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The richest musicians in Nigeria are undoubtedly the biggest Nigerian musicians with crazy popularity and reach, particularly those who have been around for up to a decade.
Most of these musicians are living the dream life all thanks to the successes they have and are enjoying. With constant European and African tours and making massive money from owning record labels and profiting from celebrities signed under them.
In this post, we have detailed the top 10 richest musicians in Nigeria and their net worth. Note that these things change periodically. We, however, promise to try and update this regularly. For now, enjoy this post!
10 Richest Musicians In Nigeria & Their Net worth
Below are the top richest musicians in Nigeria and their net worth, as on Forbes:
10. Banky W – $5 Million
Olubankole Wellington (born 27 March 1981) widely known as Banky W is a Nigerian recording artist, songwriter, actor, politician and record label owner of Empire Mates Entertainment (EME).
Banky W signed Wizkid to his record label while the latter was struggling to gain recognition in Nigeria. However, the international act would later leave EME after his Starboy album.
Banky W is more of an actor currently than a musician. Despite this, he remains one of the most bankable celebrities in Nigeria and also a brand influencer and ambassador for various top multinational brands like 9Mobile (formerly Etisalat), Samsung, Uber, and others with gains going into millions of Naira.
Banky W is one of Nigeria's richest musicians with an estimated net worth of $5 million.
9. Olamide – $8 Million
Olamide Adedeji (born 15 March 1989) who is popularly known as 'Olamide' or 'Badoo' is an indigenous Nigerian rapper, singer, songwriter and label owner of YBNL record label. Olamide started out as a musician shortly after the indigenous rapper, Da Grin passed on in a fatal accident while returning from a club.
Olamide has been one of the richest Nigerian rappers a while now and has remained consistent ever since he set up in his musical sojourn. He owns YBNL and has churned out amazing talents over the years including, Lil Kesh, Adekunle Gold, Chinko Ekun, etc. Besides being a songwriter and a musician, Olamide is regarded as one of the best rappers in Nigeria
Olamide is one of Nigeria's most accomplished musicians in Nigeria with an estimated net worth of $8 million. He is a brand ambassador to top brands in Nigeria and one of Nigeria's most bankable musicians.
8. Timaya – $9 Million
Enitimi Alfred Odom (born 15 August 1980) professionally referred to as 'Timaya' is a Nigerian dance hall musician, songwriter and recording artist from Bayelsa, South-South Nigeria. He is the owner of the music label, Dem Mama (DM) Records.
Timaya though loves to keep a low profile by not trending for wrong reasons but he is undoubtedly one of the richest musicians in Nigeria.
Timaya reportedly charges N8 million per show just to perform which makes him one of the highest-earning musicians in Nigeria.
Timaya has quite a handful of high-profit endorsement deals signed with top brands operating in Nigeria. Some of these brands include Nigerian TeleCo, Glo and Cognac brand – Hennessy Nigeria PLC e.t.c.
Timaya has an estimated net worth of $9 million, making him one of the richest musicians in Nigeria.
7. Rudeboy – $10 million
Paul Okoye (born 18 November 1981), popularly known by his stage name 'Rudeboy', is a Nigerian musician, songwriter and recording artist and a member of the defunct P-Square group. He is the record label owner of Rudeboy Records and the twin brother of Peter Okoye, popularly referred to as Mr. P.
Ever since his split with his twin brother, Rudeboy has enjoyed massive success following back to back hit songs including 'reason with me' and 'Audio Money', which has propelled him to embarking on tours within Nigeria, Europe, across Africa and the United States.
Paul Okoye, popularly known as Rudeboy is one of the richest musicians in Nigeria with an estimated net worth of $10 million.
6. Mr P – $11 million
Peter Okoye (born 18 November 1981), popularly known by his stage name 'Mr P', is a Nigerian musician, songwriter and recording artist and a member of the defunct P-Square group. He is the record label owner of P Classic and the twin brother of Paul Okoye, popularly referred to as Rudeboy.
While as a member of the defunct Psquare group, Peter was regarded as the more stylish, Usher Raymond-like and more importantly, the dancer of the duo. Unfortunately, Peter walked away from his twin after several years of success with his twin brother over what he termed 'disrespect' to him and his immediate family, particularly his wife Lola Okoye.
Peter Okoye, popularly called Mr. P has an estimated net worth of $11, making him one of the richest musicians in Nigeria and the richest of the Psquare group. He is also the CEO and owner of Zoom Lifestyle Lottery and owns a mansion in Atlanta, Georgia, beside his twin brother's.
5. D'banj – $12 million
Oladapo Daniel Oyebanjo (9 June 1980) professionally known as D'banj or Koko Master is a Nigerian born musician, singer, songwriter, entrepreneur, and television personality. He is the label owner of DB Records.
Dbanj at some point was the most influential and most widely known Nigerian musician until his relationship with his former producer and friend Don Jazzy crashed.
DBanj picked his name from a combination of his first name, Dapo, and his surname, Oyebanjo. Although Dbanj has rested a bit from making music compared to way back, his investments in Nigeria and abroad have made sure DBanj remains one of Nigeria's richest musicians.
One of DBanj's companies, CREAM Platform was valued at $100 million by an American firm.
Dbanj is one of Nigeria's and Africa's richest musicians in Nigeria with an estimated net worth of $12 million.
4. 2Baba – $12.5 million
Innocent Ujah Idibia (18 September 1975) popularly known as '2Face Idibia' or '2Baba' is a legendary Nigerian singer, songwriter, record producer and entrepreneur from Benue State.
2Baba is undoubtedly the most respected Nigerian musician today and is the only solo musician that has successfully released back to back hits for over a decade. The other being the defunct Psquare group.
2Baba is one of the oldest musicians in the music industry having spent 20 years and transited greatly from a boyband group, 'Plantainshun Boys'.
The legendary has multimillion endorsements in his belt with several top multinational brands. Some of these brands include Globacom, Campari. Guinness, etc.
Innocent Idibia also referred to as 2Face Idibia or 2Baba is the most respected Nigerian musician and regarded as a living legend with an estimated net worth of $12.5 million.
3. WizKid – $14 million
Ayodeji Ibrahim Balogun (born 16 July 1990) professionally known by his stage name Wizkid or StarBoy, is a Nigerian musician, songwriter and record artist born into a polygamous home in Lagos, Nigeria.
Wizkid is one of the most popular acts in Nigeria with an international reach. In 2018, he was reported to have been paid $681,200 (N245.9 million) to perform in India at a Royal wedding at Umaid Bhawan Palace.
Wizkid has many and several endorsements to his names, just as luxury properties within and outside Nigeria. Wizkid has lots of endorsement deals with brands in Nigeria and around the world. Some of these brands include Glo, Pepsi, Ciroc, Nike, and Dolce & Gabbana.
His record label, Starboy has several big names within and outside of Nigeria in it. Some of the musicians signed into Star Boy records include Legendary Beatz (Uzezi & Okiemute Oniko), L.A.X, R2bees, Mr. Eazi, Efya, and Terri.
Ayodeji Ibrahim Balogun popularly referred to as Wizkid has an estimated net worth of $14 million, making him one of the richest musicians in Africa and Nigeria.
2. Davido – $16 Million
David Adedeji Adeleke (born 21 November 1992) popularly referred to as Davido is a Nigerian singer, songwriter and record producer who is currently based in Nigeria, West Africa. He was born in Atlanta, Unites States of America but was raised in Lagos State, Nigeria. He is the joint-Nigerian musician with international reach alongside Wizkid.
Davido's father is a Nigerian business magnate and his late mother was a university lecturer. He attended the British International School in Lagos. Davido studied business administration at Oakwood University prior to relocating to Nigeria. Davido's interest in music started during his time at Oakwood University.
He bought musical equipment and started making beats, in addition to recording vocal references. He dropped out of Oakwood University when he started getting bad grades and relocated to London, where he focused more of his energy towards vocals as opposed to production.
Davido never fails to splurge or show that he is wealthy. The DMW boss no doubt has a large heart and never fails to take care of celebrities signed under him.
Davido sits at #2 in the list of richest Africans on Instagram, only behind Mohammed Salah! Davido ranks as the 53rd richest Instagram celebrity in the world. He is ranked #1 as the richest Instagram celebrity in Nigeria for the third consecutive year.
Davido is one of Nigeria's biggest and richest musicians with an estimated net worth of $16 million.
1. Don Jazzy – $30 Million
Michel Collins Ajereh (born 26 November 1982) who is popularly known as Don Jazzy is a Nigerian music producer, singer, songwriter, and entrepreneur. He is the founder of the defunct Mo-Hits record label in 2012 which had D'banj, Wande Coal, Da Prince, etc on it. Sadly, the label went into oblivion following the departure of his main star, D'banj who signed for Good Music label owned by Kanye West.
Don Jazzy picked up and floated another label, Supreme Mavin Dynasty Music Records, which presently accommodates Rema, Korede Bello, Dr. Sid, D'Prince, Johnny Drille, POE, and recently – Crayon.
Don Jazzy reportedly worked as a security guard in the United Kingdom and found opportunities with playing bass guitar as it became a source of income.
It wasn't too long before he joined a band owned by one of his friends and started playing at different venues, including restaurants. It wasn't too long before luck smiled on him and his popularity grew and started to make £500 per gig. Today, as we know it, is history.
Don Jazzy is Nigeria's most respected music producer with an estimated net worth of $30 million and he is the richest musician in Nigeria.
Wrapping Up!: Although Don Jazzy is the richest musician in Nigeria since he rarely sings and largely focuses on production, we cannot exclusively refer to him as a musician even though he constantly harmonizes songs of members of his record label. Given this, the richest musician in Nigeria would be Davido!
If you enjoyed this content, kindly share this post and leave a comment if you can. Your feedback means a lot.
Richest Musicians in Nigeria
Banky W – $5 million
Olamide – $8 million
Timaya – $9 million
Rudeboy – $10 million
Mr P – $11 million
D'banj – $12 million
2Baba – $12.5 million
WizKid – $14 million
Davido – $16 million
Don Jazzy – $30 million


