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Language Hacking Italian Review: Speak Italian Fast!
April 27, 2020 September 8, 2016 by Kris Broholm
Language Hacking Italian Review: The Language Hacking books is a new series of books produced by Benny Lewis and Teach Yourself.
In this review I take an early look at Language Hacking Italian to see how this new course stacks up with traditional language learning course books.
What is Language Hacking?
Before we get into the book itself, I think I might need to explain the term language hacking.
It's a relatively new term, coined by Benny Lewis, and refers to the shortcuts and techniques one can use to gain rapid fluency in a foreign language.
Note please: I use fluency as the ability to have conversations without too many pauses. I don't consider fluency to be the ultimate mastery in a language, like some people do.
This involves a variety of techniques that Benny has spent the last 10 years or so sharing with the world. Most of them are related to actually using the language, a common problem with traditional course books.
An example of language hacking would be to write down the basic script that you will encounter when meeting new people. Memorising specifically the vocabulary you will need.
This allows you to have a conversation in your target language in no time at all.
Compare that to traditional language teaching where university students coming out of 2-5 year degrees not speaking a whole lot. Yes they might read, write, and understand very well, but without that key element of speaking it's not really that useful in most situations.
Another language hacking concept is to speak like Tarzan.
Instead of saying; "Excuse me, could you tell me where the toilet is?" you could speak much sooner if you just allowed yourself to say: "Sorry, where toilet?"
These are of course just minor examples, but they demonstrate that there are ways you can get to the fun parts of a language quicker (i.e. speaking) than the world has produced up until roughly 10 years ago.
In other words, language hacking is the ability to get the most mileage out of what we know in a language. It's the strategic choices to learn what is most relevant.
Now that you're 100% on what language hacking means we can take a look at the actual course book.
The best place to pick up the book is on Amazon. Go grab your print or kindle copy here.
Format of the Language Hacking books
The books contains 10 units spread out on 220 pages, not counting the answer key at the back.
Each unit centers around an interesting, realistic dialogue and provides the following for each of the 10 dialogues:
The dialogue itself with a mission for the learner
Interactive practice through exercises and questions
Essential Phrases / Vocabulary to build your own sentences
A #LanguageHack Tip from Benny
Grammar Explanation
Lots of notes scribbled across the margins
A note on the informal/formal in Italian
Benny states early in the book:
Italian has two ways of saying 'you': One is informal and the other is formal. For this book, we're sticking with the informal form, because honestly, that's the form you'll use most when you're casually chatting with people your age.
Some might not like this, but as someone who's learnt languages that still uses formal versions I never really encountered too many problems with this.
While it is true that you might offend someone, I'm also sure that most of the world is pretty forgiving when it comes to new learners in a language in a situation where no other communication was available.
Once you've completed the book and move on to other courses you will have plenty of exposure to the formal forms of the language, so don't worry about that one.
Some traditional courses even use the polite form exclusively in the beginning, which can cause some awkward moments if you use it with people your own age or children.
Goes without saying of course, that if your target speakers are all older than you and you plan to learn Italian for a specific purpose where the formal language is required this course simply isn't for you.
Differences From a Classic Teach Yourself Course
The Language Hacking Italian book is radically different from traditional Teach Yourself Language Courses for a few reasons:
It focuses on speaking, hence the subtitle "A Conversation Course"
It's highly interactive
It empowers the learner to actually do something with the language
The knowledge is more concentrated.
There is no doubt that traditional Teach Yourself Language Courses do work, and have been working for a very long time. Unfortunately I find that they often suffer the same shortfalls as school language classes.
The conversations within are often touristy or completely irrelevant. I honestly never think anyone has been unsuccessful in checking into a hotel without the target language, for some reason this industry expects this in most countries.
They can also be pretty boring with the way they systematically break down each dialogue in a systematic pattern of dialogue, translations, grammar notes, and some exercises
I'm not saying Teach Yourself Courses are useless or provide no value, they certainly do. I just know that most people are probably not successful with them due to some of these reasons.
I was very happy to see that's not the case with this book.
Accompanying Audio
The audio for the books is provided via the Teach Yourself Library application. Here is how to get started.
1. Find the Teach Yourself Library app in your local app store.
2. Open the app and choose the book audio you want to download (it's free!)
3. Start listening, conveniently labelled.
The quality of the accompanying audio content is really superb studio quality. The pronunciation is clear and precise, and I like the fact that Benny has recorded so much of the book himself.
Of course he is assisted by native speakers when the dialogues come up, but I like to hear his voice when he's explaining concepts or introducing new sections.
Listen to the first module here:
[smart_track_player url="http://media.blubrry.com/actual_fluency/content.blubrry.com/actual_fluency/ItalianHacking.mp3″ title="Language Hacking Italian Module 1″ artist="Benny Lewis & Teach Yourself" color="#f2af20″ download="false" social="false" ]
This feature was not yet available at the time of writing this review, as soon as it opens up I will update this post.
Italki Tutoring Partnership
Another part of the whole #LanguageHacking movement has been to partner up with the worlds most popular tutoring platform, italki to encourage the learners to get tutoring sooner, or even at all.
Unfortunately most people are simply not aware of how affordable and accessible online tutoring is, and I'm really happy to see that this has been integrated into the book, once again focussing on the power of actually SPEAKING a foreign language and not just reading it.
How significant Italki's role will be, apart from getting people more tutoring, remains to be seen.
From what I understand they've built a whole community section dedicated to language hackers and will be actively managing it to encourage people to interact on their site.
For more information on Italki you can read my review here.
Language Hacking Italian Review Conclusion
When Benny first made the announcement that he was going to release language course books in partnership with Teach Yourself I was highly skeptical of what the result might be.
For some reason I wasn't really seeing how much you could actually change or improve on these classic language courses. To me it seemed like a pretty solid, albeit slightly boring model.
But Benny really came up with something quite unique. And I think the result is excellent.
Not only do you get a highly focused course with a very specific outcome ("Conversation course for beginners"), but you also get tons of information, tricks, tips, and hacks for the language on top.
Since this information is often scribbled in the margins of the book, it does feel like you're being personally tutored by Benny himself. Sometimes the pages can feel a bit busy because all the margins are scribbled, you have the main chapter text and also some bonus boxes around.
I played around with the first chapter and the constant mini-challenges and overall mission really kept me going and entertained. I'm looking forward to giving the method a full test run next year when I begin to learn Italian seriously.
One caveat is that it's definitely a beginners course and it definitely won't get you to intermediate levels in any definition of the word.
However, will it make you learn the fundamentals quickly to be able to go out and speak a foreign language faster than any other method? I think so.
The new language hacking books provide an enjoyable and extensive introduction to a foreign language and encourages the learner to use the language from the very first page.
Very reasonably priced
Packed with information and tips
Fun and easy to keep working with
You feel like you make huge progress in no time
Not overly extensive
Some pages have too much information on them
Only available in Italian, Spanish, German, and French right now.
Who is Language Hacking Italian Suitable for?
Language Hacking Italian is suitable for total beginners who want to supercharge their Italian learning and start speaking the language extremely quickly.
It's also useful for people who have studied a bit of Italian in the past, and are looking to come back to the language.
Where to Buy the Language Hacking Books
The best place to buy the books are on Amazon, where you can get print or kindle versions.
The prices fluctuate a bit, but for now they're about $15 for the printed books and $12 for the kindle version.
In my opinion this represents excellent value for money, especially when compared to other language learning books.
Language Hacking Italian
[thrive_link color='teal' link='http://geni.us/langhackitalian1′ target='_blank' size='small' align="]Order on Amazon[/thrive_link]
Other Language Hacking Languages
That's the end of my Language Hacking Italian review. Give it a share on your favourite social media if you found it useful.
Categories Reviews Tags benny lewis, language hacking, language hacking french review, teach yourself Post navigation
Language Hacking German Review: Conversation Course Book


THE AVERAGE woman will change her hairstyle 104 times in her life. Supremely confident I'm on track to exceed this figure after killing off my slowly dying perm for good (R.I.P. damaged hair) and now embracing straight and short locks. Sounds high at first BUT we're women — we enjoy evolving, re-inventing ourselves, spicing up things… and most importantly, taking chances.
Sure, they're temporary chances and risks because after all, hair ALWAYS grows back. That's the great thing about hair — it's universally and perpetually forgiving. You always have the extravagance of second, third and fourth chances to get it right.
Remember that one time I accidentally wore my skirt BACKWARDS and didn't realize it until days afterward? See evidence below.
Lessons learned: never get dressed in less than a minute for an event and never be fooled by faux pockets!
with my sister, Melanie, who's wearing an Alexander Wang sweater, PM by Pixie Market shorts and Lucky Penny mules // I'm wearing a H&M jacket, American Apparel t-shirt, My Wardrobe tweed skirt via Pixie Market, Zara shoes and a vintage necklace.
with Sade — how amazing is her Tory Burch necklace?!
with Natalie - loved running into her!
Just a few snaps from Sunday's Lucky FABB West x rewardStyle brunch at The Viceroy in Santa Monica before Monday's conference. Good times catching up with friends and meeting new fabulous ladies. I felt so lucky, like literally LUCKY, to be in the company of such amazing women.
Following brunch and courtesy of Have to Have, a personal online registry that allows you to save all your wishlist items from all over the web in one place (simplified gift shopping for your friends and fam!), we had the great fortune to go shopping with Lucky magazine's West Coast Bureau Chief, Marlien Rentmeester, at her favorite stores along Abbot Kinney in Venice. So much fun!
IF modern day school girl uniforms were made of lace and mid-thigh lengths passed the acceptable grade, they'd look like this dress. Playing up the casual school girl look for the weekend, I wore my new Zara messenger bag and added the detachable neck tie from this Sway Chic blouse (worn HERE). PLUS, the touch of cranberry helped to break up the overly vanilla palette.
Cheers to having a great week!


