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DC VS KKR: 2nd IPL match, possible playing XI, who is heavy on the figures?
JioTvvinee: DC VS KKR: 2nd IPL match, possible playing XI, who is heavy on the figures? In the 13th season of the Indian Premier League 2020, two headers will be played on Saturday 3 October. In the first match, where the teams of Rajasthan Royals and Royal Challengers Bangalore will be face to face.
DC VS KKR: 2nd IPL match –
In today's second match, the teams of Delhi Capitals and Kolkata Knight Riders will face each other. The match between DC VS KKR will be played from 7:30 pm on the grounds of Sharjah. Kolkata and Delhi teams are at the top of the point table.
In such a situation, both teams will have to try to win the match. This plain of Sharjah is much smaller than in Abu Dhabi and Dubai. All such fans can see fours and sixes. The same DC team had won both their matches in the beginning but they had to face defeat against Hyderabad in the last match.
RELATED Win against Sunrisers Hyderabad, CSK captain Mahendra Singh Dhoni said this big thing
The best thing for Delhi is that wicketkeeper-batsman Rishabh Pant is seen batting with his responsibility. He is also getting runs off the captain of Delhi captain Iyer but he is not able to convert into big innings. The biggest worry for the Delhi team from now on is that Simran Hetmyer is not able to do well in the middle order.
RELATED Ruturaj Gaikwad zeroed twice in 3 matches of his debut, but then consistently matched three-fifty, Sehwag, Duplessis said - this is young Kohli
The team disintegrates after Pant and Iyer are dismissed. On the other hand, Kolkata Knight Riders' team is now seen coming on track after losing their opening match. The best thing for Kolkata Knight Riders is that their young opener batsman Shubman Gill and young players like fast bowlers Kamlesh Nagerkoti and Shivam Mavi are doing quite well.
Related, Gandii Baat Season 5: Video leaked, Watch
In the last previous match, Andre Russell has shown his attitude. If we talk about the figures of these two teams, then 23 matches have been played between these two teams so far. During this time, the Kolkata team has won 13 matches and the Delhi team has won 10 matches.
RELATED Kolkata's team lost due to these five players from Bangalore: RCB register a huge win
If we talk about the last five matches, then the Delhi team has won 3 and the Kolkata team has won two matches.
Possible playing XI of Kolkata Knight Riders:
Shubman Gill Sunil Naren, Nitish Rana, Dinesh Karthik (Captain), Eoin Morgan, Andre Russell, Pat Cummins Kamlesh Nagerkoti, Shivam Mavi, Kuldeep Yadav, Varun Chakraborty.
Possible playing XI of Delhi Capitals:
Prithvi Shaw, Shikhar Dhawan, Shreyas Iyer (captain), Rishabh Pant, Simran Hetmyer, Marcus Stoinis, Akshar Patel, Amit Mishra, Enrique Norje, Ishant Sharma, Kagiso Rabada.


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Tag: Enterprise
December 18, 2020 bestdevops DevOps Leave a comment
Scaling DevOps for the Enterprise: Opportunities & Challenges
Source:-https://enterprisetalk.com Keeping pace with competition means developing and deploying new and improved digital services, establishing a new operating model for IT that increases the speed at which new products are brought into the market, and improving efficiency. Enterprises across the world are rapidly embracing DevOps. It helps them create, deploy, and operate high-quality software products more quickly than they could, using traditional approaches. Like other significant changes from traditional development workflows, DevOps also brings its own set of challenges to
August 31, 2019 bestdevops Google Cloud Leave a comment
OneLedger Joins Google Cloud Platform (GCP) to Deliver Fast Enterprise Blockchain Solutions
Source: coinspeaker.com OneLedger announced a partnership with the Google Cloud Platform (GCP) who will provide cloud computing services that facilitate an on-demand environment for developing software applications An interoperable blockchain platform OneLedger announced their new partnership with the Google Cloud Platform (GCP). GCP supplies cloud computing services that clear the way to an on-demand territory for developing, testing, delivering, and managing software applications. A wide array of businesses from various sectors are currently using GCP platform. By employing OneLedger's full
What enterprise IT teams can learn from Google Cloud's June outage: A guide
Source: cloudcomputing-news.net In early June 2019, Google Cloud suffered a cascading set of faults that rendered multiple service regions unavailable for a number of hours. This by itself isn't totally unprecedented; what made it significant was the way it propagated through the very software that was designed to contain it. Moreover, engineers' initial attempts to correct the issue were thwarted by the failure of that same software architecture. It was the interconnectedness and interdependencies of Google's management components that contributed
Interview – Rob Enslin explains how Google Cloud can win in the enterprise
Source: diginomica.com Enslin joined Google Cloud after almost three decades at SAP. With Enslin heading up sales, and Thomas Kurian at the helm as CEO, can Google Cloud bring data outcomes to the enterprise? On a call last week with Google Cloud's recently appointed President of Global Customer Operations, Rob Enslin, I asked him – if there were one message you'd like to get out to enterprise buyers, what would it be? His response: We are very good at solving
August 17, 2019 bestdevops AWS Leave a comment
Enterprise blockchain firm Cypherium secures Google Cloud partnership, adding to AWS deal
Source: cloudcomputing-news.net Meet Cypherium. The New York-based blockchain startup is partnering with Google Cloud – making it the third major cloud provider to secure a deal with the company. The company's goal is to provide an enterprise-ready blockchain platform which promises up to 5,000 transactions per second. Scalability continues to be a concern for organisations looking to utilise blockchain technologies, and is seen as a determining factor in why a pronounced gap remains between pilot projects and production for blockchain
July 30, 2019 bestdevops Docker, Kubernetes Leave a comment
Docker Enterprise 3.0 Brings Docker Kubernetes Services, New Lifecycle Automation Tools, and More
Source:infoq.com After over 2000 people participated in the Docker Enterprise 3.0 public beta program, Docker has announced Docker Enterprise 3.0 GA. This version brings Docker Kubernetes Services (DKS), new lifecycle automation tools for automating deployment of containers and Kubernetes, security enhancements, and more. Docker Enterprise 3.0 introduces Docker Kubernetes Services (DKS). Docker Kubernetes Services is designed to solve the Kubernetes complexity that stems from a lack of intuitive security and manageability configurations that enterprises expect and require. Docker Kubernetes Services
July 30, 2019 bestdevops DevOps Leave a comment
Is DevOps in the Enterprise Real?
Source:devops.com Is DevOps in the enterprise real? The short answer is yes, but you may assume it's only relevant to the world's leading cloud companies because they're the ones that make the headlines. DevOps offers the promise of agility, quality and ultimately better-performing software. While DevOps processes can increase agility, and agile approaches are a great help in improving responsiveness to change, the overall process still needs a clear objective, measurable KPIs and a finite scope.In other words, unlocking the
Q&A: CircleCI CTO Explains Why DevOps Is a Growing Enterprise
Source: itprotoday.com The CTO of DevOps platform vendor CircleCI shares insights on how the market has changed as his company raises new funds to power ahead. CircleCI has emerged in recent years as one of the leading players in the DevOps space with its namesake continuous integration/continuous deployment (CI/CD) platform. On July 23, the company announced that it raised $56 million in a Series D round of funding as it continues to advance the modern state of DevOps. CI/CD is
May 2, 2019 bestdevops DevOps Leave a comment
How DevOps works in the enterprise
Source: information-age.com. How DevOps works in the enterprise — it's all about rapidity of release, but without sacrificing and compromising on quality in the digital world. How DevOps works in the enterprise is one of key questions business leaders have been asking. This relatively new discipline, which Atlassian describes as agile applied beyond the software team, is helping businesses release products fast, but without cutting corners — which is "the name of the game at the moment in the digital world", according
August 4, 2017 bestdevops Continuous Delivery, DevOps Leave a comment
Triple-digit growth for enterprise DevOps leader
Source – it-online.co.za XebiaLabs, a leader in DevOps and Continuous Delivery software, represented in South Africa by 9th BIT Consulting, has completed 2016 with triple-digit growth. XebiaLabs is the only Enterprise DevOps vendor focused one hundred percent on Continuous Delivery, with its Application Release Automation (ARA) tools, helping large companies to accelerate software delivery and reduce risk. According to XebiaLabs CEO, Derek Langone, "In 2016, there was a meaningful increase in the number of large enterprises that recognised the need for
May 23, 2017 bestdevops DevOps, DevOps Best Practices Leave a comment
Atlassian spurs DevOps adoption for the enterprise
Source – theserverside.com Software development toolmaker Atlassian is moving to empower large organizations to adopt DevOps despite challenges, such as global scale, deep-rooted silos, disconnected tools and complicated compliance requirements. To help spur DevOps adoption in the enterprise, Atlassian has added new features in its Bitbucket Server and Data Center 5.0 and Bamboo 6.0 products. Bitbucket is a hosting service for source code and development projects that enables developers to collaborate on projects. Bamboo is a continuous integration, deployment and
January 9, 2017 bestdevops DevOps News, DevOps Process, DevOps Updates Leave a comment
NFV and DevOps Converging to Bring Telecom Lessons to the Enterprise
Source – telecomreseller.com American poet Robert Frost began "The Road Not Taken" with "Two roads diverged in a yellow wood." But when looking at the quickening pace of transformation in NFV, it might be more appropriate for us to talk about how the two roads of NFV and DevOps are beginning to converge. Forgive the lyrical mashup, but there is something poetic happening as the technologies and business models that underpin network virtualization mature. In the year ahead, we're going to

