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The Informed Life
Episode 90 • June 19, 2022
Mike Rohde on Sketchnote Thinking
"It's so important to get the foundation right. You can't go to the next level when the foundation isn't set."
Mike Rohde is a designer, teacher, and illustrator — but you're more likely familiar with his work in sketchnoting. Mike is the author of The Sketchnote Handbook, which popularized the practice, and the founder of the Sketchnote Army, a showcase of sketchnoters and their work. He's been described as "one of the leaders of the visual thinking revolution." In this conversation, we discuss how Mike's approach to visual note-taking has influenced his work.
rohdesign.com
The Rohdesign Dispatch (Mike's newsletter)
Mike Rohde on LinkedIn
@rohdesign on Instagram
@rohdesign on Twitter
The Sketchnote Handbook: The Illustrated Guide to Visual Note Taking by Mike Rohde
The Sketchnote Workbook: Advanced Techniques for Taking Visual Notes You Can Use Anywhere by Mike Rohde
The Sketchnote Army
The Sketchnote Army podcast
Adobe PageMill
Liminal Thinking: Create the Change You Want by Changing the Way You Think by Dave Gray
Ryder Carroll
The Pen Is Mightier Than the Keyboard: Advantages of Longhand Over Laptop Note Taking by Pam A. Mueller and Daniel M. Oppenheimer (PDF)
Show notes include Amazon affiliate links. We get a small commission for purchases made through these links.
Jorge: Mike, welcome to the show.
Mike: Hey, it's so good to be here Jorge. It's really fun to talk with you today.
Jorge: Well, I'm very excited to talk with you. I am a fan of The Sketchnote Handbook and of your work in general, so it's a real privilege for me to have you on the show. I think that many of the folks listening in will have likely heard of sketchnotes, so rather than ask you to introduce yourself, I was hoping that you tell us about your work. Because people might be familiar with you as the person who put s_ketchnotes_ on the scene, but I'm wondering about your work — like, what do you do day-to-day?
Mike: Yeah, that's a great question. And I think what you might find interesting at the end is that sketchnoting is a pretty natural outgrowth of what I do day-to-day.
So, I'm a designer, a user experience designer, and I love working in software. I'm working for a software company, and currently, we have two tools that are incredibly powerful. They do search and remediation, or protection of data, but as powerful as they are, they're also very confusing to use. They need lots of love for their interface and their interaction and their information architecture and even down to wording consistency and those kinds of things. And so, I'm in the process of redesigning those two applications and it's really, really fun. I enjoy it!
My history goes back all the way to print design pre-internet, where I came through technical school learning how to be… at the time they called us "commercial artists," but basically a graphic designer. I learned everything really old school. All of the work that we did was all on boards. I used X-Acto knives and T-squares and triangles and Rapidograph pens and things were shot with cameras and printed on plates. Like all these super old-school stuff. I was even fortunate in my high school days to have a little stint in printing, and so, I got to use all the lead-type printing stuff and Ludlows and California job cases and silkscreen. And I just had so much fun playing with all this technology.
The thing that's interesting about my career is I've always had a split personality in a way. So, one part of me is really fascinated with design and aesthetics and those kinds of things, and the other part of me is really fascinated with technology and how things work and why they work and the functionality, so that form and function sort of become melded. And that expressed itself in interesting ways, even in my print design days because I came from the printing side.
Even though I was a creative person and a designer, initially, I was in printing and with students in my design class that I was doing as… I guess, cross training, where they sent printing students to design class, to at least be aware of design. My colleagues are all saying, "what are you doing in printing? You should be a designer!" So I switched my major and moved over, but I always had sort of one foot on the technical side and one on the design, or visual side. I could go on press checks and talk with Pressman and you know, my production file is really tight because I knew what was possible and what was dangerous. So, I would avoid those things that I knew could be problematic.
And then, that turned itself into technology, which is web technology. Got really fascinated by this stuff and started building websites for the fun of it, using terrible tools like PageMill, if anyone's old enough to remember these terrible, terrible tools that introduced all kinds of useless code. Your code is like five times as large as it needed to be. Started there and then learn how to code by hand and when the industry really took off and it became impossible to like be a casual web developer. You had to devote yourself to it full-time because it was changing so fast, then I made the switch to hiring really good front-end developers who could take my vision, and then I focused on the customers. Understanding what they needed and turning that into identities.
I'm really big into identity. I had many years where I did logo design for small SAS startups, and then their websites. So, I was a little bit like their secret weapon… miniature agency who could do all the… you know, a variety of things, and could talk with them and understand them technically. That's continued to be part of my life even today, working in software, which is… I think probably one of my first loves after printing.
Jorge: The word that comes to mind in hearing you talk about it is "craft." It sounds like there's a… there's an appreciation there for the craft of making these things. But there's a generation of folks who might be among the last who studied these things before everything became digitized and you had this hands-on appreciation for what it took to make these things that surround us, right?
Mike: Yeah.
Craft in transitional spaces
Mike: Yeah. So, I mean, that's very true. I still remember. I would say that's kind of an advantage. I look at it as being really fortunate that I tend to end up in these transitional spaces — transition between straight print design and then desktop publishing. I lived through that revolution. Then I lived through the web revolution and then I became fascinated by user experience design and the idea that "hey! We can design things based on what people actually will give us feedback on!" Rather than, "I like blue. I like Gotham. I like…" You know, "I like gradients. Let's just use those!" without any regard to whether it's usable or understandable, or it causes other problems for the people who now have to live with your creation for 10, 20, 30, 50 years, right? Because you just happened to like that.
Some degree of that is necessary as a designer; you need to bring your best practices and your taste to it. But learning about that was another transition and getting into software design again, yet another transition to see that. And I think there is a real advantage to being that. I think there is a really great book by Dave Gray called Liminial Thinking. Rosenfeld media I think produced that book. And it talks a lot about how do you deal with these transitional spaces and what's the right way to think so that you can navigate your way through. Because there's not going to be a map, right? It's transitional. There is nothing there. You have to kind of figure it out and make it up as you go along and be open to flexibility and adjustment and those kinds of things.
So, having all that old school, like drawing on boards… and I think it comes through in sketchnoting, as I mentioned, because I learned old school like that was the way that I did work. When I went through design school, I was using markers to do ad layouts. I didn't have a computer to do any of that. I didn't have typefaces. I had to study typefaces and books and try to recreate them. The advantage is now, on demand, I can pull a piece of paper out and do some sketches and get pretty close to what I want to achieve.
And a lot of that was just simply repetitive practice and doing. And I think there's an opportunity for even young designers coming up, maybe through sketchnoting or looking back at this old stuff to realize, "Hey! There's some real value in those crafty or craft-focused techniques that gets you away from the computer." we're almost at the swinging point where now the computer is sort of dominating so much. You sort of seek these analog experiences just to get away for a while for a respite, so that you can rest from looking at a screen for a while, right? I think there's real opportunities in that space as well. I really feel fortunate for the time that I came up and all the experiences I've been able to have in my career.
Jorge: One of the things that come across in_ The Sketchnote Handbook_ is that it's almost like the origin story for how you came to this approach to taking notes. My interpretation of it was that you somehow got frustrated with the constraints of handwritten yet text-based linear note-taking, right? And if I could pick like one word to describe the emotional tone of your book is joyful — there's this joy that comes across on every page in these very compelling drawings that speak to being made by hand. So, this notion of craft comes across. It's very different than a book that has been laid out in a hard-line tool like Illustrator or something like that.
I'm wondering the degree to which you actually use sketchnotes in your day-to-day work. Or rather, let me ask it more broadly: how do you use notes in your day-to-day work?
Sketchnoting as a team sport
Mike: That's a great question. I think part of something else you need to know about me is I tend to be an experimenter. I'm always trying things out and if there's something new, I'll explore it. I'll pick up something new on a whim and maybe I end up not using it, but I think sometimes the hit ratio is good enough that I just keep doing it. So, I have a variety of ways that I capture. And something that I've said in the past is that for me, sketchnotes sort of leak out whether I like it or not.
So, as an example, I did a three-year, contracting stint with a financial services company here in Milwaukee. And I worked with developers who were working in an agile methodology. And part of what we did was trying to figure out how do we take this old software tool, take the good things from it, and then re-imagine it with all the new technology and capabilities we now have that didn't exist when it was made. And so the solution that we found was, you know what, white boarding works really well for team wireframing.
And so, what we would do is queue up what's the feature that we want to add, and then we would have a discussion and maybe we'd show the old app and how it did it. Talk about what was good about it, what could be improved, and then we just… as we're having this discussion, I would be at the whiteboard with a couple of whiteboard markers and simply listening to people — the developers, or the product owners — talking about what they're thinking.
And I would start drawing what I was hearing on the board as software, like pages and flyouts and buttons and structure. And maybe I do that in black and then as we had further discussions about what's good and what might not work, I would start annotating in these colors. So, you could sort of separate the drawing from the notes.
And I would listen and turn and say, "Hey, did I capture what you were intending here? And the best part of my day was when a developer would say, "no, you don't exactly have that right." So I would offer the marker and they would come up and they would draw their idea or add their notes, right? And it became sort of a team sport.
So that's an example of where the concept really was sketchnoting. We're compressing and simplifying information and ideas in a compact way. Ultimately, the idea behind those whiteboards was number one, we're having a group discussion to try and solve this problem. There's a ton of smart people in this room that are smarter than me in a lot of things. I'm not going to be able to solve all these problems by myself; it would be foolish to think I could. And there's an idea that once ideas start happening, other ideas start following. And so, there was this opportunity to really get the best idea.
And then finally, once it's drawn on the board everybody feels heard, right? What they said was heard. And then ultimately we take a photo — we would take a photo of this board. It would go into a shared folder. If I got to it first, I would make my mock-up with Photoshop or Sketch or whatever tool we used at the time.
But if I didn't, then a developer could just pick up the sketch because they were in the meeting and they would just start building based on what they saw and then call me over and say, "Hey Mike, I built this thing. What do you think? Does this work? Are there any issues?" And we would work through it. Because there were like 40 or 50 developers and me as that one designer. I was a huge bottleneck!
So, this is in some ways also a way to try and alleviate the bottleneck that we potentially could run into. And it seemed to work pretty well on all those levels. And it really… it seemed to engage the developers in a way that I haven't seen before. Where it was less of me doing something and throwing it over the wall and saying, "now make it!" It was all of us working together. Probably the best compliment that someone could say was, "I really love that feature in the app. Who designed it?" And I would say, "We all did!"
You know, I had a part … in some ways, we couldn't even like, you couldn't even separate the pieces. Like, who said this or that, or like, who contributed to what? We all did it as a collaborative group of people coming up with an idea. And sometimes the best features were the ones where, "okay, this is a round seven, the dropdown to choose something." And we would really fight through every possible angle on this feature. And sometimes those are the best features. So that would be an example of a public way that notes would be captured.
Mike's bullet journal
Mike: Privately, I follow the Bullet Journal methodology to some degree. I don't do everything that Ryder Carroll prescribes, but I also know Ryder and I know that he doesn't feel like you need to take everything that he offers. You take the parts that work. And so for me, I lay out my book in this way: the left page has got a bar on the left, I call it "The Daily Plan" bar and I plan my day. And then I have the day of the week and the date, and then down the left are all the tasks that I hope to accomplish that day. I try to do about three per section.
I have one for work, one for my little side business where I do illustration and such. Teaching. And then one for personal, which would be, "got to go to the bank," "have to go buy new toilet paper," or whatever. Those are all on the left. And what I've learned over experimenting with this concept over, I don't know, 5, 6, 7 years, is that if I didn't allow for another place to do notes and thinking and writing I would just go backwards to other pages where there were holes in the notebook and I would draw little notes in there. So what I realized is, why don't I just build in space to draw? I can be luxurious with my notebooks. They're mine! Who says that I can have a blank right page? Maybe I never fill it.
What I found was that it sort of encouraged me to write notes or to do drawings, or I might be watching a TV show like Ted Lasso, and I was really inspired by something. I had a little chunk of space left, so I doodle a little drawing of the TV show so that I could remember maybe lessons learned in that TV show. All in this blank… I call it the log page. It's just open for whatever I want. I've even found cases where let's say I've had a busy week and these log pages are filled up for a couple of weeks and maybe I run out of space or I need some space. I usually flip backward in my book and find an empty page and just grab it and then use that as a drawing space.
So even if I passed it by two, three weeks ago or a month ago, typically I'll flip back to it, find it, and then do a little drawing there. And then I'm pretty good about updating my index in the Bullet Journal for months and key information.
Probably the challenge with any kind of this hand-drawn stuff is digital management. How do I manage this stuff digitally? Because it does take another level of capture. You need to at least take a photo with your camera — and it's gotten a lot better. I mean, our phones are great for this. But honestly, I have not chosen a place where the stuff would land. I haven't developed a workflow for taking photos and organizing the notes that I take. And I feel like that's something that I could iterate on and make better than it is now because I don't really have a canonical "that's the place where all my stuff is" thing for hand-drawn analog notes. It's not like I couldn't do it, it just hasn't been a priority. But that's something I've been thinking about.
The last place I take notes is I use a tool called Ulysses on the Mac. I like it because it's Markdown, which forces me… it's sort of a constraint that forces me to be simpler. I like that it's cross-platform so it's on my desktop Mac, it's on my phone, and it's on my iPad. So wherever I am, I can jump around and all the same, information is available. I've considered attaching images to that. I guess that's… it is possible to do that. But typically that's where I do my typed notes.
I will say there's an interesting by-product of being a sketchnoter for so many years that it actually has changed the way I take my typed notes. The way I think about my typed notes is a lot more like sketchnotes and I just happened to be typing instead of drawing. So, I'm listening and I'm forming ideas about, "what is the topic that we're talking about and how would I explain this discussion and compress it in a simple way?" Maybe it's bullet points or a simple paragraph.
All these processes that I would use for sketchnoting are now like filters built into… even when I type the notes, they're still being filtered by the sketchnote thinking, which is this idea of like, what's the big idea? How do I compress it? How do I simplify it if possible and make it work in a way that when I look at it again, all those memories come back and it's sort of like adding water to a dehydrated something, right? It suddenly comes back to life, like a mushroom. You put hot water on a mushroom and it gets big again, right? It comes back to life.
So, that's sort of the aim and even in my typed notes… so, oddly enough, the sketchnoting stuff has sort of weaseled its way into every part of what I do, whether it's drawing on whiteboards or my Bullet Journal or even my typed notes seem to have been impacted by this approach to note-taking.
It doesn't have to be beautiful
