text:
package org.neige.wakeyouinmusic.android.players;

import android.content.Context;
import android.media.AudioManager;
import android.net.ConnectivityManager;
import android.net.NetworkInfo;
import android.util.Log;

import com.crashlytics.android.Crashlytics;
import com.spotify.sdk.android.player.Config;
import com.spotify.sdk.android.player.ConnectionStateCallback;
import com.spotify.sdk.android.player.Connectivity;
import com.spotify.sdk.android.player.Player;
import com.spotify.sdk.android.player.PlayerNotificationCallback;
import com.spotify.sdk.android.player.PlayerState;
import com.spotify.sdk.android.player.Spotify;

import org.neige.wakeyouinmusic.android.R;
import org.neige.wakeyouinmusic.android.WakeYouInMusicApplication;
import org.neige.wakeyouinmusic.android.models.SpotifyRingtone;
import org.neige.wakeyouinmusic.android.spotify.ApiSpotify;
import org.neige.wakeyouinmusic.android.spotify.models.Pager;
import org.neige.wakeyouinmusic.android.spotify.models.Playlist;
import org.neige.wakeyouinmusic.android.spotify.models.PlaylistTrack;
import org.neige.wakeyouinmusic.android.spotify.models.User;
import org.neige.wakeyouinmusic.backend.spotify.model.SpotifyToken;

import java.util.ArrayList;
import java.util.HashMap;
import java.util.List;
import java.util.Map;

import retrofit.RetrofitError;
import rx.Subscriber;
import rx.android.schedulers.AndroidSchedulers;
import rx.schedulers.Schedulers;
import rx.subscriptions.CompositeSubscription;

public class SpotifyPlayer extends PlaylistPlayer implements Player.InitializationObserver, PlayerNotificationCallback, ConnectionStateCallback {

    private static final String TAG = "SpotifyPlayer";
    private static final int STREAM_TYPE = AudioManager.STREAM_MUSIC;
    private final WakeYouInMusicApplication application;
    private final SpotifyRingtone ringtone;
    private final CompositeSubscription subscription = new CompositeSubscription();

    private int playlistOffset = 0, tracksOffset = 0;
    private String playlistUserId = "";
    private List<PlaylistTrack> playlistTracks = new ArrayList<>();

    private Player mPlayer;
    private Track currentTrack = new Track();
    private User currentUser = null;
    private boolean askPlay = false;
    private List<String> tracksUri = new ArrayList<>();
    private boolean isLoggedIn = false;

    protected SpotifyPlayer(WakeYouInMusicApplication application, SpotifyRingtone ringtone) throws PlayerException {
        super(application);
        this.application = application;
        this.ringtone = ringtone;

        if (!ApiSpotify.getInstance().isConnected()) {
            throw new PlayerException(context.getString(R.string.player_error_disconnected));
        }

        try {
            Config playerConfig = new Config(application, ApiSpotify.getInstance().getAccessToken(), WakeYouInMusicApplication.SPOTIFY_CLIENT_ID);
            mPlayer = Spotify.getPlayer(playerConfig, this, this);
        } catch (Exception e) {
            Log.e(TAG, "Spotify PLayer initialization : " + e.getCause(), e);
            Crashlytics.logException(e);
            throw new PlayerException(context.getString(R.string.player_error_spotify_internal));
        }
    }

    @Override
    public void play() {
        super.play();
        if (isLoggedIn) {
            if (currentUser == null) {
                loadUser();
            } else {
                loadPlaylist();
            }
        } else {
            askPlay = true;
        }
    }

    @Override
    public void pause() {
        mPlayer.pause();
    }

    @Override
    public void resume() {
        mPlayer.resume();
    }

    @Override
    public void next() {
        mPlayer.skipToNext();
    }

    @Override
    public void previous() {
        mPlayer.skipToPrevious();
    }

    @Override
    public void stop() {
        if (!mPlayer.isShutdown()) {
            mPlayer.pause();
            mPlayer.shutdown();
        }
        Spotify.destroyPlayer(this);
        subscription.clear();
        super.stop();
    }

    @Override
    public int getStreamType() {
        return STREAM_TYPE;
    }

    @Override
    public Track getCurrentTrackInformation() {
        return currentTrack;
    }

    private void loadUser() {
        subscription.add(ApiSpotify.getInstance().getSpotifyService().getCurrentUser().observeOn(AndroidSchedulers.mainThread()).subscribeOn(Schedulers.newThread()).subscribe(new Subscriber<User>() {
            @Override
            public void onCompleted() {
            }

            @Override
            public void onError(Throwable e) {
                Log.e(TAG, "Unable to retrieve user information", e);
                if (playerListener != null) {
                    playerListener.onError(manageError(e));
                }
            }

            @Override
            public void onNext(User user) {
                SpotifyPlayer.this.currentUser = user;
                loadPlaylist();
            }
        }));
    }

    private void loadPlaylist() {
        Map<String, Object> option = new HashMap<>();
        option.put("limit", String.valueOf(ApiSpotify.PLAYLIST_LIMIT));
        option.put("offset", playlistOffset);

        subscription.add(ApiSpotify.getInstance().getSpotifyService().getPlaylists(ApiSpotify.getInstance().getUserId(), option).subscribeOn(Schedulers.newThread())
                .observeOn(AndroidSchedulers.mainThread()).subscribe(new Subscriber<Pager<Playlist>>() {

                    private boolean found = false, hasMore = false;

                    @Override
                    public void onCompleted() {
                        if (found) {
                            loadTracks();
                        } else if (hasMore) {
                            loadPlaylist();
                        } else {
                            onError(new PlayerException(context.getString(R.string.player_error_playlist_unavailable)));
                        }
                    }

                    @Override
                    public void onError(Throwable e) {
                        Log.e(TAG, "Unable to retrieve playlist", e);
                        if (playerListener != null) {
                            playerListener.onError(manageError(e));
                        }
                    }

                    @Override
                    public void onNext(Pager<Playlist> playlistPager) {
                        for (Playlist playlist : playlistPager.items) {
                            if (playlist.id.equals(ringtone.getSpotifyId())) {
                                found = true;
                                playlistUserId = playlist.owner.id;
                            }
                        }
                        playlistOffset = playlistPager.offset + playlistPager.items.size();
                        hasMore = playlistPager.next != null;
                    }
                }));
    }

    private void loadTracks() {
        Map<String, Object> option = new HashMap<>();
        option.put("limit", String.valueOf(ApiSpotify.TRACK_LIMIT));
        option.put("offset", tracksOffset);

        subscription.add(ApiSpotify.getInstance().getSpotifyService().getPlaylistTracks(playlistUserId, ringtone.getSpotifyId(), currentUser.country, option).subscribeOn(Schedulers.newThread())
                .observeOn(AndroidSchedulers.mainThread()).subscribe(new Subscriber<Pager<PlaylistTrack>>() {
                    boolean hasMore = false;

                    @Override
                    public void onCompleted() {
                        if (hasMore) {
                            loadTracks();
                        } else {
                            mPlayer.play(tracksUri);
                            mPlayer.setShuffle(ringtone.isShuffle());
                            mPlayer.setRepeat(true);
                        }
                        if (playlistTracks.size() == 0) {
                            if (playerListener != null) {
                                playerListener.onError(new PlayerException(context.getString(R.string.player_error_empty_playlist)));
                            }
                        }
                    }

                    @Override
                    public void onError(Throwable e) {
                        Log.e(TAG, "Unable to retrieve playlist track", e);
                        if (playerListener != null) {
                            playerListener.onError(manageError(e));
                        }
                    }

                    @Override
                    public void onNext(Pager<PlaylistTrack> playlistTrackPager) {
                        for (PlaylistTrack playlistTrack : playlistTrackPager.items) {
                            if (playlistTrack.track.is_playable) {
                                playlistTracks.add(playlistTrack);
                                tracksUri.add("spotify:track:" + playlistTrack.track.id);
                            }
                        }
                        tracksOffset = playlistTrackPager.offset + playlistTrackPager.items.size();
                        hasMore = playlistTrackPager.next != null;
                    }
                }));
    }

    @Override
    public void onInitialized(Player player) {
        Log.d(TAG, "Spotify player Initialized");
        try {
            mPlayer.setConnectivityStatus(getNetworkConnectivity());
        } catch (PlayerException e) {
            playerListener.onError(e);
        }
        mPlayer.addConnectionStateCallback(this);
        mPlayer.addPlayerNotificationCallback(this);
    }

    @Override
    public void onError(Throwable throwable) {
        Log.e(TAG, "Spotify PLayer initialization", throwable);
        if (playerListener != null) {
            playerListener.onError(new PlayerException(context.getString(R.string.player_error_no_internet)));
        }
    }

    @Override
    public void onPlaybackEvent(EventType eventType, PlayerState playerState) {
        if (eventType == EventType.TRACK_CHANGED) {
            for (PlaylistTrack playlistTrack : playlistTracks) {
                if (playlistTrack.track.uri.equals(playerState.trackUri)) {
                    currentTrack = new Track();
                    if (playlistTrack.track.artists.size() > 0) {
                        currentTrack.setArtiste(playlistTrack.track.artists.get(0).name);
                    }
                    if (playlistTrack.track.album.images.size() > 0) {
                        currentTrack.setCoverUrl(playlistTrack.track.album.images.get(0).url);
                    }
                    currentTrack.setName(playlistTrack.track.name);
                    if (playerListener != null) {
                        playerListener.onTrackChange();
                    }
                    break;
                }
            }
        } else if (eventType == EventType.END_OF_CONTEXT) {
            for (PlaylistTrack playlistTrack : playlistTracks) {
                mPlayer.queue("spotify:track:" + playlistTrack.track.id);
            }
        } else if (eventType == EventType.LOST_PERMISSION) {
            if (playerListener != null) {
                playerListener.onError(new PlayerException(context.getString(R.string.player_error_lost_permission)));
            }
        }
    }