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The Road Between Here and There
Reflections from Christopher W. Myers
Theology as Architecture: On Avoiding Some of the Temptations of Systems
My friend Christopher Benson recently posted some thoughts about the nature of systems in theology (and philosophy) and the temptation to believe that a system can actually be comprehensive and truly account for everything. The problem lies less with systems themselves and more with systematizers who believe they have accounted for everything and then dismiss all evidence to the contrary.
As a student of systematic theology, I share these same concerns. In my own doctoral work, I have apprenticed myself to a theologian who was famously wary of systems in theology, Hans Urs von Balthasar. While insisting on wholeness and the integrity of form, Balthasar also insisted that no one theology is the theology. He often spoke of theology in symphonic terms where many voices/instruments sound together to suggest the whole. Any given theologian or theology, however helpful, however illuminating, is still only a part of the whole. The first violin is important, perhaps even crucial to the orchestra, but the first violin can never be the whole orchestra.
How then to avoid the temptation of totalizing systems? Benson says stories are one check against the hubris of the systematizer. Stories, he says, resist systems, or at least, systems that insist on being absolute. In that vein, I want to offer here two other possible checks on a system becoming absolute—thinking of theology in aesthetic terms, particularly architecture, and thinking of theology as a map.
But first a word in defense of systematic theology as a discipline. In The Architecture of Theology A.N. Williams argues that theology is inherently systematic. Why? Because theology describes revelation in terms of relationships and systems describe relationships through the right use of reason. By reason I mean in a holistic sense that is both ratio and intellectus, both discursive and intuitive. I mean it in the sense Josef Pieper describes in Leisure the Basis of Culture. I mean reason in the sense that thinkers like Irenaeus or Augustine would use the word, and not in the Enlightenment sense. In any case, Williams says that trying to say anything about the two subjects of theology, God and all things as they relate to God, must involve both reason and relationship and therefore are, in terms of Williams argument, inherently systematic.
To my own broader point about thinking of theology in aesthetic terms, Williams uses the metaphor of theology as architecture to make these points. A wonderful building requires the systematic construction of different materials that are rightly related to each other (read reasonably and pleasingly related to each other). Both Dante's Divine Comedy and Thomas's Summa Theologica are often described as the literary equivalents to the great gothic cathedrals because both are works in which every piece proportionally relates to every other piece, and taken together there is unity and radiance, in word they are beautiful.
Thinking of theology in architectural terms is not entirely dissimilar to the case Balthasar makes for beginning theology with beauty. By beginning with beauty, Balthasar makes a case for wholeness and integrity in theology on the basis that a work of art can be complete in and of itself and yet make no claim to totality. A work of art with clarity, integrity, and harmony, means and means deeply, but no one would therefore describe it as the only work of art. Theology likewise need not be comprehensive (and can never be given God as its subject) in order to be beautiful (that is have radiance and integrity) or meaningful.
The other image is that of theology as a map. And I want to take up that image in another post.
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Not speed, not breadth, but purpose – On the Purposive Intellect of Abraham Lincoln
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contextulization
Intellectual Appetite
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Christopher W. Myers
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I serve as Associate Rector at St. Bartholomew's Anglican Church in Dallas, Texas, and I'm currently a PhD student at Durham University, where I am studying Hans Urs von Balthasar with Professor Karen Kilby.
This site is a place for me to think out loud and a place to invite others to think along with me.

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The AKG DSE-7000 - "A Digital Workstation Just For Us!"
by Jerry Vigil
At least a dozen times in the past year, it seems this RAP sheet has had to use, in one article or another, the phrase, "designed with the musician in mind." We have had to accept factory programs in our digital processors that bear names like "acoustic guitar reverb" or "thunder snare." We have all seen ads and brochures or read articles about six-figure, RAM based digital workstations that are "perfect" for the large production house that makes its money churning out major productions for the film, television, or music industry, and, by the way, it'll work in broadcast situations, too. In the world of the big digital audio workstations, radio production types have humbly remained unnoticed, clinging to our trusty 4 and 8-track analog recorders while manufacturers continue to design their DAW's for the larger markets of the music, film, television, and recording industries. Well, things have changed, and our hats are off to AKG Acoustics for the most serious approach to digital audio workstations designed for radio, our industry has ever seen.
AKG didn't contact major recording studios and ask the engineers what they thought would be a good machine to produce radio spots on. They didn't call up engineers at radio stations across the country and ask what they thought their Production Directors could use in their studios. Instead, AKG spoke directly to the people who spend their days cranking out spot after spot, promo after promo, sweeper after sweeper. They spoke to Production Directors, and they asked the right questions -- questions like, "What's most important to you, speed of production or the ability to reshape the ADSR envelope of a sound?" They asked, "Do you want a machine that will double for the cockpit of an F16 fighter jet, or do you want a machine that will put your old 8-track to shame and be half as easy to use and three times as fast?" They asked, "What do you want this digital workstation to be able to do?" They talked to the people the unit was to be designed for and managed to come closer than any other manufacturer to providing a DAW specifically for the small group of people that are radio's production rats. The machine is called the DSE-7000, and it belongs in every radio production room where speed, quality, and ease of use are top priorities.
The DSE-7000 is RAM based. If a system isn't RAM based, it utilizes the hard disk recording technology we discussed last month. On the DSE-7000, all editing, recording, and playback functions are done in RAM. This aspect alone sets this machine well above the many hard disk systems on the market when it comes to speed, one thing most necessary in a radio production environment. However, as is the case with any RAM based system, this speed comes at a price, but we'll drop that bomb on you later.
The DSE-7000 is very simple in design. The computer running the show is an Intel 80386 based IBM compatible. Like any personal computer system, you get a keyboard, a monitor, a hard disk drive, and a floppy disk drive. The keyboard is hidden under the control panel and is used primarily for naming productions or elements you wish to save. The internal hard disk drive is used only for backup and storage purposes. The floppy drive has several purposes we'll mention later. The monitor is your standard fourteen inch color monitor. Add a couple of DSP cards for proces-sing the audio and you have a PC ready to deal with digital audio.
Next, and most impressive, is the software this computer runs. Consisting of a handful of DOS files residing on the hard drive, the program itself is the heart of the DSE-7000. This is a program written for 8-track radio production. It's straight forward and easier to learn than some video games. This facet of the program makes it very attractive to stations where more than one person will be using the machine. You don't need to be a computer wizard to use it. You don't need to be a MIDI magician to understand it. A basic understanding of multi-track production is all that is needed to be up and running on the machine in thirty minutes or less. A jock who is familiar with blade editing and simple 4-track production will fall in love with the DSE-7000 before he or she has even read the manual.
Ty Ford
This comment was minimized by the moderator on the site
By Ty Ford
It was October of 1990. I'd been writing reviews for Radio World since 1987. AKG had a what? A workstation? Sure, send it. The first one arrived with a dead power supply in the PC tower. I soon met messrs. Pierce, Blesser and Steadman over the phone.
The entire tower was replaced overnight. A long cable was needed so the tower could be shoved into a closet like a red-headed stepchild because it was noisy!
I had been doing radio production for twenty years, primarily with mono and stereo reel to reel and cart machines. You know the drill; fingers, knees and elbows to hit the play buttons while you performed copy at the same time. Because Pierce, Blesser and Steadman had done their homework, it took moments for me to figure out how to use the DSE 7000. The scrub wheel let you rock the audio just like rocking analog tape reels; and dead nuts accurately.
The DSE 7000 list price was $46,500 by then. Very expensive for radio broadcasting GMs to get their heads (much less...
The DSE 7000 list price was $46,500 by then. Very expensive for radio broadcasting GMs to get their heads (much less budgets) around. After two months at my studio, I joined the team, bought one and never looked back.
Somewhere in my memorabilia, I'm sure I have a paper copy of my review in Radio World. I was asked for a quote for AKG marketing. It ended up on the back of a DSE 7000 T-shirt that was given away at the next NAB Convention. I have one of those T-shirts in a cedar chest. I said something like, "To me it's another day in the studio. To my clients, it's a magic carpet ride."
I remember being called in several times to local stations by AKG to do a demo on a loaner. WPGC AM/FM was one such occasion. They are in Washington DC. I knew their CE who also wrote for Radio World. I told him the DSE 7000 was a game changer. It took 3-4 days for me to arrange to meet with the Production Director at WPGC. By then, he had already figured most of it out and was stunned by its abilities.
When I left radio in 1986, the DSE 7000 allowed me to attract clients because of the speed of the workflow and facility with which you could edit. I remember one session in which audio was brought in on reel to reel for me to edit and mix. I'm loading in the audio and part of me is freaking out because I hear this hissing noise. WTF is THAT!! Oh, its tape hiss. My God, I'd forgotten all about tape hiss by then.
The DSE forced one other technical change. I had been using a Sennheiser 421. The CRT of the DSE 7000 blew a ring of EMI noise straight out like a smoke ring. The 421, being a dynamic mic with a coil attached to a diaphragm picked the noise up very well. Gotham Audio had just lost the Neumann account, found Gefell in East Germany and began to import them into the USA. I replaced the 421 (still have a nice pair of them) with a Gefell M71 cardioid condenser mic and a Symetrix 528.
I got the Mattress Discounters account and was producing a TV VO track and multiple radio spots with edits for Boston, NJ, Baltimore, Washington, Richmond and San Jose. Each spot had to be customized with a tag for each market. No problem. After I edited and mixed each version, I rolled the dubs off onto two Revox PR77 mk ii and FedExed a package of dubs to each market. At its peak, my Mattress Discounters account was worth $30,000 a year.
Hammerjacks, a major local R&R bar and concert venue was in every week to do at least two concert spots, each with 5-6 upcuts. We needed to time compress the voice guy because they always had too much copy. By then I also had (and still have) an Eventide H3000 with full sampler card. I'd record his voice to the DSE 7000, edit out the breaths and send it to the H3000 sampler card where we could typically get 10-13% compression before things started to sound wonky. Then I'd dump that back to the DSE 7000 and add music drops and mix. My mix chain included an Aphex Compellor followed by an Aphex Studio Dominator. BANG!
I remember calling my Hammerjacks guy and telling him that his studio rate just went up 50%. Naturally, he was shocked! Then I told him that because of the DSE 7000, he would not be spending a penny more than he had been spending because I could work so much faster. I also told him that he no longer needed to hang around while I recorded him over music drops to tape, so he'd only be here for maybe an hour instead of 3-4 hours. Naturally, he was delighted. I'm still working some with him today.
The DSE 7000 continued to allow me to make a living until about 2000. By then it had become the Orban Audicy. There was a new controller (console) more tracks and more features. It was, however, being pushed into retirement by Pro Tools and other software. I sold mine to a nice guy whose name escapes me; Mike, I think. He was out of somewhere near the Great Lakes. Maybe he will read this and reach out. Sorry for the bad memory. He was doing VO work from his home and had used a DSE 7000. He didn't want anything else. Not even a Fostex Foundation 2000 that had come out in 1993. I saw it at NAB. It was good but it still wasn't a DSE 7000.
Mike met me in a mall parking lot in Harrisburg, PA and we did the transaction. Loading the tower and controller from my trunk to his felt a little like a dope deal going down. If there's a Hall Of Fame for radio production gear, the DSE 7000 deserves to be there.
Comment was last edited about 3 years ago by Jerry Vigil Jerry Vigil
Jerry Vigil Ty Ford
Ty dug up his review of the DSE7000 from 1990! Here are links to the two pages from Radio World:
https://rapmag.com/files/archives/2015/dec/TyFordDSE70001.jpeg
America's Voice Talent
Affordable Radio Imaging
The R.A.P. Cassette - January 1992
Imaging, commercial production and more from Craig Rogers/WHO, Bumper Productions, Rick Allen/WQHT, Tracy Schakohl/KPLZ-FM, Al Peterson/WLAD, Laurent Eveno Creative in France, John Pellegrini/WKLQ, David Witz/WYXR and ...


