Traditional sales incentive programs focus almost entirely on carrots—hoping that incentives by themselves will propel people to extra achievement. But extensive research suggests that incentives alone only generate short-term success, can cause some salespeople to "sand bag", "rob from Peter to pay Paul," or worse: engage in sales practices that run counter to your organization's brand and values.
The most successful, sustainable sales performance strategies combine rewards and recognition with your communication and learning strategies. This ensures that your people know what to do, are capable of doing it, and feel inspired by both the awards and their colleagues to perform.
1 | Identify clear results and actions to be promoted and measured to ensure people do what's necessary to succeed. Having these measures helps determine if your program actually contributed to success.
2 | Train sales managers to coach people regularly—based on each individual's needs. Provide your managers with the training tools necessary and reward them for inspiring their teams.
3 | Communicate concise tips and success stories regularly so your people can learn from and feel inspired by their colleagues. Conduct pulse surveys to identify potential issues or opportunities.
4 | Design your program to reward both the top performers and the "middle 60%"—based on incremental performance. Use customized leaderboards that highlight achievable actions required to meet every salesperson's next goal. Create excitement and buzz with carefully designed aspirational rewards designed for your audience. Recognize people in a personal and/or public way based on the personality of the recipient.
5 | Monitor the KPIs regularly: participation, engagement and ROI, to identify the need for more application of coaching, communication, and rewards, or to identify any other underlying issue outside of your sales force.
Divvy takes sales program design to the next level by identifying and addressing the levers necessary to achieve your goals.


text:
require 'rails_helper'

RSpec.describe BankAccountsController, type: :controller do
  subject{ response }
  let(:project) { create(:project, state: 'online', goal: 1000 )}
  let(:user){ create(:user) }

  before do
    allow(controller).to receive(:authenticate_user!).and_return(true)
    allow(controller).to receive(:current_user).and_return(user)
  end

  describe "GET edit" do
    let(:bank_account_id) do
      user.try(:bank_account).try(:id)
    end

    context "when user does not logged in" do
      before do
        allow(controller).to receive(:current_user).and_return(nil)
        allow(controller).to receive(:authenticate_user!).and_call_original
        get :edit, locale: :pt, id: bank_account_id
      end

      it{ is_expected.to redirect_to new_user_session_path }
    end

    context "when user does not have pending refund payments" do
      before do
        get :edit, locale: :pt, id: bank_account_id
      end
      it{ is_expected.to redirect_to root_path}
    end

    context "when user have pending refund payments" do
      let(:contribution) do
        create(:confirmed_contribution, {
          project: project,
          value: 10,
          user: user
        })
      end

      before do
        payment = contribution.payments.first
        payment.update_attributes({
          gateway: 'Pagarme',
          payment_method: 'BoletoBancario'
        })
        project.update_column(:state, 'failed')
        get :edit, locale: :pt, id: bank_account_id
      end

      it "should render form" do
        is_expected.to render_template(:edit)
      end
    end
  end

  describe "GET new" do
    context "when user does not logged in" do
      before do
        allow(controller).to receive(:authenticate_user!).and_call_original
        get :new, locale: :pt
      end

      it{ is_expected.to redirect_to new_user_session_path }
    end

    context "when user does not have pending refund payments" do
      before do
        get :new, locale: :pt
      end
      it{ is_expected.to redirect_to root_path }
    end

    context "when user have pending refund payments" do
      let(:contribution) do
        create(:confirmed_contribution, {
          project: project,
          value: 10,
          user: user
        })
      end

      before do
        payment = contribution.payments.first
        payment.update_attributes({
          gateway: 'Pagarme',
          payment_method: 'BoletoBancario'
        })
        project.update_column(:state, 'failed')
      end

      context "when user have a bank_account" do
        before { get :new, locale: :pt }
        it "should redirect to bank_account edit" do
          is_expected.to redirect_to edit_bank_account_path(user.bank_account)
        end
      end

      context "when user not have a bank_account" do
        let(:user) { create(:user, bank_account: nil) }

        before do
          get :new, locale: :pt
        end
        it "should render form" do
          is_expected.to render_template(:edit)
        end
      end
    end
  end

  describe "POST create" do
    context "when user does not logged in" do
      before do
        allow(controller).to receive(:authenticate_user!).and_call_original
        post :create, locale: :pt
      end

      it{ is_expected.to redirect_to new_user_session_path }
    end

    context "when user does not have pending refund payments" do
      before do
        post :create, locale: :pt
      end
      it{ is_expected.to redirect_to root_path }
    end

    context "when user have pending refund payments" do
      let(:bank) { create(:bank) }
      let(:contribution) do
        create(:confirmed_contribution, {
          project: project,
          value: 10,
          user: user
        })
      end

      before do
        payment = contribution.payments.first
        payment.update_attributes({
          gateway: 'Pagarme',
          payment_method: 'BoletoBancario'
        })
        project.update_column(:state, 'failed')
      end

      let(:user) { create(:user, bank_account: nil) }

      before do
        post :create, {
          locale: :pt,
          bank_account: {
            bank_id: bank.id,
            owner_name: "Foo Bar",
            owner_document: "97666238991",
            account_digit: "1",
            agency: "1",
            agency_digit: "1",
            account: "1"
          }
        }
      end

      it "should redirect to confirm" do
        is_expected.to redirect_to confirm_bank_account_path(user.bank_account)
      end
    end
  end

  describe "PUT update" do
    context "when user does not logged in" do
      let(:user) { create(:user) }
      before do
        allow(controller).to receive(:current_user).and_return(nil)
        allow(controller).to receive(:authenticate_user!).and_call_original
        put :update, locale: :pt, id: user.bank_account.id
      end

      it{ is_expected.to redirect_to new_user_session_path }
    end

    context "when user does not have pending refund payments" do
      let(:user) { create(:user) }
      before do
        put :update, locale: :pt, id: user.bank_account.id
      end
      it{ is_expected.to redirect_to root_path }
    end

    context "when user have pending refund payments" do
      let(:bank) { create(:bank) }
      let(:contribution) do
        create(:confirmed_contribution, {
          project: project,
          value: 10,
          user: user
        })
      end

      before do
        payment = contribution.payments.first
        payment.update_attributes({
          gateway: 'Pagarme',
          payment_method: 'BoletoBancario'
        })
        project.update_column(:state, 'failed')
      end

      before do
        put :update, {
          locale: :pt,
          id: user.bank_account.id,
          bank_account: {
            owner_name: "Foo Bar 2",
          }
        }
        user.bank_account.reload
      end

      it "should update bank_account" do
        expect(user.bank_account.owner_name).to eq("Foo Bar 2")
      end

      it "should redirect to confirm" do
        is_expected.to redirect_to confirm_bank_account_path(user.bank_account)
      end
    end
  end

  describe "PUT request_refund" do
    context "when user is not logged in" do
      let(:user) { create(:user) }
      before do
        allow(controller).to receive(:current_user).and_return(nil)
        allow(controller).to receive(:authenticate_user!).and_call_original
        put :request_refund, locale: :pt, id: user.bank_account.id
      end

      it{ is_expected.to redirect_to new_user_session_path }
    end

    context "when user does not have pending refund payments" do
      let(:user) { create(:user) }
      before do
        put :request_refund, locale: :pt, id: user.bank_account.id
      end
      it{ is_expected.to redirect_to root_path }
    end

    context "when user have pending refund payments" do
      let(:bank) { create(:bank) }
      let(:payment) do
        payment = create(:confirmed_contribution, {
          project: project,
          value: 10,
          user: user
        }).payments.first
        payment.update_attributes({
          gateway: 'Pagarme',
          payment_method: 'BoletoBancario'
        })
        payment
      end

      before do
        Sidekiq::Testing.inline!
        expect(DirectRefundWorker).to receive(:perform_async).with(payment.id)
        project.update_column(:state, 'failed')

        put :request_refund, {
          locale: :pt,
          id: user.bank_account.id
        }
      end

      it "should redirect to success" do
        is_expected.to redirect_to bank_account_path(user.bank_account, refunded_amount: user.decorator.display_pending_refund_payments_amount)
      end
    end

    context "when user have legacy pending refund payments" do
      let(:bank) { create(:bank) }
      before do
        allow_any_instance_of(User).to receive(:credits).and_return(10)
        Sidekiq::Testing.inline!
        expect(TransferWorker).to receive(:perform_async).with(user.id)

        put :request_refund, {
          locale: :pt,
          id: user.bank_account.id
        }
      end

      it "should redirect to success" do
        is_expected.to redirect_to bank_account_path(user.bank_account, refunded_amount: user.decorator.display_pending_refund_payments_amount)
      end
    end
  end

end

redpajama_set_name: RedPajamaGithub


adrieneo.win Page 37: rainbow coloring page with color words. soccer coloring book pages. free printable christmas lights coloring pages. halloween coloring sheets for kindergarten. canada goose coloring page. pig coloring pages free printable.


