The May 22nd service was not recorded.
Thank you to the sound system team of the Oregon Church of God for all their work installing and resolving issues with the new sound equipment.
problems, some of the May 15th service was not recorded.
problems, some of the May 1st service was not recorded.


text:
LSU, community college system sign agreement with goal of more students in agriculture
Tobie Blanchard, LSU AgCenter
Students would spend their first two years at the community college would then transfer to LSU for the remaining two years.
An agreement between LSU College of Agriculture and the Louisiana Community and Technical College System will pave the way for more students to study agriculture.
LSU and LCTCS signed a 2+2 agreement on April 15 that will allow students from institutions within the LCTC system who meet certain requirements to transfer as juniors to the LSU College of Agriculture to complete a bachelor's degree. Students would spend their first two years at the community college would then transfer to LSU for the remaining two years.
Students transferring from an LCTC campus must either have an associate degree in arts for transfer; arts, general studies, science for transfer; or applied science and a minimum cumulative grade point average of 2.5 or higher or have at least 30 transferrable semester units with a 2.5 GPA or higher.
Monty Sullivan, president of the LCTC system, said agriculture is still a big part of Louisiana's economy, and a key part of the system's mission is educating the state's workforce.
"This agreement gives access to students in rural communities to get a bachelor's degree at the state's flagship university in the field of agriculture," Sullivan said.
The LSU College of Agriculture will provide advising for transferring students, give priority consideration for LCTCS students for available campus housing during their first year and offer scholarship opportunities to incoming students who meet applicable criteria.
The agreement was signed by Sullivan, LSU President F. King Alexander, LSU Provost Stacia Haynie, and Bill Richardson, LSU vice president for agriculture and dean of the College of Agriculture.
Phil Elzer, executive associate dean for the college, said the College of Agriculture is excited about the prospect of new students interested pursuing more education in agriculture.
"Right now, there is a great need in the agricultural industry for graduates with bachelor's degrees," Elzer said. "This agreement will help fill the need for a well-trained and educated agricultural workforce, and we are happy to be a part of it."
City of Donaldsonville
Gonzales Weekly Citizen
Post South
Prairieville LA
Ascension Gumbo Magazine
Donaldsonville Chief ~ 120 Railroad Ave., (P.O. Box 309), Donaldsonville, LA 70346 ~ Privacy Policy ~ Terms Of Service

redpajama_set_name: RedPajamaCommonCrawl


text:
Samiksha Home
Samiksha Jaiswal (Editor)
I am ambitious, smart and highly talented well thats what I think about me
Central railway station, Sydney
Owned by RailCorp
Connections Bus Light rail
Elevation 20 m
Tracks 30
Operated by Sydney Trains
Opened 5 August 1906
Connection Bus
Architect Walter Liberty Vernon
Location Eddy Avenue, Haymarket, Sydney, New South Wales Australia
Platforms 27 15 terminating 10 through 2 unused
Structure type Ground: 15 Elevated: 8 Underground: 4 (2 in use, 2 never used)
Address Eddy Ave, Haymarket NSW 2000, Australia
Owners RailCorp, Government of New South Wales
Similar Sydney central business, Darling Harbour, Wynyard railway station - S, The Rocks, Sydney Harbour Bridge
The Central railway station is a railway station located at the southern end of the central business district in Sydney, New South Wales, Australia. Often abbreviated as Central or Central station, the station is the largest and busiest railway station in New South Wales. It services almost all of the lines on the Sydney Trains network, and is the major terminus for NSW TrainLink services. Actual patronage was 11.35 million passenger movements in 2013.
Station configuration
Indicator board
Coach services
Devonshire Street Tunnel
Central station occupies a large city block separating Haymarket, Surry Hills, and the central business district, bounded by Railway Square and Pitt Street in the west, Eddy Avenue in the north, Elizabeth Street in the east and the Devonshire Street tunnel in the south.
There have been three terminal stations in Sydney. The original Sydney station was opened on 26 September 1855 in an area known as Cleveland Fields. This station (one wooden platform in a corrugated iron shed), called Redfern, had Devonshire Street as its northern boundary.