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Q: How to connect matlab scripts I have the following problem:
I have written six scripts matlab. In the first script, the user must enter the variable n_strati (a number between 1 and 5). The first script allows you to make choices about computing models based on variables known or unknown , and runs them to n_strato=1. The second third fourth and fifth script follow the same procedure , respectively, for the layers 2-3-4-5, but in which the input parameters (not intended as a value) are different. For example:
for Strato1 performs calculations knowing the input variables A B E (and not C D F) , for Strato2 performs calculations knowing A C E (and not B D F) , for Strato3 knowing the variables B D F (and not A C E).
The sixth takes all the variables of the previous scripts and processes them to obtain the final result.
The first five scripts save the data using the command:
save Strato1 alpha beta gamma
% etc.

and the sixth script them "stores" with the command:
load Strato1
load Strato2
% etc.

But I have to make sure that:
if n_strati==1
I enter the data and choose the models in script1 jumping scripts 2-3-4-5 and proceeding with the final calculation through the script 6 .
if n_strati==2
I enter the data and choose the models for Strato1 in script1 and Strato2 in script2 jumping scripts 3-4-5 and proceeding with the final calculation through the script 6 .
and so on.
I wanted to know: how can I do?
Thank you for your cooperation.

A: The best way would be avoiding scripts and using functions. Even if you succeed in your plot of using multiple scripts, the code will be a big mess, hard to debug, etc. So the answer is simple:
Say NO to scripts!
It is as easy as adding a signature and declaring your input and output.

redpajama_set_name: RedPajamaStackExchange


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Q: YUI2 setStyle opacity not working in IE10 I have some YUI2 code (v2.8.1) that looks like this:
YAHOO.util.Dom.setStyle('foo', 'opacity', 0.5);

and:
var t = new YAHOO.util.Anim(this._splashSlide.shutter, {opacity: {from: 1.0, to: 0}}, 1, YAHOO.util.Easing.easeBoth);

It has been working fine for a number of years and it automatically decides whether it can use style.opacity or whether (for IE) it has to use the IE style.filter to achieve opacity.  For a variety of reasons, it is not worth porting this code to YUI3.
Along comes IE 10, which (in standards mode) no longer has the style.filter property and only supports the standard style.opacity property.  That's all good, but the YUI2 version I'm running against doesn't know about IE 10 and is apparently still using the style.filter property which no longer works.
So, my question is whether there is an update to YUI2 that is IE10 compatible and uses the opacity property for IE versions where that property exists?
If it was just a simple style setting, I could work around it, but I have a number of YUI animations and I can't find an easy way to work around those (nor do I want to spend the time doing so).
Has Yahoo fixed this for YUI2?  Anyone aware of a work-around, particularly for the animation functions that call YD.setStyle() internally?

A: I guess I found an answer to my own question.  YUI2 v2.9.0 changes their setStyle() function to use feature detection so they now properly use style.opacity on browsers that support it and only use IE's style.filter when style.opacity is not supported.
If ever one wanted a poster child for why browser detection is bad and feature detection is good, this is a perfect example.  Because YUI2 originally used browser detection, it is now broken on IE10.  If they had used feature detection in the first place, the older versions of YUI2 would work on IE10 without requiring an update.
Now, to see if I can get the site where my code runs to upgrade to YUI v2.9.0.  If not, I'll have to code a messy workaround.


In the Zenph Online Education Network (ZOEN), people learn to play the music they love. The ZOEN delivers the perfect match between teachers and students through live online music lessons. Whether you're looking to learn your favorite song, seeking advice on perfecting your technique or searching for the right music teacher for your kids, taking a live online music lesson from one of the ZOEN's experienced, nationally renowned music teachers is just a matter of a few clicks!
Brought to you by Zenph, Inc., The ZOEN is an award winning Re-Performance® technology. It was named one of the "Best Ideas of the Year" by The New York Times Magazine and has earned us accolades from music lovers and critics the world over, including multiple GRAMMY® nominations.
Based in North Carolina's Research Triangle Park, Zenph, Inc is a venture-backed technology company led by a team of music and software professionals with expertise in music education, consumer software, social gaming and entertainment.


Application opens September 1, 2015 on the APS CUWiP website.
Application closes Friday, October 16, 2015 at midnight Eastern Time.
Inform applicants whether accepted or wait listed.
Deadline for accepted students to confirm attendance through APS registration site. There is a $25 non-refundable registration fee (with waiver for financial need).
Inform wait-listed students of new status.
Deadline for formerly wait-listed, now-accepted students to confirm attendance through registration site. There is a $25 non-refundable registration fee (with waiver for financial need).
Deadline to submit reimbursement requests.


Welcome to the Whitehorse Art & Craft Guide, your local guide to Art & Craft in the City of Whitehorse .
The Whitehorse Art & Craft Guide brings together information from a wide range of sources to make it easy for you to find what you're looking for.
Welcome to Curtains Yarra Valley. We are a well established company with over 15 years experience within the soft furnishing industry. As a company we work throughout the Yarra Valley, Wandin, Geelong and extensively in Melbourne area. We provide a personal service to both trade & private customers. We pride ourselves on our skill & knowledge within this industry and we are happy to provide a FREE consultation service to ensure that we meet your requirements and provide the best service possible.
Welcome to Gralene Upholterers Graylene Upholsterers was established in 1985. Our aim is to offer quality workmanship and professional attention at all times. We offer a complete upholstery service ranging from repairs, rebuilding and restoration of furniture, lounge suites, chairs and commercial wall panelling. We specialise in creating any upholstery need you may have. We will visit you for a no obligation free quote, to help design and build to any specification. Graylene Upholsterers is located at Factory 14/40 Frankston - Dandenong Road Dandenong, VIC.
We are situated in South Yarra and specialises in Printing, Digital Print, Short Run Printing and Copying.
Welcome to Mailing Kilsyth - We offer customers the complete mailing services and solutions in the Kilsyth area. No job is too big or too small for us.
Welcome to Mary's Little Lambs Early Learning Centre - Child Care Box Hill Are you looking for information on child care services in Box Hill Area? You have come to the right place.
Signarama, Signs Vermont is your full service sign centre.
Paper & Ink - Printer South Melbourne We are the specialist printers in South Melbourne offering professional, high quality and eye catching digital and off-set printing solutions.
Printer Southbank - Paper and Ink are renowned for providing their printer and printing services to the Southbank area.


EDF say that the deal they cut with the Coalition is 'fair and balanced for consumers and investors alike'. I guess it's unsurprising that EDF are very pleased with the deal, as it gives them a guaranteed and inflation-proofed return at twice the price we currently pay for electricity for the next 35 years. This puts the UK tax-payer as well as the energy consumer on the hook for the enormous costs of Hinkley Point – already acknowledged to be the most expensive nuclear power station in the world.
At least we now know that this is a subsidy paid for by public money. The Governments contrived position argues that nuclear subsidies are OK if also available to other low carbon technologies including, of course, renewables. But the sheer scale of nuclear subsidies and the 35-year contract with EdF dwarfs anything offered to renewable energy. This is a very big issue, not just for the UK, but for all Europe. Distorting nuclear subsidies will impact across the whole EU electricity market. Big nuclear subsidies mean that the market for European renewable energy technologies will inevitably be significantly reduced. Those adversely affected include renewable energy generators, installers, equipment manufacturers, other efficient technology providers, fitters of insulation and other energy saving equipment, and investors in decentralized renewable energy projects.


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Isabelle Thomas is a professor of geography at the Université Catholique de Louvain in Belgium and research director of the National Fund for Scientific Research. She is member of the Center for Operations Research and Econometrics (CORE)

Education and career
Thomas earned a Master's degree (1979) and PhD (1984) in geography from Université Catholique de Louvain.

For most of her career, Thomas has held academic positions except for five years (1987–1991) that she spent at the headquarters of the Belgian police force studying the spatial structures of road accidents.

Since 1992, her research work has been focusing on transport, economic and quantitative geography.

Her main research topics are:
 Modelling optimal locations of human activities and more particularly the sensitivity of the location-allocation and transportation models to their geographical inputs;
 Applied quantitative analysis for spatial data with topics such as scale;
 M.A.U.P. : Modifiable Areal Unit Problem;
 Autocorrelation;
 Statistical mapping;
 Landscape morphometrics;
 Transport geography;
 Cartography;
 Big Data

Application domains are mainly socio-economic and transportation issues in Belgium. From 2016 to 2019 she was research director of the Center for Operations Research and Econometrics.