redpajama_set_name: RedPajamaCommonCrawl


I'm a 'retired' marathon runner, half-marathon runner, and every size race in between. I've placed 1st and in the top 5 of many races. I've run and even placed second the Spartan Races, Warrior Dash and so on. I say this to place credibility in what I'm about to tell you. And I loved the whole process of all these races….the training, the event and the finish line. But, just because we can do something doesn't mean we should, and do it over and over. I'm not here to tell you NOT to run races, I'm here to tell you why you should consider choosing the right race for you, the correct exercise for you, and to be aware that not all these high ticket races, gyms, fitness programs, and trainers are what you need personally. What is your end goal?
Treadmills, elliptical machines, and stationary bikes are the #1 WORST Exercise For Your Belly Fat because it PROGRAMS YOUR BODY to burn nothing but food and sugars – instead of burning off ugly fat. We used to think all this long cardio was good for our heart and burned all kinds of fat, but did you ever read anywhere that this was true? Sure, if you want to lose weight, running is one of the fastest ways to do that at the beginning. But we are running all wrong, and way too long in order to specifically lose fat. You can run all day, but if you want to lose fat specifically, then don't do it for long bouts day after day. Running doesn't have to be miles every day or every other day. You can run one and be done, and then lift. Conditioning your heart doesn't have to include long cardio. It's a muscle, and similarly, like your upper body, it doesn't have to be taxed for an hour to be healthy—you can do it in snippets.
3. Are you at a plateau?
If you put in 4 weeks on the treadmill or outside running of 3-5 days per week and are not seeing any changes, then why continue? Byt the way, aren't you bored out of your mind? Do you look forward to actually working out like this? Some will say yes because it's a stress reliever to get outside, to run and not look back, to get away from the stress of the day…but can I ask you a question? Wouldn't you rather be making progress in your health while do those things? You are wasting your time. This should prove that what you are doing isn't working. Shorten it by lifting weights, resistance training with bands, balls, tubes, or your body weight. You can get your heart rate up and down by the different multiple exercises you perform, instead of just straight cardio.
You are wasting your time if you focus on running. This should prove that what you are doing isn't working if you aren't seeing significant progress as the days go by. I've had the runners high before. I know what you could be feeling. But, it didn't make me healthy in the long run.
Shorten it by lifting weights, resistance training with bands, balls, tubes, or your body weight. You can get your heart rate up and down by the different multiple exercises you perform, instead of just straight cardio.
According to Men's Health Magazine it takes over 22,000 crunches to burn one measly pound of fat? 22,000! That's way too hard. Running for long periods of time is the same. It takes way too long to burn fat. Burn it the better and faster way with intervals and weight training the old school way. You don't even need crazy new exercises. The same ones from long ago work well when done correctly. Squats, lunges, push-ups, pull-ups if you can swing it, bicep curls, and so on. When performing these exercises, your heart rate increases with the weight and the intensity of the movements. When you use large muscle groups it will increase your heart rate.
You won't find scriptures in the Bible where it talks about long bouts of cardio or exercise. You don't read stories of people running from one city to another. They walked. Of course, there are countless reasons for this. They didn't have the processed foods, desk jobs, and convenient commodities we have—that can make us less active and lazy. They had to work for their food which burned calories by their daily living. We don't for the most part. This means we need an output of our stored energy. This is why fitness center and races were created.
God made our bodies to move and be active, but it doesn't mean we can eat whatever we want, then feel bad about it as our body responds with stored fat, so we try to burn it off just as fast as we consumed it. We can't. So, we exercise harder and for hours to rid ourselves of it. It's just like the treadmill. This cycle goes round and round. It's laborious and dreadful. We can do this the right way, or the wrong way. If I had access to the right way, I'd much rather at least look into it and give it a try, than labor in vain.
Long bouts of straight cardio can make you decrease in your thyroid function, stress out your body by releasing the stress hormone cortisol, all while increasing your appetite. All this laborious mindless exercise can also damage your heart.
7. Are you skinny or fat or skinny-fat?
There is a difference between healthy and skinny. Some are skinny fat because they aren't reaching the correct release of the hormones that keep them young or help them burn off stubborn fat. In fact, if you're not careful long straight cardio can make you look "skinny fat". It can eat up your muscle, make you look skinny, gaunt, too thin with skin hanging on your bones without adequate muscle under it. Look are your average marathon runner, long distance athlete.
ball players (all of whom do shorter bouts of exercises, rest, then repeat).This should be proof in its self. Look at the muscle structure in the female marathon runner. There is little of it. She's not skinny fat, she's just skinny.
*I'm not telling you never to run, I'm telling you to listen to your body and decide for yourself which is best for you. Do you want little muscle and to look thin, or to look healthy with some muscle…?
It takes more calories to keep your muscle than to keep your fat. If you have adequate muscle on your body frame, it burns more calories to keep that muscle than if you had fat. Your body doesn't burn calories when you have a lot of fat. It just sits there and takes up space under your skin. It doesn't require calories to keep it. So, you can eat more when you have more muscle. You can lose weight while you run, but when it's over, you stop. When you are at rest with more muscle on your body, you actually burn more fat.
Nutrition is still king. It's the most important part of your health. If you can tackle out a workout session, make sure you spend more time tacking out your kitchen and table with your foods. FIGHT FOR HEALTH with your food with the same tenacity that you give your workouts. DON'T WASTE your workouts!
You can do all the research you want, some will be conflicting, but the true and accurate ones will tell you lifting (resistance training) is the new running. It's just better for you – ask your doctor. Here are some great article to read up on as additional PROOF.
1. Skoluda, N., Dettenborn, L., et al. Elevated Hair Cortisol Concentrations in Endurance Athletes. Psychoneuroendocrinology. September 2011.
2. Sonneville, K.R., et al. (2008) International Journal of Obesity. 32, S19-S27.
3. Cakir-Atabek, H., Demir, S., Pinarbassili, R., Bunduz, N. Effects of Different Resistance Training Intensity on Indices of Oxidative Stress. Journal of Strength and Conditioning Research. September 2010. 24(9), 2491-2498.
4. J Clin Endocrinol Metab. 1992 Jul;75(1):157-62. Effect of low and high intensity exercise on circulating growth hormone in men. authors: Felsing NE1, Brasel JA, Cooper DM.
6. R. Bahr and O.M. Sejersted, "Effect of Intensity on Excess Postexercise O2 Consumption," Metabolism 40.8 (1991) : 836-841.
6. C. Bass, "Forget the Fat-Burn Zone: High Intensity Aerobics Amazingly Effective," Clarence and Carol Bass, www.cbass.com, 1997.


Macro: Photographing small objects using close up photography equipment so that the object can be printed greater than life size. From Greek "makros" meaning "large" as in macro photography.
In my studio I'll take several test shots in order to choose the angle and lighting that draws attention to the beautifully designed features of my subject. Once the angle and lighting are worked out I'll shoot close-ups of each facet of the object. I shoot each close-up using a macro lens and sized in camera to print sharp and render excellent detail at approximately 16x20 inches. Using Adobe Photoshop I then merge as many as thirty of these photo files together resulting in a file that can be printed gigantic with uncompromising detail at close inspection. Next, in Photoshop, I'll transform the image to bring the object back to its original perspective. Finally the retouching; often the objects I'm choosing are decades old and show tremendous wear and tear, my challenge in retouching is to leave the character that only use and age can produce while ensuring the original design elements shine through.
Superior Court of Justice & Toronto City Hall - A Just Society is Golden!