    @Override
    public void onPlaybackError(ErrorType errorType, String s) {
        if (playerListener != null) {
            playerListener.onError(new PlayerException(s));
        }
    }

    private Connectivity getNetworkConnectivity() throws PlayerException {
        ConnectivityManager connectivityManager;
        connectivityManager = (ConnectivityManager) context.getSystemService(Context.CONNECTIVITY_SERVICE);
        NetworkInfo activeNetwork = connectivityManager.getActiveNetworkInfo();
        if (activeNetwork != null) {
            return Connectivity.fromNetworkType(activeNetwork.getType());
        } else {
            throw new PlayerException(context.getString(R.string.player_error_no_internet));
        }
    }

    private PlayerException manageError(Throwable e) {
        if (e instanceof RetrofitError) {
            if (((RetrofitError) e).getKind() == RetrofitError.Kind.HTTP) {
                switch (((RetrofitError) e).getResponse().getStatus()) {
                    case 404:
                        return new PlayerException(context.getString(R.string.player_error_playlist_unavailable));
                    case 401:
                        return new PlayerException(context.getString(R.string.player_error_unauthorized));
                }
            } else if (((RetrofitError) e).getKind() == RetrofitError.Kind.NETWORK) {
                return new PlayerException(context.getString(R.string.player_error_no_internet));
            }
        }
        return new PlayerException(context.getString(R.string.player_error_unknown));
    }

    @Override
    public void onLoggedIn() {
        Log.d(TAG, "onLoggedIn");
        isLoggedIn = true;
        if (askPlay) {
            play();
        }
    }

    @Override
    public void onLoggedOut() {
        Log.d(TAG, "onLoggedOut");
    }

    @Override
    public void onLoginFailed(Throwable throwable) {
        Log.d(TAG, "onLoginFailed", throwable);
        if (currentUser == null) {
            subscription
                    .add(ApiSpotify.getInstance().getSpotifyService().getCurrentUser().subscribeOn(Schedulers.newThread()).observeOn(AndroidSchedulers.mainThread()).subscribe(new Subscriber<User>() {
                        @Override
                        public void onCompleted() {

                        }

                        @Override
                        public void onError(Throwable e) {
                            Log.e(TAG, "Unable to retrieve user", e);
                            if (playerListener != null) {
                                playerListener.onError(manageError(e));
                            }
                        }

                        @Override
                        public void onNext(User user) {
                            currentUser = user;
                            if (!currentUser.product.equals(User.PRODUCT_PREMIUM)) {
                                Log.i(TAG, "User don't have premium account");
                                if (playerListener != null) {
                                    playerListener.onError(new PlayerException(context.getString(R.string.player_error_no_prenium)));
                                }
                            } else {
                                //if token is expired its should be refresh by this request
                                mPlayer.login(ApiSpotify.getInstance().getAccessToken());
                            }
                        }
                    }));
        } else {
            refreshToken();
        }
    }

    @Override
    public void onTemporaryError() {
        Log.d(TAG, "onTemporaryError");
        if (playerListener != null) {
            playerListener.onError(new PlayerException(context.getString(R.string.player_error_no_internet)));
        }
    }

    @Override
    public void onConnectionMessage(String s) {
        Log.d(TAG, "onConnectionMessage");
    }

    private void refreshToken() {
        subscription.add(ApiSpotify.getInstance().refreshToken().subscribeOn(Schedulers.newThread()).observeOn(AndroidSchedulers.mainThread()).subscribe(new Subscriber<SpotifyToken>() {
            @Override
            public void onCompleted() {
            }

            @Override
            public void onError(Throwable e) {
                Log.e(TAG, "Unable to refresh token", e);
                if (playerListener != null) {
                    playerListener.onError(manageError(e));
                }
            }

            @Override
            public void onNext(SpotifyToken spotifyToken) {
                mPlayer.login(spotifyToken.getAccessToken());
            }
        }));
    }
}


text:
Q: Transpose hirarchy table I need some help with an table that consists of hirarchy data and I want to get a corresponding view out of it.
I have the following table with some sample data given:

AccountTypeCategoryTreeID
ParentViewTypeID
ParentAccountTypeCategoryID
ChildAccountTypeCategoryID
ChildAccountTypeGroupID
ChildAccountTypeID
SortOrder

2
NULL
7
23
NULL
NULL
10

3
91812
NULL
7
NULL
NULL
10

4
NULL
7
20
NULL
NULL
20

5
NULL
23
NULL
NULL
90584
20

6
91812
NULL
NULL
1
NULL
20

7
NULL
23
NULL
NULL
NULL
30

8
NULL
12
NULL
NULL
90586
10

9
NULL
23
12
NULL
NULL
40

10
91830
NULL
NULL
NULL
90584
10

11
91812
NULL
NULL
NULL
90581
30

The column ParentViewTypeID is always the root element of an tree. The columns ChildAccountTypeID and ChildAccountTypeGroupID are always the last element in the tree. The ParentAccountTypeCategoryID and ChildAccountTypeCategoryID represends the structure.
I have created the statement:
WITH hirachy
AS
(SELECT
        catct.ParentViewTypeID AS [Parent]
       ,COALESCE(catct.ChildAccountTypeID, catct.ChildAccountTypeGroupID, catct.ChildAccountTypeCategoryID) AS [Child]
       ,catct.SortOrder
       ,1 AS [Level]
    FROM CPM_AccountTypeCategoryTree catct
    WHERE catct.ParentViewTypeID IS NOT NULL

    UNION ALL

    SELECT
        Child.ParentAccountTypeCategoryID
       ,COALESCE(Child.ChildAccountTypeID, Child.ChildAccountTypeGroupID, Child.ChildAccountTypeCategoryID) AS [Child]
       ,child.SortOrder
       ,[Level] + 1 AS [Level]
    FROM CPM_AccountTypeCategoryTree Child
    JOIN hirachy g ON g.Child = Child.ParentAccountTypeCategoryID)
SELECT * FROM hirachy
ORDER BY [Level] ASC, SortOrder ASC

that gives me the following result set:

Parent
Child
SortOrder
Level

91830
90584
10
1

91812
7
10
1

91812
1
20
1

91812
90581
30
1

7
23
10
2

7
20
20
2

23
83414
10
3

23
90584
20
3

23
NULL
30
3

23
12
40
3

12
90586
10
4

So far so good.
But actualy I want something like this:

Root
Level1
Level2
Level3
Level4

91830
90584

91812
7
23
83414

91812
7
23
90584

91812
7
23
NULL

91812
7
23
12
90586

91812
7
20

91812
1

91812
90581

Can I use my current resultset to create my desired table or do I need a different solution? As the depth of the hirachy is not fixed, I know that I would need some dynamic sql statement. But for now I just need to know how to set up the basic statement.
Hope someone can help me to crack the nut...
Thanks in advance
Alex

redpajama_set_name: RedPajamaStackExchange


text:
Few people in Switzerland stream Swiss films, report finds
30 October 2021, by Jan de Boer
New data from the Federal Statistical Office (FSO) has shown that Swiss films are not popular among the Swiss population, with only 2 percent of films purchased, rented or viewed on streaming platforms being made in Switzerland, despite making up 10 percent of the catalogue in 2019.
Movies made in Switzerland remain unpopular on streaming services
The new report from the FSO took data from video-on-demand and streaming providers such as Netflix, Apple TV, Disney+ and Swiss providers like Swisscom. They found that the use of streaming services through the internet increased by 50 percent in 2019, and the FSO predicts a similar trend will be found in 2020, due to the pandemic.
Of the films available, films made in Switzerland made up around 10 percent of the catalogue, but only 2,2 percent of rentals and purchases in 2019 were for Swiss movies. Of those films actually watched, 0,8 to 1,4 percent of movies were Swiss. Hollywood films made up around 70 percent of the viewing time, dominating Europe and the rest of the world.
Funding proposed to boost Swiss film industry
This has generated discussion about whether plans by the Swiss government for a "Lex Netflix" tax on streaming providers' profits, to be given to Swiss filmmakers, is a reasonable solution, given their lack of popularity. The matter is to be sent to a referendum next year.
The Tages-Anzeiger, when reporting on the issue, flipped the argument by saying that the lack of Swiss films was the main reason why nobody watches them. They noted that the findings gave politicians all the more reason to fund Swiss art and Swiss movies.
WE HAVE MORE NEWS FOR YOU!
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Jan de Boer
Jan studied in York and Sheffield in the UK, obtaining a master's in broadcast journalism and a bachelor's in history. He has worked as a radio DJ, TV presenter, and...
Swisscom named the strongest brand in Europe and third strongest in the world
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Minimum internet speed in Switzerland to increase eightfold in 2024
Switzerland bans cold calling by health insurance providers
Self-driving delivery vehicles given green light in Swiss city
Online media more influential than Swiss TV and radio for first time

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: SQL programming logic - beginner level I am a beginner at SQL programming. Any pointers would help me.
Table 1
Server id   Appl id
1           1
1           2
1           3
2           4
2           5
3           6

Aggregate the values like this need not output
Server ID   Appl id

1          1 2 3

2          4,5

3          6

Server id/Appl id present in same column of this table2
Pick up the mktd id values based on appln id for the server 1 from table 2
Appln id    Mkt id  Record no
1             10    1
1             20    2
2             45    1
3             45    1
3             10    2

Then enter mkt id values for server 1 in table 2
Server id   Mkt id  Record no
1             10    1
1             20    2
1             45    3