Jorge: There's so much there that I want to pull on and unpack because you've shared a lot and a lot of it sounds really enticing and intriguing. But this last piece about typing, that's really fascinating. And what it made me think of was something that you do emphasize in the book, which I wanted to ask you about, which is the difference between structure and art; this notion that many people who think about drawing, I think that they focus a lot on making beautiful drawings and making drawings that are somehow… like people will be judging your artistic ability somehow.
Whereas I get the sense from the book and also from what you're saying here, that really the underlying cognitive effort is in somehow structuring the thing that you are taking down and… doing it visually as one way of doing it, right? But you want to be able to somehow on the fly — and this is quite a skill! — you want to on the fly, be able to capture the big idea so that you can then start making sense of the thing, right? And that can work on text, it can work on the whiteboard, it can work on a notebook. So, I'm wondering about this structure versus art scale and the degree to which that may be what's influencing the way that you're taking text notes.
Mike: That's a really interesting observation. You know, I think I present it in the book because I realized the audience reading it will feel like, "I'm not a great artist, so I can't do the sketch noting. I won't even begin." That was the question or the challenge that I was addressing in the book. And so, my approach was, "Hey, you can draw more simply than you think with these shapes. And it's all about the ideas and like the structure of getting the concepts down and if then on top of it, you could make it look beautiful, well, that's…" You know, I think I described it as the whipped cream and the cherry on top, or maybe gravy and mashed potatoes or whatever it was. I was like, it's like a nice thing to have, but it's not a requirement. Which then everyone who's really hung up on being a great artist now can let go of that. And, "oh, I can just do really simple imageries with these shapes and that's enough," right? That was a huge goal for the book.
But I think you're right, that there is something about the importance of structure and I think it all comes back to what we started with, which is this combination that I've always had of technical and art sort of blended together. That's always been a theme throughout my life, and I think it's… I can't think of who the person whose quote this is that "the form follows function," right? It has to at least work first, and then you can think about making it beautiful. But there's nothing wrong with it being both, right? They're not mutually exclusive where it can only function or it can only be beautiful. Why couldn't it be both things? That's the ideal. I think that's sort of what I aim for is: first let's make sure we capture the core structural things so that we're getting the message, and then on top of it if I can somehow manage to make it look interesting, that's like an extra win.
An interesting thing you talk about is "the big idea," sometimes in our note-taking, maybe the big idea doesn't come until after the notes are taken. Like, there's this assumption that you should know what the big idea is when you start. Well, maybe you don't! Or, even a wilder idea: maybe the person speaking — if assuming it's a speaker or someone writing a book — maybe they think the big idea is one thing, but in reality, in your context, from your perspective, it's totally different. Like, you would take their information and sort of look at it from another angle. You could tell somebody something who's from one country and they look at it much differently than someone from another country simply because of their background and history and language and what things mean. Like something innocuous in one culture could be offensive in another, right? You have to be careful with that sometimes.
And so, there is an opportunity to take the idea and reframe it in the way you think and that might not come until the end. After you've taken in all the ideas and looked at them and held them in your mind and say, "well, actually, you know what? The big idea is this thing!" And then, you could sit down and summarize it. I think of my grade school teachers all saying, "I want you to rewrite this in your own words, Mike!" Or, "you need to summarize these ideas." And I think a summary and the ability to explain it in a compact way, shows that you've absorbed and understood it. And then, you're open to, like, maybe you have it wrong. So, when you re-present it, you would say, "here's what I hear. What do you think?" And then they'd say, "well, you're missing this part!" Or, "there's a little nuance here that maybe you didn't understand." You know, "in this case you can do this, but in that case, you can't," right?
So, that opens you up to modifications and improvements, but at least you've got the foundation. It's so important to get the foundation right. You can't go to the next level when the foundation isn't set. So there's lots of metaphors I just laid on you there, Jorge. Sorry!
Seeing what you (and others) mean
Jorge: Well, yeah. But the broader point, I think, is that the process of putting pen to paper or stylus to tablet, or what have you, is in some ways a process of discovery where you might not be entirely sure of what it is that you're trying to capture, but the process of doing it will reveal something about it. And my sense is that it might be more true… this notion of revealing the big idea and perhaps even the structure on the fly might be different for a generative scenario, like the whiteboard you talked about earlier, where you're with your colleagues designing something that doesn't exist yet. You're trying to make it come to life. That's slightly different than trying to capture a lecture, which has been pre-structured by a speaker, right? So, in that case, what you're trying to do is you're trying to grok the structure that the speaker has conceived of. But I think this generative piece also has the structuring on-the-fly thing, but you're trying to discover the structure as opposed to capturing it, right?
Mike: Yeah. Or maybe you see that part of the structure makes sense and the other part, which we assume makes sense, doesn't make sense and needs to be reconfigured, right? There's some logical failure in how it's fitted. I think that's the one thing that I really like about visualization. The thing we discovered in those whiteboard sessions: it's a lot easier to get in sync with being on the same page than if we just simply talked about an idea, and you talked about an idea… I think the term is… It's probably going to come to me later, but it's this idea that we both think we agree, but we really are not exactly in alignment. And by drawing, you get a little bit closer. It's still not perfect, but you get a little bit closer to revealing what your thinking is and someone else can then modify it and it gives another layer to that whole discussion.
Jorge: Well, I can see what you mean, right? Which is like… you're talking about cultural differences; words might mean a different thing to different people, even within the same organization. Like we might have a different understanding of a term, but if you can put it down — especially if you're making software — if you can sketch out a screen, all of the sudden I see what you mean in a way that is not as open to misinterpretation as the words might be.
Not everything is a nail
Mike: Yeah, it adds another dimension, I guess, maybe is a way to think of it. And probably the other thing that strikes me as we talk about all this is maybe the… I'm a big believer in finding the right tool that fits the job. It can be dangerous if you've… so that the danger I see around like Zettelkasten and note-taking and all this stuff is, you could just assume that that's the hammer that's going to solve all your problems. And then everything starts looking like a nail. And you could maybe inadvertently get trapped in a certain kind of way of thinking or structuring where you're actually missing a lot of opportunities because you're sort of fitting it to this approach.
Not that there's anything wrong with those approaches; I think they're great. And this idea that… I think there were some studies that were done not too long ago where they tested typists versus longhand note takers. And so they had like a TED Talk and they had two groups. One writes longhand, the other one had laptops. And they said, "we want you to take notes of the talk." And so they did this talk, I think Miller and Oppenheimer — if someone wants to look it up — are the two researchers.
And so, they ran the test and what they found were the people that had keyboards ended up typing verbatim notes because they were almost fast enough to type as fast as they could hear. And so, they sort of fell into this idea that "well, I could probably type most of it." And they started typing everything. But it was verbatim; they weren't really thinking about what was being said or thinking about the ideas, maybe as much as the other group.
The other group almost immediately said, "there is no way long hand I can keep up with this amount of information!" So they started to do analysis and started capturing information. And it wasn't even sketchnoting, it was just writing on lined paper. And so, they tested them, and I believe the immediate tests that they took right after the talk, they both were about in the same range. But a week later, or some period of time later, they came back and were tested and they found that the people who had to analyze and write longhand remembered far more than the typists.
And then, they realized, "well, wait a minute! We should warn the typists that 'you're probably going to take verbatim notes, so don't do that!'" And they ran the test again. And it didn't matter because as a typist, maybe you just fall into this trap of like always trying to type almost as fast as someone speaking, and then you sort of don't go into this analysis mode. That's what I was getting at with this sketchnote thinking, is that even though I'm typing, I'm sort of doing the longhand writing — I just happened to be using my fingers to type. And I think maybe for me I never learned how to properly type, so I have made up my own typing finger positioning. And I look at the keyboard… I do all the things you shouldn't do. Maybe because of that, it actually led me to this different way of note-taking. I don't know for sure, but…
Jorge: Maybe there's a little bit of friction involved like you were saying; it's slower so you're less inclined to try to capture things verbatim.
We're actually coming up on the end of our time together, unfortunately. And I wanted to ask you… on your website, you say that your word of the year is "restore." And I wanted to ask you about that. What do you mean by "restore"?
Mike: Yeah, that's a great question. As everyone knows, we're two years and some months through the pandemic. For me, we did pretty well through the pandemic. We… I didn't get COVID until I think two weeks ago. So, we did 26 months of COVID-free and then it just got us. But the thing that I found was the uncertainty in the previous job that I was in… I was with a giant company before the company I'm with. And they decided to do… rather than layoffs, they would do furloughs. And we would do five weeks of part-time, three days a week.
And so, there was some baked-in uncertainty like, "oh, what does that mean? Does that mean when I come back, I won't have a job?" Or… I wasn't too worried about that because I also do things on the side completely unrelated to design, which is… I like illustrating books, I love teaching sketchnoting and teams how to sketchnote. And so, I leaned heavily into those, like every opportunity to present I did. I wanted to get really good at presenting and teaching through Zoom. So I thought, "well, every time someone asks, I'm going to accept and learn."
And so, I just started to do lots of illustration, lots of teaching, and I just cranked it up. And I was really busy for two weeks, in addition to my day job. So I… we came back from the furlough, everything was fine, but now all of a sudden I had accepted all these invitations and started doing a ton of extra work more than I normally would. And the pandemic kind of made it possible because there was nowhere to go and it kept my mind off of what was happening, and… but then I got to the end of it and I felt… at the end of 2021, I was just like, "I'm tired!" Like, "I don't know that I want to do all that work. I'm going to actually make some goals around how many things am I going to do in 2022?"
So, I set upper limits on how many teaching engagements, and how many illustration engagements, simply so that I wouldn't like totally burn myself out. I think I felt like I… I wasn't burned out, but I was just tired and needed a rest. And I felt like I need to dial back. So for me, restoring was coming back to something closer to that pre-pandemic mindset where I didn't feel compelled to accept everything and do all these projects. And so that's kind of what it means to me.
Jorge: Well, now I am doubly grateful that you accepted the invitation to be on this show, knowing that you're not accepting as many things. So, thank you for sharing that, Mike. Where can folks follow up with you?
Mike: I would say the best place to go would be rohdesign.com that's my website. You can see my books there. Got a bunch of book samples you can download for free. My blog is there, which I've been running since 2003. I don't post to it as regularly as I used to, but I do occasionally put things there. You can sign up for my email newsletter there. And then probably the place I'm most active on social is Instagram since it tends to be visual, I tend to post things there. So that's probably a good place to interact with me and see work or reach out and say, hello. I'm, you know, I'm @rohdesign and all those places, Instagram, Twitter… I'm doing a little more LinkedIn. So, you can find me in those places. And I'm happy to discuss things with you.
Jorge: And rohdesign is R O H design, right?
Mike: Yes, exactly.
Jorge: Right. Well, awesome! I'll include all of those in the show notes. I was thrilled by the opportunity of talking with you. Thank you so much for sharing.
Mike: Well, you're so welcome. This was really a lot of fun. It was a fun discussion, and I'm excited to hear how your audience reacts to it and what they think.
Jorge: Before we go, I have a brief commercial announcement. Information architecture is more important than ever. And yet, many people in organizations don't know much about IA. So I've launched a new online workshop to teach the fundamentals of information architecture. You can check it out at ia.wtf. That's ia.wtf. Thanks!
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Posted by planetporsche ⋅ October 17, 2020 ⋅ Leave a comment
Filed Under 2020, Dylan Pereira, Larry Ten Voorde, planet porsche, Porsche Carrera Cup Deutschland, porsche motorsport news, race report, red bull ring, sportscar racing news
Dylan Pereira (Förch Racing) continues his winning ways in the Porsche Carrera Cup Deutschland. At the Red Bull Ring in Austria, the Luxembourger scored his third win of the season at Saturday's race held as part of the ADAC GT Masters programme. "Unfortunately I made some mistakes in the first few laps. However, over the course of the race, I managed to close the gap to Larry ten Voorde. Being able to reward myself with this win makes it all the more wonderful," said Pereira. Larry ten Voorde (Netherlands/Nebulus Racing by Huber) finished on second place ahead of Laurin Heinrich (Germany/T3/HRT Motorsport).
When the drivers lined up on the grid in their 485 hp Porsche 911 GT3 Cup on Saturday afternoon, the weather conditions were autumnal with overcast skies and an outside temperature of 13 degrees Celsius. After polesitter Leon Köhler (Germany/T3/HRT Motorsport) fluffed his start and fell to the back of the pack, a duel between the leading ten Voorde and the pursuer Pereira unfolded. Lap after lap, Pereira increased the pressure – and in the eleventh lap, the Förch driver squeezed past ten Voorde and beat him to the flag after 30 minutes of racing. "I didn't make any major mistakes over the entire distance. But I didn't have the pace to defend myself against Dylan. Second place is a good result, but of course, I'd like to climb to the top of the podium again on Sunday," concluded the 24-year-old.
Rookie driver Laurin Heinrich was delighted with his second podium finish in the Porsche Carrera Cup Deutschland: "I'm over the moon with this result. With the weather conditions, I initially had problems getting the tyres up to the optimal temperature. I start both of Sunday's races from pole position, so I'm feeling a little nervous, but today's race underlined that I can match the pace of the frontrunners." This result also makes the 19-year-old the best driver in the Porsche Carrera Cup Deutschland Talent Pool – the German racing series' youth support programme. Positions four and five went to Julian Hanses (Germany/Förch Racing) and Köhler. The youngster was rewarded for his inspired charge through the field. "Unfortunately, my start didn't go at all well. Still, I managed to quickly get over it and come out on top of many duels. That enabled me to achieve fifth place," said Köhler.
Joey Mawson (Australia/Fach Auto Tech) reached the finish line in sixth place on the 4.318-kilometre rollercoaster circuit in Austria's Styria region. Lukas Ertl (Germany/Overdrive Racing by Huber) brought his Cup car over the line in seventh place ahead of Rudy van Buren (Netherlands/CarTech Motorsport by Nigrin). Carlos Rivas (Black Falcon Team Textar) won the ProAm category – the Luxembourger's fourth class win so this season. Georgi Donchev (Bulgaria/Overdrive Racing by Huber) and Stefan Rehkopf (Germany/Nebulus Racing by Huber) also finished on the ProAm podium.
Ten Voorde continues to lead the championship standings. The Huber driver has so far earned 110 points. Behind him are Pereira (104 points) and Köhler (71 points). The next two Porsche Carrera Cup Deutschland races will be contested on Sunday. Race six gets underway at 10:50 a.m. local time, with the lights turning green for race seven at 5 p.m. Both races are streamed live on the internet. Fans can watch the race action on the official YouTube and Facebook channels (@CarreraCupDeutschland) of the Carrera Cup and in the Porsche Motorsport Hub. Moreover, the second race on Sunday can be seen live on the free-TV station Sport1.
Result race 5, Porsche Carrera Cup Deutschland
1. Dylan Pereira (Luxembourg/Förch Racing)
2. Larry ten Voorde (Netherlands/Nebulus Racing by Huber)
3. Laurin Heinrich (Germany/T3/HRT Motorsport)
4. Julian Hanses (Germany/Förch Racing)
5. Leon Köhler (Germany/T3/HRT Motorsport)
6. Joey Mawson (Australia/Fach Auto Tech)
7. Lukas Ertl (Germany/Overdrive Racing by Huber)
8. Rudy van Buren (Netherlands/CarTech Motorsport by Nigrin)
9. Jesse van Kuijk (Netherlands/Team GP Elite)
10. Jukka Honkavuori (Finland/MRS-GT Racing)
Points standings after 5 of 11 races
Drivers' classification
1. Larry ten Voorde (Netherlands/Nebulus Racing by Huber), 110 points
2. Dylan Pereira (Luxembourg/Förch Racing), 104 points
3. Leon Köhler (Germany/T3/HRT Motorsport), 71 points
Source. Porsche
« Workhorse Kingsley Drives to Methodical Win in Porsche GT3 Cup Challenge Finale at Road Atlanta
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redpajama_set_name: RedPajamaCommonCrawl