@Rarebooksparis is a gold dust porthole into a unique aesthetic world. Though operating through an instagram feed, it has managed to preserve the quality of a meditative and creative thought process that seems to have disappeared long ago. For many of its 50k + followers it acts as a well of aesthetic inspiration. For those acute enough to dm in time it is an agora of hard-to-find, out of print books, tomes, magazines and ephemera spanning the genres of fashion, architecture and design.
The operation is run out of the apartment of an elusive Paris based collector and former designer who previously worked for several fashion houses most notably and formatively, Martin Margiela. The spirit of the house feels encrypted, living and breathing in algorithm of the feed - conceptual, curious, and irreverent.
It seems only natural that the choice of location for the collector's first public exhibition would be equally mysterious. On the 23rd of May, Rarebooks held its first ever public exhibition in Athens on a small side street between the Acropolis and Ermou. The Gallery is called Radio Athènes, run by Helena Papadopoulos and is known locally and internationally for its innovative and captivating programming.
I spoke with the enigmatic collector about his project and why he decided to hold his first exhibition in Athens.
Rare books instagram has been in existence since 2013 but it wasn't the kind of operation it was today, it was very casual. While working in between two design houses I was cleaning up and wanted to get rid of some books. I posted a few things without a real intention of selling and there was interest straight away.
Having been based in Paris and working 15 odd years as a designer for different houses I had amassed a huge amount of research material, notably books, so I had books everywhere and they were all really interesting.
Any books you can recall having trouble giving up?
Yes, but luckily they were relocated and replaced afterwards so it hasn't been a drama – generally I'm okay with losing material because I know it will go to someone, somewhere that will really treasure them and understand their value. That's itself is quite consoling so I'm ok with the ebb and flow. For everything that you love you never know when you are going to discover something new that you love with equal passion in the future.
Did you start collecting books before designing for Margiela? Are there any particular books that inspired your approach to design and visual imagination?
Yes I wouldn't have considered myself a collector but I was an avid consumer of this kind of imagery from my teens like many people who were touched by The Face and i-d, magazines of their time. There are many books that have been sources of inspiration directly and indirectly and not just for collections but presentations, castings etc.
What was the first book you were really excited about?
I was attracted to a certain genre, for example the very first time I came to Paris, I was living in London at the time, I walked into a book store called La Hune which still exists today and I found a copy of purple prose which at the time was in Francs. It was more of an art critique book but my eyes devoured it and I bought it even though I didn't really know what it was. I always had a certain intuition of what was interesting or what might develop a cult following down the track. It was an instinctive thing but I think the reason why Rare Books worked so well from the beginning was because of my background. I had a very clear understanding about how the fashion industry has changed over the years, namely, as the creative process has become shorter and shorter, creative people are extremely hungry for inspiration and need to find it quickly and efficiently, therefore Rare Books tapped into a niche for creative people, although their not the only clientele but certainly the majority of people who buy books from us.
Exactly especially as everything is digitized, shared, pinned, you name it, I think people do still have a real passion for books or printed material – personally if I do find something that I see that is striking I want it in my possession. There's a satisfaction that you just don't get when you're looking at a screen. When you look at an image that is digital you look at it once and it gets lost somewhere, lets say in a feed and you are less likely to revisit it. There's something very disposable about it. Whereas if its physical you do have a tendency to come back to it and keep looking at it the same way you would a work of art or a painting or a photograph that you love or something that you physically have in your house or in your environment.
You've mentioned in previous interviews that your selections are largely based on intuition and this is something that I think makes your collection so unique. Our inspiration and attraction to things is often largely influenced by our experiences are there any significant experiences or people in your life that have guided your taste and interests?
I think it's really a cumulative experience of travelling, talking to people, and discovering. If you have your eyes and ears open it's an exponential chain of events that's very organic where things feed off each other.
Absolutely – I'm a firm believer in not having a master plan. Lets say I wanted to make a research trip to source some books– I'm not going to spend hours researching the place beforehand. I would choose a destination, make sure I'm open to what's around me, wander get lost. It's about having the ability to trust your intuition.
What was it that drew you to Athens for your first every public showing of your collection?
Equal parts fate and equal parts interest in such an amazing city. I had followed and admired the programming of Radio Athènes for number of years so last year when I was in Athens visiting some galleries I contacted Helena to see if she wanted to meet. If there's someone's work I admired I often make contact because people that share a similar interest or aesthetic generally get on quite well. It's an interesting way for collaborations to be born in a very direct manner. She said she really liked what we were doing and because she is quite a savvy programmer she knew that for the year of 2018 Athens would be announced the UNESCO book capital. It makes sense to me to have this kind of exhibition in a city like Athens. A lot of publications that were chosen for this exhibition are a time capsule of a certain period in fashion of 90s, early 2000s that in my opinion are the strongest visually in terms of artistic direction, interest, and production value so its really a pleasure to bring it to Athens and share it with an audience that wouldn't necessarily have the opportunity to have access to those kinds of publications whereas in Paris perhaps people already own them or are more familiar with them.
Do you see yourself exhibiting your collection in other cities in the future?
If I continued it would always be in an off- location/ destination something peculiar or site specific. The idea is not to have a temporary pop up bookstore. Its an educational and giving experience.
What do you think of Athens?
I love Athens. There are so many creative people and so many interesting things to see in this city but it takes work because a lot of the beauty is hidden under layers of dust, pollution, and time. You have to dig. There are certain obvious aspects that are beautiful in terms of history and but there's also a whole layer of of interest that is either forgotten or waiting to be re-discovered, and that's where the treasure lies.
People speak a lot about the economic crisis but I think that Athenians have managed to turn it around into something that's reinforced their resilience and what has come out of it creatively makes it even stronger. Creative people are like that, their best results happen under the most difficult circumstances,. As a designer when you have 2 hours left to finish your collection the best ideas come. Athens is one of the places where the circumstances are the most difficult currently and its made people brilliantly creative because of it.


Without any doubt, Tesla is an amazing company that is making some pretty impressive stuff that changes our living standards.
First, they came out with all electric cars. I don't think they were the first company to make all electric cars but they are the first company to make one that is practical (# of miles per charge) and also made it so advanced that many analysts say that Tesla cars are 10 years ahead of current cars in terms of technology and design.
Then they came out with Tesla solar panel and roof. Again, they were not the first company to make these but they made it far better, more practical and advanced (well, I believe they are the first one to make the solar roof).
Tesla also indicated that all the cars that they have sold as of 2016 are equipped with hardware that is capable of auto pilot (yes, self driving car!). They also shared that about 1 million miles are driven by Tesla cars using the auto pilot feature every single day.
They recently started shipping model 3, which is their first "consumer affordable" electric car that starts at $35,000. By the end of 2018, I have no doubt that Tesla will be the most popular car in the market and we will see them on the road as often as we see cars from other manufacturers.
With their advanced technology around rechargeable batteries, Tesla should totally work on home consumer goods next, such as electric lawn mower, hedge trimmer, leaf blower, chainsaw, and snow blower!
Again, not that we don't have these battery-power garden tools already but I know Tesla can make them more powerful, practical, and advanced, like they do with their other products.
I've read all the personal blog posts! YAY!!!


