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Stu Cowan: A big win for Impact in front of 19,015 fans at Saputo Stadium
With big price increases coming next season for some season-ticket holders, 3-0 win over Columbus keeps playoff hopes for this season alive.
Impact's Saphir Taider celebrates after scoring against Columbus Crew SC during first half MLS soccer action in Montreal on Saturday, Oct. 6, 2018.	Graham Hughes / THE CANADIAN PRESS
If you were among the 19,015 fans at Saputo Stadium on Saturday afternoon, it's hard to imagine you didn't have a good time.
Coming off an embarrassing 5-0 loss to D.C. United last weekend in Washington, the Impact put on a great show, beating the Columbus Crew 3-0 on goals by Saphir Taider (penalty kick, 32nd minute), Alejandro Silva (44th minute) and Ignacio Piatti (59th), while goalkeeper Evan Bush made nine saves for the clean sheet.
The win improved the Impact's record to 13-15-4 and moved them five points ahead of D.C. United in the battle for the sixth and final playoff spot in the Eastern Conference. However, D.C. United cut the Impact's lead to two points with a 2-1 home victory over the Chicago Fire Sunday afternoon with Wayne Rooney scoring two second-half goals for the comeback win. D.C. United (11-11-8) holds two games in hand on the Impact and will play three of their final four games at home, where they have a 10-2-2 record. So Saturday's game against Columbus was basically a must-win for the Impact as will be their final two regular-season games, at home against Toronto FC on Sunday, Oct. 21 and at New England on Oct. 28.
"Honestly, it was very difficult all week," Bush said about trying to recover from the blowout in Washington. "Personally, I was in a terrible mood. I don't know if it's because the weather's turning bad … it was probably a mix of both. It's embarrassing losing 5-0 and there's two ways you can handle it. You can shut down and quit — like a lot of people I'm sure expected us to — or you can rebound and show what your character's made of and I think we were able to do that today."
It was very important for the Impact to put on a good show in front of Montreal fans and not just because of last weekend's embarrassing defeat. The Impact sent out season-ticket renewal notices last month and there will be a significant increase on some seats. One fan who has had season tickets for the last five years sent me an email saying his seats were going up 45 per cent next year and he wouldn't renew, writing: "I'm sick about it … disgusted." Another longtime season-ticket holder with two seats in Section 108 noted his price will increase from $1,498 this season to $2,644 next year.
Impact's Daniel Lovitz leaps over a challenge by Columbus Crew SC's Harrison Afful during first half MLS soccer action in Montreal on Saturday, Oct. 6, 2018. Graham Hughes / THE CANADIAN PRESS
Richard Legendre, the Impact's executive vice-president, spent 24 minutes recently speaking with Tony Marinaro on TSN 690 Radio to explain the team's ticket strategy for next season, explaining the club has to find ways to increase revenue, saying: "We're doing this for the future of the club."
"Our president (Joey Saputo) said two years ago, at the beginning of the second-year cycle, we need this club to become profitable, viable, to actually break even, which hasn't been the case at all in the last seven years," Legendre told Marinaro.
Legendre noted that expansion teams coming into MLS with new stadiums that cost at least $200 million are creating an uneven playing field when it comes to revenue streams and the money available to spend on players. Heading into this weekend's games, Atlanta United FC — in only its second season in MLS — was leading the league in attendance with an average of 52,273 fans at Mercedes-Benz Stadium, which opened last year at an estimated cost of US$1.6 billion and is also home to the NFL's Atlanta Falcons. Atlanta United FC also has the best record in MLS this season at 20-6-6. The Seattle Sounders ranked second in attendance with an average of 40,584, followed by Toronto FC at 26,993. The Impact ranked 14th out of 23 teams with an average of 18,464.
"We'll never have a stadium like Atlanta," Legendre told Marinaro. "We all understand that. But we think we can compete with the stadium that we have here as long as we maximize the revenues so that we can follow the pace. The big challenge is increase revenues and remain affordable."
Legendre said the Saputo Stadium seating chart for 2019 will have 10,000 seats priced between $18 and $26 per game if purchased as season tickets or as a group in advance. Fans wanting to sit closest to the action in the middle sections or in the upper rows, under the roof, will have to pay a premium next year. Legendre added the average MLS ticket price is about $40 now and that the Impact were at $25 last year, are now at $30 and are en route to $40.
"We will remain affordable," Legendre told Marinaro. "That's crucial."
It's also crucial that the Impact win games and making the playoffs this year would provide a big boost for the fan base after missing the post-season last year. This is a city starved for some playoff action after the recent failures of the Canadiens and Alouettes. It was two years ago when the Impact attracted a sellout crowd of 61,004 at Olympic Stadium for Game 1 of the Eastern Conference final against Toronto FC.
Goalkeeper Bush was impressed by Saturday's turnout at Saputo Stadium.
"They were fantastic," Bush said about the crowd. "To go back to last week's game, where you get destroyed in an important game, and then have 19,000 to 20,000 people show up today to cheer us on, it shows the commitment that they have for us and it was nice to be able to reward them."
If you were at Saputo Stadium Saturday, you probably left feeling you got your money's worth. The question moving forward is how much more are Montreal soccer fans willing to pay?
Lionel Messi's the latest nimble performer to get a Cirque du... Vanquishing Crew at home Saturday crucial to Impact's playoff hopes


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Home Business and Investment How To Start Selling on Konga (Complete Guide)
How To Start Selling on Konga (Complete Guide)
This post is about How To Start Selling on Konga online store in 2023, via Afrokonnect.
One method that proprietors of small businesses use to bring in consumers and generate revenue is to list their wares for sale on Konga.
This article will walk you through the steps necessary to become a successful seller on Konga if you are interested in learning more about the process.
You are going to get instruction on how to register as a seller on Konga, how to sell items on Konga, and other crucial details.
One of the most significant online marketplaces in Africa,
Konga is a website that offers a variety of things for sale at costs that are reasonable.
Goods that fall into several categories include mobile phones, personal computers and their peripherals, footwear, domestic appliances, health products, books, and a great deal more.
Selling on Konga in 2023
A large number of people who want to buy and sell goods also frequent the platform so that they may spread such goods to others.
Among the most popular and successful online marketplaces in Nigeria, drawing in millions of users every month.
Businesses may increase their sales significantly by using Konga as a channel.
As a result, a significant number of entrepreneurs are seeking for instructions on how to begin selling on Konga.
Please read on if you are one of the many people who have found this site searching for information on how to register as a Konga vendor.
How to Start Selling on Konga: A Step-by-Step Guide
You will need to create an account with Konga before you can join the Konga Seller Academy.
This is a prerequisite for joining the Konga Seller Academy.
Therefore, if you want to sell your things online, you'll need to sign up for a Konga account first.
The actions that you need to complete in order to become a Konga Seller are listed below.
How To Do Konga Seller HQ Registration
The following is a list of the procedures that you need to perform in order to become a seller on Konga;
Go to the Konga Seller HQ Portal, which may be found at https://shq.konga.com/register.
Enter all of the relevant information, including your e-mail address, phone number, bank details, and any other pertinent information that may be requested.
Create an account on Konga by submitting the form that has already been filled out.
After your account has been verified, wait for Konga to provide its approval.
Please take note that you will not be granted access to the Konga Seller HQ portal until this verification process has been completed.
After you have been granted access to the Portal,
You will be able to go to the Konga Seller Control panel or dashboard.
The management and uploading of your items, as well as the tracking of your sales and inventories, will all take place inside this section.
Through this portal, you may also communicate with the support officer who is assigned to your account.
How to Sell Your Products on Konga Using the Seller HQ Platform
You will be needed to market your goods to the Konga Audience in order to make use of the Konga Seller HQ platform to sell your wares.
As a result, the following information must be provided by you:
You are required to provide pictures of the things you are selling that are both appealing and accurate.
In most cases, Konga mandates that product photos have a resolution of at least 500 pixels by 500 pixels.
You are also required to provide a condensed explanation of what your product is all about,
As well as the benefits it offers and the characteristics it has.
You have to get people's attention with your listing if you want a lot of consumers to buy from you.
This is another essential component that must be a part of your listing.
You should focus on acquiring serious consumers who are prepared to make a purchase if you want to increase your customer base.
How To Start Selling on Konga
After doing all of these things, it is now only a matter of time until you start receiving orders from consumers.
When you get an order via Konga, you will be notified through the Seller HQ dashboard,
In addition to receiving an e-mail and a text message.
Within the next twenty-four hours, you are required to either accept or decline the order.
This may be accomplished on the Konga Seller HQ dashboard,
After which you will be able to print the order summary as well as the invoice.
After you have confirmed the order, the following step is to deliver the products to the individual who placed the purchase.
You have the option of transporting it yourself or using the services of an external logistics provider.
You might also attempt self-fulfillment by making use of Konga's partner in logistics, K Express, to ship the products directly to the customer.
Simply choose K Express as your preferred shipping method from your control panel, prepare your shipment, and send it out to be picked up.
They will pick up your orders and deliver them to your consumers within three business days.
You will be able to enhance your ratings by confirming the order on your dashboard after it has been verified successfully.
Subscription, Payment, and Commission for Konga Sellers
Following verification that the delivery has been completed,
The funds from the customer's payment will be transferred to an escrow account.
As a result of their return policy, the money won't be distributed until after 7 to 14 days have passed.
There is a fee associated with selling on Konga.
As a result of this, you are required to pay a membership fee before you can begin submitting images of your products.
There are two different options available for the long seller subscription: Silva and Gold.
You will be allowed to list up to 10 goods each month on any item if you pay the N1000 ($2.32) Silva Membership cost,
Which you may pay for if you join up for the Silva Membership.
In addition, if you choose the Gold plan, you will be required to pay a cost of N2500 ($5.79) per month in order to list an unlimited number of items.
This price is payable on a monthly basis.
Additionally, Konga deducts a commission on the quantity of goods sold, which varies based on the seller level.
Commission rates range from two to seven percent for Premium sellers who have access to a wide variety of high-quality items and may move up to one million items each month.
On the other hand, they mark their items up by as much as three to ten percent for other merchants who sell below them.
Read more about the Jumia Affiliate Program, including how to sign up and make money.
The Obstacles That Konga Vendors Must Overcome
Despite the fact that this platform is useful and a great number of companies earned enormous sales on it,
On Konga, there are various obstacles that sellers must overcome before they may find success.
Among them are few others:
A Fierce Level of Competition
The level of competition on Konga is particularly high since so many different merchants are offering the same product at a variety of different prices.
As a result, you will be competing with others for sales, which may result in a decrease in customer traffic.
Theft of images and acts of plagiarism
On Konga, there are many other vendors that are also selling the things that you are selling.
Therefore, there is a possibility that other people may steal your photographs or edit your product descriptions and pass them off as their own.
Products may be returned to Konga according to their return policy.
Customers are thus permitted to return things that you have previously sold to them.
Removal from Service or Suspension
There is a possibility that sales may be suspended on Konga at some point.
Because Konga reserves the right to terminate your account at any time and for any reason if you have violated or committed any of the following offenses:
If you commit fraud or sell a counterfeit product.
When you questionably cancel customer orders
Either does not pay for a commission or causes it to be delayed.
More about Selling on Konga in 2023
If you keep in mind all of the advice that was provided above regarding selling on Konga,
Becoming a successful seller on the platform shouldn't be too difficult.
As you sign up to become a member of the Konga Seller Academy,
we hope that you have a lot of success selling on Konga.
This brings us to the end of this article about How To Start Selling on Konga online store in 2023, via Afrokonnect.
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redpajama_set_name: RedPajamaCommonCrawl


