModel.ISupportInitialize)(this.m_bannerImage)).EndInit();
            this.ResumeLayout(false);
            this.PerformLayout();

        }

        #endregion

        private System.Windows.Forms.PictureBox m_bannerImage;
        private System.Windows.Forms.Button m_btnOK;
        private System.Windows.Forms.Button m_btnCancel;
        private System.Windows.Forms.Label m_lblAccountName;
        private System.Windows.Forms.TextBox m_txtAccountName;
        private System.Windows.Forms.Label m_lblAccessToken;
        private System.Windows.Forms.TextBox m_txtAccessToken;
        private System.Windows.Forms.Button m_btnTest;
        private System.Windows.Forms.Label m_lblTestResult;
        private System.Windows.Forms.TextBox m_txtItemName;
        private System.Windows.Forms.Label m_lblItemName;
    }
}

redpajama_set_name: RedPajamaGithub


The most important thing in permaculture is to design your space or project in advance. Spend 12 months watching your land. Spend two years designing your project. This is unlikely to be time wasted. The more effort you put into the design, the more iterations of your design you do, the less time you will spend making expensive, time‐consuming mistakes further down the road.
In his 1988 classic, Permaculture: A Designer's Manual, Bill Mollison said permaculture is the conscious design and maintenance of agriculturally productive ecosystems which have the diversity, stability, and resilience of natural ecosystems. It is the harmonious integration of landscape and people providing their food, energy, shelter, and other material and non‐material needs in a sustainable way. Without permanent agriculture, Bill said, there is no possibility of a stable social order.
Bill and his student and later colleague, David Holmgren, created the word permaculture by fusing the words permanent and agriculture, but it has come to mean something much more universal than just a toolkit for low impact gardening. We now think of permaculture as meaning permanent culture because it has applications for everything we do.
Aranya's Permaculture Design — a step by step guide is a practical and portable companion to other books on the subject. While it includes the core permaculture ethics, principles and philosophies, it places them directly into the context of a design process. It provides clarity about where different tools, strategies and techniques can be most effectively applied in going from where you are now to where you'd like to be.


The squad set to represent Canada at the 2017 Men's World Team Championships in Marseille, France, has been confirmed.
The 2015 WSF Men's World Team Squash Championship, which was due to take place later this month in the Egyptian capital Cairo, has been postponed.
Hosts Egypt will be looking to recapture the title they lost to England two years ago when the 2015 WSF Men's World Team Championship takes place in Cairo in December.
Qatar and Iraq will make their debuts in the 2015 Men's World Team Squash Championship which will take place for the first time in Kuwait, from 12-18 December.
Amr Shabana stages a comeback in a dramatic deciding tie to claim the title for Egypt ..


text:
It goes knife, fork, spoon...
Toilet roll should hang to the front and ketchup should go in the fridge – but what about the cutlery drawer?
Becky Sheaves
Updated 14:29, 30 AUG 2017
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According to a recent poll, 78% of Britons agree that toilet roll should hang in front of the holder, not behind it against the wall, and 67% agree that ketchup should be kept in the fridge, not the cupboard.
Our burning question remains though: in which order should cutlery be ordered in the drawer? We say it is knife, fork, spoon – but what do you think?
Coffee lounge owner defends 'no children' policy as critics call for boycott
The survey was carried out by the team at home interiors specialist www.hillarys.co.uk. 2,296 Britons aged 18 and over were quizzed about their housekeeping preferences.
Here's what they found:
Toilet roll, hanging to the front - 78% (agreed that this was correct)
Ketchup, in the fridge - 77%
Blinds, tilted upwards internally - 69%
Pillows, partly under the duvet - 65%
Potatoes, in the kitchen cupboard - 61%
Mayonnaise, in the fridge - 60%
Eggs, in the kitchen cupboard - 54%
Door mat, outside the front door - 54%
Bread, in a bread bin - 53%
Toothbrush, on the sink - 51%
Order, order - but how?
According to the poll, 81% of respondents stated that they don't know why these things have to be done a certain way, or kept in certain places. It's just something they picked up from their parents while growing up. A further 61% admitted that when they found their partner had done something the "wrong" way, they switch it back.
What do YOU think? Let us know!