A: Assuming you are having 3 tables. tblServer, tblApplication and tblMarkup. Here you wanted to pull out the mark up id's based on the server name..
Then you need to join server table with application first and then join the application table with mark up using the related columns and in the where filter you can mention the server name . Sample code is given below.
    SELECT m.MarkupId
    FROM tblServer s
        JOIN tblApplication a on s.serverId=a.serverid
        JOIN tblMarkup m on a.ApplicationId=m.markupId
     WHERE s.ServerName= 'Your Server'


text:
Home » Celebrities » Armstrong Williams Married, Wife, Gay, Family, Net Worth, Bio
Armstrong Williams Married, Wife, Gay, Family, Net Worth, Bio
By Suvekchha Chapagain | On: 10 Apr, 2017
61 Years 11 Month(s)
James Williams (Father), Thelma Howard Williams (Mother)
The anchor of the nationally syndicated TV program, The right Side with Armstrong Williams, Armstrong Williams is an expertise in many profession including a television host, radio host, political activist, entrepreneur, and columnist. He is the CEO and founder of international marketing, advertising, and media consulting firm, the Graham Williams Group and runs a political talk show on radio and television.
The prominent journalist, Armstrong Williams was served a vice president for B&C Associations, an international and governmental affairs public relations firm. Williams also worked an assistant to the chairman of the U.S. Equal Employment Opportunity Commission, legal assistant to the U.S. House of Representative Carroll Campbell, presidential appointee to the U.S. Department of Agriculture and legal advisor to American Senator Strom Thurmond.
He has worked in various radios including GEMS, WGCV, The Talk American Radio Network and XM Satellite Radio. His programs like The Armstrong Williams Show features his values, opinions, and beliefs related to political and current issues. He has appeared on numerous television stations including MSNBC, Sky News, DC TV, TVOne, and others either as a guest or regular host. He previously hosted a monthly primetime television special show, On Point with Armstrong Williams from 2002 to 2005.
How Much is Armstrong Worth?
Armstrong Williams possibly enjoys an enormous net worth of $200 million. The significant amount is accumulated from the decades-long efforts and struggle of Armstrong as a television host, radio host, political analyst, columnist, and entrepreneur. The salary from the large television and radio also helped him to garner the amount.
Secret Personal Life!
In contrary to the career, the real life of Armstrong Williams seems unexciting and far from attractive. The journalist at the age of 55 seems single and unmarried. The information whether or not he is dating someone or has a girlfriend is yet to reveal. However, it's hard for the fans to conclude that the host has not stayed in a relationship till the date. It wouldn't be unfair to suspect that he may be secretly married and enjoying marital life with his wife but reluctant to confide the information.
The avoidance of Armstrong for the relationship and girls gives rise to the suspicion that he might be a gay. However, nothing can be commented until Armstrong himself reveals about his sexual orientation and partner.
Born on 5 February 1962, Armstrong Williams raised in Marion, South Carolina on the family's 200-acre tobacco and hog farm. He earned the graduation of Bachelor Degree in Political Science and English in 1981 from South Carolina State University. He was engaged in writing, and public speaking from an early age and also won an orating contest in high school in 1976. He has a tall height and charming personality.
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text:
Author: Antony
Lets go to gigs.
1 comment on "Play This Show double bill – 12th April at Bristol Improv Theatre"
Play This Show double bill – 12th April at Bristol Improv Theatre
Posted by Antonyon March 4, 2018 March 4, 2018 in Presents1 Comment
We're teaming up with award-winning game developer Alistair Aitcheson to bring you Play This Show, a night of playable and improvised comedy featuring two shows like nothing else on stage- well, like nothing else on a Thursday night in April anyway.
Grab your tickets now from the Bristol Improv Theatre website
Publish or Perish is the choose-your-own-adventure show where the whole audience gets to play together.
Alongside your friends, you'll take control of a young scientist trying to make it through the strangest day of their life, guided by the all-knowing game master.
Mashing up daft songs, live action role play, deadly punning photocopiers, a lab full of improvisers and an unhealthy dose of audience suggestions, surviving the sci-fantasy world of Publish or Perish ultimately depends on your choices – democracy taken to the next level!
After a fantastic couple of shows at Green Man Festival 2017, we're really excited to be bringing this show to a hometown audience at the brilliant Bristol Improv Theatre. And if you caught it last year, there'll be new cast members, new games and even more pop culture surprises to challenge your spur of the moment decision making skills.
The Incredible Playable Show
Created by game developer Alistair Aitcheson, The Incredible Playable Show is an interactive video game comedy show where you, the audience, take to the stage!
Become human buttons, take on the Power Rangers, zap each other with barcode scanners, and play Pac-Man using inflatable toys. Or sit back, and watch your friends literally become cogs in a hilarious machine!
2 comments on "The audience 'erupts' for Eruption! – Earth Science Week 2017"
The audience 'erupts' for Eruption! – Earth Science Week 2017
Posted by Antonyon October 24, 2017 April 8, 2020 in Presents2 Comments
Plasticine defeats lava. But only if it's placed correctly. Just one of the lessons the intrepid volcanologists for the evening took home after enjoying Rising Ape Presents… Eruption for this year's Earth Science Week.
On Monday 9th October eight teams entered the the Mt Risuvius Volcano Observatory (read: Bristol Improv Theatre) with the goal of securing a lucrative imaginary contract to take it over. Their task? To defend the nearby town from a fiery doom, through the tried-and-tested disciplines of disaster planning and pub quiz.
The teams assemble
First, the teams picked a suitably volcanic name, with bonus/pity points going to Igneous Ramuses and Magma Mates. Then the quiz began in earnest. Points were awarded for knowing the Hawaiian word for poo (uli), where volcanos keep their trophies (the mantle piece) and avoiding periodic lava flows into the observatory by scrambling off the floor.
Planning the defences
After the interval, a news report announced that Mt Risivius was near to erupting. The teams then had to plan how they would spend the town's budget on defending the population and infrastructure. Would they invest in early warning systems? Or blow it all on concrete (read: plasticine) barriers to divert the destruction?
Who could withstand the lava best?
And then it happened, ERUPTION! The teams quickly constructed their defenses on a highly accurate model of Mt Risuvius. As the washing up bubbles (read: terrifying lava) flowed to much excitement, the teams' defenses were put to the test and buildings were spared or sacrificed. But who had made the best use of their scant resources? Who out of these eight teams of bold Monday night adventurers had done the most to save the town?
As the damage was assessed and the scores tallied, it was clear there was only one winning team: Ring of Fire! Unbelievably, in an unfair world and a negatively rigged game, they'd achieved a positive score!
The scores after round 1 and a fine selection of punny team names.
The night ended with an absorbing talk from local researcher, Ailsa Naismith of the University of Bristol. Ailsa shared stories of her travels to volcanic regions in South America and the amazing people she'd met who had made volcanoes their home. It was fascinating to hear how these people felt ownership, and even friendliness, towards their unpredictable neighbours.
We'd like to thank everyone who came to Eruption and made it such fun. Your competitiveness, creativity and commitment to the world of Mt Risuvius was truly inspiring. We hope to see you all at the next event.
Rising Ape Presents… Eruption was made possible by funding from the Geological Society as part of Earth Science Week 2017.
0 comments on "Mount Risuvius is rumbling…. Eruption at the Bristol Improv Theatre!"
Mount Risuvius is rumbling…. Eruption at the Bristol Improv Theatre!
Posted by Antonyon September 27, 2017 April 8, 2020 in PresentsLeave a comment
Under the volcano, Rising Apeton trembles
Rising Ape return to the Bristol Improv Theatre with a real pa-lava of a pub quiz… On Monday 9th October, the little town of Rising Apeton will be under threat from volcanic destruction, and only the mighty power of quiz can save it!
First, your team will prove your vulcan knowledge (or lack thereof) in challenging themed (and not-so-themed) rounds. Then, you'll be tasked with building the defences of the town itself, will your team hold off the fizzing lava flow?
What will the teams be crafting this time? And will it be enough to save the town?
The night ends with local earth science researcher, Alisa Nailsmith, spilling the secrets of her incandescent life studying volcanoes in Guatemala and the people living in their shadows.
So come down the BIT with your friends (or join a team on the night), win some silly prizes and take up the 'mantle' of volcanic defender for the evening!
Buy tickets at the BIT website
Need more enticing? Watch what happened last time the volcano erupted:
This event is part of Earth Science Week 2017, and supported by the Geological Society.
0 comments on "New Green Man show, AI at the BIT, and Back to (summer) school: Rising Ape Spring Update"
New Green Man show, AI at the BIT, and Back to (summer) school: Rising Ape Spring Update
Posted by Antonyon May 2, 2017 April 8, 2020 in PresentsLeave a comment
We've spent the cold winter months planning and preparing (also sleeping). Now it's time to see what the Ape is cooking in the next few months.
The Audience – 26th May, Bristol Improv Theatre
The show is as LED-lightful as ever
Our fantastic friends at the Bristol Improv Theatre (BIT) have supported Rising Ape since our very first event, Life on Mars in 2015. Since then, they've gone through huge change, buying a building and completely refurbishing it to become the UK's first dedicated Improv Theatre!
We were honoured to be asked to be part of their first spring season and bring The Audience to the BIT this May as part of a double bill with Alastair Aitcheson 's Incredible Playable Show. It's certain to be a night that fans of audience participation and Black Mirror-esque dystopian sci-fi won't want to miss.
The Incredible Playable Show + Rising Ape, £7, 26th May, Bristol Improv Theatre
Book tickets on the Bristol Improv Website
Return to Einstein's Garden at Green Man Festival
After the success of The Audience at last year's Einstein's Garden, we're now deep into writing our new show for this year's festival. Publish or Perish, basically the Sims with scientists, will give people the chance to control the choices of a young researcher trying to make it through the day from hell.
Blending live action role play, improv, video games and biting insight into the real world of academic research (we knew those PhD's half the apes were embarking on would come in handy), PoP is a must see for anyone who loves any of those things we just listed. Stay tuned for updates as the process of creating this show becomes ever more fraught and stressful, until the festival itself, 17-20 August.
Read more about Publish or Perish at the Green Man Festival website
Apes go back to (summer) school
Meant to be.
This July, we're also excited to be working with UWE to put on a night of activities for researchers attending their science communication summer school. Based around the concept Worst. Science. Festival. Ever, it's going to be an evening of fiendish quizzing, ridiculous challenges, and bonus points for science clichés: Fun for all the faculty!
Siobhan writes for Writes
Finally, we're very pleased to be publishing a new A-Z series from Bristol writer Siobhan Fairgreaves. Catch up on A is for Atom and B is for Black Hole, and get C sent straight to your inbox using the Follow button in the bottom righthand corner of this page;-)
Phew, that's plenty for now. We're also in talks about a number of other events throughout this year, so look out for details in the not too far away future. If you want to get in touch about an idea, just chuck us an email at info@rising-ape.com, or use the contact page, we would LOVE to hear from you 💯
0 comments on "Introducing Sam Jarman: Editor-at-large for Rising Ape Collective"
Introducing Sam Jarman: Editor-at-large for Rising Ape Collective
Posted by Antonyon February 13, 2017 February 15, 2017 in WritesLeave a comment
Veteran followers will have spotted the uptick in articles published on the RA site in the last couple of weeks. Now he's got his feet under the WordPress dashboard, we can announce it's all thanks to the efforts of Sam Jarman, the new editor for Rising Ape Collective.
Sam will be working with our roster of featured writers, including Anwen Bowers and Jon Farrow, as well as writing his own series on unanswered questions in cosmology. He may even be called upon to brutally edit that science poetry Antony keeps threatening us with. If you'd like to be hosted on the site, why not contact Sam about writing for Rising Ape.
We'll let Sam tell you more about himself in time-honoured, RA style guide mandated, third person:
Having finished a Physics degree, Sam decided he was probably better at writing about science than researching it, and decided to take the lazy noble path of becoming a science journalist. He's now taking the Science Communication course at UWE in Bristol, where he met the Rising Ape team.