A bed and breakfast in Boston is your first choice for expecting a welcoming stay, and comfy surroundings when visiting this part of Lincolnshire. This is a historic market town, so staying here is the best way to appreciate all it has to offer. From your B&B, you can take in the attractive and unique atmosphere of the town fully.
St Botolph's Church, the largest parish church in England, is an interesting location to visit whilst visiting. The impressive tower is visible for miles around, you can't miss this famous landmark no matter what. Whatever you are planning to do whilst in Lincolnshire, a bed and breakfast in Boston makes a good base to visit elsewhere.


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Climate Change Transforming Alaska's Landscape
Climate Change Transforming Alaska's Landscape — Ancient Lakes and Wetlands Being Replaced by Forest
published by www.peat-portal.net
Ottawa — Lakes and wetlands in the Kenai Peninsula of south-central Alaska are drying at a significant rate. The shift seems to be driven by climate change, and could endanger waterfowl habitats and hasten the spread of wildfires.
In a paper published in the August 2005 issue of the NRC Research Press' Canadian Journal of Forest Research, Eric Klein and his colleagues document a significant landscape shift from wetlands to woodland and forest in the Kenai Peninsula Lowlands.
The trend fits within a global picture of drying wetlands in northern latitudes, with similar changes already appearing in lower latitudes. Klein, a biologist who did his graduate research with Alaska Pacific University, says the transformation of Alaska's landscape corresponds with an increase in temperatures over the past 100 years. "When you look at the climatologic data, it shows a warming trend. This is just one of the physical manifestations of that trend that is hard to refute."
The researchers compared aerial photos of the Kenai Peninsula taken in 1950 and 1996. Combined with extensive field study and analysis of vegetation, the research confirms that the Kenai Peninsula is becoming woodier and dryer. In the areas studied, wooded areas increased from 57 percent to 73 percent from 1950 to 1996, while wetland areas decreased from 5 percent to 1 percent.
The results confirm what the researchers could see for themselves. "It's very clear when you fly over closed basin lakes, many of which are the kettle ponds left after the glaciers receded," says Klein. "They have a kind of apron, or area between the water and mature forest, and you can see it getting larger as the water goes down."
Global temperatures have increased by about 0.6°C over the past 100 years. The rate of temperature increase from 1976 to the present has been double that from 1910 to 1945 — greater than at any other time during the last 1,000 years.
Over the past 30 years, temperatures in the Kenai Peninsula have increased 0.7°C. In the last 15 to 25 years, species such as dwarf birch, blueberries and black spruce have grown up in areas where wetlands had existed for 8,000 to 12,000 years. "These areas used to be soggy bogs with sphagnum peat moss, and no shrubs or trees," says Dr. Ed Berg, an ecologist with the U.S. Fish and Wildlife Service. "The evidence for this is that when you dig down into the peat, you don't see any stems or shrubs. Had they grown there in the past, they would have been preserved because peat preserves things very well."
Wetlands are hotspots for biodiversity. The shift to woodland and forest means loss of many types of wetland vegetation and fewer habitats for migratory birds. The greater forest cover also creates a continuous swath of vegetation that helps wildfires to spread more quickly.
Similar drying is happening outside the Kenai Peninsula. "It's certainly happening in Alaska on a very broad scale," says Dr. Berg. "Much of the interior is showing the same kind of drying pattern."
If the warming trend continues, Alaska's lakes and wetlands will continue to disappear, creating a dryer landscape in the long term.
Klein says that Alaska's transformation is another piece of evidence in the climate change puzzle. "The bottom line is that a change is happening," he says. "There is an overall environment shift occurring in Alaska, and especially in the northern hemisphere. I think it's a bioindicator of climate change and what is happening to the planet as awhole."


Our team is constantly growing. Currently we are mainly based in Berlin, Germany and Kemiö, Finland. If you feel the world needs better software to explore and describe the complex world around us, come and join the team. As software developer, as interface designer, as scientist, ... you name it :). Please feel encouraged to contact any of the team members.
Silke first used DMX (DeepaMehta 2) to structure her scientific work while writing her PhD in political science. She sees science as one of the major use cases of the DMX Context Engine. From 2009 on, she started qualifying as a Linux System Engineer. Since then, she worked for the German Wikimedia chapter and for a hosting provider. Currently, she is working for the German Research and Education Network. She loves to build communication infrastructure with free software and she values data ownership in self-hosted IT infrastructures (like the DMX Platform). In her spare time, she likes to explore photography, yet another excuse to play with digital devices.
Iris is co-founder and Managing Director of several companies. She holds a diploma in media consultancy from Technical University Berlin and started her entrepreneurial career during her studies with a video production company. Iris is an excellent analyst. During the last 12 years she has advised clients across a broad range of industries, specialising in business and process analysis and requirements engineering. For many years she has been involved with women in leadership and, since 2012, been a board member of the Friends of the EAF Berlin. Besides analyzing and structurizing she loves to hang out climbing a rock.
Ingo is a successful entrepreneur, experienced software concepteur and a reliable salesman. He is particularly interested in creating valuable yet self-determined user experiences at the boundary of real life and information technology. Ingo studied communication and media sciences at Technische Universität Berlin and holds a diploma as media consultant. He worked as consultant and board member for IT and real estate companies, telcos, leading german retailers, Deutsche Bahn as well as companies within the financial sector. When not thinking about the next great app, he relaxes while climbing in the mountains or up in the air in the cockpit of a sports airplane.
Malte is a designer, application engineer and researcher contributing to the development of dmx for over 8 years now. As a researcher he has developed various interaction-designs around graph-layouts and collaborative practices of web mapping. In addition to his role as a product developer at dmx he is investigating the theoretical relation of geographical and topical visualizations of space as well as the interoperability of dmx with other open ontologies. He is the creator of over thirty plugins for the dmx context engine. His other engine is a Trabant 601 S as he likes machines that are reliable and can be maintained easily.
Jörg is the inventor of the DMX platform and its lead developer. After abandoning his LEGO bricks he discovered the computer as the ultimate tool for endless puzzles. That was 1981 when he learned Z80 assembler on a MPF-I. A year later he did Pac Man and Centipede clones on his ZX Spectrum. When at high school he created MIDI sound editors for Roland keyboards and sold them through G.C.Geerdes and Softarts. After studying computer science and linguistics he built the artfacts.net website, one of the largest about contemporary arts. Today he is passionate about designing the digital medium to its greatest potential, which according to Janet Murray is building shared structures of meaning. Together with MissVergnügen he regularly plays weird music at Berlin's Eschschloraque night club.
Tuomo discovered DMX some years ago and has been interested in exploring the user experience in knowledge management interfaces. Tuomo is a designer, entrepreneur and an artist from Kemiö, Finland. He shares his time between design commissions, cultural productions, and experimental prototyping. After twenty years of work with interactive media art and digital design he has focused his work on playful interaction in connected worlds, embracing the ideological framework of Open Hardware and Do-It-With-Others practices. In his spare time Tuomo explores the infinite possibilities of randomising the ingredients in cooking and the components in sound hacking, quite often at the same time.
Bjoern is a knowledge management expert intensively dealing with the innovation- and cooperation- processes of actors and networks. In his research on how to coordinate the collaboration of heterogeneous communities he came across DMX, fascinated by the possibilities to visualize relations in such networks. Björn studied communication in social and economic context and finished with a diploma. Most recently, he was responsible for cooperation management at the Faculty of Design of the University of the Arts Berlin and thus has excellent university connections.
For a time out he goes on the golf course or watches a chessboxing match, a worldwide sport that he co-founded in 2003.