At the Montreal Games Summit, Realtime Worlds producer Phil Wilson gave an in-depth postmortem of Crackdown, discussing obstacles encountered and mistakes made during the development. Wilson noted that while he did a postmortem for Game Developer, he wanted to add some other aspects of the game from a different direction, looking at things from a chronological standpoint.
Wilson said the team wanted to go �beyond GTA� � offering free-form play, the feeling of empowerment, responsive and intuitive controls, and �capturing the moment." They wanted to allow the player to create moments such as jumping out of their speeding car, then spinning around and shooting the gas tank, so they aimed to offer offer lots of "toys" to play with, and also provide �shared experiences,� whereby players could talk about the things they did in the game, not that they watched in a cut scene.
Wilson highlighted the goal of creating a game that is deep, but in which the entirety of the world is completely available from the beginning. They still wanted to offer progression through play, and allow fluidity of action (to allow showboating) and reward experimentation.
�There was a four month proof of concept in 2002, and Microsoft wanted the team to shoot for finishing Spring �05. No set deadline, but roughly that," Wilson recalled. So they set out a 12 month pre-production stage, with 9 coders and a handful of asset creators, with a planned ramp-up to 35 for production.
�Obviously in pre-production you want to find out what you want to know but don�t yet," Wilson said. "What you don�t want is a publisher who wants to see a head start on production."
He continued, "So obviously after a year, Microsoft asked us �where�s the vertical slice?� I hate that expression, but they wanted to see a demo with everything integrated and to demonstrate artificial progress."
It wasn�t until February of 2004 that they were able to provide that first playable demo -- however, doing so saved the project and allowed them to clarify the design, unifying the team. But in the process, they found a massive amount of game design challenges with the sandbox play.
Early takes at skill development, for example, allowed the players simply to drive around to raise their driving skill, and to just jump up and down on the spot to raise their jumping skill. It was ripe for abuse, and that�s where �skills for kills came from,� Wilson explained.
He also discussed the effect the open structure of missions had on the experience. Although they had designed each boss encounter to be approached from multiple angles, most players found the one way they liked to take on a boss and used that way to finish off all of the bosses (as every method was effective for every boss.) �By trying to put in variation we actually created a way for players to limit variation,� Wilson described.
When Microsoft came to them with the Xbox 360 hardware, they decided it was best to go to the new platform, and Microsoft said, �another year should do it, get it to us for Spring 2006.� But a chicken and egg situation came up, as they knew they needed more people to make the required progress -- but of course, without showing good progress, they would never get more people.
By September 2004 they had begun to achieve good, yet incremental progress � at this point they realized that they needed to create a �scope document,� which Wilson would refer to as a Product Backlog � since working on Crackdown, he has been completely sold on SCRUM/Agile project development.
The team initially hated that, as they loved making incremental developments, and they don�t want anyone to stop their work. �But at least it was a top down approach,� Wilson conceded.
In fact, he continued, in doing so, they realized that they still weren�t at the end of pre-production. �We had been way too ambitious, and serious cuts were required, and we would still have major bottlenecks with tens of new coders required,� recalled Wilson.
Unfortunately, in January 2005 the team made what Wilson calls a �gross mistake� by porting to Renderware 4, which was at that point in alpha. �I know that Microsoft wanted us to do it and be right at the forefront of the technology, but it made no sense, as the alpha was way below the level we needed," Wilson said.
In fact, it was a major problem, Wilson continued, as the �visual bar� was something that Microsoft didn�t feel they were matching. �The visual bar? I like to consider it a crowbar. They�d come back from seeing something like Gears of War, and all they would say was �phoar, Gears!"
"They saw our game in an equation," Wilson said: GTA + Spiderman x purple = Crackdown. "We knew we couldn�t have any more purple jokes and we hired some really talented guys to finish off our graphics," he added.
Microsoft did a really deep consumer survey and it paid off -- graphics were the number one thing gamers enjoyed from Crackdown, Wilson pointed out.
By June 2006 Wilson admitted it was �enough�s enough� -- but they still had some issues, as he describes: "Microsoft was pushing the crowd system, the long distance traffic, and this was some really difficult, high-risk stuff. It worked out in the end but it was an incredible risk."
"We were the worst though," he admitted. "We still wanted water reflections, clutter, final crimes, complex AI, flaming characters and special vehicle action."
Wilson added, �We never adequately scheduled anyway.� He noted that when it came to play testing, they were very lucky, as they had usability play testing at a dedicated Microsoft facility, with Live user test streams, and data harvesting and data processing provided.
Unfortunately, in October 2006, the feedback was not good. For fun factor, it'd fallen into the bottom 30 percent of all Microsoft titles in testing, and it ranked in the bottom 50 percent for replay interest. However, by November 2006, things had turned around -- it received the top score for fun, and its interest level was second only to Halo 2 -- "Which I'll take," quipped Wilson.
And at times, they did have poor communication with Microsoft, who had a �we will test this � you check the bugs� attitude. "That type of relationship is not healthy," Wilson said.
By the end, they found they had 37,000 bugs in total. And as a result: 3,000 low severity bugs were waived-- "Which is horrendous. I see them when I play the game, but people were very forgiving," said Wilson.
He discussed the importance of the demo. They worried that they were �giving away the farm,� but they wanted to offer the condensed experience. But the feedback said, "the Crackdown demo is like crack!" And it turned out to be the most downloaded demo. Moreover, with a purchase ratio of 3:1, it was "the highest that Microsoft that had ever seen, which was great,� according to Wilson.
�The title launched in February this year to critical acclaim -- what you really want to hear when you�ve worked so hard and crunched for so long -- and we were really pleased with that, and the sales of 1.5 million," said Wilson.
In summary, Wilson felt they produced a high quality experience, but a low quality product, that a it was surprise hit, but it was not able to get a sequel � from RTW, anyway. �That broke my heart, and I don�t want to talk about it any longer in case I tear up,� he added.


Looking around the site, I was naturally drawn by Ray Bradbury's name to this video about how his story characters have inspired costumes for their parade. I already was looking forward to it but, as a lot of you know, Bradbury is one of my favorite authors. It is going to be interesting to match up costumes with stories.
By the way, we leave for this tomorrow ... oh, and also to pick up Rose and bring her home for the summer. Yes, of course ... that too!


zoe_spec Great dealer! Fast response and prompt delivery.
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Best Before Date 17 July 2019 free delivery $100 and above .
Crocodile Jerky Ingredients: Crocodile Flank Steak Typical Analysis: Protein(min): 82%, Fat(min): 5%, Fibre(max) 3%, Moisture(max) 5% This product is intended for intermittent or supplemental feeding only.


text:
214.6m People Affected by Chlamydia, Gonorrhoea, Syphilis Annually – WHO
The World Health Organisation, WHO, yesterday disclosed that worldwide a total of 214. 6 million people are infected with three most common Sexually Transmitted Infections (STIs) – chlamydia, gonorrhoea and syphilis annually even as it raised alarm that they are becoming more difficult to treat with some antibiotics due to misuse and overuse.
Chlamydia, gonorrhoea and syphilis are all caused by bacteria and are generally curable with antibiotics, unfortunately, these STIs often go undiagnosed. Disclosing these in its new guidelines for the treatment of the three STIs in response to the growing threat of antibiotic resistance, the World health body explained that each year, 131 million people are infected with chlamydia, 78 million with gonorrhoea, and 5.6 million with syphilis. WHO further noted that resistance of these STIs to the effect of antibiotics has increased rapidly in recent years and has reduced treatment options. Of the three STIs, according to WHO, gonorrhoea has developed the strongest resistance to antibiotics. According to WHO's Director of Reproductive Health and Research, Ian Askew, "Strains of multidrug-resistant gonorrhoea that do not respond to any available antibiotics have already been detected. Antibiotic resistance in chlamydia and syphilis, though less common, also exists, making prevention and prompt treatment critical," WHO stated.
It further explained that when the three are left undiagnosed and untreated, these STIs can result in serious complications and long-term health problems for women, such as pelvic inflammatory disease, ectopic pregnancy, and miscarriage, and untreated gonorrhoea and chlamydia can cause infertility in both men and women. "Infection with chlamydia, gonorrhoea and syphilis can also increase a person's risk of being infected with HIV two- to three-fold. An untreated STI in a pregnant woman increases the chances of stillbirth and newborn death. "Chlamydia, gonorrhoea and syphilis are major public health problems worldwide, affecting millions of peoples' quality of life, causing serious illness and sometimes death." According to Askew, the new WHO guidelines would reinforce the need to treat these STIs with the right antibiotic, at the right dose, and the right time to reduce their spread and improve sexual and reproductive health. Askew, urged national health services to monitor the patterns of antibiotic resistance in these infections within their countries.
The new recommendations are based on the latest available evidence on the most effective treatments for these 3 sexually transmitted infections. On treatment for gonorrhoea, WHO urged countries to update their national gonorrhoea treatment guidelines in response to the growing threat of antibiotic resistance. It noted that national health authorities should track the prevalence of resistance to different antibiotics in the strains of gonorrhoea circulating among their population. WHO further warned that the new guidelines do not recommend quinolones for the treatment of gonorrhoea due to widespread high levels of resistance. Also on syphilis, the new WHO guidelines strongly recommend a single dose of benzathine penicillin.
For Chlamydia, WHO called on countries to start using the updated guidelines immediately, as recommended in the "Global Health Sector Strategy for Sexually Transmitted Infections endorsed by governments at the World Health Assembly in May 2016. WHO also explained that when condoms are used correctly and consistently, condoms are one of the most effective methods of protection against STIs.
culled :http://www.vanguardngr.com/2016/08/214-6m-people-affected-chlamydia-gonorrhoea-syphilis-annually/

redpajama_set_name: RedPajamaCommonCrawl


text:
Q: Can i change combobox items in c# runtime? I have a windows form app and a there is a combobox, which is filled from a txt file.
        List<string> lines = System.IO.File.ReadLines(path).ToList();

        foreach (string l in lines)
        {
            combobox.Items.Add(l);
        }

As a result of a button, i would like to change the path. Is it possible? I changed the path but nothing happened, i think because i need to call the constructor again, but the button is in a different window, the combobox is in another window.