Sam's biggest interests in science are astrophysics and particle physics, which he likes to try and explain to people (even the parts he doesn't really understand himself), most likely annoying them in the process. You'd think Brian Cox would be fearing for his job, but unfortunately Sam's voice just isn't soothing enough to become a suitable rival.
Sam's favourite supersymmetric particle: The sstrange squark
0 comments on "The Audience gets Bristolians talking with algorithms"
The Audience gets Bristolians talking with algorithms
Posted by Antonyon January 3, 2017 January 9, 2017 in PresentsLeave a comment
'Really clever concept, good fun and I really liked the way the science is woven in!' – Audience member
'I feel grotty' – Another Audience member
ALIX meets her latest data input devi- sorry, latest colleagues. | Image: Nick Moylan
After a busy 2016, Rising Ape squeezed one more event in before the end of the year. A freezing, foggy 1st of December saw a small, boisterous crowd weathering extreme elements, limited visibility and the Conan Doyle-ish Capital D dread of it all to make it down to the Bristol Improv Theatre. There, together they became the audience for, well, The Audience.
Guided by courtroom algorithm ALIX, the Audience became shaped into a cohesive unit, passing judgement on the sentence for a dramatic court case, and getting a glimpse into what justice in the future might be like. The immersive experience aimed to get people thinking about the consequences of trusting machines with our thoughts and biases. And all through the brandishing of LED lights and making friends with a slightly sarcastic A.I.
"I, for one, welcome our new AI overlords" proclaims controversial, yet out of shot, audience member, to everyone's amusement. | Image: Nick Moylan
After the interval, the energised group began a passionate discussion with a panel consisting of:
Dr Sabine Hauert, Lecturer in Robotics at the Bristol Robotic Laboratory
Andrew Charlesworth, Reader in IT & Law at the University of Bristol
Dr Rosie Clark, Research Associate in Experimental Psychology at the University of Bristol
Antony Poveda, Producer for Rising Ape Collective and member of the cast.
Together the experts and audience discussed how far we are willing to trust algorithms with important decisions, personal experiences of the effectiveness of juries, and how little society is aware of the companies behind the technology we give data to. The engaging and highly productive session was filmed and we'll be publishing the full video later in the New Year.
This production of The Audience was also incredibly valuable from our viewpoint. Learning from the performance at Green Man, we took the opportunity to tighten the script, take advantage of the new venue to really up the atmosphere (the mist certainly helped a bit there), choreograph new immersive moments, and, best of all, discover how well the performance works as a stimulus to get an audience talking with experts about these timely issues.
Want to experience The Audience for yourself? Follow us using the button below and look out for news of performances in 2017, as well as the film of the panel discussion, coming soon.
0 comments on "The Audience is in session – 1st December, Bristol Improv Theatre"
The Audience is in session – 1st December, Bristol Improv Theatre
Posted by Antonyon November 12, 2016 April 8, 2020 in PresentsLeave a comment
Your voice is 'important' to us.
MSG FROM: Ministry of Justice PLC
SUBJECT: Have you RSVP'd?
MSG BEGINS: Dear Citizen. Fresh from being the most packed, "disturbing", and ethically confusing interactive show of the Green Man Festival Einstein's Garden tent, The Audience is hitting Bristol with a heady mix of mob rule, computer smart-arsery and LED lights.
In the latest immersive show from Rising Ape Collective you'll meet ALIX, the friendly courtroom AI, and get to have your say on what society thinks is morally right and wrong.
The show will be followed by a Q&A with the writers and a panel of local researchers ready to discuss your questions on the future of AI, our legal system, and whether robots will take all our jobs.
Attendance is voluntary, yet strongly advised. Please respond to your video invite, ALIX can't wait to meet you.
Vote Justice. MSG ENDS.
More details, and RSVP on the event page.
Tickets available at improvthreatre.co.uk
0 comments on "Memories made in a night of brain exploration"
Memories made in a night of brain exploration
Posted by Antonyon October 16, 2016 October 16, 2016 in PresentsLeave a comment
Last month our latest event Memory Makers took place at the At-Bristol Data Dome (the big silver ball on Millenium Square). In full dome 360 projection, we featured an exclusive look at the game Cascade and how it's transforming what's going on in the brain of someone with Alzheimer's into a gaming experience like no other.
In an immersive walkthrough session we heard from researcher Jody and developer Gaz on how the hallmarks of the disease lent themselves perfectly to a game medium. The thoroughly engaged audience then asked some thoughtful questions and we got into the details of the amyloid hypothesis and the process of game development. It was, as one attendee put it, 'informative and visually amazing!'.
The audience also got to explore more of their brains through (jelly) tissue dissection, freaky audio illusions, and the gameshow stylings of Head 2 Head – see the packed leaderboard in the pics and try to spot your score if you were there.
For us, the most positive outcome was how excited the team behind the game were about the possibilities of taking the Cascade full dome 360 projection experience to new places. Who knows, Cascade could be coming to a planetarium near you soon…
Huge thanks to Jody, Fayju Games, Ruth Murray and At-Bristol, plus our lovely volunteers for all their hard work. Thanks also to the Biochemical Society for funding the event.
And thanks to Nick Moylan for his atmospheric photos of the night. You can find more of Nick's wonderful images on his Instagram.
0 comments on "Design, Naturally: Wasps take the sting out of brain surgery"
Design, Naturally: Wasps take the sting out of brain surgery
Posted by Antonyon October 9, 2016 February 4, 2017 in Design, Naturally, Feature, Life, Technology, WritesLeave a comment
By Anwen Bowers
"I cannot persuade myself that a beneficent & omnipotent God would have designedly created the Ichneumonidæ with the express intention of their feeding within the living bodies of caterpillars …"
This statement from Darwin is often quoted in discussions about his changing relationship with religion as he developed his theory of evolution. 150 years later, the ichneumonidae in question are taking a step towards shedding their demonic reputation by inspiring a new approach to neurosurgery.
Pretty deadly. We could look at ichneumonidae ALL DAY.| Image: Sean McCann
The ichneumonidae are a subfamily in possibly the largest group of animals in the world – the parasitoid wasps. Estimates of the total number of ichneumonidae species alone reach up to 100,000 – more than all the vertebrate species in the world. The wasps gain their name because they brutally kill their host species, as opposed to parasites which drain the resources of an organism without causing significant harm. Indeed, life histories of the parasitoid wasps are close to the stuff of nightmares.
The extremely high diversity of ichneumonidae has arisen because each species of wasp has evolved to target just a single type of prey, and to do it as efficiently as possible. Each species is distinguished by its specialised weaponry or tactics that allow them to tackle their prey in their niche habitat or lifestyle. For example, Lasiochalcidia igiliensis' chosen host is the antlion larva, a ferocious predator in its own right with vicious jaws that it uses against a range of arthropod prey, even spiders.
A badass Antlion larva clearly has only one thing to fear. Fear of L. igiliensis itself. | Image: Larah McElroy
The seemingly fearless L. igiliensis has been observed to bait the antlion larva, encouraging it to attack the wasps itself. At the point of attack, the wasp will use its powerful legs to prise the jaws of the antlion open, whilst simultaneously depositing an egg into the antlion larvae's throat. There the egg will incubate, feeding on the antlion from the inside, until the time for metamorphosis comes. At this point the wasp will burst out from the antlion, not unlike the infamous scene from Alien.
Strategies in other species include a fibrous mesh that traps air allowing the wasps to dive down and reach caddis fly in their underwater habitat, and a hormone invisibility cloak that allows the wasps to live within an ants nest, even up to adulthood, without detection. These guys are the Q Branch of the insect world.
M. macrurus prepares to drill. Just look at that ovipositor. Stunning, and inspiring… | Image: Evan Kean
Here at Rising Ape we can vouch from experience that great ideas happen when you put a bunch of scientists from different backgrounds in a room, and maybe give them a bottle of wine. This seems to be what happened in the case of Dr Ferdinando Rodriguez y Baena, a medical engineer who found himself inspired by a serendipitous dinner party conversation with zoologist and biomimetics expert Julian Vincent.
Vincent described how the parasitoid wasp species Megarhyssa macrurus, is able to use her egg laying tube to drill down into tree bark, where she deposits her eggs onto the larvae of the pidgeon tremaz horntail (how did this come up as a topic?! Over dessert?). This is possible thanks to a complex structure of three tubes that can bend and flex as the wasp drills, allowing her to position her eggs with pinpoint precision.
The three parts of this needle echo the ovipositor of the drilling wasp and give it unparalleled flexibility. | Image: UCL
This elegantly specialised structure gave Baena the idea for a new style of needle that mimics the ovipositor. The design allows surgeons to control and manoeuvre the needle inside the patient, navigating around sensitive and fragile parts of the brain. This minimally invasive surgical procedure could even allow surgeons to deliver drugs to very specific areas in the brain, potentially treating diseases such as brain tumours and Parkinson's. By saving lives for a change, the ingenious ichneumonidae wasps could be about to improve their reputation. Who knows, even Darwin may have approved.
1 comment on "Your Choice set goes down a storm at Green Man"
Your Choice set goes down a storm at Green Man
Posted by Antonyon September 8, 2016 September 8, 2016 in Presents1 Comment
Last month, Rising Ape took Your Choice: The Game to a field in the heart of Green Man Festival as part of the famous Einstein's Garden, an area of the fest dedicated to exploring science, nature and other wild ideas.
We all know that one person who gets all the best cards. It's a team game, mate, just saying.
Each day, at 2.30pm sharp, makeshift cancer research groups sat down in the Garden's workshop dome to play the board game element of Your Choice and got to grips with choosing the direction of their research. More than 60 people get involved over the weekend, working together in their teams to make the most of their resources, beat cancer sooner and get to the top of the scoreboard. In the end, Team Maroon and Green won the comp by a single point (!) to win the prizes on offer.
A representative from Team Maroon and Green accepts a prize more valuable than a Rio Gold Medal.
Before starting the weekend, we had some questions about whether Your Choice would work as a purely facilitated game, without the powerful monologue performances… And at a music festival. These questions were answered and, what's more, we learned some new things about the game.
Question 1: Who would play it? Here was our first surprise: The audience was much more diverse than we expected, and the game worked well for everyone! We had teams of children, families, couples, people likely under the influence of some interesting substances… The most pleasant surprise was that children as young as 12 were really grasping the idea of how to play and we had a few younger than that who were into the dice rolling and gem spending. It got very competitive.
And while we thought people with a relationship with cancer research would be interested, in fact most of the teams we spoke to had little or no previous knowledge of cancer or cancer research. We got people involved by setting up an example board at the front of the workshop dome next to the high score board, and asked anyone who stopped for a moment if they wanted to play a game. It's hard to resist the lure of a crisp deck of cards and a pile of shiny gems.
Question 2: Would people stick around? Yes. All the teams playing the game were fully engaged for the whole forty minutes of play time. Although there was an option to leave after the first 20 minute section, everyone wanted to carry on and finish the second section.
This meant some teams were engaged with the activity for nearly an hour solid, even with all the distractions available at a music festival! It was commented on by Einsteins Garden staff that it was unusual to see people stay for so long in the workshop dome and it's great to see that, as hoped, the game can hold attention without the monologue breaks.
Question 3: How would people deal with the theme? There were several moments in games where people, parents mainly, talked to the rest of their team about the types of cancer that had occurred in their family and it was nice to see these conversations happen naturally through playing.
The leaderboard on Day 1. By the end all these scores would be crushed.
And there was more food for thought. Interestingly, we had several questions about whether it was possible to buy the game at the festival, and a teacher said they would love to get hold of it for their biology class. Making the game available to a wider audience is something we will definitely be interested in exploring with CRUK.
So engaging music lovers with cancer research in a wet Welsh field? Check! Thanks to everyone who made the weekend possible, especially Will, Maddy of Einstein's Garden and the workshop dome volunteers. We look forward to the next outing for Your Choice. Could it be in your area?


