Today I broke up my run in two part again starting with 3.8k outdoors and 8.16k high intensity on the treadmill. For the outdoor portion, I was joined by Ellie and my girlfriend. We ran down the Don Valley Trail to the Corktown Common, around the Underpass Park then back to the Distillery. The weather was warm today at -1°C, but really windy and snowy on the way back. Was able to get in almost 12km today and ended the run with a high protein smoothie and a calamari salad from Buster's Cove in St.Lawrence Market.


OUR STAFF KEEPS AN EYE ON EVERYONE ON THE RIDE!
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Our first Executive Director of OE was also a professor at Northern Illinois University in their teacher program when our program was founded in the 1970s. Jessie Hafer, our current leader, is an experienced, certified teacher with a Middle School endorsement. She collaborates with each school group to ensure all student needs are met. A dissertation, completed through Loyola University Chicago, studied our program and found several benefits, and the study is now in the Library of Congress.
Sandstone canyon complete with White Pine trees (the southern most, naturally occurring stand. Glaciers added to our site!), primitive plants and natural springs.
The rural setting inspires writing journals, stories, and poems. The awe-inspiring experience also sparks students' desire to read about all of the various aspects of being on a western dude ranch!
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Another road trip for me! This time I went off to Alberta to spend some time with my good friend Amanda. Amanda and I have been friends for almost two years now, she was actually roommates with my friend Alana (that I went to visit a few weekends ago) when we first began getting to know each other. Amanda is one of my closest friends and I really value her friendship so I was excited to be able to head out to her home and spend time with some of her family for the first time.
Okotoks is about a 6 hour drive from Saskatoon, but I don't mind at all - I really enjoy road trips on my own, that's why I tend to take so many! The drive is quite flat, which is to be expected on the prairies, but it's extremely beautiful.
On the Friday night Amanda and I drove in to Calgary and went to Ranchman's with a couple of our friends who are also from Saskatoon, but were in Alberta for a Catholic event for the weekend. We two-stepped the night away and had a great time!
On Saturday Amanda and I drove out to Cochrane, Alberta for One Rock, the Catholic event that our friends were in Alberta for. It was a "World Youth Day At Home" to help unify those who were able to make it to Rio and those that stayed home. There were talks and music all day long and we ended the day with an amazing evening of Eucharistic Adoration. There were lots of people and I was fortunate enough to see a bunch of friends from the summer I spent living in Halifax. I rarely get to see them and I hadn't told them ahead of time, so it was a little bit of a surprise for them :).
Sunday morning I joined Amanda and her parents at Mass at their parish, St. James, on the Feast of St. James - talk about timing! We had a quick brunch and then went in to Calgary to shop. I had wanted to leave Saskatoon early on Friday and shop before I made my way to Okotoks, but I let myself sleep in and got on the highway much later than expected. By the time Sunday came around, though, I wasn't in the shopping mood (odd, I know!). It's a good thing though, I really don't need to shop, so only spending a bit of time in the mall was beneficial to my finances.
I had a fantastic time visiting Amanda and her family and I cannot wait until I can visit Okotoks again!


The sensor mounting arm is used to mount wind sensors off of a tubular tower so they can be in free flowing air. The arm holds the sensors over three feet away from the tower.
The mounting arm is provided in an unassembled form to save you shipping costs. Assembly is straight forward and will take most users less than 30 minutes. The kit includes a 5/32" hex (Allen) wrench. The only other tool needed for assembly is an adjustable spanner (Crescent wrench), however we recommend that you have an SAE socket set.
The sensor mounting arm is used to mount our 6500 anemometer off of a tubular tower so it can be in free flowing air. The arm holds the sensor over three feet away from the tower. Anemometer and mounting PVC pipe are not included with the mounting arm. Arm is provided in kit form to save shipping cost.
An anemometer mounted below a Southwest Wind Power Whisper generator.