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June 7, 2010 Live Performances MTV Movie Awards TV Appearances
Video: 2010 MTV Movie Awards Highlights
MTV is known for its outrageous awards shows and this year's MTV Movie Awards didn't disappoint. But how do you top last year when Sacha Baron Cohen aka Bruno landed ass first in Eminem's face? By getting Tom Cruise to bust some moves to Ludacris' "Get Back" and then have a dance off with Jennifer Lopez.
Plus, Christina Aguilera gave us a peek of her heart-shaped "Woohoo" and Katy Perry surfed the stage during her sun-kissed performance of "California Gurls" with Snoop Dogg.
All that and more below!
Christina Aguilera Performs "Bionic," "Not Myself Tonight," and "Woohoo"
Katy Perry and Snoop Dogg Perform "California Gurls"
Tom Cruise Performs with Jennifer Lopez and Ludacris
Aziz Ansari Parodies R. Kelly
Justin Bieber Introduces Aziz Ansari
2010 MTV Movie Awards: Arrivals
T.I. and "Karate Kid" Jaden Smith kicked off the red carpet arrivals at the 2010 MTV Movie Awards held at …
Video: Mariah Carey Performs for Walmart
Mariah Carey may not be ready to address the pregnancy rumors, but she showed off her curvaceous figure for Walmart …


Posted by Ann in Fiction, Non-Fiction, Top Ten, Uncategorized.
Flight Behavior by Barbara Kingsolver The butterflies are warning us!
Suspect by Robert Crais A wounded war dog and wounded police officer save each other. I loved this one!
A Street Cat Named Bob: And How He Saved My Life by James Bowen Love that Bob!


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Roche Names Proposed Board Nominees for Illumina
By a GenomeWeb staff reporter
NEW YORK (GenomeWeb News) – Following through on a plan it made public last week in connection with its $5.7 billion hostile takeover bid for Illumina, Roche today has published the names of the people it will nominate to serve on Illumina's board of directors.
Roche said that it has notified Illumina that it will nominate the slate of independent directors at Illumina's 2012 annual meeting, which has not yet been scheduled. If adopted by Illumina's shareholders, the Roche-nominated directors would comprise a majority of the Illumina board.
The nominees include:
• Barry Bailey, president of 4B Management and operating partner at investment firm Cressey & Co. he also previously served as CFO of AMN Healthcare Services and Valeant Pharmaceuticals International.
• Earl Collier, executive chairman of Arsenal Medical, CEO of 480 biomedical, and senior advisor to Polaris Venture Partners. He also is a former EVP at Genzyme, and for part of 2010 served as interim CEO of DeCode Genetics.
• Dwight Crane, a self-employed consultant who is currently lead director of the Legg Mason Partners Equity Funds. He also was a member of the Harvard Business School faculty for 38 years.
• David Dodd is a co-founder of VaxyGen Holdings and is CEO of RiversEdge BioVentures. He is a former Chairman and CEO of BioReliance, president and CEO of Serologicals, and president and CEO of Solvay Pharmaceuticals.
• Michael Griffith, CEO and director of Laureate Biopharmaceutical Services, as well as a founder and former CEO of Aptuit.
• Jay Hunt, president of The Development Group, a firm that provides advisory services on complex financial issues.
Roche also has proposed a slate of alternates that includes James Berges, John Gilly, Jack Kaye, Jonathan Macey, and Michael Wyzga.
"Our proposed slate of directors is composed of well-qualified and distinguished executives who we believe, if elected, will act in the best interest of Illumina's shareholders," Roche CEO Severin Schwan said in a statement.
"Although we are taking this step, our strong preference remains to engage in a constructive dialogue with Illumina to jointly develop an optimal strategy for maximizing value for Illumina shareholders and our combined business," he added. "Despite our repeated attempts, Illumina has been unwilling to participate in substantive discussions regarding a negotiated transaction."
In response to Roche's announcment today, Illumina's President and CEO Jay Flatley said in a statement "Our highly qualified board will continue to act independently and in the best interest of stockholders."
The company's board will continue to review Roche's tender offer and advise its shareholders of its formal position within 10 business days of Jan. 27, Flatley added.
Following Roche's bid last week Illumina's board adopted a poison pill provision aimed at preventing a hostile takeover of the firm.
"Consistent with its fiduciary duties, the Illumina Board has taken this action to ensure that our stockholders receive fair treatment and protection in connection with any proposal or offer to acquire [Illumina], including the proposal announced by Roche, and to provide stockholders with adequate time to properly assess any such proposal or offer without undue pressure while also safeguarding their opportunity to realize the long-term value of their investment in the company," Illumina CEO Jay Flatley said in a statement at the time.
NY Genome Center Team Harnesses Ultima Genomics Platform for High-Sensitivity ctDNA Sequencing
Foundation Medicine, Natera Launch Early Access for Clinical Personalized ctDNA Monitoring Test
Ravgen NIPT Patents Withstand Illumina Challenge
Pierian, Seven Bridges, UgenTec Acquired, Merged to Become Velsera


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Civilian Force Development
Graphic for civilian force development resources
Civilian training resources now on milSuite
JOINT BASE SAN ANTONIO-RANDOLPH, Texas --
Department of the Air Force civilian employees now have an easy way to access tools to assist in their development.
The Air Education and Training Command Civilian Force Development Division recently launched a new MilSuite page, which provides access to a variety of information and links to assist in civilian force development.
"This new capability will strengthen the force development lines of communications with our civilian community enterprise-wide and force development partners to develop our future leaders," said Robert Fishback, civilian force development specialist. "This is an excellent platform, regardless of grade, and we are excited to provide it to the Air Force civilian workforce."
In addition to training information, the milBook page incorporates a search function and the ability to reach AETC/A1DF with questions. It also features discussion and blogs, which members can participate in.
The HQ AETC Civilian Force Development milBook page can be found at https://www.milsuite.mil/book/groups/hq-aetc-civilian-force-development. In the right-hand corner of the Title block, select "Join Group". When you join the group page, you will receive e-mail notifications when new information is posted.
A1's goal is to provide direction for Department of the Air Force civilian Airmen in order to enable our civilian force to best accomplish their mission of supporting America's Air Force. For additional assistance please email A1DF at HQAETC.A1DF.CivForceDev@us.af.mil.
civil service development education


Are you looking a unique way to carry your Magic cards between tournaments? Maybe your Pokémon cards are getting dog-eared in your bag between games? Are your Yu-Gi-Oh! Decks a pain to get out of their sleeves? Join us on Maker Monday as we design and customize your very own deck box! After the class, we'll 3D print your box for you to pick-up in a few days.
This class and the deck box are completely free!