When this station became inadequate for the traffic it carried, a new station was built in 1874 on the same site and also called Redfern. This was a brick building with two platforms. It grew to 14 platforms before it was replaced by the present-day station to the north of Devonshire Street. The new station was built on a site previously occupied by the Devonshire Street Cemetery, a convent, a female refuge, a police barracks, a parsonage, and a Benevolent Society. The remains exhumed from the cemetery were re-interred at several other Sydney cemeteries including Rookwood and Waverley cemeteries. Bodies were moved to Botany by steam tram motors and flat cars.
The present station was officially opened on 4 August 1906 and opening for passengers on 5 August 1906. The new station included the previous Mortuary railway station used to transport funeral parties to Rookwood Cemetery. The last train departed platform 5 of the 1874 station at midnight. During the remainder of that night, the passenger concourse was demolished and the line extended through the old station into the new station. The Western Mail arrived at 05:50 on 5 August 1906 at the new station. Devonshire Street, which separated the two stations, became a pedestrian underpass to allow people to cross the railway line and is now known by many as the Devonshire Street Tunnel.
An 85.6-metre-tall (281 ft) clock tower in the Free Classical style was added at the north-western corner of the station, opening on 3 March 1921. The clock was designed by Richard Lamb and Alfred Fairfax, the co-founders of Fairfax & Roberts. Central station was designed by the Government Architect, Walter Liberty Vernon. As it was being built, it was reported that "Everything in connection with the new station appears to have been designed on a grand scale, from the great elevated approaches down to the system of handling luggage underground." It is listed on the NSW State Heritage Register and the now defunct Register of the National Estate.
A riot, dubbed the Battle of Central Station, took place in 1916. Soldiers rebelling against camp conditions had raided hotels in Liverpool and travelled to the city by commandeered trains. Upon arrival at Central station, the rioters set about destroying the station facilities, and fire was exchanged between rampaging rioters and military police. One rioter was shot dead and several were injured. The only remaining evidence of the gun battle is a small bullet-hole in the marble by the entrance to platform 1. This incident had a direct influence on the introduction of 6 o'clock closing of hotels in 1916, which lasted in New South Wales until 1955.
The station opened on 5 August 1906 with 11 platforms, but was soon expanded to 15, and by 1913 had 19. This section is dominated by a large vaulted roof over the concourse and elaborate masonry, primarily Sydney sandstone.
As part of the construction of the electrified city railway in the 1920s, a new Central station was built. The existing station was cut back to 15 platforms with new platforms 16 to 23 built on the station's eastern side and a six-track bridge paralleling Elizabeth Street to Goulburn Street built to the north. South of the new platforms, a series of flying junctions were built. This involved the four southbound tracks passing beneath the northbound tracks with a series of diamond crossings allowing trains to cross lines without impeding trains traveling in the opposite direction.
As part of the project, platforms 10 to 15 were electrified, with platforms 1 to 9 following in 1956.
To the west of Platform 1 there was a siding leading to two dock platforms for use of mail trains, now cut back to serve a motorail loading ramp for the Indian Pacific. The space were where the mail sidings is now a Youth Hostels Association hostel named the Sydney Railway Square YHA. The hostel rooms are modelled on old train carriages.
Carriage sheds to the south of Platform 15 were demolished in the 1986 as were the sheds to the west of Platform 1 in 1999.
In February 1926, Platform 18 and 19 of the steam station were wired for electric trains with a demonstration run from Sydney to Hurstville. This wiring was transferred to Platforms 21 and 23 and Platforms 14 and 15 were wired for Bankstown electric train services commencing October 1926 and later worked into St James. As the Homebush electrification was completed, Platforms 17 and 18 were wired. Electric trains to Hornsby via the main line commenced on 21 January 1929. Trains to Hornsby used Platforms 16 and 18. Steam services to Parramatta and Liverpool were converted to electric in November 1929. Western electric trains began operating through to Wynyard from 28 February 1932.
The eastern ("suburban") part of the station, consists of 10 through platforms, all aligned north-south, two of which are underground. These are used by suburban Sydney Trains services and by a limited number of NSW TrainLink intercity services during peak hours. The eight above-ground platforms were opened in 1926 as part of a large electrification and modernisation program aimed at improving Sydney's suburban railway services. Prince Alfred sidings, south of Platform 23, were used to stable electric trains until closed in August 1995 and later demolished to make way for the Airport line.