text:
Belting 2002
Title: Hieronymus Bosch - Garden of Earthly Delights
Author: Belting, Hans
Publisher: Prestel, Munich-Berlin-London-New York
Hieronymus Bosch. Garden of Earthly Delights (Hans Belting) 2002
[Prestel, Munich-Berlin-London-New York, 2002, 126 pages]
Professor Hans Belting is an art historian who teaches in Karlsruhe. At the Bosch Conference in 's-Hertogenbosch in November 2001 he gave a lecture about the Garden of Delights. This book can be seen as an elaborated version of this lecture.
A Tale of Fascination [chapter 1, pp. 7-19]
According to Peter Beagle the Garden of Delights possesses a utopian aspect and this fits in with Belting's own interpretation: the central panel of this triptych represents a paradise that does not really exist, it could be called a 'virtual world'. This triptych is not an altarpiece: Bosch only used the structure of an altarpiece to express something new. The left and right interior panels agree with the rest of Bosch's oeuvre, but how does the central panel fit in with this oeuvre? Siguença (early seventeenth century) saw the central panel as a representation of sinfulness that is being punished in the right interior panel, but according to Belting we are dealing here with an innocent paradise and the link between the central panel and the right interior panel is not what Siguença wrote about this. In the literature of the sixteenth century there was already something that could be called 'poetical freedom'. Bosch introduced this concept into the art of painting. The cultural-historical approach of Bosch, focusing on contemporary religion and society, neglects the language of Bosch's historical imagery. Fraenger was wrong as well. The alchemical approaches were also wrong: there are alchemical motifs in Bosch's work, but these are intended as satirical observations, not as secret codes. This first chapter shows that Belting's writing style is sometimes rather blurred, although this may partially be due to a weak English translation (from the original German).
In a Painted Labyrinth of the Gaze [chapter 2, pp. 20-57]
To describe every individual motif would be too much work. Do the separate parts of the Garden deliver a coherent message or does Bosch force us to create free associations between the three panels? This seems to be a rather strange question. Taking into account the rest of Bosch's oeuvre, the answer to the second question can only be: no. There is a clear chronology in the triptych: first the creation of the world (closed wings), then the creation of man (left interior panel), and next hell (right interior panel). But the central panel is a special case and does not fit in with this chronology. According to Belting Bosch consciously wanted to express something with this…
The closed wings represent the Third Day of Creation and the world as the Earthly Paradise, still free from abuse by humanity. God is small and seems insecure, as if He has already lost control over His creation. But the verses from Psalm 33 (9) signal that the closed wings are meant as a painted song of praise about creation. The left interior panel represents the Marriage of Adam and Eve in Eden. The Fall of Man is not depicted, but is anticipated by the serpent curled around a palm tree (center-right) and by the not very idyllic, aggressive behaviour of some of the animals. This left interior panel shows the influence of illustrations that accompany the travel letters of the humanist scholar Cyriacus of Ancona (see the giraffe and the elephant, this was demonstrated by Phyllis W. Lehmann) and of engravings by Martin Schongauer (the dragon's blood tree and the date palm). In the right interior panel (a Hell) nature has completely vanished: people are being punished by means of things they have created themselves and thus Bosch presents a satirical view of the world. The Prince of Hell (bottom-right) wears a kettle on his head that looks like a globe and the window that is being mirrored in the kettle is definitely a metaphor for a room without exit. Belting's (weak) further analysis of the right interior panel is a mixture of correct observations (the bagpipes are a sexual symbol) and subjective interpretations (the Tree-man is probably a self-portrait, the scene with the sow-nun to the bottom-right = a rich man donates his money to the Church and is seduced into doing this by a nun…).
In the central panel humanity completely lives within nature. Although the landscape of Eden in the left interior panel continues here we know from the Bible that man has never populated the Earthly Paradise. Bosch prevented the spectator from placing this panel somewhere in the biblical history of the world and invited everybody to give his or her personal interpretation of this central panel. Everywhere people are eating and having sex. This does not refer to sinful eroticism but to natural fertility (death only arrived in Eden after the Fall of Man). There are no children in this paradise and all figures lack individuality, they look like timeless souls. This is a utopian vision of a world that has never existed. The glass cilinders are not natural, though, and are perhaps a critical comment on the attempts of the alchemists to imitate God's nature. The man and the woman in the right bottom corner are perhaps Adam and Eve (the man is possibly also a self-portrait) and the pointing finger may refer to an awareness of the difference between Good and Evil, which only came after the Fall of Man. Bosch painted a fictitious paradise. In these pages Belting's argument is very hazy and can hardly be followed in a rational way.
The artist in his home town [chapter 3, pp. 58-69]
Some well-known facts about Bosch's life and work (his success with the high nobility, member of the Fraternity of Our Lady, his numerous imitators, the comments of Guevara and Siguença). From these comments Belting wishes to conclude that Bosch introduced artistic freedom into the late-medieval world of painting and that he turned the satirical style into a serious form of art, giving people the occasional chance to laugh because of a painting. The Rotterdam Vagabond must once have formed the closed wings of a secular triptych, the interiors showing The Ship of Fools + Gluttony and The Death of a Miser: a satirical criticism on the folly of society and the sins of the individual. As has been demonstrated by Bax, Bosch often used Dutch idioms and proverbs for this. As an example Belting refers to the drawing called The field has eyes, the wood has ears, thereby quoting Koldeweij's hypothesis: the drawing not only represents a proverb, but also Bosch's name and the name of his home town 's-Hertogenbosch (ogen – bosch / eyes – wood).
In the Palais Nassau [chapter 4, pp. 70-84]
An unconventional work of art such as the Garden of Delights must have been designed in close co-operation with a patron that trusted the artist and felt related to him. Both Engelbert II and Henry III of Nassau are possible patrons but Belting seems to be in favour of Henry, without any argument for that matter. Henry III is said not to have been very pious, but he was interested in art and this must be taken into account in interpreting Bosch's painting. Henry had his Breda residence changed into a Renaissance palace and in the Grote Kerk in Breda he had a beautiful Renaissance tomb installed for his uncle Engelbert.
Whatever others may tell, dendrochronology is of little use for a dating of the triptych: it only informs us that Bosch used wood from the period 1460-66. Based on a rather vague argument (the Garden's structure reminds us of the structure of a Last Judgment triptych but the central panel is totally different and the left interior panel does not represent Heaven but an innocent Eden) Belting supposes that Philip the Fair and Henry III competed with each other in ordering ambitious triptychs with original subjects (according to Mosmans the Last Judgment ordered by Philip in 1504 would have been larger than any other work of Bosch we know). In 1520 Dürer saw – among other things – a piece of a meteorite that had fallen out of the sky close to Henry III in the Nassau Palace in Brussels. In this context of mirabilia, anticipating the later Wunderkammers, Bosch's triptych – which was not an altarpiece – was at its proper place. It was probably used by Henry to entertain his guests during parties.
The succes of the triptych can be derived from the numerous copies that were made for rich patrons before 1568, the central panel being the focus of attention. One of these copies was almost as large as the original. Only the left interior panel of this copy has survived (Escorial) and the wood is older than the wood of the original (felling date: 1449-55).
A gap in the Bible [chapter 5, pp. 85-89]
Bosch's triptychs often deviate from tradition. The left interior panel of the Vienna Last Judgment for instance does not represent the future Paradise but the Earthly Paradise and thus offers a linear story: the Fall of Man is the beginning of a history that ends in Hell. The Haywain, which summarizes the folly of the world, shows a similar scheme. The vagabond on the closed wings refers to man who is only a temporary guest in this world.
The Garden of Delights seems to use a similar scheme, but this is not the case, because nobody in the Eden of the left interior panel is eating the forbidden fruit and the way in which the overpopulated Earthly Paradise in the central panel is a visual continuation of the Earthly Paradise of Adam and Eve does not agree with the biblical facts. But suppose there was a gap in the biblical story, a gap between what really happened and what could have happened? In the third chapter of Genesis the devil is introduced and chapter 2 describes a paradisum voluptatis, a pleasure garden. Bosch omitted the devil and phantasized about this utopian pleasure garden in which Adam and Eve's descendants have sex without any awareness of sin. According to Belting some elements from Genesis 2 return in Bosch's painting (the precious stones, the four rivers, the central tower that visually combines a source and a tree) and there were still others in the Middle Ages who phantasized about the way the Earthly Paradise could have looked without the Fall of Man (among them Bosch's fellow countryman Dionysius the Carthusian). Bosch thus created a utopian vision based on biblical facts (to avoid the accusation of heresy) and introduced into painting the freedom of phantasy that was until then the prerogative of literature. An error in Belting's argument is the statement that Bosch omitted the devil: in the left interior panel the devil is represented by the serpent which is curled around a tree. Belting himself mentions this in chapter 2 (where he also mentions that the aggressive fauna anticipates the Fall of Man). What Belting does not mention is the anthropomorphic rock (right beneath the serpent): probably another diabolical reference.
Cardinal Grimani's altarpiece [chapter 6, pp. 90-95]
Belting compares the central panel of the Garden of Delights to the Earthly Paradise panel in Venice where the post-lapsarian Earthly Paradise functions as a waiting room for Heaven. This panel makes a very 'normal' and traditional impression, whereas in the Garden Bosch used traditional iconography as the basis for a utopian idea (the pre-lapsarian Earthly Paradise) and for social criticism (the Hell in the right interior panel).
A new concept of art in dialogue with literature [chapter 7, pp. 96-98]
In this short chapter Belting compares Bosch's Garden of Delights to Sebastian Brant's Das Narrenschiff and Erasmus' Praise of Folly. He also refers to Thomas More's Utopia. Regarding these texts Belting states that fiction liberates argument by disguising it, and this could also be applied to Bosch. A humanist scholar could have interpreted the Garden as follows: just as More described a 'non-place' (u-topia), Bosch's central panel describes a 'non-time' (u-chronia), a Paradise that lies outside time. The Hell panel confirms this by contradicting this and by reminding us about the place where the sins of history were being punished. Once again Belting's way of reasoning makes a rather blurred impression in this chapter.
Rival dreams of Paradise [chapter 8, pp. 99-106]
With the discovery of the New World around 1500 the belief in a real Paradise (a Garden of Eden) on earth vanished. The old mythological tradition of the Bible was now pushed aside by a new fictional genre, utopian literature, and Bosch applied this to the art of painting, probably influenced by the exotic gardens that could be seen in Europe and by objects from America that were on display.
The isle of nowhere [chapter 9, pp. 107-112]
Although Thomas More published his Utopia in 1516, the year in which Bosch died, this utopian vision of a perfect society is a literary equivalent of Bosch's view of a paradisiacal mankind, although there were also important differences. With More and with Bosch we notice a tendency to get away from the imitation of visible reality, giving more freedom to the artist's imagination. Belting then further elaborates on Utopia, but it is not really clear what this has to do with Bosch.
Fiction and humanist portraiture: an excursus [chapter 10, pp. 113-120]
This chapter offers another elaboration on Erasmus' involvement with the origin of Utopia and on some portraits of Erasmus, Thomas More and their friend Peter Giles. All this has nothing to do with Bosch and one wonders why a chapter like this is part of a book about Bosch.
Summary [pp. 121-122]
Belting's final conclusion comes as a surprise: the art of Bosch deviated as far from the conventional religious iconography as from the new humanist iconography, which he did not use at all. Why then that complete tenth chapter? The Garden of Delights has the structure of a triptych, but it is not an altarpiece and it is based on the Bible without literally following the Bible. The Earthly Paradise in the central panel is a fiction that has never existed and the result of an artist who is looking for poetical liberty. The right interior panel does not represent a Hell, but the post-lapsarian world Bosch saw all around him in his own days.
If we understand Belting properly after all this, the central panel of the Garden represents the Earthly Paradise with the innocent descendants of Adam and Eve before the Fall of Man. It is an ideal, utopian world (which is not mentioned in the Bible). The right interior panel is opposed to this perfect world because it shows the sins from Bosch's own time and environment.
What Belting writes on page 57, doesn't harmonize with this: the pointing gesture of Adam towards Eve (bottom right corner of the central panel) is said to refer to 'an awareness of the difference between good and evil that, according to the Bible, did not exist before the Fall of Man'. More than likely this statement is correct, but at the same time it completely turns Belting's interpretation of the central panel upside-down. This is probably caused by the fact that his scientific approach of Bosch can hardly be called scientific, for it is based on few or hardly any valid arguments. What Belting writes about the right interior panel is a bit comical: this Hell (if ever a Hell was painted, then this one!) is not a Hell, but the everyday world! Belting's interpretation of the Garden is totally out of sync with the rest of Bosch's oeuvre, everybody will agree about that. If Belting were right, the Garden of Delights would be an amazing (and implausible) exception within this oeuvre.
The final conclusion can be that Belting's interpretation of the Garden of Delights in this (beautifully edited) book is not very convincing. Striking about the bibliography at the back of the book is its sloppiness in many places, definitely unworthy of a book written by a professor.
Other reactions
A short indirect reaction of Matthijs Ilsink (see also Ilsink 2009) in a review of some other Bosch books [in: Millennium, vol. 17 (2003), nr. 1, p. 50]: Also last year a very interesting book about the Garden of Delights was published by Hans Belting… And in a footnote: The central idea of the book is that in the enigmatic central panel of the Garden the world is represented as it could have been if the Fall of Man had not taken place.