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Tag Archives: Geary Theater
Everything Is Already Something: Writing the TBA Awards or How the Sausage Gets Made
Allison Page, bringing you the sausage.
If you're a theater person in the Bay Area, you probably know the Theatre Bay Area Awards show was this past Monday. You may or may not know that I wrote the script. As in, the script for the 2+ hours that is the TBA Awards Show. Last year I wrote a recap of the awards show for the TPub blog, and this year, since I'm looking at it from an entirely different angle, I'll give you some idea of what is was like putting things together.
STEP 1: OH THIS WILL BE FUN
When I was approached to write the script, I accepted because it seemed like such a strange experience. How could I say no to that? What other chance will I have to write the script for an awards show, until Neil Patrick Harris uproots me from my tenderloin apartment and takes me away from all this, of course.
STEP 2: THERE'S A LOT OF THIS, ISN'T THERE?
Just setting up the structure of the script (which I wrote in Final Draft) took many hours.
There are 27 categories, most of them with three tiers of recipients. There are 4 unique awards — three Legacy Awards and one Charles Dean Award. The regular awards do not receive acceptance speeches, but the Legacy and Charles Dean Awards do, so they look a bit different in the script. There were also 4 musical acts and two host monologues. The script skeleton, without ANY dialogue or lyrics, was 38 pages long. All said and done, it was 116 pages. YEAH. Each segment needed stage directions. Where are people entering? Do they cross to the podium? Do they have a body mic or a handheld? Which handheld? What are the finalists doing? Where do the recipients enter? Where do they exit once they've received the award? Where is the band? Does the screen come in? Does the screen go out? Is the iris open? Are there sound cues? Light cues? Curtain cues? Chairs? Tableaus? Does the host introduce the presenters? Or does the announcer do it? Because those are two different people. Where does the musical act come in? That was an exhausting list, right? It's not even everything that needs to be considered.
Allison backstage with Rob Ready, who was recording his theater podcast Born Ready in the green room all night.
STEP 3: NOBODY'S A WINNER
Terminology. Everybody loves to specify their terminology. In particular, they customize it to make people feel cozy. In this case, you're not a "nominee," you're a "finalist" and you're not a "winner," you're a "recipient". I get it. I definitely get it. But also, the collective brains of most people would never go to those words first, so you've got to correct people over and over when they say, "winner" because they'll get it stuck in their heads and then everyone's saying the wrong thing — or worse if you're a writer who is easily bothered by things, which is to say if you're a writer — inconsistently referring to people as more than one thing. If someone uses all of these words: winner, recipient, nominee, and finalist, now everyone's wondering if there are different kinds of awards and if only they'd been nominated in that category, they could actually be a real winner.
STEP 4: WHAT WILL THEY SAY?
A cool thing about the TBA Awards is that they remind you just how large the Bay Area theater community actually is. Of the 20+ people I had to write things for, I knew…3 of them. And those three I didn't even know very well. I will say I learned a fair amount about various theater companies and people because of all the necessary Googling and Facebook stalking I had to do. The whole thing made me paranoid to put words in anyone's mouth that they wouldn't say. For instance, I had some remark about "Oh I'm going to go home and drink some wine," or some tame thing like that, and then searched through that person's Facebook photos to see if I could find photos of them drinking a glass of wine, not to make sure they liked wine, but to make sure they weren't sober after years of dealing with alcoholism and attending AA meetings because WOULDN'T THAT BE SO TERRIBLE?!? It would. It would be terrible. I did find photos of that person with wine and the horror of making a magnificent faux pas began to fade. Fade, not go away entirely. Strangely, it was stuff I would never have thought anyone could take issue with, that people would want to change. Humans love to tinker. That's fine. If you're going to take on a project like this, it's best to be flexible because otherwise your head's going to pop. That being said…
STEP 5: JUST SKIMMING IT
Oh boy. The most delightful surprise of this process was that people just do not read very carefully. I GET IT. We all have a lot of stuff to do. Shows to direct, sets to build, lines to memorize, all kinds of stuff. But the majority of things I had to take a second look at because someone had a question or request or complaint, weren't even valid. It was just that they hadn't read it properly. So I'm going back over the script with a fine, fine sifter looking for what they're talking about, over and over again, and then ending up with "It's already right." Now 20 minutes of my life have died because they've been glancing more than reading. Like I said, I get that. Maybe I would do the same thing. After all, I'm the writer, so it's my job to look at this damn thing over and over again anyway. They're just presenting and there's no reason they should be laboring over the thing like it's grandma's antique fine china.
STEP 6: SPEECHES THAT I CAN'T CONTROL
When Legacy and Charles Dean Awards are given out, there are two speeches: a speech by the person giving the award, and a speech by the person or representative of the person receiving the award. Clearly I don't write those, because that wouldn't make any sense, but it also means nobody knows how long they're going to be. I freely admit to being obsessed with timing and shortness (despite the length of this blog). I'm the creative director of a sketch comedy company. I like 20 second sketches. 4 specialty awards were given out. That means 8 speeches. 4 to give them out, 4 to accept them. Let's say each speech is 3 minutes, that would mean 24 additional minutes are added to the evenings events. And though I was wandering around drinking cocktails during most of the show, I can tell you I saw some longer than that. There was at least one acceptance speech that was very short because the recipient (RECIPIENT, SEE, IT'S IN MY BRAIN NOW) didn't know she was receiving an award. So it was one of those great, sincere surprise moments of "Oh my gosh, thank you!" that tends to inspire brevity. Naturally, I loved that. It's also just nice to see someone so thankful and surprised in real time. Then there's the host monologues. The host flew in the afternoon of the show, so all of his stuff had to come together really quickly. He worked out all his own material for the opening monologue and mid-show monologue. It made the most sense to do that for several reasons. We didn't know each other, he was flying in day-of, and we have completely different styles of humor. I'm more of a satire guy, and he's more of a wordplay/pun/clown guy. Both are fine, but imposing one on the other without having the time to work it out together would be foolhardy and would have given him an awful lot of alien material to memorize when he's already got his own stuff in his brain and there's just 4 hours from his entering the theater until the show starts.
STEP 7: THE OPENING MUSICAL NUMBER
So, because the entirety of the rest of the script was not enough work, I also wrote and directed the opening musical number, which was performed by Killing My Lobster, the company I'm co-creative director of. It was a parody of Willkommen from Cabaret, referencing various Bay Area theater stuff. It was really fun and complicated to put together. There were 12 performers, and only a few of them are singers and/or dancers. Mostly it was just funny people. Thank goodness the TBA Awards musical director came in to work with us on our vocals for an hour last week. But all said and done we got ONE rehearsal with the band, the afternoon of the show. The sort of psychological reaction of the performers when they walked out onto that big stage in that HUGE theater, was really interesting to me. It was a unique experience for them to be in a space that size. We're used to performing in a house closer to 100 seats, and in that environment, we can totally dominate. But suddenly being in that grand theatrical arena really freaked them out for a minute. I had the sense that they hadn't really given themselves permission to do it; that they felt they didn't deserve it or something. After a rocky run with the band, there was a necessary pep talk in the dressing room, and once they took the stage for the actual performance, they killed. Or that's how I feel anyway. Clearly I'm biased, but I thought it was awesome. The two most important jokes (to me) I wrote for that evening were in the opening number, and I was really proud that we got to do it.
Killing My Lobster performing the opening musical number…in their underwear.
My goals taking on the writing of the script were thus: have a unique experience, work really hard at something no one I've ever known has done before, do the world's fastest rewrites, be funny when I can, be real about certain issues within the theater community (again, when I can get away with it), make the show more entertaining and hopefully shorter than the previous year, have a good time, get a lot of drinks, wander around The Geary like I owned the place, recognize more companies/groups/people in writing and in person, and wear a cute dress. I accomplished a lot of those things. I didn't write every single word that was said, it's a big show and there are so many perspectives and ideas coming from everywhere that there's no way anyone could put it together without input/ideas/edits/on stage improvising from other people. The amount of time and effort I put into this project was truly staggering. Day and night, piles of stuff building up in my apartment as I type for so long that my legs hurt from sitting. Not going places, or doing things because I have to write constantly to get it done. I couldn't even tell you how many hours it took. A LOT. The show itself was still too long. It's very hard to speed these things up because there are so many moving parts, but I think there are some things that can be done to make it faster the next time around. But, this is only the second annual TBA Awards ceremony and it can certainly continue to get better and smarter over time, like all things should. Like the theater community should. I'm always bored to tears when people want to talk about why they don't believe in awards shows, or whatever their particular issue is with it. The funny thing about that is those people often have a lot to say about theater, and if they went to the awards, they'd probably notice there are hundreds and hundreds and hundreds and hundreds of theater people all in one place on one night, and there is no better way to connect with those people and talk about what it is that we're all doing, what we love about it, what we hate about it, what we can DO about it, how it can be better, what the future holds, and why we don't see each other more often when we are, collectively, the present and future of the art form we care about. So, sure, you can sit at home and write an email about it or whatever ya like doing, but it's got nothing on looking people in the face and connecting with them over your shared loving and loathing of art. Maybe you'll even work together someday. Or at the very least, have a feeling that maybe some production choice that they made was inspired by something they really felt passionate about, and not something they were doing specifically to piss you off. Wild, I know. Listen, after all is said and done, I will have been a part of nearly 19 productions in 2015, 3 of which are even eligible for these awards, and none of which got any nominations. So that is certainly not why I go. Though someday maybe the stuff I do will count for that. We'll see. But I go because I'm part of this whole big monster that is theater.
I have to say, the feeling of watching someone whose work you believe in take the stage, and getting to scream and shout "WOOOOOOOOO!" for them, is pretty amazing. Because you're not saying, "WOOOOOOOOO!" you're saying "YA'LL SEE THAT PERSON? YOU MAY NOT KNOW IT, BUT THAT RIGHT THERE IS SOMEONE YOU SHOULD BE WATCHING. WE LOVE THEM AND YOU SHOULD LOVE THEM TOO. CHECK US OUT. WE'RE OUT HERE WORKING OUR TAILS OFF JUST LIKE YOU ARE." And that has nothing to do with winning or losing…sorry, receiving or not receiving.
Also someone held up a Black Lives Matter banner on stage and it was pretty great.
As a fun bonus, here is the entirety of the Willkommen TBA Awards opening number. (As performed by Jan Gilbert, Kyna Wise, Elaine Gavin, Ron Chapman, Sam Bertken, Justin Lucas, Griffin Taylor, Katharine Chin, Jeunee Simon, Melanie Marshall, Carlye Pollack, and Shaun Plander, with host Ron Campbell entering at the end. Two Rons, I know, you'll figure it out.)
Willkommen, bienvenue, welcome
Breadbox, Lamplighters, Mime Troupe
San Jose Stage, It's all of the rage
Custom Made Theatre
Can you see the stage?
To TBA
At ACT
JUSTIN. (spoken)
Oh it is so nice to see you! Good evening! Is Broadway By The Bay in the house? Oh good. Sorry about our singing. Except mine!
We Players is probably doing Hamlet at the Jack in the Box across the street. They'll be back, they'll be back!
ELAINE.
It's okay it's just a joke.
Leave your Bay Area Theatre Critic's Circle awards outside!
KYNA. So you didn't get as many nominations as you did last year City Lights? Hm? Forget it!
JAN. We have no troubles here. Here, life is beautiful! The Geary Theater is beautiful! Even Sean Kana's band is beautiful!
Band is revealed.
Faultline, you're brand new, welcome
There's Old Hats like ACT and Magic
Cal Shakes AKA Hypothermia
Hillbarn did Funny Girl,
(spoken) Everyone did Glengarry Glenn Ross
There's OMG
and BRT
RON. So many acronyms!
And now presenting some of the nominees.
ELAINE. You mean finalists!