The purpose of the Red Flags program is to detect, prevent and mitigate identity theft in connection with any covered account. This program envisions the creation of policies and procedures in order to achieve these goals. Please see the Red Flags Program document for details regarding Red Flags.
For more clarification, please see our presentation on Red Flags.
One of the best ways to avoid identity theft is to protect your password. Learn how to avoid "phishing" scams, and never give your password to anyone.


Tucson, surrounded by unusual saguaro (cactus) forests, offers its guests a variety of activities from visiting SPAs and museums to playing golf.
Can you imagine a completely "green" but modern urban area? Paolo Soleri, the architect of experimental town Arcosanti, proved, that it is possible.
Flagstaff is home to two major U.S. observatories and diverse musical festivals. The annual Beer Tasting Festival also takes place here.
Lake Havasu City is famous for the London Bridge over Colorado River and attractive by its outstanding recreation opportunities for watersport lovers.
Tombstone seems to be a full-scale decoration for a classical western. The restored city with authentic 1880's buildings attracts lots of tourists.
Balloon rides over picturesque Arizona desert are both popular among tourists and locals – as a good attraction for birthday and corporate parties.
Canyon de Chelly National Monument with its mysterious Anasazi ruins is not so well- known as other US canyons, but no less spectacular.
Mission San Xavier del Bac, called also The White Dove of the Desert, is situated near Tucson and attracts everyone, who loves the XVIII century art.
The Museum of Northern Arizona that houses about 5 million objects was established in 1928 to preserve and demonstrate beauties of Colorado Plateau.
All tours with a visit to object "Tucson, Arizona"