redpajama_set_name: RedPajamaCommonCrawl


Robert Miller, president and publisher of HarperStudio, advocates his ideas in the article Re-thinking the Publisher/Author Partnership, as a reaction to M.J. Rose's editorial Publishers Must Change the Way Authors Get Paid from the previous week.
Miller applauds Rose's stance in involving authors in the marketing of books, but disagrees with her proposed solution of having authors "paid a higher royalty in exchange for their marketing efforts". This is because he believes that the author is equally responsible for making full effort in marketing as the publisher, but it is difficult (if possible at all) to translate the "effort" into corresponding share of profit (if there is any). Consequently, the authors and publishers will not find this solution very plausible. With the vision to establish a "sustainable publisher/author relationships", Miller takes a step further and suggests that publishers and authors be "equal partners" and share profits equally. This possibly tackles the aforementioned issue of calculating effort, and builds up responsibility on both sides.
While Miller's suggestion of a fifty-fifty share has received some positive feedbacks, I do not see how it can work out so ideally, at least in the short term. One paradox in this proposal of adjusting publisher/author relationship is that most authors have a limited understanding of the publishing business, and it is the publishers who will suffer most financially if the books fail. I do sympathise with the authors who work whole-heartedly on their books, and I agree that they should receive the share that they truly deserve. While the industry certainly needs to rebalance the publisher/author partnership in order to motivate all practitioners, we will probably need to modify the contract case by case when it comes down to doing business.


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text:
ABT 848 Wantage, Berkshire, England
Æthelwulf of Wessex
Osburth of Wessex
Ealhswith 868
Ethelgiva of England
Born: ABT 875
Died: UNKNOWN
Ethelfleda of England
Born: ABT 869 Wessex, England
Died: 12 JUN 918 St. Peters, Gloucestershire, England
Edmund of England
Elfrida of England
Born: BET 868 AND 877 Wessex, England
Died: 7 JUN 929 Flanders, Belgium
Ethelwerd of England
Edward I of England
Died: 924 Farmington, Berkshire, England
26 OCT 901 Winchester, Hampshire, England
Alfred, the Great (871-900 AD)
Youngest son of King Æthelwulf, Alfred became King of Wessex during a time of constant Viking attack. He was driven into hiding by a Viking raid into Wessex, led by the Dane, Guthorm, and took refuge in the Athelney marshes in Somerset. There, he recovered sufficient strength to be able to defeat the Danes decisively at the Battle of Eddington. As a condition of the peace treaty which followed, Guthorm received Christian baptism and withdrew his forces from Wessex, with Alfred recognizing the Danish control over East Anglia and parts of Mercia. This partition of England, called the "Danelaw", was formalized by another treaty in 886.
Alfred created a series of fortifications to surround his kingdom and provide needed security from invasion. The Anglo-Saxon word for these forts, "burhs", has come down to us in the common place-name suffix, "bury." He also constructed a fleet of ships to augment his other defenses, and in so doing became known as the "Father of the English Navy." The reign of Alfred was known for more than military success. He was a codifier of law, a promoter of education and a suppor|er of the arts. He, himself, was a scholar and translated Latin books into the Anglo-Saxon tongue. The definitive contemporary work on Alfred's life is an unfinished account in Latin by Asser, a Welshman, bishop of Sherbourne and Alfred's counsellor. After his death, he was buried in his capital city of Winchester, and is the only English monarch in history to carry the title, "the Great."
Copyright © 2001-2005, Tim Dowling
email: tdowling_53223@yahoo.com


text:
Q: Pythagorean Triple in Haskell I need to run a Haskellprogram in which I enter a number, and tell me the pythagorean triangles (a, b, c) so that 'a' is the number entered. This is it;
pythagoreanTriple :: Integer -> [(Integer, Integer, Integer)]

pythagoreanTriple 25 == [(25,60,65),(25,312,313)]

pythagoreanTriple 20 == [(20,15,25),(20,21,29),(20,48,52),(20,99,101)]

I've tried it this way, but it's very inefficient, because for low numbers it works, but when they ask for a high number it doesn't work.
 pythagoreanTriple :: Integer -> [(Integer, Integer, Integer)]

 pythagoreanTriple n = [(n,b,c) | c <- [2..n^2], b <- [2..c-1], n^2 + b^2 == c^2]

I need the function to work for pythagoreanTriple 14578950150, but I can't get it.
In case you don't know what a Pythagorean Triple is: https://en.wikipedia.org/wiki/Pythagorean_triple
I've done the algorithm you told me, but it doesn't give the same results as the example, and it takes a long time.
SOLUTION
pythagoreanTriple :: Integer -> [(Integer, Integer, Integer)]
pythagoreanTriple a = [(a,b,c) | c <- [a+1..(a^2+1) `div` 2]
                               , let b = (round . sqrt . fromIntegral) (c^2 - a^2)
                               , a^2 + b^2 == c^2]

A: Here's what to do as an algorithm. Try converting to Haskell and if you get stuck, edit your question to show where you got.

