It's a new day, and new Hoteles Paradores, now bringing luxury and style to the town of Corias. Keeping with the general theme of historic luxury, Parador Corias will not disappoint. Not only will the luxury hotel be located a mere two kilometres from the oldest city in Austurias ( Cangas de Narcea), but will also be taking up residence in the monastery of San Juan Bautista. This monastery is rife with history, which makes it an ideal place to relax and soak up the rich Austurian culture.
The monastery was founded in the eleventh century as a donation to the Benedictine order. The modest community of twelve monks was taken over by Arias Cromaz, the first abbot of the monastery. He remained in the there for years until he left after being appointed Bishop of Oviedo. The monastery really came into its own through the twelfth and thirteenth centuries. New policies made the monastery a large and prominent piece of land in Asturias, as well as one of the greatest abbeys in Spain.
A remodel of the monastery in the late sixteenth, early seventeenth centuries lost the building much of its original Romanesque. However, even that is not the monastery we see today. Instead, we see the monastery reconstructed after a fire in the late eighteenth century. Although the fire destroyed the monastic, the library, sacristy and church were all saved. Good thing to, as the church houses Cantonada Christ, a grand Baroque mantlepiece. This mantle is considered to be one of the great examples of this style in Spain.
Although a new monastery was erected, the site was soon abandoned. In 1835, the law of confiscation of Mendizabal lead to the departure of the Benedictine order, who were replaced in 1860 by the Dominican Fathers. The site has long been a site of knowledge, as it acted as an educational venue throughout history. Now, the site will take on a more luxurious role as the youngest of Spain's Hoteles Paradores.
Cangas de Narcea is the oldest city in Austurias. It is a mining town, home to about 14, 000 people. However, mining is only the tip of this towns iceburg. The town is located right beside the Natural Park of Fuentes de Narcea, a large mountain range with Spains largest oak forest rolling through its hills. Make an appointment to head out into the mountains and enjoy the largest preserved mountain range in Spain. Even stay outside of the park for the day and enjoy a slew of water sports, including kayaking, rafting or salmon fishing.
Bask in the Asturian architecture and open your mouth to the tastes of the region, including the beef, the beans and, of course, the cider.
Come and explore this for the first time with Paradores, and discover what this beautiful town has to offer.


text:
Abstract Enzymes are a protein catalyst that speed up the rate at which a chemical reaction occurs
Enzymes are a protein catalyst that speed up the rate at which a chemical reaction occurs. Hydrogen peroxide is taken apart and separated into water and oxygen by a catalase specific to this reaction. The substrate concentration as well as the temperature effect the rate of the chemical reaction. On the other end of the spectrum adding too much of the substrate can have the reverse effect on the reaction. This is also true if the temperature gets outside of a certain range the reaction can then slow down as well. In this experiment we tested the hypothesis that as substrate concentration increases, so will reaction rate because more substrate molecules will be colliding with the enzyme. We also tested the hypothesis that as the temperature increases so will the reaction rate because faster moving substrates bump into each other and bond quicker. We used four different temperatures of enzymes to test how the temperature of the enzyme affects the rate at which the chemical reaction occurs. We also used a variation of substrate concentration ranging from0.1 percent all the way to 0.8 percent. This was done to test how the substrate concentration affects the rate of the chemical reaction. The first experiment demonstrated that when the substrate concentration increases the rate of the chemical reaction also increases. For example, the average rate of the reaction for .1 percent is 1.74ml/min and for .8 it is 55.95ml/min. The results from experiment one support the hypothesis that as the substrate concentration increases the rate of the chemical reaction. The second experiment displayed that when the temperature increases the rate of the chemical reaction decreases. An example of this is at room temperature the average rate of chemical reaction is 55.95ml/min, in contrast at boiling temperatures the average was 1.10ml/min. These results prove that our hypothesis that as the temperature goes up the rate of the chemical reaction goes down.
The use of a catalase to speed up the rate of a reaction includes a variety of steps. First the 600 ml beaker was filled to the brim with water. Since some of the water was bound to spill a paper towel was placed under the beaker to absorb the spillage. Next the 10ml graduated cylinder was overfilled with water and then capped off by a person's finger. They then inverted the graduated cylinder and immersed it into the water careful to not let any air bubbles into the cylinder. This would skew the results and call for a redo of this portion of the experiment. Following the insertion of the cylinder, a U-shaped glass tube was placed into the beaker and maneuvered into the cylinder. On the other end of the glass tube a rubber stopper was placed into the opening of the 50ml Erlenmeyer flask. This was done directly after 10ml of the substrate and 10ml of the catalase were poured into the Erlenmeyer flask. Once everything was added the flask was swirled around as the time it took for air to fill the graduated cylinder was recorded. The substrate concentrations were 0.8 percent, 0.4 percent, 0.2 percent, and 0 percent. The different catalases used consisted of warm(37degrees C),boiled(100degrees C), room temperature (25degrees C), and cold(0degrees C).These concentrations and room temperature were used for both experiments. The data recorded was then put into Microsoft Excel. In Microsoft excel certain programs were run to find the averages, standard deviation, and the p values.
The results for the first experiment are showcased in Table 1. The average and standard deviation for each concentrations reaction rate as well as the results for each of the concentration are shown in the Table 1. An example of this is at 0.4 percent the average rate of the chemical reaction is 26.41ml/min. The standard deviation at the same percent is 18.164. The standard deviation and the average for each concentration was calculated using Microsoft Excel.
The results for the second experiment are displayed in Table 2. The table shows the reaction rate for all of the different temperatures of water. The standard deviation and average are displayed in the Table 2 also. When water is at room temperature the average rate of the chemical reaction is 55.95ml/min and the standard deviation is 39.68. The average and the stand deviation are calculated using Microsoft Excel.
Table 1 is displayed by the graph in Figure 1, and Table 2 is shown graphically in Figure 2. Each of which were graphed used Microsoft Excel.
Table 1: Effect of change in substrate concentration on reaction rate
Substrate concentration	Group 1	Group 2	Group 3	Group 4	Group 5	Group 6	Group 7	Group 8	Average	Std dev
0.0%	0	0	0	0	0	0	0	0	0.00	0
0.1%	3	0	2.5	2	0	1	2.8	2.6	1.74	1.236282
0.2%	6.5	5	5	6	6	6	5.5	6	5.75	0.534522
0.4%	42.64	15.9	15	27.27	16.67	10	20	63.82	26.41	18.16414
0.8%	63.63	32.03	30	54.45	28.57	27.3	66	145.63	55.95	39.6787
Table 2: Effect of change in temperature on reaction rate in a catalase mediated breakdown of H2O2
Temperature factor	Group 1	Group 2	Group 3	Group 4	Group 5	Group 6	Group 7	Group 8	Average	Stdev
Cold (0oC)	91.88	24.34	35.19	30	18.75	37.5	37.5	71.51	43.33	25.15
Room Temperature(25oC)	63.63	32.03	30	54.45	28.57	27.3	66	145.62	55.95	39.68
Warm (37oC)	206.9	52.9	120	85.71	200	120	150	173.9	138.68	54.31
Boiled (100oC)	0	3	1.5	0	0	1.33	2.9	0.05	1.10	1.30
Table 3: Analysis of statistical significance for each temperature condition vs room temperature (t-test : two sample assuming equal variances)
temperature comparison used for t-test statistical analysis	p values
p value for room temp vs warm temperature	0.00368573
p value room temp vs cold	0.460075553
p value room temp vs boiled	0.001575828
Figure 1. The reaction rate vs substrate concentration
Figure 2. Temperature Factors on Reaction Rate
The experiments that were conducted were meant to test two separate hypotheses. The first hypothesis said that as substrate concentration increases, the reaction rate would also increase. At 0.8 percent the average reaction rate was 55.95ml/min. At 0.1 percent the reaction rate average was 1.74ml/min. These averages support our hypothesis. The second experiment we predicted the higher the temperature the slower the reaction would occur. We also stated that the optimal temperature for the quickest reaction rate would be in-between 25 and 37 degrees Celsius. Boiling catalase had an average reaction rate of 1.10ml/min. When the temperature is 25 degrees Celsius the average is 55.95ml/min and when the temperature is 37 degrees Celsius the average is 138.68ml/min. These results support our hypothesis. It is likely that the reasoning behind the increase of the average reaction rate as the catalase concentration increased was because of the amount of the substrate. For experiment one we can verify that as the substrate concentration increases the rate of the chemical reaction equally increases. In experiment two we can also verify that when the temperature increases too much that the reaction rate will decrease. This most likely occurs because when the temperature crosses a certain point the catalase cannot perform as efficiently.()The temperature can also be too cold and the same outcome occurs. The results shown from both experiments are very important because it shows that a threshold for temperature exist for the optimal performance of a catalase. Some of the possible miscalculations can occur from a variety of reasons including: human error, slight variations in amounts poured, slight variations in temperature of materials used. For future experiments double checking the data recorded as well as making sure the temperature is a little bit more evenly distributed.
CHAPTER 1 Introduction 1
Evaluation of Anti-nociceptive and Anti-inflammatory Activities of the Crude Root Extract and Solvent Fractions of Cucumis ficifolius
TABLE OF CONTENTS Pages Title Page Certification Dedication Acknowledgements Table of Contents List of Tables List of Figures Abstract CHAPTER ONE
ACKNOWLEDGEMENTS Our hearts pulsates with the thrill for tendering gratitude to those persons who helped me in completion of the project
814705114935SANITATION AND WATER SUPPLY REPORT
Earth is the only known planet in this universe where life is possible only because of the availability of water and oxygen
BSc Health and Safety Management BHSM 4319 Capstone Project critically discuss guidelines for the development and implementation of a health and safety management system
Proteins are the building blocks of the body which actually weak down to form amino acids and there are steps in which protein from our food is used for utilization
The rise of modern technology has a huge impact on the lives of children these days until they reach teenagers

redpajama_set_name: RedPajamaCommonCrawl


text:
jlwolff
department-of-social-science
Llambias-Wolff
Jaime Llambias-Wolff
Office: Ross Building, S708
Phone: (416) 736-2100 Ext: 33298
Email: jlwolff@yorku.ca
I was appointed as Associate Professor at the Division of Social Science at YORK University, in 1991 (Health & Society Program), having previously taught at the University of Montreal, the University of Moncton and the University of Quebec in Montreal. On several occasions I have been Invited Professor at the Business School of the Universidad Técnica Federico Santa María in Valparaíso, Chile, the International MBA at the Universidad de Santiago , Chile and the Chilean Diplomatic Academy. I was a York University Senator between 2002 and 2005.
In non academic but research-related areas I was the director general of the Quebec Council for International Development (1985-1989), consultant for the Quebec Government and the Canadian International Development Agency. (1989-1995) , vice-president of the Council for International Relations in Montreal and a former member of the Consultant Committee for Ethnical Relations at the Montreal Urban Community as well as a former member of the board and the executive committee of the Canadian Council for International Co-operation. In 1988 I ran as NDP candidate in the federal election. I have a regular-weekly TV Interview Programme on International Issues on Chile's Channel 9 (Quintavision-VTR).
Ph.D., (Law), Osgoode Hall Law Shool, York University, Canada.
Ph.D., (Sociology), Université de Montréal, Canada.
M.A., (Sociology), McGill University, Montreal, Canada.
B.A., (Sociology), University of Chile & Catholic University of Chile.
B.A., (Law), University of Chile, Santiago, Chile.
Health , Latin American and Caribbean Studies, Political Economy, Multicultural issues and legal theory, Third World and Latin America, Development studies
← jlennox	jsingh3 →