JAN. There are East Bay theaters and South Bay Theaters, or is it South Bay theaters and East Bay theaters? You know there's only one way to tell the difference. Someone not from San Francisco will show you later.
KYNA. Get it, because we never leave the city!
ELAINE. You know one of my favorite things about seeing a show at Impact?
ALL. Pizza!
KYNA. Betcha they didn't have that at the Globe.
JUSTIN. Suck it Shakespeare!
RON. And, of course, Just Theater's amazing production of We Are Proud to Present a Presentation About the Herero of Namibia, Formerly Known as Southwest Africa, From the German Sudwestafrika, Between the Years 1884-1915.
RON passes out on stage. JUSTIN fans him, shakes him, and does various other business to get him up and moving again.
JUSTIN. He's okay! Just keep going!
(whispered)
Buy a drink, fluff your hair, smile
No win? it's okay, screw it
ELAINE. Hello, Spreckles!
ALL. (still whispering)
Taste is subjective, we don't even sing
JUSTIN. Enchante, Central Works!
Here for the party
At PianoFight
(We're cheap!)
One Man, Two Guvnors,
We're not just vulgar, that title is real
Happy to see you,
Please applaud with zeal
JAN. One more time!
We're KML
To T…B…
They are interrupted by Ron Campbell's entrance.
RON CAMPBELL. KML? You're Killing My Lobster?
ELAINE. Yeah!
RON CAMPBELL. You're not even eligible for these awards, are you?
ALL. No/well not exactly/maybe someday/a technicality, etc.
RON CAMPBELL. How did you guys even get in here?
RON. Rob Ready left the door open.
RON CAMPBELL. Go back to BATS or Big City Lights or wherever it is you guys hang out. The Sketch Comedy Festival. I'll take it from here. Come back when you do legitimate theater.
KML winces at the word legitimate.
JAN. Hey, we premiered Hunter Gatherers! We launched Peter Sinn Nachtrieb.
RON CAMPBELL. Yeah, 10 years ago. Go on now, scoot!
KML starts to exit, sadly.
RON CAMPBELL. Where did they leave off? Sean, play me my note.
Band plays very end of song.
RON CAMPBELL. To T…B…
KML turns around, runs/slides toward RON, and they all finish the last note together.
RON & KML. Aaaaaaaa!
Some of KML basking in the afterglow.
Allison Page is a writer/actor/person who is slowly recovering from the insanity of the last week, with snacks and cleaning her apartment while watching Bob's Burgers.
4 Comments Posted in Everything Is Already Something Tagged ACT, acting, Actors, Allison Page, awards, Bay Area, Everything Is Already Something, Geary Theater, Killing My Lobster, Performing, San Francisco, TBA, TBA Awards, Theatre Bay Area, Writers, Writing
Theater Around The Bay: On The TBA Awards
Will Leschber is on his honeymoon, so we're bringing you a special report on last night's TBA Awards, by none other than Allison Page.
I'm kind of hungover. But the okay kind, where you get to just think "Oh, that was a pretty good time. Ha!" without danger of throwing up all over yourself when you get to the "Ha!" Last night was the very first Theatre Bay Area Awards ceremony. Much discussion has rippled throughout the community about these awards. From "OH, we need that!" to "Theater isn't a competition, you can't compare this to that!" to "Yeah, but are there drinks?" (That last one may or may not have been me, I refuse to confirm or deny it.) Such was the discussion of these awards that I felt they warranted an immediate reaction. From me. For some reason. Let's go topic by topic.
I can't even pretend to snark about The Geary Theatre. It's crazy beautiful. And it made us all feel very classy and elegant, which is maybe not something my crew feels all the time. We're the black box elite, right? We live in small, dark spaces and create as much as possible with as little as we can. Sure, we like to crack open the champagne whenever possible, but we got that "champagne" for eight bucks and it has a picture of an animal on the front and came with a bag of Fritos. The venue gets 5 Stars for glamour, even though we were totally in the nosebleed seats. There was also a nice little photo place outside the theater, with a TBA background you could pose in front of. But it was literally on the sidewalk so people kept walking through everyone else's photos as they arrived. Maybe a designated place in the lobby would make sense? It was a cool detail, definitely, but I'm sure I'm in at least six photos I'm not supposed to be. (And Carey Perloff is apparently in Paris, so it kinda felt like San Francisco theater was sort of Airbnb-ing the mansion of an eccentric millionaire who was off on vacation in Ibiza. I think she's actually working on a show but, ya know, a feeling's a feeling.)
"Errebody walking through our glamour shots."
There was a bar. The bartender was really nice, kept the line moving, and the drinks jumped in size at some point which I definitely appreciated. My whiskey gingers were $9, which isn't the worst thing ever. Did I long for an open bar at this fancy event? I mean, YES. But I always do. It would have been pretty amazing if our tickets all entitled us to one complimentary drink. Wouldn't that be a nice touch? It would be a sweet compromise between open bar, and totally not open bar. And actually, after people have one drink, I would think they'd shell out the cash for the next one, but that's just me. I'm sure the organization has a financial reason to not do that because obviously booze costs money, but I think receiving something apart from a program and a nosebleed seat would be cool. Oh and I bought some peanut M&Ms. The foodstuffs were nothing to go bananas about – mostly granola bars and candy – but I don't think anyone was coming there to eat, so it seems like a non-issue.
Let's get into the show itself, shall we?
Hosting anything is a terribly thankless job and almost always people are jerks about the hosts. It's a tough balance to strike: you have to be funny, but you can't be too mean. You have to be relevant to the event and audience, but you can't pander too much. You have to keep things moving, but you can't rush through what you're doing. Will Durst and Marga Gomez were this year's stalwart hosts. I like them both a lot as comics, but opening with "Who loves theater?!?" was maybe a not-so-strong choice. I thought they were fine and had a tough job. These awards have never happened before so the vibe of them is sort of undefined. There were points at which it felt like things were sinking a little, but maybe that could have been helped with…
I can take no credit for this thought. The Honorable Costume Design Nominee From Tier III For Custom Made's Production Of THE CRUCIBLE, Brooke Jennings, said it last night: Perhaps it would be easier to keep the audience's attention if the lighting was demanding that we look in a particular place.
Allison and Brooke talking shop/posing.
It was lights up on the entire stage, the entire time. It was easy to get distracted. "Is that a guy at a piano back there? Nice suit, piano guy. Hey, why does the set look like shards of glass? The girl in front of me has a great dress. My new shoes are shockingly comfortable. I wonder what I'm gonna do for breakfast tomorrow…where am I?" Though I appreciated that there was enough light in the house for us to be able to move around, use our phones, and keep the drink-spilling to a minimum. Actually, it was important to have some light in the house way up in the balcony, because otherwise moving around up there would be kind of terrifying. I was initially worried about tripping and quickly tumbling out of the sky and into Betty Buckley's waiting arms.
The Presenters
I enjoyed that the presenters for the evening were varied peoples from varied tiers and represented lots of different kinds of theater. I was particularly happy Rob and Ray from Piano Fight were presenting, even though Marga mispronounced their podcast Born Ready as Born Reafy. It happens. I thought the presenters overall did a fine job. I was, however, worried that the audience clapping after every nominee was read would add two hours to the event. (It didn't, it turned out to be fine. There were points at which it felt long, but we got out of there at a reasonable time considering the number of awards given out.)
The Nominees
There are a few things to address here. Let's start with how the nominees are brought out. They're in a huge line, sometimes stretching all the way across the stage in a jumble which can be extra tough if some of them are from PEARLS OVER SHANGHAI and keep their absolutely gigantic costumes on for the duration of the evening and then try to squish between two people who probably get glitter and feathers jabbed into their corneas. It was fun to watch that happen, though, because I was really far away and didn't get glitter or feathers in my corneas. Then comes the time to list all the nominees. Is it crazy for me to think they should stand in order of how they're being announced? I couldn't always figure out who was what while that was going on, because as it turns out everyone has their own way of identifying themselves when their name is called: some demurely bow, some just clap and look at everybody else, some stand still and smile which is also what people do when their name ISN'T being called. I realize that would require people to get their shit together enough to stand in a line, in order, but these are actors. Lots of them have probably danced in a single file line before, I think they can handle it. Mostly I'd just feel bad for the SM trying to organize them but selfishly, as an audience member I would like to watch it make sense. Then again, that would require that the nominees actually attend. Which brings me to my next point:
TIER I, WHERE YOU AT? Now, I know there were some Tier I people there, and I certainly didn't count them or anything, but it seemed there were more of the other two tiers. I'd like to know why that is. Are they uninterested? Do they not want to mix with the riffraff that are the lower tiers? Are they just sooooo busy that they can't come? This is a community wide event. That's part of its importance, right? We're supposed to be crossin' streams over here. When we get down to nominees for Outstanding World Premiere Play and Stuart Bousel is the only playwright on stage and he's standing next to the only people representing an Outstanding World Premiere Musical nomination (The Bengsons, for HUNDRED DAYS), then I start to wonder what all those other people are doing. And thank goodness Stuart and The Bengsons are the people who won, because it would have been sad if they were the only people who showed up in that category and they LOST. Along similar lines, I heard that backstage things were sort of disjointed among the nominees, in that it seemed like Tier I people talked to Tier I people, and Tiers II and III were talking to each other – because all of life is essentially a middle school cafeteria scene. I was't back there, so I can't say first hand, that's just what I heard.
Special Acts
Am I the only grouch who thinks that if there are going to be a bunch of songs from musicals, there should be scenes from straight plays? The freakin' Tonys do it. Yeah, they'd need some mics, but I'm pretty sure that can happen. That would be a good opportunity to see excerpts from the Outstanding World Premiere Play nominees that people maybe didn't have the chance to see.
The Thing That Pissed Me Off
There was one point when I got pretty irritated. A woman (apparently a really generous donor who's done a lot for various theaters) took to the stage to give a short speech. In it, she said something like: "If everyone in here invited someone to see theater, we would become something that people talk about." And I kinda wanted to flip a table. My actual reaction, courtesy of my Facebook post 20 seconds after that happened, was "GIRL YOU ARE TALKING TO A ROOM FULL OF THEATER MAKERS, WE INVITE EVERYBODY TO EVERYTHING. WE INVITE *DEAD* PEOPLE TO THE THEATER. TALK TO THE OTHER RICH PEOPLE. YOU'RE PREACHIN' TO THE POOR CHOIR." I don't know that I need to elaborate on that. I'm glad she's such a supporter of theater, but the problem isn't that the broke-ass actors in the audience aren't inviting people. We're inviting everyone we've ever known. Are you?
Overall Closing Thoughts
I'll be the first to admit that I thought, "Awards? I don't know if we need that. Do we need that?" but I was thrilled to 1) Dress up 2) Hang out with my friends 3) Get drinks and 4) Think about the thing we have all chosen to do with our lives. And to me, that last one is the real takeaway. I don't think an award legitimizes someone's art, and I don't think the lack of an award means something wasn't effective or important. But I do think a large gathering of the people who give a shit about theater in the Bay Area is a good thing, because it shows that we are invested in each other, even if that's sort of bullshit sometimes. Being aware of all the people outside of my immediate circle who exist and do the things we do gives me a view of how large we really are. Sometimes it feels like there are about 25 theater makers in the general vicinity, but there are so many more than that. If we want to be relevant to the public, we should probably start by being relevant to each other. This is a step in that direction, I think. We're not quite one big happy family but, shit, at least I know we EXIST.
PS. Ruby Skye for the after party at an additional cost? Yeah, we went to the White Horse and drank beer in a tiny room with a hotel ice machine in it and had a fabulous time eating free popcorn.
Stuart Bousel and Rob Ready enjoying the opposite of Ruby Skye.
What did you think of the awards? Feel free to voice your opinion, as always, in the comments.
Allison Page is an actor/writer/director in the bay area, and her hair looked stellar last night. Congratulations to all the winners/nominees/balcony-sitters/people who pour their lives into theater each day without recognition or proper funding.
6 Comments Posted in Theater Around The Bay Tagged ACT, acting, Allison Page, awards, Bay Area, Betty Buckley, Born Ready, Born Reafy, Brooke Jennings, Custom Made Theatre Company, directing, drama, Geary Theater, Hundred Days, Marga Gomez, musicals, Pearls Over Shanghai, Ray Hobbs, Rob Ready, Ruby Skye, San Francisco, Stuart Bousel, TBA, The Bengsons, The Crucible, Theater, Theater Around The Bay, Theatre Bay Area, Thrillpeddlers, White Horse, Will Durst, Writing