TorquayTorquay's iconic harbourside Pavilion to be restored to its former gloryThe restoration will involve exposing the building's internal steel frame as well as the repair of its facades
Torbay's English Riviera Airshow comeback confirmed for 2022
TorbayA stunning two-day air show based around Paignton Green will be among a host of events across South Devon to mark the Queen's Platinum Jubilee
Revolution cocktail bar step closer to replacing Las Iguanas Exeter
ExeterRevolutions Bars Group is seeking to turn the Grade II listed former home of Las Iguanas into a nightclub, bar and restaurant
Music concerts and festivals happening in Devon in 2022
MusicWhichever genre of music is your favourite, there's an event happening this year that will interest you
South DevonNumber of breweries in Devon at record high despite pandemicThere were around 45 beer breweries across Devon in March 2021 according to the Office for National Statistics
Dynamic foodies wanted to run Tiverton market café
TivertonThe market enjoyed a renaissance in 2021, with a plethora of new traders, events, promotions and features
Kate Garraway's Life Stories celebrity line-up revealed ahead of debut
TVThe 54-year-old is taking over from Piers Morgan who hosted the show for 12 years


And they only do this during office hours. Otros, antes de encontrar el camino, acumularon una historia de pequenos desafios. Tambien hay sectores tradicionales, como la moda, el plastico o los materiales de la construccion el denostado tocho , que vuelven a la carga. But it's immense, the chica chica boom chic. Las aplicaciones medicas y la bioregion tambien son motores de lo nuevo.
La eDreams de Javier Perez Teressa tuvo un origen similar. Well in order to do that you had to setup a new user group before you setup a user, and assign that. Los nuevos actuan en el mercado como los buscadores semanticos. No te das cuenta y en un santiamen aparecen centenares de proyectos apalancados en la diosa Fortuna y socorridos por la meritocracia. Seems the old boys club have regained full control of the banks and who keeps them in check.
I reset the whole form. You can download full list of all their fees on the site. Sin embargo, la debilidad financiera de los comienzos y la baja facturacion son todavia males endemicos, segun un estudio reciente de Accio Copca-Cidem , elaborado por Christian Serarols, Andrea Bikfalbi y Jose Maria Veciana. But before all that remember setting up the user? Any total deposits you hold above the limit between these brands are unlikely to be covered. You find this out while you're trying to make a transfer. How do I change that? Es un estilo que recuerda a la Pinkerton de las novelas de Ross Mc Donald,solo que ahora operan a traves de la red y a velocidad de vertigo.
En todo caso, los nuevos emprendedores no son caballeros engominados rodeados de asesores y dictando cartas a una senorita con andares de demi -mondain. In fairness, they were quick - they got back to me within 10 minutes after I called support. But before all that remember setting up the user? We take pride knowing that local decisions are made by local people. Available to both Personal and Business customers Sole Traders, Trading As, Small Limited Companies and Agri customers. Getting set up on 365 online is now easier than ever before.
Bank of Ireland Group plc is a public limited company incorporated in Ireland, with its registered office at 40 Mespil Road, Dublin 4 and registered number 593672. You can confirm our registration on the. Nightclub performer Don Ameche looks exactly like a famous South American airline magnate also played by Ameche, natch , and so doubles for him during a lavish party when the Baron is away on delicate business. I only needed to wait another 7 minutes before the cert was ready. Absolutely horrible from a design and usability point of view, and is probably the most frustrating online app I've used, ever. Oh wait, I needed to pay in Euros. I asked them could I not just have normal 365 online and they forced me to use this rubbish.
Oh wait, I needed to pay in Euros. Phone E-mail Small Business Customers 614-480-2001 800-480-2001 Commerical Customers 614-480-4862 800-480-4862 Private Financial Customers 614-480-2001 800-480-2001 Public Fund Customers 614-480-4862 800-480-4862 Derivatives 866-922-8131 Foreign Exchange and Global Accounts Customers 614-480-4685 800-824-5653 Equipment Finance Customers 866-329-7286 Commercial Card 800-480-4862 Voice Business Card 888-696-9982. It has gone up by about 35% on what they used to charge. Edit: yes, I posted this on LeinsterFans rant thread a while back. You gotta type that mother right in there by yourself. How do I change that? Sole es ingeniero pero tenia el sueno del negocio.
Unfortunately it's a design nightmare, and the work flow to accomplish common, simple tasks is long and tortuous. Which is probably easier than setting up a standing order. At Ireland Bank, we take the time to get to know you and your business so we can provide all the necessary tools to help you be successful. So forget about using FireFox, Chrome, Opera etc. It has gone up by about 35% on what they used to charge.