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Nathan M. Bisk College of Business
Apply Visit Get Info
All Programs Melbourne Campus Off-Campus Online
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Directory Access Future Students Current Students Faculty & Staff Parents Visitors
The Ultimate Business Degree
Nathan M. Bisk College of BusinessAcademics and LearningMajors and DegreesDoctor of Business Administration (DBA)
The Florida Tech DBA
There's only one thing better than being called "doctor," and that's knowing you earned it.
Florida Tech's Doctor of Business Administration (DBA) is a professional degree designed to meet the needs of leaders and executives who neither want to stop learning or enjoying the benefits of advanced education. It is for the fearless, relentless professionals who strive for more than success--those who go for greatness.
DBA Details in Brief
42 credit hour professional doctorate
Three-year program
Meets one weekend per month on campus
Close to the airport so you can fly in!
Total tuition is about half of comparable programs in Florida
DBA Tuition Comparison
Admissions and Applying
Florida Tech invites applications from professionals who have earned an MBA or related master's degree with a 3.2 GPA (cumulative) from a regionally accredited college or university. Admission is competitive as cohorts are limited to 12 students per new class.
To apply, complete the application and submit:
Your up-to-date resume or vitae
A statement of objectives
Through the application of theory, use of advanced research skills and an understanding of the complex challenges that exist in the public and private business sector, students earning a doctor of business administration develop important skills in strategic planning, organizational behavior, human resources management, financial management, innovation and entrepreneurship, quantitative research and more.
Cohort Model: Peer-to-Peer Learning
Doctor of business administration students are often working professionals who have already attained experience and valuable insight in an administrative business career. Florida Tech's small class size allows specialized, one-on-one attention from professors as well as an opportunity for students to exchange knowledge with fellow colleagues, building a network of business professionals for the future.
The doctor of business administration cohort that meets each semester for collaborative learning. In the final year, students complete an intense research component. Hands-on experience plays an important role in an education at Florida Tech and cohort programs provide unparalleled learning experiences from professors working in the field.
The DBA program culminates in the formation of a dissertation. Once core business classes are completed, students have the chance to enhance their body of knowledge on any business relevant subject that most interests them and aligns with their career goals.
Students easily see the value of a doctor of business administration degree when they discover the employers who are likely to hire them. AuthenTec, Modus Operandi, Symantec, Siemens Energy, NASA, Lockheed Martin Space Systems and Scottrade have hired graduates of Florida Tech. Common career paths for DBAs are senior managerial consultants, chief executive officers, operations managers, business training professionals and university faculty.
Alumni & Dissertations
Dissertation: Exploring Effects of Organizational Culture upon Implementation of Information Security Awareness and Training Programs within the Defense Industry Located in the Tennessee Valley Region
Harry Hobbs
Vice President Employee Engagement , Huntsville Utilities
Dissertation: A Qualitative Study of Millennials in the Workplace: Gaining their Long-term Employment in News Media Firms in North Alabama
Wendy Kirk
Dissertation: Workplace Bullying: Proven Methodologies to Mitigate the Issue within the Government Contracting Workplace Environment
Tim McDowell
US. Army Compliance Officer
M.S Management Florida Institute of Technology
Dissertation: A Comprehensive Study of Intrapreneurship as a Cultural form of Innovation and Sustainable Competitive Advantage
Karen Newsom
Dissertation: Business Practices Which Have the Greatest Influence on Retention as it relates to Wired Boomers in the Aerospace Industry in Huntsville, Alabama
Mike Park
Logistics, U.S. Army, HQ AMC
M.S. Logistics Management
Dissertation: The Impact of a Millennial Business Leader's Emotional Intelligence on Turnover in the Multigenerational Sales Occupational Field
Christine Schaefer
Dissertation: Factors Contributing to Millennial Turnover Rates in Department of Defense (DOD) Organizations
Bob Keimer
Assistant Professor & Program Chair for Online Programs, Florida Institute of Technology
Masters of International Affairs
Dissertation: Execution: A Catalytic Capability in Firm Performance
Vicky W. Knerly
Assistant Director, Online Learning, Florida Institute of Technology
Master of Business Administration, M.S. Acquisition & Contract Management
Dissertation: Exploring Person-Organization Fit and Gender Bias in the Hiring Process of Engineering Firms: Is Selection Impacted?
Valentina Naumenko
Researcher at International Professor Project and Entrepreneur.
MBA, University of Tartu, Estonia
Dissertation: The Impact of EB-5 Ownership on Employee Job Satisfaction and Guest Satisfaction in the Hospitality Industry: A Case Study
Edgar Quiñones, Jr.
Contracts Negotiator, Sr., Lockheed Martin Corporation
Master of Business Administration from the University of Central Florida
Dissertation: U.S. Government Acquisition Reform and its influence on Defense Contracting, Innovation, Diversification, and Collaboration
Steve Rivet
Dissertation: Divestment of Strategic Resources in a Hypercompetitive, Capital Intensive, Knowledge Based Industry
Dissertation: Barriers to Mentoring Women of Color for Corporate Leadership: Implications for Organizations
Jose Torrech
Dissertation: The Role of Human Capital and Innovative Entrepreneurship in Developing Countries
Wes Sumner
Vice President of Marketing & Communications, Florida Institute of Technology
M.Ed. Educational Leadership
Dissertation: Spirituality as a Human Resource Attribute to Facilitate Employee Engagement and Retention
Kenny Welch
Secretary to the General Staff, US Army Cyber Command
Dissertation: Understanding Department of Defense Employee Perceptions of Performance Appraisals: Making a Connection Between Performance Appraisals and Motivation
Greg Connell
Associate Dean of Students/Director of Residence Life, Florida Tech
M. Ed. In Student Personnel Administration from the University of Florida
Dissertation: Avoiding the Restart Button: Examining the Critical Factors of the Onboarding Process that Encourage Team Cohesion
William Jimenez
President RipLog Investments and Cocoa Beach Child Psychology
MBA Lynn University
Dissertation: Transforming Human Resource Management into a Dynamic Capability and the Effects on Employee Attraction and Retention
Director for the Center for Applied Criminal Case Analysis, Professor, Florida Tech
William Greg Spencer
Dissertation: Does Organizational Culture Serve as an Antecedent to the Dynamic Capability of an Automated Customer Relationship System as an Example of a Big Data Analytics Program in a Firm? A Case Study
Manessa Threatt
Coby A True
Head of Operations – F405, Rolls-Royce Corporation
M.S. Operations Management
Dissertation: Distributed Team E-leadership: A Phenomenological Inquiry into Subordinate Perceptions of Career Development
Jean Marie van der Elst
M.A. Economics & Finance
CEO TAS Forensics LLC
Dissertation: The Economic Impact of Anti-Corruption Legislation on Foreign Investor Perceptions of Corruption
Attend Info Session
We look forward to speaking with you, understanding your goals and helping you achieve them through the Florida Tech DBA. We respond to all inquiries in one business day or less.
Emily Vogt, Ph.D.
DBA Program Chair and
evogt@fit.edu
Taylor Weaver
DBA Administrator
tweaver@fit.edu