The two underground platforms were built as part of the Eastern Suburbs Railway. Construction commenced in 1948 but the line was not finished until 1979. While the plans called for four platforms, two (for the Southern Suburbs line) were found to be not needed and are used for archival storage by the New South Wales Railways.
Central serves all Sydney suburban lines except for the Cumberland and Carlingford lines. All long-distance NSW TrainLink XPT and Xplorer services and the Great Southern Rail Indian Pacific terminate at Central. These generally use Platforms 1 to 3, although when the Indian Pacific is in the station occupying both Platforms 2 and 3, some NSW TrainLink regional services use Platforms 4 to 6.
The platforms are numbered from 1 to 25, with 1 being the westernmost platform and 25 being one of the easternmost. The services which generally use each platform are listed below. Future development is likely in order to cater for the Sydney Metro.
Sydney Trains and NSW TrainLink services:
When opened, Central station had an indicator board with 22 vertical panels. It was replaced in June 1982 by computer screens with the original indicator board conserved by the Powerhouse Museum. In June 2015, a new elevated 11-metre-long (36 ft) indicator board was installed on the main concourse on the same standstone base as the original board.
Central is the eastern terminus of the Dulwich Hill Line that operates to Chinatown, Darling Harbour, Pyrmont and the inner western suburbs. The light rail stop is in an outside concourse area, near the main waiting area and departure hall. This area was originally designed for trams, and as such was used by trams until 1958, when the service was withdrawn. It was known as Railway Colonnade. Light rail services operate in a clockwise direction, whereas the trams operated in an anti-clockwise direction.
Construction of the CBD and South East Light Rail line from Circular Quay to Kingsford and Randwick via Central commenced in 2015. Stops will be located at Rawson Place and on Chalmers Street.
Many bus services depart from the adjacent Eddy Avenue and Chalmers Street or from the nearby Railway Square on George Street.
A large number of State Transit Authority services offer interchange with Central.
Long distance coaches depart from Eddy Avenue and Elizabeth Street:
Australia Wide Coaches operate services to Orange
Firefly Express operate services to Melbourne and Adelaide via Melbourne
Greyhound Australia operate services to Brisbane, Byron Bay, Canberra and Melbourne
Murrays operate services to Canberra
Port Stephens Coaches operate services to Fingal Bay
Premier Motor Service operates services to Brisbane and Eden
After Central was built in 1906, the Devonshire Street Tunnel, to the north of the old station, became an underpass. The underpass allows pedestrians to access the eastern "suburban" section from Railway Square and Chalmers Street. The tunnel connects to The Goods Line - a park and pedestrian pathway to Ultimo and Darling Harbour.
Central railway station, Sydney Wikipedia
All My Friends Are Funeral Singers (film)


text:
Legendary Lobbyist And Storyteller Deluxe Charlie Smith To Be Inducted Into Louisiana Political Hall Of Fame This Weekend
February 2nd, 2011 MacAoidh
Charlie Smith, a fixture at the Louisiana state capitol since 1968 and a celebrated figure among politicos and political watchers alike, is set to be the first of his profession to enter the Louisiana Political Hall of Fame at a ceremony in Winnfield on Saturday.
Smith, whose client list has included an eclectic group running the gamut from exotic dancers to charter boat captains to artists to business and industry types during his career, and who helped shepherd through Louisiana's model statute outlawing Islamic Sharia law in the state last year, is the dean of the state's lobbyists. In the Louisiana Senate's Resolution No. 177 of last year's session, Smith was described as a "a master of riding the roller coaster of legislative procedure, managing legislators like bull-riding at the rodeo; goading them as they emerge from the chute, spurs a'gleaming; sometimes making the '8-second ride' and sometimes being bucked off."
An outdoorsman, poet, playwright, novelist, radio talk show host, storyteller, humorist and historian, Smith has championed libertarian causes throughout his career – taking part in legendary fights like Right to Work, Worker's Comp Reform and Prevailing Wage legislation over the years. Most recently he's been known as a defender of the arts, outdoorsmen and even some environmental causes.