Alice Faye, still the top female star at Fox at this time, takes a supporting role, slightly miscast, as the Baroness. Then log in as the user, and activate the account that you want to use. Absolutely horrible from a design and usability point of view, and is probably the most frustrating online app I've used, ever. Smartphone app works good, I must look into Ulster Bank in that case. I think there is of 15 a month fee for online banking. Featuring exclusive footage from performance rehearsals, concerts and backstage, The Industry takes an in-depth look inside of one of the world's top music genres. You can download full list of all their fees on the site.
Unfortunately it's a design nightmare, and the work flow to accomplish common, simple tasks is long and tortuous. So glad I never even considered using it! The savings in fees enabled us to expand our card facilities and offer more payment points for our customers. Overkill in terms of features I don't have a problem with, as long as the system is usable for the smaller set that I need. . Reconvertida en icono de calzado de moda, Munich huele el negocio. Las ayudas de la Secretaria General de Industria de la Generalitat por medio de los llamados trampolines tecnologicos han llegado a mas de un centenar de nuevas empresas.
We have seen sales increase hugely. Get set up in 4 simple steps: Step 1: Call us on to speak to the Activation Team. Funny how these shenanigans seem to coincide with Matthew Elderfield's departure as regulator. After some time you'll find that your digital certificate password needs to be changed. By proceeding any further you will be deemed to have read our Terms and Conditions and Privacy Statement. I must look into Ulster Bank in that case.


I'm sitting in my brother's kitchen chatting with my niece while she makes apple pies for Thanksgiving dinner. She's a college junior. It seems like yesterday she was sitting on the puzzle pieces so I couldn't help her. Or asking me to swing her again and again. Or writing me the sweetest letters an aunt ever received. Now we're talking about poli sci classes and life after college. It's rather amazing.
Later today we're heading to visit my friend Debbie and then to my sister-in-law's sister's for the holiday. It's going to be a day filled with old friends (I've known Debbie since we were four), family, and a great deal be thankful for.
One of the things we're always thankful for is Charlotte's continuing good health. This year we're also grateful for her incredibly talented teachers who are making first grade a year of learning, discovery, and fun.
Wishing all of you a beautiful, love-filled holiday!


text:
"Music in 3D: The Sequel" Concert Preview No. 3
Before each concert, we share Manny's Musings, thoughts from our Music Director and Conductor, Manny Laureano. This is the final edition of the Musings for the 2014-15 season. We hope you enjoy this preview of "Pictures at an Exhibition."
Modest Moussorgsky (1839-1881) and his Pictures at an Exhibition orchestrated by Maurice Ravel occupies a cornerstone of the orchestral literature both as a masterwork of inspired composition and brilliant orchestration. There are over two dozen versions of the Russian Moussorgsky's piano piece but the popularity of this orchestration by Ravel endures as the favorite of concert audiences. To be fair, it is the most often-played version and most people have not heard the other versions. A partial listing might include the first orchestration by Mikhail Tushmalov or Sir Henry Wood or Leopold Stokowski. There's an arrangement for brass choir by Elgar Howarth for the Philip Jones Brass Ensemble. In 1977, I went on tour as principal trumpeter for the rock trio Emerson, Lake & Palmer and played their version. Even a version for solo trumpet and organ was written by the American trumpeter Vincent DiMartino. Clearly, the music is evocative enough to bring clear images to the mind and compelling enough to incite musicians to try their hand at making their own personal statement. But cream does tend to rise and Ravel's orchestration continues to be the favorite world-wide.
You may remember from our previous discussions of Borodin that Moussorgsky was one of a group of Russian composers known as "The Five" who tasked themselves with creating concert music that would be representative of a Russian musical language and style. Moussorgsky's modal key centers and free use of changing time signatures stays within that language in an exemplary fashion. It was then up to Frenchman Maurice Ravel to set about doing what he did best as one of the pre-eminent orchestrators of the late 19th and early 20th centuries and bring Moussorgsky's piano music to life with vivid instrumental color.