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Q: Random freeze after upgrade to 16.04 Last week I upgraded from 14.04 to 16.04 with Gnome on my Asus zenbook UX301L and now it freezes randomly while programs like gedit and firefox are running and the laptop is hooked up to an external screen and mouse and keyboard while the lid is closed. Opening the lid doesn't bring the laptop screen to live and there's no reaction to keyboard, mouse or touchpad. I think it might have something to do with switchting between programs using Alt+Tab or suddenly using the mouse, but I'm not sure.
I've tried updated the kernel to 4.4.8 as suggested here Laptop freezes after connecting external monitor, since 16.04 update
I've also tried editing the grub file as suggested here: Freezing of screen on Ubuntu 16.04
But still the freezes remain. Does anyone have a suggestion of what might cause the problem?

A: I had a very similar issue to this when I was using Ubuntu. Only way I could fix the constant freezing seemed to be to reinstall using my installation flash drive. However after a couple months it always seemed to come back, so I switched to Lubuntu. Seems to happen there as well.

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Home | Schools | Publications | Guide | A-Z Index | Links | Help
The Schoolboys Own Library (1925-1940)
1925 1926 1927 1928 1929 1930 1931 1932 1933 1934 1935 1936 1937 1938 1939 1940 Sources
The Schoolboys Own Library was established in 1925 by C M Down as a means of reprinting earlier stories from the Magnet, Gem, etc. Sub editors at the Amalgamated Press would select and edit the stories, and the original author would be paid an honorarium for the re-use of his story. Originally two volumes were published each month, containing 64 pages, but from issue 167 each volume was expand to 96 pages.
The series came to an end due to the paper shortages of World War II. From issue 394 the price increased from 4d to 4 1/2d, from issue 409 the page count decreased to 64 pages, and the last three intended issues (412-414) were not published.
The links on the left will take you to complete listings for the stories on a year by year basis. Where possible, I have added thumbnails of the covers for the period.
You can also download the complete Schoolboys Own Library listings in Adobe Acrobat format. Right click here and choose "save target as" to download the Acrobat file.
Acknowledgements | Images | Contact me | This page last updated June 2007


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NumbersUSA Ad in Presidential Debate Asks Candidates to Focus on the Numbers and One Million Legal Immigrants a Year -- Watch it here!
Wed, Aug 5th 2015 @ 3:38 pm EDT
The greatest concern about immigration policy should be the overall numbers admitted and not about the race, national origin and other characteristics of individual immigrants, claims the NumbersUSA TV commercial to be aired during this Thursday's Republican Presidential debate on FOX News.
"We are glad that candidates are beginning to address various problems of our immigration policies, but our ad seeks to remind presidential hopefuls and voters that the overwhelming issue is that our government will admit another one million immigrants into the United States this year alone," said Roy Beck, President of NumbersUSA, a grassroots organization claiming nearly 3 million participants.
"All American wage-earners and their families are potentially affected by the fact that every one of those million new immigrants each year gets a life-time work authorization to compete for jobs despite persistent wage stagnation and 17 million Americans who are still unemployed or underemployed."
The TV ad features a diverse group of Americans calmly making the point that the immigration debate should not be about the color of people's skin or their nation of origin, but it should be about the numbers.
To view the NumbersUSA Worker-Protection Immigration Grade Cards go to www.NumbersUSA.com/2016


While these errors can all point to an issue in the database buffer cache, you may have tried to flush the buffer cache but the errors return.
When analyzing/validating the affected table(s), you find an error (e.g. ORA-1498 or ORA-1499) reported during the analyze command indicating corruption.


I started thinking about this, and the best model I can see is the old PGP "web of trust". The idea was fairly simple, but the problem it solved was complex: how can you safely rely on the digital signature of someone whom you've never personally met? If a signature was a fake (i.e., someone misappropriated another's public key), then it was unreliable. Trust, in the context of the PGP web of trust, established both your certainty that the individual was who they said they were, and that the individual was reliable in taking care of her digital info.
If I trusted you, and you trust others, than my trust of you would be imputed to the others. By trusting just a few well-connected individuals, you would have a trust network on which you could rely. Pretty elegant.
In the context of the issue Jenny raises, it goes further. She points out that librarians need a system they control. This isn't that much different than weblogs: how do I know the information that you're presenting is reliable, authentic, etc? What we need is a decentralized approach – one in which I can establish my own trust parameters (i.e., "if Jenny links to it, I'll trust it. If Bill links to it, I'll never trust it.") Google, as good as it is, is centralized – and the lack of independent validation of their methodology means that it's inherently flawed when it comes to individual valuations.
In response to today's article in The New York Times about Google's search for a business model, John Robb suggested this morning that Google should move to the desktop. I wonder if what John had in mind was something that would address Jenny's question: what if Google let me keep my own roster of trusted sites – so that Google's own search results would be skewed according to my rankings?


A Hard Row to Hoe: Getting on the Treatment Free Treadmill from Dean Stiglitz on Vimeo.
Dean Stiglitz at the 3rd Annual Organic Beekeepers Conference in Oracle, AZ.
The Microbial Environment Inside the Bee Hive from Dean Stiglitz on Vimeo.
Laurie Ramona Herboldsheimer discusses some of the little known (or understood) aspects of microbes in the hive.
Sam Comfort Talk from Dean Stiglitz on Vimeo.
Sam discusses his personal history in commercial beekeeping and his radical new approach to the old ways. A combination of youthful exuberance, and old soul wisdom.
James Fearnly: Propolis from Dean Stiglitz on Vimeo.
James speaks authoritatively about propolis, proplis in history, and about his research and company.
USDA Organic Standards: Arthur Harvey and Stan Hildebrand from Dean Stiglitz on Vimeo.
Two organic inspectors discuss a USDA Organic Standard.
Sam Comfort Singing at the 3rd Organic Beekeeping Conference in Oracle, AZ from Dean Stiglitz on Vimeo.
This video is of Sam Comfort (of Anarchy Apiaries) singing some bee and bug songs.


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Northern Road Relays: Team Medals
The championship event for both senior and young age group athletes was again held at the Sportcity Campus at Manchester. Athletes started and finished on the running track and the course then used the Etihad Stadium concourse and surrounding areas.
The club had a total of 15 complete teams - the Young athletes had 3 athletes in each team, the senior women 4 and the men 6.
The club's team managers - Richard Harris (Young Athletes), Nigel Brookes (Women) & Peter Shaw (Men) had done an excellent job to get the teams organised and the athletes there. The athletes themselves performed at such a great level that the club performance again consolidated the strong performances of 2017 and also confirmed that we are now one of the most consistent clubs in Yorkshire across all the age groups. Five of the teams finished in the top 10, and ten of the 15 teams finished in the top 20. We had two medal winning teams - the U13 girls A team were 2nd and the Senior women's A team were 3rd, the U13 girls B team won the 1st B team medals in 12th place - a phenomenal performance! Tje men's team matched their 2016 finishing position of 9th and comfortably qualified for the National event, on the 6th October, for the 12th consecutive year with 5 of the 6 athletes within 30 seconds of Luke Cotter's club fastest time.
Individual athletes performances of note were:-
U13 Girls:- Marci Walsh 5th Fastest time, Olivia Bell 9th Fastest time
U15 girls Hayley Butcher 6th fastest and 2nd on first leg.
U15 boys Josh Wragg 6th Fastest time.
Senior Women Sophie Cowper 8th fastest time, Natasha Hatswell 9th fastest time.
Full club results
Under 13 girls (42 teams finished)
1 Liverpool Harriers & AC 'A' 39:25
Amelia Topliss (2) 13:38
12 Rotherham Harriers & AC 'B' 42:54 (1st) B team
Nola Jakuc (27) 14:46
Mischa Walsh (19) 14:28
Lilia Harris (12) 13:40
Amelia Longden (12) 15:01
40 Rotherham Harriers & AC 'D' 50:27
Emily Bott (40) 15:39
Elise Bell (40) 18:47
Under 13 Boys (37 teams finished)
1 City Of Sheffield & Dearne AC 37:08
Luke Parker (3) 12:29
Luke Stables (5) 12:58
Reece Levitt (8) 13:22
23 Rotherham Harriers & AC 'B' 42:48
Owen Haffner (24) 14:47
Hayley Butcher (2) 12:39
Lahanna Vardy (9) 13:42
1 Morpeth Harriers & AC 'A' 34:34
10 Rotherham Harriers & AC 'A' 36:11
Joshua Wragg (3) 11:23
Samuel Gilson (6) 12:09
U17 Women (19 teams
Keiva Rennocks (8) 13:56 (12th fastest)
Bethany Mount (10) 15:30
Abby Stroughair (11) 16:45
Senior Women 4 stage relay (97 teams finished)
2 Leigh Harriers & AC 'A' 1:25:05
Natasha Hatswell (4) 21:04
Nicola Devine (5) 21:18
Stephanie Burns (3) 21:58
Sophie Cowper (3) 20:57
12 Rotherham Harriers & AC 'B' 1:32:10 (2nd B team behind Leeds city)
Samantha Hughes (13) 21:54
Jessica Freeman (28) 25:46
Fiona Davies (18) 22:25
Hannah Holmes (13) 22:05
57 Rotherham Harriers & AC 'C' 1:46:15
Jenny Reed (42) 24:05
Naomi Armitage (51) 26:51
Diane Elliott (46) 25:21
Emma Dutton (61) 29:58
Senior men 6 stage relay (127 teams finished)
1 Lincoln Wellington AC	'A' 2:00:15
Luke Cotter (12) 20:39
Daniel Kestrel (10) 20:44
Arron Larkin (9) 21:09
Steven Sims (61) 24:55
Rhian Hastey (44) 24:17
Carl Taylor (89) 24:18
Jack Stokes (78) 23:24
Steven Marshall (78) 24:12
James Gallacher (87) 28:40
Richard Parker (86) 25:41


text:
Camden Town ex-fiance of socialite Tamara Ecclestone accused of blackmail over sex secrets
Josh Pettitt
Published: 10:49 PM February 19, 2013 Updated: 1:34 PM October 14, 2020
The former fiance of Tamara Ecclestone is accused of blackmailing the socialite (pictured). Picture: Paul Bennett - Credit: Archant
Socialite Tamara Ecclestone was the victim of a £200,000 blackmail plot after her former fiance from Camden Town threatened to sell "intimate secrets" about their sex life to a tabloid newspaper, a court heard.
Derek Rose, of Arlington Road, had been engaged to the daughter of billionaire Formula One boss Bernie Ecclestone when she was 17.
But 10 years after their spilt the 33-year-old allegedly persuaded media studies student Jakir Uddin to email the heiress' agent demanding cash for his silence, Southwark Crown Court heard today.
Jurors heard that student Udin, posing as the agent of Miss Ecclestone's former fiance, wrote an email claiming the pair had been approached by a red top newspaper with a "life-changing" offer to spill the details of his sexual relationship with her.
Prosecutor William Boyce QC said the email was "timed to perfection" to coincide with Ms Ecclestone's appearance on Channel 5 reality TV show Billion $$$Girl, a series about her luxury lifestyle which aired in November 2011.
Mr Boyce said: "In the email, using Mr Uddin, who pretended he was his 'representative', they were effectively saying 'give us £200,000 or we'll sell intimate secrets to a tabloid newspaper'."
The barrister said the teenage Miss Ecclestone, now aged 28, had originally dumped Rose after he sold a lurid story about her private life to the Mail on Sunday for £10,000 in 2002.
Rose has changed his name by deed poll from Jonathan Ketterman,
Rose and Udin, who lives in Old Walsall Road in Birmingham, both deny blackmail.