Well, the last big wood show for the season has come and gone so I now have time to implement some other projects. The finalizing of the Pyro School is top of the list, but I also have promised myself to add to the web page, giving you some more to look at and think about. The Pyro Newsletter should also come a little faster for a while. I've got lots to share with you!
I have several bits and pieces lined up for the next newsletter, but for now I thought we could take a more in depth look at Platypus Diving. I've had quite a bit of feedback and comment on the Platypus. Many of you have been keeping track of it's progress, some of you have already seen it in person. Some saw it at wood shows as it was in the early stages of it's life. A lot of you have asked questions about how it was made and the thoughts behind it, so I thought it would be a good idea to use this newsletter to have a closer look at the process.
I finished Platypus just in time to enter him in the National Woodworking Comp and gained a 1st place.
Here's hoping you enjoy this edition.
P.S DON'T FORGET TO UPDATE YOUR BOOKMARKS! Sue Walters Pyrography has moved to it's own domain of www.suewalters.com.
CONCEPTION 'Platypus Diving' was conceived because I bought a lovely whopping big natural slab of Grevillea robusta at a wood show and had been musing for some time about what to burn on it. Some time ago I bought/gathered as many samples of wood I could and did comparison burns on each type to see what effect I got. These experiments showed me that Silky Oak (it's common name) had an unusual characteristic when burnt. It's odd, end grain (similar to Needle wood in a way) gave the burn a slightly muted, stippled look as some of the grain picked up the burn heavily, and others didn't. This I thought would be perfect for water images or a soft focused/romantic look. I have 5 other images in my head already for use on Silky Oak in the future, but platypus won out for the first to be tried.
EXPERIMENTING Just mentioning my experiments on wood has brought something to mind, something I think is a really valuable lesson in pyrographics; to learn to think outside of that box we've all been taught to live in. I know, I know, I've said it more than once, but I firmly believe that playing with your medium and trying all sorts of wacky ideas only helps you to learn more about your chosen craft. It also helps you discover some pleasant surprises along the way. Grevillea was one such surprise. Only by comparing woods did I start forming ideas about what would best suit this wood. Once I discovered that, it was a matter of matching the best subject to it...of marrying them.
MARRIAGE I'll use this term a lot in my writing and I'm sorry in advance if I seem to harp on it. But the 'marriage' of certain things in a picture can take it from being a good piece, to a great piece. It creates a subtle harmony in the picture where everything works together and not one thing looks out of place. It's very hard to look at a piece and put your finger on Why it works, but when it does, you'll be sure all the elements will be working with each other, not against. I could burn Platypus on anything really, but the effect of burning on Silky Oak perfectly lent itself to a water piece. First important marriage: the right subject matter on the right surface...they were meant to be together. Second important marriage: the depth of the wood and the wide bottom suggested to me something mysterious...something 'hidden'...perfect for the bottom of a river bed. Third important marriage: using the right burning technique. Things under water are not sharp. They have a dream like quality and it was important that the burning technique reflect this, so I tended to use a flat shader for most of the work. I actually only used 3 nibs for the whole piece. A round shader, a writing nib and a heavy duty skew to make the cut stops. There are other elements of marriage in 'platypus diving' but these first three were the main considerations. I'll cover some more as we go along.
SUGGESTION I guess what I'm trying to suggest is to not always think in terms of one type of wood, one type of burning method. Think about broadening your 'canvas' if you are getting a little stale in your work, or if you'd like to see what else pyrography has to offer. Silky Oak is an Australian native wood, but the same principle applies to pyrographers wherever they live. We all have native and exotic woods that we can try. Some may be horrible when tried, some may be wonderful.
SAFETY I do want to point out the issue of safety when talking about experimenting in your pyrography. We do use a hot implement to scorch/burn a surface and we have to keep in mind that surface needs to be free of anything that can become toxic when heated. There are a few woods I know of that can cause some respirotry aggravation to a small percentage of people. Cedar and Yew are two of these woods. I personally don't have any trouble with Cedar, but have heard from a few people who have. The main thing is, if you are burning a wood and start feeling some irritation, STOP. It's not worth it. It's also important not to burn on MDF and other treated/prepared woods. Also don't burn on woods that have already been finished. And please be careful about burning on pigments that contain metals and other harmful chemicals. If you want to burn on pigments, such as pencil (oil and otherwise), pastel, paints or inks, please try to find out what they contain. At the least watch out for any containing arsenic, leads and other metals and chemicals. MSDS SHEETS may be able to help you find out the contents of the pigment. If not, try contacting the manufacturer.
BORING STUFF FINISHED Okay, now the boring chat is out of the way we can have a closer look at the making of 'Platypus Diving'. This article is heavy in graphics so I haven't put the larger images of Platypus on this newsletter. I have however included links at the bottom in case you would like a look.
THE WOOD At each wood show I do I like to take a walk around when time allows to search for interesting wood. At last years Melbourne wood show I saw a lovely slab of Grevillea robusta. Silky Oak, as it's commonly called, is an Australian native tree of conical shape, fern like leaves and striking yellow comb flowers. It's timber is medium/hard and the grain is cell like, rather like needle wood. The slab has a natural bark edge and was approx 2.5 meters in length. The cost was just $30 but it needed plenty of sanding before use.
The preparation was relatively straight forward. The hardest decision was what part of the slab I was going to use and how long it should be. I had already determined my first piece was to be a platypus diving to the bottom of a river/stream, but it was important that just the right part of the wood was chosen. the bottom tapered out beautifully and seemed just right to house the rocks, with a suggestion that more lay beyond what the eye can see. I thought the thicker bark in this area would also marry (yep, that word again:) with the bulk formation of rocks, giving them the feeling of almost flowing beyond their limited space and not feeling 'contained' within a frame. I wasn't bothered if Platypus felt contained within his surroundings as it suited the feeling I was going for to have him almost appear as though he was swimming down a shaft of light and water to the mysteries down below. Mind you, the bark colour doesn't stand out at all compared to the burning. They almost appear as the same colour so there is also a nice marriage (I did warn you:) of colour and tone between the burnt heart wood and the natural frame.
I next ruled off the bottom of the wood to level it up, but also to remove a little excess I didn't need for my composition. I wanted platypus to be full scale and also allow for plenty of depth for him to swim in, for rocks and for a trail of air bubbles. I researched the length of platypus and then very roughly drew in basic lines representing the rock profile, the platypus and the gap above him. I adjusted this one because I felt the distance between his bill and the rocks wasn't enough. I then marked the top of where I thought my picture would end and measured 3 times from my bottom line to make sure the top would be absolutely square with the bottom. I think, unless planned, a piece of wood that isn't square can totally throw the eye off and is distracting to the picture. Next I cut the slab at the marked lines with a circular saw set at square. Sanding then took place using a electric sander and good old elbow grease for final, finishing at 200. Normally I would have finished at a 400 grit but I had some carving to do which would need further sanding, so thought it best not to go overboard.
For my work it's important to me to learn something about the subject. I'm going to try and make platypus come to life, so I want to know why he's there, what his habits are and to generally get a feel for him. To do this I topped up my usual Aussie platypus knowledge by surfing the net, hitting the books and looking at a documentary.
I'm sure most all of you know something of this unusual Australian mammal but for those international pyro's who don't know, here's a little run down. The Platypus is a mammal, yet it lays eggs. (These rare mammals are called 'monotremes' and there are only 3 in the world, 2 in Australia and one in New Guinea.) It's well known features are it's beaver type tail, thick water proof fur, webbed feet and it's duck type bill. (We tend not to call them 'duck billed platypus' here in Australia because there is only one kind of platypus. There are no 'billless' species.) The male is also featured by having a spur on his hind leg. (By all reports, a jab from this spur is incredibly painful.) The female is smaller than the male, the male being around 55cm. They live in burrows dug into the side of creeks or rivers and feed mainly on invertebrates but also catch small fish and amphibians found in the water. They are most active at dusk and dawn. After mating the female will lay eggs in a birthing chamber she digs in a burrow. The young will hatch in one or two weeks and stay in the chamber for about 4 months, suckling milk from the mother.
A cute little baby Platypus and the adult.
Usually, by the time I approach a picture I have already tumbled it around in my head for quite a while and have a good idea what the finished product will look like, right down to the varnished, finished piece sitting on a wall (or whatever). Then it's just a matter of putting all the pieces together. Well, that's the theory, but it doesn't always work that way. More times than not something has to be altered, but generally speaking, by the time I start, I have a mental template I'm working to.
I'm aware that most of you work from patterns and I think that's just fine. Honestly I do! Lets face it, in some of the craft I try, I either don't want to be spending the time working up my own patterns or I simply have no idea of how to make patterns for what I'm doing! I was dabbling in lead lighting a little while back and I had absolutely no desire to make patterns when there were perfectly lovely patterns to be had. I wanted to roll up my sleeves and get my hands busy, not wrack my brain about patterns and design. Using patterns is a standard practice in ANY craft I can think of, so if you use patterns, don't be brow beaten into thinking it's not right. Sure, it's great if you want to go for something original and that should be encouraged, but there is no shame in just wanting to get right down to the burning if that's what you want. What I'm describing here is not how I believe all pyrography should be done, it is simply describing how I go through the process with a signature piece. I don't want you to think I would expect this of you.
Right, it's time to put pencil to wood now. As I said, I already have the picture in my head and now it's a matter of taking a 2B and doing a basic sketch. No...I don't have a photographic memory. Like most wildlife artists, I use various sources of reference to make a composition. I had various pictures of under water shots to see how light and bubbles looked. I had my own pictures of platypus and supplemented these with several others so I could study flippers, bills and the like up close. I looked at other pictures of rocks, both on the land and in the water. Once all this material was gathered I did very basic markings of the main players in the piece, the rocks area, platypus and bubbles. I also drew lines to indicate where I wanted the light source to come from. It was very important that this was kept in mind during it progress.
Once I was satisfied with the basic composition, I freehand sketched the Platypus (first), the bubbles(third) and the rocks (second), looking at various reference to give me an idea of anatomy, rock form and bubble dispersal. The rocks and bubbles were by far the easiest. That was simply a matter of getting a feel of patterns and then sketching in both as I envisaged them. The platypus took me an age to get right and was reworked several times before I was fairly happy with his proportions. Mind you, I'm still not happy with him in retrospect. I think the head's too big and the tail too short and I over sized him a little, but that's the way it goes. Something to improve on for the next time. The pencil I used was a 2B and it's worth noting that constantly standing back from a large picture like this is a must to help you gain overall perspective as you draw.
Let me start this stage by confessing I'm not a carver and have never carved before. When I do a signature piece, I want to push myself. It's no point to me to do another picture in a technique or subject matter that I've already explored. It is important that I do something that pushes my boundaries, both technically and creatively. I essentially do this for 2 reasons: 1) It's the best way I know to learn more and increase my technical repertoire. 2) I just love a challenge and to try something new. It keeps me focused and excited. I decided to incorporate relief carving into 'platypus diving' because I have been thinking carving and pyrography on the flat might look special together. There's no doubt that you can get a high degree of 3D effect with burning alone, but because this piece was being done on a wood that doesn't allow sharp detail and because all the edges are round, I though this was a good time to try it.