A: You can create a method that takes a path to your txt file as a parameter. Then you can call that method on Form_Load and Button_Click with different paths.
    private void Form1_Load(object sender, EventArgs e)
    {
        populateCombo(path);
    }

    private void populateCombo(string path)
    {
        comboBox1.Items.Clear();
        List<string> lines = System.IO.File.ReadLines(path).ToList();

        foreach (string line in lines)
        {
            comboBox1.Items.Add(line);
        }
    }

    private void button1_Click(object sender, EventArgs e)
    {
        populateCombo(differentPath);
    }

A: Even though you have selected an answer, as mentioned by john a better path is to use a BindingList. In the code below a custom BindingList is used to provide a single method to add items to the current data which keeps your code clean. You can use a standard BindingList, for the second load use a foreach to append data.
There are two buttons, first to load from a text file and in turn load the ComboBox for the first time, second button appends to the data. Both use hard coded file names, that you can easily change.
Place the following in a class file in your project.
Source
public class BindingListSpecial<I> : BindingList<I>
{
    private readonly List<I> _baseList;

    public BindingListSpecial() : this(new List<I>()) { }

    public BindingListSpecial(List<I> baseList) : base(baseList)
    {
        _baseList = baseList ?? throw new ArgumentNullException();
    }

    public void AddRange(IEnumerable<I> vals)
    {
        if (vals is ICollection<I> collection)
        {
            int requiredCapacity = Count + collection.Count;
            if (requiredCapacity > _baseList.Capacity)
                _baseList.Capacity = requiredCapacity;
        }

        bool restore = RaiseListChangedEvents;
        try
        {
            RaiseListChangedEvents = false;
            foreach (I v in vals)
                Add(v); // We cant call _baseList.Add, otherwise Events wont get hooked.
        }
        finally
        {
            RaiseListChangedEvents = restore;
            if (RaiseListChangedEvents)
                ResetBindings();
        }
    }
}

Form code
public partial class Form1 : Form
{
    private BindingListSpecial<string> _bindingList;
    public Form1()
    {
        InitializeComponent();
    }

    private void LoadButton1_Click(object sender, EventArgs e)
    {
        _bindingList = new BindingListSpecial<string>(File.ReadAllLines("TextFile1.txt").ToList());
        comboBox1.DataSource = _bindingList;
    }
    private void LoadButton2_Click(object sender, EventArgs e)
    {
        _bindingList.AddRange(File.ReadAllLines("TextFile2.txt").ToList());
    }
}

A: There's a more little and simple solution rather than clearing and adding items. You can use the DataSource property instead of doing this. But you must use an array instead of a list. Or either it won't work. You can use ReadAllLines(string) instead of ReadLines(string).
Also read this reference.
private void Form1_Load(object sender, EventArgs e)
{
    populateCombo(path);
}

private void populateCombo(string path)
{
    comboBox1.DataSource = System.IO.File.ReadAllLines(path);
}

private void button1_Click(object sender, EventArgs e)
{
    populateCombo(differentPath);
}

redpajama_set_name: RedPajamaStackExchange


text:
Austruweel  est un village de polders belges disparu au nord de la ville d'Anvers.

La première mention du village date de 1210. On trouve les noms plus anciens d'Oestervel, Ousterweel, Austerweel, Osterwele et Otserwele.

Les docks pétroliers d'Anvers se trouvent maintenant sur le site de l'ancien village. Jusqu'à sa disparition, Austruweel était le village le plus bas de Belgique. En 1900, au moment où le village avait le plus d'habitants, il en contenait 1075.

À l'ouest du Noordkasteel d'Anvers, l'ancienne église d'Austruweel et un pont de l'ancienne chaussée d'Austruweel ont été préservés en tant que monument.

Le territoire de l'ancienne commune d'Austruweel, qui existait jusqu'en 1929, fait partie du district d'Anvers (comme les anciennes communes d'Oorderen et de Wilmarsdonk) sous la code postal 2030.

Le nom du village est utilisé  pour le projet controversé d'une future fermeture du Ring d'Anvers via la liaison d'Austruweel ou liaison Oosterweel. Celle-ci a commencé à être construite en 2018.

Les autres villages de polders disparus sont: Lillo, Oorderen et Wilmarsdonk.

Histoire

En 1567 la bataille d'Austruweel y a eu lieu. Les historiens considèrent comme le début de la guerre de 80 ans.

Démographie

 Source: NIS; Note: recensements de 1806 à 1920 inclus; 1929 = population au 31 décembre
 1887: distance de 1,71 km² avec 250 habitants à Anvers
 1914: distance de 1,90 km² avec 12 habitants à Anvers

Voir aussi

 Bataille d'Austruweel
 Liaison d'Austruweel

Habitants célèbres

Né

 Louis Michielsens (1887-1943), homme politique
 Maria Gevaert (1916-1983), homme politique

Références

Commune avant fusion dans la province d'Anvers
Géographie d'Anvers
Village disparu en Belgique
Village en Flandre
Catégorie Commons avec lien local identique sur Wikidata

redpajama_set_name: RedPajamaWikipedia


Discoverymundo makes it really simple to transport travelers arriving or departing from Hong Kong International Airport to Mingle With The Star or any other specific place in the Hong Kong area.
Mingle With The Star is a property located in Hong Kong zone. If you want to know how to get from Hong Kong Airport to Mingle With The Star we can provide you with different transportation options based on the carriers who offer transport to Hong Kong area, sedan ejecutivo and van ejecutiva transportation. We operate with the best units in the market, focusing in offer the best and safest transportation to Mingle With The Star with high qualified drivers.


To the true child of God, there is nothing more important than Truth. And there is nothing more offensive than man's twisting of the scripture and making up doctrines of his own in the name of religion. Twisting the scripture is what Satan does. Deception is his specialty. The only way for the child of God to combat Satan's tactics is to know the scripture. Study the scripture and question everything you hear from men. We are admonished by Christ in the Gospels and by the Apostles in the letters to beware of false prophets. Too many people allow themselves to be deceived simply because they don't know what the scripture says. God's Holy Word is absolute Truth. If you don't believe all of it, you might as well not read any of it. Click the link to listen to the sermons below. The scripture text is provided so you can study as you listen.


text:
Ohio State running back Master Teague III recovers from Achilles' injury
jkaufman@dispatch.com
Had the Big Ten not called off its fall football season three weeks ago, Ohio State would have been preparing to face Illinois on Thursday in its first game.
It was an opening matchup that likely would have featured running back Master Teague III, despite once-low odds.
Six months ago, he injured his Achilles tendon during a spring practice, jeopardizing his status for the start of the season and prompting the Buckeyes to add Oklahoma graduate transfer Trey Sermon as support for a backfield seeking to replace J.K. Dobbins.
But Teague had made enough of a recovery during the offseason to position himself to see the field in Week 1.
"They got him on a schedule to be ready," said his father, Corey Teague. "Based on his recent work and his healing, he got there and he would have been playing first game and ready to go. He would have been able to go through fall camp and all that."
In snippets of pre-camp workout videos released by Ohio State in late July, Teague was running at close to full speed and was "doing everything" in practices, Corey said.
The Buckeyes never progressed to padded practices as the start of their preseason training camp was cut short last month after only a few days.
Without much of a ramp-up period ahead of a season, Teague never had much of an opportunity to test out the progress of his lower leg in a scrimmage or similar game-like setting.
The cancellation was an abrupt ending for all of the Buckeyes players, but especially Teague. He was poised to step into a larger role as a redshirt sophomore in helping replace Dobbins and had spent months in a daunting recovery process that was at times altered by the coronavirus pandemic.
During a couple of weeks in March, the athletics facilities at Ohio State were closed, leaving Teague to undergo rehabilitation in his apartment under the virtual supervision of a trainer.
It required some resourcefulness without the advantages of a standard rehab space.
For one exercise, Teague arranged assorted kitchen items on a towel that was placed on the floor, then dragged the towel as he sought to rebuild strength in his Achilles tendon.
"He was doing whatever you could do," his father said.
Teague ultimately restarted rehab at the Jameson Crane Sports Medicine Institute by late March, pushing to return for the fall even as uncertainty hung over the season due to the pandemic.
"It is hard," Corey said. "Master's disappointed. But he's also the type of kid, too, who's like, 'How do I get better in this situation, even though I'm not playing right now?' "
Most of the running backs meet at the Woody Hayes Athletic Center for individual drills and workouts.
It mirrors the time they spent training together at local fields for a week in July after the campus facilities were closed due to positive COVID-19 cases.
Teague, who rushed for 789 yards and four touchdowns as Dobbins' backup last fall, is still preparing for whenever the Buckeyes might play in the months ahead.
Corey said he expected a big year from his son before the season was scrapped, and he spoke at a protest organized by other parents of players on Saturday, urging the Big Ten to reconsider its decision to cancel games.
But he acknowledged one of the most important considerations. It might not materialize in games, but Teague at least recovered without a setback and remains ready to play.
"He's good, he's healed, he's not injured anymore," Corey said. "That's first and foremost. But then to take that, go out and contribute and help his team, we look forward to seeing that."
@joeyrkaufman
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When we think about daughters of big business tycoons, all we assume is a glamorous figure who is happily living on her father's money. But here are five such daughters who have created their own identity in the business world. They thought something out of the box and have developed their own worth which is quite unexpected.
Alike her father Mukesh Ambani, Isha Ambani is equally talented to take the business of Jio to new heights. She is the CEO of Jio and Reliance Retails.
The only daughter of Ramesh Chauhan, Founder of Bisleri is currently directing the company founded by her grandfather Jayantilal Chauhan. She has set her foot right in the business world at an early age.
Daughter of the renowned businessman Kumar Mangalam Birla, Ananya is the owner of a micro financial organization called as 'Svatantra'. At the little age of 20, she is successfully providing funds to rural women and leading towards women empowerment.
She is the daughter of famous entrepreneur Navin Jindal and Kuchipudi dancer, Shalu Jindal. Still, in her teenage, she has won International awards for Kuchipudi dance. Like her mother, she is an excellent Kuchipudi dancer. She has also been awarded as the Most Stylish Youth Icon by Hindustan Times in 2015.
Radha is the daughter of Yes Bank Founder Rana Kapoor. Inspired by her father, she tried her hand in entrepreneurship and is currently the CEO of DOIT creations.
So, that's a great dose of inspiration to all the daughters out there. Build your own identity and let the world believe in women power!
You Are Not Allowed To Visit These 7 Places On Earth!