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Which coccidiosis-control methods are best to use in light of the economic constraints facing poultry producers? Greg Mathis, president of Southern Poultry Research, addressed this question in an article published last November in World Poultry USA.
The advantages of anticoccidials include a broad selection of products, ease of administration and long track record, Mathis says. The down side includes varied effectiveness, the potential of toxicity and, of course, resistance development. The relatively low cost of some anticoccidials such as salinomycin has increased their use, contributing to resistance and use of lower anticoccidial levels. Producers need to weigh any savings against the risk of reduced performance, Mathis says.
Vaccination is the other primary method of coccidiosis control and its use has soared in part due to better methods of application, anticoccidial resistance and the demand for drugfree birds. Coccidiosis vaccines are easy to use, Mathis reports.
In addition, studies have shown that Coccivac-B can change a coccidial population from resistant to sensitive; Immucox may have this trait though "no information supporting this is available," he says.
Vaccination disadvantages cited by Mathis are the "comparable cost of vaccines and anticoccidials, and the fact that live organisms must be handled carefully." Care must be taken to ensure that nonmedicated feed is used during grow-out in vaccinated birds, but this kind of concern is diminishing as experience with the vaccines grows, he says.
A coccidiosis vaccination program can equal an ionophore program and possibly yield superior performance if a late challenge occurs.
"Thus, vaccination is a viable alternative to anticoccidials in broilers," Mathis says. Vaccination offers the bonus of a drug-free bird if growthenhancing antibiotics aren't used, and will alter coccidial sensitivity patterns, restoring sensitivity to anticoccidials.
Mathis also provides seasonal recommendations for maximizing coccidiosis control. He advises producers to monitor for resistance, especially when chemicals are used. Although "straight" programs seem cost-effective, there's a greater risk for resistance development. Ionophore-to-ionophore shuttle programs should be avoided and ionophores should be selected based not just on price alone, but on species efficacy. If a straight program must be used, Mathis recommends that coccidiosis vaccination be part of the yearly program to shift the resistance pattern to sensitive.
For a limited time, reprints of this educational article are available from Schering-Plough Animal Health representatives or send your name and address to phyllis.middleton@ spcorp.com. Fax: 908-629-3206. Ask for SPAH-PBU-252.
As reported in the last issue of CocciForum ("Natural Tendencies" CocciForum No. 5), mainstream poultry producers are increasingly turning to vaccines to produce what consumers consider more "natural" poultry products.
But what exactly is "natural" and what is not when it comes to poultry products? Answering that question isn't as simple as it might seem.
According to the USDA's Food Safety and Inspection Service (FSIS), the term "natural" actually has nothing to do with the way an animal has been raised; the labeling poses no prohibitions against the use of drugs or vaccines.
Instead, it specifically addresses the processing procedures the carcass goes through after the animal has been slaughtered.
The bottom line: The same rules for drugs and vaccines that apply to all other chicken products apply to socalled "natural" chicken as well: ionophoric anticoccidials (monensin, lasalocid, salinomycin) are allowed, as are growth promoters (bacitracin, virginiamycin, and bambermycin).
If those drugs are used, though, they must be withdrawn a specified period of time before slaughtered. If the producer chooses to make a perceived value-added claim about the use of drugs "in other words, "No added antibiotics" "the statement must include the amount of withdrawal time.
Over the past few years, of course, some growers have attempted to distinguish themselves from competitors by touting their birds as having received no sub-therapeutic levels of anticoccidials and/or growth promoters. That's resulted in the increased use of "negative" labeling claims ""No antibiotics used"�."
But the FSIS says that even though many consumers consider such added claims to be an integral part of the "natural" labeling requirements, that's not the case. Again, "natural" refers only to what happens to the product during processing, in other words, after slaughter, not before.
As to the added claims "such as "free-range," "no antibiotics used," etc. "FSIS says they can be used as long as they are backed up by facts. So if the words "No antibiotics used," with no qualification, are printed on the label, that means that the chicken must have received no antibiotics during its entire life.
Under the "natural" label processing requirements, meat products must be no more than "minimally processed." Roasting, smoking, freezing, drying, fermenting or meat grinding are all allowed under the "natural" labeling requirements. Processes not allowed under the natural label include acid hydrolysis, solvent extraction, chemical bleaching, and mechanical separation of meat.
Interestingly, the most recent official USDA directive on this issue is known as "Policy Memo 055." It was published November 22, 1982.
"� Products with less than 70% organic ingredients can't be labeled "organic," and can only list their organic ingredients in the contents area of their packaging.
Under the current USDA rules, poultry that's been raised with the use of in-feed anticoccidials and growth promoters can't carry the organic labeling (but, again, can carry the "natural" labeling, if it's minimally processed).
One way that growers are managing to cut down on the use of drugs in their birds "and thus attract consumers seeking chicken with less additives "is to lean more heavily on their use of vaccination, especially vaccination against coccidiosis.
"Over the past 6 years," says Marcelo Lang of Schering- Plough Animal Health Corporation, "coccidiosis vaccination has evolved from being a technique used almost exclusively by breeder producers and broiler companies targeting specialty markets, to being a standard practice in today's mainstream poultry companies."