I'm obsessed with this little guy. I found him a few months ago on a blackboard in a room that I'd been in many times before and yet, this time, the space appeared transfigured; as if his presence allowed to room to be charged with an electricity that can only be experienced when reality stop being real and becomes something more powerful. I was captivated by his spindly right side and slightly more muscular left, his extreme bow-leggedness, his slowly disintegrating body. I don't believe in profound experiences of art but, let me tell you, seeing him, seeing my little skeletal friend, was the closest I've ever come to being moved in a religious way by any piece of art, chalk on blackboard or otherwise. I just love him. I think he's amazing. Even now, when I'm not actually looking at the pictures themselves and am simply thinking of him, the idea of him, I feel myself becoming emotional. I just love him so much.
What was I supposed to write about? I can't even remember anymore. Something academic and insanely intelligent I suppose, but my little skeletal friend has taken up all of the space in my head. He is surely – wait. This is a waste of time, right? I need to actually say something worthwhile about this experience in order to make it seem like I didn't choose this subject matter just because I love the skeleton.
Okay, so let's think about this. Why was I so moved by him? What was it about this anonymous scribble that moved me to such an extent? I'm not entirely sure, to be honest. I think its because he conveys such an intense sense of absence. He is there, yes, and I can see him, but the way that he exists is closer to the not-quite-being-there of life than the Being-There with a capital bee tee that can only be experienced in art. This is my problem with most artistic experience, to be honest; that it does not, and cannot, represent lived experience. Because a piece of art is contained, complete, and has (she says warily) meaning, it exists as an opposite to life which, without exception, is multiple, unfinished, and meaningless. So, when you engage in a conversation with a piece of art, you really engage in a conversation with the reality that the art contains – the reality that you want to steal for yourself.
So that's fine, right? I mean, I guess it is, but if we want to say that art can be real or related to our own lives, then we kind of have to change our approach to both making and consuming art. If we want art to exist within our world instead of above it, then we've got to do something different. I guess that's why I like the skeleton so much. Yes, he is piece of art, in that somebody had to draw him, but he doesn't feel as contained as he should be. He is physically fading away, in that his left side has begun to disintegrate, and because his is drawn in chalk, which cannot be permanent, which allows him a sort of absence that most art cannot convey. In fact, after taking this picture, I rubbed him out. I wiped him from existence. It was sad, and hard to say goodbye, but as he entered into the skeletal afterlife, and all traces of him were removed from my vision, his importance was cemented. He represents to me a different kind of art; one that is closer to lived experience, and, in this, closer to what I want art to be.
Ashes to Ashes, Chalk to Chalk. Loving father, husband, and skeleton. He is survived by his admirer Ani Hurford, who says that her sadness will never end.
Also, I want to say to whoever drew this skeleton in D/L/037 on Friday 25th of January: I love your creation and, since you left him to be destroyed, am claiming all creative copyright over his image. Sorry about that.


text:
American conductor David Heusel passes away in Dublin ahead of concert
The concert has been cancelled as a sign of respect
John Patrick-Kierans
Renowned American conductor David Heusel has tragically passed away in Dublin.
Mr Heusel was in the capital to conduct the RTÉ Concert Orchestra at the National Concert Hall (NCH) tonight.
A spokeswoman for the NCH said: "It is with the deepest regret that we announce American conductor David Heusel who was due to conduct the RTÉ Concert Orchestra tonight at the NCH has passed away.
"The concert has been cancelled as a mark of respect. RIP."
It is currently unknown how Mr Heusel passed away.
The music veteran was born in America but began his career in Germany, where he worked for nine years as a vocal coach, director of musical studies and house conductor in Oberhausen, Kiel and Dortmund.
In 1989 he became the Assistant Conductor of the Philharmonie de Nice, France. His repertoire included both concert and operatic works.
From 1995 until 1997 he was the Musical Director of the Opéra Comique in Paris.
He conducted Mireille, La Bohème, Carmen and Die lustigen Weiber von Windsor to critical acclaim.
Community Centre in Tallaght closed and staff let go without warning
He then worked as a freelance conductor in Europe, North America and Asia.
In April 2008 he debuted in Moscow at the famous Stanislavsky Theater conducting 'Le sacre du printemps/Erda.'
His global career saw him work with the Canadian Opera Company, Toronto, the Savonlinna Opera Festival, Finland and the RTE Concerto Orchestra.
We'll be bringing you the very latest updates, pictures and video on this breaking news story.
For the latest news and breaking news visit dublinlive.ie/news.
Thousands join the March for Choice in Dublin to call for changes to Ireland's strict abortion laws


text:
Der Warnowtunnel ist eine Straßenunterquerung der Bundesstraße 105 unter der Warnow in Mecklenburg-Vorpommern. Der 790 Meter lange vierstreifige Tunnel verbindet seit 2003 die beiden Ufer im Norden Rostocks zwischen Schmarl und Krummendorf miteinander. Er wird von der Warnowquerung GmbH & Co. KG betrieben und ist der erste mautpflichtige privatwirtschaftlich betriebene Tunnel in Deutschland.

Am 19. April 2022 wurde die 74-millionste Durchfahrt gezählt.

Geschichte

In den 1920er Jahren wurde ein Plan für eine Brücke vom Stadthafen nach Gehlsdorf in Höhe des Kanonsberges angefertigt, als Warnowbrücke aus den Planungen der späten 1960er Jahre. Im Flächennutzungsplan von 1950 kam eine Warnowquerung von Gehlsdorf über Bramow in Richtung Hamburger Straße als Bestandteil eines Stadtringes vor. Im Generalverkehrsplan von 1959 war eine Fährverbindung von Schmarl nach Oldendorf enthalten. Der Generalverkehrsplan von 1967 verzeichnete im Zusammenhang mit dem neuen Überseehafen und dem beginnenden Wohnungsbau in Lütten Klein an dieser Stelle eine feste Warnowquerung als Tunnel. Dieser war auch Bestandteil der darauf aufbauenden Planungen der 1970er Jahre. Dadurch hielten sich die umliegenden Straßenbauarbeiten in Grenzen, da beidseitig der Warnow bereits vierstreifig ausgebaute Straßen bis fast ans Ufer führten (im Westen die Warnowallee, der Zubringer zur Bundesstraße 103, und im Osten die Bundesautobahn 19).

Bald nach der Wende wurde ein Antrag zur Aufnahme in den vordringlichen Bedarf des Bundesverkehrswegeplans gestellt. Dieser wurde aufgrund der geringen Bedeutung der Trasse für den überregionalen Verkehr im Bundesfernstraßennetz jedoch nicht bewilligt. Im Generalverkehrsplan 1992/93 wurde die nördliche Warnowquerung als Tunnel oder Hochbrücke genannt. Im Integrierten Gesamtverkehrskonzept von 1998 war die Warnowbrücke nach Gehlsdorf nicht mehr enthalten.

Planung und Vorbereitung

Mit der Gesetzesnovelle von 1994 zum Fernstraßenprivatfinanzierungsgesetz wurde das Tunnelprojekt konkret. Die bereits seit der Wende laufenden Planungen wurden intensiviert und die erforderlichen Vorbereitungen begonnen. Für die Herstellung der rechtlichen Voraussetzungen war ein Planfeststellungsverfahren nach dem Bundesfernstraßengesetz durchzuführen. Hierzu waren nochmals verschiedene weiter südlich gelegene Trassenvarianten hinsichtlich ihrer Umweltrelevanz zu untersuchen sowie unterschiedliche konstruktive Bauwerkslösungen zu prüfen. Neben dem bereits favorisierten Absenktunnel wurde ein Bohrtunnel sowie der Bau einer Hochbrücke, einer Hubbrücke, einer Klappbrücke, einer Drehbrücke und sogar einer Pontonbrücke untersucht. Letztendlich wurde den ökologischen, verkehrlichen sowie den wirtschaftlichen Vorteilen eines Absenktunnels der Vorrang gegeben.

Neben den genannten Variantenuntersuchungen war die optimale Einbindung der Trasse und des Bauwerks in das bereits geplante Gebiet der Internationalen Gartenbauausstellung 2003 in Rostock zu berücksichtigen. Ein weiterer Untersuchungsschwerpunkt war die Abschätzung der Wirtschaftlichkeit auf Grundlage der zu erwartenden Mauteinnahmen, da für ein mautfinanziertes Straßenprojekt in Deutschland noch keine Erfahrungen vorlagen. Die besondere Schwierigkeit bestand dabei in der Prognose der zukünftigen Verkehrsbelegung in Abhängigkeit von der Mauthöhe.

Im Rahmen einer europaweiten Ausschreibung wurde das Projekt an ein Konsortium um den französischen Baukonzern Bouygues Travaux Publics S.A. vergeben.

Der erste Spatenstich erfolgte am 1. Dezember 1999. Der Konzern und sein vormaliger australischer Gesellschafter Macquarie Infrastructure investierten gemeinsam mit einem internationalen Bankenkonsortium unter Führung der Deutschen Bank, der NORD/LB, der KfW und der EIB rund 220 Millionen Euro in den Warnowtunnel. Auch die Europäische Union stellte einen Zuschuss zur Verfügung. Die öffentlichen Zuschüsse betrugen zwölf Prozent.

Das Absenkverfahren

Für den Tunnelbau wurde das Absenkverfahren angewendet. Das Prinzip besteht in der Vorfertigung der Tunnelelemente auf dem Lande bzw. in einem Trockendock und dem anschließenden Einschwimmen und Absenken der Elemente in der Tunneltrasse.

Für den Bau des Warnowtunnels wurden sechs etwa 120 Meter lange Betonelemente mit je zwei Tunnelröhren in einem unmittelbar vor dem späteren westlichen Tunnelportal angelegten Trockendock hergestellt. Als Verbindung vom Dock zur Warnow diente ein Fluttor. Nach der Fertigstellung von jeweils zwei Elementen wurde das Dock geflutet und die Elemente ausgeschwommen. Um die Schwimmfähigkeit der entsprechend der späteren Tunneltrasse leicht gekrümmtem Elemente zu gewährleisten, war das Tarieren mittels Ballasttanks erforderlich.