The pictures from this particular exhibition came from the mind of a recently deceased painter and friend of Moussorgsky named Victor Hartmann. After Hartmann's death from an aneurysm, Moussorgsky was driven to honor him with a piece of music depicting several of these Russian-themed paintings. Hartmann's paintings aren't the only depiction, however. The piece begins with a Promenade which is repeated in a variety of keys and characters throughout the 40-minute work. These Promenades have in common changing meters and strategically placed eighth notes that portray a less-than-graceful awkwardness. They fairly represent Moussorgsky's moving from one painting to another with a heavy limp that revealed his own physiognomy. It may have even given us a peek at the alcoholism that began upon learning of the death of his mother, a passing which affected him greatly. Sometimes the Promenades precede each picture. Other times, Moussorgsky seems to be standing in front of two pictures and steals a gaze at one before completely finishing looking at the other. Ravel challenges the listener to hear sounds not always associated with a symphony orchestra such as a saxophone singing the ballad of a troubadour before an old castle. Then there's the tuba in the altissimo register providing us with the complaints of an old ox pulling a loaded cart. A piccolo, snare drum, and tiny cymbals peck at an egg shell before the newly-hatched chick falls in exhaustion, his work accomplished. Snarling brass make a gnome seem larger than life. Seeing the pictures themselves is far less important than the pictures you conjure in the same way as Shakespeare exhorted you to "work your thoughts" (Henry V) in order to see the magic created by Moussorsgky and then Ravel many years later after the composer's death.
Join Music Director & Conductor Manny Laureano, for the concert, "Music in 3D: The Sequel" featuring Sara Melissa Aldana, winner of the CodaBow prize at the Mary West Solo Competition, as soloist. The concert takes place on Sunday, April 19 at 3 p.m. at St. Michael's Lutheran Church in Bloomington. To learn more about the concert, click here, or to order tickets online through the Bloomington Box Office or by calling 952-563-8575.
Filed Under: Manny's Musings, News, Season Tagged With: Bloomington, Concert, Conductor, Manny Laureano, Mary West Solo Competition, Moussorgsky, Music in 3D, Pictures at an Exhibition, Sara Melissa Aldana, St. Michael's Lutheran Church, Tickets, Violin Concerto
Before each concert, we share Manny's Musings, thoughts from our Music Director and Conductor, Manny Laureano. Please enjoy this concert preview and check back on Friday for the final entry of "Manny's Musings"!
Henryk Wieniawski, Composer
Henryk Wieniawski and his Concerto No. 2 in D Minor for Violin and Orchestra occupy a stable place in the repertoire for talented violinists. Born in Lublin, Poland, he was exposed to music along with each of the sons produced by his parents, Regina and Tadeusz. He showed promise quickly and it came as no surprise that he would eventually be admitted to the Conservatoire de Paris at age ten with great enthusiasm by its director at the time, Daniel Auber.
As though being a dazzling young violinist weren't enough, young Henryk or Henri, as he would become known in France, added to the concert repertoire he learned by composing his own music. Thus, the inevitable comparisons to composer/virtuoso performer Nicolo Paganini started to form when Henryk's talent became undeniable as he approached his 20s. His output included pieces such as concert etudes, Three Romances, an air with variations, and a concerto for violin in D major, part of which has been lost with only a fragment surviving.
Wieniawski's life as a musician proved rewarding and prolific as a composer as he continued to write and perform, receiving accolades from respected luminaries of the day such as Franz Liszt and Hector Berlioz who bemoaned Henryk's leaving Paris to concertize in Russia. He was even lucky in matters of the heart when he was allowed to become engaged to the lovely Isabella Hampton of London, despite the raised eyebrows of her father who was not keen on the idea of his daughter marrying a musician. Love conquered in the end (along with a £200,000 life insurance policy) and they were married.
The Second Concerto had originally come to life in 1862 and dedicated to another fine virtuoso of the day, Pablo Sarasate. With the wisdom of the years come improvements and revisions to many composers and he published his final, improved version in 1870. It is, however, unfortunate to note that Wieniawski's years were not as many as we would have liked. He developed a heart condition which came to a head while, ironically, performing the Concerto in D minor you will hear at this performance. He collapsed on stage yet marshalled the strength to finish his tour and improve slightly until he finally succumbed a few months later despite the loving care of Isabella.