*

*Input a

*Factorise a into primes

*Thereby give a factorisation of a^2

*Because a^2+b^2=c^2, we have a^2=(c-b)(c+b)

*For each factorisation of a^2 as a^2=xy with x<y but not necessarily primes or x>1:

*

*Get c = (x+y)/2

*Get b = (y-x)/2

*Output (a,b,c)
Ok here is an example for 50:

*

*Input a=50

*50=2*5^2

*50^2=2^2*5^4

*Not really a step

*Factorisations (x,y) are: (1,2500), (2,1250), (4,625), (5,500), (10,250), (20,125), (25,100) Other factorisations have x>=y (equivalent to x>=a)

*Corresponding output (where integer solutions exist): none, (50,624,626), none, none, (50,120,130), none, none.

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text:
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Accommodation in Galashiels
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Some holiday lets or cottages in Galashiels, Scottish Borders...
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Find Bed & Breakfast (B&Bs) and Guesthouses in Galashiels with BedAndBreakfasts.co.uk
Find campsites in Galashiels with PitchUp.com
What to Visit and Where to Eat in Galashiels
Wondering what to do when you get there? Where to visit? How to keep the kids quiet? Have a browse of the great 'Days Out With The Kids' website to get some ideas.
Find days out and attractions in Galashiels
Hungry? For great restaurants and cafes in Galashiels pay the following sites a visit...
Find restaurants in Galashiels at Yell.com
Find restaurants in Galashiels at the Resturant Guide
For more great dining in Galashiels visit Sugar Vine
If you like walking then be sure to visit the following site before heading off to Galashiels...
Walks Around Britain - Britain's only walking website with video walks. Walking routes, maps, information and more about walking in Britain - on DVD and Blu-ray too.
Finally, if you're packing your cycles and want to find some great routes in the Galashiels area then...
Cycle-Route.com - should have all the information you'll need. As well as cycle routes this site is also packed with information, guides, a store and its own forums.
The Weather in Galashiels
Will it rain or will it shine? Here's the outlook for Galashiels over the next few days...
View Detailed 9 Day Weather Forecasts for Galashiels, webcams, weather maps & more at Weather-Forecast.com
How to Get There - Your Transport Travel Guide to Galashiels
That's it - you've decided. You've read our travel guide to Galashiels and you're convinced. Galashiels is the place for you. So, how do you get there? Just follow the helpful links below...
Planes, trains or automobiles... Transport Direct will point you in the right direction!
Or simply plan your journey with Traveline :-)
Travelling to or from Ireland? Don't forget the ferry! Not only does it give you the freedom of taking your own car but it provides a superb experience of travelling by sea and exploring the coastline. With convenient routes between Holyhead and Dublin, or Pembroke and Rosslare, we recommend Irish Ferries for great, low-cost, transport. They are the leading Irish ferry company and provide both an excellent service, and excellent prices.
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An executor is the person responsible for administering a deceased person's estate. When a person (referred to as the testator) makes a Will, they will usually nominate at least one person as an executor. Under the Succession Act 1981 (Qld), the term "personal representative" is used, as it refers to both executors and administrators.
More information about making a Will in Queensland can be found in our dedicated article, Making a Will in Queensland.
Executor's obligations in Queensland are numerous. They include gathering and maintaining the deceased's assets, and ensuring all the estate's outstanding debts and taxes are paid. The executor must distribute the deceased's assets in the manner specified in their Will.
The rules regarding executor's obligations in Queensland can be found in the Succession Act 1981 (Qld) . Other legislation which may also be relevant, depending on the circumstances, includes the Uniform Civil Procedure Rules 1999 (Qld), the Trusts Act 1973 (Qld), the Property Law Act 1974 (Qld) and the Land Title Act 1994 (Qld).
Pay interest on any general legacies in the Will (at a rate of 8 per cent per annum).
Defending the Will, if someone begins litigation against the estate.
More information on some of these duties is provided below. Please note that this is not a complete list of an executor's duties as the testator could include additional obligations in their Will.
In addition to their duties under the Succession Act 1981 (Qld), an executor also holds a series of common law fiduciary duties in relation to the estate and the beneficiaries.
These fiduciary duties arise because an executor is in a position of significant trust and confidence, and therefore must follow a set of conduct rules (similar to a trustee of a trust). An executor's primary duty is to act in the best interests of the estate at all times.
Unless the beneficiaries provide express written consent, an executor must not put themselves in a position where there is a conflict of interest (between their duties to the estate and their own personal interests). This extends to situations where there is only the possibility of a conflict of interest.
An executor also must not make a profit from their position. However, under section 68 of the Succession Act 1981 (Qld), the court may authorise payment of a commission (or other remuneration) to the executor for their services. The amount would be that which the court thinks fit and may come with conditions.
Severe penalties may apply if an executor breaches any of their fiduciary duties to the amounts that they are liable.
If more than one executor is appointed, they must exercise their powers jointly under section 49 of the Succession Act 1981 (Qld). This means the executors will need to confer with each other and agree on courses of action regarding the estate's administration.
When making their Will, the testator is free to nominate as many executors as they wish. However, the Supreme Court of Queensland will only grant probate to a maximum of four people at any one time. If a testator appointed more than four people as executor, they will be appointed in the order in which they are named in the Will (section 48).
Executors have an obligation to arrange for the disposal of the deceased's body, which will often include organising a funeral or similar service.
While it is common for the deceased to include instructions regarding funeral arrangements in their Will, these instructions are not generally enforceable and an executor may choose not to follow them. However, if an executor is aware that the deceased has left signed instructions for their remains to be cremated, these instructions must be followed. This is required by section 7 of the Cremations Act 2003 (Qld).
An executor's decision regarding disposal of the body is final, although they will usually discuss funeral arrangements with the deceased's family. Particularly if there are religious or traditional customs which need to be observed.
Section 44 of the Succession Act 1981 (Qld) provides some legal protections for executors who have begun distributing the estate.
For example, a person cannot bring an action against an executor for distributing part of the estate, if that distribution was properly made for the maintenance and support for the deceased's dependent spouse or child. This applies even if the person notified the executor that they intended to bring an application against the estate.
If notice of an application was received – no earlier than nine months after the deceased's death (unless the executor received written notice that the application had commenced in court).
The court may make orders against an executor who neglects to perform their statutory duties.
Section 52(2) of the Succession Act 1981 (Qld) allows a person who is aggrieved by the executor's neglect (such as a beneficiary) to make an application to the court for orders. The court may make any orders it thinks fit, including an order for damages. The court can also order the executor to pay interest on any sums of money which have been in their hands, as well the costs the aggrieved person's application.
If an executor wastes the estate's property or converts any part of the estate to their own use, their legal liability continues after the executor's own death. Under section 52A of the Succession Act 1981 (Qld), the former executor's own personal representatives will, to the extent of the available assets, be liable for waste or conversion in the same manner as the former executor would have been.