text:
10 Interesting Facts About HARIBO
Bizarre Russian Food
Progression Of iPhone: What Changed Throughout The Years
Brain Food, History
Apple's creation, iPhone, is booming the world since 2007. Our team wants to share with you how the most famous smartphone changed throughout the years 🙂
iPhone 2G – 2007
In 2007, on the exhibition MacWorld, Apple company introduced iPhone Original, smartphone remembered as iPhone 2G. It had an aluminum back panel, and a small plastic part on the bottom which covered antenna GSM-receiver and Wi-Fi / Bluetooth. Apple has managed to combine all capabilities of the phone, music player and PDA in this smartphone.
(c) geek.com
A year later, in 2008, was released iPhone 3G in a new plastic design and with the camera of two megapixels. In addition to the smartphone, company presented a new operating system iPhone OS 2.0, as well as the online store App Store applications. On the first weekend Apple has sold a million copies of the new smartphone.
(c) trustedreviews.com
iPhone 3GS – 2009
iPhone 3GS came in 2009 with the 600 MHz processor, a better camera of 3.2 megapixels and a third version of the operating system. The phone's design has changed, although only slightly. The back panel became plastic instead of metal, the angles became more rounded. Display size, resolution and dimensions remain the same, but the smartphone became 2 grams lighter. The battery life was up to 300 hours standby time, up to 10 hours of talk time on a second-generation networks. Loading web pages on iPhone 3G was faster by 36% in comparison with the Nokia N95 and Palm Treo 750, which also supported 3G.
(c) mobiltelefon.ru
iPhone 4 – 2010
In 2010, the company introduced a brand new iPhone 4 with the new body and the next version of the operating system. iPhone 4 got a 3.5-inch display with a resolution of 960 x 640 pixels. The thickness of the device was just 9.3 mm. The front and rear of the machine, both flat, made of glass, edging end – steel. The phone had a front facing camera for video calls, an additional microphone for noise cancellation, and SIM slot changed to Micro SIM.
The battery provides up to 14 hours of talk time, 6/10 hours of web surfing on 3G / Wi-Fi mode, 10 hours of video playback, 40 hours of music and 300 hours of standby. In addition, was added support for Wi-Fi 802.11n. Resolution of the main camera was 5 MP plus support for video recording with a resolution of 1280 x 720 pixels at 30 frames per second.
(c) imore.com
iPhone 4S -2011
If in the case of the model 3GS letter S stands for Speed ( «speed"), in the iPhone 4S it points to the presence of Siri voice assistant, which built voice control to a new level. The dual-core processor became a novelty, the camera resolution increased to 8 megapixels. The problem with the quality of communication of the predecessor, was eliminated. For fans of Apple and Steve Jobs presentation of 4S became a tragic chapter in the history.
The first presentation of the product engaged a new CEO – Tim Cook. Steve Jobs, after a long struggle with a serious illness, died the next day: October 5, 2011. Apple fans immediately dubbed iPhone 4S – 4 (For) Steve, and bought it also in honor of the memory of the company founder.
In 2012, Apple released the first smartphone with a larger screen – iPhone 5, which during the first weekend was sold over five million units. iPhone 5 is equipped with a 4-inch Retina display with a resolution of 1136 x 640 pixels. Furthermore, Apple display improved color reproduction by 44% . For the support all the communication technologies was used one modem. Smartphone can automatically switch from one technology to another in real time.
(c) cnet.com
iPhone 5S and 5C – 2013
In 2013, for the first time in Apple's history, two iPhone were presented: expensive 5S and 5C – reduced price version of its predecessor. The older device was not just a slight improvement in the iPhone 5, but an innovative handheld device, thanks to a new degree of security – Sensor of fingerprint embedded in the button "Home". iPhone 5C model also received software of the fifth model, but was done in a plastic casing of bright colors.
(c) pcadvisor.co.uk
iPhone 6 and 6 Plus – 2014
In 2014, Apple has released again a couple of models. iPhone 6 was the successor of the classic lineup, and iPhone 6 Plus has been called for the company to win a niche in the market of tablet-phones. And the company has managed to do it: in the first three days of sales was purchased more than 10 million units, which is 1.5 times more than the total sales of the first iPhone. iPhone 6 screen diagonal got 4.7 "with a resolution of 1334×750 pixels and 6 Plus – 5,5" with a resolution of 1920×1080 pixels. Both with Retina.
(c)ponseluler.com
iPhone 6S and 6S Plus – 2015
Following tradition, the new generation of iPhone, presented in September 2015, did not bring major changes and had only an improvement of the prior. The design and quality of new products' screens have not changed significantly. More improvements were done for the inside part – processor is faster, the amount of RAM doubled to 2 GB, the camera got 12 megapixels instead of 8 megapixels, touch screen now detects pressing levels through 3D Touch technology and the body, which became a little stronger and heavier, through the use of aircraft-grade aluminum.
In 2016, the iPhone ceased to be afraid of the water, became wiser to spend battery and began issuing stereo. Quite controversial decision was the refusal of the 3.5 mm jack. Now, you can use the headphones with Bluetooth or Lightning. Color range of 5 has not been introduced since the days of iPhone 5c.
(c) phoneradar.com
Let's see what is gonna be next! The year 2017 is the 10-years anniversary of iPhone, so we hope to see something really extraordinary. Who knows, maybe holographic screen will be presented? 🙂
Source: mobiltelefon.ru, biz.liga.net
Photo on preview: cool-style.com.tw
apple, applications, brainfood, design, history, iphone, progress, smartphone, style, time
Design, Food
Trash Or Delicious Dessert: 10 Stunning Food Illusions
Kitchen Design: 10 Creative Ideas With Charm