Sara Melissa Aldana, Violin
Filed Under: Manny's Musings, News, Season Tagged With: Bloomington, Concert, Concerts, Conductor, Henryk Wieniawski, Manny Laureano, Mary West Solo Competition, Sara Melissa Aldana, Violin, Violin Concerto
Sara Melissa Aldana to solo with the BSO
The Bloomington Symphony Orchestra is pleased to announce that Sara Melissa Aldana, winner of the Mary West Solo Competition's CodaBow Award, will perform the first movement of Henri Wieniawski's Violin Concerto No. 2 at the Bloomington Symphony Orchestra's final concert of the year on Sunday, April 19, 2015.
Learn more about Sara Aldana here.
Learn more about the BSO's concert, Music in 3D: The Sequel.
Filed Under: News, Season Tagged With: Bloomington, Concert, Mary West Solo Competition, MNSOTA, Sara Melissa Aldana, Violin Concerto, Wieniawski
"Anybody Here Speak American?" Concert Preview
Before each concert, we share Manny's Musings, thoughts from our Music Director and Conductor, Manny Laureano. Please enjoy this concert preview!
We Americans are a unique bunch. We eat differently from the rest of the world, from the size of our portions to the variety of cultures that have affected our diet. Our pastimes are hard-nosed and energetic and we root for our teams with faithful enthusiasm. We come together in times of great joy and national tragedy with hearts on our sleeves. We even have a different way of speaking the Queen's English… in almost every state you travel to.
So it is not surprising that our music in the concert hall is not unlike the way we express ourselves verbally. It is almost impossible to establish a manner of speaking that is the same, even within our own borders. We are a nation that has inherited its myriad voices from those of our ancestors. Of course, we are such a relatively young country that our ancestors were probably born somewhere else. East Coasters are notorious for a brusque and impatient staccato. The flowing Southern drawl is the archetype of so many Hollywood movies that introduce others abroad to a more friendly, down-home character we're known for. Midwesterners are proud that their way of speaking is the standard when it comes to pronunciation. Woe be unto you if you are not privy to the latest slang expressions that pepper the conversations of those on our West Coast, for you shall be lost!
One of the wonderful paradoxes of the American concert hall is how Aaron Copland (who had the good taste to be born in the year 1900), a Jewish boy from Brooklyn, New York, would become associated with a sound that reflected open plains and legendary aspects of our "Wild West." In point of fact, his earliest efforts revealed his strong interest in emerging jazz harmonies and rhythms. Yet, in his Quiet City, the deft use of the open fifths that typified his expansive voice are used here to help us envision an urban landscape late at night. It is as though the shepherd's calls by the English horn in Berlioz's Symphonie Fantastique are answered by the familiar sound of the modern jazz trumpet. Both rich voices rest on vaporous string writing that complete the texture. This is Copland at his intimate best (even with the failure of the play of the same name by Irwin Shaw, for which the music was written).
There are several legends that surround the Concerto for Violin and Orchestra. The most often-told story is that of the young, emerging talent, Iso Briselli, whose adoptive father wished to commission a concerto for him. It was suggested that an up-and-coming composer by the name of Samuel Barber (1910- 1981) would be a good choice, as he had already commanded the attentions of several great conductors and orchestras of the day. So while Aaron Copland was setting about writing his incidental music for a doomed play in 1939, Barber was concurrently setting the stage for an interesting scene of his own. As the story goes, Bruselli was displeased with the first version of the finale and actually wanted half of the money paid by his father, Samuel Fels, to be returned! In very short order, Barber is supposed to have composed the perpetual motion that would be the final finished product. Now, Bruselli claimed it unplayable, forcing Barber to enlist the aid of another young violinist from the Curtis Institute to learn the piece in two hours and prove the piece was playable. Whether the story is accurate or apocryphal, Barber's creation is in another voice that we can claim as American. There is much tenderness in Barber's writing, as well as wit, running the gamut of violinistic possibilities.
If Americans are known for an indomitable spirit and rugged individuality, the Symphony No. 1 of Charles Ives (1874-1954) portrays those qualities but only in a nascent form. Ives set about composing the work during and after his studies at Yale University with the choirmaster, Horatio Parker. The symphony comes as a great surprise when one considers the impressions of the Ives we think we know. The influences of a father (George E. Ives) who reveled in the sound of two bands passing each other playing different melodies give way to a truly romantic style of writing for the first three movements. Immediately, one is enchanted by the waltz that is reminiscent of the music of Dvo?ák and various other composers. Speaking of Dvo?ák, do not be surprised if the English horn solo that begins Ives' slow movement reminds you of another rather famous one. His scherzo is charming and conversational in its lightness. It is, however, in the finale where the shadow of his future self is revealed, challenging the orchestra to create fireworks in a theme that is quintessentially Yankee. His nod to Tchaikovsky is proud and open, much like an American announcing pride for a heritage of many branches. Papa Ives must indeed have been proud at hearing the development is his son's writing. After hearing his first attempt at a symphony you may well find yourself arguing Ives to be the most American of the three composers you hear at this performance!