The Korean Conflict, so-called because it never entailed an official declaration of war by the United States government, began in 1950 when North Korea invaded South Korea. The Soviet Union and the United States divided Korea following World War II, and established governments favorable to their own particular economic, political, and diplomatic interests: the Soviet related Democratic People's Republic of Korea in the north, and the U.S. allied Republic of Korea in the south. The war was one illustration of the mounting tensions between Soviets and Americans during the Cold War. Many Americans accused the Soviet Union of establishing a "puppet regime" in North Korea, which meant that the North Koreans were supported by the Soviets and required to carry out their will as a communist nation. It was the belief of many top US intelligence officers that the Soviets controlled a worldwide "bloc" that orchestrated all communist governments, all of whom took their orders and followed the will of the Soviets. The United States characterized the stakes of the war not as the recovery of land for South Koreans, but as nothing less than the containment of the Soviet monolith. When the North Koreans invaded South Korea, they spoke of "peace" and of reuniting the country, but the United States saw the work of the Soviet Union in this act of aggression. The Hammer and Sickle depicted on the dove's chest is the symbol of the Soviet Union.


More than half of firms surveyed are considering reviewing their distribution and structuring of investment funds in the next 12 months and some three-quarters had reviewed their distribution arrangements in the previous two years.
Market access is a key priority. Managers are starting to recognise Guernsey's credentials in global distribution � proven routes to market for institutional investors to more than 50 jurisdictions, across five continents, including the United States and China.
Standards of service are a factor of growing concern. More than half of managers say that they consider service levels to be extremely important and may influence a change of jurisdiction.
And the survey also showed that more than half of managers would consider splitting global and EU distribution if it led to improved service and reduced costs.
Guernsey funds are able to reach investors in jurisdictions representing more than 80% of the world economy � more than 50 jurisdictions across five continents, including the USA and China.
Guernsey's European distribution is through National Private Placement Regimes, which provide a proven, smarter, faster and cheaper route to access European investors.
"Guernsey can provide asset managers with a single route to investors, and our 'four corners of the globe' distribution model � proven, smarter and faster from Guernsey � needs to be more widely recognised."
"Guernsey can provide asset managers with a single route to investors, and our 'four corners of the globe' distribution model � proven, smarter and faster from Guernsey � needs to be more widely recognised.
"We are ideally placed to offer access to worldwide markets, greater certainty for managers and promoters, and more cost-effective solutions with higher levels of service than many of our competitor jurisdictions."
"Many promoters think that they need to have a UCITS or an AIF but, when they actually analyse who their target market is and what they require from their fund, a Guernsey vehicle very often turns out to be a better regulatory fit, and offers a cheaper, faster solution."


Dendrimers are well defined, highly branched macromolecules that radiate from a central core and are synthesized through a stepwise, repetitive reaction sequence that guarantees complete shells for each generation, leading to polymers that are monodisperse. The synthetic procedures developed for dendrimer preparation permit nearly complete control over the critical molecular design parameters, such as size, shape, surface/interior chemistry, flexibility, and topology. Recent results suggest that dendritic polymers may provide the key to developing a reliable and economical fabrication and manufacturing route to functional nanoscale materials that would have unique properties (electronic, optical, opto-electronic, magnetic, chemical, or biological). In turn, these could be used in designing new nanoscale devices. In this paper, we determine the 3D molecular structure of various dendrimers with continuous configurational Boltzmann biased direct Monte Carlo method and study their energetic and structural properties using molecular dynamics after annealing these molecular representations.
© Institute of Physics and IOP Publishing Limited 2000. Received 2 March 2000; Print publication: Issue 2 (June 2000) SPECIAL ISSUE FEATURING PAPERS FROM THE 7TH FORESIGHT CONFERENCE ON MOLECULAR NANOTECHNOLOGY The research projects reported in this paper are supported by grants ARO-MURI, ARO-AASERT and ARO-DURIP. The facilities of MSC is also supported by funds from NSF (CHE 95-22179), DOE-ASCI, NASA/Ames, Avery Dennison, BP Chemical, Beckman Institute, Chevron Petroleum Technology Co, Chevron Chemical Co, Dow Chemical, Exxon, and Seiko-Epson.


It depends who you ask. Almost immediately after Rolling Stone revealed its August 3rd cover, Facebook and Twitter exploded with angry readers expressing disgust with such a glamorous depiction of Tsarnaev. On an average day, Rolling Stone receives about 2,500 mentions on Facebook and Twitter. Within 24 hours of the unveil, there were more than 250,000 Facebook posts and tweets mentioning Rolling Stone Magazine – most negative in sentiment andfeaturing words such as "outrage," "boycott" and "backlash".* Social media provided an outlet for public opinion, but unfortunately, Rolling Stone wasn't listening.
While Rolling Stone released a statement standing by its decision to feature Tsarnaev on the cover, it failed one of the golden rules of social media by ignoring online fans. Facebook posts and tweets went unanswered, and some Facebook fans even complained that the magazine's community manager deleted negative comments from its page. Perhaps even more shocking is that Rolling Stone chose to continue posting regularly scheduled social media content amidst the outrage. Three unrelated Facebook posts and seven unrelated tweets went live after the magazine released its official statement about the cover story, sparking even more anger from consumers.
The magazine knew it would spark controversy with the cover, but obviously saw some value in doing so. What it completely underestimated was the power of social media as a rallying tool. Within hours of the cover's debut, retailers like CVS, Tedeschi, Walgreens and Rite Aid took to their social media channels to announce their refusal to sell the issue out of respect for Marathon bombing victims. "Boycott Rolling Stone" quickly became a trending Twitter topic. Even companies who advertised in the August 3 issue are being blasted with negative comments on social media for their support of Rolling Stone, including Budweiser, HBO Showtime and A1 steak sauce. For Rolling Stone, it's not a matter of losing readership, but also losing money from companies who no longer wish to be associated with such controversy.
Rolling Stone failed, not just because of the image on its cover, but by its refusal to follow simple best practices in the wake of controversy. Instead of engaging with consumers and media in a two-way dialogue to explain their position, the magazine released one coverall statement and refused to engage further. By putting on blinders, Rolling Stone may have done permanent damage to its reputation. However, it remains to be seen whether the August 3 cover will result in a significant drop in readership, or if Rolling Stone's strategy to conduct business as usual until the whole thing blows over will work to its advantage.
*Based on a Radian6 search from 7/16/12 - 7/17/12 using a range of keywords which included "Rolling Stone," "@Rollingstone," "#rollingstone," and "Rollingstone."


1. Soak all dals in water for 30 minutes.
2. Pressure cook dals (1 on high flame and 5 on low flame) with 1/4th tea spoon turmeric powder and 2 generous pinch of salt.
–Remember we will be adding salt while frying the dal as well, so be cautious about the amount of salt you add.
otherwise the dal will get stuck at the bottom. Cook the dal until it becomes mushy.
3. Heat Oil or Ghee in a heavy bottomed pan.
4. Crackle 1 tea spoon cumin seeds, 1/2 tea spoon mustard seeds.
5. Add 2 dried red chili and saute for 15-20 seconds.
6. Add finely chopped onion and saute till onion becomes golden brown.
7. Add 2 finely chopped green chilies, chopped ginger and garlic and saute till raw aroma of garlic goes away.
8. Add red chilli powder, coriander powder and mix well till oil leaves the masala.
9. Add finely chopped tomato and saute till the tomatoes turn soft and mushy.
10. Add salt to taste and mix well.
11. Add pressure cooked dal.
12. Add water to adjusting consistency, don't make too much watery.
13. Cover and simmer for 8-10 minutes, gently mix in between.
14. Garnish with 2 table spoon finely chopped coriander and serve mix dal fry with hot steamed rice, chapati, paratha or naans.