Awards and honours
 2019: RSAI Fellow
 2017: Edward L. Ullman Award of the Association of American Geographers
 2015: Belgian Francqui Chair. Measuring and Modelling in Economic and Transport Geography: challenges and opportunities"
 2012: Compagnie du Bois Sauvage Award for the Best Complete Scientific multidisciplinary project
 2001: BMW Scientific Prize on the theme "Innovation for a Mobile Future"
 1990: SAS Best Graph and Cartography Award
 1989: Philippe Aydalot Prize in regional Science

References

External links

 Research Gate Profile

Living people
Université catholique de Louvain alumni
Academic staff of the Université catholique de Louvain
Belgian geographers
Women geographers
1956 births

redpajama_set_name: RedPajamaWikipedia


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Hannah Cole
Hannah Cole is an artist, speaker, and tax professional empowering thousands of fellow creative people with clear financial education and tax preparation. She is the founder of Sunlight Tax. Follow her on Instagram @hannah.cole.painter.
What Do Arts Organizations Need to Know About the Federal Shuttered Venue Operators Grant?
by Hannah Cole February 23, 2021 February 23, 2021
Congress earmarked $15 billion in grants for performing arts venue operators impacted by the pandemic and here's what you need to know.
How Banks Artwash the Funds that Enable Police Brutality
by Hannah Cole July 15, 2020 November 5, 2020
The art scene is directly linked to and financially benefits from one of the most violent, heinous components of racist oppression in the US: police brutality against communities of color.
Some of the Art World's Largest Donors Have Paid Millions to Squelch a Wealth Tax
by Hannah Cole March 13, 2020 March 13, 2020
A decades-long campaign by the ultra-wealthy, including the Koch, deVos, Mars, Bass, and Walton families, has successfully misinformed United States taxpayers about what the estate tax actually is and who it affects.
The Insidious Role of Gender Bias in How Artists Grapple with Personal Finances
by Hannah Cole September 30, 2019 March 11, 2020
Our culture is quick to put down a woman who seeks money or power at the same time that it valorizes the men who do so.
Tax Policy Should be Part of Our Basic Civic Education
Taxes are our only mandatory civic duty. So why is tax education left out of civics?
Translating the New Tax Bill for Small Businesses
by Hannah Cole December 27, 2018 March 11, 2020
Can small business owners and freelancers benefit from the business deduction in the government's new tax bill?
No, You Can't Get a Tax Deduction for Artwork You Donate to Charity
by Hannah Cole October 24, 2018 March 11, 2020
Some arts organizations misleadingly suggests that artists can get tax deductions for works they donate to charity. Here's why that's unfortunately not the case.
How the New Tax Cuts and Jobs Act Impact the Art World
Under the new tax laws, the wealthiest will have even more incentive to make charitable donations, while the average middle class family will have less.

redpajama_set_name: RedPajamaCommonCrawl


Fully engaged workforce is one of the dreams senior leaders hope to see in reality. On an average they find that seven out of ten employees are not fully engaged in the workplace. Under half do what is expected of them but feel undervalued and are unwilling or unable to put in any extra effort. When business value creation is your job, employee engagement becomes the most powerful lever.
Most employees know what is expected of them, but the opportunity to grow and develop new skills and try new things drives engagement. People want to feel they belong to a community that shares their values. When the values of the organisation and the employee align, and when employees see organisational behaviours that reflect those values, they are engaged.
Take a quick look at the value system you are practicing. You might find some valuable tips to improve engagement. If feedback is a tool you are using to build and reinforce a participatory culture, check how open you are to receive unsolicited feedback from your team. They watch you everyday through your words and action. Also, they exchange notes amongst themselves. Being closer to the craft they are building, they know the possible impact of mis-direction and course correction options. When employees feel that their managers add little or no value to their work and are not open for feedback, they disengage slowly and steadily. If you are on a big-initiative, new business or at the beginning of a new organisation structure implementation, you will be busy and have all chances of missing the right, timely tips from your fellows. Catch their valuable insights and build on to make your journey remarkable.
If you just inherited a new team or turning-around a tough project, consider setting-up a grey-suggestion-box on your desk. Let your team drop their feedback into it routinely, whenever they feel so. Let it be anonymous. Take note, review and take action. When they see how seriously you take what comes in your way and deal-with gracefully, they feel part of making it work for you. They get firmly engaged at work.
Letting your team guide you to be effective at work is a powerful lever, you should incorporate gracefully.