Join Music Director & Conductor Manny Laureano, for the concert, "Anybody Here Speak American?" featuring BSO concertmaster Michael Sutton as soloist. The concert takes place on Sunday, November 16 at 3 p.m. at Immanuel Lutheran Church in Eden Prairie. To learn more about the concert, click here, or to order tickets, follow this link.
Filed Under: Manny's Musings, News Tagged With: Barber, Charles Ives, Concert, Conductor, Copland, Manny Laureano, Michael Sutton, Tickets, Violin Concerto
"Music in 3D" Concert Preview No. 2
This is the second installment of the concert preview for the BSO's performance on Sunday, April 13. These notes are shared by our Artistic Director and Conductor Manny Laureano, to help you learn more about the music in advance. We hope you enjoy "Manny's Musings"!
Violin Concerto in D Major, Op. 35
Pyotr Ilyich Tchaikovsky (1840-1893)
It is always curious to music lovers of contemporary society to read the disparaging remarks made about music that is well-loved today by those who were living at the time those pieces were written. In fact, books such as "The Lexicon of Musical Invective" by Nicholas Slonimsky are devoted to original bad reviews of what are now considered great works. And, so it was, that the treasured concerto for violin of Peter Ilyich Tchaikovsky was disdained for "vulgarity" and tearing the violin until it was "beaten black and blue". Even the great violinist, Leopold Auer, for whom the piece was originally written, pronounced it unplayable until he made his own modifications to it.
Often, when writing a piece with a specific soloist in mind, a composer will consult with that person and let him know of those plans. Not so, Tchaikovsky in this case. Here's Auer's account in the New York magazine, Musical Courier, which he gave in 1912, a generation after the concerto's premiere:
When Tchaikovsky came to me one evening [over] thirty years ago, and presented me with a roll of music, great was my astonishment on finding that this proved to be the Violin Concerto, dedicated to me, completed, and already in print. My first feeling was one of great gratitude for this proof of his sympathy toward me, which honored me as an artist. On closer acquaintance with the composition, I regretted that the great composer had not shown it to me before committing it to print. Much unpleasantness might then have been spared us both….
The concerto would eventually be dedicated to Adolf Brodsky only to be subjected to the criticism cited earlier by Viennese critic Eduard Hanslick. To be fair, the conductor at the helm for that premiere, Hans Richter, did not allow for enough rehearsal time for this new work and it likely was a sub-par performance, at best. But time and ears that are accustomed to a great many harmonies are gentler judges of a grand concerto that has become beloved by cultures the world over and it retains its place as a favorite of music lovers.
Please join us for the performance of the first movement from Tchaikovsky's Violin Concerto on Sunday, April 13, 2014 at 3 p.m. at St. Michael's Lutheran Church. Violinist and winner of the Mary West Solo Competition Winner Emily Saathoff will be joining us to perform this great work. Learn more about Ms. Saathoff here.
Filed Under: Manny's Musings, News Tagged With: Bloomington, Concert, Manny Laureano, Tchaikovsky, Violin Concerto
"The Passion of Rachmaninoff" Concert Preview No. 2
This "Concert Preview" will provide background information on the pieces the BSO will perform next. Each Concert Preview is written by the BSO's Artistic Director and Conductor, Manny Laureano. Look for the next Concert Preview on February 10.
Concerto for Violin in A Major, "The Turkish" by Wolfgang Amade Mozart
The year 1775 was a productive one for the 19 year-old Joannes Chrisostumus Wolfgang Gottlieb Mozart, at least as far as writing violin concerti is concerned. He had written his first a few years earlier and for reasons that are still unclear wrote the flurry of four that year. After having written his first in Bb major he settled on D major twice, G major, and finally A major for this fifth and final concerto.