Born in Mobile, Alabama, Smith's family moved to Louisiana when he was a child. He graduated from Slidell High School, moving on to then-Southeastern Louisiana College, where he edited the school paper. Smith graduated in 1965 with a degree in journalism from LSU, where he was president of the Young Democrats and a regular speaker at Free Speech Alley. Soon after, he became involved in politics and launched a lobbying career – initially on behalf of the Louisiana Municipal Association and shortly thereafter for the Association of General Contractors – that ultimately saw him traveling in the circles of seven governors – John McKeithen, Edwin Edwards, Dave Treen, Buddy Roemer, Mike Foster, Kathleen Babineaux Blanco, and Bobby Jindal.
On Saturday, Smith will finally be recognized for his contributions. Others who will be inducted at the ceremony included Louisiana Supreme Court justice Catherine "Kitty" Kimball former state education superintendant J. Kelly Nix, former state insurance commissioner James "Jim" Brown, Lucille Mae Grace, who in 1932 was the first woman elected to statewide office (as registrar of the State Lands Office) and Ralph Perlman, who served as the state's budget chief in the Roemer, Edwards and Foster administrations.
Previous Article Louisiana's Democrats: The Incredible Shrinking Party
Next Article Feldman Issues Civil Contempt Order To Interior On Offshore Moratorium


text:
Tag: Lucrezia Borgia
Dosso Dossi. Part 2 – The tale of the young man who was a famous lady and the Ducal Palace of Ferrara
Dosso Dossi
The first painting of Dosso Dossi I want to showcase is one which is owned by the National Gallery of Victoria, Australia. The gallery acquired the painting from a gallery in London in 1965 for £8000. The title of the oval painting was then said to be Portrait of a Youth. There was an element of mystery surrounding the art work as the artist of the work was said to be unknown. It was only in the start of the twenty-first century that the gallery made a painstaking examination of the work during its restoration which would last several years. The mystery to be solved was two-fold. Firstly, who painted the work and secondly was the sex of the sitter a male. The gallery staff looked for clues as to whether the sitter was a young man or a young woman. In the background, behind the sitter, there is a myrtle bush and in art this was symbolic of Venus, the Roman Goddess of Love and symbolised feminine beauty. Another clue to the sex of the sitter, according to the gallery's conservator, Carl Villis, can be found in the inscription on the piece of paper which lies on the balustrade in the foreground. The translation of which is:
"…brighter is the virtue reigning in this beautiful body…"
Portrait of a Young Man by Dosso Dossi
So in the opinion of the conservator the sitter was female. The next questions to be answered were who was she and who painted the portrait. After two years of intense scientific analysis and research in Italy, Australia and America the art curator and conservator, Villis came to the conclusion that the female was no other than a young Lucrezia Borgia, the daughter of Pope Alexander VI and brother of Cesare Borgia and furthermore the artist was Giovanni di Niccolo de Luteri, or as we now know him, Dosso Dossi. So why Lucrezia Borgia? Villis postulated that because the female figure in this painting is holding a dagger the depiction alludes to the Roman heroine Lucrezia, who after being raped by Tarquin, the son of the King of Rome, killed herself with a dagger so as to protect the honour of her family.
1502 coin featuring Lucrezia Borgia
They also likened the depiction to the 1502 coin which was adorned with Lucrezia's profile. Maybe these are good arguments to make Lucrezia the woman in the painting but what made them believe the artist who painted her portrait was Dossi? The belief that he was the artist followed an analysis of the painting's pigments and the artistic style which indicated that it was likely to have been painted by Dossi. Dossi ,if you remember from Part 1 of this blog, came from Ferrara as did Lucrezia. In 1502 the twenty-two year old Lucrezia married her third husband Alfonso I d'Este, Duke of Ferrara, who later employed Dosso Dossi as the court painter – a coincidence ? Maybe, maybe not!
National Gallery of Victoria paintings conservator Karl Villis (right) and director Gerard Vaughan stand beside the painting
The gallery awaits authentication by external scholars and art history experts and are right to be wary of being too dogmatic with regards their discovery as in 2007 the National Gallery of Victoria was embarrassed after it was revealed that it had wrongly attributed a painting by an unknown Dutch painter to Vincent van Gogh !