Mystery surrounds the financial manoeuvres approved by Italy's Cabinet. The published text is different from the one issued by the government. The Minister of Economic Development and Labour, and leader of the M5S, Luigi Di Maio, has turned to the Public Prosecutor's Office, filing a complaint against unknown persons for tampering with the decree. It is the first time such an event has happened in Italy – and certainly not elsewhere – in the 72 years of democracy since the foundation of the Republic.
The mistake concerns the amnesty – one of the three measures contained in the state budget document – that the government has baptized "fiscal peace", because not all those who are of questionable standing are entitled to it. The provision is for payment facilities for the 10 million tax payers who submitted a tax return, but who did not have the opportunity to pay the tax due to lack of money. The facility is not open to tax evaders, i.e. those who have not even filed their tax return.
Those who had no opportunity to make the payment, despite having complained – that is, about a third of taxpayers – can remedy the situation with the tax authorities by paying 20% of the amount due. This subsidy is permitted only to those whose debt to the tax authorities does not exceed 100 thousand euros. This is – according to Luigi Di Maio – the decree approved by the Cabinet.
Instead, in the published text, which was about to be transmitted to the Quirinale for the approval or observations by the President of the Republic, two other clauses have been inserted, which the M5S party disputes and renounces. These concern first the impunity of those who report overseas earnings and capital and, second, those who wish to transfer to Italy income from any source, even money that has been laundered.
This is the subject of the complaint filed with the judicial authority for manipulation carried out by persons unknown, supposedly disloyal officials, acting on behalf of those who oppose the government of the League and 5 Star Movement, i.e. the traditional parties that were beaten in the elections of last March.
The opposition, however, argues that it may be the long arm of the League, which has long insisted on expanding the boundaries of those affected by tax legislation. In recent days, there has been a lot of tension between the two movements. One, the M5S, are against tax evaders. The other, the League, being more permissive, host the largest number of evaders in their northern heartlands.
Several lively discussions among the majority preceded yesterday's Cabinet meeting, characterised by heated controversies that threatened to shatter relations and bring about the fall of the government. Finally, Di Maio and his M5S defenders of honesty and transparency, got the upper hand. Threatened with disclosure of their complacency towards tax evaders, the League gave in.
In the decree – which also includes the possibility of retiring at age 62 with 38 years of contributions, and the income of citizenship, to meet the six million poor – is the promise of prison for those who hide their income tax. This was the measure that the League did not want but, eventually, had to accept. It marks the first time that tax evasion in Italy is considered a criminal offence. That is why the opposition – the parties on the left, as well as those on the right, together – claim that the addition was carried out by the League and that the M5S noticed it only after criticism was made.
The decree was blocked by the Premier, Giuseppe Conte, and purged of the part concerning impunity and income of dubious provenance. From today, October 18th, the Public Prosecutor's Office will open an investigation to identify those responsible for the changes.


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That's our offer to you - we'll take it off your plate. In fact, we'll go one better than that. A freelance web developer in, say, Essex can't easily sync up with a creative designer in, say, Cardiff. Individually, probably very good at their jobs but they've each got different directions and can't easily talk to each other. The results are messy.
Our approach is to consider your marketing as a whole whenever we deliver anything. So that logo is already ready-for-web, the SEO campaign is already implemented into your new website because we're helping you handle all of it, the right things just get done at the right time.
If you are looking for help with any part of your marketing, no matter how small or the whole king caboodle, we'll be very pleased to help you.
'curlycottage' is a trading style of Curly Cottage Media Limited. Incorporated in England and Wales: Company number 8783688. Registered address: Ash House, Bindon Road, Taunton, TA2 6BJ. VAT registration number 197 6687 31.


text:
The Trippe Gallery
© 2014 by Trippe-Hilderbrandt Gallery.
23N Harrison St Easton,Md 21601 410-310-8727
Meg Nottingham Walsh
< Return to Artists
"My goal is to translate the landscape, capturing what interests me most about a specific place at a moment in time. Painting outdoors forces me to focus on the essence of a scene, and I like the sense of immediacy it lends to my work."
Known for landscapes drenched in color and light, Meg is equally at home painting en plein air or in the studio. Though realistic in nature, her work has a strong abstract element, characterized by simplified shapes, limited values, and glowing color.
In 2000, she left her job as an editor for National Geographic Magazine, where she worked for 21 years, to concentrate on painting. Her time there provided a great eductaion in design and composition, the foundation of her work. After years in the studio, she then turned her attention to painting the landscape. Realizing that direct observation of nature was essential to understanding the complexities of light and color, she her took her easel outdoors.
Meg has won awards at major juried plein air competitions including Easton, Annapolis,and Norfolk, and she judged the Falls Church Plein Air Festival in 2012 and 2015.
Her paintings have been purchased by the Academy Art Museum in Easton, Md., the National Institutes of Health, the Lombardi Center at Georgetown University, Martha Jefferson Hospital in Charlottesville, Va. and the town of Oxford, Md, and many private collectors.
Meg belongs to the 40-member Washington Society of Landscape Painters, the Mid-Atlantic Plein Air Painters Association, and the Salmagundi Club in New York. Her paintings are featured in the book 100 Plein Air Painters of the Mid-Atlantic.


Application Posted February 2, 2018, positions are open until filled.
Responsible for entering financial transactions into the City's computerized accounting system. Assists in the monthly and yearly reconciling and closing of the books, and is responsible for preparing journal entries and assisting in the preparation of financial statements. Performs other special projects and duties as required.
Basic practices and principles of accounting, including accounts payable, receivable and payroll preparation; State and local accounting standards, rules and reporting requirements, including the Washington State Budgeting, Accounting and Reporting (BARS) system; and, operate and maintain accounting and financial software systems.
Requires an Associates' degree in accounting or a related field. A combination of equivalent education and experience may be substituted.
Application and complete job description are online www.normandyparkwa.gov or available at City Hall, 801 SW 174th St., Normandy Park and can be mailed upon request by contacting City Clerk Brooks Wall at 206-248-8248. The City of Normandy Park is an EOE.


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Laine Hardy Ditches Guitar To Deliver Dreamy Elton John Love Song
American Idol / YouTube
The Guitar The Helped Laine Along
Laine Hardy wouldn't be where he is today without his guitar. That may sound dramatic, but anyone who has watched the young American Idol star's journey from the start knows how true that statement is.
Hardy originally auditioned for the first season of the Idol reboot in 2018. He was only 17 years old at the time.
His gravelly voice impressed the judges, who offered him a golden ticket to Hollywood. But the young singer didn't make it far before he was eliminated, since the judges felt he didn't have enough confidence to make it on the show.
After a year of working on his voice and his confidence, Hardy was approached by his friend, Ashton Gill, who asked if he'd play guitar for her Idol audition. He agreed to do so, though never intended to audition himself.
The judges had other plans once they saw Hardy walk into the room, and after he played guitar for Gill, they asked him to sing as well.
He did, and he found himself being offered another golden ticket. After a bit of deliberation, he decided to take a chance and accepted it.
Letting Go Of The Crutch
Over the next few months, Hardy quickly became a household name among Idol fans. Week after week, the "Bayou Boy" wowed the judges and America with his energetic performances of hit songs by artists such as Elvis, Chuck Berry, and more.
And in each performance, you could see Hardy being backed up by his trusty sidekick…his guitar.
For many artists, a guitar serves as a security blanket, as it gives them something to do with their hands and directs their focus to something during instrumental breaks when they aren't singing. Who's to say if Hardy feels that way about his guitar, but regardless, he's hardly ever seen without it.
So the singer took a huge risk when he stepped on stage without his guitar to deliver Elton John's classic love song, "Something About the Way You Look Tonight."
His Voice Got To Shine
With no guitar in sight, Hardy stood center stage and crooned out John's lyrics that have made many a lady swoon over the years. By eliminating his guitar from the performance, he was able to focus entirely on his voice and connecting with the audience.
The judges noticed a huge change in Hardy in that moment, prompting Katy Perry to ask him afterward if he had been to a vocal coach that week. He said that he had, and Perry made it clear that coaching season showed in his voice.
Judge Luke Bryan agreed, saying, "We really, really heard you. I mean you've got this gravelly thing that's your signature, but we heard you singing tonight, which was really amazing."
To vote for @TheLaineHardy, vote on the American Idol App, at https://t.co/6tUFeQAu8p, or text 1 to 21523. Limit 10 votes per contestant per method. #AmericanIdol pic.twitter.com/Vdk5ZA2Tzd
— American Idol (@AmericanIdol) May 13, 2019
We have to agree, Hardy's performance was definitely amazing! Be sure to tune in to it in the video below.
It seems that America was equally impressed by Hardy's performance, because they later chose him as the winner of the season!
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Laine Hardy


For those interested and qualified applicants for 10 Home Care Nurses jobs in UAE, we are now inviting to apply in this job vacancy as Nurse. Just send an email application to info_operations@yahoo.com, you may apply immediately to the address provided below. Come and visit now.(This photo credits to nurse.com).
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Associations In Aviation
Show Guide
China selects astronauts for upcoming space station project
China's human spaceflight agency has selected a group of 18 new astronauts to participate in the country's upcoming space station project.
The 18 new Chinese astronauts consist of seven pilots, seven spaceflight engineers and four payload specialists. The final selection includes just one woman. The process, which included primary, secondary and final selections, began in May 2018 with a total of about 2,500 candidates participating.
Previous selection rounds in 1998 and 2010 were open to air force pilots only. The latest selection was opened to civilians, reflecting changing needs as China seeks to construct and operate a modular space station.
Spaceflight engineers will be mainly responsible for directly controlling and managing the spacecraft and related technical tests. Payloads experts are mainly responsible for the on-orbit conducting diverse science experiments in low Earth orbit.
Areas of science research aboard the space station will include Earth observation, astronomy, life science, space medicine, materials science, microgravity physics, Earth weather monitoring, space environment monitoring and forecasting and more.
The New Chinese astronauts will be eligible to join the operational phase of the Chinese space station following systematic training, CMSA states. The current active astronauts from the two earlier rounds have been undergoing neutral buoyancy training in preparation for space station missions and extra vehicular activity.
Astronaut trainer Huang Weifen is understood to have led the selection process for the new Chinese astronauts, according to a social media post. Neither she nor CMSA provided details as to the selection criteria.
The selection of subsequent batches of astronauts will be carried out in due course, according to CMSA.
Launch of the space station's 'Tianhe' core module on a Long March 5B will take place at Wenchang in the first half of 2021. Tianhe will provide the main living quarters for astronauts.
This will be followed by a crewed Shenzhou flight launched by a Long March 2F from Jiuquan. A Tianzhou fuel and supply mission will also visit Tianhe. The first of two experiment modules will then launch, joining with Tianhe via a docking hub. Construction is to be completed around 2023, according to earlier statements.
The space station will orbit at an altitude of around 380 kilometers with an inclination of between 41 and 43 degrees.
The intensive launch plan was revealed following the successful test flight of the Long March 5B heavy-lift rocket May 5. The missions will be conducted using Long March 5B, Long March 2F and Long March 7 launch vehicles.
Space station construction will mark a new, relatively intense period of human spaceflight activity for the country.
China has carried out just five crewed missions since Yang Liwei became China's first astronaut into orbit in 2003. Liu Yang became China's first female astronaut with a 2012 visit to Tiangong-1, an 8-metric-ton testbed for larger, 20-ton space station modules.
The 2016 Shenzhou-11 mission was China's most recent and longest-duration crewed mission. Astronauts Jing Haipeng and Chen Dong spent most of the 33-day mission aboard Tiangong-2.
Missions to the Chinese space station during the operational phase are expected to involve three astronauts and consist of six-month-long rotations.
A co-orbiting two-meter-aperture space telescope will also be launched following completion of the basic station configuration. The 'Xuntian' optical module will be able to dock with the space station for maintenance and repairs.
Aviation Guide, established in 2000 with its first edition, is the essential reference guide to Middle East, Africa and South Asia's expanding aviation sector. The Yearbook is indispensable as an information tool. It offers a snapshot of what is happening within the emerging markets of aviation industry, which includes news, research, interviews, updates, information and insights.
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COSAS DE CAZA S.L. is a company dedicated to the sale of items and accessories for hunting.
Therefore the company will offer its customers advice on all kinds of products and items related to our sport and hobby.
Usually we all have less time to devote to our hobby and therefore since our company we want to show you all the products of our Armory that you'll can see from your home.
And that through the computer you can access all the products needed for the practice of our hobby, and in a short time you will have your order in your home.
Of course our company is going to have a serious commitment with the clients and we will offer a total security in payment of purchases, as well as ensuring the business, return of defective goods, like error sizes, etcetera.
In summary this shopping store will have to comply with the same rights and obligations as any traditional store. Without more ado and relying on our professionalism are at your disposal, we want this to be the beginning of a good business relationship.
Question: How add 4 + 6 ?