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Aritro Mukherjee, an IT consultant at Salt Lake's Sector V, is out with friends for a quick weekend afternoon drink. Their poison? Beer. Saathi Agarwal, a partner at a beauty products startup, is also sipping beer at a cosy lounge on a pleasant November afternoon. Beer? In November? The truth is, many Kolkatans have got rid of their seasonal hangover when it comes to beer, and the November nip hasn't caused any dip in sales.
Kolkata's GenY is gulping down beer throughout the year, and not only the same old brands. Thanks to the easy availability of globally renowned labels and increasing disposable incomes, drinkers are increasingly appreciating the distinctive quality and taste of the best beers, and there's a noticeable shift towards the premium segment. "Despite not being a high-volume market, Kolkatans have shown a tremendous affinity to almost all top-level beer brands, like the Delhi and Chandigarh markets," says Samar Singh Sheikhawat, senior vice-president (marketing), United Breweries Ltd (UBL), which controls over 50% of the beer market in India.
"The 'premiumization' of Kolkata's beer market happened in the last three-four years. As the beer market is a 99% male bastion, the city's young-urban cosmopolitan males are gulping down premium domestic as well as imported beers like never before," he adds. According to him, the eastern region is neither sophisticated nor a logistically advantageous market for premium beer-makers. "However, these do not have a big impact on the price points of the premium beers available here," he adds. An upbeat UBL expects its super-premium beer brands to contribute 15% to its total sales by volume and 25% by value in the next five years.
Gautam Singh, associate director at The Park (bar division), feels the City of Joy is slowly but steadily catching up with the beer culture of Bengaluru or Delhi. He says the influx of international quality beers did the trick. "Even a decade back, only a couple of good top-quality beer brands were available on countertops. The freshness of a draught beer [served from a pressurised cask or keg rather than from a bottle or can] has an immense appeal for youngsters. And it doesn't die down in winter, which only stays for a month in Kolkata. Around 25% of our total alcoholic beverage sales comes from beer during this period. In summer, it just goes up to 35%," explains Singh.
Youth connect and Kolkata's year-long sultry weather boost beer consumption here, feels Snigdha Kumar, area sales manager (institutional beer sales-east), at Kingfisher. "Winter isn't really an off season for us in Kolkata, as all big festivals — such as Durga Puja, Christmas and New Year are during this period. And flaunting an imported or premium beer bottle is now a style statement inside a bar, lounge or nightclub. Besides Scotch whisky, premium beers are considered an aspirational drink these days," she explains. "Besides floating customers, a bigger section of first-time drinkers are also picking beer. Premium beer forms around 25% of the total Kingfisher lager beer sales in Kolkata. We are witnessing as much as a 50%-60% year-on-year jump in beer sales in this megacity," she adds.
Premium mild beers have been around in India for some time now. But the difference now is that more brewers are making them in India rather than importing them, as the segment is growing ahead of the 'strong' category, mainly in metro markets. While Heineken (the costliest India-made beer), Kingfisher Ultra, Carlsberg and Miller rule the premium beer domain, Kingfisher Ultra Max, Budweiser Magnum and Peroni are the most sought-after domestic premium brands in terms of price points. The other two that form the 'Big Three' of beer — SABMiller (maker of premium Italian brand Peroni Nastro Azzurro) and Anheuser-Busch InBev, have also begun manufacturing their flagship premium light brands in India. So does Mahou, the numero uno Spanish beer maker. With an eye on more revenue and fresh beer, microbrewery licences are currently given only by a few state governments, including Bengal.
Erik d'Auchamp, CEO, Mahou India, says: "Bengal, especially the Kolkata market, has a very interesting consumer base because of its high growth potential. With an increasingly urbanized and sophisticated consumer group that is looking for choice, the megacity has a good split between off-premise and on-premise consumers. So, it gives consumer a place where he can experience the brand both off and on premise. An active on-premise consumer base here ranges from permit rooms to clubs to high-end accounts. The on-premise beer sales here weigh more than other parts of the country." Mahou India wants to expand towards the suburbs. "As many as 400 outlets in Bengal currently sell our beer, which we plan to increase over a period of time," d'Auchamp says. Beer is a social drink and beer enthusiasts in Kolkata have an affinity to quality products, believes Carlsberg India marketing director Mahesh Kanchan. "In Bengal, including Kolkata, Carlsberg India is the leading player in the premium industry. We've seen a significant growth and success of our premium beer brands — Carlsberg and Tuborg."
Premium beers are being embraced because of the quality of beer, the enhanced imagery and also because the relative price index of a premium beer is not too high compared with regular beers. Nationally, the premium segment is growing at a CAGR (compound annual growth rate) of around 30%," adds Kanchan. In 2014, Carlsberg India registered 42% growth in India, with an 11% volume market share (excluding Tamil Nadu), and is looking to establish and grow beyond this benchmark this year. The entire beer industry in India has been experiencing a growth rate of about 10% in the past decade. A study — Indian Beer Market-2013-17 — released by Niir Project Consultancy Services, says it would reach a size of 452 million cases by 2017 with a 12% growth.
Favourable demographics, rising disposable incomes, urbanization and rising acceptability of drinking have brought the winds of change for the industry, coupled with the mushrooming of beer cafes and microbreweries, the study adds. All India Brewers Association feels the growth in the premium segment is pegged at 20%-25%, with urban centres accounting for a large part of the consumption. Nitish Saraf, the owner-cum-MD of Palazzo, the lounge bar-restaurant in Alipore, feels the growing craving for beer is to do with its 'straight drink' tag.
"It's not so strong or hard a drink. So, it has a certain charm with youngsters. With the availability of imported as well as top-end Indian labels in the market, it has shed its 'not-so-prestigious-drink' label," Saraf adds. To keep its sales momentum up and steady even in winter, some of pubs and lounges are offering lucrative discounts on both premium and draught beer. "The spurt of the day-drinking culture also has also had an added impact on the beer sales in Kolkata," Saraf explains. Beer is very economical for youngsters too. Happy hours at bars and lounges are actually luring youths to have beer as a 'meeting up/hanging out' drink. "With an exposure to foreign brands and Western pub culture, college-goers are gulping down imported and draught beers more than ever," points out mixologist Irfan Ahmed, who has been privy to drinkers' choices over the last few decades in Kolkata.
Ahmed says the beer market has indeed gone through a sea change in the city. "The market has grown a lot, now that there's the choice of picking up big labels at any middle- to high-end restaurant and bar," he adds. Pratap Daryanani, partner at Oasis, a restaurant on Park Street, feels beer's low alcohol explains its year-long popularity with the youth. "From impromptu gatherings to cocktail parties, the drink has found its way to every table top," he says. Indian consumers, however, also look at value for money, and it's no different when it comes to beer. So, it is primarily a 'strong beer' market. Some 85% of the country's drinkers liked their beer strong in 2014 (alcohol content between 5% and 8%, against less than 5% in mild beers), according to a recent study by the All India Brewers Association. Kingfisher dominates the market, followed by Haywards 5000, Knock Out and Tuborg. UB's Kingfisher Strong (8% alcohol) is India's best-selling beer brand.
Imported beers like Corona, Coors Lite and Stella Artois — which have already made inroads into elite pubs, bars and fine-dining restaurants — form just 0.35% of the entire beer market in India. According to an industry estimate, out of 282 million cartons of beer sold in India last year, only one million cartons of imported beer were consumed across the country. And Kolkata is not an exception to this market dynamics.
Tags: AB InBev, beer in India, Carlsberg Group