Zwei der vier Tunnelelemente wurden in einem alten Hafenbecken der Kvaerner-Werft in Warnemünde zwischengelagert, zwei im Überseehafen Rostock. Gleichzeitig wurde die Tunnelrinne zwischen Schmarl und dem Überseehafen, in die später die Elemente abgesenkt werden sollten, auf eine Tiefe bis zu 20 Metern ausgebaggert. Nach der Fertigstellung der letzten zwei Elemente wurde die 790 Meter lange Tunnelröhre mit dem Einschwimmen und Absenken der sechs Elemente, der Herstellung der Tunnelportale, der Abdichtung der Fugen zwischen den Elementen und der Überschüttung zur Absicherung gegen den statischen Auftrieb sowie als Schutz gegen Beschädigung hergestellt. Die tiefste Stelle in der Fahrrinne über dem Tunnel misst elf Meter. Danach wurde die Tunnelröhre ausgepumpt und der technische Ausbau des Tunnels vorgenommen.

Als interessantes Detail ist die Abdichtung der Fugen zwischen den Tunnelelementen zu erwähnen. Durch den Wasserdruck wird die in die Fugen eingelegte flexible Dichtung auseinandergepresst und dadurch das Eindringen von Wasser in den Tunnel verhindert.

Umfang des gesamten Bauvorhabens
Außer dem 790 Meter langen Tunnelbauwerk waren zum Lückenschluss zwischen der Bundesautobahn 19 im Osten und der Bundesstraße 103 im Westen sowie zur Einbindung in das vorhandene städtische Straßennetz noch insgesamt rund 6200 Meter zwei- und vierstreifige Straßentrassen auszubauen. Dies beinhaltete den Ausbau der Autobahnanschlussstelle Krummendorf als nördliches Ende der A 19, die Anschlussstellen an den Schmarler Damm und die Alte Warnemünder Chaussee sowie die teilweise Verlegung des Schmarler Damms und den Neubau der Ortsumgehung Krummendorf mit mehreren Brücken und Durchlässen. Damit wurde auch für die angrenzenden Stadtteile Schmarl, Groß Klein und Krummendorf sowie für die IGA 2003 einschließlich der Hansemesse und die A 19 bedeutsame Verkehrsinfrastruktur geschaffen.

Für den Tunnelbetrieb war außerdem der Ausbau der Mautstelle außerhalb des östlichen Tunnelportals und der dynamischen Verkehrsleiteinrichtungen an den Tunnelzufahrten erforderlich.

Am 12. September 2003 wurde der Warnowtunnel eröffnet.

Ausstattung und Betrieb

Der Tunnel verfügt über vier Notgehwege, Fluchttüren alle 150 Meter und vier Nothaltebuchten (zwei je Röhre). Die Sicherheits- und Überwachungssysteme umfassen unter anderem Videoüberwachung, Höhenkontrolle, dynamische Verkehrsbeeinflussung, manuelle und automatische Brandmeldesysteme, wie etwa Kohlenmonoxid-, Rauch- und Luftgeschwindigkeitsmessgeräte, sowie Feuerlöscher, Löschwasserentnahmestellen und eine große hitzebeständige Tunnelbelüftung. Ferner sind Verkehrsfunk, Notruftelefone sowie Mobilfunkempfang für alle Netze installiert. Die Tunnelleitstelle ist rund um die Uhr besetzt.

Die Preise für eine Durchfahrt richten sich nach der Art des Fahrzeuges, der Zahlungsmethode und der Jahreszeit. So liegen die Preise für eine Passage des Tunnels in den Monaten Mai bis Oktober bei Bar- oder Geldkartenzahlung höher als in der restlichen Zeit des Jahres. Fußgänger und Radfahrer können den Tunnel nur mit den hier verkehrenden Bussen der Rostocker Straßenbahn AG (RSAG) zu den normalen Tarifen passieren. Für den Fahrradtransport wurden bei den ab 2003 beschafften Linienbussen mehr Platz dafür eingerichtet.

Von Beginn an blieb die Nutzung des Tunnels weit hinter den Erwartungen zurück. Nach 3½ Jahren Betrieb wurde am 16. März 2007 der elfmillionste Tunnelfahrer gezählt, am 12. September das dreizehnmillionste Fahrzeug. Dies entspricht etwa 11.100 Fahrzeugen täglich. Um den Tunnel rentabel betreiben zu können, ist aber eine Auslastung mit etwa 20.000 Fahrzeugen pro Tag notwendig. Eine Verkehrsprognose ging 1994 von werktäglich 30.000 Fahrzeugen aus. Ende 2004 erklärte ein aus 14 Banken bestehendes Finanzkonsortium, dass die Zahlungsunfähigkeit des Projektes zwischen 2005 und 2006 auf Basis derzeitiger Zusagen unvermeidbar sei. Um eine drohende Insolvenz der Warnowquerungsgesellschaft (WQG) abzuwenden, wurde im Juni 2006 der Betreibervertrag verlängert. Nun hat die WQG 50 Jahre (vorher 30 Jahre) Zeit, ihre Investitionen zu refinanzieren, bevor der Tunnel den Eigentümer wechselt und der Stadt Rostock gehört.

Zum Jahreswechsel 2006/2007 gab es erstmals seit dem Bestehen eine Preisänderung. Die Maut für LKW sank zunächst auf maximal 13 Euro, um den Tunnel gegenüber der Umgehung über A 19 und A 20 attraktiver zu gestalten. Außerdem stieg die Obergrenze für PKW von 1,90 m auf 2,05 m; damit können Transporter und Kleinbusse nun zum PKW-Preis passieren. Allerdings stiegen die PKW-Preise im Gegenzug.

Im Oktober 2009 passierte das 21-millionste Fahrzeug den Tunnel, am 10.01.2017 das 50-millionste. Die tägliche Verkehrsleistung liegt weiterhin bei etwa 11.000 Fahrzeugen und die Erwartung für das Jahr 2030 wird jetzt mit 16.000 bis 17.000 Bewegungen täglich beziffert.

Die aktuell gültigen Zahlungsmethoden an der Mautstation sind Bar, EC oder Kreditkarte, Flottenkarten wie zum Beispiel DKV, UTA und Routex, sowie kontaktlose Zahlungsmittel wie die hauseigene OSCARD, TAG-Geräte und RFID-Streifen. Bei den zuletzt genannten erfolgt die Mautabrechnung über Abbuchung von einem Guthabenkonto, welches per Lastschriftverfahren aufgeladen werden kann. Ein klarer Vorteil in der Verwendung von RFID-Streifen (radio-frequency identification) liegt darin, dass der Auslesevorgang bereits im Heranrollen des Fahrzeugs erfolgt und die Schranke automatisch innerhalb weniger Sekunden öffnet.

2022 liegen die Preise für PKW-Passagen bei 4,40 Euro für Mai bis Oktober und 3,60 Euro für November bis April und für LKW zwischen 8,90 Euro und 18,20 Euro.

Betreiber
Die Warnowquerung GmbH & CO. KG ist das Betreiberunternehmen mit Sitz in Rostock und beschäftigt Anfang 2022 38 Mitarbeiter und hat eine Betriebskonzession über 50 Jahre. Die Gesellschaft hat über die Hansestadt Rostock EU-Zuschüsse erhalten. 70 % an der Warnowquerung GmbH & Co. KG werden von der australischen Investmentgesellschaft Atlas Arteria gehalten, die weltweit zahlreiche mautpflichtige Straßen betreibt. Am 15. August 2018 gab Atlas Arteria eine Vereinbarung zum Erwerb der übrigen 30 % an der Warnowquerung GmbH & Co. KG bekannt.

Öffentlichkeitsarbeit

Am 12. August 2009 fand zum ersten Mal die Warnowtunnel-Party – eine elektronische Musikveranstaltung – statt. Das Verkehrsministerium Mecklenburg-Vorpommern widerrief im Juli 2010 aufgrund des Unglücks bei der Loveparade in Duisburg die Genehmigung des Straßenbauamtes für die Veranstaltung am 11. September 2010, welche der Tunnel zum zweiten Mal beherbergen sollte.

Im Jahre 2013 feierte der Warnowtunnel sein 10-jähriges Bestehen mit einem großen Fest auf dem eigenen Gelände.

Die Warnowquerung GmbH & Co. KG engagiert sich in vielen lokalen Projekten und ist Unterstützer ansässiger Vereine. Weiterhin besteht eine Patenschaft mit dem Otter-Gehege des Rostocker Zoos.

Galerie

Weblinks

 Website des Betreibers Warnowquerung GmbH & Co. KG

Einzelnachweise

Straßentunnel in Deutschland
Verkehrsbauwerk in Rostock
Warnow (Fluss)
Erbaut in den 2000er Jahren
Schmarl
Tunnel in Mecklenburg-Vorpommern
Tunnel in Europa
Unterwasserbauwerk
Maut (Tunnel)

redpajama_set_name: RedPajamaWikipedia


This weeks Representation Day Call will be focused on a media training. Our communications director will familiarize us with everything we need to have successful press strategies on Rep Day. The call is at 8:30pm ET / 5:30pm PT.


text:
The Suriname football champions are the winners of the highest league in Suriname football, which is currently the Hoofdklasse.

SV Robinhood has 23 league championships, which is the record for most titles won.

Hoofdklasse (1924present-)

Total titles won
Twenty-three clubs have been crowned champions in the highest division of Suriname football.

References

External links

champions
Suriname


text:
List of Awesome Games Studio games
Yet Another Zombie Survivors action / arcade / indieQ1 202303/30/2023 Fury Unleashed +1 plt.indie / platformerMay 8, 202005/08/2020 I, Zombie arcade / indie / puzzle, logicDec 16, 201112/16/2011 Yet Another Zombie Defense +2 plt.action / arcade / indieFeb 3, 201002/03/2010
Here you can see a list of video games, developed or published by Awesome Games Studio. It may not contain some titles, but we constantly updating our database to make it as complete as possible. If you have any information about other games, developed or published by Awesome Games Studio, feel free to contact us.
Mass Effect Andromeda scores list – first critics opinions March 20, 2017: 02:57:11 Brothers story in new Sniper: Ghost Warrior 3 trailer March 15, 2017: 12:07:20 Middle-earth: Shadow of War first gameplay video March 8, 2017: 09:13:27


1 Publications by "J. Chern"
One of the current challenges in tropical cyclone (TC)1 research is how to improve our understanding of TC interannual variability and the impact of climate change on TCs. Recent advances in global modeling, visualization, and supercomputing technologies at NASA show potential for such studies. In this study, we discuss recent scalability improvement to the Multiscale Modeling Framework (MMF) that makes it feasible to perform long-term TC- resolving simulations. The MMF consists of the finite-volume General Circulation model (fvGCM), supplemented by a copy of the Goddard Cumulus Ensemble model (GCE) at each of the fvGCM grid points, giving 13,104 copies of GCEs. The original fvGCM implementation has a 1D data decomposition. The revised MMF implementation retains the 1D decomposition for most of the code, but uses a 2D decomposition for the massive copies of GCEs which uses a second level of parallelism to execute it. Since the vast majority of computation time in the MMF is spent computing the GCEs, this approach can achieve excellent speedup without incurring the cost of modifying the entire code. Intelligent process mapping allows differing numbers of processes to be assigned to each domain for load balancing. The revised parallel implementation shows very promising scalability, obtaining a nearly 80-fold speedup by increasing the number of cores from 30 to 3,335. Future work will be discussed in the concluding remarks.
B. Shen, W. Tao, J. Chern, R. Atlas, and K. Palaniappan. Scalability improvements in the NASA Goddard Multiscale Modeling Framework for tropical cyclone climate studies. Proc. 10th Int. Conf. for High-Performance Computing in ASIA-Pacific Region, 2009.