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Anno
 1984 – (MCMLXXXIV in numeri romani) è un anno bisestile del XX secolo
 1984 a.C.

Matematica
 1984 (numero) – numero naturale.

Astronomia
 1984 Fedynskij – asteroide della fascia principale del sistema solare.

Cinema
 Nel 2000 non sorge il sole (1984) – film del 1956 diretto da Michael Anderson
 Orwell 1984 (Nineteen Eighty-Four) – film del 1984 diretto da Michael Radford

Fumetti

 1984 – rivista statunitense di fumetti
 1984 – rivista di fumetti, edizione italiana di quella statunitense

Letteratura
 1984 (Nineteen Eighty-Four) – romanzo di George Orwell del 1949

Musica
 1984 – gruppo musicale della prima metà degli anni sessanta
 1984 – album di Hugh Hopper del 1973
 1984 – singolo di David Bowie del 1974
 1984 – album di Anthony Phillips del 1981
 1984 – album di Rick Wakeman del 1981
 1984 (For the Love of Big Brother) – album degli Eurythmics del 1984
 1984 – album dei Van Halen del 1984
 1984 – EP dei Praxis del 1997
 1984 – album di Robert Haimer del 2004
 1984 – opera di Lorin Maazel del 2005
 1984 – album di Roger Miret and the Disasters del 2005
 1984 – EP di Ryan Adams del 2014
 1984 – singolo di Salmo del 2015

Televisione
 1984 – adattamento per il canale televisivo BBC di Rudolph Cartier del 1954
 1984 – spot pubblicitario di Lee Clow e Ridley Scott per il lancio dell'Apple Macintosh nel 1984

Opere
 1984 – opera teatrale in musica di Lorin Maazel del 2005 basata sull'omonima opera letteraria

redpajama_set_name: RedPajamaWikipedia


The excitement around the Elbphilharmonie and Pierre Boulez Saal shows that classical music has not lost its exalted place in German culture.
The Elbphilharmonie, in Hamburg's port, resembles an avant-garde ocean liner.
Concert-hall design has entered its grand mannerist phase, or, some might argue, its age of decadence. Two years ago, the sensation of the music world was the Philharmonie de Paris, a silver-and-black cultural spaceship that had landed in the Parc de la Villette. This season, it is the Elbphilharmonie, in Hamburg, Germany—a brick-and-glass colossus that resembles an avant-garde ocean liner docked in the city's harbor. The new European halls seem to be competing with one another to see which can run up the most staggering bills and generate the most outraged headlines. With a price tag of three hundred and ninety-one million euros, the Paris Philharmonie held the crown for a little while, but its notoriety was soon eclipsed by that of the Elbphilharmonie, which took a decade to build and consumed eight hundred and sixty-six million euros. The first billion-dollar hall is not far off.
The conventional wisdom in America is that concert halls have too often seemed like fortresses, and must become more down to earth. Such is not the philosophy guiding the Elbphilharmonie, which was designed by the Swiss firm of Herzog & de Meuron. It towers three hundred and thirty-five feet above the ground, the concert-hall portion of the complex resting atop a massive brick warehouse that formerly was used to store cacao beans. The glass-covered upper structure lunges vertically from the foundation in a way that somehow reminds me of Neuschwanstein, King Ludwig II's hilltop castle in Bavaria. Yet there are no gemütlich touches. The glass exterior is cool, undulating, shimmering; the brick walls below have an industrial, almost military look. Far from welcoming you in, the Elbphilharmonie glowers imperiously, as if prepared to repel a sneak attack on the Hanseatic League.
As expenses and delays mounted, the Elbphilharmonie—Elphi, locals call it—was seen in some quarters as an indefensible waste of public money. Since the opening, in January, much of the ill will has ebbed away. Every concert has sold out—even the "blind date" programs, about which nothing is divulged in advance. Each day, thousands of visitors take tours of public areas within the structure. The excitement serves as a reminder that classical music has not lost its exalted position in German culture. According to the German Orchestral Association, more than eighteen million people attended classical concerts in the 2015-16 season. The association's director noted that this figure was considerably higher than the number of people who had gone to see soccer games in Germany's main professional league.
The interior of the Elbphilharmonie is spectacularly staged. First, you glide upward on what is billed as the world's first arched escalator—a two-and-a-half-minute ride in a sci-fi-ish white-walled tube. (The journey has been documented in dozens of YouTube videos.) You then arrive at the plaza level, taking in vertiginous views of city spires and harbor cranes. Finally, you ascend handsome, unadorned oak staircases to either of two halls: a large auditorium or a chamber space. The entire place exudes loftiness, in terms of both height and cultural aspiration. Nevertheless, because of public funding, tickets are more affordable than they are at the Met or the New York Philharmonic. Youngsters in sweatshirts and jeans mingle with the burghers.
The large hall, which holds around twenty-one hundred people, follows the now fashionable "vineyard" plan: as at the Paris Philharmonie, the Berlin Philharmonie, and Disney Hall, in Los Angeles, the performers occupy the center, surrounded by terraced rings of seats. Even at the back of the highest level, you are no more than a hundred feet from the podium. (At Lincoln Center's David Geffen Hall, the distance is a hundred and twenty feet.) The décor is sober and subdued, at least until you get close to the walls: they are made of plaster and are pockmarked by cavities, bringing to mind a beehive or a coral reef. The critic Jens Laurson has written that sitting in the space is like being "on the inside of a gigantic musical animal"—the whale that swallowed Hamburg.
The sound is a mild disappointment, at least on first encounter. The acoustician was Yasuhisa Toyota, who has engineered a string of triumphs, including Disney. His signature achievement has been to add resonant warmth to the clinical clarity that defines so many modern halls. In Hamburg, though, something is off. In late April, I saw a performance of Mahler's gargantuan Eighth Symphony, with the Hamburg State Philharmonic and two hundred choral singers under the direction of Eliahu Inbal. This score provides a good acoustical test, its dynamic range running from celestial pianissimos to apocalyptic thunder. The former floated out beautifully: the flutes seemed just feet away. The climaxes, alas, were a brittle jumble, missing the mellow blend you'd find in a hall with greater resonance. Also, the bass lacked oomph: when the lower end dug in, the floorboards didn't tremble sympathetically. Some of these issues can be addressed over time, although it is not easy to change the sound of a finished structure.
The chamber hall, which seats five hundred and fifty, should need few adjustments. I saw the pianist Kirill Gerstein play an ambitious and bewitching program consisting entirely of études: Liszt's Transcendental twelve, three by Scriabin, two by Ligeti, and several Gershwin tunes arranged by Earl Wild. Here the sound was fuller and richer, though still a touch dry. Rippling oak walls give the auditorium a curious appearance, again vaguely organic.
Soon enough, Elphi will be superseded by some other Instagrammable wonder. For now, the hall has a chance to entice the Hamburg public away from the tried and true. Happily, its artistic team has embraced that mission, offering an inventive array of programming, including a John Zorn marathon and, next season, a Telemann festival. If the Elbphilharmonie can sustain its appeal over time, it will have confirmed what the Bavarian tourist industry long ago discovered with Ludwig's fairy-tale castles: that extravagance sometimes pays off in the end.
After two nights in Hamburg, I travelled to Berlin to see the latest addition to a crowded musical landscape: Pierre Boulez Saal, a chamber hall just south of the Staatsoper. Boulez Saal is the brainchild of the pianist and conductor Daniel Barenboim, who envisioned a performance space and a music school allied with his West-Eastern Divan Orchestra, which brings together musicians from Christian, Jewish, and Muslim backgrounds. Unlike the Elbphilharmonie, the Paris Philharmonie, and many other high-profile projects—including the renovation of the Staatsoper, which has been going on since 2010—Boulez Saal went up quickly and painlessly. It was built inside a nineteen-fifties building that previously housed Staatsoper sets. Frank Gehry, who served as the architect, first made sketches in 2012, and construction began in 2014. The total cost for the complex was a relatively modest thirty-five million euros.
Even if a mediocre hall had resulted, the avoidance of the usual cultural-political imbroglio would have been newsworthy. But Boulez Saal is a masterpiece of its kind. It consists of two elliptical-shaped seating areas, one on the ground level and one suspended above, each tilted on a different axis. The floor of the upper ellipse also curves up and down, giving the hall an unfixed, fluctuating profile. As in Disney Hall, bright wood tones—Douglas fir, cedar, and red oak—predominate. The capacity is six hundred and eighty-two. Listeners are never more than fifty feet from the musicians, who are often placed at the center of the auditorium. Those in the front row could turn pages, if asked. In all, the atmosphere is convivial and unshowy, despite the flamboyance of Gehry's swooping lines.
Toyota again planned the acoustics, and his longtime relationship with Gehry—they collaborated not only on Disney but also on the New World Center, in Miami—has again yielded a marvel. On the first night I was there, the baritone Roman Trekel and the pianist Oliver Pohl gave an all-Schubert program: a meticulous, reserved performance in which the subtlest nuances registered. The next night, Barenboim led the West-Eastern Divan in the final three symphonies of Mozart. In the first half, I sat in the upper gallery, and felt that I was hearing these hyperfamiliar pieces for the first time. Each instrument sounded distinctly, and yet was integrated into a resonant whole. Barenboim used forty strings, which in most venues would have swamped the winds and the brass, but here the latter held their own. Down below, there was a slight loss of cohesion and a palpable gain in visceral impact. The "Jupiter" Symphony lived up to its name, storming in the air. Barenboim elicited performances at once weighty and vital.
A new Parisian concert hall is making classical music affordable and irresistible.
As a composer and a conductor, he fought harder than anyone for the cause of contemporary music. His death marks the end of an epoch.