text:
Alexander Solzhenitsyn in 1974 (Bert Verhoeff/Anefo, CC0, via Wikimedia Commons)
Blogs | Apr. 30, 2019
Alexander Solzhenitsyn and the Meaning of Life
The acceptance of sorrow and suffering is liberating.
Joseph Pearce
"Bless you prison, bless you for being in my life. For there, lying upon the rotting prison straw, I came to realize that the object of life is not prosperity as we are made to believe, but the maturity of the human soul." —Alexander Solzhenitsyn
Older readers will hardly need reminding of who Alexander Solzhenitsyn was. Younger readers, sadly, might never have heard of him. The ignorance of the latter is nothing less than tragic.
Solzhenitsyn, by any measure, is one of the most important and influential figures of the past century and his neglect in the west today (he is still rightly revered in his native Russia) is a mark of how our society has fallen and floundered in the years that have elapsed since he was lionized by the western media. A courageous Soviet dissident who survived a KGB assassination attempt, he was awarded the Nobel Prize for Literature in 1972. His works include the powerful novella of life in the Soviet labor camps, One Day in the Life of Ivan Denisovich; and his seminal exposé of the Soviet tyranny and its reign of terror, The Gulag Archipelago.
So much could be said of Solzhenitsyn and his legacy, not least of which would be the considerable role he played in helping to topple the communist edifice in eastern Europe, but the two sentences from The Gulag Archipelago quoted above are quite enough in themselves. Here, in fewer than fifty words, the great Russian writer unlocks the very meaning of life.
The purpose of life is not worldly riches and the creature comforts they can purchase. Such trinkets can never satisfy the needs of the soul. The purpose of life is to grow in wisdom, to mature into the fullness of what it means to be human. The problem is that most of us are quite happy remaining comfortably numb, wasting our lives on trash and trivia, distracting ourselves to death long before we actually die. We are all in danger of growing old without growing up, which is the greatest tragedy that can beset any of us. It is for this reason that suffering is such a blessing. It brings us to our senses. It is a reality check. It reminds us that we are not gods, that we are not immortal. It cuts us down to size.
Most of us do not need years in prison to come to our senses, as Solzhenitsyn did, though one wonders how much it might do us good. But we do need suffering. We do need sorrows. We do need our crosses to bear.
It is, however, not suffering that sets us free from ourselves and our comfortable numbness but the acceptance of suffering. This is the beginning of wisdom.
If suffering is not accepted it embitters. It twists us. It shrivels us.
In contrast, the acceptance of such sorrow and suffering is liberating. It sets us free. It allows us to grow into the fully human persons we are meant to be. This is why Solzhenitsyn could bless the prison in which he found himself. He did so because prison had set him free.
A native of England, Joseph Pearce is Director of Book Publishing at the Augustine Institute, and editor of the St. Austin Review, editor of Faith & Culture, series editor of the Ignatius Critical Editions, senior instructor with Homeschool Connections, and senior contributor at the Imaginative Conservative. His personal website is jpearce.co.
The internationally acclaimed author of many books, which include bestsellers such as The Quest for Shakespeare, Tolkien: Man and Myth, The Unmasking of Oscar Wilde, C. S. Lewis and The Catholic Church, Literary Converts, Wisdom and Innocence: A Life of G.K. Chesterton, Solzhenitsyn: A Soul in Exile and Old Thunder: A Life of Hilaire Belloc, Joseph Pearce is a world-recognized biographer of modern Christian literary figures. His books have been published and translated into Spanish, Portuguese, French, Dutch, Italian, Korean, Mandarin, Croatian and Polish.
Pearce has hosted two 13-part television series about Shakespeare on EWTN, and has also written and presented documentaries on EWTN on the Catholicism of The Lord of the Rings and The Hobbit. He has participated and lectured at a wide variety of international and literary events at major colleges and universities in the U.S., Canada, Britain, Europe, Africa and South America.