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Home » ARTICLES » London Will Host an Epic Tournament FACEIT CSGO Major 2018
London Will Host an Epic Tournament FACEIT CSGO Major 2018
Egon Kilin August 30, 2018 ARTICLES, eSports, LTG Slider, NEWS, PC
For the first time, FACEIT will be organising and sponsoring the Counter-Strike: Global Offensive tournament. Many gaming fans in attendance and those watching online the Major Championship will witness all the fighting action while placing their esports bets from the 4th until 23rd September 2018. The match will gather the best professional Counter-Strike teams that will compete against one another for their chance to win a share from the grand prize pool of $1 million.
FACEIT is a leading esports website focused on online games such as PlayerUnknown's Battlegrounds, CS: GO and Dota 2. They have over 8 million users using the platform with over 12 million gaming sessions viewed online every month. Subscribers who are players are given access to play in video games at all levels and competitive tournaments where they could win rewards. On top of this, many players, gaming communities and gaming event organisers use FACEIT to launch and supervise online matches.
Many gaming fans have seen two other digital events take place in London so far, and these are the Esports Championship Series and ESL One Birmingham 2018, dota 2 event. Add to these, the upcoming FACEIT London Major, one of the most prominent CS: GO tournaments that is akin to the Wimbledon Tennis event.
The Co-founder of FACEIT, Michele Attisani expressed his views about competitive gaming and its potential in the UK. He said: "The Major is a very important event for esports overall, I mean, if you look at the stats, I think that this last major broke the currency record for an English broadcast, higher than any other esports event."
Such a prestigious tournament like FACEIT will be broadcast live through various online gaming channels for you to watch anywhere you are in the world. Tune in to witness all the live Counter-Strike action while you can place your best esports betting on some of the top tier CSGO teams.
Twenty-four of the best CSGO teams will be competing against each other, and around forty thousand people are expected to be attending the tournament, watching all the action in the playoffs at the Wembley Arena. Better yet, aside from the matches taking place, you will also have the opportunity to meet and greet your favourite players as well as signing sessions.
The FACEIT Major is different from other events for the organisers are also the sponsors that will run every phase of the matches. The tournament format will kick off with the New Challengers Stage. The top eight units will proceed to the New Legends matches, while the rest are knocked out if the game. The next stage will prove which of the eight teams are the New legendary units where they will advance to the Playoffs and Grand Finals. The top fourteen teams in this gaming event will then qualify for their place next year at the prestigious Counter-Strike match, IEM Katowice 2019.
Going into the FACEIT Major, the eight legendary teams earned their spot through the EL Major Boston 2018. The teams that will take part include Winstrike, G2, Fnatic as well as the other favourites in this group.
Cloud 9, the North American Counter-Strike team won the Eleague Major Boston 2018 which earned their spot to take part in the FACEIT Major match in London.
MIBR is also known as Made in Brazil, a professional unit representing North America. Having had a few changes in the roster over the past few months has affected their performances in the Eleague CS: GO Premier and ESL One Cologne; however, they won the recent ZOTAC Cup Masters 2018. You have yet to find out if the Brazilian players will keep up their winning streak.
Faze Clan, is a European esports team that is ranking among the top 10 CSGO squads in the world. Their latest success was at ESL One Belo Horizonte 2018 beating Mousesports. Now they hope to come back in full form now that pro player Olofmeister is back in action.
Mousesports is a German gaming team that ranks in the fifth spot among the best teams in the world. They have the potential to win, but they do tend to disappoint at times. Mouz have been quite close to a win at the ESL One Belo Horizonte 2018 finishing in second place.
Natus Vincere, the Ukrainian gaming unit is ranking the second top Counter-Strike team in the world. They have lately won the title of ESL One Cologne 2018 and the CSGO Asia Championships so it would be no surprise that esports betting is on the favourites for the FACEIT Major.
The sixteen New Challenger teams will go head to head competing in five rounds for their chance to progress to the New Legends Stage, one step closer to the main event of the FACEIT Major. These professional teams include Gambit, Vega Squadron, Space Soldiers, Team Liquid, Ninjas in Pyjamas, Complexity, Hellraisers, Renegades, Optic, Rogue, Team Spirit and Tyloo. Below is a list of some great squads in this group.
Astralis is a Danish team that is ranking in the world's top CSGO teams at the moment which could win you an esports bet. The star players have managed to keep up their performance consistently, winning great titles such as Eleague Premier 2018, ECS Season 5, ESL Pro League Season 7 Finals and DreamHack Masters Marseille.
North is another Danish team, famous for their affiliation with F.C. Copenhagen and Nordisk Film Company. At the moment, the Northern players are the tenth top unit in the world that have recently won the titles of DreamHack Open Valencia and DH Open Tours. They have the potential to win tournaments so why not show them your support to bet on esports.
BIG is a favourite German team that has managed to rank sixth in the top ten of the best Counter-Strike units in the world. They are not a team that win tournaments but tend to finish in the top four ranks. The closest Berlin International Gaming ever got to was second place losing to Natus Vincere in the finals of the premier ESL One Cologne 2018, taking home their highest reward yet of $50K.
Virtus. Pro is a strong Polish squad that is currently among the top twenty teams. They are not a team that win tournaments, but the closest they ever came was second in the CSGO Asia Championships 2018. Their recent accomplishment was finishing in fourth place at the IEM Shanghai.
Michele Attisani, the Chief Business officer and Co-founder, expressed gratitude for the support from the fans and gamers, saying: "The community has been at the heart of everything we do at FACEIT, and we're so grateful for the support of the players on our platform and those who've attended and watched ECS. We're excited to create an amazing celebration of CS: GO to honour that commitment."
Who will triumph at FACEIT Major, holding up the trophy as the world CSGO champions? You have yet to find out on the 23rd September in the meantime tune in to gaming channels on Twitch while betting on esports professional teams.
Android 5.0.1 factory image Birmingham eSports London major London Symphony Orchestra 2018-08-30
+Egon Kilin
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August Wilson Versus Robert Brustein.htm
August Wilson versus Robert Brustein
By Simon Saltzman and Nicole Plett
(Originally published in U.S. 1 Newspaper on January 22 and April 16, 1997. All rights reserved.)
Did anyone have a clue last June in Princeton that Pulitzer Prize-winning playwright August Wilson would deliver the kind of keynote address — "The Ground on Which I Stand" — potent and provocative enough to transform a long-smoldering brushfire into a flaming feud. This theatrical feud has now been elevated into a public debate. And we are all invited.
The exposition: In his keynote address to the Theater Communications Group's biennial conference meeting at Princeton University, Wilson, the widely lauded and richly rewarded playwright, delivered a powerful jeremiad supporting — and demanding — funding for African-American theater in America. In the process, he also attacked the published pronouncements of his long-time nemesis Robert Brustein, artistic director of the American Repertory Theater in Cambridge, Massachusetts, and theater critic for the New Republic.
Wilson's address, in which he called Brustein (the only individual mentioned by name) "a sniper, a naysayer, and a cultural imperialist," was in retaliation (or so Brustein has inferred) to Brustein's earlier, unfavorable reviews of Wilson's widely admired plays. The address, subsequently published in American Theatre magazine, triggered a response from Brustein, accompanied by a counter-response from Wilson. The conflict continues to both engage and enrage these two esteemed men of the theater, as it does the public that listens to them.
In this ongoing and emotional dispute, we are asked to choose between Brustein's view that "theater works best as a unifying rather than a segregating medium," and Wilson's view that black theater, like the black experience, is unique and distinct, and "we cannot allow others to have authority over our cultural and spiritual products." At Town Hall in New York on Monday, January 27, at a special, one-night event, "On Cultural Power: The August Wilson / Robert Brustein Discussion" continues and is open to the public. It will be moderated by the lauded docu-dramatist and actor Anna Deavere Smith.
Evidently taking issue with the motives and agendas of those presumably misguided theater-affiliated persons Wilson was referring to as "cultural imperialists," Wilson also targeted the concept of "colorblind casting" as "an aberrant idea." Wilson took the position that the very idea of an all-black production of `Death of a Salesman' is "an assault on our presence, an insult to our intelligence."
"We reject any attempt to blot us out, to reinvent history and ignore our presence…," said Wilson. "We want you to see us. We are black and beautiful. We have an honorable history in the world of men… We do not need colorblind casting; we need some theaters to develop our playwrights."
Did Wilson unearth another smoldering issue, that may yet reverberate across the nation, when he lashed out at subscription-based theaters, whose audience, he said, "holds the theater hostage to a mediocrity of tastes"? Is it true, as Wilson contends, that, by including one or more African-American productions each season, these theaters actually alienate and condescend to black audiences who "suffer no illusion of welcome"?
In his subsequent response to Wilson, Brustein questioned whether there shouldn't be "some kind of statute of limitations on white guilt and white reparations." He further berated Wilson for having "fallen into a monotonous tone of victimization." On the other hand, Wilson blames Brustein for failing to "imagine a theater broad enough and secure enough in its traditions to absorb and make use of all manners and cultures of American life."
Whether to defend the traditional esthetic of Western culture or to pursue the African-American dream through the specificity of its art and culture is the question. This leads us to also ponder the integrity of our nearby (and mostly diversified) professional theaters such as McCarter Theater, George Street Playhouse, and particularly the culturally-exclusive Crossroads Theater Company.
Yet does Wilson truly believe that only black experience inspires black artists? Or that black actors should only perform black roles authored by black playwrights? Will Brustein ever concede that theater in America remains stubbornly addicted to, and formulated to foster, only white values, and the so-called classical values of European theater? The actions taken by the various theaters across America to either propel or impede the development of a truly American theater are worth watching.
Do too many theaters across the nation ignore the contributions made by artists of various ethnic and racial backgrounds? Perhaps. However, can anyone deny that the cultural climate in our area is aggressively diversified? Is it possible that too many whites cannot understand or do not want to understand Wilson when he condemns certain black artists as "crossover artists," comparing them to "house slaves entertaining the white master and his guests."
Although I did not attend Wilson's address, those who did describe it as both stirring and divisive. Wilson was received with standing ovations both before and after speaking. One reason some were disturbed was the subtle but insistent joining of Wilson's vivid evocations of genetic memories of the slave trade with such anti-Semitic code words as "financiers," and a description of black artists as "victims of the counting houses."
As a reporter, stirred enough by what I've heard and read to consider the positions taken by both Wilson and Brustein, I can only try to understand these two equally impassioned views. In the light of my own, presumably biased, perception of either the exclusionary or cross-cultural direction taken or rejected by our own area theaters, I offer this multi-cultured and diversified consideration, gleaned from my own conversations with black artists presenting their work in the area.
When Rutgers professor Harold Scott reflected on his experience directing "Paul Robeson," the play about a true 20th-century Renaissance man and a spokesman for African Americans who were yet to experience real democracy, he expressed the difficulty of keeping the memory of significant African-American artists like Robeson, James Baldwin, and Lorraine Hansbury before the public. If one can assume that he is talking about a predominantly white public, should we take to heart Wilson's rebuke of the white foundations for failing to create and subsidize more black theater companies that might then have a mandate to foster and preserve black culture?
It is interesting to think about whether Robeson's family ire with the "Paul Robeson" script, and the picketing and the controversy that arose during the run of the 1978 Broadway production, would have been avoided had the dramatized Robeson not appeared to them a victim. There is the implication in Wilson's statement — "I stand myself and my art squarely on the self-defining ground of the slave quarters" — that all black artists are unwittingly turned into victims in a white or even in a multi-cultural theater.
Vernel Bagneris, who played Jelly Roll Morton at Crossroads last January, makes an interesting point regarding people, artists, in particular, of color. Bagneris, like Morton, who was born into New Orleans' Creole society, says that some people of color are not interested in identifying with either black or white society. "They want to be left alone," states Bagneris. Would then Wilson want to see support of a separate and subsidized theater for Creoles? Or would Brustein's contention that minority playwrights "drenched in their own cultural juices . . . and capable of telling stories that include us all," prove again that theater works best as a unifying rather than as a segregating medium?
Emily Mann, artistic director of the McCarter Theater, credits South African playwright and friend Athol Fugard for suggesting that there is a time for writers to act as a dissident voice and a time for writers to be nation builders. "I'm trying to find that balance here," says Mann whose docu-dramas "Greensboro: A Requiem" and "Having Our Say" deal specifically with the black experience in America. Mann, who is both white and liberal, says about her writing, most of which is based on political and social issues: "A lot of wounds need to be healed, truths need to be exposed." Does Wilson then have the authority to challenge her (or other non-black writers') freedom, license, or directive to dramatize black conduct and manners. Would Wilson decry Mann for her vision, because she is not black, and therefore not "fueled by black philosophy, mythology, history, creative motif, social organization, and ethos?"
Playwright Eugene Lee made an interesting observation last March, prior to the Crossroads premiere of his play, "Fear Itself." While he expressed the fact that "for African Americans, there is fear of police brutality, and a sense of some genocidal threat," there is also "the general fear of failure." Is America — where philosophy, mythology, history, comes out of the strong white Eurocentric ethos — a more fearsome and tenuous arena for the black artist?
Certainly deep-seated sensitivities are stirred when a prominent black artist's failure is pronounced as such by a white critic. When Brustein says that Wilson's writing is "weakly structured, badly edited, prosaic and overwritten," was this not the cue for Wilson to say and further expound on his theory that black culture "is an experience that cannot be fully absorbed or understood by white people, much less criticized by them?"
I wonder if Wilson might temper his position had he seen "God's Field," at Playwrights Theater of New Jersey last year, written by a white woman playwright who was born in New York but now lives in Nebraska. Her play about a black family that undergoes a tumultuous change when a minstrel show comes to town is as richly detailed with the realities of black life in turn-of-the-century Nebraska as are Athol Fugard's plays about blacks in South Africa.
Playwright Keith Glover, whose play "Coming of the Hurricane" made a favorable impact this fall at its Crossroads production, might have a problem with Wilson's take on white critics. Glover was still a teenager when his first play was singled out in a competition of the Young Playwrights Festival in New York and awarded a staged reading. Glover recalled the encouragement he received from the Festival's founder Gerald Chapman, and especially by his mentor there, playwright Ruth Goetz, who helped the young Glover hone his craft and his uncertain skill. Would Wilson consign such on-the-job training to the kind of "assimilation that black Americans have been rejecting for the past 300 years?"
In a late-breaking addition to the debate, Crossroads Theater has just announced its spring production of August Wilson's new play, "Jitney." It begins previews on April 13 and plays to May 11. This latest coup for Crossroads could well represent Wilson's courage of his convictions, since Crossroads was singled out in his keynote as the only one of 66 members of the League of Regional Theaters "dedicated to preserving and promoting black culture."
To be thoroughly confused as much by the benefits and pitfalls of multi-culturalism as we are by the celebratory yet exclusionary nature of separatism is most likely a step in the right direction. Whether to be thrown into a cultural melting pot that may unwittingly blur the brilliance of America's diversity, or to be tucked into an isolated environment designed to fragment, nurture, and better define what American culture represents, is a choice. Are we to make the choice, or will others decide for us?
This story by Simon Saltzman and Nicole Plett was published in U.S. 1 Newspaper on April 16, 1997. All rights reserved.
This is something we have all dreamed of," says Ricardo Khan, co-founder and artistic director of Crossroads Theater, at a press conference on April 2. On Khan's left sits August Wilson, widely regarded as America's most important working playwright, and beyond him director Walter Dallas, and a group of five African-American actors. On Crossroad's agenda is "Jitney," the latest entry in Wilson's grand-scaled play cycle that he has configured to celebrate, decade by decade, the black experience in America.
In his remarks to introduce Wilson to reporters, Khan cannot conceal his pride as he announces that Crossroads, the country's preeminent theater dedicated to black culture (and the only black member of LORT, the League of Resident Theaters), is not only launching its 103rd production and preparing for a 20th anniversary bash, but it is achieving this with a magnificent milestone.
This marks the first time that Crossroads will stage a play by Wilson, an august playwright if ever there was one, before its New York premiere. Following a run at Boston's Huntington Theater, "Jitney" is expected to open at New York's Manhattan Theater Club in the fall. Crossroads produced its first Wilson work, "The Piano Lesson," last season.
When Khan, as newly-elected president of the Theater Communications Group, invited Wilson to contribute a keynote address to its biennial meeting at McCarter Theater last June, he could hardly have imagined the repercussions would be so far-reaching. Now Wilson's "Jitney" has replaced the season's previously announced premiere; Crossroads has garnered a major feature in the New York Times; and some 60 theater critics from newspapers across the country are scheduled to view "Jitney" as part of their association's New York conference.
Wilson's "Jitney" has been in various stages of development since it was written in 1979, most recently staged last year at the Pittsburgh Public Theater. It was written before the complement of six plays — "Joe Turner's Come and Gone," "Ma Rainey's Black Bottom," "The Piano Lesson," "Fences," "Two Trains Running," and "Seven Guitars" — that constitute Wilson's impressive, Pulitzer Prize-winning theater canon.
The 52-year-old Wilson recalls that he was a poet but not yet a playwright in 1979 when he wrote "Jitney." It wasn't until 1980, when he won a Jerome Fellowship at the Playwrights Center in Minneapolis, and found himself sitting in a room with 16 playwrights, that he told himself, "I must be a playwright." And after completing three more plays, he began to envision his work as unfolding chronicle of African-American thought and experience.
In Pittsburgh, Wilson's hometown, a jitney is the type of car service that is known as a gypsy cab in New York. "Jitney" is set in a jitney station which Wilson describes as a self-created, self-supplied, self-owned, self-run taxi service. Here each man pays monthly dues and uses the jitney's well-known telephone number and location as the station from which to use their own vehicles to make cab runs.
"I was initially intrigued by the idea of creating something from nothing," says Wilson. "These are men who, not having the opportunities for jobs, created jobs. It's about the ability of black people in America to find a ways and means to survive and prosper."
Wilson says that "Jitney," like all his plays, deals with the manners and social intercourse of black people that is uniquely theirs. At the core of the drama is a father-son conflict. It opens as a son who has served 20 years in the penitentiary on a murder conviction, is released from jail, and meets the father who has not visited him once.
While Wilson has been called to task by some critics for over-writing his plays, famous for their long and lyrical monologues, "Jitney" stands, in his opinion, uniquely spare. During rehearsals for last year's Pittsburgh production, he recalls a cast member remarking to him: "Ain't nobody goin' to know this is your play. Ain't got no monologues in it."
Wilson says that "Jitney" represents his first work after he came to "value and respect the way black people talk." He credits a truism he encountered in a political pamphlet — "Language describes the idea of the one who speaks it" — as changing his life. Thus Wilson began his creative investigation into the language, the thought processes, and the cultural roots of blacks in America.
"My pipe dream to do a Wilson play prior to New York has come true," says Khan, who doesn't care that "Jitney" is not exactly a new play, certainly not a world premiere, but rather one that Wilson is reworking in house. Kahn feels that Wilson's month-long residency to develop and shape "Jitney" at Crossroads is a moment of pride for the theater. Wilson, in turn, says he feels at home at Crossroads; he found two pennies on the Livingston Avenue sidewalk that prove it: "I was in the right place at the right time," he says, "but so were the pennies."
Walter Dallas, no stranger to Wilson's work, directs "Jitney." A leader in the black theater movement in America, Dallas directed "The Rabbit Foot" at Crossroads in 1988, and has since become artistic director of the acclaimed Freedom Theater in Philadelphia. "Jitney" reunites Wilson and Dallas, who worked together on the world premiere of "Seven Guitars" at the Goodman Theater in Chicago.
Dallas appears to have a hook on working successfully with Wilson. "I don't ask a lot of questions. I get the answers by just getting to know Wilson better," says Dallas. "The work just evolves daily." Dallas comes directly to Crossroads after receiving kudos for his direction of world premiere of "The Old Settler" by John Henry Redwood at McCarter Theater.
It may be too soon to see a fresh, positive perspective on the opposing views expressed by Wilson and theater critic and author Robert Brustein at their January debate, "On Cultural Power," at New York's Town Hall, an event precipitated by the furor that greeted Wilson's 1996 TCG address. Wilson says he is far from putting that debate behind him: "It's part of who I am."
Wilson's primary concern in his TCG address, and one that he returns to today, was that there was only one black theater among 65 LORT (League of Resident Theaters) theaters in America. He announces here that the ratio has since grown to 1 of 66. Asked then how the theater can impact troubled race relations in America, Wilson makes it clear that he is a playwright, not a sociologist. With prompting from Khan, he offers the same answer he gave during the Town Hall debate: "Art doesn't change society. Art changes people. People change the world."
Wilson was born and raised in Pittsburgh where he spent his first 33 years. A 13-year interlude in St. Paul, Minnesota, followed, before he moved to his present home in Seattle, Washington.
"I came to manhood in Pittsburgh in the '60s. That's still what I know best, and that's what I write about," says Wilson. Although he uses Pittsburgh as the setting for his play cycle, he insists that none of the characters or incidents imitate his life there. He draws his characters from aspects of his own personality.
The son of a white father and an African-American mother, Wilson was raised in the black community by his mother alone. He explains that his "father figures" were those he chose. "Growing up, my idea of manhood came from Charley Burley, a Hall of Fame prize fighter, a tremendous fighter out of Pittsburgh, who was fighting there in the '40s and '50s. I wanted to be like him. And he would get dressed up on a Friday night, real clean, in a Stetson hat, with the Florsheim shoes. And I'd see these men standing on the corner, and I thought, I can't wait to grow up and get dressed up and go stand on the corner of Fullerton and Wylie.
"Of course by the time I got old enough to go stand on the corner they had torn down Fullerton and Wylie, and I didn't have the money to go buy them Stetson hats and Florsheim shoes. But I did stand on the corner for about 15 years, figuratively speaking. I founded a theater, and fell in with a group of artists, we put out magazines and things, like all young artists do."
Wilson's mother taught her son to read when he was only four, and by the age of five he had his own library card. Wilson recounts how his breakthrough into writing came with his discovery of the word "breakfast" — that it was a conjunction of the two words "break" and "fast." It was a love affair with language. "I never looked back," he says, "I thought, this is wonderful. I started taking two words and putting them together. I fell in love with the language, and with the whole idea that you could communicate using these symbols."
Is there a parallel between the root of Wilson's jitney cab and his dream of a path for black theater? The jitney cab, after all, represents the only way many American blacks can travel back and forth to their segregated neighborhoods. White cabs will not go there. And now Wilson suggests that the white theater is not able to transport black audiences either. A true black theater would be a vehicle by which black people can get where they need to go.
"It's similar to the old Negro Baseball League," says Wilson. "There you had a league that was self-sufficient, and you had a community of people culturally self-sufficient, and on Sundays they would pay their three dollars, sit in the bleachers and support this league. And Mr. Samuels sold his peanuts, and Mr. Johnson sold his chicken sandwiches, and that gave them income. You had a whole thing going.
"Once that broke down, once they said, `Okay, you guys can come over here and play in the white league,' all this disappeared. And not only did the Negro league fold, but all the things that the league meant to the people. They've lost a large part of their culture and a large part of themselves."
"There is nothing wrong with integration per se, as long as everyone has equal access to resources," he says. "To assimilate is to adopt the values of another culture. I'm opposed to that idea, because blacks have something of value. To assimilate is to erase yourself, and I don't think that's what we want to do." The uniqueness of black culture is something to be valued as well as something to be nurtured independently.
"If you have a theater that exists in a city that's 73 percent black," he says, "I think that should be a black theater. It's as simple as that. Because your theater should serve the community which it is in. I think some of the existing LORT theaters should change their mission statement to preserve and promote black culture."
Although Wilson is indebted to the formal dramatic style that derives from Aristotle's rules of drama, he acknowledges that the African-American theater known as "the Chitlin Circuit" (a misnomer as far as he is concerned), immensely popular traveling productions of contemporary moralistic melodramas, should be credited for creating a new black esthetic. A play like "Beauty Shop" may even offer the esthetic seeds for the black theater of the future.
Is a separate black theater a realistic wish, we ask, in a nation constituted of myriad white, non-white, Hispanic, Asian, African-American, Native American, and other mixed and matched racial groups? This Wilson does not accept. He insists that the legacy of slavery, the number of Americans of African descent, 35 million, and their enforced settlement in America, gives this racial group a unique status.
"The American theater is steered toward the single value system," says Wilson. "Most American theaters are paternalistic and white run. You may be invited, but you still have to take your hat and go home when your visiting pass expires, when they finish doing your play. It still remains a white theater, I don't care how many black plays they do."
Certainly, in Wilson's case, his eminent stature has given him virtual carte blanche to have his plays produced anywhere he chooses. But he does not want black theater artists to continue to play the role of the visitor. One way to accomplish this, he says, is to play the host. But for this to happen "black theaters have to be allowed to access the resources."
Meanwhile Khan's 20-year effort to build and sustain a black theater is paying off, and his long-cherished dream of having Wilson in residence is realized. Now only time will tell if Wilson's dream to identify and promote at least six more black American theaters to LORT status can come true.
By — Simon Saltzman and Nicole Plett