LAST UPDATED: Friday September 20, 2002 - 4:00 p.m.
Ah, the Emmys. Some will win, some will lose, some will get their egos bruised. Some will smile, some will cry, some will get cut off by the orchestra because they just keep going on and on during their acceptance speech like people watching actually give a damn about them thanking their hairdresser or their cousin Jethro back home. Ahem. Anyway, on to the preview.
Who is Bryan Pole? According to Samuel Stephen Shelstad, "Bryan Pole" is someone he doesn't even know. "There was a contest where I had to write an essay on being Sam Shelstad," Shelstad explains, "but the announcer [in charge of the event] kept introducing me as 'Bryan Pole'." And so Bryan Pole was born.
Politics, women's rights, sweatshops, democracy and homelessness are just some issues that Angry Agency struggles with in their debut album This Is What Democracy Looks Like..
Corduroy as a fabric may have gone out of style, but that has had no effect on the Western band of the same name – they continue to survive, but there have been some changes.
The Gazette recently had a chance to harass Roberto LoRusso, vocalist of London's own Sanseiru, with 12 burning questions. He took a few minutes out of his day job as a teacher to respond to the barrage.
Audiochrome tries its hand at mixing new age folk with classic pop and fails miserably.
What do you think of when Enrique Iglesias comes to your mind?
My first impression was pure hunka, hunka, latin lover who made it big by means of his father Julio Iglesias's reputation combined with mainstream Spanish-based pop.
I put this impression to the test this past Monday night when I experienced Enrique Iglesias live at the Air Canada Centre in Toronto.


text:
Гэй — фамилия.

Известные носители
 Гэй, Джамал (Gay, род. 1989) — тринидадский футболист, полузащитник.
 Гэй, Лиза (Gaye, 1935—2016) — американская актриса, певица и танцовщица.
 Гэй, Марвин (Gaye, 1939—1984) — американский певец, аранжировщик, музыкант-мультиинструменталист, автор песен и музыкальный продюсер.
 Гэй, Питер (1923—2015) — американский историк европейской культуры и общественной мысли.
 Гэй, Тайсон (Gay, род. 1982) — американский легкоатлет, спринтер.
 Гэй, Эрик (Guay, род. 1981) — канадский горнолыжник.

См. также
 Гей (значения)


The West Urban Community- Wastewater Collection System Master Servicing Plan Study completed in July 2012 recommended construction of the "Stittsville/Fernbank Diversion Trunk Sewer" to send wastewater flows to the Kanata West Pumping Station (KWPS) and reduce flows to the existing Hazeldean Pumping Station (HPS), eliminating the need for further HPS expansion for this growing development area.
As a result, the City of Ottawa is undertaking the preliminary and detailed design for the 900 mm diameter Stittsville Diversion Trunk Sewer (SDTS), which will divert wastewater from the Stittsville trunk sewer and convey the flow to the Kanata West Pumping Station (KWPS). Construction of the SDTS is expected to start in the fall of 2018 and will be substantially complete late in 2019. The alignment of the SDTS includes a diversion chamber on the Stittsville Trunk Sewer at Abbott Street. The proposed alignment extends north through the Fernbank Community lands along the north-south arterial/transitway corridor (future Robert Grant Avenue). Crossing under Hazeldean Road and Poole Creek, the diversion sewer will turn east on Maple Grove Road and tie into an existing sewer stub for KWPS.
A public information session is expected to be held in the summer of 2018, to present the design drawings, proposed construction methodology and schedule to the public. At this time attendees will be able to view the design, ask questions and provide comments on the construction impact of the proposed works.
Beginning on Thursday April 11, the City will begin construction work on the new Stittsville Diversion Trunk Sewer. The new trunk sewer connects to the existing Stittsville sewer at the intersection of Abbott Street east and Robert Grant Avenue and flows north to Maple Grove Road, where it connects to the existing Maple Grove trunk sewer just west of Poole Creek. Most of the work is within the unopened Robert Grant Avenue right of way, except for the diversion structure on Abbott Street east and again along Maple Grove Road from the unopened Robert Grant Avenue right of way to the west side of Poole Creek.
Who: The City of Ottawa has retained the Contractor, Taggart Construction Ltd., to complete the work.
Why: The new sewer will send wastewater to the new Kanata West Pumping Station, reducing flows to the existing Hazeldean Pumping Station, eliminating the need for further expansion of the Hazeldean Pumping Station.
What: Work involves construction of a new diversion chamber on Abbott Street east, east of Iber Road, open cut sewer construction along the unopened Robert Grant Avenue right of way and Maple Grove Road to Poole Creek, and trenchless sewer construction under Hazeldean Road.
When: The construction work is tentatively scheduled to begin the second week of April and is scheduled to be completed by end of summer 2020.
Where: The location of the sanitary sewer is shown on the figure below.
The Contractor will take every precaution to minimize interruptions to the everyday life of your family and/or operation of your business, but, as you can appreciate, there may be some inconvenience during the work, such as traffic delays, parking restrictions, and noise. We would like to thank you for your patience and co-operation.
As part of this contract, the Contractor is assuming full responsibility for the construction work until it is entirely complete as well as any damages to private property resulting from these construction activities. In the event of such occurrences, all claims for damages should be immediately reported both verbally and in writing to the Contractor and to the City's Contract Administrator. This will ensure prompt notification of appropriate authorities to complete the claim investigations.
For any emergency outside normal working hours on weekdays and weekends, call the City at 3-1-1.
Welcome to the public information session for the Stittsville Diversion Trunk Sewer Project.
The purpose of this public information session is to present the project background, construction methods, and to inform residents of the upcoming construction activities and schedule.
Please feel free to circulate, review the information presented, discuss issues with the City and the design team and to provide your comments.
Hazeldean pump station currently receives flow from the Stittsville, Bridlewood, Kanata South Business Park, Glen Cairn, and Katimavik/ Hazeldean communities. It is one of the City's largest sanitary pumping facilities.
Significant expansion of Hazeldean pump station is required to meet projected 2030 sewer flows.
Kanata west pump station (recently completed at 1590 Maple Grove Road) was constructed to relieve the pressure on Hazeldean pump station.
Stittsville diversion trunk sewer provides a gravity flow link between the two facilities. It allows Kanata west pump station to accept flows from roughly half of Hazeldean pump station's current sewer catchment and defer costly expansions.
The diversion trunk sewer will follow the future alignment of Robert Grant Avenue between Abbott Street and Maple Grove Road.
Two areas of rock removal are expected. High strength bedrock has been identified requiring blasting, or line drilling and hoe ramming techniques.
No blasting will be permitted during school hours.
Pre-inspection will be offered for those buildings within 75 metres of the rock removal.
Notifications of rock removal activities will be provided to residents and businesses located within 150 metres.
Rock removal activities will be monitored and adjusted to ensure that noise levels and vibrations felt at nearby buildings are kept under established thresholds.
Dust Dust suppression using water trucks.
The City of Ottawa invites you to a public information session to view information with respect to the Stittsville diversion trunk sewer project that is planned to begin fall 2018, subject to approvals, with completion in Spring 2020. Design drawings will be on display for your viewing. Staff will also be on hand to provide information and receive comments.
Why: The West Urban Community - Wastewater Collection System Master Servicing Plan Study completed in July 2012 recommended construction of the "Stittsville/Fernbank Diversion Trunk Sewer" to send wastewater flows to the Kanata west pumping station and reduce flows to the existing Hazeldean pumping station, eliminating the need for further Hazeldean pumping station expansion for this growing development area.
What: The 900 millimetre diameter Stittsville diversion trunk sewer will divert wastewater from the existing Stittsville trunk sewer on Abbott Street and will convey the flow to the Kanata west pumping station.
When: The design is nearing completion. Construction of the Stittsville diversion trunk sewer is expected to start in the fall of 2018 and will be substantially complete late in 2019, with surface restoration complete in the spring of 2020.
Where: From the existing roundabout on Abbott Street, the proposed alignment extends north through the Fernbank community lands along the north-south arterial/transitway corridor (future Robert Grant Avenue). Crossing under Hazeldean Road and Poole Creek, the diversion sewer will turn east on Maple Grove Road and tie into an existing sewer stub for Kanata west pumping station.
Drainage area plans for the Hazeldean pumping station and Kanata west pumping station will be on display for information purposes.
City staff and the project consultant will be on hand to discuss the project, construction impacts and to respond to questions.
Accessibility is an important consideration for the City of Ottawa. If you require special accommodation, please contact Craig Anderson.
If you are not available to attend the meeting or would like additional information, please direct your comments to the City of Ottawa senior project manager listed below.


text:
Q: make error in PHP_PERL I am following the answer in this thread to make the perl module for php.
am using ubuntu 12.10. unable to use PHP_PERL extension. Unable to install the extension as well
The short steps are:
export PHP_PREFIX="/usr"
export PERL_PREFIX="/usr"
$PHP_PREFIX/bin/phpize
./configure --with-perl=$PERL_PREFIX --with-php-config=$PHP_PREFIX/bin/php-config
make