We are seeking motivated, hard-working, responsible team players to join our team at the Walhalla City Pool.
Please list your previous job experience including Company, Job Title, Employment Length, Job Reference, Job Description.
Please select all days you are available to work. Group swim lessons will be held Monday - Thursday from 9:45am to 10:30am and from 5:15pm to 6:00pm. Private lessons are Monday - Thursday from 10:30am to 11:00am and 6:00pm to 6:30pm. Fridays are available for weather make-up days.
Have you ever worked for a YMCA?
What can you contribute to the YMCA and the Walhalla City Pool?
Please describe a time you used a behavior management technique and the outcome of the situation.
What professional quality do you feel a swim instructor must be able to demonstrate and how will you demonstrate that quality.
Please explain why safety is so important at the YMCA?
BY COMPLETING AND SIGNING THIS APPLICATION, I CERTIFY THAT INFORMATION IS TURE, ACCURATE AND COMPLETE. I WILL REPORT TO THE YMCA ANY CHANGES IN MY HOME ADDRESS, REFERENCES, FELONY STATUS OR EMPLOYMENT RECORD. I UNDERSTAND THAT BY APPLYING FOR THIS POSITION THE YMCA IS SUBJECT TO INVESTIGATE MY BACKGROUND RELATED TO PAST WORK HISTORY AND FELONY RECORD. I UNDERSTAND THE YMCA IS A DRUG FREE WORKPLACE AND RANDOM DRUG SCREENING IS COMPLETED AT ANY TIME PREVIOUSLY OR DURING EMPLOYMENT.


text:
Q: Too many arguments to Bash script? I have a Bash script to which I am sending 10 arguments.
I'm trying to access the tenth argument, such as echo $10.
Instead I get the first argument with a zero appended.
Any thoughts on how I can access the tenth argument?

A: Use ${10} instead of $10. You can use this for a seemingly arbitrary number of arguments.  I've tested it up to ${100} successfully.

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Own your very own Enterprise! This special set includes a Star Trek-themed coin and three collectible stamps, all in one unforgettable package for €39.95 each! (Plus €2.95 P&P).
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We are delighted to announce that, as of February 2018, we have achieved Free Agent Partner status. You may, if you've just started out in business, have been offered Free Agent software for free by your bank. If you have, we suggest you may like to get in touch with us for help with using it. We can help you get off on the right foot and avoid making the most usual mistakes.


From the red carpet to the rink I love the rush of covering live events on social media. If you're looking for freelance social media help, a social media strategist for a speaking engagement, or just want to talk social media, let's connect. In the past I've worked for The Hollywood Reporter, Billboard, the United States Olympic Committee and NBC on a freelance basis.


text: Q: How to write two files to disk in a transaction I have two files I need to save to disk. If one file fails to save the other absolutely must be erased and vice versa. Is there a way to do this using QT?


Submitted 3 years 1 month ago by editor.
A large-scale cultural heritage programme exploring key events in the Decade of Centenaries, including the Easter Rising and Battle of the Somme, was launched by Creative Centenaries today (March 1) in Belfast.
The Creative Centenaries programme, led by the Nerve Centre in Derry~Londonderry, is a hub for information and resources around the Decade of Centenaries, and throughout 2016 will help to shine a light on some of the key centenaries through creative, artistic and cultural approaches.
The programme launch saw the announcement of dozens of events across film, music, drama, talks, lectures, conferences, family days and more. The work of key heritage organisations is also highlighted through the programme, including plans by National Museums Northern Ireland, Libraries NI, PRONI, and the Linen Hall Library.
Supported by the Heritage Lottery Fund (HLF), the Creative Centenaries programme will see the launch of major exhibitions in the Tower Museum in Derry~Londonderry running from April - November and at the Ulster Museum, Belfast, from June - September 2016.
An outreach strand will use creativity and new digital technologies to engage thousands of young people and adults, with free workshops in schools and community settings.
Creative Centenaries #MakingHistory Exhibition, a major exhibition opening at the Ulster Museum early June 2016 exploring how 'total war' and a struggle over national identity acted as powerful catalysts driving the creative forces of social change, technological invention, and artistic innovation in Ireland in 1916.
Digital Fabrication Family Days on March 5 and 19 with Nerve Centre's FabLab in the Ulster Museum, encouraging families to explore museum objects using the latest in digital fabrication technologies such as 3D printers and laser cutters.
Kabosh Theatre Company presents 'The Box', a multi-artform production bringing to life the incredible personal archive of First World War nurse Olive Swanzy, written by Carlo Gebler and directed by Paula McFetridge.
Quercus Ensemble will showcase its production '1916 Remembered in Music and Poetry' on June 4 and 5. The show includes performances of Bax's Elegiac Trio, 'Across a Clear Blue Sky' by Ian Wilson, and Ravel's Tombeau de Couperin, as well as poetry by Francis Ledwidge, Rupert Brooke and others.
14-18 NOW, the UK's official arts programme for the First World War centenary, has a number of major events and new commissions taking place across Northern Ireland including 'Shelter', by artist Anne Tallentire, exploring the architectural legacy of the Nissen hut, in a co-commission with Nerve Centre. Other events here include an ambitious dance commission by Fearghus Ó Conchúir 'The Casement Project', The WW1 Years and More, a series of participative concerts at Belfast International Arts Festival featuring Obie Award-winning New York performer Taylor Mac and Radio Relay with artists Graham Fagen, Paddy Bloomer, Gareth Moore, Philip Hession and Mhairi Sutherland exploring historic moments in the development of radio.
Peter Osborne, Chairperson Community Relations Council said: 'An important focus for CRC's work in recent years has been on supporting new ways to engage with commemoration to ensure that the region's divided past does not undermine our ability to live well together in the future. Through its Community Relation and Cultural Diversity Small Grant, Media and Publication Grant Schemes CRC is supporting a range of projects - drama, animations, research, teaching resources, lectures, debates and workshops that allow people of all ages and backgrounds to explore the dramatic decade, 1912-1922, and how it has shaped the region.
The programme will also have a specific outreach strand targeting Urban Village areas in Belfast and Derry~Londonderry. The project will deliver digital skills training workshops using a range of award-winning innovative resources around the Decade of Centenaries including curriculum-linked graphic novels, iBooks on the events of 1916, and new 2.5D animations on the Easter Rising and Battle of the Somme.
David Lewis, Director of Communications and Digital Content at the Nerve Centre, said: 'We are delighted to be launching the Creative Centenaries 2016 programme which gives a flavour of how the region's creative and cultural industries are playing a key role in capturing people's imaginations, telling new stories, and exploring multiple interpretations of the events of 1916.
For more information on the Creative Centenaries project and how to get involved, regularly visit www.creativecentenaries.org.


text:
Q: How can I make a chat script in bash? I want to make a chat script in bash and I've started out pretty basic and you start off by login in with any name you want, no password required and then you can write commands like connect, clear, exit and so on.
But I want to be able to actually start a chat between two people in the terminal window. Now, I've read a little about IRC but I don't know how to get it to work.
Any help would be appreciated
Here's my script:
#!/bin/bash
ver=1.0
my_ip="127.0.0.1"

function connect()
{

echo -n "Ip-address: "
read ip

if [ -n "$ip" ]
then

exit

fi

}

function check()
{

    if [ "${c}" = "connect" ] || [ "${c}" = "open" ]
    then

    connect

    fi

    if [ "${c}" = "clear" ] || [ "${c}" = "cls" ]
    then

    clear
    new

    fi

    if [ "${c}" = "quit" ] || [ "${c}" = "exit" ]
    then

    echo "[Shutdown]"
    exit

    fi

}

function new()
{

    echo -n "$: "
    read c

    if [ -n "${c}" ]
    then

    check

    else

    echo "Invalid command!"
    new

    fi

}

function onLogin()
{

clear
echo "Logged in as ${l_name} on [${my_ip}]"
new

}

function login()
{

echo -n "Login: "
read l_name

if [ -n "${l_name}" ]

then
onLogin

else

echo "Invalid input!"
login

fi

}

#execution
clear
echo "Bash Chat v${ver} | Mac"
login

A: If you truly want to write a chat client in pure bash, it would have to be local chat (same physical machine) rather than network chat.
Assuming that this is adequate for your needs, you can use named pipes (FIFO)
Illustration
Here is an example that illustrates what you can do with two pipes (for bidirectional communication):

*

*mkfifo /tmp/chatpipe1 ; mkfifo /tmp/chatpipe2

*(In terminal one):  cat > /tmp/chatpipe1

*(In terminal two):  cat /tmp/chatpipe2

( same and in reverse for Terminals 3 and 4 )

This illustrates that you can have 4 processes in bash, two writing to two pipes and two reading from the same two pipes.  Two terminals on the left are for Bob, two on the right are for John.
You can organize all of this into a single script if you understand bash backgrounding, loops (and hopefully traps to clean up on shutdown).
Script
Here is a rudimentary version:
#!/bin/bash

if [ -z "$2" ] ; then
    echo "Need names of chat pipes (yours and other's), eg $0 bob john"
    exit 1
fi

P1=/tmp/chatpipe${1}
P2=/tmp/chatpipe${2}

[ -p "$P1" ] || mkfifo $P1
[ -p "$P2" ] || mkfifo $P2

# Background cat of incoming pipe,
# also prepend current date to each line)
(cat $P2 | sed "s/^/$(date +%H:%M:%S)> /" ) &