text:
Issue: 28 October 2019
In 1956, Swedish author (and later Nobel Laureate in Literature) Harry Martinson wrote a book-length science fiction poem called Aniara, about a spaceship taking refugees from a dying Earth to Mars. There's an accident, and the Aniara is pushed off course, losing all steering ability and dooming its population to an eternal trip through space. The community aboard the ship fragments and self-destructs; they have sustainable resources enough to keep themselves alive, but lack the ability to keep themselves sane. It's a fascinating story, and one I've written on before (in an academic paper in Scandinavica journal), so when the film adaptation (directed by Pella Kågerman and Hugo Lilja) came out I knew I had to see it.
It's no surprise to anyone that adaptations are exactly that – they adapt source material, changing it to suit both the new medium, and the potentially new perspectives of the people adapting it. That's certainly the case here, and I think it's particularly interesting to take a closer look at the two main narrative changes that have occurred in this particular adaptation. (All subsequent book quotes come from the 1963 Hugh MacDiarmid and Elspeth Harley Schubert translation of Aniara.)
The first of these changes concerns the Mima. An artificial intelligence designed to provide leisure activities to the passengers of Aniara, the Mima's capacities are markedly different in the film than in the book. I'm not entirely certain that these changes are for the better, however, as the Mima's descent into profound grief and then suicide is one of the most significant turning points in both texts, and these changes alter the causes of her decline.
The film re-imagines the Mima as a form of meditative tool. Passengers enter an empty room and are provided with a pillow. They then lie face down on the floor, and the Mima has the capacity to alter their brain waves to induce a state of meditation. Each passenger then experiences their own, individualised form of virtual reality. They feel themselves to be transported into a calm and tranquil natural environment; one that is tailored to their particular preferences. This allows the individual to experience some of the lost beauty of the planet they are leaving, a planet which has become a burning apocalyptic wasteland, and one which has left many passengers with visible scars. Notable here is the personalised experience of the natural. Only one of these environments is actually depicted in the film, and the audience observes the Mimarobe, the primary caretaker of the Mima, walking through a beautiful forest, and swimming in a clean and isolated lake, but it is clear that each passenger experiences the Mima differently. The effect is primarily restorative, and as the strain of the voyage continues, the respite the Mima provides becomes more and more addictive. Notable, too, is that this respite is associated with the physical movement of looking down, of burying the face in the provided pillow and blocking off the reality of the outside world.
The Mima of the source material is initially different. It is concerned with looking rather than looking away, providing a focused and detailed view of the world outside the spaceship. "Pictures appear, / fragments of landscapes and we catch / snatches of language spoken somewhere. / But where?" (p. 6). The culture of observation that grows up around the Mima is an anchor for the dislocated, untethered group of passengers, and this shared experience bonds them together, providing a communal path through trauma. Notable here is that these images are not especially curated, in that the Mima cannot adapt them to the preferences of the passengers. She is incapable of deception. The Mima "is incorruptible and cannot lie" (p. 7), and thus becomes perceived by the passengers as being superior both in physical and moral sight. She is able to see further than they can, and she is able to see more clearly as well. The Mimarobe comments that this realisation prompts the passengers to treat the Mima almost as if she were divine: "they prostrate themselves as before an altar, / and I have often heard them whisper, / 'Imagine – if only one were like the Mima!'" (p. 7).
While there are small indications that the poem's Mima comforts the passengers in a similar way that the film version does – "the Mima, / like a friend in need, to everyone's relief / threw open her treasury of visions" (p. 11) which "come from hidden worlds" (p. 21) – the final scenes shown by the Mima are again those of outward rather than inward looking. Specifically, they concern the destruction of the world left behind. Earth, known by the name of Douris, is dying, and "Mima shows it all, uncompromising, / transmits to the last picture, fire and slaughter" (p. 30). The consequences of this universal transmission, this shared and outward seeing, are incalculable. It's worth quoting in their entirety here the two verses of her suicide:
She bade me tell the Leaders here that she
for sometimes past had felt as guilty as the very stones
for she had heard them crying out
as stones will do, on distant Douris' plains
and she had seen the hot white tears of granite
when stones and ores are vaporized,
it wrung her heart to hear those stones lament.
Her cell-works dimmed and damaged by the cruelty
which in his evil only man can show,
she came, as might be expected, to the point
where she at last, as even Mimas must, broke down.
The indifferent third veben's tacis
sees a thousand things no human eye can see.
Now, in the name of these, the Mima
craved for surcease. She will not speak again. (p. 33)
The suicide of the Mima is therefore treated very differently in film and poem. In the original text, the unblinking observation and acceptance of what humanity has done, ruining their planet and themselves, is so affecting that even artificial intelligence is moved to grief and suicide. In the absence of this rational, objective influence the population of the Aniara turns more and more to fracture and insanity. The film, in what is really an interesting choice considering the current conversations about climate change, biodiversity loss, and ecological damage, almost entirely removes this continued act of confrontation. The film version of the Mima is overwhelmed entirely by the emotions of the passengers, and shuts down because she can no longer cope. The film Mima, crucially, is also nearly voiceless. She has little opportunity to verbalise her grief at what she's seen, and in that she is a reflection of the population of the ship, who have been forced to observe the destruction of their planet alongside her. The focus has changed, and subsequently the film is firmly set around the grief that comes from dislocation, not that which comes from the determined practice of destruction.
Science fiction has a long tradition of exploring the concept of colony ships, and the psychologies and communities that develop inside them. Clearly these populations and their mindsets will be influenced by a number of factors. The film joins with the poem in a genuinely effective exploration of what loss and dislocation does to an isolated population, but the film has, I think, far less to say about responsibility. That in itself contributes a further sense of disjunction to the resulting text, but I'm not sure that effect is a deliberate one. The amount of passengers with burn scars, for instance, indicates an escape from catastrophe, but there's really very little acknowledgement, in the film – certainly explicit acknowledgement – that these injuries result from an environment that was, in its way, absolutely fashioned by humanity. The capacity for destruction, for environmental devastation, is – in the absence of natural environment – sublimated into the desire to destroy social rather than ecological communities. Yet the absence of the natural, and the reason for its absence, is a significant gap in the film's narrative... And it's a gap characterised by the capacity for sight.
The Mima exists as a sop. She is a means for traumatised people to cope with what accident has made of their lives – an eternity of homelessness, and the loss of hope and connection. Colony ship narratives often focus on the construction of a new community, of transitional loyalties and the adoption of new value systems. This is a way to keep such a ship sustainable, of course – when there's no possibility of escape, a contained population must find a way to rub along together or die. But many of these colony ship narratives have populations that share something beyond accident and destruction. They might be leaving Earth to explore the galaxy and settle on another planet, but rarely do they do it because they've a hand in actively destroying the planet they already have. Here, the only reason the film passengers are on Aniara is because their planet has, through war and exploitation, been made deliberately uninhabitable by them.
That is a shared experience, a shared responsibility, which must be genuinely crippling to any sense of subsequent social responsibility. Yet it's papered over, and I find that unfortunate.
What it has done, however, is to allow the film to focus entirely on the emotional response of a community to hopelessness. It's not just the immediate loss that's affecting these people – the disbelieving response of the mother who had promised to be on Mars by her small son's birthday, and now faces the certainty of never seeing him again – it's the aimlessness, the loss of purpose, that this eternal journey brings with it.
There's just no prospect, no realistic prospect, of this journey ever ending. The Aniara's captain does his best to string people along with hopes of rescue and recovery, but he's lying to himself as well as his passengers and quickly crumbles under the weight of knowledge and responsibility. Neither is there the prospect of the journey ending in a generation, or even two. People can have hope for their children when they have none for themselves, but it's difficult to live for descendants tens of thousands of years in the future, if at all. (Look at how difficult it is for most of us to take steps to leave a habitable world for those born a hundred years from now.) That far-distant possibility is not enough to hang a functioning society on. No wonder they all crumble to insanity under all that endless bleakness.
Oh, there are efforts to get a school going, to find sufficient work and leisure for everyone aboard so that they have structure and purpose to their days, but the loss of the Mima removes the main source of respite and comfort (in the film) and respite and responsibility (in the poem). If there's nothing to keep alive for, what's even the point?
Both texts are very clear that children won't do it. The poem has a minor character called Chebaba, who kills her newborn to spare it a life of pointlessness and insecurity: "Chebaba sat in her most fruitful year / in deepest bliss beside a tiny bier / where lay the little rosy bud / that she had saved from growing up / in Aniara's realm" (p. 53). And it's horrifying, but the poem is filled with small and horrifying scenes. Infanticide, it must be said, is far more effectively exploited as an emotional hook in the film, where it's explored so thoroughly it turns from example and into genuine tragedy.
The Mimarobe develops a relationship with the pilot Isagel and together the two women have a son. For a year they play at happy families, although Isagel is clearly suffering from a hideous combination of PTSD and post-partum depression. Finally the inevitable happens, and the Mimarobe returns to their quarters to find the toddler drowned, the mother having hung herself. It's awful. The most affecting scene in the film, and all the more effective because of the truly excellent decision the directors make to have all violence off screen. (An extremely explicit full frontal nudity orgy is fine, by comparison. I imagine this choice might have been reversed in other countries.)
There's nothing of "bliss" about Isagel's choice. Both she and Chebaba want to spare their children, but Chebaba takes pleasure in the ability to destroy what she has created – or if not pleasure, at least pride and acceptance. Isagel cannot, and it's no coincidence, I think, that Chebaba's reaction comes from a narrative that is unflinching about humanity's choice to destroy their planet, and Isagel's comes from a narrative that prioritises loss of hope over loss of home.
Look, this isn't a happy film. There is no happy ending. There's not even a happy beginning, because Aniara, in any medium, is not a story about happiness. It's a story about crumbling in the total absence of hope; a story where a population becomes so degraded it not only destroys its original home, but any possibility of subsequent ones. But it is relentlessly thoughtful, beautifully filmed, and the performances of the actors are fantastic. Emelie Jonsson as the Mimarobe, Bianca Cruzeiro as Isagel, Arvin Kananian as the increasingly unstable and authoritarian captain, and Anneli Martini as the drunken, cynical astronomer are genuinely outstanding.
Go and see it, if you can. But once you have, go back out into the world and make sure that you choose to keep it... because destruction, like creation, is a choice.
© Copyright 2019 By: Octavia Cade
About Octavia Cade
Octavia Cade is a New Zealand writer. Her stories have appeared in Clarkesworld, Asimov's, and Strange Horizons, amongst others. Her most recent novella, The Convergence of Fairy Tales, was published by The Book Smugglers.


Low Mileage, Bluetooth, Rear View Camera, Heated Seats, Aluminum Wheels, Steering Wheel Audio Control!
This versatile Mitsubishi Outlander has a sharp design, a roomy interior, and enough technology to make it a desirable alternative to more mainstream crossovers. This 2017 Mitsubishi Outlander is for sale today in Hamilton.
This Mitsubishi Outlander offers an excellent value in the compact SUV segment. Designed with eye-catching style and a spacious interior, there's plenty of room and comfort to enjoy the great Canadian outdoors. This Outlander also delivers strong performance and composed handling which adds to its versatility. With so much versatility, you can be confident that your Outlander will keep on delivering for years to come. This low mileage SUV has just 20642 kms. It's red in colour. It has an automatic transmission and is powered by a 2.4L I4 16V MPFI SOHC engine. This vehicle has been upgraded with the following features: Bluetooth, Rear View Camera, Heated Seats, Aluminum Wheels, Steering Wheel Audio Control. It has some remaining factory warranty for added peace of mind.