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I know I'm God's child, but I sure struggle sometimes. Will often says that every Godward motion is met by opposition from the flesh. I find this to be all too true in my life! God is in the process of lovingly showing me areas in my life that reflect a heart not completely given to it's master. My independent, "Let me think about that before I say 'yes'," spirit is indicative of a person who doubts the goodness of God. In essence, I suspect God of not having my best interest in mind.
So where do I go from here? The Gospel. Philippians 2 portrays a Christ who set aside rank and became servant, glory and became man, authority and became obedient, that he might glorify His Father by redeeming mankind. And not just mankind in general, but me. Meditating on these truths, my suspicious heart is set at ease, but more than that, it's panged with conviction over ever doubting my God's goodness.
I am so thankful that I have a God whose love for me is far greater than mine is for Him. His mercy forgives, His grace restores, and His gospel assures that His way is best.
This past week our team arrived at Corinth Baptist Church in Corinth, Maine. All ready to go for another week of meetings the Lord allowed something in my life that was quite unexpected. The day after we arrived, I got word that my grandmother had passed away that morning. I had no idea that she would be gone so quickly, but despite my shocked and grieving heart the Lord gave grace. I knew that my grandmother was with the Lord.
That afternoon I had lunch with the pastor and his wife. They were so encouraging and offered to even take me to the airport the next morning to be with my family for the funeral. That night I was told by a number of people at the church that they were praying for me. There is just something wonderful about Christians that we share and that is Jesus Christ.
His love was displayed so much here from the church and also from the team. Many of the team members, including the kids, prayed with me and let me know how much they loved me. Most importantly, I was reminded of God's never-ending love. The night before I left, one of them reminded me of Psalm 23 which states that "even though I walk through the valley of the shadow of death I will fear no evil." Another team member also reminded me of Romans 8:18 which says, "For I reckon that the sufferings of this present time are not worthy to be compared with the glory which shall be revealed in us."
Even going back to that very morning that I received the news of my grandmother, God reminded me of eternal life in John 6 in my devotions. I know that she is in Heaven and I will see her again. It just amazes me when God shows us His love and kindness through His word and other believers.
This semester has been full of blessings, challenges, times of struggle, times of joy, and all kinds of different experiences. I'm so grateful for the opportunity that God has given me to travel with Will and the Galkin family. They have been such a special part of being on the road.
However, part of traveling for the Galkin family is living in a fifth-wheel trailer. Part of living in a fifth-wheel is having sewage to dump every week. Part of being on the team is getting to help Will with this not-so-great-smelling task each week when we get to dump that sewage :) It's an unpleasant thing, but the holding tank must be emptied!
Usually, when we empty the tank, it's a fairly quick, simple process that just involves putting a hose over a sewage receptacle with fairly minimal seeing and smelling of the sewage. However, last week was not one of those weeks! Will decided that the sewage needed to be emptied since we were headed further into Maine and Canada where we didn't know exactly the next time we would be able to empty the tank. The complication was that the sewage line was on the opposite side of the church from where Will had parked the fifth wheel. So, I got to participate with the other guys in one of the grossest things yet in my life…carrying sewage in buckets to the spot where it needed to be dumped. Who knew that this would be in my job description?!? I look back on this experience now and laugh, but God brought something to mind in the process of this less-than-pleasant task.
There's a part of me that is as foul and disgusting as the sewage we dealt with last week. And, if we're honest with each other, it's something that we have in common. You and I, and really everyone in this entire world—we're all sinners. We all have broken God's laws many, many times, and our sins stink. They are disgusting! We have actually in our own mind exalted ourselves to a place that only God should have in our lives. We have all decided that we are more capable to call the shots in our lives than the One who created us! Some people even think that maybe they can cover up some of this revolting sin in their lives by doing good things. However, the Bible tells us in Isaiah 64:6 that even our own righteousness is like filthy rags—literally rags that were used to clean up bodily fluids. God is very clear and strong in His language here. There is absolutely nothing that we can do apart from God that is worth anything for eternity. Our sins and good deeds alike are filthy before God.
I'm so glad that the story doesn't stop there, though. Because "while we were still weak, at the right time Christ died for the ungodly. For one will scarcely die for a righteous person—though perhaps for a good person one would dare even to die—but God shows His love for us in that while we were still sinners, Christ died for us. Since, therefore, we have now been justified by His blood, much more shall we be saved by Him from the wrath of God." (Romans 5:6-9 ) I'm so thankful that God loved me so much that He gave His only Son as a sacrifice for my disgusting, wicked sin. I actually now have Christ's own righteousness on my account, because God "made Him to be sin for us, who knew no sin; that we might be made the righteousness of God in Him." (2 Corinthians 5:21 ) I can enjoy the benefits of a restored relationship with God.
Now as I am daily reminded of my sinfulness, I can rest in the fact that when God sees me, He does not see my filthy sin. He sees Jesus and His righteousness. Also, I know that I do not have to sin any longer because Christ conquered the power of sin over me. I know that if I am walking in the Spirit every day, I don't have to give in to sins that are gross before a holy God. I'm thankful for this reminder God gave me through some sewage. Any and all sin stinks, but what a comfort to know that when our sin abounded, grace did much more abound! Praise the Lord for His graciousness to us in the gospel.
Many times throughout the day I am reminded of my selfish heart. From the moment I wake up – I want. For starters, I usually want more sleep. My feelings start to work against me, telling me I need more sleep and that if only I could sleep for another 15 minutes I would be refreshed. Then it's the shower – there had better be hot water and a lot of it. From there it's my clothes, my food, my… the list could go on and on. Nothing yet has triggered any real visible signs of selfishness. I could potentially go most of the day without anyone really recognizing my selfishness, until I meet someone else who is also selfish. Now begins the problem.
He just took the last bit of creamer and now there is none left for me. The coffee was not made exactly how I like it. She wants the heat on while I am sweating in the driver's seat. I have lots of work to do, and my wife wants to go out for coffee. Someone wants to talk. I am trying to work at my desk, but someone else is listening to music from their computer really loudly. Questions! People keep asking questions and I want to just get on with my day and my responsibilities. Actually, I'd rather not be responsible; I'd rather just play all day. Now I have to go check on people and make sure they are getting their stuff done, the stuff that they should have already had done. The cycle is endless…. I could go from minute to minute exclaiming how things mess my life up, my schedule gets thrown off, or more work is given to me.
Now, the only person on this earth who knows how unselfish I am is my wife. I say that completely joking!! My wife knows how selfish I can be. She gets the brunt of most of my selfishness. She is the one who sees the disgusted looks on my face when something is not the way I like it. She is the one who I get snippy with first, when my morning has not gone how I like it. We even had a discussion of how the toothpaste is squeezed. If I took note of every time a selfish thought or feeling crept into my heart through the course of the day, it would fill multiple pages.
I've grown up in a world that teaches me I deserve to be loved. I deserve to be taken care of, appreciated, cherished. Most people spend their whole life in pursuit of being loved and wanted. I grew up with these same expectations. I want to be loved and to have people like me. These desires aren't wrong, but when not first rooted in the love of Christ, the desires become misplaced.
This past year I did a study on 1 John 4 . It was through this study that I began to see what true love looks like.1 John 4:7 says, "Beloved, let us love one another: for love is of God; and every one that loveth is born of God, and knoweth God." Love originates from God. 1 John 4:10 says, "Herein is love, not that we loved God, but that he loved us, and sent his Son to be the propitiation for our sins." God displayed His love through sending Jesus to die on the cross for my sins. I wanted to see more of this love and try to understand what it looks like. If God showed His love through the gospel, then I would go to the gospels to see more of His love. I began a study of Christ – specifically looking at how He displayed love. I saw a life that was filled with giving. Jesus constantly gave of His time to others. His whole purpose for living was to give His life for us. Every thought and deed was motivated by love. Jesus was a humble, loving Servant.
This new website has been a huge work of the Lord in my own life. I've been frustrated, I've been overly excited, I've been pushed to keep on going, and now it's finally here.
This project was first started in December of 2009. We knew it was time for a new look and we knew it fit perfectly with future ministry plans, we just needed a few ideas and a helping hand. The Lord provided Jon Kopp, a good friend of the ministry, to work with us again on this updated website.
Pastor Jon Kopp is not just the assistant pastor at Oak Ridge Baptist Church, he's not just a father and husband to Karis and Beth, he also balances the role of designer and web developer, and he has been an example to me of patience and perseverance through his commiment to the gospel during the launch of this website.
Jon, Will, and I met in February of this year to discuss the designing and developing of this current site. I remember Jon getting very excited in one of the meetings as he coded a piece of this large puzzle. Jon's spirit and hard work are what kept me going on my end of the project. There were times when I wanted to quit because my task was taking longer than expected, or I got hung up on something I didn't understand, but Jon always got me out of any pit I created and kept pushing me on to finish the task.
I can't thank him enough for all his incredible work, but I hope that by this article our viewers will know that Jon Kopp is a work of God in my life and GEM through his example of commitment to the gospel.