Before I committed myself to carving and burning, I first took a spare piece of Silky oak and did some experiments on it. I burnt using a few techniques to see what effects and colour I could expect, what nibs would be best to use and what was the deepest tone I could get. I also experimented using a heavy duty skew as a blade to do stop cuts. I then carved the timber with few small, sharp chisels to see if I wasn't getting in over my head. I also used tested 3 finishes on the wood to see what effect the varnish would have on the finished piece; polyurethane, Danish oil and water based acrylic varnish. This is important to keep in mind while proceeding because the effect you are going for can be radically changed once the finish is put on. Some of you know exactly what I'm talking about. To save disappointment this is a good practice to get in to if you are unsure how a wood will finish using a particular product. All the tools were now in place. In this picture you see the drawing more complete. It has been carefully checked and reworked for proportion and anatomy but has not been done in any great detail. I tend to draw the basic outline and outstanding features only and then use the burner free hand to build the whole picture.
Because I was first going to relief carve the main curves, I needed to do 'stop cuts'. These are the cut marks sunk in to the wood to stop a chisel going further than that point. I knew carving these with a chisel would both test my carving skill and my patients so I decided to do all the stops cuts using a very sharp skew on high heat. This proved more effective than I'd hoped and estimate all stop cuts took only 40 mins. You can see me here relief carving up to the stop cuts around the bubbles. The skew proved very good on tight turns like this. (A skew is a term used for a nib that is knife like.) The idea is to remove wood from the outside of the cut line, to allow the object to stand proud from its surrounds.
The bubbles have all been stop cut and now it's the turn of the rocks. This part was actually a lot of fun. I did have to use a burner that had a good, strong high heat because this wood was quite dense. Note the overlap of the rocks. Here I am following the outer lines of them only, but you can see how I've drawn the front rocks first, the only rocks appearing whole. The rest are partially covered as they recede into the background.
It was clear from the start of doing the stop cuts that it was going to be essential to keep the blade sharp and the nib clean. If I didn't, the drag slowed down the burning, resulting in a messy burn and a shallow depth...and added stress on the nib resulting in a risk of damage. A 'skew' nib is just like a little hot blade. Just like any blade it works best if you keep it sharp and clean. Burning the Silky Oak at high heat certainly created a lot of carbon and muck on the blade, so I was constantly using the edge of a snap blade to kick any crud off. I think you can get a better idea of the simplicity of the pencil drawing in this picture.
Here you can see me stop cutting the platypus itself. I'm using an Australian variable temperature burner called an Ironcore. I started out on this piece using a North American burner but I soon found it didn't have quite enough oomph to take on such an extensive and heavy burn on Australian hard woods.
I make a series of nibs for the Ironcore and other wire nib burners. They are based on the 4 nibs I use for all of my work and are: a round shader, a square shader, a skew and a writing nib. For this piece I only used 3 nibs, the round shader, the skew and the writer. I actually used the round shader for around 80% of the project. To me the round shader is an essential nib in just about all work I do. I prefer a round shader to a square because they have no straight edges. This helps prevent patchiness caused by overlapping lines if you want to burn large areas or do subtle tone. You can also use it's toe to burn soft lines and shading.
The stop cuts are all following simple lines. It's not necessary to be too complex with this. I just want to outline the main portions of each object so I can remove the wood around it by relief carving. You can see at the bottom I've carved around the rocks already. I wasn't concerned that doing the stop cuts by burning would 'muddy' the edges because by the time I caved and sanded, most burning would be removed...what wasn't would soon be covered up by the main picture burning.
To emphasize the relief carving I've taken this picture by the light of a lamp at an angle. The bubbles were by far the hardest part to carve, being so small and fussy....the platypus body was the easiest. I've actually still yet to do the carving on the flippers, which I had totally forgotten about for some reason. After I completed all the stop cuts, I used a chisel to do a shallow relief carve around the outside of the lines. I then took off all the sharp edges on the objects with a chisel to give them a roundness. It took many, many hours of carving everything as smooth as I could before starting the hand sanding. This also took quite a bit of time but is necessary to give the surface a nice smooth finish to burn on. I finished using a 400 grit paper. You'll see that I have burnt a patch just under the platypus. I did this to lay one of the darkest tones I will need. That way I can use this patch to compare extremes of light and dark. Normally I'll do this by burning something dark on an animal first off, generally the dark of the eye, but in this case the darkest parts were to be in the depths of water, not on the animal. Once this dark tone is laid, I know everything on the platypus/rocks/bubbles will be lighter than this patch.
It may not look it, but the water is going to be one of the hardest of any part of this picture. I expected this and wasn't disappointed...it was a cow to burn!
LAYERING To give the illusion of this space being water and not just a hunk of black, I was going to have to burn very subtle graduations of tone. For me this can't be done all at once. I like to build and rebuild gradual tone in layers to give it a smoothness, so this patch of water took a long time to burn. This brought up three problems though: 1) It's sometimes difficult to burn on burnt areas and keep a fluid smoothness, so I was fighting that all the way. 2)A few parts of the heart wood were still slightly too moist and the heavy burning was releasing gum. This gum would sit/stick on the work and then, given time, it would oxidize, forming a chalk like appearance on the work. I could wipe this off with spirits but it would soon form again. I gambled that this wouldn't be a problem once the varnish was applied. Luckily this was the case. 3) Despite what a lot of people think, I am not gifted with an abundance of patients so I was going slightly insane as I applied layer upon layer of water. I had to break up the work by going on to other things to combat this.
MISTAKE You can see here that I have started the water closest to the rocks were it is at it's darkest. I wanted to create a shaft of light feel so also added quite a bit of dark to the top left corner. This was too heavy by far and a mistake when considering my light source so later I was to lighten this mistake by a fine scraping with the side of a blade. (Compare this picture with later ones where I have lightened this area.) All of the water was done with a round shader.
WATER CONTINUES I got to the stage where I was losing perspective because all I had been doing was burning water. It was time to ease the boredom and also start getting a feel for how I was going to do the rocks and how they would feel next to the darkness of the water.
ROCKS STARTED Here I have started to burn the basic tone of the rock without going into any detail of texture or shape. You can see the middle rocks are darker. I want them to both feel like they are more distant and also that the platypus is preventing the same light getting to them. The lightness on the edges of the rocks is due to the edge curve of the relief carving and has not been burnt yet. I will selectively burn the edges depending on my light source. IE: The parts of the rock that are in direct light will be light and the parts away from direct light will be darker. I've kept going back to the water during this stage. If you compare this picture to STEP 7, you will see the water has been added to and has a smoother appearance. Note I've done a little burning on the platypus bill. This is done for very much the same reason as starting the rocks. I needed to get a feeling for how the tones of the platypus stack up against the other elements.
FLIPPERS AND FUR I had been dying to start on the platypus by this stage so started mapping out the basic tone I was going for. Much like with the rocks, I'm not going for any detail at this stage, I'm simply burning in the darkest areas. You can probably see that I've now carved the flippers. I totally forget this before so have done that and also burnt the really dark parts between his 'toes' on the hind flipper. This is the darkest part of the whole platypus and will give me something to compare the other burning against.
ROCK SHAPES Once I had laid in the basic tone of the rocks I could then start to texture and form them. All of this area was done without referring back to reference. I decided to have it develop naturally and free handed each rock, putting in shadow and light and edges where I thought or felt they should be. In some ways this was the most freeing, fun part of the piece, in other ways it was time consuming and a little frustrating. Sometimes the rocks weren't working and I soon learned to leave them when this happened and to approach it afresh...otherwise it was becoming a muddle. It was also really essential to keep walking well back from the rocks and having a look at a distance so I could judge how they were working as a whole and not just as individual shapes.
AUSTRALIAN WATER TORTURE I think you get the idea that I kept working the water over and over. I know it seems like a lot of work, but the water was the most essential element of the whole piece. It looked so simple, yet if I could make it believable then it didn't matter how well I did anything else, it would look like they were suspended in space, not floating in water. You can also see that I've scraped back that part I wasn't happy with.
PLATYPUS You can see quite a bit of work continues on the platypus here. I'm trying to do several things here as I work. Even though platypus appear to be a lump of fur, they do have subtle indications of muscle structure, so it was important I just didn't blob on dark and light without keeping this structure in mind. (It took a lot of close observation and visualizing how they must move.) I'm also trying hard to see how the bubbles and light would play on the fur. Lastly I'm trying to convey a sense of mystery as the platypus dives into darkness. Perhaps you can see what I'm trying to get at as you compare this picture with the previous one. The tone on the body in step 10 is flat compared to this one.
BILL AND BUBBLES Just as I had done in previous steps, I felt it was now time to bring the bubbles into the picture. I have just done a tiny bit of work on them, adding shade to a couple to get a feel of the contrast. I was also getting a bit worried about the bubbles by this time. I was feeling reasonably confident this piece wasn't going to be a failure but it now hinged on the bubbles. If I cold bring them to life and have them seeming as though they were floating free of the picture, it would make the water come alive and also convince the viewer of the sun above and the depths the platypus was diving. It would also be the main thing to convey movement, so much was riding on the bubbles and I was getting a little nervy I wasn't going to be able to burn them effectively. Doing a few of them put my mind at ease. Note also I am starting to add their shadow to the coat of the platypus, another good indication to the viewer of where the light is coming from. The bill has been more extensively worked here. It was actually very difficult to do and I found myself adjusting it several time. I suppose it's because I knew this was probably the most important part of the animal and I wanted to get it just right. It was difficult because it's a lighter part of the animal compared to the dark parts of the coat and the surroundings, But it's also deeper into the creek than anything else so it needed to appear more 'gloomy'. It was a hard balance to strike.
ROCKS Like the water, the rocks were starting to push me over the fine line of insanity, so I kept chipping away at them in fits and starts. Here I've created more shape and form, created more depth and started to darken some edges.
MORE OF THE SAME There's not much to tell in this picture. You can compare it for yourself to the previous and see that I have basically continued to add more of everything. The bubbles have now been worked on, the rocks have been built up more and the coat of the platypus has been constantly added to, especially towards his back half. I felt it was lacking something. I wanted to have something more to indicate movement. Then it struck me that there would be little pocket of air trapped in his coat and decided to put a tiny trail of mini bubbles coming from his coat. I didn't want to over do this, even though it was really tempting, they looked really effective to my eye and were a subtle, yet effective addition.
Left, before varnish. Right, after varnish.
Copyright Sue Walters 2003 No part of this newsletter can be reproduced without the expresses permission of Sue Walters.