Just like your home, you want to treat your caravan with care and commitment. It is, after all, your home away from home. One of the first caravan accessories you will want to consider after purchasing a caravan is a caravan cover. This will keep out dust and dirt when in storage. Wheel covers are also a good idea to prolong the life of your caravan.
Other very useful caravan accessories include towing mirrors for increased vision and safety when on the road, or a portable caravan step for easy access. A caravan level will make sure your caravan is well positioned, and a folding wheel chock will secure your caravan in place.
Speak to our helpful team about caravan privacy screens, stabilisers, tank outlets and many more caravan accessories, or browse online.


text:
Jonathan Strange & Mr Norrell: Marc Warren on the team
The Gentleman actor Marc Warren talks Strange, Norrell and director Toby Haynes
By Poppy-Jay Palmer	 29-06-15 5,157
The Gentleman with the Thistledown Hair (Marc Warren) casts a spell for Mr Norrell (Eddie Marsan)
The BBC's latest fantasy miniseries Jonathan Strange And Mr Norrell has earned itself legions of fans over the last seven Sundays. Unfortunately the series came to an end last night, but it definitely bowed out in style. We talked to Marc Warren, the gentleman behind the Gentleman with the Thistledown Hair, about his magical time on the show…
Director Toby Haynes told us you were really eager to be part of the series. Did you want to play the Gentleman in particular?
Yes! It was Richard and Judy, Richard Madeley and Judy Finnigan, who mentioned the book to me years before and they said they thought I'd be good in the part, so when I found out they were making it I made sure I got an audition for it. I met Toby and got the gig.
What did you do for your audition?
I just came in and I did some scenes and I guess I did the voice that is in the show and I had an idea roughly about what I wanted to do, so I just did that. There was obviously something in there that Toby liked because it went well. I could have done something else and someone else could have got the part. I also wrote a little spell. I gave a spell to him. I wrote a thing called a sigil and I sort of laid that on him as I went in. That added a slight element to it.
How long did it take to get into the Gentleman makeup?
It took three hours altogether. Three hours with the wig and the makeup and the costume.
Have you met Susanna Clarke [author of Jonathan Strange & Mr Norrell] since you started working on the series?
Yes, I have. She's great! She came onto set and I met her one lunchtime. I think she found me a bit scary. I think it was quite strange for her to meet me but once we got chatting we got on really well, and I wrote to her a couple of times. I wrote a couple of emails to her and yes, she's a very interesting woman.
How did you find working with Eddie Marsan and Bertie Carvel [who play Mr Norrell and Jonathan Strange respectively]?
They are great! I'd worked with Eddie before. Eddie and I did one of our first films together called B Monkey. It was a long time ago, in 1998. So we'd done that together. I've always known Eddie and been aware of Eddie. And Bertie I'd never worked with but I'd seen him in Matilda and spoken to him afterwards, and they are great. They are very different but perfect. They both approached it in very different ways. They were perfect for the roles.
How was Toby Haynes during filming? We know he's very passionate about the story.
Yeah, Toby's great! He's like a big kid. He has endless energy, he's very likeable and I just got on really well with him. I had a very good rapport with him and I felt that he was happy with what I was doing so we just really enjoyed the process.
Jonathan Strange And Mr Norrell is out now on DVD and Blu-ray from RLJ Entertainment's Acorn Label. Get all the latest fantasy news inside every issue of SciFiNow.
Tags: Jonathan Strange And Mr Norrell, Marc Warren


text:
View published
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Britain's a pretty tiny country. It hardly warrants plane trips domestically. Your best bet is to travel by British Rail (BritRail). There are trains travelling all over this country – from London to Edinburgh, from London to Newquay and even trains across to the continent from London to Paris.
British Rail Passes
Brit rail passes are great value and offer a convenient and flexible way to explore all of Great Britain and Ireland. You'll find the British Rail map extends to most parts of England, Scotland, Wales and Ireland. There's so much to see and do in many of these British destinations that you may just find you'd like to stay a little longer – and with the British rail pass that's no problem! You can travel when you want and add extra destinations to your itinerary too. UK trains are the most flexible and hassle-free way to travel the British Isles.
British Rail holidays and destinations
Does a British Rail holiday sound like your cup o' tea? Well, there are so many destinations across this great land that they call Great Britain. Head from London to up north to where the kilted folk live in Aberdeen, Glasgow and Edinburgh. Or take a dreamy escape to the historic city of Bath. Cross over the border to Cardiff and say hi to the Welsh kids. And, if you're a keen surfer, you can head all the way down to Newquay in the south of England.


Research is a collaborative and international effort. The map below shows the global reach of NCRC Collaborations in 2016.
If you are interested in collaborating with a NCRC researcher, their contact information can be found under the Research Areas section of this website.
Alternatively, please feel free to contact us directly on info@nationalchildrensresearchcentre.ie and we will pass on your message.


There are two types of sources of data when doing a research. These are: Primary and Secondary. Therefore, you need to differentiate between these sources.
These are not the only items that can be used for primary data. Other items that can be used efficiently are cartoons and written materials. Ideally, anything that can give you information of that time can be classified as primary source of data provided it was written during that time.
Another important point that needs to be considered is that books, newspaper materials and other stories written after that period cannot be referred to as primary data sources. This is because they were written by people after that period was over. As will be seen, that is secondary information.
Secondary sources of historical data refers to materials that were written after that period of time. Mostly, these were written by historians who probably used primary data. When using secondary data, you should cross-reference to ensure that you have accurate information.
Once you have your data (both primary and secondary), you are now ready to start working. You should not start working unless you have enough materials though you can add new ones as you go. A librarian is an important asset who can give you a lot of information depending on the problem that you go through. Remember that there are times you can get materials but you are unsure whether they are primary or secondary.


text:
Le cabinet Kohl I (en ) est le gouvernement du Land allemand de la Rhénanie-Palatinat entre le  et le , durant la sixième législature du Landtag.

Majorité et historique
Dirigé par le nouveau ministre-président chrétien-démocrate Helmut Kohl, ce gouvernement est constitué et soutenu par une « coalition noire-jaune » entre l'Union chrétienne-démocrate d'Allemagne (CDU) et le Parti libéral-démocrate (FDP). Ensemble, ils disposent de 57 députés sur 100 au Landtag de Rhénanie-Palatinat.

Il est formé à la suite de la démission de Peter Altmeier, au pouvoir depuis , et succède au cabinet Altmeier VI, constitué et soutenu par une coalition identique. Après presque vingt-deux ans de pouvoir, le ministre-président est contraint par le groupe parlementaire chrétien-démocrate de passer la main à Kohl, âgé d'à peine 39 ans. Il reconduit alors l'alliance majoritaire au Parlement.

Lors des élections régionales du 21 mars 1971, la CDU remporte 50 % des voix 53 sièges sur 100. Retrouvant la majorité absolue qu'il avait perdu en 1963, le parti chrétien-démocrate peut ainsi former seul le cabinet Kohl II.

Composition

Initiale (19 mai 1969)
 Les nouveaux ministres sont indiqués en gras, ceux ayant changé d'attributions en italique.

Voir aussi

Articles connexes
 Helmut Kohl
 Élections législatives régionales de 1967 en Rhénanie-Palatinat

Kohl1
Helmut Kohl


text:
import { ModuleWithProviders } from "@angular/core"
import { Routes, RouterModule } from "@angular/router"

const routes: Routes = [
  {
    path: "",
    redirectTo: "/home",
    pathMatch: "full"
  }
]

export const RoutingModule: ModuleWithProviders = RouterModule.forRoot(routes)


Excited about the new upcoming Spring Collection! New fabrics, textiles, and designs coming from Abeokuta Designs! Stay Tuned!
Abeokuta Enteprises has changed over the last thirty eight years since it was founded in 1974, from textile tye-dye designs, to vending at the International African Arts Festival since it was called the "African Street Festival" on 10 Claver Place in Brooklyn to the DanceAfrica events to traveling trunk shows.
Now after many years of many different eras of styles and the emergence of African inspired clothing becoming more popular Abeokuta has under gone some re-visioning while staying true to its original vision of "customized and one of kind African inspired clothing" that makes you feel exquisite, chic and just fabulous! Abeokuta Enterprises has grown to Abeokuta Designs- which is the clothing line, Abeokuta Textiles- tye-dye textile designs, and Abeokuta hats- custom hats.
Stay tuned for more updates and developments on new clothing lines and products! 2013 is sure to be amazing and we have designs with you in mind!


text:
using System.Composition;
using System.Threading.Tasks;
using OmniSharp.Cake.Extensions;
using OmniSharp.Mef;
using OmniSharp.Models.Navigate;

namespace OmniSharp.Cake.Services.RequestHandlers.Navigation
{
    [OmniSharpHandler(OmniSharpEndpoints.NavigateUp, Constants.LanguageNames.Cake), Shared]
    public class NavigateUpHandler : CakeRequestHandler<NavigateUpRequest, NavigateResponse>
    {
        [ImportingConstructor]
        public NavigateUpHandler(OmniSharpWorkspace workspace)
            : base(workspace)
        {
        }

        protected override Task<NavigateResponse> TranslateResponse(NavigateResponse response, NavigateUpRequest request)
        {
            return response.TranslateAsync(Workspace, request);
        }
    }