Backing up Call Logs on Android smartphone is the best thing the users have to follow before restoring the device or flashing a new custom rom. This can be done with the help of small Android app called "Call Logs Backup & Restore" which can be downloaded and installed from Google Play Store. The developed of this and SMS Backup & Restore app is one and the same. The Call Logs backup and restore process is quite simple and every Android users can follow it easily. Check below tutorial on How to Backup and Restore Call Logs on Android Phone using Call Logs Backup & Restore Android application.
View Backup Contents from within the App.
Backups created in XML Format.
Option to specify the Backup folder.
Backup format is independent of the Android version so the Call History can be easily moved from one phone to another, irrespective of the Android version.
Delete Call History on the Phone.
The XML can then be converted to other formats, and can also be viewed on a computer.
Step 1: Download and install Call Logs Backup & Restore Android app from Google play and launch the application.
Step 2: Select the option "Backup".
Step 3: Select the backup storage location and then name the XML backup file of your choice. Press OK to continue.
Step 4: The backup process starts and provides the quick report after successful backup.
So you have created successful backup of all your call logs. The below steps will guide you to restore the call logs back on your Android mobile phone.
Step 1: Launch the app and select the option "Restore".
Step 2: Select the backup XML file which was created at the time of backup process and then tap OK.
Step 3: The restore process starts and ends up showing the reports as below.
Any problems while backing up and restoring the call logs, do lets us know in the below comment section. Do subscribe to our daily newsletter for latest guides and tutorials.