text:
Q: how to get values from model function and pass the value on url in angular 6 Login.model.ts:
export class Login{
    access_token : string;
    token_type : string;
    expires_in : string;
    refresh_token : string;
    FirstName : string;
    LastName : string;
    Email : string;
    AccountNo : string;
    client_Id : string;
}

This is the login model.After the user login I want to use the AccountNo
Checkout.service.ts:
Login1 : Login[];

  async getAddress() {
            const address = await this.httpClient.get<Customer[]>('http://localhost:49422/api/customer/' +'{{login1.AccountNo}}' +'/profile/', { withCredentials: true })
                .toPromise();
            return address;
        }

I want to use that account no got from login model in this url to get the corresponding customer details.Login and the checkout are totally different component.How to achieve this in angular 6

A: You nee to create a new service to share resources amongst your components and services, this is done via the property called as dependency injection. You can learn more about it here.
Step 1: create a a very basic loginDetail service and import your Login model and create a very basic setData and getData function to accept and return login data.
import { Injectable } from '@angular/core';
import { Login } from './path/to/login.model.ts';

@Injectable({
  providedIn: 'root'
})
export class LoginDetailService {

  loginData: Login;

  setData: void(data: Login) {
    this.loginData = data;
  }

  getData: Login() {
     if (this.loginData) return this.loginData;
     else return {
       error: 'no login data present'
     }
  }

  constructor() { }
}

Step 2: Import this service where you are getting all your tokens and login data. Import Login model and this service.
e.g. that you are having a login service to do the stuff required
import { LoginDetailService } from './path/to/logindetail.service.ts';
import { Login } from './path/to/login.model.ts';
@Injectable({
  providedIn: 'root'
})
export class LoginService {

  loginData: Login;

  login(email, pass): Login {
     //perform login functions here and then i assume you will get the login
     //data  and store it in some loginData variable which u need to
     //save in LoginDetailService

     this.loginDetailService.setData(loginData);
  }
  constructor(private loginDetailService: LoginDetailService) { }
}

Now you have successfully saved your data in your loginDetailService which can be retrieved from any component or service where you import and call the function getData
Step 3: Import this service in your Checkout.service.ts and call the function getData
 //assuming that u have imported the service and declared it in the constructor
 Login1 : Login = this.loginDetailService.getData();

  async getAddress() {
            const address = await this.httpClient.get<Customer[]>('http://localhost:49422/api/customer/' +Login1.AccountNo+'/profile/', { withCredentials: true })
                .toPromise();
            return address;
        }

Hope this helps. :)