# Feed one notice and then STDIN to outgoing pipe
(echo "$1 joined" ; cat) >> $P1

# Kill all background jobs (the incoming cat) on exit
trap 'kill -9 $(jobs -p)' EXIT
# (Probably should delete the fifo files too)

And a chat session:

Note that this script is only a simple example.  If bob and john are different unix accounts, you'll have to be more careful with file permissions (or if you don't care about security, mkfifo -m 777 ... is an option)

A: A chatroom can be made in literally 10 lines of bash. I posted one on my github earlier today
https://github.com/ErezBinyamin/webCatChat/blob/master/minimalWbserver
Can handle "n" users. They just need to connect to :1234
Here's the code:
#!/bin/bash
mkdir -p /tmp/webCat && printf "HTTP/1.1 200 OK\n\n<!doctype html>
Erez's netcat chat server!!
<form>Username:
<input type=\"text\" name=\"username\">
Message:
<input type=\"text\" name=\"message\">
<button>Send data</button>
<button http-equiv=\"refresh\" content=\"0; url=129.21.194:1234\">Refresh</button></form>" > /tmp/webCat/webpage
while [ 1 ]
do
    [[ $(head -1 /tmp/webCat/r) =~ "GET /?username" ]] && USER=$(head -1 /tmp/webCat/r | sed 's@.*username=@@' | sed 's@&message.*@@') && MSG=$(head -1 /tmp/webCat/r | sed 's@.*message=@@' | sed 's@HTTP.*@@')
    [ ${#USER} -gt 1 ] && [ ${#MSG} -gt 1 ] && [ ${#USER} -lt 30 ] && [ ${#MSG} -lt 280 ] && printf "\n%s\t%s\n" "$USER" "$MSG" && printf "
%s\t%s" "$USER" "$MSG" >> /tmp/webCat/webpage
    cat /tmp/webCat/webpage | timeout 1 nc -l 1234 > /tmp/webCat/r
    unset USER && unset MSG
done


text:
Rank: 58th of 4406
Themes: ActionRPGJRPGSingle-player
Developer: Square Enix
Cloud, a former member of Shinra's military organization, SOLDIER, joins the anti-Shinra resistance group AVALANCHE, despite caring little for their motives. During one of the group's attempts to stop the company, they learn of the return of Sephiroth, Cloud's nemesis, and that with his reemergence, the planet is in greater danger than anyone had expected. With the fate of the world riding on their success, Cloud and his allies set out to quell this deadly threat.
Other Games of the Series
Final Fantasy XV: Royal Edition
Monster of the Deep: Final Fantasy XV
A King's Tale: Final Fantasy XV
Final Fantasy XIV: A Realm Reborn
Cubed3
Ofisil—Jan 31, 2017
As a whole, Final Fantasy VII is not a bad game, but it's certainly quite far from the flawless gem that almost everyone was talking about back in the day… and yet it has managed to resonate to the hearts of hundreds of thousands, mainly because, despite the boringly easy battles, aged visuals, and various other issues it has, underneath it all there's a fantastic, well-presented story, with an awesome cast that's hard not to fall in love with, and an engrossing world that grabs and never lets go.
Robert Ramsey—Dec 13, 2015
Even 18 years after its original release, its overall quality is clear to see, despite its often dated visuals. A superbly paced plot, a brilliant cast of characters, and a punchy battle system combine to create a fantasy that remains an absolute classic, and a game that's well worth playing all over again.
Shane Jury—Feb 03, 2016
It is a year later than planned, but is more ironed out than any other version with the optional cheats and Trophies. A steadily-paced story, sterling soundtrack and unmatched character building system keep this title still relevant in the packed world of role-playing games. Whether it be for nostalgic purposes or simply to see what all the fuss is about, this edition of Final Fantasy VII is worthy of a fresh journey, and will surely compliment the impending remake nicely.
Dragon Quest XI: Echoes of an Elusive Age
Secret of Mana
Atelier Lydie & Suelle: Alchemists of the Mysterious Painting
The Witch and the Hundred Knight 2
Chocobo's Mystery Dungeon EVERY BUDDY
NieR Automata - Game of the YoRHa Edition
Dragon Star Varnir


This post will cover how to integrate your Dynamics 365 for Operations instance directly with Power BI (free version).
As the current deployment model for Dynamics AX is Azure-hosted, authenticating with Power BI does not need to involve any of the Power BI Gateways. It does use a slightly different authentication method than Power BI with Dynamics NAV, or Power BI with Project Madeira, but we'll cover those steps below.
Note: It is acceptable for the login for Dynamics AX to be different from the login for Office 365 / Power BI. In most live deployments these would be the same using the single sign-on feature, but it is not required.
That should open an XML feed of different data entities available in your Dynamics AX instance.
In my case, IE downloaded the feed as a file and I opened it in notepad for demonstration purposes. Note that this is not necessary other than to verify your account has appropriate permission to access the feed.
Search for Dynamics AX, click on either Financial Performance or Retail Performance (you can repeat this process to get both) and click Connect.
After clicking next this will ask for an Authentication Method. Choose "oAuth2", and click Sign in. This will open a new login page to sign into your Dynamics AX instance.
Once authenticated, Power BI will start importing and set up your dashboard.
Once imported, your Dynamics AX dashboard will be accessible on Power BI.


This thesis summarises development and application of a hydrological model for simulating forest canopy processes, snow accumulation and melt, soil and ground water interactions, and streamflow routing. A motivation behind the model development is to outline a methodology for predicting the influence of land use changes on catchment hydrological processes. In addition, the development aims at providing linkages from the hydrological model to atmospheric models through implementation of surface energy balance and to water quality models through quantification of runoff components. The work started with comparison of two existing snow energy balance models using meteorological and snow data from Northern Finland. Based on the comparison the more simple of the tested snow parameterisations was modified to improve its performance in terms of snow heat balance simulation. The modified snow model was then coupled with a canopy scheme to account for the influence of forest on snow processes. The combined model was applied to clear-cut and coniferous forest sites in Southern Finland to identify the differences in snow mass and energy fluxes between open and forest. Finally, runoff generation in a forested catchment (Rudbäck, 0.18 km2) was studied by using two different parameterisations. First, the catchment was parameterised as a three-dimensional domain, and secondly, as a vertical two-dimensional hillslope. The models produced similar results in terms of fit against measured daily streamflow, but the computed runoff components were different. Independent calibration of hydrological submodels yielded a more realistic partition of runoff into surface and subsurface components than did calibration merely against streamflow data. It is proposed that the hillslope model can be used to simulate runoff generation in each possibly non-contiguous area that is similar in terms of its land-use. A system where a set of such models is combined together can be used to quantify runoff contributions from pre-classified areas of different land-use, and constitutes a tool for studying hydrological impacts of land use changes.
Koivusalo, H. and Heikinheimo, M. 1999. Surface energy exchange over a boreal snowpack: comparison of two snow energy balance models, Hydrological Processes, 13, 2395-2408.
Koivusalo, H., Heikinheimo, M. and Karvonen, T. 2001. Test of a simple two-layer parameterisation to simulate the energy balance and temperature of a snowpack, Theoretical and Applied Climatology, 70, 65-79. [article2.pdf] © 2001 Springer-Verlag. By permission.
Koivusalo, H. and Kokkonen, T. 2002. Snow processes in a forest clearing and in a coniferous forest, Journal of Hydrology, 262, 145-164. [article3.pdf] © 2002 Elsevier. By permission.
Koivusalo, H., Karvonen, T. and Lepistö, A. 2000. A quasi-three-dimensional model for predicting rainfall-runoff processes in a forested catchment in southern Finland, Hydrology and Earth System Sciences, 4, 65-78. [article4.pdf] © 2000 European Geosciences Union. By permission.
Koivusalo, H. and Kokkonen, T. Modelling runoff generation in a forested catchment in southern Finland, Hydrological Processes, in press.


Eric Church Audition From WAYYY Back!
So I was scrolling thru Facebook, and saw this post from Kip Moore!
He found an old audition video of Eric Church from way back, and shared it on Facebook!
If you've ever wondered what Eric Church looked like back in High School... here you go!
He was auditioning for a musical!