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Steve Harvey Bio, Wiki, Age, Kids, Family, Wife, Height and Net worth
steve-harvey-bio-wiki-age-kids-family-wife-height-and-net-worth.html
Born as Broderick Stephen Harvey on January 17, 1957 (date of birth), Steve Harvey (age 60 as of now) is a multi-talented person who has presented his excellence as a comedian, television & radio personality, author as well as an actor. According to Steve Harvey bio, he was born in Welch, West Virginia, the United States (birthplace) and was raised up along with other three siblings named Terry Harvey (brother), Mona Harvey (sister) and Pauline Harvey (sister). His nationality is American and currently resides in Atlanta, Georgia, the United States of America.
Here is the detailed wiki of Steve Harvey including his early life (parents, education), career and professional life, earnings, salary and net worth, personal life (wife, children, divorce, marriage), social networking sites (Facebook, Twitter, Instagram) body measurements (height, weight) and much more.
A post shared by Steve Harvey (@iamsteveharveytv) on Nov 3, 2017 at 3:07am PDT
Harvey was born to the parents Jesse Harvey (father) and Eloise Vera (mother) in 1957. His father was an ordinary man who used to work as a coal miner. Later his family migrated to East 112th Street, Cleveland, Ohio. At present, the street is renamed as Steve Harvey Way since 2015. Moving to his education, the comedian attended Glenville High School and completed his graduation from there in 1974. For his further study, Harvey went to Kent State University and later moved to West Virginia University. His early life was full of struggle and one can easily get motivated and inspired by Steve Harvey biography.
Steve Harvey Career
Before turning as a celebrity, Harvey has struggled very hard and had worked as an autoworker, carpet cleaner, mailman and also as an insurance salesman. He was keen in boxing from his childhood days. In 1985, Harvey performed his first stand-up comedy at the Hilarities Comedy Club, Cleveland. Today, his name is a brand and many of the youth dreams of becoming like him.
A post shared by Steve Harvey (@iamsteveharveytv) on Nov 7, 2017 at 3:05am PST
The comedian is best known for contributing The Steve Harvey Show on The WB (1996-2002). Steve Harvey hosted the show titled Family Feud become the second most-watched daytime syndicated show in November of 2012. Harvey turned to be the first ever Afro-American host for the popular show. Also, he has been working as a radio host since 2000 and currently is running the weekday-morning radio program as a host.
As an author, Harvey has published the best-selling books like "Act Like a Lady, Think Like a Man" which was later presented in the form of the movie titled, "Think Like A Man" that hits the theatre in 2012.
Apart from these all. Harvey launched a dating website in September of 2014 that was named Delightful to 'help Women become more dateable.' He got his world-wide recognition when Harvey hosted 2015's Miss Universe that was organized in Las Vegas.
A post shared by Steve Harvey (@iamsteveharveytv) on Sep 10, 2017 at 5:04pm PDT
Steve Harvey Kids
Talking about Steve Harvey kids, he is the father of 7 children which includes his 3 step-children. They include two twin daughters (Brandi and Karli Harvey) and two sons (Wynton and Broderick Harvey Jr). Harvey has always been a dedicated and committed father who unconditionally loves his kids.
Steve Harvey Wife
Moving to his personal life, Harvey has been married for three times. First, he tied his knot with Marcia Whitman on 14 February 1981 that lasted till 1994 and the couple got separated. During their conjugal life, they have given birth to three children. After living two years of divorced life, Harvey married to Mary Lee Shackelford on 21 June 1996. Their relationship was too not going well as expected and therefore the couple got the divorce on 3rd December 2005. Finally, in 2007 Harvey found his soulmate as Marjorie Harvey with whom he initiated conjugal life from 25 June 2007. Recently in May of 2017, Harvey's ex-wife Mary Lee sued him for $60 million dollars for various purposes like child endangerment, kidnapping, breach of contract, giving torture and also for kidnapping.
Steve Harvey Measurements: How Tall is Steve Harvey?
Moving to his measurements, Steve Harvey height is 6 feet and 2 inches (188 cm). His weight is 104 kg (230 pounds).
A post shared by Steve Harvey (@iamsteveharveytv) on Jul 14, 2017 at 6:58pm PDT
How Much is Steve Harvey's Net worth?
Television host Steve Harvey net worth is estimated to be $140 million dollars. He is living a luxurious life in a well-decorated house and enjoys latest introduced cars on the market. Harvey generates huge earnings and according to some wiki sites, Harvey earns a salary of $12,000,000 per annum.
Steve Harvey Distinctive Features
There are various features possessed by Harvey that makes him different from others. Those features include a mustache and also, he is always noticed wearing sharp suits and ties. Though he seems like frustrated, Harvey always gives the amused reaction.
What is Steve Harvey Religion, Ethnicity and Nationality?
By religion, Steve Harvey is Christian, by ethnicity he is black and is American by nationality.
A post shared by Steve Harvey (@iamsteveharveytv) on Jul 6, 2017 at 5:57pm PDT
Many of the biography sites including Wikipedia have presented Steve Harvey bio on their websites. He has a massive fan following more than 3.6 million followers on Instagram that can be reached @iamsteveharveytv. More than 3.75 people have been following Harvey on Twitter that can be reached @iamsteveharvey. To get connected with him on Facebook, you can Like/ Follow Steve Harvey Official Facebook Page. Also, one can visit his website www.steveharvey.com. Despite turning to the age of 60's, the TV host still looks young and much energetic.


text:
Palmarès

Strada
 2014 (Juniores)
Campionati spagnoli, Prova in linea Juniores

 2017 (Lizarte)
Campionati spagnoli, Cronometro Under-23

Piazzamenti

Classiche monumento

Giro delle Fiandre
2019: 90º

Parigi-Roubaix
2019: ritirato

Giro di Lombardia
2018: ritirato
2019: ritirato

Competizioni mondiali
Campionati del mondo su strada
Doha 2016 - In linea Under-23: 137º
Bergen 2017 - Cronometro Under-23: 13º
Bergen 2017 - In linea Under-23: ritirato
Innsbruck 2018 - Cronometro Under-23: 29º
Innsbruck 2018 - In linea Under-23: 6º

Competizioni europee
Campionati europei
Plumelec 2016 - In linea Under-23: 74º
Herning 2017 - Cronometro Under-23: 20º
Herning 2017 - In linea Under-23: 88º

Altri progetti

Collegamenti esterni


For the first half of class, I went over the PowerPoint with the students about how the US transitioned from neutrality to involvement in WWII.
When we finished, I played an excerpt from FDR's State of the Union Address (known as the Four Freedom's speech) and had the students follow along with the text. I stopped the video often to talk about what FDR was saying and tried to connect material to the PowerPoint we just did.
I plan on recording an updated New Deal video this weekend. My original plan was to do it last week so students could have watched it for today, but I fell a little behind. Today I went over the PowerPoint with the students. We spent a lot of time reinforcing the 3 Rs of the New Deal, discussed political realignment, and groups that wanted to expand and limit the New Deal.
For the last 10-15 minutes students analyzed two documents that are part of the period 7 review sheet.
To begin class students worked on a quick assessment that had them identify and explain the 3 Rs of FDR's New Deal, two relief programs, and two recovery programs. I spent the next few minutes reviewing the PowerPoint from the video they watched the night before.
When we finished, students worked on the New Deal Elite Eight Programs. The students seemed to enjoy doing the bracket and asked if we could do it for other topics. I definitely plan on doing it for review.
HW for tomorrow: Key People Associated with the New Deal V.G.
For the first ten minutes of class students answered 9 practice multiple-choice questions on old material. Most students did well, but a set on Reconstruction tricked many of them. When I start after school reviews next week, we'll spend time reviewing that topic.
Students watched the Chapter 23 video for homework. This video covers the causes of the Great Depression, the Stock Market Crash, and the presidency of Herbert Hoover. I spent about 15 minutes reviewing the content with them and we focused mostly on the causes of the Depression and the Bonus Army.
The last 15 minutes were spent on students answering a Short Answer Question on the Great Depression. I collected them from the students and will review their answers.
HW for tomorrow: The New Deal V.G.


Singer Di'Ja who welcomed her second child, a baby girl exactly 10 days ago, has shared a few photos from the shoot she did a day before welcoming her child.
#MAMA BEAR loves you.. we did this shoot on the 8th of March 2018, a day before my precious daughter was born. She came on the 9th March 2018 Allahu akbar. I never espererit. I am so grateful. This is by far one of my most daring shoots. I had to wait till she was born, call me superstitious lol before I shared such a joyous day.


If you're on the hunt for new workout clothes, Walmart may not be the first place that comes to mind, but the retailer has many impressive fitness finds. The best part: the selection comes with tons of choices and a wide range of sizes. To make shopping even easier, we curated a list of the best picks you need for your next sweat session. Everything is under $30, so maybe you can get it all! Keep scrolling to shop our favorites.


The normal level of the Bangor Monitoring Station in average weather conditions is between 0.30m and 4.06m. It has been between these levels for at least 150 days in the past year.
The usual range of the Bangor Monitoring Station in more extreme weather conditions is between 0.32m and 3.91m. It has been between these levels for 90% of the time since monitoring began.