redpajama_set_name: RedPajamaStackExchange


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Kate Beckinsale, Len Wiseman and her daughter Lily Mo Sheen go shopping together in Hollywood. Los Angeles, Where: California,...
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Kate Beckinsale and husband Len Wiseman take their daughter Lily and her friend to lunch in Santa Monica Los Angeles,...
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HomeEUSchoolchildren in France are on reality show
EUuniversities
Schoolchildren in France are on reality show
EUuniversities April 4, 2020 No comment
posted on Apr. 04, 2020 at 7:09 am
French schoolchildren learn an early lesson that failure in the classroom is likely to mean failure in life.
Pupils are encouraged to compete for the best marks and grades that will allow them to study at prestigious grandes écoles and subsequently become part of France's professional or political elite.
Now a new television series aims to show all need not be lost for those who fall by the academic wayside.
Les Cancres (The Dunces) features a group of high-school pupils who are coached by French celebrities who also struggled at school, some of whom left without obtaining their baccalauréat – the bac – the multi-subject exam that is the equivalent of A Levels.
The first two episodes, made by RMC Story, feature French-Moroccan stand-up comic Gad Elmaleh and rapper Black M. Businessman Adrien Aumont, co-founder of the crowdfunding site KissKissBankBank and novelist Cécile Ladjali also feature in the series along with Joël Bouraïma, a sports coach for Kim Kardashian and Kanye West.
"Anything is possible, that's the message we're trying to get across … but that doesn't mean anything is easy," Bouraïma said. "Of course, part of it is luck, but more important is work and determination, that's how the celebrities we feature on the programme succeeded."
Cécile Ladjali added: "I'm a former dunce and I was told I'd be a sales person in a clothes shop … in the end I have a doctorate, I'm a novelist and also a professor."
In his 2010 book, On Achève bien les Écoliers (They Shoot School Kids, Don't They?) author Peter Gumbel asks: "Why is France the only country in the world that discourages children because of what they cannot do, rather than encouraging them to do what they can?"
"The whole French hierarchy, political and business, is predicated on people who have done well at school and who go on to the grandes écoles. More than anywhere else, it is the bac that is going to determine what your career choices are. It's very difficult to make a success of life in France if you don't have it," Gumbel told The Guardian.
"The marking system is not designed to encourage students or improve their work, it about competing. How you do at school follows you for life and it's very hard to break away from that. If you don't have the bac you're considered on the heap."
The students in the first Les Cancres included Lucille who failed to turn up for her baccalauréat exam.
"My mother cried and said I'd finish up in a soup kitchen or the job centre". Lucille said. She has now changed schools and is hoping to take the exam.
Nicolas Cennac, the documentary producer said the aim of Les Cancres was to "represent people who have a different experience at school but who have enormous gifts". He said his aim was to avoid stigmatising the pupils while at the same time not "glamourising" failure.
Among leading French personalities who have succeeded without passing their baccalauréat are actors Catherine Deneuve and Gérard Depardieu, singer Vanessa Paradis, billionaire François Pinault, president of the luxury group Kering, fashion designer Jean-Paul Gaultier and multiple Michelin starred chef Alain Ducasse. Emile Zola failed the exam twice.
On Friday, the French education minister, Jean-Michel Blanquer, announced that for the first time the baccaluaréat exams would not take place this year but pupils would be awarded the diploma on the basis of "continued evaluation" of their work at school. It is the first time the exam that was created in 1808 and has been sat every year since, even through the Nazi occupation, has been cancelled. French pupils are being expected to follow a full programme of online classes during the closures.
Gumbel said the French education minister was "in a tight corner" because the French system was not adapted to home working.
"In France teaching methods don't lend themselves well to being done online. Normally the teacher is at the front of the class talking and everyone else is taking notes. It doesn't work when it has to be interactive."
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Matt DiBenedetto wants a chance to race for a more competitive, top-tier NASCAR team.
Matt DiBenedetto announced Friday that he would leave Go FAS Racing at the end of the 2018 Monster Energy NASCAR Cup Series season. DiBenedetto has driven the No. 32 Ford for Go FAS Racing for the last two Cup Series seasons.
"I wanted to take this opportunity to let everyone know that after two exciting years with Go FAS Racing, Archie [St. Hilaire], Maston St. Hilaire, and I have decided to move in different directions for 2019," read the statement released by DiBenedetto. "I would like to thank Archi, Mason and all of our partners for the support that allowed the [No. 32] team to exceed everyone's expectations over the past two seasons.
The No. 32 Go FAS Racing Ford driven by Matt DiBenedetto in the Bojangles' Southern 500 at Darlington Raceway on Sept. 2, 2018.
DiBenedetto has three top-10 finishes in 61 races as driver of the No. 32, dating back to the 2017 season-opening Daytona 500. Those races have resulted in three top-10 finishes, including a best finish of seventh at Daytona International Speedway two months ago. Prior to joining Go FAS Racing, DiBenedetto drove for BK Racing in 2015 and 2016. He posted a career-best finish of sixth in 2016 at Bristol Motor Speedway in Tennessee.
DiBenedetto also has 68-career NASCAR Xfinity Series starts to his credit, the last coming in 2016. He posted a career-best Xfinity Series race finish of ninth in 2010 at Iowa Speedway in Newton while driving for Joe Gibbs Racing. Both of his top-10s in the Xfinity Series came in 2010 with JGR.
Go FAS Racing released a statement Saturday regarding DiBenedetto's departure: "We would like to thank Matt DiBenedetto for being a big part of our No. 32 team over the last two years," that statement read. "We're very proud of everything we have built together as a team and the finishes we earned together.
The Big Machine Vodka 400 at the Brickyard on Sunday at Indianapolis Motor Speedway is the final race of the 2018 regular season and will be followed by a 10-race playoff.


These pretty Flower Head Pins by Clover can hold multiple layers of fabric. With their sharp finish the pins glide through fabric smoothly. The flat head is convenient for machine stitching. For Medium Weight Fabric.
~ Perfect for medium weight fabrics such a quilting cottons.
~ The flower head is not heat-resistant.


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China rules out its participation in Myanmar events
China ruled out Tuesday getting involved in events in neighboring Myanmar, where the military junta has threatened to take action against a growing wave of pro-democracy protests led by Buddhist monks.
The Myanmar protests have placed China in a difficult situation because Beijing is a key political backer of the regime and has extensive economic links with the military government.
However, in what was apparently China's first official comment on the protests, Zhang Zhijun, a vice minister of the party's International Department, said Beijing has had minimal contact with either side and would abide by its long-term policy of noninterference in the domestic affairs of its allies.
"In our external exchanges, the party strictly abides by four principles ... there is one that is no interference in each other's internal affairs," Zhang told reporters at a news conference in Beijing.
China is believed to be strongly opposed to unrest in its southern neighbor, and some diplomats and academics have speculated that Beijing may be pressuring the regime to show restraint in the face of the biggest anti-government marches in nearly two decades.
Later Tuesday, Foreign Ministry spokeswoman Jiang Yu repeated China's stance of noninterference.
"We hope Myanmar and its people will take proper actions to resolve the issue," she told a news conference.
Admitting that protests have spread across the country, Myanmar's rulers on Tuesday ordered Buddhist monks who have spearheaded the demonstrations to stay out of politics.
Much of the West applies diplomatic and political sanctions against Myanmar's junta for its refusal to restore democracy, but Chinese aid - along with oil and gas revenues it receives - effectively undercuts any leverage they might have had.
Beijing earlier this year blocked a U.N. Security Council resolution criticizing Myanmar's rights record, saying it was not the right forum.
Zhang said that regardless of the extent of the government's ties with overseas groups, it would not use such relations to interfere the domestic affairs of foreign nations.


Build wardrobe capsules for the seasons and present your best clothes forward with these 10 open closet ideas ideal for small bedrooms.
A corner wardrobe is a great way to showcase your capsule. The adjacent walls allow for ample space to hang accessories. Consider attaching a mini shelf to one interior wall to store essentials. You can even add a perfume bar to help tie the design together.
Wood looks sleek against spacious white paint. Even if you have a difficult time with closet upkeep, this design will have your closet looking tidy anyway.
Open up the space in your bedroom with white flooring and walls. Contrast with a darker colored open wardrobe and you'll make your closet stand out.
If you want a minimalistic design, keep things black. You can add accents of wood to help sophisticate the look. Keep only the essentials on extra shelving and add potted plants for greenery.
For a boho look, aim for a white and tan theme. A nice garland can spruce up the surrounding area and add some contrast to the space. Learn how to DIY a boho macrame tassel here!
Keep your capsule short and sweet. A cluttered open wardrobe can get out of hand FAST.
For a sophisticated look, opt for a copper wardrobe. Learn how to make a copper clothing rack here.
Achieve a rustic design with both manufactured and raw wood. String lights will add atmosphere and warmth to your wardrobe.
Use your open wardrobe to showcase your favorite pieces. Add a large framed picture to even out the space.
If space allows, try to keep some distance between your wardrobe and other furniture. It'll help make your room look more spacious and less cluttered.


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Cook uncovered at 350° for 2 and a half-to-3 hours or until the internal temperature reaches 160°. Let stand for 20 minutes before serving, carve, plate and enjoy! I like mine with gravy.
Happy Thanksgiving from, Chuck Norris Ate My Baby.
The skin really gets a nice golden crisp when you cook it uncovered!


Discover retro-inspired classics and new season must haves with Adidas' footwear range, available in various sizes and colour ways to suit your style.
Check out new season collaborations with Pharrell Williams that offer a range of court-inspired tennis shoes in primeknit with geometric patterns and distinctive designs for seriously stylish appeal. The Adidas EQT is one of the must-haves for 2018, renowned for being the ultimate shoe for style and comfort. Also explore the staple classics with the Adidas Gazelle, Samba OG and Stan Smiths also available.