While this concerto is nicknamed "The Turkish" it could have gone by several names as there are many structural surprises within. First, it is unique in its first movement form. After the orchestra bursts forth with the Allegro Aperto that begins the first movement, the listener may be a bit stunned to hear the orchestra come to a halt and have the solo violin begin its entrance with a ballad-like Adagio! This daydream is over shortly and the listener is, once again, surprised to hear a theme from the solo violin that has yet to be heard unlike most concerti of the classical period which warm up your ears by having the orchestra play the theme before the soloist enters. In fact, what you hear is the accompaniment without the solo voice on top. In a way, it is reminiscent of Mozart's overture to his opera The Marriage of Figaro which uses not a single theme from the actual opera. Imagine the audacious brilliance of having so much music in your head that you can afford to just throw themes away without the worry that you may be using up your reserve!
The other surprise is that this concerto could have just as easily been named "Symphony for Violin." Typically, classical concerti are three movements long in a fast-slow-fast format. This one follows suit but with a twist. After the second movement Adagio we are treated to a lovely Tempo di Menuetto just as one would expect from a typical classical… symphony! As the violin dances in 3/4 time throwing in a flirtatious cadenza here and there we are, as we were in the first movement, interrupted by an unexpected Allegro this time. This Allegro is given the "Turkish" treatment. That is to say that the Austrian fascination with the exotic qualities of the Ottoman Empire reveals itself in a fast pulse and the request from Mozart to have the cellos and basses turn their bows over and strike the strings with the wood part as well as the horse hair. This percussive sound and the brusque trills from our soloist give a foot-stomping dance quality to the music. This foray into the exotic is temporary as the orchestra returns to our elegant Minuet for an ending that closes the door on our concerto as one would the door to a child's room after having read an exciting story before being tucked into bed.
The Bloomington Symphony's own concertmaster, Rebecca Corruccini (pictured, left), will be the featured soloist on this concerto. Please join us for this concert, "The Passion of Rachmaninoff," on Sunday, February 16 at 3 p.m. at St. Michael's Lutheran Church in Bloomington. To purchase tickets in advance, please visit our online box office here. Tickets are always available at the door.
Filed Under: Manny's Musings, Musicians, News, Season Tagged With: Concert, Conductor, Manny Laureano, Mozart, Rebecca Corruccini, Season tickets, Violin, Violin Concerto
The Passion of Rachmaninoff
The Bloomington Symphony Orchestra invites you to an afternoon of great music on Sunday, February 16 at 3 p.m. The concert begins with Wagner's Overture to Rienzi, followed by Mozart's Violin Concerto No. 5 in A Major, performed by our concertmaster, Rebecca Corruccini. The program concludes with Symphony No. 2 by Sergei Rachmaninoff.
Maestro Manny Laureano thinks that the second movement is so romantic, you might want to bring a date! Wrap up your Valentine's weekend with a concert of beautiful music. Ticket information can be found here.
Keep an eye on this page for Manny's Musings, a preview of the concert music.
Filed Under: Musicians, News, Season Tagged With: Concert, Concerts, Conductor, Manny Laureano, Mozart, Rachmaninoff, Rebecca Corruccini, Tickets, Violin, Violin Concerto, Wagner
BSO to perform with Emily Saathoff, Violin in April 2014
April 13 seems a long time from now, but we are looking forward to the opportunity to play the first movement of the Tchaikovsky Violin Concerto with Emily Saathoff at our concert, "Music in 3D."
Ms. Saathoff was recently named the Grand Prize winner of MNSOTA (Minnesota String Orchestra Teachers Association) Mary West Solo Competition. Part of the prize is the chance to play with the Bloomington Symphony Orchestra – Minnesota. Please join us in congratulating Ms. Saathoff and come to hear her play one of the violin's great concerti!
Filed Under: News, Season Tagged With: Appointments, Concert, Emily Saathoff, Mary West Solo Competition, MNSOTA, Music in 3D, Tchaikovsky, Violin Concerto


The Commonwealth Parliamentary Association (CPA) and the Commonwealth Youth Orchestra and Choir (CYO) hosted the Launch Event of Believe in Westminster in Commonwealth Week 2019.
Believe was performed by 53 members of the Commonwealth Children's Choir, with members of the Commonwealth Scholars' Choir,Commonwealth Orchestra and Youth Orchestra, conducted by Simon Haw MBE.
A new song, Believe, words and music by Simon Haw MBE, was world-premiered by 500 children of the Commonwealth Children's Choir on Commonwealth Day 2019.