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Use the fields below to perform an advanced search of The Daily Tar Heel's archives. This will return articles, images, and multimedia relevant to your query. You can also try a Basic search
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Carrboro recognizes town's history with new truth plaque about namesake Julian Carr
(04/18/19 12:28am)
Carrboro's Truth Plaque Community Task Force unveiled its final project Tuesday evening — a 'truth plaque' mounted outside Carrboro Town Hall. The plaque gives context to the town's history and its naming after Julian Carr, the same man who read the dedication speech for Silent Sam.
https://www.dailytarheel.com/article/2019/04/carrboro-truth-plaque-ceremony-0417
Hillsborough-based produce delivery service aims to tackle food waste
Courtney Bell wears a lot of hats: CEO, logistics manager, environmentalist, produce distributor. As the 23-year-old founder of Ungraded Produce, a Hillsborough startup providing fruits and vegetables to subscribers, Bell has her hands full, but she wouldn't have it any other way.
https://www.dailytarheel.com/article/2019/04/produce-business-feature-0414
One dead, at least 15 injured in downtown Durham explosion Wednesday morning
Durham was rocked by an explosion Wednesday morning, when a gas leak in the 100 block of North Duke Street exploded, causing the building to partially collapse. One person is confirmed dead, and at least 15 were injured and taken to the hospital.
https://www.dailytarheel.com/article/2019/04/durham-explosion-0410
Duke Energy ordered to clean up after itself
The N.C. Department of Environmental Quality ordered Duke Energy on Monday to excavate several million tons of coal ash from six of its facilities.
https://www.dailytarheel.com/article/2019/04/duke-coal-ash-order-0401
Want to enjoy your Franklin Street favorites outdoors this spring?
As part of ongoing efforts to encourage small business, the Chapel Hill Planning Commission considered changes to parts of the town's sidewalk dining ordinance on March 19.
https://www.dailytarheel.com/article/2019/03/sidewalk-dining-ordinance-0325
What's going on with the internet virus in Orange County?
Orange County came to a halt early Monday morning when an encryption virus was found in its network.
https://www.dailytarheel.com/article/2019/03/orange-county-virus-0320
GoTriangle considers light rail future after Duke decides to not negotiate
The Durham and Orange counties' Light Rail Project has hit some bumps in the road. In the past two weeks, GoTriangle has received a draft of a Federal Transit Administration risk report and a refusal from Duke University to officially sign on to the project.
https://www.dailytarheel.com/article/2019/03/light-rail-letter-0307
Chapel Hill Police take to social media to keep you informed
With technology constantly changing, police work has evolved to meet new expectations, whether it's a citizen filming an interaction or controversy surrounding body cameras. For the Chapel Hill Police Department, however, social media is proving to be a tool to bridge the divide between authorities and Chapel Hill residents.
https://www.dailytarheel.com/article/2019/03/police-social-media-0304
Here's the latest on affordable housing in Carrboro
Several Carrboro Board of Aldermen members raised concerns about affordable housing in the new Shelton Station development while discussing their economic development report at Tuesday's meeting.
https://www.dailytarheel.com/article/2019/02/carrboro-economic-development-report-0214
Chapel Hill Chief of Police looks back on changes during his career
Chapel Hill Chief of Police Chris Blue exudes pride for his police department. Despite years of Silent Sam demonstrations, a tense political climate nationwide and changing expectations of police, Blue seems to have taken it all in stride.
https://www.dailytarheel.com/article/2019/02/chief-blue-feature-0203
Alcohol Law Enforcement went out this weekend, but got much less hungover than we did
Chapel Hill Police wrote one open-container citation Saturday night during the first of eight planned patrols by the Alcohol Law Enforcement Response Teams.
https://www.dailytarheel.com/article/2019/01/ale-on-franklin-patroling-for-underage-drinking-at-bars0122
Carrboro residents welcome MLK park construction
The final step in the 20-year process of Carrboro's Martin Luther King Jr. Park began Saturday, when former and current town officials participated in the groundbreaking ceremony.
https://www.dailytarheel.com/article/2019/01/mlk-park-groundbreaking-0120
What's next for Chapel Hill's affordable housing bond?
With the passage of Chapel Hill's new affordable housing bond, the Town is aiming to increase housing options and create a more affordable, welcoming city. However, there's still a ways to go before the effects of the bond are seen.
https://www.dailytarheel.com/article/2018/11/housing-referendum-plan-1114
Former N.C. Gov. Perdue to be chairperson of National Assessment Governing Board
Former Gov. Beverly Perdue was announced as the new chairperson to the National Assessment Governing Board, making her the first woman to hold the position.
https://www.dailytarheel.com/article/2018/11/beverly-perdue
'Wrench Night' aims to create gender inclusive space for bicyclists
(10/31/18 10:52pm)
At the ReCYCLEry, a handful of people have brought their bikes, and they spread throughout the small garage. Some ask for advice, while others go about their own business. Handle grips are replaced, chains oiled and wobbly tires adjusted.
https://www.dailytarheel.com/article/2018/10/lgbtq-biking-group-1031
UNC activists respond to Trump administration's proposed definition of gender
The news that the U.S. Department of Health & Human Services is considering establishing a legal definition of sex under Title IX has stoked fears of erasure and persecution among some — perhaps especially in North Carolina, the state of the 2016 "bathroom bill."
https://www.dailytarheel.com/article/2018/10/new-transgender-definition-1028
Carrboro residents voice concerns over bicycle safety in town
Carrboro is one of just 28 cities across the country hailed as a silver-level community by the League of American Bicyclists — but some bikers are saying they still face dangers on the road.
https://www.dailytarheel.com/article/2018/10/biking-carrboro-1022
Local legend Snooty Foxx doesn't need a gym. He works out in his front yard.
Devon Riggsbee stood in his Chapel Hill yard, towering over his surrounding weights and workout equipment, and smiled as a passing driver honked and yelled something unintelligible out the window.
https://www.dailytarheel.com/article/2018/10/devon-riggsbee-feature-1011
N.C. sex education is lacking in consent education
Lilly Mills remembers her sex education class at Asheville High School well. She learned the basics about sexually transmitted diseases and was told that abstinence was the only true way to avoid those diseases.
https://www.dailytarheel.com/article/2018/10/nc-sex-ed-1004
Rolled ice cream debuts on Franklin Street
It's not easy to create a truly unique ice cream experience, but that's exactly what 24-year-old Andy Chen and his partner, Nick Ni, have done with Ice Lab, the newest snacking experience on Franklin Street.
https://www.dailytarheel.com/article/2018/09/ice-lab


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Suctobelbila margaritata är en kvalsterart som beskrevs av Balogh och Sandór Mahunka 1980. Suctobelbila margaritata ingår i släktet Suctobelbila och familjen Suctobelbidae. Inga underarter finns listade i Catalogue of Life.

Källor

Spindeldjur
margaritata

redpajama_set_name: RedPajamaWikipedia


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Коктебельский дельфинарий — специальное учреждение для демонстрации дрессированных морских млекопитающих — дельфинов и морских котиков.

Описание
Дельфинарий представляет собой единый комплекс с открытыми бассейнами, трибунами, а также технологическими и подсобными помещениями. В зимний период бассейн закрывается куполом. В дельфинарии работают специалисты, имеющие многолетний опыт работы с морскими млекопитающими.

Основной вид деятельности дельфинария — популяризация знаний о морских млекопитающих, осуществление просветительной работы на базе демонстрационной программы с обученными морскими животными. Дельфинарий «Коктебель» принимает активное участие в работе по развитию сети мониторинга, спасения и реабилитации больных и пострадавших дельфинов.

Кроме спектаклей в дельфинарии существует возможность купания и дайвинг с дельфинами. Также проводятся сеансы дельфинотерапии, которые является эффективным методом безмедикаментозного оздоровления и реабилитации детей с функциональными ограничениями.

С мая по октябрь в дельфинарии «Коктебель» демонстрируется программа с участием черноморских дельфинов афалин и северных морских котиков.

Участие площадки в Koktebel Jazz Party
В 2017 году в ходе 15-го международного джазового фестиваля Koktebel Jazz Party (KJP) арена дельфинария стала местом проведения концертов джазменов переплетающихся с шоу-представлением морских животных. В выступлении приняли участие саксофонист Сергей Головня, а "на клавишах" был Олег Стариков. Дельфины под джазовые композиции вместе со своими тренерами в это время безукоризненно исполняли свою программу.

Примечания

Дельфинарии Украины
Дельфинарии России
Зоопарки Крыма
Культура Феодосии
Коктебель


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Save $38 on Mezzanine Seating
Penn & Teller Theater at RIO
Penn & Teller Showtimes
Mon July 15 9:00 PM
Tue July 16 9:00 PM
Wed July 17 9:00 PM
Sat July 20 9:00 PM
Sun July 21 9:00 PM
Sat August 10 9:00 PM
Sun August 11 9:00 PM
Mon August 12 9:00 PM
Tue August 13 9:00 PM
Wed August 14 9:00 PM
Mixing a lively blend of magic and comedy, the Penn & Teller show in Las Vegas at the Rio features the unique talents of Penn Jillette and Teller, who is famously silent throughout their performances. Together since 1975, the eccentric duo debuted in Las Vegas in 1993 and have been performing at the Rio since 2001. Penn & Teller are the longest-running residency act in the history of Vegas, so they must be doing something right because fans keep coming back year after year. Their quick wit and ability to shed light on traditional magic tricks put them on your must-see list when visiting Vegas. Penn & Teller's live show on any given night can involve knives, guns and fire. They famously stay after their performance to sign autographs and memorabilia for their guests. Penn and Teller are often described as magicians, comedians and entertainers. They began performing over 30 years ago, with Penn as the verbose front man and Teller as his quiet companion (although both are front-runners in the act). This formula carried them throughout their career, which gained popularity through the off-Broadway show Penn and Teller Go Public in 1985. While they performed well-choreographed magic tricks, they incorporated slick humor, which has since become their trademark. They soon appeared in two Broadway shows, and gained critical praise for their unique takes on traditional magic and comedy shows.
As they increased in popularity, they began to appear everywhere, from the stage to television and movies. Penn and Teller appeared on Late Night with David Letterman over 20 times in their career. Other appearances include Late Night with Conan O'Brien, Miami Vice, The Today Show, Saturday Night Live, Friends and much more! Their on-screen success led them to create their own shows, including Penn and Teller's Sin City Spectacular, Penn and Teller's Home Invasion, the Showtime movie Penn and Teller's Invisible Thread, and the NBC specials Don't Try This at Home and Penn and Teller: Off The Deep End. Penn and Teller made their big screen debut in Penn and Teller Get Killed and were featured in Walt Disney's Fantasia 2000. In 2003, they started their own popular television series in which they debunk myths about such topics as hypnosis, recycling and ESP. This show coincides with their Las Vegas act, which focuses on shedding light on famous magic tricks while incorporating humor and political rhetoric. The duo currently co-host Penn & Teller: Fool Us, a magic competition TV show on the CW, as well as Wizard Wars on SyFy.
Teller is back and better than ever after undergoing back surgery. The Vegas show had to go dark for a short period, but the duo have returned to the stage for their wonderful performances at the Rio.
"Penn & Teller have been performing at the Rio since 2001 and still the veteran duo's show remains an utterly unique offering in the Las Vegas entertainment landscape" cheers Las Vegas Sun.
Some magic tricks that leave you wondering and some that are shown right before your eyes!
You won't find a more unique and entertaining magic/comedy production in Sin City. Penn and Teller are mainstays in the entertainment spectrum! Three decades and going strong together, their Las Vegas show at the Rio is a long-running hit. A definite can't-miss show on your next visit to Vegas, they use their trademark humor and intelligence to dazzle the audience. Penn & Teller's Las Vegas show is provocative, hilarious and amazing!
PENN and TELLER SHOW TIME
9:00 p.m. Saturday - Wednesday
Thursday and Friday
Children under age 5 are not allowed in the theater. Not a magic show that caters to children.
ESTIMATED RUN TIME
A bar is located inside the theater before you make your way into the auditorium.
Penn & Teller: About the Theater
Eating Out Near Penn & Teller
Penn & Teller: About the Creators