Also known as a 'hole in one', an ace occurs when a player hits the ball directly from the tee straight into the hole with a single stroke.
Aggregate denotes the score made over more than one round of play, or by two more playing as partners.
This occurs when a player strikes the golf ball in a particularly way causing it to spin backwards. This type of spin causes the ball to stop quickly or rotate backwards after landing on the green.
A severe slice which causes the ball to follow a trajectory in the shape of a banana, also known as an 'extreme slice'.
A hard shot from the bunker which should hopefully send the ball and surrounding sand onto the green. This type of shot is also known as an 'explosion'.
Typically played from very close to the green, a chip is a short shot intended to send the ball travelling through the air over a short distance, landing on the green, and then rolling the remainder of the way to the hole.
A small putt required to bring the ball back after the previous putt went past the hole.
Something you don't want to see when participating in NZ Sports Betting is a double bogey – a hole played in two strokes over par.
An even occurs when a player has a score equal to that of par.
A shot played – especially by skilled right-handed golfers – which send the ball curving slightly to the right. An overshot fade will resemble a slice.
This is a warning shout given when it is believed that the ball may hit other participants or onlookers.
A goldie bounce occurs when the ball hits a tree deep in the rough and bounces straight back onto the green.
A good-good refers to when both players in a match agree to grant each other's strokes.
A player who displays too much wrist movement in their swing or stroke, resulting in inconsistent play is referred to as handsy.
A hazard is a bunker or permanent body of water, including any land marked as part of that hazard and special rules of play apply when taking a shot from a hazard.
The last nine holes of a golf course are referred to as the inward nine, as older links courses were designed to bring players back in towards the clubhouse after going out on the first nine holes.
A short, quick putt that often results in an erratic ball trajectory.
A type of shot intended to have a very low path, generally used to combat strong wind.
Happy playing and be sure to return for the Glossary of Golf Terms for Beginners Part 3!