Believe is dedicated to Her Majesty The Queen, Head of the Commonwealth, on the occasion of Commonwealth Day 2019 and the 70th anniversary of the establishment of The Commonwealth in 1949. Believe has been gifted by the composer to the children of The Commonwealth.
Composed by Commonwealth Music Ambassador Simon Haw MBE.
The CYO's Commonwealth Scholars' Choir and the Commonwealth Children's Choir were honoured to be invited to perform with the State Ceremonial Musicians, the Coldstream Guards Band and the Countess of Wessex String Orchestra, in the world premiere of Cenotaph Requiem by Simon Haw MBE.
Akbar Khan, the Secretary-General of the Commonwealth Parliamentary Association and Simon Haw MBE, winner of the Commonwealth Music Competition 2016 at the launch in Westminster, London, UK.
On Monday 10 December 2018, on the occasion of the 70th Anniversary of the Universal Declaration of Human Rights (UDHR) 1948, the Commonwealth Youth Orchestra and Choir, in collaboration with the Commonwealth Parliamentary Association, launched the Commonwealth Music Competition 2018 and the Commonwealth Children's Choir Competition 2018.
On Wednesday 26 September, by kind permission of The Master, Professor Jane Stapleton DCL and The Fellows of Christ's College, Cambridge, the CYO held a special event as part of its programme Inspire to Aspire – Creating Opportunities for Engaged Diversity.
On the occasion of Alderman Charles Bowman, The Lord Mayor of London, becoming President of the Commonwealth Youth Orchestra and Choir, a new composition, "A Song For The Lord Mayor of London" was composed by Composer-in-Residence, Paul Carroll, which has been dedicated to The Lord Mayor of London and The Lady Mayoress.
The bound score of the composition was presented to Alderman Charles Bowman, The Lord Mayor of London by Major Simon Haw MBE at Mansion House in the City of London in July 2018.
To mark the occasion of the Commonwealth Heads of Government Meeting London 2018 the Commonwealth Youth Orchestra and Choir launched a third new recording.
At Cadogan Hall, London, on Monday 23 April 2018, to mark the occasion of the 2018 Biennial Meeting of the Commonwealth Heads of Government in London, the Commonwealth Youth Orchestra and Choir launched the third CD of its trilogy of non-commercial recordings made with the ceremonial state Band of the Coldstream Guards conducted by Major Simon Haw MBE.
This CD is called In Unity and it is dedicated to Prince Harry on his taking up his new role, on 16 April 2018, of Commonwealth Youth Ambassador.
To launch In Unity, 53 members of the Commonwealth Children's Choir sang "To Be A Friend" accompanied by the Band of the Coldstream Guards, conducted by Major Simon Haw MBE.
This specially composed song, "To Be A Friend", was performed at Buckingham Palace on Thursday 19 April 2018 to welcome the Commonwealth Heads of Government on their arrival at the Opening Ceremony of their Biennial Meeting, which was formally opened by Her Majesty The Queen, Head of The Commonwealth.
Also included on In Unity CD is a special orchestral and choral work, Earth Dance – A Commonwealth Cantata in Six Parts composed by Simon Haw, which was commissioned by the Commonwealth Youth Orchestra and Choir as a musical manifestation of the core values of the 21st century Commonwealth.
On 17 April 2018 the CYO released a special, non-commercial CD "City of London", which has been produced with the support of The City of London Corporation.
The CYO's City of London CD was launched at a Banquet, which was hosted by the City of London Corporation, held on the occasion of the Commonwealth Heads of Government Meeting London 2018.
The Commonwealth Children's Choir, conducted by Major Simon Haw MBE, performed "To Be A Friend" a special song written to welcome the Commonwealth Heads of Government to their meeting in London on 19 April 2018.


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Rockstar Drops the Price of Grand Theft Auto III to $2.99
Back in early December Rockstar announced the 10th anniversary edition of Grand Theft Auto III would be coming to the App Store for the iPhone and iPad. It was released just over a week ago at $4.99, but now it appears the price has been dropped to $2.99, a significant savings. The game comes in at a 462MB download.
This 10 year anniversary edition of Grand Theft Auto returns to where it all started–Liberty City. If you've been considering this game, now is the time to pick it up as the reviews so far have been quite positive. Are you playing GTA3 right now?
Click here to download Grand Theft Auto III, it's $2.99.
Note: Rockstar has also lowered the price of GTA: Chinatown Wars and Beaterator as well, for the holidays.
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