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State Rep. John Kriesel explains why he's leaving Legislature
The Republican, who became a political rock star, says his decision is personal and not political.
By Cyndy Brucato
State Rep. John Kriesel
In one term, state Rep. John Kriesel made an impact.
The effort of that service is part of the reason the Republican announced Thursday that he won't seek a second term representing his Cottage Grove district.
"It's the right choice for my family," he said.
Coming from an Iraqi war veteran who lost both his legs and who spent months away from his wife and sons, now 10 and 11, in rehabilitation, it was no cliché excuse.
"I was away from them 24 months in total. I missed a lot of their lives," he said. "It bothered them. They never really spoke about it but they wanted me not to run."
Kriesel was firm in saying the decision was personal and not political. He became a political rock star during the 2010 legislative session with an emotional speech on House floor decrying a bill to put a constitutional amendment on the November ballot to define marriage as a union between a man and a woman. He was one of only three Republicans to vote against the bill, which prevailed. (Minneapolis-St. Paul Business Journal recently named him as one of its "40 under 40" honorees for his work in the Legislature.)
Soon after the marriage amendment debate, there were suggestions that he would be challenged in a Republican primary, but he said he never had concerns on that front.
"I was very comfortable with my re-election campaign," he said. "Last month I had my website revamped so that I would be ready."
But in the end, he said, he made a decision not to run again because of his family. He said his wife, Katie, a logistics consultant on food exports, had neglected her career for too long. "She came up to Walter Reed and spent all that time by my side and put her career goals on hold so I could reach my dream. It's her turn to shine," he said.
Kriesel is a marketing contractor for the National Guard, another job that takes time and effort, he said. That job, his family and his friends, he said, will be his center of attention in the future.
He also said he intends to make his last weeks in the Legislature productive: "My focus is on the Vikings stadium to pass and also to pass my fireworks bill, whose next stop is on the House floor." That bill would allow the sale in Minnesota of the same fireworks that are legal in Wisconsin, a change he said would be an economic boost in jobs and revenue.
Kriesel won't rule out running again but predicts it will be a long time before he considers another campaign.
"I want to concentrate on being a good friend and a good dad," he said. "There's only so many baseball games in their lives that I will get to go to."
Cyndy Brucato
Cyndy Brucato has a three-decade career as a journalist and political strategist.
Political Agenda
Legislator/war hero John Kriesel named Lavender Magazine's 'Person of the Year'
By Joe Kimball
Rep. Kriesel says he's not mad at Vikings' Berrian for 'Shut up n sit down' tweet
More Politics & Policy articles
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— The Editors

State Rep. John Kriesel explains why he's leaving Legislature

By Cyndy Brucato

March 16, 2012

In one term, state Rep. John Kriesel made an impact.

The effort of that service is part of the reason the Republican announced Thursday that he won't seek a second term representing his Cottage Grove district.

"It's the right choice for my family," he said.

Coming from an Iraqi war veteran who lost both his legs and who spent months away from his wife and sons, now 10 and 11, in rehabilitation, it was no cliché excuse.

"I was away from them 24 months in total. I missed a lot of their lives," he said.  "It bothered them. They never really spoke about it but they wanted me not to run."

Kriesel was firm in saying the decision was personal and not political. He became a political rock star during the 2010 legislative session with an emotional speech on House floor decrying a bill to put a constitutional amendment on the November ballot to define marriage as a union between a man and a woman. He was one of only three Republicans to vote against the bill, which prevailed. (Minneapolis-St. Paul Business Journal recently named him as one of its "40 under 40" honorees for his work in the Legislature.)

Soon after the marriage amendment debate,  there were suggestions that he would be challenged in a Republican primary, but he said he never had concerns on that front.

"I was very comfortable with my re-election campaign," he said. "Last month I had my website revamped so that I would be ready."

But in the end, he said, he made a decision not to run again because of his family.   He said his wife, Katie, a logistics consultant on food exports, had neglected her career for too long. "She came up to Walter Reed and spent all that time by my side and put her career goals on hold so I could reach my dream. It's her turn to shine," he said.

Kriesel is a marketing contractor for the National Guard, another job that takes time and effort, he said.  That job, his family and his friends, he said, will be his center of attention in the future.

He also said he intends to make his last weeks in the Legislature productive: "My focus is on the Vikings stadium to pass and also to pass my fireworks bill, whose next stop is on the House floor." That bill would allow the sale in Minnesota of the same fireworks that are legal in Wisconsin, a change he said would be an economic boost in jobs and revenue.

Kriesel won't rule out running again but predicts it will be a long time before he considers another campaign.

"I want to concentrate on being a good friend and a good dad," he said. "There's only so many baseball games in their lives that I will get to go to."

This article first appeared on MinnPost and is republished here under a Creative Commons license.


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Q: Display Photo Selected From Gallery into Table View My current problem is I cant manage to display more than one photo in table view controller B.
I try to used array to store the photo URL but my array only can store one URL when I selected the first photo. When i selected another photo my array will only replace the first url to the second and the first url is gone. Below is my code and this question was extending from this question
- (IBAction)organiseAttachement:(id)sender {

// Initialize  View Controller
PhotosListViewController *photoListViewController = [[PhotosListViewController alloc]initWithNibName:@"PhotosListViewController" bundle:nil];
photoListViewController.test = imageURL;
collector = [[NSMutableArray alloc]initWithCapacity:0];
[self.collector addObject:imageURL];
NSLog(@"Collector in root %@",self.collector);
[self.navigationController pushViewController:photoListViewController animated:YES];

}

A: Initialise the array like that:
collector = [[NSMutableArray alloc] init];

A: Initialize your array outside of this function. Initialize in viewDidLoad method. That is best for you.
collector = [[NSMutableArray alloc]init];

A: You are initializing array inside the method. So every time you click on the button, array get initialized. That's why ur first url lost. So keep array initialization outside this method.
collector = [[NSMutableArray alloc] init];


It is a time when Rome rules the world with the power of life and death in its hands. The Roman province of Palestine is a bubbling cauldron of discontent. Onto this greater canvas, Luke narrates the miraculous story of the man who changed the world. The Savior is a fresh portrayal of the life of Jesus with dialogue taken directly from the Gospel of Luke. It follows Jesus from his upbringing to his death and resurrection. The project was filmed entirely in Israel and Palestine using local actors, giving it a look and feel of authenticity. It has been translated into dozens of languages and broadcast around the world, bringing a realistic and faithful representation of the gospel to diverse audiences.


Well, 2018 is well and truly over and to be honest it was an interesting year to be in retail and manufacturing. We've seen iconic brands say goodbye, e-commerce sites close down, and retail shops reduce their number of stores at the end of the year.
Throughout all of the challenges of 2018 our goal has remained the same: to create and produce gorgeous, unique products that inspire play and help children connect with their families and their past.
This year, we are renewing our commitment to you - our customers, friends and fans - to provide the best possible products we can at the best possible prices.
We have spent the first 3 months of 2019 planning for this year - and beyond - so that we can do exactly that.
Restructuring our sales and marketing model so that we can offset the rapidly rising costs of manufacturing, raw materials, and shipping so that you end up with the best price possible.
Our commitment to you remains the same and I am really looking forward to implementing some exciting new changes so that we can continue to make gorgeous dolls, costumes and more for a long time to come.
Can't wait to share all of our plans with you over the next few weeks.
I am so excited for this year, already love the new products you've made available for Elinor and the modern girls. Bex and Maya are two of my favorites. They are so beautiful, for adults and children!
So looking forward to seeing what you have coming up including Max and the restocking of Lydia.
Love your dolls they are beautiful and such good quality.
I love your dolls and clothes and can't wait for new things to come, especially Max!
I love your dolls and their unique faces. They are more lifelike than most other dolls. I love the expressions on each of their faces.
In anticipation of this coming year am hoarding my funds so I can have the money to get perhaps a restocked doll or two that I had procrastinated a ta too long and lost out on. Then there are the new products you are manufacturing that will tempt me to spoil myself.