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Home►"And Your Bird Can Sing"
(John Lennon – Paul McCartney)
"Meaningless psychedelia." "Patronizing and sympathetic." "Full of the fake wisdom of those philosophically lightweight days." "Taunting the limitations of the analytical mind."
These phrases are examples used by authors to describe the lyrics to The Beatles' 1966 masterful "Revolver" song "And Your Bird Can Sing." While the musicality displayed on the track easily gain admiration from writers across the board, the lyrics appear "rich and mysterious," as John Robertson describes in his book "The Complete Guide To The Music Of The Beatles."
There appears to be a fine line that needs to be drawn between analyzing the lyrics of this song in excruciating detail, as some authors try to do, and simply looking at these words at face value. Keeping in mind that Lennon's opinions of the song include "another horror" ("Hit Parader" 1971) and "another of my throwaways" ("Playboy" 1980), we can conclude that these lyrics were not meant to be dissected to reveal any deep or hidden meaning. Nonetheless, a significant meaning, I feel, can be extracted by attempting to delve into the mind of 'the John Lennon of 1966' as we've come to learn about. After all, as I'm sure all historians will agree, the same man who wrote "I Feel Fine" and "Any Time At All" in 1964 was not exactly the same man who wrote "And Your Bird Can Sing" and "Strawberry Fields Forever" two years later.
"'And Your Bird Can Sing' was John's song," McCartney relates. "I suspect that I helped with the verses because the songs were nearly always written without second and third verses. I seem to remember working on that middle-eight with him but its John's song, 80-20 to John"
This explanation lends itself to the belief that the song was another product of a songwriting session at John's Kenwood home during the early months of 1966. Being that the group had taken a four month "sabbatical" from their previous hectic year, the song was undoubtedly written during this period, which stretches from January through till April 20th, 1966 when the song was first attempted in the studio.
Regarding the writing sessions he and Paul had in 1966, John revealed their intended schedules in an interview that year: "It's too easy to put it off if we just meet without any plan and say, 'Shall we write something today?' If you do that then you feel as though you're losing a free day. What we're going to do is make dates beforehand and sort of say, 'Right, Wednesday and Friday of this week are for songwriting, and Tuesday, Wednesday and Thursday of next week.' Then we'll know it's something we've to keep to." It is within this framework that "And Your Bird Can Sing" was written.
It can also be stated that, since minor lyric changes were instituted to the song on its last recording date on April 26th of that year, the writing of "And Your Bird Can Sing" (or "You Don't Get Me" as it was reportedly called early on) extends all the way to the final day of its being recorded.
The Beatles George Martin in EMI Studios, 1966
On April 20th, 1966, The Beatles entered EMI Studio Two at 2:30 pm for their tenth recording session for what became their British "Revolver" album, as well as their first British 1966 single. This session lasted a whopping twelve hours, ending at 2:30 am the next day. Surprisingly, not one note played during this session was deemed worthy of being released at the time. The two songs attempted on this day, these being "And Your Bird Can Sing" and George Harrison's "Taxman," were both started afresh during later sessions.
Considerable time was first spent working out an arrangement for and recording rhythm tracks for "And Your Bird Can Sing." They decided to go with a Byrds-like sound with George using his 1965 Rickenbacker 360/12-string guitar during the rhythm track along with John on electric rhythm guitar and Ringo on drums. The second take was deemed best (John's voice at the end is heard saying "That was it, wasn't it?) and was subject to various overdubs.
The overdubs included harmony lead guitar passages in the instrumental section and conclusion of the song. "I think it was Paul and me, or maybe John and me, playing in harmony," George recalls in 1987, "quite a complicated little line that goes through the middle-eight." Given Paul's abilities on guitar and his occasional role as lead guitarist on Beatles songs, most sources agree in assuming it was Paul that played lead guitar with George on this overdub. Also recorded at this point was a tambourine overdub, Paul's excellent bass work, and various vocals.
John first sang lead vocals as an overdub and then John and Paul added a vocal harmony track with Paul harmonizing throughout the entire verses. One of these harmony vocal attempts, which was preserved on a separate track, reveal John and Paul getting an acute case of the giggles. On the lead vocal track, just before he began singing, John made a "munching" sound with his mouth which put them both in hysterics throughout the harmony overdub even though they did try to regain composure at some points. John sings the first line of the second bridge as "when your bike is broken" instead of "bird is broken" as heard on the lead vocal track and, to end this obviously faulted overdub that couldn't be used, finished it off with purposely off-key whistling during what would have been the fade-out of the song. The next attempt at overdubbing these harmonies was recorded on a different track to preserve this humorous take for posterity, which can now be heard on the 1996 release "Anthology 2."
At approximately midnight, a total of nine-and-a-half hours were spent putting together this elaborate recording which, minus the "giggling" vocal track, would have made a suitable addition to the resulting "Revolver" album. Many today even argue that this is the better version, albeit this opinion may be biased by not hearing this gem until three decades after the released version came out. Nonetheless, this excellent rendition was deemed unworthy for the album, possibly because of wanting to tighten up the harmony guitar work which ultimately became the focal point of the song during the song's next session. The decision to re-record the song may not have been made until later, however, because five mono mixes of the song were made at the end of this day by producer George Martin and engineers Geoff Emerick and Phil McDonald.
It's interesting to note the differences in the arrangement from what became the finished version recorded six days later. First to be noted is the key, which is in D in the first recording and raised to E in the released recording. This was probably due to "vari-speed" rather than actually changing the key, since they were experimenting quite a lot with this recording technique at the time (see "I'm Only Sleeping" as an example). Also, on the released version, John's single-tracked vocals were recorded with ADT (artificial double-tracking) instead of double-tracking and the vocal harmonies are heard only during strategic portions of the verses instead of throughout the entire verses as on the first version. Also, the third verse appeared directly after the first bridge in the early rendition while it doesn't appear until the end in the released version. The early version also has a "Beatles break" at the end of the last verse which highlights the last harmonized word "me" followed by an impressive drum fill from Ringo and bass run from Paul. This was omitted in the released version, opting instead to just continue the rhythm as usual. The intention was to fade out the first version with the harmonized guitars repeating, while a pre-arranged harmonized guitar passage was worked out for the released version that resulted in a full ending.
Six days later on April 26th, 1966, which was now the thirteenth session for the "Revolver" album, The Beatles began another twelve hour session (actually twelve hours and fifteen minutes to be exact) with its sole mission being to record an entirely new version of "And Your Bird Can Sing." "Okay boys, quite brisk, moderato, foxtrot!" were the words John Lennon used to start off take one, which was his humorous take on the directive found on sheet music of the time.
Eleven takes of a basic rhythm track were recorded, these being numbered 3 through 13 because of the two takes recorded for the first version of the song six days earlier. The rhythm track consisted of John on electric rhythm guitar, Paul on bass, Ringo on drums and George on lead guitar playing the intricate passages that would be harmonized by Paul as an overdub. Eleven takes were probably needed because of the intricacies of George's difficult part.
According to Mark Lewisohn in his book "The Beatles Recording Sessions," the first take of the rhythm track recorded this day "was a very heavy recording but the song grew progressively lighter after that, although guitars were always well to the fore." Although a total of thirteen rhythm tracks were recorded, a decision was made that take ten was the best. The tape was therefore spooled back to take ten for overdubs.
However, another decision was made regarding the conclusion of the song. The interplay of George's guitar and Paul's bass worked best on take six so the intention was to replace the end of take ten with the end of take six. This was decided on this day although the edit to combine these takes wouldn't take place until the mixing stage. The edit can be detected at the 1:34 point of the song, on the second guitar note of the harmonized lead guitar passage that continues until the song's conclusion. However, take six was also included in the overdub process.
The overdubs for the song included John's lead vocals applied with ADT, Paul and George's harmony vocals (also with ADT applied), handclaps, tambourine (reportedly played by John), hi-hat splashes (in the bridges) and occasional cymbal crashes by Ringo, and harmony lead guitar passages by Paul. These harmony guitar passages were also applied as overdubs to the end of take six for later editing purposes. At 2:45 am the next day, the recording of the re-make of "And Your Bird Can Sing" was complete.
The first mono mix of the song was made on May 12th, 1966 with the sole intention of being shipped to Capitol Records in the US for inclusion on their make-shift album "Yesterday…And Today." George Martin, Geoff Emerick and 2nd engineer Jerry Boys entered the control room of EMI Studio Three on this day to make this mix as well as the other two tracks being quickly sent to Capitol, these being "I'm Only Sleeping' and "Dr. Robert." A mono mix of take ten and the ending of take six were made, these being then edited together to make a complete mix. With the harmony guitar passages in full volume during the bridges, this mix was unique to America at the time.
May 20th, 1966 was the day that two stereo mixes of the song were created, one being used for the American "Yesterday...And Today" album and the other for the British "Revolver" album. These were made in the control room of EMI Studio One by George Martin, Geoff Emerick and Phil McDonald. Once again, in both cases, separate mixes were first made of take ten and then the ending of take six, these then being edited together to comprise each final stereo mix. For the "Revolver" mix, the guitar harmonies in the bridges were put substantially quieter during the bridges and the ending was faded somewhat quickly so that Paul's ending bass guitar flourish and a stray note on George's guitar are less prominent as compared to what was heard in the previously created American mono mix. Each track of the vocals that were created through ADT was isolated on either the left or right channel so that it appears that all of the vocals are centered in the stereo mix. The bass guitar, as well as the tambourine, hi-hat and cymbal crash overdubs, were placed primarily on the right channel while the rhythm track is primarily on the left channel.
The stereo mix intended for the "Yesterday...And Today" album arrived at Capitol Records a little too late for their liking, so the American label created a fake-stereo version of the song to appear on stereo pressings of the album. However, tape editions and later vinyl pressings of the album did contain this newly created stereo mix. Subtle differences are apparent on this mix, such as the guitar harmonies during the bridges being louder and a somewhat longer volume fade at the song's conclusion.
On June 6th, 1966, the mono mix that was included on the British "Revolver" album was created in the control room of EMI Studio Three by the same team of Martin, Emerick and McDonald. Again, two mixes were done, take ten for the majority of the song and take six for the ending. However, they neglected to edit the two together on this day, this being done on June 8th, 1966 in the control room of EMI Studio Two by Martin, Emerick and 2nd engineer Richard Lush. This time around, the harmony guitars in the bridges are mixed a little louder than in the British stereo mix but not as loud as the American mono mix done on May 12th. The handclaps are a little quieter here but the ending has the bass flourish and stray guitar note in full bloom.
While "And Your Bird Can Sing" was written in the confines of the usual verses and bridges, the positioning of these substantially breaks new ground for the group. In fact, the differences between the first recorded version and the final release show that they felt an overhaul was needed within the structure to make it more unique. In the end, the structure consists of a 'verse/ verse/ bridge/ verse (solo)/ bridge/ verse/ verse (solo)' format (or aababaa). A short instrumental intro and conclusion also add to its distinctiveness.
The introduction is four measures long and stays put in the home key of E major, the full band crashing in on the one-beat. The main focus of the introduction, as arguably could be said about the entire song, is the classical / baroque-sounding harmonized guitar work of George and Paul which winds up and down the scale and is mostly played in eighth notes. This is actually just the first half of the guitar solo which we'll hear twice later in the song. Being as proud as they were of this feature of the song, they preview it here as a taste of the magic that will appear later. The guitar riff ends with a stunning syncopated rising-and-falling trill which we'll also hear a few measures later. The last measure of this intro also introduces the tambourine which, as is apparent as the song progresses, is played in a somewhat undecided pattern that periodically changes, due possibly by being played by Lennon who doesn't pick up a percussion instrument very often.
The eight-measure first verse is an uncovering of what is underneath the showcased winding lead guitar work of the introduction, as if peeling away the outer layer of an onion, so to speak. What is underneath is a somewhat clunky Lennon rhythm guitar pattern played mostly in quarter notes accentuated by Ringo's simple rock drum pattern and Paul's detailed bass work. However, John's ADT treated lead vocals appear which takes center stage just as the winding lead guitars of the intro disappear from view. The vocal pattern to the first two measures of each of the three verses differ, this one being sung mostly on a single note in a somewhat rushed pattern with the words "tell me that you've got everything you want."