I get the following error on make.
I am on ubuntu 12.04 x64
ubuntu@myhostname:/software/perl-1.0.1$ make
/bin/bash /software/perl-1.0.1/libtool --mode=compile cc  -I. -I/software/perl-1.0.1 -DPHP_ATOM_INC -I/software/perl-1.0.1/include -I/software/perl-1.0.1/main -I/software/perl-1.0.1 -I/usr/include/php5 -I/usr/include/php5/main -I/usr/include/php5/TSRM -I/usr/include/php5/Zend -I/usr/include/php5/ext -I/usr/include/php5/ext/date/lib  -DHAVE_CONFIG_H  -g -O2 -D_REENTRANT -D_GNU_SOURCE -DDEBIAN -fno-strict-aliasing -pipe -fstack-protector -I/usr/local/include -D_LARGEFILE_SOURCE -D_FILE_OFFSET_BITS=64 -I/usr/lib/perl/5.14/CORE  -c /software/perl-1.0.1/php_perl.c -o php_perl.lo
libtool: compile:  cc -I. -I/software/perl-1.0.1 -DPHP_ATOM_INC -I/software/perl-1.0.1/include -I/software/perl-1.0.1/main -I/software/perl-1.0.1 -I/usr/include/php5 -I/usr/include/php5/main -I/usr/include/php5/TSRM -I/usr/include/php5/Zend -I/usr/include/php5/ext -I/usr/include/php5/ext/date/lib -DHAVE_CONFIG_H -g -O2 -D_REENTRANT -D_GNU_SOURCE -DDEBIAN -fno-strict-aliasing -pipe -fstack-protector -I/usr/local/include -D_LARGEFILE_SOURCE -D_FILE_OFFSET_BITS=64 -I/usr/lib/perl/5.14/CORE -c /software/perl-1.0.1/php_perl.c  -fPIC -DPIC -o .libs/php_perl.o
/software/perl-1.0.1/php_perl.c:208:3: warning: initialization from incompatible pointer type [enabled by default]
/software/perl-1.0.1/php_perl.c:208:3: warning: (near initialization for 'php_perl_object_handlers.call_method') [enabled by default]
/software/perl-1.0.1/php_perl.c:211:3: warning: initialization from incompatible pointer type [enabled by default]
/software/perl-1.0.1/php_perl.c:211:3: warning: (near initialization for 'php_perl_object_handlers.get_class_name') [enabled by default]
/software/perl-1.0.1/php_perl.c:235:3: warning: initialization from incompatible pointer type [enabled by default]
/software/perl-1.0.1/php_perl.c:235:3: warning: (near initialization for 'php_perl_proxy_handlers.call_method') [enabled by default]
/software/perl-1.0.1/php_perl.c:238:3: warning: initialization from incompatible pointer type [enabled by default]
/software/perl-1.0.1/php_perl.c:238:3: warning: (near initialization for 'php_perl_proxy_handlers.get_class_name') [enabled by default]
/software/perl-1.0.1/php_perl.c: In function 'php_perl_sv_to_zval_noref':
/software/perl-1.0.1/php_perl.c:554:7: warning: passing argument 3 of 'Perl_sv_2pv_flags' from incompatible pointer type [enabled by default]
/usr/lib/perl/5.14/CORE/proto.h:3565:21: note: expected 'STRLEN * const' but argument is of type 'int *'
/software/perl-1.0.1/php_perl.c:601:18: warning: format '%ld' expects argument of type 'long int', but argument 3 has type 'unsigned int' [-Wformat]
/software/perl-1.0.1/php_perl.c: In function 'php_perl_call_method':
/software/perl-1.0.1/php_perl.c:694:11: warning: passing argument 3 of 'Perl_sv_2pv_flags' from incompatible pointer type [enabled by default]
/usr/lib/perl/5.14/CORE/proto.h:3565:21: note: expected 'STRLEN * const' but argument is of type 'int *'
/software/perl-1.0.1/php_perl.c: In function 'php_perl_call':
/software/perl-1.0.1/php_perl.c:757:11: warning: passing argument 3 of 'Perl_sv_2pv_flags' from incompatible pointer type [enabled by default]
/usr/lib/perl/5.14/CORE/proto.h:3565:21: note: expected 'STRLEN * const' but argument is of type 'int *'
/software/perl-1.0.1/php_perl.c: In function 'php_perl_write_property':
/software/perl-1.0.1/php_perl.c:1194:11: error: 'value' undeclared (first use in this function)
/software/perl-1.0.1/php_perl.c:1194:11: note: each undeclared identifier is reported only once for each function it appears in
/software/perl-1.0.1/php_perl.c: In function 'php_perl_get_properties':
/software/perl-1.0.1/php_perl.c:1546:24: error: 'zend_op' has no member named 'op1_type'
/software/perl-1.0.1/php_perl.c:1547:29: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1548:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1548:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1548:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1548:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1549:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1549:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1549:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1549:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1550:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1550:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1550:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1550:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1551:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1551:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1551:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1551:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1552:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1552:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c:1552:12: error: 'znode' has no member named 'literal'
/software/perl-1.0.1/php_perl.c:1552:12: error: 'znode' has no member named 'constant'
/software/perl-1.0.1/php_perl.c: In function 'php_perl_get_class_name':
/software/perl-1.0.1/php_perl.c:1606:5: warning: passing argument 1 of 'strcpy' discards 'const' qualifier from pointer target type [enabled by default]
/usr/include/x86_64-linux-gnu/bits/string3.h:103:1: note: expected 'char * __restrict__' but argument is of type 'const char *'
/software/perl-1.0.1/php_perl.c:1618:7: warning: passing argument 1 of 'strcpy' discards 'const' qualifier from pointer target type [enabled by default]
/usr/include/x86_64-linux-gnu/bits/string3.h:103:1: note: expected 'char * __restrict__' but argument is of type 'const char *'
/software/perl-1.0.1/php_perl.c:1619:7: warning: passing argument 1 of 'strcpy' discards 'const' qualifier from pointer target type [enabled by default]
/usr/include/x86_64-linux-gnu/bits/string3.h:103:1: note: expected 'char * __restrict__' but argument is of type 'const char *'
/software/perl-1.0.1/php_perl.c:1624:7: warning: passing argument 1 of 'strcpy' discards 'const' qualifier from pointer target type [enabled by default]
/usr/include/x86_64-linux-gnu/bits/string3.h:103:1: note: expected 'char * __restrict__' but argument is of type 'const char *'
/software/perl-1.0.1/php_perl.c:1629:7: warning: passing argument 1 of 'strcpy' discards 'const' qualifier from pointer target type [enabled by default]
/usr/include/x86_64-linux-gnu/bits/string3.h:103:1: note: expected 'char * __restrict__' but argument is of type 'const char *'
/software/perl-1.0.1/php_perl.c:1634:7: warning: passing argument 1 of 'strcpy' discards 'const' qualifier from pointer target type [enabled by default]
/usr/include/x86_64-linux-gnu/bits/string3.h:103:1: note: expected 'char * __restrict__' but argument is of type 'const char *'
/software/perl-1.0.1/php_perl.c: In function 'php_perl_clone':
/software/perl-1.0.1/php_perl.c:1716:7: warning: format '%ld' expects argument of type 'long int', but argument 3 has type 'unsigned int' [-Wformat]
/software/perl-1.0.1/php_perl.c: In function 'zm_info_perl':
/software/perl-1.0.1/php_perl.c:1893:3: warning: unknown conversion type character 'v' in format [-Wformat]
/software/perl-1.0.1/php_perl.c: In function 'zim_Perl_eval':
/software/perl-1.0.1/php_perl.c:1955:13: warning: passing argument 3 of 'Perl_sv_2pv_flags' from incompatible pointer type [enabled by default]
/usr/lib/perl/5.14/CORE/proto.h:3565:21: note: expected 'STRLEN * const' but argument is of type 'int *'
make: *** [php_perl.lo] Error 1

A: The patched .c file that I downloaded from the url below does not match with the .h file anymore hence a compile problem. This means I must either patch it myself for wait for this project to be updated.
wget https://raw.github.com/do-aki/php-ext-perl/a3d7db22eb7964ea9cb39ea2f866d10df26655d4/php_perl.c
is now broken


Funded by a grant from the Texas Workforce Commission, our Volunteer Training Initiative brings high-quality professional development and training to community-based literacy providers statewide. Learn more about the VTI here.
Join us in San Marcos for our three-day flagship event. Training will include topics relevant for all positions in the Adult Education sphere, including administrators, instructors, tutors, and more. We hope to see you there!
We offer a series of free, one-day training events around the state. Join us for intensive workshops focused on local literacy providers and their volunteers.
Literacy Texas believes every Texan deserves to read.
Literacy Texas's online presence works to connect and equip literacy providers with resources.
Literacy Texas connects and equips literacy providers throughout the state with online resources, a discussion forum, and a community calendar.


text:
//
//  RootViewController.m
//  AnimationSummary
//
//  Created by Qinting on 16/4/24.
//  Copyright © 2016年 Qinting. All rights reserved.
//

#import "RootViewController.h"

#import <QuartzCore/QuartzCore.h>
//#define IMGTAG 10000

@interface RootViewController ()

@end

@implementation RootViewController

- (id)initWithNibName:(NSString *)nibNameOrNil bundle:(NSBundle *)nibBundleOrNil
{
    self = [super initWithNibName:nibNameOrNil bundle:nibBundleOrNil];
    if (self) {
        // Custom initialization
    }
    return self;
}

- (void)viewDidLoad {
    [super viewDidLoad];
    self.navigationItem.title = @"动画展示";

    for (int i = 0; i<4;i++){  // 4列8行
        for (int j = 0; j<8;j++){
            UIButton *btn = [UIButton buttonWithType:UIButtonTypeCustom];
            btn.frame = CGRectMake(20 + 90 * i, 80 + 50 * j, 80, 40);
            [btn setTitle:[NSString stringWithFormat:@"i:%d   j:%d",i,j] forState:UIControlStateNormal];
            if ( i % 2 == 0) {
            [btn setBackgroundColor:[UIColor blueColor]];
            }else{
            [btn setBackgroundColor:[UIColor redColor]];
            }

            btn.tag =  i + j*4 +10000;
            [btn addTarget:self action:@selector(touchPress:) forControlEvents:UIControlEventTouchUpInside
             ];
            [self.view addSubview:btn];
        }
    }
}

-(void)touchPress:(UIButton*)btn{

    NSLog(@"%ld",btn.tag);
    NSInteger index = btn.tag;

    CATransition *tran = [CATransition animation];