The bee brush is an important tool for every beekeeper. It is used to gently move bees when needed. This tool is ideal during honey harvest when bees need to be removed from frames before extraction. The tool can also be used to sweep been gently off queen cells and frames during inspection. A bee brush is much more effective than using your hands of any other tool. However, it is recommended to use the brush sparingly (just when needed).


Godrej Properties Ltd offers 2 bhk residential flat available for sale in Padur created from world class construction standards and finest materials.
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Pacifica Companies offers 2 BHK flats for sale in Padur at an affordable price point surrounded by all essential amenities.
Shantinikethan offers 2 bhk apartment available for sale in Kelambakkam developed with new construction methods and facilities.


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Casey Bradley
Casey Bradley is an Aussie actor based in NYC. Casey is passionate about working on projects with great writers, both classical and contemporary, true collaboration with other artists, and for stories that champion women and LGBTQ+ narratives. Casey's latest film and television work can be seen in the multi-award winning independent film Another Round, currently streaming on Weve TV (Apple TV & ROKU) and is featuring in the newly released mini-series Rise of Wall Street, streaming on Curiosity Stream (Apple TV & ROKU). Casey has previously appeared on the popular Australian television show Skithouse (Network10), and has been featured in commercials for Toyota. Casey's extensive NY theatre repertoire includes Through the Cracks (HERE Arts Center), Ivy Walls (3 Legged Dog) and Boeing Boeing (3 Legged Dog) which had a Regional Theatre season at Breckenridge Backstage Theatre Company. Casey has worked extensively on classical texts with a strong focus on Shakespeare, appearing in As You Like It, Romeo and Juliet and A Midsummer Nights Dream with the Australian Shakespeare Company at the historic Athenaeum Theatre, and is currently performing Coriolanus, Midsummer Nights Dream, and Titus Andronicus in repertory for Regional theatre company Shakespeare in the Woods in Vermont. Casey has worked extensively on the development of new plays, with an interest in stories that champion women and LGBTQ+ narratives. Casey has also assisted in developmental readings at The New Group as a part of the 'No Limits Reading Series'. Casey is currently in development on two films. Casey is currently an ongoing renewed Finalist for Lifetime Membership at The Actors Studio since 2018. Casey has an MFA Acting from the Actors Studio Drama School, and is an alumni of the Royal Academy of Dramatic Arts (Gold Certificate: Shakespeare) and the University of Melbourne (BA Arts - Theatre Studies and Creative Writing). Casey previously trained as a private student of Australian acting veteran Colette Mann. Casey has a broad range of experience within the industry, rooted in a deep passion for telling stories and working with likeminded collaborators. Casey has worked for Broadway theatre company Roundabout Theatre and Off-Broadway's The Barrow Group. Casey was the Artistic Director for MU Shakespeare in Australia. As a filmmaker, Casey has produced several independent short films, commercials and music videos in New York with Prospect NY. Casey is also an Acting Professor at City College in New York, and has several private students. In 2011, Casey was named a Youth Ambassador by the state theatre company, Melbourne Theatre Company (MTC). Casey is represented by Boals, Winnett & Associates and Josselyne Herman & Associates, is a member of MEAA Actors Equity, and is SAG and AEA eligible. Casey is a US Green Card holder.
Unions & Affiliations
AEA, Non-union, SAG/AFTRA, Non-union| AEA/SAG Eligible
https://www.caseybradley.com


Thormasafe, in conjunction with DSM Dyneema, raises the bar for hand safety in the workplace with the most effective line of cut resistant gloves on the market.
THORMASAFE, the protective equipment division of THORMAS, an ERIKS certified brand and emerging global leader in safety, tools and maintenance, is proud to announce the addition of the Diamond Cut Glove series with patented Dyneema® Diamond Technology to its growing line of innovative safety products. The new versatile line of Diamond Cut gloves addresses the limitations of current steel and glass fiber cut resistant protection with a more comfortable, durable and safer design.
"A workers hands are one of the most valuable assets in the workplace. We are committed to making sure we protect our customers' employees with the most advanced level of cut protection on the market today," says Gary Plunkett, Global Brand Manager for THORMAS.
Dyneema® Diamond Technology adds micro-particles within very thin pliable fibres which are then further enhanced with a unique polymer that provides high strength, maximum durability and cool-touch comfort by radiating heat away from the hand. Knitted together, these fibres create structural integrity in an extraordinarily strong, thin and ultra-lightweight material. This unique combination has made it the preferred choice for critical products including body armor. Gloves made with Dyneema® provide higher cut protection and the combination of comfort and durability make Dyneema® Diamond Technology the most cost efficient choice of fibre for industrial cut protection gloves. With Dyneema® Diamond Technology, THORMAS is able to develop ultra-lightweight gloves that offers the same level of cut resistance as thicker and heavier gloves made from aramid, HMPE or commodity fibres such as nylon. All THORMASAFE Diamond Cut gloves are made using this innovative fabric, are glass fibre free and complies with the EN388:2016 standards.
"We are committed to keep people's hands safe at all times and in any circumstances.
The Diamond Cut series is offered with a cut level B or D according to the EN388:2016 standard and offers the versatility of three coating options: nitrile foam, polyurethane or uncoated. This allows for a range of 5 gloves which include the Diamond Cut B PU and NF, the Diamond Cut D PU and NF and the uncoated Diamond Touch B. Each glove comes with a color-coded cut level indicator for easier understanding of the new EN388:2016 standard and are engineered for a broad range of specific applications and cut protection. Coated versions of the glove all come with a nitrile reinforcement in the thumb crutch for increased protection and extended use life. The material construction of all gloves allow heat to radiate away from hands, keeping hands cool during regular use at work. The polyurethane coated Diamond Cut D and the nitrile coated Diamond Cut D and Diamond Cut B gloves all come with the highest rated abrasion and tear resistance according to the EN388:2016 standard: 4X43D and 4X42B respectively.
The Diamond Touch B offers unparalleled comfort and cut protection in an uncoated highly dexterous touchscreen compatible glove. The lightweight knit construction incorporates carbon fiber, to help eliminate static electricity. It offers EN388:2016 cut level protection of 1X4XB and is ideal for applications in industries such as logistics, automotive, aerospace, chemical, white goods machinery and equipment.
THORMASAFE strives to deliver "best in class", innovative safety products, coupled with a cost-effective pricing structure that is certain to be the new standard in the safety industry. THORMASAFE Diamond Cut gloves are available for purchase beginning March 1, 2018 from ERIKS. You can find your local shop location at thormas.com.