Instead of the harmonized singing throughout the verses like the first recorded version, Paul and George chime in only on the title of the song and the final emphasized "me" in the seventh measure. Another interesting feature of the first verse is the repeat of the syncopated ending guitar trill we just heard in the introduction. This is undoubtedly added to fill in the silence in the melody line during the eighth measure.
The second eight-measure verse is nearly identical in format with a few exceptions. The melody line of the first two measures is sung in strict quarter notes this time around with the words "you say you've seen seven wonders." Also, since the harmony guitar leads will be appearing immediately in the following bridge, the eighth measure remains somewhat naked in anticipation of what will follow. The first overdubbed cymbal crash is heard on the downbeat of the seventh measure just before the harmonized lyric "me."
The first bridge is next heard which is also eight measures long and is sung solo by Lennon throughout. As a backdrop, an impressive rising-and-falling dual guitar lead is continually heard throughout the entire bridge which strategically adjusts with the chord changes. Other added elements in the bridge are handclaps and overdubbed hi-hat splashes in each measure.
Instead of jumping into the third vocal verse as done in their first version, they decide to omit this and go right into the guitar solo, which is played against the chord pattern of the verse. Well, almost, anyway. The chord played in the sixth measure of the bridge is a B7 instead of an A as heard in the verses, probably changed to accommodate the guitar leads that accompany this section of the song. The winding dual guitar leads of the intro are identically repeated in the first four measures while an excellently crafted dual run was written for the final four measures that rise quite high and then quickly fall back down in the final measure. (Awkwardly, the similar guitar work in the first recorded version jump up high and then stay there, so this was something they obviously knew to change for the released version.)
One final element of the guitar solo to mention here is the assumingly misplaced overdubbed cymbal crash on the second beat of the first measure. If it was played simultaneously with Ringo's drums on the rhythm track, he no doubt would have crashed the cymbal on the downbeat as he habitually had done throughout The Beatles cannon. But, because it was overdubbed, and possibly because it would have interfered with an edit on an available track, this crash was performed where it was. Or maybe Ringo was just a little late. :-)
After a structurally identical second bridge, the third verse finally appears which is also eight measures in length. This begins with another overdubbed cymbal crash which, this time, comes in slightly early which gives the impression that an edit occurred when there apparently wasn't one. The first two measures of this verse differ even more than the first two by featuring three part harmony on the words "tell me that you've heard every sound there is." The bass pattern Paul uses here actually gives the impression of a changed chord pattern for these measures instead of just remaining on the E chord. John, while being slightly out of his range, attempts an interesting warble on the phrase "hear me" in order to mix things up even a little more.
The Beatles then decide to perform a complete repeat of the delicious eight-measure guitar solo complete with the high register ending and falling conclusion. This section begins with another overdubbed cymbal crash which, this time, hits the perfect mark on the downbeat. (Practice makes perfect.) They then tease us by following this solo with what appears to be another guitar solo but is, in essence, a three-times repetition of the first measure of the guitar solo. Each phrase begins with a distinctive single low-guitar note which resembles, to my ears anyway, a silly bicycle horn somewhat reminiscent to what's heard at the end of Herb Alpert's "Tijuana Taxi."
After these three teasing guitar riffs are complete, the song ends on an unresolving A major chord. Ending a song in this way seemed to be the latest trick in the group's bag, both "Dr. Robert" and "For No One" concluding in a similar unresolving fashion.
Instrumentally, the song ends with a legitimate cymbal crash from Ringo that was performed on the actual rhythm track while Paul's bass flails away as if performing "morse code" on a single note while a subtle stray guitar note is heard in the fade out.
John's lead vocal work is sung in a rather dry and abrasive manner which is suitable to the song's somewhat dirty-sounding delivery. His electric rhythm guitar may be rudimentary but its placement loud in the mix makes its appearance known. His apparent tambourine playing is erratic but nicely done. It is obvious that this is John's platform and no one could ever infer otherwise.
George plays an impressive role as lead guitarist and his understandable pride in this song, as mentioned earlier, was detailed in interview. His supporting vocal harmonies are also "spot on." Paul is also quite impressively busy on this track, playing intricate walking bass lines and adding a guitar harmony to George's flowing guitar leads with much finesse. His harmony vocals are stunning as are always expected from him. Ringo doesn't add any fills to the rhythm track as he had done in the first recording (which was quite impressive) but adds little subtle touches as overdubs to sweeten the arrangement.
Delving into the meaning of the lyrics can be a tough assignment and is subject to personal interpretation since John (or Paul) never thought to explain them. Opinions vary and have circulated among Beatles fans to the point of being viewed as fact, such as the "bird" being Mick Jagger's then girlfriend Marianne Faithfull (the opinion apparently deriving from journalist Richard Simpson). Another story is that John was miffed about a recent magazine article in Esquire about Frank Sinatra being able to afford "anything he wants," Frank also putting down The Beatles' talent in the article. The singer repeatedly uses the word "bird" during this interview, the inference being the male sex organ. Since both John and Paul have been openly honest about lyric meanings, both of these stories seem unlikely.
The best way to decipher some substance to "And Your Bird Can Sing," I feel, is to examine where John's head was at during the time the song was written. On March 4th, 1966, a journalist friend of the Lennon's, Maureen Cleave, conducted an interview with the Beatle which was first published in the "London Evening Standard." While John's comment in this article about The Beatles being "more popular than Jesus" is what caught the most attention, his views on materialism was quite telling, the substance of which appears to rear its head into the song in question.
" Famous and loaded as I am," John relates in this interview, "I still have to meet soft people. It often comes into my mind that I'm not really rich. There are really rich people but I don't know where they are." The article also mentions many of John's "prized possessions" that he has displayed in his Weybridge home, such as a suit of armor named "Sidney," a room full of model racing cars that he'd lost interest in, a swimming pool, a Rolls Royce (with a television, folding bed, refrigerator and telephone installed inside), a huge alter crucifix, and a gorilla suit ("That's the only suit that fits me"). Maureen Cleave states in the article: "One feels that his possessions – to which he adds daily – have got the upper hand."
With this in mind, the lyrical content of "And Your Bird Can Sing" surprisingly becomes a little clearer. Disguised as a love song, John addresses the well-to-do female in question with the statement "You tell me that you've got everything you want…" And then, in a sarcastic or hyperbolic "all this and heaven too" tone, he continues "…and your bird can sing" as if to infer that there is nothing on this earth that she couldn't acquire for herself. His point is then made clear by stating "you don't get me," 'getting' referring to understanding. In fact, the real life 1966 John Lennon was someone that most people didn't "get." Maureen Cleave herself describes him in the above article as "unpredictable, indolent, disorganized, childish, vague, charming, and quick-witted."
The second verse continues this same line of reasoning but this time focusing on what the girl had seen instead of gotten. She had "seen seven wonders," no doubt referring to the seven wonders of the world, then extravagantly and sarcastically continuing the statement with "…and your bird is green," which probably is no more significant than the color green being something that also can be seen. The thought is then appropriately concluded with "you can't see me," suggesting his being unattainable for her.
Putting things in a nutshell, the first bridge has John instructing her to look in his "direction" whenever her "prized possessions" begin to 'weigh her down.' "I'll be 'round," he assures as a hopeful suitor would. Then, in a perceived fit of silliness (or drug influence, or both), the second bridge goes way off the beaten path by referring to her bird being "broken" and then being "awoken," which doesn't seem to have anything to do with anything. Unpredictable indeed.
The last verse continues the pattern of the first two but this time in the category of hearing. The woman has "heard every sound there is" but she can't "hear" John. Curiously, the current hyperbolic reference to the bird shows that it "can swing," possibly a reference to dancing to music. Or maybe just another case of silliness. Maybe these lyrics are the reason why John and Paul fell into a fit of laughter during the recording of the first recorded version of the song.
One thing we can note with certainty is that the title phrase "and your bird can sing" actually only appears once in the song, which is in the first verse. Soon there will come a time when Beatles songs won't have the title in the lyrics at all, such as "Yer Blues" and "For You Blue."
On June 20th, 1966, about seven weeks before Britain, "And Your Bird Can Sing" was premiered in the US as an album track on the make-shift Capitol release "Yesterday…And Today." In an effort to get the album released as soon as possible, the earlier received mono mix received a "duophonic stereo" treatment by the label for the stereo copies of the album at that time. However, the stereo albums produced for the Capitol Record Club from 1969 onward began to use the stereo mixes later supplied by EMI. So did all of the tape versions of the album, such as cassette, 8-track, 4-track and reel-to-reel. Also, the albums printed at the Winchester plant from 1973 onward had a true stereo mix of the song. But the general release of most of the albums throughout its history until the end of the record era in 1988 still contained the "duophonic stereo" mix.
"Yesterday...And Today" was then released on January 21st, 2014, as an individual compact disc, both the mono and stereo versions of the album being included on a single CD. The original mono mix of the song that appeared on the vinyl album is featured here, but they decided to use the later British mix for the stereo version of the song. Incidentally, this release featured both the "trunk" cover and the "butcher" cover.
Sometime in 1967, Capitol released Beatles music on a brand new but short-lived format called "Playtapes." These tape cartidges did not have the capability to include entire albums, so two truncated four-song versions of "Yesterday...And Today" were released in this portable format, "And Your Bird Can Sing" being on one of these. These "Playtapes" are highly collectable today.
The song eventually found its way in the intended lineup on the "Revolver" album with its compact disc release on April 30th, 1987. A remastered version of the CD was then re-released on September 9th, 2009.
On March 18th, 1996, the highly anticipated "Anthology 2" CD set was released which contained the April 20th, 1966 version of the song complete with its "giggling" vocal overdub. In 1995, Paul commented on the inclusion of this track: "One of my favorites on the 'Anthology' is 'And Your Bird Can Sing,' which is a nice song, but this take of it was one we couldn't use at the time. John and I got a fit of the giggles while we were doing the double-track. You couldn't have released it at the time, but now you can. Sounds great just hearing us lose it on a take."
September 9th, 2009 saw the release of the box set "The Beatles In Mono." This set included the British mono mix of "And Your Bird Can Sing."
On July 24th, 2012, the iTunes Store, in partnership with EMI Records, released a Beatles compilation album entitled "Tomorrow Never Knows," the purpose of which was to highlight the group's influence on the history of rock music. The album had the approval of Paul and Ringo, as well as the board of directors for the estates of John and George, and was successful enough to peak at #24 on the Billboard album chart. "And Your Bird Can Sing" fit in nicely on this release.
Although no strings, horns, sitars or tape loops are present on the song, the intricate harmony guitar playing on "And Your Bird Can Sing" prohibited The Beatles from including this "Revolver" track, as well as all other "Revolver" tracks, in any of their 1966 live shows. However, The Beatles edition of the game "Rock Band" gives us a glimpse of what it would have been like had they performed the song in Japan.
While most American Beatles enthusiasts became familiar with "And Your Bird Can Sing" from its inclusion on the multi-million selling album "Yesterday…And Today," younger fans undoubtedly got to know it from its prominent use on The Beatles Cartoon series. The song was used as the theme of the TV series during its 1967 season which featured animated shots of the group interspersed with actual 1967 still photos of the individual group members.
Although this young audience couldn't make heads or tails of the lyrics, neither could fans of any age. It was, instead, the irresistible musical interplay of the guitar work and the harmonic vocal texture that became its attractive focal point. As the book "The Complete Guide To The Music Of The Beatles" suggests, "The track may have been fancy paper 'round an empty box, but the package sounded so good that no-one cared."
Song Written: January - April, 1966
Song Recorded: April 26, 1966
First US Album Release: Capitol #ST-2553 "Yesterday…And Today"
British Album Release: Parlophone #PCS 7009 "Revolver"
Key: E major
Engineers: Geoff Emerick, Phil McDonald
John Lennon - Lead Vocals, Rhythm Guitar (1965 Epiphone 230TD Casino), tambourine, handclaps
Paul McCartney - Bass Guitar (1964 Rickenbacker 4001S), Lead Guitar (1962 Epiphone 230TD Casino) Harmony Vocals, handclaps
George Harrison – Lead Guitar (1965 Epiphone 230TD Casino), Harmony Vocals, handclaps
Ringo Starr – Drums (1964 Ludwig Super Classic Black Oyster Pearl), handclaps
"Act Naturally" PREVIOUS - NEXT "If I Needed Someone"