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Have you tried the Jamaican food truck yet?
Jamaica Lee Style Cuisine awaits you in Dartmouth
Posted By Allison Saunders on Tue, Jul 7, 2015 at 8:47 AM
photo by Samson Learn
He's a plumber by trade, but Ludlow Lee has major skills in the kitchen. "It's in his blood," says Michelle Lee of her husband/business partner's Jamaican home-cooking. "Most of his recipes are from his mother." Ludlow moved from Jamaica to Canada back in 2010 and married Michelle soon after, but it was just over a week ago that he made his debut as a chef via the pair's new food truck Jamaica Lee Style Cuisine.
"He was coming home so tired and exhausted, but i knew he had these skills. And he was doing this job that didn't suit him at all," says Michelle. "I said, maybe we need to take the risk" After spending the winter hunting for a truck, and some retrofitting, the bright green mobile eatery made its debut on Caledonia Road and Main Street in Dartmouth (just across from NSCC), serving up Ludlow's authentic, family recipes. Jerk chicken with rice and peas, salt fish ackee (or just ackee, if you're vegetarian), oxtail and beef patties (the only menu item Ludlow doesn't make) round out the menu of naturally-spiced, Jamaican eats, the Lees say they'll build on that selection with time. For now, Dartmouth is Jamaican Lee Style's stomping (or parking) grounds, but they're on the hunt for new spots to explore. For starters, they'll be serving up a taste of the Caribbean at the next Food Truck Party, but track the truck down daily using the Street Food App.
Tags: food trucks, Jamaica Lee Style Cuisine, Jamaican food, Image
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.: Mongolian Public Health Professionals' Association :.
The Association is a voluntary, independent, nonprofit, public benefit, membership organization uniting public health and other interested professionals.
The Association shall operate under the Constitution of Mongolia, the Non-Governmental Organization Law of Mongolia, and other relevant laws and statutes.
To support the sustainable development of public health in Mongolia through pooling of skilled professionals and strengthening multi-sectorial collaboration.
To provide leadership ensuring the "Healthy Nation-Heart of Development" in Mongolia through integrating capacity of public health professionals and evolving into an institution of international competence.
To strengthen multisectoral collaboration and develop international linkages in order to protect and promote the health of the Mongolian people.
4.7. Nonpartisan and independent from political affiliation.
5.1.1. The highest governing authority of the Association is a General Meeting of all members.
5.1.2. The quorum for meetings shall be majority of those members who have the right to vote as approved by the registration of the Secretary of the Association.
5.1.4. Each member shall receive at least 14 days prior written notice of General meeting including scheduled time, place and agenda.
5.1.5. Ad hoc meetings of all members may be summoned by the decision of the Board.
5.1.6. In between General meetings, the Governing Board (hereinafter referred to as the Board) shall provide direction to Association's activities.
5.2.1. The Board shall have up to 7 members and shall be responsible for overall policy and direction of the Association.
5.2.7. The quorum for meetings of the Board shall be 4 members. In the case of the Board's vote being split, authority of the final decision shall be granted to the Board Chair.
5.2.8. The Board meeting can be chaired by Board members in turn, and proper notes shall be taken and signed by the Chairperson after which it should be handed out to Board members.
5.2.9. The Board Chairperson is to ask Board members whether any one has conflict of interests (conflict of interest is defined as direct connection between planned or effected project and Board members present full time occupation) with regards to matters to be discussed during the meeting. If the case of conflict of interest arises, relevant person is to volunteer to abstain from that Board meeting.
5.2.10. Ad hoc meetings can be called by the decision of Board Chair or two thirds of members.
5.2.11. If a Board member is unable to perform his/her duties, he/she is to submit notice in writing one month prior to his/her resignation. A replacement is to be chosen temporarily until the next Board election, according to last election's results of a candidate who received most votes but was not elected to the post.
5.2.12. Board members should be volunteers, who work with effort and diligence.
5.2.13. Board member will not receive any compensation other than expenses incurred during his/her duties.
5.3.1. Monitoring Committee shall supervise implementation of Association's charter, ruling of Association's meeting and control financial expenditures of the Association.
5.3.2. Monitoring Committee is to consist of three members.
5.3.3. Members of Monitoring Committee are to be elected during the General Meeting of members to a two-year term.
5.3.4. Every member can be elected to the Monitoring Committee except Board members.
5.3.5. If a Monitoring Committee member is unable to perform his/her duties Board of Directors shall appoint a temporary member to the Monitoring Committee.
5.3.7. The Director and members of the Monitoring Committee are to present their report to Board of directors and plenary meetings.
5.4.1. The President of the Association is to be elected to two year term by plenary meeting of members.
5.4.2. The incumbent President can be reelected only once.
5.4.3. The President shall represent the Association on domestic and foreign affairs, and he/she shall be Chairman of the Board.
5.4.4. The President shall focus its activities on broadening cooperation with national and international public health organizations, associations and societies.
5.4.5. The President shall have authority to sign legal documents such as agreements, and contracts, in the name of the Association.
5.4.6. The Board will appoint a replacement for the President in case he/she is abroad on business or on vacation.
5.4.7. The Board will appoint a temporary President until the next general meeting of members, in case the incumbent President is unable to perform his/her duties.
5.5.1. The Executive director shall be appointed by the Board.
5.5.3. The Executive director shall set the date, compile agendas and organize the Board meetings.
5.5.4. The Executive director shall command financial resources of the Association within limits set by the Board.
5.5.5. The Executive director shall direct his/her attention to raising funds necessary for the Association to operate.
5.5.7. The Executive director will appoint and dismiss the secretary, financial officer, permanent and contract staff of the Association following discussion with, and approval by, the Board. Salary will be determined based on discussion with board.
5.5.8. The Executive director shall report to the Board.
5.5.9. The Executive director's salary is to be paid from operational funds of the Association and shall be determined by the Board.
5.5.10 In case the Executive Director is unable to perform her/his work, she/he will submit notice in writing one month prior to his/her resignation. If the Board cannot appoint someone to the Executive Director's vacancy, the President will assume responsibility until such time as someone is appointed.
5.6.2. The Secretary is to be confirmed by the Board directors and appointed to the Executive director.
5.6.4 The Secretary` s salary is to be paid from operational funds of the Association and shall be determined by Board.
5.7.1.1. Those public health or other professionals working actively in the field or with interest in public health issues, and who accept the Association's goals and aims, can become members.
5.7.1.2. Applications for membership by individuals who accept the Association's rules and regulations, have submitted their application and paid their yearly membership fee shall be discussed and confirmed during Board meetings.
5.7.1.4. Every member who has paid the yearly membership fee and can participate in the Associations affairs is defined as an "active member" of the Association.
5.7.1.5. Any individual who has given a certain amount of donation in order to become lifelong member of the organization and supports the Associations work is defined as "supporting member" of the Association.
5.7.1.6. The Association can have its "honorary member", when the Board decides to enroll certain prolific, influential and well known individuals from the public health professional sector.
5.7.2.1. The Member is to accept and obey the rules and regulations of the Association and decision of the Board.
5.7.2.3. The Member shall not take any action against the interests of the Association.
5.7.2.4. The Member shall pay a yearly fee upon entrance to the Association, and shall do so its annual membership fee before first day of June of every year.
5.7.3.1. Member has a right to participate in every project planned by the Association.
5.7.3.2. Active and Supporting Members have the right to elect and be elected to the Associations ruling bodies.
5.7.3.3. Every Member has a one vote right in the Associations elections.
5.7.3.4. Every Member has a right to put forward and have decided any motion, demand information on financial situation and planned and implemented projects of the Association.
5.7.3.5. Every Member has a right to express their views concerning matters of the Association.
5.7.3.6. In case a Member is not willing to accept the decision to relieve him/her of the membership, he/she has a right to submit their petition to the Board within 14 days.
5.7.4.1. Upon submission of request of relieving of the membership, Board meeting shall decide the matter.
5.7.4.2. Those Members who perpetrated serious violations to the rules and regulations of the Association or those who have not paid their membership fees for a protracted time shall be relieved of the Membership by the decision of the Board meeting.
6.1. By the unanimous decision of the members, vote counting committee consisting of 5 members is to be chosen during general meeting. The vote counting committee is to organize the election of Association's president, the Board and Monitoring Committee.
7.2. The Association is to prepare correct balance sheet annually and to submit it to tax authorities before February 15th of every year.
7.3. When needed, by the decision of the Board, independent auditing is to be performed on Association's financial documents.
8.1. Two thirds majority is needed to restructure or dissolve the Association, with subsequent settlement of property issues.
8.2. In case Board of Directors is unable to resolve the property issue, the matter is to be settled through courts of law.