    [OmniSharpHandler(OmniSharpEndpoints.NavigateDown, Constants.LanguageNames.Cake), Shared]
    public class NavigateDownHandler : CakeRequestHandler<NavigateDownRequest, NavigateResponse>
    {
        [ImportingConstructor]
        public NavigateDownHandler(OmniSharpWorkspace workspace)
            : base(workspace)
        {
        }

        protected override Task<NavigateResponse> TranslateResponse(NavigateResponse response, NavigateDownRequest request)
        {
            return response.TranslateAsync(Workspace, request);
        }
    }
}


text:
UI Fulbrighter on COVID and the importance of global exchange
University of Iowa grad and 2019-20 Fulbright awardee Erik Ovrom looks back at some of the highlights from his year in teaching in Mexico City.
Erik Ovrom
International scholarship/fellowship open house to be held Sept. 21
Join International Programs for our International Scholarships and Fellowships Open House to learn how you can apply for different types of merit-based scholarships, such as the Fulbright U.S. Student Program, the Stanley Awards for International Research, and many others!
Study abroad to host info sessions on Freiburg, Germany - Sept. 9 & 10
UI students who are interested in studying abroad in Germany are invited to attend an information session on the Academic Year in Freiburg program.
Karri Goeldner Byrne (BA '92, study abroad alumna) has devoted her career to helping those affected by crisis
Working in some of the world's most challenging environments is written into Karri Goeldner Byrne's job description. As a market systems advisor in the aid sector, she has led economic programming in areas impacted by natural disasters or conflict around the globe, including Bosnia, Somalia, Afghanistan, and Ethiopia
Virtual Homecoming announcement
Virtual Homecoming is a chance to keep the Hawkeye spirit alive by sharing a "homecoming message" with the UI community, regardless of where you are in the world. Show your school spirit by giving a shout out to the Hawkeyes from your corner of the globe, or by sharing a memory from your time at Iowa!
virtual homecoming,
Dean's Message: Welcome back
Dean Ganim reflects on what a new academic year brings - renewal, resilience, and much to look forward to.
Welcome back! A (video) message from Dean Russell Ganim
Associate Provost and Dean Russell Ganim provides a welcome back message
Webinar series to look at Pandemic through the Asian experience, Sept. 18 & 25
Join International Programs, the Center for Asian and Pacific Studies, the Obermann Center for Advanced Studies, and the Iowa Global Health Network for a special two-part webinar series "Pandemic, State & Society" (September 18 & 25) bringing together voices from Asia to discuss first-hand experiences with the coronavirus.
Center for Asian and Pacific Studies,
Korean Studies Research Network,
ighn,
Eight UI students awarded 2020 Gilman scholarships
Chosen from thousands of applicants from colleges and universities across the U.S., eight University of Iowa undergraduates have been awarded the competitive Benjamin A. Gilman International Scholarship, sponsored by the U.S. Department of State's Bureau of Educational and Cultural Affairs.
University of Iowa to host virtual study abroad fair Sept. 14-17
Start planning now for your study abroad experience by attending a host of interactive webinars at the University of Iowa's fall virtual study abroad fair, September 14 -17, via Zoom.
Virtual internships provide UI students the opportunity to gain relevant, global experience
University of Iowa students aren't letting the current Covid-19 pandemic put a damper on their aspirations to gain relevant, global experience in the form of international internships. While international travel is on hold at the moment, alternatives exist in the form of virtual internships—experiences that offer many of the same aspects of a traditional in-person internship such as interacting with supervisors and colleagues, completing projects, and learning about the host country's work culture. An added benefit of the virtual internship format is the opportunity for students to gain remote working skills—important to the new reality many professionals face today.
UI alumna, author, and artist A. Kendra Greene on her debut book
University of Iowa alumna, author, and artist A. Kendra Greene recently published her first full-length book, The Museum of Whales You Will Never See: And Other Excursions to Iceland's Most Unusual Museums. Greene graciously took some time to reminisce about her University of Iowa experience as an MFA student in the Nonfiction Writing Program and graduate certificate student in the Center for the Book, as well as the impact of receiving a Stanley Award for International Research.
Stanley Award for International Research,
King Sejong Institute to offer virtual Korean language classes fall 2020
Do you want to learn Korean from the comfort of your home? Now's your chance! FREE and open to the public.
In the news: Entrepreneurs in Africa save the day for Iowa interns
Quick thinking by University of Iowa Tippie College of Business leaders arranges last-minute summer work experiences for students whose internships vanished in the pandemic haze.
Tom Snee
Student Spotlight: Aasthika Das
Growing up in Kolkata, India, Aasthika Das had always assumed she would attend a university in India. That is until her sister, who is five years older, returned from her higher education studies in the U.S. and shared the style of education she received, how different it was from India, and the many opportunities that were available.
Student Spotlight: Soumya Venkitakrishnan
Initially enrolled as a PhD student in speech and hearing science, Venkitakrishnan soon added the AUD (clinical doctorate in audiology) program. "There are a lot of challenges that come with being a combined PhD and AUD student, but my department has helped me manage clinical schedules and teaching assignments and my research advisor has been very understanding, " says Venkitakrishnan. "I love my department. I realize why it is ranked so highly as one of the best programs—my department has been really supportive of everything I have wanted to do."
In the news: What we can do about the devastation COVID-19 could wreak in low-income and developing countries
Half a billion people in low-income countries could be pushed into poverty, according to the charity organization Oxfam.
Dimy Doresca
Dean's Message: Necessity is the mother of invention
Dean Ganim addresses some of the innovative ways International Programs has continued to promote international education.
UI Statement to the International Student Advisory Board in Support of International Students
UI administrators respond to a letter from the International Student Advisory Board, expressing support for international students.
UI Administrators
In the news: Let Iowa's international students stay here and learn
The COVID-19 pandemic and the Black Lives Matter movement reveal cracks in U.S. institutions and a need to refocus our collective energy on human rights — especially when policies target vulnerable community members. The U.S. Immigration and Customs Enforcement agency's announcement on July 6 revealed the federal government's willingness to hurt international students.
UI College of Education faculty
In the news: Iowa universities condemn deportation threat to online-only international students
Administrators object to 'harsh and unnecessary guidelines'
UI student Cameron Keomanivong awarded Fulbright to Laos
Cameron Keomanivong, who received a BS in neuroscience from the University of Iowa in May 2020, is the winner of a Fulbright English Teaching Assistantship Award to Laos for 2020-21
Statement from the Dean: Response to Fall 2020 SEVP Guidelines
On Monday of this week (July 6), the Department of Homeland Security issued updated guidelines regarding the visa status of international students enrolled at U.S. institutions of higher learning for the fall 2020 term. Dean Ganim responds to these new guidelines.
statement from the dean,
Experience Study Abroad: Torino, Italy
Despite a pandemic-induced early return, Taryn Lawler traveled wide and far during her time abroad and shares her transformative experiences through self-discovery. Keep reading to learn how Taryn expanded her boundaries and had incredible adventures in Europe!
Taryn Lawler
Experience Study Abroad: A Shortened Year in Rome
I knew from the second I got my acceptance email from IES that I was about to start on a journey that would change my life and open up a world of opportunity and excitement, and I was right. The first six months that I spent in Italy were some of the best and most exciting of my life.
Hannah Huzzey


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Duke Energy alerts customers to flooding dangers during Tropical Storm Colin
Emergency response plan and storm center activated
Company urges customers to make safety a priority
ST. PETERSBURG, Fla. -- With Tropical Storm Colin bringing severe weather to Florida, Duke Energy is responding and urging customers to be safe.
Duke Energy's storm center has been activated and crews and additional contractors are in place in Pinellas County through north Florida in order to quickly and safely respond to outages.
The storm is expected to bring heavy rain and flooding to coastal areas.
"At Duke Energy, safety always comes first. We actively care about the safety of our customers, crews and employees during and after every storm event," said Luis Ordaz, Duke Energy Florida storm director. "We've trained and prepared, and we want to ensure our customers are safe too."
Electrocutions are the second-leading cause of death during and after floods, according to the American Red Cross. Duke Energy offers the following electrical safety guidelines when coping with flooding:
If rising water threatens your home – or if you evacuate your home – turn off your power at the circuit breaker panel or fuse box.
Electric current passes easily through water, so stay away from downed power lines and electrical wires. Don't drive over – and don't stand near – downed power lines.
Never replace a fuse or touch a circuit breaker with wet hands, or while standing on a wet or damp surface.
If your home or business is flooded, Duke Energy cannot reconnect power until the electrical system has been inspected by a licensed electrician. If there is damage, an electrician will need to make necessary repairs and obtain verification from your local building inspection authority before power can be restored. Duke Energy can provide a free, no-obligation referral to a local reputable electrician at 888-999-8856.
When outages occur for any reason, Duke Energy is committed to restoring power as safely and quickly as possible, while keeping customers informed throughout the process.
Customers can report outages by calling (800) 228-8485 or online at www.duke-energy.com.
In addition, outage alerts are available by text or voice message and feature restoration times, status updates, outage causes and notification when power is restored.
Text "REG" to 57801 to register for text alerts or enroll at duke-energy.com/outagealerts for voicemail notifications. Customers will need to have their account number or have their mobile number registered with their account.
For storm updates on social media, follow Duke Energy on Twitter (@DukeEnergy and @DE_SuzanneG) and Facebook (Duke Energy).
About Duke Energy Florida
Duke Energy Florida owns coal-fired and natural gas generation providing about 9,100 megawatts of owned electric capacity to approximately 1.7 million customers in a 13,000-square-mile service area.
With its Florida regional headquarters located in St. Petersburg, Fla., Duke Energy is one of the largest electric power holding companies in the United States. Its regulated utility operations serve approximately 7.4 million electric customers located in six states in the Southeast and Midwest, representing a population of approximately 24 million people. Its Commercial Portfolio and International business segments own and operate diverse power generation assets in North America and Latin America, including a growing portfolio of renewable energy assets in the United States.
Headquartered in Charlotte, N.C., Duke Energy is a S&P 100 Stock Index company traded on the New York Stock Exchange under the symbol DUK. More information about the company is available at duke-energy.com.
Follow Duke Energy on Twitter, LinkedIn, Instagram and Facebook.
Duke Energy Florida provides free energy makeovers for income-eligible residents in Volusia County
Duke Energy Florida provides financial assistance as fuel and storm cost filings impact 2023 rates
Duke Energy's Site Readiness Program brings economic development benefits to four Florida communities
Florida, Emergency Response, Storms and Outages