text:
CommentEditorial
comment, editorial,
"Welcome home, we've missed you". That will surely be the reaction of tens of thousands of Canberrans to the news that after years touring the world under the auspices of her former owners and operators, Global Ballooning, Skywhale is back. She was donated to the National Gallery of Australia under its Cultural Gifts Program earlier this year. The flying artwork is the largest and most flamboyant piece to have ever emerged from the fertile imagination of internationally acclaimed sculptor, Patricia Piccinini. She was conjured into existence at the behest of Robyn Archer, the delightfully controversial creative director for the 2013 Canberra Centenary. Skywhale's maiden ACT flight, on May 9, 2013, was the most emotionally charged moment of the year, sparking a debate about aesthetics, relevance and the value of public art that continues to this day. To some she is ineffably beautiful and engaging in all her textured, ultra-mammalian, beatific and ungainly magnificence. To others she is a hideous monstrosity, a waste of tax-payer's money and an affront to perceptions of this city as the highly internalised, uber uptight and oh so un-whimsical capital of the nation. If you are one of the few who has chosen to display a "Feel The Power of Canberra" number plate it's highly probable you're not a Skywhale fan. The irony, and the ultimate answer to the knockers and the critics, is that Skywhale delivered far more bang for the $300,000 she cost to create and fly, than anything else that came out of the $24.5 million the then Katy Gallagher-led ACT government spent on the birthday bash. In addition to the controversy and debate she generated locally, Skywhale made Canberra a talked about city across the nation and around the world at a time when, to be fair, few people outside our borders cared much about the fact we had just turned 100. Wowsers everywhere were shocked and appalled by the sight of her enormous breasts while the more innocent and open minded were quick to embrace the spirit of joy with which Piccinini, whose work can take a much darker turn than this, imbued her most magnificent creation. "There were 16 breasts hanging down from this whale, which didn't even look like a whale, and it was on display for everybody to see," one Tasmanian councillor famously fumed. And her relevance? Today it is beyond doubt. Skywhale has become just as much a symbol of our city as the lake, the Australian War Memorial, the Telstra Tower or even our raison d'etre, Parliament House. She is also a joyous reminder of the happy time when we were just 100 years young. There are parallels to be drawn between our flying masterpiece and the NGA's Blue Poles, another artwork that emerged from controversy to become a Canberra icon. The Whitlam government's approval of the purchase of the Jackson Pollock masterpiece for $1.3 million in 1973 was condemned by many as feckless and irresponsible. Now valued at between $100 million and $350 million, Number 11, 1952, as Pollock named it, is now rightly regarded as a national treasure. It is entirely appropriate that Skywhale, who has also had to endure far more than her fair share of criticism, denigration and calumny, has found sanctuary at the same institution. We hope, for the sake of her many friends and supporters, that she will be spreading her udders above the ever-changing vistas of the bush capital very soon.
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October 18 2019 - 4:30AM
Skywhale has earned her place among us
"Welcome home, we've missed you".
That will surely be the reaction of tens of thousands of Canberrans to the news that after years touring the world under the auspices of her former owners and operators, Global Ballooning, Skywhale is back.
She was donated to the National Gallery of Australia under its Cultural Gifts Program earlier this year.
Skywhale takes flight over Canberra. Picture: Jay Cronan
The flying artwork is the largest and most flamboyant piece to have ever emerged from the fertile imagination of internationally acclaimed sculptor, Patricia Piccinini. She was conjured into existence at the behest of Robyn Archer, the delightfully controversial creative director for the 2013 Canberra Centenary.
Skywhale's maiden ACT flight, on May 9, 2013, was the most emotionally charged moment of the year, sparking a debate about aesthetics, relevance and the value of public art that continues to this day.
To some she is ineffably beautiful and engaging in all her textured, ultra-mammalian, beatific and ungainly magnificence.
To others she is a hideous monstrosity, a waste of tax-payer's money and an affront to perceptions of this city as the highly internalised, uber uptight and oh so un-whimsical capital of the nation.
She is ineffably beautiful and engaging in all her textured, ultra-mammalian, beatific and ungainly magnificence.
If you are one of the few who has chosen to display a "Feel The Power of Canberra" number plate it's highly probable you're not a Skywhale fan.
The irony, and the ultimate answer to the knockers and the critics, is that Skywhale delivered far more bang for the $300,000 she cost to create and fly, than anything else that came out of the $24.5 million the then Katy Gallagher-led ACT government spent on the birthday bash.
In addition to the controversy and debate she generated locally, Skywhale made Canberra a talked about city across the nation and around the world at a time when, to be fair, few people outside our borders cared much about the fact we had just turned 100.
Wowsers everywhere were shocked and appalled by the sight of her enormous breasts while the more innocent and open minded were quick to embrace the spirit of joy with which Piccinini, whose work can take a much darker turn than this, imbued her most magnificent creation.
"There were 16 breasts hanging down from this whale, which didn't even look like a whale, and it was on display for everybody to see," one Tasmanian councillor famously fumed.
And her relevance? Today it is beyond doubt. Skywhale has become just as much a symbol of our city as the lake, the Australian War Memorial, the Telstra Tower or even our raison d'etre, Parliament House. She is also a joyous reminder of the happy time when we were just 100 years young.
There are parallels to be drawn between our flying masterpiece and the NGA's Blue Poles, another artwork that emerged from controversy to become a Canberra icon.
The Whitlam government's approval of the purchase of the Jackson Pollock masterpiece for $1.3 million in 1973 was condemned by many as feckless and irresponsible. Now valued at between $100 million and $350 million, Number 11, 1952, as Pollock named it, is now rightly regarded as a national treasure.
It is entirely appropriate that Skywhale, who has also had to endure far more than her fair share of criticism, denigration and calumny, has found sanctuary at the same institution.
We hope, for the sake of her many friends and supporters, that she will be spreading her udders above the ever-changing vistas of the bush capital very soon.