text:
Q: JBAS011006 Not installing optional component StandardServletAsyncWebRequest due to exception DeploymentUnitProcessingException Since, Spring 3.2 GA release is out I wanted to upgrade my Spring 3.1.2 application to the newest release. The application runs on JBoss 7.1.1.Final. Everything else went fine except that I get the below JBoss error message which I find annoying (though the app runs ok). Any idea?
15:50:06,865 WARN  [org.jboss.as.ee] (MSC service thread 1-13) JBAS011006: Not installing optional component org.springframework.web.context.request.async.StandardServletAsyncWebRequest due to exception: org.jboss.as.server.deployment.DeploymentUnitProcessingException: JBAS011054: Could not find default constructor for class org.springframework.web.context.request.async.StandardServletAsyncWebRequest
at org.jboss.as.ee.component.ComponentDescription$DefaultComponentConfigurator.configure(ComponentDescription.java:606)
at org.jboss.as.ee.component.deployers.EEModuleConfigurationProcessor.deploy(EEModuleConfigurationProcessor.java:81)
at org.jboss.as.server.deployment.DeploymentUnitPhaseService.start(DeploymentUnitPhaseService.java:113) [jboss-as-server-7.1.1.Final.jar:7.1.1.Final]
at org.jboss.msc.service.ServiceControllerImpl$StartTask.startService(ServiceControllerImpl.java:1811) [jboss-msc-1.0.2.GA.jar:1.0.2.GA]
at org.jboss.msc.service.ServiceControllerImpl$StartTask.run(ServiceControllerImpl.java:1746) [jboss-msc-1.0.2.GA.jar:1.0.2.GA]
at java.util.concurrent.ThreadPoolExecutor.runWorker(ThreadPoolExecutor.java:1110) [rt.jar:1.7.0_05]
at java.util.concurrent.ThreadPoolExecutor$Worker.run(ThreadPoolExecutor.java:603) [rt.jar:1.7.0_05]
at java.lang.Thread.run(Thread.java:722) [rt.jar:1.7.0_05]

A: In order to suppress this warning message add following lines to your Jboss config (standalone.xml if you're using it in standalone mode)
<?xml version='1.0' encoding='UTF-8'?>
<server xmlns="urn:jboss:domain:1.1">
...
    <profile>
        <subsystem xmlns="urn:jboss:domain:logging:1.1">
            <console-handler name="CONSOLE">
                <level name="INFO"/>
                <filter>
                    <not>
                        <match pattern="JBAS011006"/>
                    </not>
                </filter>
...

As you can check in javadocs, there's no default constructor for this class.
Since it's just a warning and everything goes fine, you can ignore it.

redpajama_set_name: RedPajamaStackExchange


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Ryan Driller
Ryan Driller was born as Adam Cuculich in Littleton, Colorado. The man with great social skills, attributes his development from his parents' teachings and his experiences as a lifeguard and restaurant worker during his early adult years. But fans may not believe at one time Ryan was not always the classy, top-notch stud they fell in love with on the XXX-film screens. A self-described underdog kid during his high school years, Ryan was short and grossly out of shape. It wasn't until his senior year that he lost 50 pounds and grew in height. He learned much of his knowledge of how to treat and please women through his parents and mostly through extensive interaction with women. His sex education developed during his teen years during the Internet boom during which he admits to having been caught at the school library computers viewing images on Suze Randall's website. He also would go on camps where his male friends would sneak with them their older brothers' copies of Penthouse, Club, and Hustler magazines. Names that Ryan followed in his viewing of explicit sex films include the much talked about Jenna Jameson and later Lisa Ann, the latter whom he instantly fell in love with. Having always entertained the idea of shooting pornographic films, Ryan made his debut in 2008 around the age of 26. Since then, he has worked for companies including Naughty America, Digital Playground, Mofos, Wicked Pictures, Hustler, Penthouse, New Sensations, Jake Cruise Productions, BangBros and Kick Ass Pictures among others. He has been nominated for numerous awards from the AVN, but won the Nightmoves Fan Awards in 2015 for "Best Male Performer". In 2013, he won the XCritic Editor's Choice Awards for "Best Actor - Parody Release" for his performance as Superman in Man of Steel XXX: An Axel Braun Parody (2013).
Ryan Driller born?
Ryan Driller was born on Tuesday, August 17, 1982
Ryan Driller was born in Denver, Colorado, USA
Ryan Driller?
Ryan Driller is 40
How tall is Ryan Driller?
Ryan Driller is 6'1"(1.85m)
Wesley Addy
Sergio Corrieri
John Harryson
Kerry Jones
Morgan Galloway
Julian Murdoch
Anthony Ippolito
Thomas Jansen
Kent Damon
Kai-Chung Cheung
Fabien Yang


text:
Pachastrella is een geslacht van sponsdieren uit de klasse van de Demospongiae (gewone sponzen).