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Il Brighton International 1993 è stato un torneo femminile di tennis giocato sul sintetico indoor. È stata la 16ª edizione del Brighton International, che fa parte della categoria Tier II nell'ambito del WTA Tour 1993. Si è giocato a Brighton in Gran Bretagna, dal 18 al 24 ottobre 1993.

Campionesse

Singolare

 Jana Novotná ha battuto in finale  Anke Huber 6–2, 6–4

Doppio

 Laura Golarsa /  Natalija Medvedjeva hanno battuto in finale  Anke Huber /  Larisa Neiland 6-3, 1-6, 6-4

Collegamenti esterni


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Happening now in France / Bordeaux /
"Red: the color of commitment" exhibition in Saint-Émilion
By Pascale Filliâtre , Published: 3 June 2019, 16:06
© Brice Braastad — Château La Dominique in Saint-Émilion.
From June 27 to August 25, Château La Dominique, home of Saint-Émilion grand cru classé in Bordeaux, transforms its Jean Nouvel-designed wine cellar into an exhibition area that explores the place of red in art.
The wine cellar is a masterpiece: a magnificent, burgundy-spangled vat room with a panoramic roof terrace set in the middle of Saint-Émilion's vineyard, near Bordeaux. The space was conceived by Jean Nouvel, the architect of Quai Branly Museum and the Philharmonic Society of Paris.
In 2012, Château La Dominique acquired this new state-of-the-art technical equipment, the modernity of which does not look out of place in a region used to architectural boldness, like the City of Wine in Bordeaux.
© Marc Domage / Odile Ouizeman Gallery — "La Liberté guidant la laine", by Jérémy Gobé.
In this place, which "captures the landscape, plays with the land and creates an emotion," Château La Dominique hosts, for the second year in a row, an exhibition about the red theme. This time, they are focusing on it as the color of commitment, the political dimension used in the broad sense of everything concerning life in the city.
Art at the winery
The artwork is presented especially through photographs, paintings, drawings, videos—offering a vision full of optimism with red as the bridge between the world and art.
Some 15 international artists have been invited, including, among others: Robert Combas, creator of the movement known as figuration libre (Free Figuration), Jean-Pierre Raynaud and Jérémy Gobé. His in-situ piece, named La Liberté guidant la laine (Freedom guiding wool), evokes the struggle of the working class through an original knitted wool tapestry with Jacquard motif.
The visit includes the presentation of the property, its architecture and the above-mentioned exhibition, and ends with a tasting of the wines of the 29-hectare (71 acre) vineyard Château La Dominique, which is located northwest of Saint-Émilion, at the edge of the Pomerol appellation.
By Pascale Filliâtre
Journalist-traveller. I often voyage to the end of the world to explore what France offers-- just next door. filliatre.pascale@orange.fr
From June 27 to August 25, 2019
Reservation-only
Château La Dominique – Saint-Emilion
Find out more links about this event:
Château La Dominique
Prepare your trip to Bordeaux
Discover Bordeaux
Cognac and its vineyards
5 best reasons to set sail for the Musée Mer Marine in Bordeaux
Cannelés by Mé Lou
Le chic, c'est éthique!
5 designer boutiques to responsibly shop in Bordeaux
SPONSORED CONTENT | Jon Bryant
Eight top tips for the perfect Bordeaux break
From flea markets to wine museums: the undiscovered side of Bordeaux


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The Lord said to Moses, "See, I have called by name Bezalel the son of Uri, son of Hur, of the tribe of Judah, and I have filled him with the Spirit of God, with ability and intelligence, with knowledge and all craftsmanship, to devise artistic designs, to work in gold, silver, and bronze, in cutting stones for setting, and in carving wood, to work in every craft. ... Bible Verse Wall Art
Character Of WickedRevelation, Necessity Ofevangelism, nature ofSatan, Power OfSpiritual Warfare, Enemies InImagination, Evil SchemingPresent Evil AgeNames And Titles For SatanRevelation, Responses ToShiningUnbelief, Nature And Effects OfLikenessFalse ReligionUnbelief, Sourced InSatan, As DeceiverSpiritual Blindness, Consequences OfSatanticPrincehood Of SatanImage Of God Share Your Faith Products
and in the cutting of stones for settings and in the carving of wood, so as to perform in every inventive work. "He also has put in his heart to teach, both he and Oholiab, the son of Ahisamach, of the tribe of Dan. "He has filled them with skill to perform every work of an engraver and of a designer and of an embroiderer, in blue and in purple and in scarlet material, and in fine linen, and of a weaver, as performers of every work and makers of designs. Share Your Faith Products
Until the adoption of Christianity by Constantine Christian art derived its style and much of its iconography from popular Roman art, but from this point grand Christian buildings built under imperial patronage brought a need for Christian versions of Roman elite and official art, of which mosaics in churches in Rome are the most prominent surviving examples. Christian art was caught up in, but did not originate, the shift in style from the classical tradition inherited from Ancient Greek art to a less realist and otherworldly hieratic style, the start of gothic art. Christian Canvas Art
Millions of people turn to scripture every day for inspiration and guidance. Its timeless lessons help show us the way in a world that may seem complicated and confusing. The powerful words of scripture lend themselves easily to art, music, and other creative endeavors. You can use our collection of scripture art to highlight a favorite quotation or display the grace of a life guided by God's words. Christian Canvas Art
7 But whatever were gains to me I now consider loss for the sake of Christ. 8 What is more, I consider everything a loss because of the surpassing worth of knowing Christ Jesus my Lord, for whose sake I have lost all things. I consider them garbage, that I may gain Christ 9 and be found in him, not having a righteousness of my own that comes from the law, but that which is through faith in Christ—the righteousness that comes from God on the basis of faith.
He made two cherubim of gold; he made them of hammered work at the two ends of the mercy seat; one cherub at the one end and one cherub at the other end; he made the cherubim of one piece with the mercy seat at the two ends. The cherubim had their wings spread upward, covering the mercy seat with their wings, with their faces toward each other; the faces of the cherubim were toward the mercy seat. Christian Gifts
Glory of ChristOther BlindingChrist's Own GloryAgeControlling Your ThoughtsUnbelieversPerfection, DivineCommitment, to the worldChrist, Names ForSatan, Kingdom OfSatan, Titles ForThe Light Of ChristDarkness, As A Symbol Of SinCultsRevelation, In Ntevil, origins ofSpiritual Warfare, Causes OfHeart, Fallen And RedeemedBlindingSpiritual Blindness, Results Of Sin Christian Gifts
For the last 5 years, the in-house design team at the Faithlife Corporation has illustrated one Bible verse every day. This art has found its way onto t-shirts, magnets, and postcards—and now, a beautiful picture book. In print for the first time, art from Faithlife's Verse of the Day series paired with uplifting devotionals will encourage and inspire you. Bible Verse Wall Art
As a secular, non-sectarian, universal notion of art arose in 19th-century Western Europe, ancient and Medieval Christian art began to be collected for art appreciation rather than worship, while contemporary Christian art was considered marginal. Occasionally, secular artists treated Christian themes (Bouguereau, Manet) — but only rarely was a Christian artist included in the historical canon (such as Rouault or Stanley Spencer). However many modern artists such as Eric Gill, Marc Chagall, Henri Matisse, Jacob Epstein, Elizabeth Frink and Graham Sutherland have produced well-known works of art for churches.[1] Salvador Dali is an artist who had also produced notable and popular artworks with Christian themes.[2] Contemporary artists such as Makoto Fujimura have had significant influence both in sacred and secular arts. Other notable artists include Larry D. Alexander and John August Swanson. Some writers, such as Gregory Wolfe, see this as part of a rebirth of Christian humanism.[3] Share Your Faith Products
Now when the wall had been built and I had set up the doors, and the gatekeepers, the singers, and the Levites had been appointed, I gave my brother Hanani and Hananiah the governor of the castle charge over Jerusalem, for he was a more faithful and God-fearing man than many. And I said to them, "Let not the gates of Jerusalem be opened until the sun is hot. And while they are still standing guard, let them shut and bar the doors. Appoint guards from among the inhabitants of Jerusalem, some at their guard posts and some in front of their own homes." The city was wide and large, but the people within it were few, and no houses had been rebuilt. Then my God put it into my heart to assemble the nobles and the officials and the people to be enrolled by genealogy. And I found the book of the genealogy of those who came up at the first, and I found written in it: ... Share Your Faith Products
A Psalm of David. The Lord is my shepherd; I shall not want. He makes me lie down in green pastures. He leads me beside still waters. He restores my soul. He leads me in paths of righteousness for his name's sake. Even though I walk through the valley of the shadow of death, I will fear no evil, for you are with me; your rod and your staff, they comfort me. You prepare a table before me in the presence of my enemies; you anoint my head with oil; my cup overflows. ... Bible Verse Wall Art