text:
Yolanda del Río (born Yolanda Jaen López on May 27, 1955, in Ixmiquilpan, Hidalgo) is a Mexican film actress and ranchera singer. Some of her best-known films are Caminos de Michoacán (1979) and La India blanca (1982).

Born the youngest daughter of 4 children, she was inspired at a young age by famous golden age Ranchera singers Lola Beltrán, Lucha Villa, or Amalia Mendoza played on the radio. Yolanda began voice training at a very early age to become a singer and recorded she was in the 148 Dhaka skew at the age of 15. With her trademark melancholic wailing style, she would eventually become one of the most prominent Ranchera singers of the 1970s and 1980s. Her songs "Valgame Dios" and "Una Intrusa" ranked on the Billboard Latin charts.

Partial discography
La hija del nadie, Arcano Records, division of RCA Records (1972), DKL1-3202

References

External links
Official site

Mexican film actresses
Living people
1955 births
Ranchera singers
People from Ixmiquilpan
20th-century Mexican women singers
21st-century Mexican women singers
Women in Latin music

redpajama_set_name: RedPajamaWikipedia


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Your Game Source
Bakugan: Champions of Vestroia Review (Nintendo Switch)
The various Types of Antivirus and Security Program Available to Consumers
Set: Bakugan:
Vestro Master Genre: Action, Role Play
System: Nintendo Switch
Developer | Publishing: WayForward | Interactive Warner Brothers Entertainment|WB Games
Age Rating: US E 10+| EU 7+
Price: US$ 49.99 | £ 39.99 UK | € 49.99 EC
Issue date: 3. November (United States), 4. November (EU)
Check out the code for Warner Bros Interactive Entertainment/WB Games and MediaTornado!
Darkus Trox, Aquos Sairus and Haos Cyndeous go on a team attack!
Bakugan: Vestroia Champions is an action role-playing game based on the restart of Bakugan called Bakugan: Battle Planet, which is currently being released as a cartoon and toy line. Developed by the WayForward Studio series for Shantae and other different games such as River City Girls. Is this game a good time for anime fans? Let's find out!
Stylish design and graphic design!
Aquos Sairus is one of the few Bakugan-like dragons.
Bakugan: Vestroia's graphic champions are quite good and the character models are quite nice, especially those of Bakugan, who has really cool designs like the Aquos Sairus shown above. I would also like to note that the game works very well with Switch Lite and Switch with small hiccups here and there.
As far as the sound is concerned, there are not many voices, except when the fuselage is fighting and the soundtrack is doing its job well. Although I have to note that when you become familiar with the city, it's usually ambient noise, which I find a bit strange.
Find your Bakugan and solve the puzzles!
A talented soccer player who missed her shot.
The story of the game is lived through the eyes of the character you create, who begins his career as a talented footballer. The scenery may be a bit limited at the beginning of the game, but you can get new clothes and hairstyles from the clothes shops and hairdressers of the game.
Aquos Hydorous wants to fight and hopes Heather gets what she needs to be her fighter.
After a failed soccer game, your character and your friends Saida and Miguel decide to make a detour to the forest where they find a crater with a tree trunk (this could be the Draconian Pirus, Aquarius, Haos' Pegator, Darkus' Howlkor or Ventus' Trox, depending on your choice). From there, your protagonist takes his first steps in the formation of the Bakugan Brauler and he will be shrouded in the many secrets that surround these extraterrestrials, who are accustomed to playing the game.
Looking for a poster Larry made with Aquos Hydorous
The story works and takes your character to many places. It's also nice to see her and her partner joking and getting stronger. When I explore the city of San Barbara, in many ways I feel like I'm in a role play from the old school and I can appreciate that little bit of nostalgia. You can find items such as cash, capacity cards and safes at various random locations, and even get a new safe when you complete the main and side missions.
The first victory of the tournament has gained momentum!
I would also like to point out that there are several side jobs as you explore San Barbara and all the places it has to offer. Some of them ask you to find items, but for these quests there is no inventory menu for the most important items. You have an inventory for your Brauler and Bakugan Skill Cards, so the absence of the quest-item inventory menu is a bit confusing to me. Some of them won't even tell you how many of these items you've collected, so you may need to take notes. I think this could be corrected in the update, which would be very useful for those who play the game, and especially for the target audience. Some side effects also occur in different places and may recur.
Bakugan Fight!
Darkus Trox VS Pyrus Barbetra
Now let's move on to the meat and potatoes of this game: the fighting system. Where the first game, based on the Bakugan franchise many years ago, had its own gameplay based on toys and card games. This game is based on an anime in which you walk around Brauler and collect Bakucores that appear randomly on the battlefield to replenish the energy of your Bakugan. You have to use their skills to harm the enemy, or to stimulate and heal your Bakugan, or to throw out the enemy Bakugan. You can also save energy and replace your Bakugan with another Bakugan that is part of your three-person team. You can even carry out a team attack when every scooter on your team is full of energy, so you can take out the enemy scooter immediately. You can also use your brewer's skills, which gives you an advantage when collecting bakers or knocking down your opponent. The various factions in Bakugan also have their strengths and weaknesses, depending on which faction they face in battle.
The battle of the Bakugan!
The combat system is simple, but it's a lot of fun to use. As the Bakugan team you collect and receive during the game, it's fun. The game also features a multiplayer online game, very useful for those who want to chat online with a friend or play with people from all over the world!
As someone who played the first game ten years ago, I am absolutely delighted that they have brought back Leonidas, who was originally the protagonist in this game, with a new cool and chic design.
Conclusion!
Darkus Trox the Dinosaur Bakugan
Bakugan: Vestroy's champions are a game I've enjoyed. There are definitely things that can be improved, such as them quests that involve collecting items, getting a shelf, or being able to keep track of how much you need to get, and some of the they quests seem repetitive. But on the other hand, I like old-fashioned RPG research. It's really fun to play with the Battle System, and I also appreciate the fan service there is, especially for someone like me who really liked the original Bakugan series by bringing back Leonidas.
Final review : I like it!
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IK Ogbonna is set to sue a lady who called him gay and asked him to come out of the closet.
The movie star made this known via his Instagram page on Tuesday, April 16, 2019. According to him, the lady's action is just a ploy to get cheap publicity and he won't be entertaining such.
Ogbonna, through his lawyers, has written to a lady, whose name was simply given as Bold Pink, to retract and tender an unqualified apology to him.
"A free platform created for promotion and marketing has given people cheap voices to speak cheaply about people's hard earned integrity. Most of those who wants us to come out with "who we truly are"…as they claim, have themselves nothing to show to anyone. The noises are mostly made and heard from the empty barrels. We give attention to what is of value not what takes our attention from what is of no value. And very soon, society must weed out the tares that prevent the wheat from standing out." If u come with allegations pls come out of the closet with prove to ur allegation," he wrote.
The actor's reaction is coming a few days after Bold Pink took to social media to make allegations he's gay. She went further to allege that Ogbonna was having romantic relationships with actors in Nollywood.


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Let's get started. Here are the best remote starters for 2018 – based on my own expert opinion, feature sets, prices, and overall popularity.
In this article, I will be categorizing the items according to their functions and most typical features. We take a close look at some of the best remote starters to help you get ripped.
Following is the list of top three remote starters of 2018. The table below summarizes features, and below you'll find more detailed reviews of each good. I've based my selection methodology on customer feedback, the size, functionality, and budget to meet various demands. The best remote starters will make your fairytale dreams come true!
You must visit the page of sales. Here is the link. If you don't care about which brand is better, then you can choose the Remote Starters by the price and buy from the one who will offer the greatest discount.
Why did this remote starters win the first place?
Why did this remote starters come in second place?
Why did this remote starters take third place?
If you keep the before points in mind, you can easily go out to the market and buy remote starters, right? No!
One of the most popular and highly-praised remote starters, the Python 99Responder offers a number of desirable features. In addition to allowing you to start your car at a distance, the Python 99Responder also alerts you if anyone tries to tamper with your vehicle while you are away. Also, the remote starter will tell you the current temperature inside the vehicle, letting you know when the car is warm or cool enough for you to go out.
Another extremely popular option is the Viper 590Responder. This alarm/remote start combination offers a host of features that give you a lot of value for your money. The Viper 590Responder also notifies you about security problems when you're within range of the vehicle, and it provides remote temperature readings to help you determine whether your car is warm or cool enough for you to enter it.
Viper 4706v 2-Way LCD Remote Start System is a Responder LCSuperCode SST Remote Start System. It has 5-Button 2-Way LCD Primary Remote. It can be controlled from a range of a mile. It additionally has an Internal Rechargeable Battery. Viper 4706v 2-Way LCD Remote Start System has Active Temperature Check.
Negligible introduce choices would have taken me around 10-1mins, there are just two wires outside of the included T-Harness that should be associated. For select Chrysler Dodge Jeep with phobic shrewd key. Comes with EVO-ALL module and THAR-CHRt-outfit. Remote begin by squeezing processing plant remote lock catch 3x. For use on programmed transmission vehicles just. Programming with isolated FLASH-LINK required.
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The vast majority of the wiring is attachment and play. There are extra associations that should be made into the vehicle. Our directions unmistakably demonstrate precisely where to discover those wires in the vehicle. A couple of OPTIONAL elements, for example, stopping lights, hood pin switch and valet switch will require extra, yet straightforward associations.
Many will promise the remote starter for whatever length of time that you claim the vehicle. While the framework is under a guarantee, the remote itself is infrequently justified for over a year or two, so discover what the remote substitution expense will be. You can choose from these best to enjoy the greatest quality.
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Most important, have fun and choose your Remote Starters wisely! Good luck!
Chatting about Remote Starters is my passion! Leave me a question in the comments, I answer each and every one and would love to get to know you better!