    /**   btn.tag =  i + j*4 +10000;  */
    switch (index) {
        case 10000:
            tran.type = @"suckEffect"; //卷叶收缩
            break;
        case 10001:
            tran.type = @"rippleEffect"; //水溶解
            break;
        case 10002:
            tran.type = @"pageCurl"; //翻页
            tran.subtype = kCATransitionFromRight; //从左到右
            break;
        case 10003:
            tran.type = kCATransitionMoveIn;
            tran.subtype = kCATransitionFromBottom;
            break;
        case 10004:
            tran.type = kCATransitionPush;
            tran.subtype = kCATransitionFromLeft;
            break;
        case 10005:
            tran.type = kCATransitionReveal;
            tran.subtype = kCATransitionFromRight;
            break;
        case 10006:
            tran.type = kCATransitionReveal;
            tran.subtype = kCATransitionFromLeft;
            break;
        case 10007:
            tran.type = kCATransitionReveal;
            tran.subtype = kCATransitionFromTop;
            break;

        case 10008:
            tran.type = kCATransitionReveal;
            tran.subtype = kCATransitionFromBottom;
            break;
        case 10009:
            tran.type = @"cube";
            tran.subtype = kCATransitionFromBottom;
            break;
        case 10010:
            tran.type = @"oglFlip";
            tran.subtype = kCATransitionFromBottom;
            break;
        case 10011:
            tran.type = @"rippleEffect";
            break;
        case 10012:
            tran.type = @"cameraIrisHollowOpen";
            break;
        case 10013:
            tran.type = @"cameraIrisHollowClose";
            break;
        case 10014:
            tran.type = kCATransitionMoveIn;
            tran.subtype = kCATransitionFromTop;
            break;
        case 10015:
            tran.type = kCATransitionPush;
            tran.subtype = kCATransitionFromTop;
            break;
        case 10016:
            tran.type = @"pageCurl";
            tran.subtype = kCATransitionFromTop;
            break;
        case 10017:
            tran.type = @"pageCurl";
            tran.subtype = kCATransitionFromLeft;
            break;
        case 10018:
            tran.type = @"pageCurl";
            tran.subtype = kCATransitionFromBottom;
            break;
        case 10019:
            tran.type = @"oglFlip";
            tran.subtype = kCATransitionFromTop;
            break;
        case 10020:
            tran.type = @"oglFlip";
            tran.subtype = kCATransitionFromLeft;
            break;
        case 10021:
            tran.type = kCATransitionMoveIn;
            tran.subtype = kCATransitionFromLeft;

            break;
        case 10022:
            tran.type = kCATransitionMoveIn;
            tran.subtype = kCATransitionFromTop;

            break;
        case 10023:
            tran.type = kCATransitionMoveIn;
            tran.subtype = kCATransitionFromBottom;

            break;
        case 10024:
            tran.type = kCATransitionPush;
            tran.subtype = kCATransitionFromLeft;
            break;
        case 10025:
            tran.type = kCATransitionPush;
            tran.subtype = kCATransitionFromTop;
            break;
        case 10026:
            tran.type = kCATransitionPush;
            tran.subtype = kCATransitionFromBottom;
            break;
        case 10027:
            tran.type = @"cube";
            tran.subtype = kCATransitionFromRight;
            break;
        case 10028:
            tran.type = @"cube";
            tran.subtype = kCATransitionFromTop;
            break;
        case 10029:
            tran.type = @"cube";
            tran.subtype = kCATransitionFromLeft;
            break;

        default:
            break;

    }
    DetailViewController * detailVc = [[DetailViewController alloc]init];
    UIView * view = self.navigationController.view;

    [self.view.layer addAnimation:tran forKey:@"noUseKey"];
    tran.duration = 1.5;
    tran.delegate = self;
    [view.layer addAnimation:tran forKey:@"hehe"];

     [self.navigationController pushViewController:detailVc animated:YES];
}
@end

redpajama_set_name: RedPajamaGithub


SocialWorks Presents: A Night at The Museum!
December 20th, from 6-9pm, at The Field Museum, SocialWorks will throw an event to showcase the nature of giving, unity, and thoughtfulness that this time of year should exhibit.
You can expect tons of features the museum has never seen before! The Museum will be taken over, SocialWorks Style, featuring, The Chicago Bulls, Tiesta Tea, The Chicago Children's Choir, Frost Lighting, Oak Mill Bakery, Afri-Ware Bookstore, Community Christian Church, State Backpacks, The Discovery Squad and so much more can be expected!
Best of all, we'll be collecting donations for Chicago's homeless. We kindly ask that all attendees consider bringing a donation for our Warmth Kits, it takes a village! Guests are encouraged to bring Coats, Hats, Gloves, Scarves, Socks, and Canned goods, so we can distribute them in January.
Come join us to be surprised, mesmerized, and inspired!
We're excited to have you and your family for A Night at the Museum!


text:
Men's Hockey RPF
Pittsburgh Penguins Ensemble
2017 NHL Expansion Draft
It's so hard to say goodbye to yesterday
StardustToRememberYouBy
Because he's not ready to say goodbye, not yet.
It has been an actual decade since I shared anything I've written online and this has been sitting around on my computer for like two years, so I'm not really sure why I'm sharing it now, but here we are anyway.
I'll warn you it was written when I was having a lot of 'Flower and the expansion draft' feelings, and I couldn't hear these lyrics without relating the two. There is no plot, no romance, it's really just a hockey fan projecting a lot of emotions via words.
Lyrics borrowed from Boyz II Men.
How do I say goodbye to what we had?
The good times that made us laugh, outweighed the bad.
I thought we'd get to see forever, but forever has blown away.
It's so hard to say goodbye to yesterday.
Marc-Andre isn't stupid. And even if he was, this would have been pretty impossible to miss. He's had it spelled out pretty clearly for him. His no-trade clause is causing headaches for management.
They want to protect Murray (of course they do).
He's made the decision. He can't put himself in a situation where goodbyes need to be said overnight. Best case, rushed, worst case, missed entirely. The organisation might have decided they don't want him, but he knows his team, his friends, deserve better than that.
This team, this city, it feels at times like all he's ever known. Sure, there'd been hockey before Pittsburgh, but he'd started to let a small part of him believe that he wouldn't need to know what hockey after would entail. That was probably a sign he'd spent too much time spent with Sid.
And fuck. Telling Sid.
Sid, who tries to talk him out of it at first, not realising it's too late. Trying to solve the problem that doesn't have a solution, before deflating and trying to hide his suspiciously wet eyes. Tanger swears (profusely and loudly) and he's glad he'd had the foresight to do this in private. Geno remains stoically silent throughout their conversation. And he loves them each a little more for it.
I don't know where this road is gonna lead to.
All I know is where we've been and what we've been through.
If it gets me to tomorrow, I hope it's worth all the pain.
It has to be worth it, these next few months. Time it feels like he's stolen despite the fact that he's giving up so much to get to keep it. To keep them. For now at least.
It's not about the hockey. Not really. How could it be? There are other contenders with goaltending woes, hell, maybe ones who'd actually play him, and he's giving that possibility up for what? His likely final destination, an expansion team, is a complete unknown, but it certainly doesn't guarantee any on-ice success for his future.
There's no denying that sitting on the bench hurts. And the prospect of playing out his career on a struggling team isn't exactly his idea of fun. But it buys him tomorrow, and the next day, and the one after that. And he's not taking those days for granted, chances to soak up time with the people he can't imagine his life without, the ones who have shared both his brightest and darkest times.
Because he's not ready to say goodbye, not yet. (Probably not ever.)
And I'll take with me the memories to be my sunshine after the rain.
Winning the cup.
His last time on ice in a Penguins jersey and he's got the Stanley Cup in his hands. It's bittersweet. A third cup. A second that doesn't truly feel like his.
Winning one more, one last (because he knows it will be the last) time with Sid, Geno, Kuni, Tanger. Tanger, he thinks, might be the only one who gets it. Who gets that he can't be happy right away, can't join in wholeheartedly with the locker room celebrations. But he has to catalogue the joy of his teammates, store it as a memory to revisit when (if) his little rain cloud has cleared.
It's harder to feel victorious when you're not on the ice. He's experienced it both ways and he knows which he prefers. And Tanger will get that, but even still, it's hardest of all to not be there because they've picked someone else.
Someone else who's just a kid, like Marc-Andre was when he won his first cup. The feeling of invincibility that goes hand in hand with success and youth. He'd handed the cup to Matty because there wasn't any other option. The passing of a lump of metal between hands symbolising so much more. A conversation without words, because they were words that Marc-Andre could not form.
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Galeș ist der Name mehrerer Orte in Rumänien:

 Galeșu (Argeș), Dorf im Kreis Argeș
 Galeș (Sibiu), Dorf im Kreis Sibiu


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Meeting Summary, 6 May 2004
by Asta Admin | May 6, 2004 | Uncategorized |
Note: CICCC would appreciate the cooperation of media staff in publicising the CICCC web site (www.ciccc.org) in any story that is run.
CICCC Update—6 May 2004 Meeting
New phenol storage proposal
Huntsman Chemical Company is planning to cease production of phenol at their Brooklyn plant, from which they presently supply the local market (including their own requirements) of about 12,000 tonnes per year. They will change from being a small exporter of excess production to being a significant importer. Huntsman has given Terminals a letter of understanding, and details of requirements and approval processes are now being worked through.
Terminals are already licensed to import and export phenol, and have two heated phenol tanks in the Plant C East, only one of which is in use.
About phenol
Phenol is used in plastics (lawn bowls), waterproof Medium Density Fibre, glues and herbicides.
Phenol is a toxic substance, and will cause severe burns on contact with skin. It melts at 41 degrees Centigrade. The Material Safety Data Sheet states (in part):
"Phenol is rapidly absorbed through the skin from liquid solid and vapour with possible fatal results.
"Because of its low volatility phenol is not expected to present a vapour inhalation risk at ambient temperatures in open areas."
Phenol, or carbolic acid as it also known, has a distinct odour, associated formerly with its wide use in a 3% diluted solution as a hospital antiseptic. Community Member Faye Simpson told the Committee that "In the past, exposure to phenol has been implicated in WorkCover claims by hospital workers".
Peter La Rose, Operations Manager at Terminals, presented the proposal to the Committee. The proposed new site for the two relocated and upgraded phenol tanks is the south west corner of Plant B West. The tanks will have HDPE under-liners (probably on concrete bases), and sealed bund floors. They will have a completely sealed system, including a new, bigger-volume caustic scrubber. The new road tanker loading bay will have a sealed tank vapour return system. The cost of establishing the facility is anticipated to be $1.7 to $1.8 million.
Wastes from tank cleaning, line pigging and scrubbing will be disposed of to licensed waste premises, and it is possible that Huntsman will take them to dispose of in their biological treatment facility.
EPA requirements
Although a facility such as is being proposed for a new material with new technology would normally need a Works Approval, as Terminals is an accredited licensee, Works Approval is unlikely to be required. Terminals must now submit a notification to EPA, setting out reasons why it doesn't need Works Approval.
George Horman told the Committee that accreditation requires the Company to demonstrate vigour, independent auditing and continuous improvement. The status of an accredited licensee was hard-won, and will be jealously guarded.
Other approval requirements
Bronwyn Brookman-Smith told the Committee that phenol was already part of Terminals' Safety Case. The Safety Case would need to be revised for the proposed facility, including the HAZOP process.
The City of Maribyrnong asked Terminals to provide them with a copy of their Planning Permit application. As there is no requirement to advertise the Planning Permit under the special arrangements for the Port, after discussion with the Committee Terminals offered to provide details of the proposal to anyone in the community who wished to enquire.
Interested parties may ring Terminals on 9320 6300 and ask for Peter La Rose.
An extra meeting will be held on 10 June 2004, at which Terminals will continue to outline their plans to store phenol on their west side leases. Bob Stensholt, MP, the Parliamentary Secretary for Treasury and Finance, has accepted the Committee's invitation to attend, to discuss the Maxwell Report on Health and Safety Legislation.
The next scheduled meeting of the CICCC will be held on Thursday 15 July, 2004 at the Maribyrnong Town Hall on the corner of Hyde and Napier Streets, Footscray at 6.30 pm. Members of the public are welcome to attend the meeting. Bronwyn Brookman-Smith of WorkSafe will make a presentation on the report by Sweeney Research on the WorkSafe safety regime.
Robin Saunders, Chair CICCC, 12 May 2004


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