This is the largest block of lowland heathland in Devon and is associated with various other mire communities. The wet element occupies the lower-lying areas and includes good examples of M16 Erica tetralix – Sphagnum compactum wet heath. Among the 21 breeding dragonfly species is the Annex II species 1044 Southern damselfly Coenagrion mercuriale. There is also an important assemblage of birds, including European nightjar Caprimulgus europaeus, Eurasian hobby Falco subbuteo and Dartford warbler Sylvia undata.
The East Devon Pebblebed Heaths in south-west England include extensive areas of lowland European dry heaths. This site has representative examples of H4 Ulex gallii – Agrostis curtisii heath, characterised by the presence of heather Calluna vulgaris, bell heather Erica cinerea, western gorse Ulex gallii, bristle bent Agrostis curtisii, purple moor-grass Molinia caerulea, cross-leaved heath E. tetralix and tormentil Potentilla erecta. The presence of plants such as cross-leaved heath illustrates the more oceanic nature of these heathlands, as this species is typical of wet heath in the more continental parts of the UK.
This site holds two relatively small populations representing southern damselfly Coenagrion mercuriale in the south-west of its range in England. These populations occur in wet flushes within the site.


I am finally getting around to posting about our Easter weekend (no harm if you're so over these posts)! We went up to my in laws for the holiday and had such a nice time. It wound up being just the five of us since David's brother flew with his family to Japan that day and David's younger sister lives in San Diego. Although it was quiet (well 19 month old toddler quiet) it certainly was busy!
My MIL had the brilliant idea to purchase oil cloth at her local fabric store. Made clean up a breeze!
The next day we celebrated with an Easter basket followed with an egg hunt. I was so excited to put P in this dress because I saw it long ago before I was even pregnant! I wanted to purchase it so badly but was worried I would jinx myself so I didn't.
When we got pregnant a couple months later and found out we were having a girl I was in a mad hunt to find the dress. I scored it on eBay, brand new with tags, and its been waiting in a closet for two years! I hope it will one day be worn on her own daughter. It's easily my most favorite outfit of hers.
I love the pictures of P dying eggs. She looks so into it and like she did a really good job. The eggs are beautiful. :) love that dress and the bunny shoes just make it all cuter.
P is just the cutest, so excited about all the Easter shenanigans. Glad to hear you all had such a lovely Easter.
I'm so impressed with how well she did dying eggs! I didn't even try to attempt! Lol. That made for the sweetest pictures!
She is such a big girl dying her eggs!
These photos are perfection! And you guys are so brave to dye eggs with a toddler. There is NO WAY I was doing that with my kids. :( Maybe when they're teenagers.
I am so not over these posts! I love every single one!
I thought it couldn't get any cuter than her dyeing eggs but then she was opening her Easter basket and THEN she was wearing her blue dress and shoes!! So so so sweet.
Those pictures of her dying eggs are precious! You seriously blow me away with what a talented photographer you have become.
SO CUTE!!! Sounds like you guys had a wonderful Easter! Sometimes smaller is better because you really get to enjoy the holiday, and I'm sure David's parents were excited to get some one on one time with P!
Also, your MIL is one brave woman (and one smart woman with those hidden tips!) to do that egg dying with Presley!
So much cuteness I don't know where to start! The egg dyeing photos are gorgeous! I love P's dress! How adorable is she with your MIL?! And her bunny jams are so cute!
I love those bunny pjs and her blue dress! And good for you letting her get messy with the dye... I bet she had a blast! And I love your MIL's collection of white mugs!
Precious, precious pictures! looks like a great Easter weekend.
Such sweet pictures!! This was my first easter with a babe, and I'm so excited for him to one day be old enough to dye easter eggs!


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Escape Room Vital Rules
TO SURVIVE...
A Zombie Apocalypse
Columbus says...
"The first rule of Zombieland, cardio."
From the hit motion picture about bodies that just won't die, "Zombieland", Columbus warns fellow survivors that one must abide by his compilation of essential survival "RULES" in order to outrun, outsmart, and outlive the brain-hungry hordes of walkers that occupy the face of the planet.
An Escape Room!
Mattster says...
"I will give thee the tables of stone, and the law and the VITAL RULES,
which I have written; please follow them for best results!"
While escape-room-ing isn't exactly the same as running for your lives in a zombie infested dystopia, (that is, unless you're selecting a zombie themed game, which in that case, exactly like it,) there is still a collection of "VITAL RULES" one could follow to maximize chances of both mission success and gameplay satisfaction.
Let's take a look, shall we?
RULE #19: THOU SHALT...
You are concerned about the safety of your escape room posse during a viral outbreak, I get it. Here're some helpful tips...
(To be revealed)
By no means this is the full set of "VITAL RULES" one shall use as a reference while playing an escape room. An expert escape artist knows the true art of room escape is ever evolving, and thus correspondingly, the tips and tricks are also ever expanding.
There may be additional rules you can benefit from.
For the currently available collection of "VITAL RULES": CLICK HERE NOW (TO BE INVINCIBLE).
Simba, Novice Player
After discovering the "VITAL RULES", I am no longer criticized as "that guy" who unwittingly withholds clues from other teammates, or that who breaks a prop or two or ten. Oh geez.
Remy, Puzzle Lover
I was already great at escaping rooms, mazes, life's problems and responsibilities, but with Mattster's "VITAL RULES", I am now untouchable. Thank you, Mattster!
Flash, Enthusiast
[At the time of publication, Flash still hasn't managed to move his mouth or his hand enough to record down a comment. Testimonial pending.]
©2019-2020 ESCAPEMATTSTER.COM REVIEW BLOG • CONTACT US!


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Chelsea attempted to 'hijack' £60m summer transfer; Chalobah could leave in January
Chelsea wanted to "hijack" Tottenham's summer transfer for Richarlison, according to transfer expert Fabrizio Romano.
The Brazil international eventually joined Spurs in a deal worth £60m from Everton with reports that Arsenal were also interested in his services.
And Richarlison has started the season well for Tottenham after being forced to bide his time with Son Heung-min, Harry Kane and Dejan Kulusevski all providing stern competition up front.
£50m may soon look money well spent on Daniel Levy's mid-life Tottenham crisis
Chelsea eventually signed a new forward in the form of Pierre-Emerick Aubameyang from Barcelona after Spurs landed Richarlison.
And now Romano has given the "full story" about a potential "hijack" of the Richarlison deal, he told Caught Offside: "Richarlison has spoken openly about Chelsea and Arsenal being interested in him before he joined Spurs this summer, so what's the full story behind what happened?
"Chelsea made a bid for Richarlison during the night before his medical tests with Tottenham (made in Brazil); Richarlison had already an agreement with Spurs and same on clubs side, but Chelsea wanted to hijack the deal.
"Meanwhile, Arsenal only asked for information, there was never an official negotiation. It was about the manager, as Antonio Conte really wanted him, and also Champions League football of course."
Trevoh Chalobah remained at Chelsea in the summer transfer window, despite lots of loan interest in his services, but the defender has only appeared once so far this campaign.
And now Romano reckons Chalobah will be allowed to leave in January, he added: "Chelsea need to clarify situations with some players, and one of those is Trevoh Chalobah. During the summer, he wanted a move, just on loan because he wanted to play.
"In the end, despite negotiations with Inter Milan, AC Milan and RB Leipzig, Chelsea decided to keep Chalobah at the club. They changed their position in a few days, they decided they wanted to keep him.
"Still, at the moment, he's not finding any space at Chelsea. He wants to be an important player, but it's not happening. I'm told there are still conversations around Chalobah, so there is still a chance for him to leave in January.
"Whether it's a loan, or a permanent move with a buy-back clause, we will see, because nothing has been decided, but there is a serious possibility for him to leave if his situation doesn't improve.
"As I mentioned, Inter, AC Milan and Leipzig were really interested in the summer, so January could be an important month for Chalobah."
Tags: All The NewsArsenalChelseaEvertonFront PageHome PageNewsricharlisonTottenham HotspurTrevoh Chalobah
In the year Can Formula 1 live without DRS in 2022? · RaceFans


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Travelers left $76K in change behind at NYC area airport checkpoints last year: TSA
By Cristabelle Tumola
New York City travelers better watch what they are leaving behind the next time they go through the area's airports.
In the fiscal year 2014, passengers departing John F. Kennedy International Airport left behind $42,550 in loose change at security checkpoints, the highest amount in the nation, according to the TSA.
Coming in second was Los Angeles International Airport with $41,506.64 in change, followed by San Francisco International Airport with $34,889.63.
Though New York's other area airports didn't make the top 10 list, passengers who departed LaGuardia and Newark Liberty International airports still left behind an impressive hunk of change at their checkpoints — $16,786.05 and $16,669.72, respectively.
In total for the fiscal year 2014, travelers left nearly $675,000 in change behind at airport checkpoints across the country, according to an annual report that tracks the money travelers leave behind. The number is up from last year, and has been increasing since at least 2010, when $409,085.56 in change was forgotten at airport checkpoints.
Chart courtesy of TSA
The TSA says it makes a full effort to reunite passengers with items that they leave at checkpoints, but some of these items, including loose coins that are removed from their pockets and typically left in bins during the security screening process, will go unclaimed.
The unclaimed items are documented and turned into the TSA financial office. In 2005, Congress gave TSA the ability to expend unclaimed money for security operations.
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