Soorten
 Pachastrella abyssi Schmidt, 1870
 Pachastrella caliculata Kirkpatrick, 1902
 Pachastrella chuni Lendenfeld, 1907
 Pachastrella cribrum Lebwohl, 1914
 Pachastrella dilifera de Laubenfels, 1934
 Pachastrella echinorhabda Pulitzer-Finali, 1972
 Pachastrella fusca Lebwohl, 1914
 Pachastrella incrustata Bergquist, 1968
 Pachastrella isorrhopa Kirkpatrick, 1902
 Pachastrella monilifera Schmidt, 1868
 Pachastrella multipora Dickinson, 1945
 Pachastrella nodulosa Cárdenas & Rapp, 2012
 Pachastrella ovisternata Lendenfeld, 1894
 Pachastrella pacoi Van Soest, Meesters & Becking, 2014
 Pachastrella scrobiculosa Lebwohl, 1914

Gewone sponzen

redpajama_set_name: RedPajamaWikipedia


text:
Carriera

Club
Cresciuto nel settore giovanile dei , nel 2020 è stato aggregato alla seconda squadra.

Nazionale
Il 9 giugno 2022 ha esordito con la nazionale portoricana, giocando l'incontro vinto per 0-3 contro le , valido per la CONCACAF Nations League 2022-2023.

Statistiche

Presenze e reti nei club
Statistiche aggiornate all'11 giugno 2022.

Cronologia presenze e reti in nazionale

Collegamenti esterni

Calciatori della Nazionale portoricana


This is a delicious Puerto Rican dish that, I hope, you will love! It is very easy to make, but you will need some time for this. All in all, it will take you more than 3 hours to prepare it. You will get 6 servings, and each of them contains 395 calories. Enjoy!
Prepare a saucepan and mix the following ingredients together: coconut milk (14 oz.), white sugar (3/4 cup), and kosher salt (1/4 tsp.). In a bowl, add several tablespoons of the coconut milk mixture along with cornstarch (1/2 cup). Stir until cornstarch fully dissolves in the coconut milk mixture and pour into the coconut milk mixture that you have the saucepan. Heat it over the medium-high heat until it becomes to boil. Keep cooking, constantly stirring until you get a thick and smooth consistency. It should take around 5 min.
Pour the mixture into molds and use plastic wrap to cover each of them. Place in the fridge until pudding is cold and firm. It may take from 3 to 48 hours.
Use a thin knife to run around the edges of the mold so that you can easily remove the pudding and transfer it to a plate. Garnish pudding with ground cinnamon (1 pinch).


text:
Dorette Huegin oder Dorette Hügin-Straumann (* 10. Juli 1928 in Waldenburg, Kanton Basel-Landschaft; † 12. Juni 2018) war eine Schweizer Malerin und Restauratorin.

Leben und Werk
Dorette Huegin studierte in Paris an der Académie des Beaux-Arts und an der Académie Julian. Zudem arbeitete sie im Atelier von Fernand Léger. Ihre Werke umfassen Restaurierungen von Wandbildern sowie Glasfenster, Acrylmalerei, Zeichnungen, Collagen und Siebdrucke. Sie war mit dem Anästhesisten Werner Hügin verheiratet. Ihre letzte Ruhestätte fand sie auf dem Friedhof am Hörnli.

Literatur
 Brigitta Hauser-Schäublin: Blick in die lichte Ferne. Dorette Huegin. In: Jahrbuch z'Rieche 1988 (online).

Weblinks

Maler (Basel)
Restaurator
Person (Kanton Basel-Landschaft)
Schweizer
Geboren 1928
Gestorben 2018
Frau


text:
Blackstone Valley Sinners
Join the Blackstone Valley Sinners fan club.
Localband.net Member Since: March 14, 2003 Last Update: June 9, 2003
Music types: Country, Rock
Sixteen Horsepower meets The Andrews Sisters in a dark alley in suburban Rhode Island somewhere between routes 295 and 146, and the atrocities Screamin' Jay Hawkins only knew in his darkest nightmares ensue. Blackstone Valley Sinners peek around the corner
SLIM CESSNA (also currently performs with SLIM CESSNAS AUTO CLUB, formerly played with THE BOOGERHEADS) on strikingly beautiful lead vocals and rhythm guitar.
RICH GILBERT (also currently performs with FRANK BLACK & THE CATHOLICS and has played with TANYA DONELLY, STEVE WYNN, HUMAN SEXUAL RESPONSE, THE ZULUS, CONCUSSION ENSEMBLE) on lead guitar, steel guitar, dobro, banjo, piano and backup vocals.
JUDITHANN (also currently performs with SLIM CESSNAS AUTO CLUB, formerly played with THE BOOGERHEADS) on electric and upright bass and backup vocals.
Record Label: Valley Records
Alternate web site: http://www.blackstonevalleysinners.com
Contact Name: Judithann Winters
Localities: Connecticut-Danbury
Connecticut-Hartford
Connecticut-New Haven
Connecticut-Stamford
Massachusetts-Boston
Massachusetts-Springfield
Massachusetts-Worcester
New Hampshire-Southern
New York-New York City
New York-Rochester
Rhode Island-Providence


Jaw-dropping landscape – check, plenty of things to do – check, delicious spread of food – check, upcoming festive season – check. Mauritius, the quaint little nation in the mighty Indian Ocean, has all elements that construe a perfect holiday.
It is not only the excellent beaches that lure travellers to this magical land, but also the plenty of things to explore and places to see. With so many things to do in Mauritius, tourists more often than not are left spoilt for choices.
Check out our list of must visit places of Mauritius, and tell us which one you would like to explore first!
A popular tourist place, Chamarel, is a small area of strikingly bare landscape comprising of sand of seven distinct colours. The multi-coloured land is a natural phenomenon and one of the best things to do in Mauritius for it provides a glimpse into one of the amazing geological wonders of the world. A great place for photo-ops, this place also sees lots of visitors who come here for a day picnic.
Go Hiking in the Black River Gorges National Park!
Find time to explore the gorgeous capital city of Mauritius – Port Louis and explore its prodigious, iconic hotspots right from the Fort Adelaide, to Blue Penny Museum, to St. James Cathedral, Central Market, to the Natural History Museum and Caudan Waterfront etc. Its downtown streets, well-maintained colonial houses, ethnic quarters give the onlookers glimpses of various cultures borrowed from Middle East, Europe, and India etc.
Famous for its white sandy beaches, beautiful blue lagoon and plenty of entertaining activities on, a visit to Ile Aux Cerfs (Deer Island) is something you can't miss out while vacationing in Mauritius. If you are looking for a fun-filled day at one of the idyllic Mauritian beaches, this private island fits the bill. Explore some peaceful and secluded coves to relax as you take a short walk along the main beach. Mauritian golfing with a backdrop of a gorgeous lagoon is one experience that stays with you even after you are long gone from this beautiful place.
Suitable for all age groups, the Curious Corner of Chamarel, is a distinct attraction of Mauritius. If you are a fan of quirky, this place will definitely amuse you. Check out its 40 exhibits set in 5000 sq. metres and be ready to be physically challenged with the riddles and artifices as soon as you walk in. This fascinating world of optical illusions will leave you flabbergasted but the fun is unbeatable for sure.
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