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Posted by mudball on April 26, 2013 in Registered Artists
Mudball
On a murky December evening in 2006, in a converted coldroom in Worcester, Mudball got together for their first practice… To date Mudball have appeared and played live on Sky RED TV, performed live on air for the BBC H&W Stage at The Worcester Music Festival, won the EMA award for Best Music Video 2010, secured a number 1 spot for 3 weeks on the Tourdates unsigned charts and stayed in the top 10 for 8 weeks! Mudball have had lots of radio airplay including BBC H&W, local, university and online radio stations (including American iChannel). Mudball have played many festivals and gigs across the country including headlining The Fairfield Music Festival. Now finishing their first EP, which includes 'Dayglows' produced by Joe Gibb (3 Colours Red, Funeral for a friend, Brigade) Mudball are stamping their incredible sound and style wherever they go. This is by no mean feat though, as collectively they've supported the likes of Robert Plant, Amy Winehouse, Fine Young Cannibals and Apes Pigs & Spacemen to name but a few. Together they bring the best of Grunge, PowerPop, Metal and American Punk styles, which are the catalyst of Mudball's big sound.
Author: mudball
Mudball are a 3 piece Alt / Rock / Pop band from the midlands. They combine a mixture of Addictive melodies and big crunchy guitars. Mudball are influenced by - Foo Fighters - Manic Street Preachers - Blink 182 - Muse - Alice in Chains - NIN - Faith No More - Ennio Morricone - System of a Down -Turin Brakes - The Chemical Brothers - Rage Against The Machine - Anthrax - System of a Down - Lit - Queen - Biffy Clyro to name a few...
Exposure! Winner 2010
Mudball: Day Glows
Slashed Seat Affair: Forget You
Eliksir: Fairytale


Home » Tech » POLL: What Browser Are You Currently Using On Your Phone?
POLL: What Browser Are You Currently Using On Your Phone?
A Browser is the gateway to the internet. It is used to surf the web for millions of information. Without it, there wouldn't be any way to access the internet even sites like ours (Entclass.com.ng).
Every devices comes with one or two browsers pre-installed for easy surfing, but there's one particular browser we've developed a taste for. So, when it comes to browsing the internet, there's always one browser you always go for on your phone.
There are some people who just stick to only the browser that came with their phone and satisfied with it. There's nothing wrong with that if you ask me. Some go for browsers that are lightweight and consumes less data while some prefer a faster browser with features and great UI.
For me, I've always sticked with Google Chrome on my phone because of its great features, simplicity, shared device settings and history, custom tabs, and overall snappiness have me pretty pleased. At this point, any other browser would increase the time it takes for me to do work, which I just can't do.
Some still prefer Mozilla Firefox which is also a good browser, and now that the company has officially rolled out Firefox Quantum which is the first ever upgrade from the company with lots of features.
To cut the long article short, i still prefer and will always recommend Chrome browser for easy internet surfing. So what browser do you use on your phone?
It's been a while since I got here... Just decided to checkout new browser cheats and things are floating everywhere. Especially the trending thing at the top of the page, the fire is making me uncomfortable. Should I click it or what?
Funny comment. The fire only indicate Hot Posts. If clicked, you will see some sets of random posts. Nothing much.
Well as a web programmer I usually install multiple web browsers and I've used many.
Overall I find that I mostly use operamini but only for light surfing and reading as it does not consume as much power as the others.
For secure transactions I use Firefox. But let me point out that so far for me puffin is the fastest browser I've ever used.
Google chrome since it emerged has been the browser with the most support for new web technologies. It's the number one browser for many programmers cause it supports many HTML5 tags etc that are yet to be adapted by others. The problem is, the company focuses a lot on mining peoples personal data. I know many people don't care about this but those who do try as much as possible to avoid it. So for me, I mostly use it for testing and besides it drains a lot of battery.
By the way Kachi, I noticed your blog was redirecting to stackoverflow earlier, what happened?
I wasn't hacked. I added a redirecting code which I forgot to remove before taking a nap. Immediately I woke up, I got messages from friends concerning the issue which I immediately resolved.


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Get To Know: Multi-genre Producer Burt Dogg
Born in Denver, Colorado Brett Crow, stage name "Burt Dogg" became exposed to many musical influences at a young age such as Kanye West and Kid Cudi that lead him into the world of music production. Burt Dogg soon became a standout name to come from the ever growing community of Soundcloud as a multi-genre producer. Specializing in emotional and catchy instrumentals such as "Silhouette" or "Drown" Burt Dogg's impactful sounds have amassed millions of streams as his sound continues to grow and evolve.
So firstly, how would you describe your sound?
I would describe my sound as emotional and melodic. I try my best to convey emotional tones with the melodic elements in my music, so the tone will vary between songs but the melodic elements always stand out.
What's a typical day in the studio like for you?
A typical studio session for me is usually me being full of pain the middle of the night but if I'm collaborating with artists I'll usually go into the studio with instrumentals ready but also ready to spend countless hours bouncing ideas off the artist to make something from scratch if needed.
Do you have to be in a certain mood to write a song?
I definitely have to be in a certain mood to write music, over the years I've picked up on the fact that creativity can never be forced so I've learned to recognize the pockets of time when that creativity and motivation sparks. I find myself thriving when I'm down horrendous in the middle of the night.
Who are your three biggest musical inspirations?
My biggest musical inspirations at the moment are Kid Cudi, Sybyr, and Ericdoa. Cudi for his ability to convey each and every emotion perfectly. Sybyr because of the way he's always unapologetically himself. Eric for his amazing melodies and evolutionary production.
Who is the best band you've ever seen play live?
The best live performance I've seen was probably Denzel Curry, another huge inspiration of mine. Just the way he got the crowd jumping was absolutely phenomenal, just splendid.
What's the toughest part of the industry for you?
The toughest part of the industry is definitely the cutthroat mentality behind it. Like people really out here praying on my downfall because I got big dogg status. I just wish the industry as a whole was more welcoming towards the idea of helping each other out instead of being so money driven.
What's the most enjoyable part of the industry?
By far the most enjoyable thing about the industry is just the ability to positively impact people all across the world. I've meet so many amazing people and built so many great relationships just through music alone. Being able to lift others up is the secret sauce to fulfilment in life.
What's in store for you for the rest of 2021?
I have so much planned for the rest of 2021 it's almost overwhelming but for now you can definitely count on consistent releases, both solo and collaborative songs. Also lots of new forms of content and resources to help other artists.
Stream the latest release:
https://twitter.com/BurtDogg303
https://www.instagram.com/burtdogg
Get To Know: Aztec Flow & Atahan
Back To 'Year Zero' With Elijah Hills
Get To Know: Jupitxr


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Home POP CULTURE Caroll Spinney, legendary Sesame Street puppeteer of Big Bird, dies at 85
Caroll Spinney, legendary Sesame Street puppeteer of Big Bird, dies at 85
Caroll Spinney, the puppeteer and actor behind Sesame Street's Big Bird and Oscar the Grouch, died Sunday. He was 85.
He died at his home in Connecticut, according to a press release from Sesame Workshop. Spinney had worked on the beloved cartoon show for 50 years, serving as the puppeteer for Big Bird and Oscar the Grouch since the show's premiere in 1969.
Caroll Spinney, the legendary puppeteer behind beloved Sesame Street characters Big Bird and Oscar the Grouch, died today, December 8th 2019, at age 85 at his home in Connecticut, after living with Dystonia for some time. https://t.co/9nQ8H9iUES pic.twitter.com/8BoXn9rge3
— Sesame Workshop (@SesameWorkshop) December 8, 2019
Spinney had been diagnosed with dystonia, a neurological movement disorder that produces involuntary muscle contractions, cramps and other symptoms, causing him to retire from puppeteering the two characters in 2018.
"His enormous talent and outsized heart were perfectly suited to playing the larger-than-life yellow bird who brought joy to generations of children and countless fans of all ages around the world, and his lovably cantankerous grouch gave us all permission to be cranky once in a while," the press release said. "Caroll Spinney gave something truly special to the world. With deepest admiration, Sesame Workshop is proud to carry his memory – and his beloved characters – into the future."
Sesame Street co-founder Joan Ganz Cooney remembered Spinney for his generosity.
"Caroll Spinney's contributions to Sesame Street are countless," she said in the press release. "He not only gave us Big Bird and Oscar the Grouch, he gave so much of himself as well. We at Sesame Workshop mourn his passing and feel an immense gratitude for all he has given to Sesame Street and to children around the world."
Sarah Jackson is an intern for NBC News.
Spinney
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