Grand Mandarina Restaurant, just slightly 6 months old, is already making a big hit in the Chinese fine dining field! Well, just look at the amount of magazines and newspapers cut out about the restaurant.
Occupying 2 levels, upon stepping into the restaurant you could already feel the surrounding is filled with grandness and richness of Chinese culture.
On the second floor, there is even a fully equipped presentation screen! It is very suitable for cooperate meeting over a meal. :) There are 2 private rooms available for booking as well!
There are about more than 10 different appetizers available and these are just 3 of the Chef's Recommendation that we have tried.
Honey glazed BBQ pork loin, $15 per order.
Probably one of the most famous dish of Grand Mandarina Restaurant. This honey glazed BBQ pork loin (or char siew) is so good that even food critic, Wong Ah Yoke, approved.
Deep-fried prawn coated with creme lemon sauce, $32 per order.
If you prefer seafood, I would recommend you this dish. I enjoyed the juicy prawn a lot! It was really huge and gives a bit of crunchy bites.The creme lemon sauce was brilliant as well. A little sweet and sour in it which totally stimulated my appetite!
Crispy soft shell crab coated with chicken floss and curry leaves, $18 per order.
I'm not much of a soft shell crab fan, as most of the time I get more shell the the meat itself. :/ But I', glad that I find myself enjoying Grand Mandarina's version as I did bite into some soft and flavourful meat. It is indeed a very smart move to combine chicken floss and curry leaves as the flavour was really intense, yet not overpowering the taste of the soft shell crab itself.
Double-boiled chicken soup with cordycep flower, $9++ per person.
I love double-boiled soup and this bowl of goodness from Grand Mandarina surely didn't disappoint us! Everyone happily drank up the soup because it was so rich and flavourful!
Moreover, the chicken pieces were very tender! Thumbs up to that as some double-boiled soup may be very tasty, but the meat in it can be a little dry and tough.
Also, if you come after 6.30pm, for an additional $2.80, you'll get a piece of abalone in your soup. Such a steal!
Steamed silver cod with pink ginger topping in bonito sauce, $22++ per person.
Roasted duck with perigord truffle, $22++ per order.
Another signature of Grand Mandarina, which won the heart of Wong Ah Yoke.
Duck meat was really tender and moist! On a side note, the taste of truffle wasn't exactly distinct. But I would say, the dish is good enough on its own without truffle!
Tofu with crab meat and egg white in carrot broth, $24++ per order.
Love the chef's creative plating which gives the otherwise predictable dish a more exciting look! Very photogenic indeed.
Taste wise, the carrot 'yuan yang' broth was really flavourful. However, I was a little disappointed with the texture of the tofu. I will like it better if the tofu was more silky and smooth.
Stir-fried crystal vermicelli with pork collar in X.O chilli sauce, $22++ per order.
A very humble looking dish, but it tasted so good! Made from tapioca, this vermicelli tasted much like the mung bean ones, except more springy and chewy. Also, I love the pork collar which has the right amount of fats to make the meat not overly fatty nor drying. Basically a very flavourful carbo that will leave your stomach really satisfied.
Salted egg yolk bun, $4.80 for 3 pieces.
There is just something about these golden lava that I can never get enough of. Love the smooth and buttery texture of the lava, which wasn't overpowering at all! I can surely pop in 3 at one go!
If you're a dim sum lover, don't miss out Grand Mandarina's lunch time promotion! All dim sum are going at $0.88++!
Green apple jelly with lime sorbet, $8 per person.


Click on the images below to view on Google maps.
All Team Challenge Sites and Prop Storage Exhibit Spaces will be located in the KCCC.
The Welcome Ceremony & Closing Celebration will be held at the Sprint Center.
Instant Challenge will be held at the Westin.
Teams will complete registration and receive credentials at the Municipal Arena.
Limited, free bus and car parking will be available at the Liberty Lot on a first-come, first-served basis. A shuttle will service riders from the lot to the Convention Center and back.
Please check back in the coming months to download our official event map and a KCCC floor plan.
Shuttle service to/from the Kansas City Convention Center will be available. Learn more on our Event Shuttle page.
Running from the River Market on the north end to Union Station and Crown Center on the south, KC Streetcar is in walking distance of many hotels, restaurants, and destinations in the downtown area. Additionally, the KC Streetcar can transport teams from the Convention Center area to the Westin Crown Center, where Instant Challenge is located.
>> Explore the route at kcstreetcar.org.
Streetcars run every 10-15 minutes during peak periods, seven days a week.
During off-peak hours, streetcars run every 12 to 18 minutes.


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News, Top Story
School In Shock Over Student's Death By Police
Micah George May 25, 2019 12:50 pm May 25, 2019 0
The Major Crimes Unit of the Royal Saint Lucia Police Force Thursday started investigations into yet another police shooting that took place Wednesday night leaving in its wake a dead 17-year-old male student, and the arrest of two others.
The shooting has left a family in mourning and an entire secondary school in shock, with many of his teachers and classmates still in sheer disbelief.
Seventeen-year-old student Arnold Joseph lost his life after an encounter with police.
Police, aside from releasing a brief statement on the incident Thursday, have been tightlipped claiming inability to answer questions about the incident in fear of jeopardizing the ongoing investigation.
However, the shooting sent shockwaves throughout the Entrepot Secondary School in Castries Thursday morning when the news broke that one of their own was the fatality in the police shootout.
Dead is Arnold Joseph who had been writing the external Caribbean Secondary Education Certificate (CSEC).
Staff and fifth formers of the secondary school were devastated on hearing the news, more so since the deceased student was last seen by some of them a day before his passing.
Some students and teachers with eyes still tear-stained from constant crying, spoke of Joseph as someone who always tried to cheer up others who was not known to be trouble maker.
"He was a very fun person," one student said.
The Entrepot Secondary school has yet to release a formal statement on Joseph's passing. Efforts by The VOICE to get a comment from either the principal or the vice-principal right up to press time yesterday were futile.
Police Thursday released a statement saying that "on Wednesday May 22, 2019 about 10:30 p.m. officers attached to the Special Services Unit, whilst on mobile patrol received information regarding a suspicious motor vehicle, at Reclamation Grounds, Castries."
According to the statement "the responding officers made attempts to stop a white Toyota Lancer, registration number PE3191, but to no avail. The motor vehicle in question failed to stop, venturing through one-way streets about the city, contravening traffic regulations."
The statement continues, "during an attempt to apprehend the individuals, one individual was fatally shot, whilst a second was non-fatally injured. A third male was arrested without injury. One 9mm firearm was recovered by officers from the said individuals."
Police are calling on anyone with information regarding this matter to contact the Major Crimes Unit.
Questions and theories are swirling about what would warrant police to open fire at the vehicle and of Joseph's presence in the vehicle at the time it came under police surveillance.
The vehicle with the three young men was registered in Saint Lucia in 2011. The VOICE has learned that neither of the three men had been in trouble with the law before the incident.
Micah George
Micah George is an established name in the journalism landscape in St. Lucia. He started his journalism tutelage under the critical eye of the Star Newspaper Publisher and well known journalist, Rick Wayne, as a freelancer. A few months later he moved to the Voice Newspaper under the guidance of the paper's recognized editor, Guy Ellis in 1988.
Since then he has remained with the Voice Newspaper, progressing from a cub reporter covering court cases and the police to a senior journalist with a focus on parliamentary issues, government and politics. Read full bio...
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