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Review Roundup
Q&A with Summer and Smoke's Rebecca Frecknall
By Amanda Parry
Tags: NewsInterviews
We caught up with Rebecca Frecknall, director of Summer and Smoke at the Duke of York's Theatre.
What attracted you to Summer and Smoke and why did you choose to direct this play?
I first came across the play as a student when I saw a production in the West End. I just remember finding it incredibly moving and the emotion of it stayed with me for days after. I guess the plight of the central character struck a chord with me and that resonance is the reason I wanted to do my own production. I felt I had a particular perspective on Alma's story.
In what ways do you think the themes of the play are still relevant today?
I think that in many ways the themes of the play will continue to be relevant forever because Williams is always trying to deal with the big questions that surround human existence; love, loss, mortality, identity, spirituality. However, his exploration and portrayal of anxiety and depression in his protagonist, and both Alma and John's struggle with societal and family pressure feel particularly resonant with many young people's experiences today.
Is there a particular character you feel most affinity with? If so, which one and why?
I have always felt a striking affinity with Alma, and actually have always felt Williams himself was a bit of a kindred spirit! I suppose I really recognise Alma's struggles in the play and that's why telling her story feels so personal and important to me.
You've previously discussed the inequality that pervades theatre, do you think this is changing and what more do you think should be done to counter-act this?
It's true that we're at a point where the industry it's attempting to rectify its long history of inequality and yes, of course, there's still some way to go. I've always felt I had a fortunate experience in that when working as an Assistant Director I assisted as many female directors as male so I've always had strong female role models in the industry. I think often change needs to come from the top, from our artistic leaders making bold decisions that can push equality, diversity and the art form forward. There are a few key Artistic Directorships that have just come up that could provide an exciting moment of change.
Pianos and music are a key feature in this production – how do you feel that the musical elements underpin and contribute to the play?
The concept for Tom Scutt's design came from our desire to find something that could unlock the play; that could elevate it from its time and place and allow a contemporary audience to connect to it in a really open emotional way. In the original production Williams writes that there should be a stone angel fountain present onstage throughout, a clear symbol alluding to the plays exploration of eternity and the soul. In many ways the pianos are our interpretation of this idea of putting 'eternity' onstage. The music offers a tangible link to the spiritual, to the themes of time and the human soul.
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Area 5 regulates hunting opportunities for bobcat in Wyoming and covers 17,175 square miles. Public lands comprise 3,553 square miles (21%) of the total land covered by this hunt area. The greater region is best serviced by Cheyenne, Casper, and Bosler. The elevation of the region ranges from a low of 4,100 feet to a high of 11,800 feet above sea level. Wildfires have burned nearly 19,897 acres here in the last two years, providing opportunities for new vegetation and attracting a variety of wildlife. There are 32 trailheads that provide public gateways to these forested and wilderness areas: Medicine Bow National Forest, Roosevelt National Forest, Routt National Forest, Platte River Wilderness, Savage Run Wilderness. Additionally, 378 sites are open to the public for access to managed private lands.


Connect Salesforce with Mailchimp to easily share data and streamline communications, so you can better engage your customer base. Mailchimp offers two tools to connect your Salesforce and Mailchimp accounts: our built-in integration and the Mailchimp for Salesforce app.
In this article, you'll learn about both options so you can choose the right one for your business.
To manage subscriber data between Mailchimp and Salesforce, you can connect our built-in integration from the Integrations page of your Mailchimp account. Use it to import Salesforce contacts to your Mailchimp list, and push subscriber activity back to the Notes and Attachments section of a Salesforce contact page. The integration will also update campaign statistics in Salesforce after a Mailchimp campaign has been sent.
The built-in integration doesn't allow you to choose or limit the number of contacts you import into Mailchimp, and can't import leads from Salesforce to Mailchimp. If you need these features, try the Mailchimp for Salesforce app.
Learn more about Salesforce tracking options.
Learn how we pass subscriber data back to Salesforce.
The Mailchimp for Salesforce app offers a combination of features to help you target your leads and contacts, and sync data between Mailchimp and Salesforce.
Build queries to add Salesforce leads, contacts, person accounts, and campaign members to a Mailchimp list based on specific Salesforce field data. The Query Builder can also add list members to Mailchimp groups and segments that you can target with specialized content.
Manually run queries will add new contacts to your Mailchimp list, but won't update existing contact information. To automatically update contact information, turn on data sync.
Turn on data sync to automatically add leads and contacts as Mailchimp subscribers when they meet your query criteria, and to update existing subscribers' list field information when their corresponding contact or lead field is updated in Salesforce.
The lead creation option allows you to create Salesforce leads from your newest Mailchimp subscribers when data sync is enabled. Only subscribers added to your list after lead creation is enabled will be added as leads in Salesforce.
Review aggregate reporting statistics for Mailchimp campaigns, as well as the 50 most recent instances of campaign activity for Mailchimp subscribers on your synced lists, or click through to view the full campaign report in your Mailchimp account.
Learn more about data sync.
To simplify how you communicate with your Salesforce contacts, set up our built-in Salesforce integration. If you need a more robust feature set, including lead creation and access to the Query Builder, install the Mailchimp for Salesforce app.
Add Salesforce contacts to a Mailchimp List.
Add Salesforce leads to a Mailchimp list.
Create new Salesforce leads from Mailchimp Subscribers.
View Mailchimp Campaign reporting data.
Mailchimp data can potentially take up a lot of space in your Salesforce account. If you exceed Salesforce data limits, certain Mailchimp for Salesforce and Salesforce integration features may not function as expected.


This class is designed specifically for the needs of the new mother and her young child, providing a safe, rewarding and fun environment that can help you regain fitness and strength, while also interacting with other mothers and their babies. The classes are run under the guidance of a professional physiotherapist, to ensure that the pilates exercises are safe and are suitable to be performed, as your body is recovering from the physical strains of pregnancy and childbirth. Max 4 per class: $500 per block of 10 classes.
Rehabilitate and improve core muscles (including the deep abdominals, deep back and pelvic floor muscles) co activation and endurance.
Reeducate appropriate postural corrections in functional positions like standing, sitting, lying.
Improve physical condition to cope with demands of the post natal period such as with lifting, breastfeeding postures and repetitive bending tasks.
Provide new mothers with exercise ideas incorporating participation of their young baby, which can be followed through as a home exercise programme.
Prior to participation in these classes, it would be much appreciated if you could complete the relevant assessment questionnaire to ensure that these classes are appropriate for you. In some cases, you may be required to attend a half hour one on one pre class assessment with one of our physiotherapists, and/or provide us with a letter from your doctor to certify that you have been cleared medically to commence an exercise class.


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US: $185m so far invested in IIE's Generation Study Abroad
Posted on Oct 1, 2015 by Beckie Smith
Posted in Government, News, under .
Tagged with Generation Study Abroad, IIE, US.
Higher education institutions, study abroad organisations and other partners in the US have so far committed US$185m over the next five years to increase access to outbound study abroad through the Institute of International Education's Generation Study Abroad initiative.
In its second year, IIE says Generation Study Abroad will focus on increasing diversity among study abroad cohorts.
About Beckie Smith
Beckie is a London-based journalist who reports on research policy and international education. She has a degree in Japanese from the University of Leeds and lived in Kyoto for a year. She is addicted to Spotify and can often be found debating feminism and politics or looking for London's best gin cocktails.
Generation Study Abroad has featured in more than 23,400 tweets
In addition, of the 450 colleges and universities who have joined the initiative, 84% plan to create or expand scholarships specifically for underrepresented students including minority and first generation college students.
The figures are revealed in a new report assessing the impact of Generation Study Abroad, which was launched in March 2014 with the aim of doubling the number of students from the US overseas.
91% of institutional partners are creating or expanding for-credit international programmes
Increasing funding and scholarships is the most popular action taken by GSA partners, followed by expanding student diversity; improving campus training and support; curricular integration
; and engaging alumni overseas.
The majority of institutional partners (91%) are creating or expanding for-credit international programmes, while two thirds of US institutions are increasing the number of programmes that require or offer the option of study abroad.
Meanwhile, just over three quarters of the international institutions that have joined the project are creating or expanding short-term opportunities such as Work, Internships and Volunteering Abroad (WIVA) placements.
The initiative was launched in response to the low numbers of internationally mobile US students, which IIE says make up less than 10% of the higher education population. The initiative calls on education institutions and related organisations to commit funds to expand opportunities for study abroad.
Opportunities can include academic, internship, or service-learning experiences.
There project now has a total of 630 partners, far surpassing its initial goals.
"Originally our target was to have at least 100 commitment partners — but we immediately surpassed the target when we announced the initiative in March 2014," Daniel Obst, vice president for international partnerships in higher education at IIE, told The PIE News.
The project beat its renewed target of 500 partners, which Obst said demonstrates that "we can have more impact when we all work together towards a shared goal".
"The commitments to action that our partners have made are bold and ambitious and this response demonstrates the power of a coalition," he said, but added that "our projections indicate that we still need to do more if we want to reach our target of doubling study abroad by 2020."
The project's partners include 14 country partners– including governments in study abroad hot spots like Spain, France and Ireland– and 100 universities and colleges from outside the US.
As well as surveying partners about the actions they are taking, IIE's report also looks at how they are promoting opportunities to students.
In its second year, GSA will focus on stirring up interest for study abroad among diverse student groups
It found that almost all of the participating US institutions (98%) promote scholarships and study abroad through their websites and social media, along with 77% of international institutions.
As a result, Generation Study Abroad has featured in more than 23,400 tweets, as well as being shared widely on Instagram and Facebook. IIE also estimates that the campaign has reached more than 36 million people on social media.
Looking to year two of Generation Study Abroad, Obst said IIE will focus on stirring up interest for study abroad among diverse student groups including racial minorities, mature students and first generation college students.
And in January, IIE will launch a social media-driven student campaign to further boost the profile of study abroad.
The full results of the report will be launched today at IIE's Generation Abroad Summit, which brings together GSA partners, government and business leaders to discuss ways to further increase and diversify study abroad participation.
6 Responses to US: $185m so far invested in IIE's Generation Study Abroad
Welsh unis net zero funding "very welcome"


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PM YOJANA UPDATE
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This Privacy Policy applies only to our online activities and is valid for visitors to our website with regards to the information that they shared and/or collect in PM yojana update. This policy is not applicable to any information collected offline or via channels other than this website. Our Privacy Policy was created with the help of the Privacy Policy Generator and the Generate Privacy Policy Generator.
PM yojana update follows a standard procedure of using log files. These files log visitors when they visit websites. All hosting companies do this and a part of hosting services' analytics. The information collected by log files include internet protocol (IP) addresses, browser type, Internet Service Provider (ISP), date and time stamp, referring/exit pages, and possibly the number of clicks. These are not linked to any information that is personally identifiable. The purpose of the information is for analyzing trends, administering the site, tracking users' movement on the website, and gathering demographic information.
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Third-party ad servers or ad networks uses technologies like cookies, JavaScript, or Web Beacons that are used in their respective advertisements and links that appear on PM yojana update, which are sent directly to users' browser. They automatically receive your IP address when this occurs. These technologies are used to measure the effectiveness of their advertising campaigns and/or to personalize the advertising content that you see on websites that you visit.
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Truth Grill & Chill
516 N Main St Mauldin, South Carolina 29662 | Restaurant Info
Hours: 12:00 PM to 8:30 PM Available at 12:00pm. Create Group Order Show Sections Print Menu
SaladPlatesWingsStir FrySidesSandwichesExtrasDessertDrinks
To add this item to your cart for a future order, please schedule the order delivery time to be between 12:00 PM to 8:30 PM.
SaladToggle visibility of menu section "Salad"
Truth Specialty Salad
Lettuce, cheese, tomato, onions, peppers, pickles, cucumber, egg and croutons.
PlatesToggle visibility of menu section "Plates"
Includes 1 meat, 2 sides, and roll or cornbread.
Veggie Plate
Includes 3 sides.
Chicken (5 Wings) & Waffle
WingsToggle visibility of menu section "Wings"
Wings (6) with 2 Sides
Wings (12)
Stir FryToggle visibility of menu section "Stir Fry"
Shrimp Stir Fry
Steak Stir Fry
Rice & Gravy
Cheese, tomato and cucumber.
SandwichesToggle visibility of menu section "Sandwiches"
All come lettuce, tomato and mayo.
Peppers, onions.
Boss Burger
Beef bacon, cheese, onion, ketchup, mustard.
Truth sauce, cheese.
ExtrasToggle visibility of menu section "Extras"
Rolls (2)
DessertToggle visibility of menu section "Dessert"
Cake of the Day
Please call restaurant for today's selection.
Choice of flavor.
Cranberry, pineapple, orange.
What time1:00PM1:15PM1:30PM1:45PM (Booked)2:00PM2:15PM2:30PM2:45PM3:00PM3:15PM3:30PM3:45PM4:00PM4:15PM4:30PM4:45PM5:00PM5:15PM5:30PM5:45PM6:00PM6:15PM6:30PM6:45PM7:00PM7:15PM7:30PM7:45PM8:00PM8:15PM8:30PM
Monday: 12:00 pm to 8:30 pm
Tuesday: 12:00 pm to 8:30 pm
Wednesday: 12:00 pm to 8:30 pm
Thursday: 12:00 pm to 8:30 pm
Friday: 12:00 pm to 8:30 pm
Saturday: 12:00 pm to 8:30 pm


There are new ITEAD offerings in town and it comes with a promise of DIY support off the bat*. New products belong to Basic and RF series and it's called SonSonoff Basic R3 & Sonoff RF R3. The WiFi switches are available for a pre-order now, with units being shipped in May.
There is one more feature coming with this iteration. A "DIY" mode will be added in the middle of May. The Sonoff Basic R3 & Sonoff RF R3 will come with REST API, making it a breeze to integrate with existing home automation systems.
There is no MQTT protocol, but if HTTP requests well developed and documented (looking at you Tasmota!), then "tasmotizing" Sonoff days may be nearing end. Especially, if DIY mode retains Alexa and Google Assistant functionality.
The device comes with CE and FCC certificate as well. And yes, they look the same, which makes things even more confusing, so be careful with resellers or you will end up like this guy.
It will cost you less than $5 (on sale, then $6) to get the Sonoff Basic R3 &Sonoff RF R3 comes with $7.20 preorder price ($9.50 later) and $4.50 for the RF remote.
I will be ordering the devices soon. I'd love to see if flashing Tasmota firmware will be still the first thing I do when buying a Sonoff Device. Let me know what you think. Would you still flash your Sonoff Basic R3 & Sonoff RFR3? Are you ready to give up MQTT and keep the original firmware? Let me know in the Reddit thread.


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Polyrhachis durvillei är en myrart som beskrevs av Horace Donisthorpe 1938. Polyrhachis durvillei ingår i släktet Polyrhachis och familjen myror. Inga underarter finns listade i Catalogue of Life.

Källor

Myror
durvillei


Mature male Yalobusha rivulet crayfish. The species prefers intermittent streams, where fish cannot live. Photo by Susan Adams, USFS.
In 1989, Joseph Fitzpatrick discovered the Yalobusha rivulet crayfish (Hobbseus yalobushensis). After the species description was published, silence reigned. For the next 29 years, no studies focused on the species.
In 2015, Adams contributed to a global assessment of crayfish conservation status. The assessment reports that 21 percent of all crayfish are data deficient, and 20 percent of North American species are threatened. The Yalobusha rivulet crayfish falls into both categories.
"We wanted to learn more about the Yalobusha rivulet crayfish and its distribution, habitat associations, ecology, and life history," says Adams.
Before Adams' study, the Yalobusha rivulet crayfish had been documented in only six localities.
In 2011, Adams and her colleagues were studying Shutispear crayfishes (Procambarus lylei),which is also rare. "During that study, we found a Yalobusha rivulet crayfish where it had never been documented before," says Adams.
The discovery led to a new study, with results recently published in the American Midland Naturalist.
Adams and her colleagues surveyed parts of the Yazoo River system in southern Calhoun County, Mississippi. The study sites were on Weyerhaeuser pine plantations where best management practices were used, and Adams' coauthors were Weyerhaeuser scientists.
Over the course of three years, the scientists sampled 16 streams. "We found Yalobusha rivulet crayfishes in 13 new localities in eight of the streams," says Adams. The scientists conducted all sampling in February and March.
The scientists found Yalobusha rivulet crayfish in 13 new localities. Photo by Susan Adams, USFS.
During each sampling visit, the scientists measured stream size and water quality variables. They also assessed whether streams flowed year-round or dried up at times.
The scientists captured 2,225 Yalobusha rivulet crayfish. Eighty-one percent of the crayfish were juveniles, captured in 2012 and 2013.
What species occurred alongside the Yalobusha rivulet crayfish? The scientists also captured many other crayfishes, amphibians, and fishes.
Crayfish also prey on each other. Three other crayfish species were associated with absence of the Yalobusha rivulet crayfish.
The crayfish were most abundant in small, intermittent streams, where fish cannot live. "The importance of intermittent streams is often overlooked," says Adams. "But these small streams provide crucial habitat for some species." Fitzpatrick and his colleagues had observed that the species occurred in small streams in 1989.
The Yalobusha rivulet crayfish is small and relatively short-lived. It persists in pine plantations, and perhaps alongside other land uses as well.
Weyerhaeuser provided some funding for this research.