Bacchus and Ariadne by Titian (1523)
Dosso Dossi was a contemporary of four great High Renaissance Italian artists, Raphael, Leonardo, Michelangelo and Titian and it is because of one of their famous works of art, Titian's Bacchus and Ariadne that Dossi came to complete his own work, Bacchus in 1524.
In 1523, Titian finished his painting entitled Bacchus and Ariadne which is now housed in London's National Gallery. The commission for Titian's work was one of a cycle of mythological works, which he and Giovanni completed for Alfonso I d'Este, Duke of Ferrara, and it was to be hung in the Camerini d'Alabastro, a private room in the ducal castle. Originally this part of the commission was given to Raphael who had made plans and sketches for what was to be his Triumph of Bacchus but he died in 1520 and Titian was given the commission to complete.
In the left of the painting we see Ariadne who has been abandoned on this island of Naxos by her lover Theseus, who has sailed off. The white sails of his boat can be seen in the extreme left background. In the painting we see Bacchus, the god of wine, leaping energetically from his chariot which is drawn by two large cheetahs. His followers and fellow revellers appear, emerging from the forest in the right of the picture. Bacchus is immediately smitten by the sight of Ariadne, who steps back in fear of his sudden arrival. He promises to turn her into an eight-star constellation, which we see halo-like in the sky, above her head. This beautiful painting from the Venetian School painter Titian is awash with beautiful colours, blues, reds and browns which enhance the mythological scene.
Bacchus by Dosso Dossi (1524)
Dosso Dossi was a contemporary of four great High Renaissance Italian artists, Raphael, Leonardo, Michelangelo and Titian and it is probably due to the popularity of Titian's work that he was commissioned to copy part of Bacchus and Ariadne, a commission he completed in 1524. The painting was simply entitled Bacchus and is a copy of the central character in Titian's painting, with just a few small changes to the background landscape. The painting probably came about through a commission given to Dossi from an admirer of Titian's work, which he or she saw when it arrived at Ferrara the year before.
A woman fleeing on a wooded path by Dosso Dossi (c.1542)
Another of Dossi's paintings featuring Ariadne is entitled A Woman Fleeing on a Wooded Path. This work at one time was thought to have been painted by Dosso Dossi's younger brother Battista but now is generally believed to have been painted by Dosso himself because of the forms and the drapery, and the detail of the landscape, particularly the buildings in the upper right section. The female figure has since been identified as being of Ariadne as noted in the lists of paintings by the influential scholar of the Italian Renaissance, the art historian Bernard Berenson.
The Three Ages of Man by Dosso Dossi (c.1515)
One of Dossi's most accomplished landscape works was completed around 1515. It was entitled The Three Ages of Man. This motif has been painted by many artists including Titian and Giorgione and depicts three pairs of males in three particular stages of their life, infant, youth and old age. It is an allegorical concept of the cycle of life with depictions of the wonderment of the young child to the earthly pleasures of youth and finally the forlorn and Vanitas-like depiction of ageing men contemplating the end of life. However there is some doubt whether the painting by Dossi falls into this allegorical category. It is true there are three pairs of humans of differing ages but in each pairing there appears to be one male and one female. Look at the two children. They are connected to the "youthful" pair simply because they are spying on them as they enjoy the pleasures of youth. He could well be a goat herder as accompanying the amorous couple are a number of goats also watching them intently. The Italian biographer, historian and contemporary of Dossi, Paolo Givio, wrote that the artist's works fell into two categories – the ones with serious subjects which he termed justis operibus and his landscape works which he termed parerga, which he says:
"…contain embellishments, intended to simply delight the eye and refresh the spirit without implying any more serious message…"
This painting by Dossi seems to fit into this second category
Much has been said about the ducal palace of Alfonso I d'Este, the Duke of Ferrara and the art that graced the walls of his palace. In fact, by 1529, he had managed to create the most magnificent private art gallery of his time, including several masterpieces by Titian, hung as an ensemble. The Duke's gallery, known as the camerino d'alabastro with its alabaster walls and gilded ceiling, contained the finest sculpture and paintings that money could buy. The power and wealth of Duke Alfonso allowed him to commission paintings from the most famous artists of the day. The elderly Giovanni Bellini completed the Feast of the Gods in 1514, which was the last painting he completed before he died. Sadly both Fra Bartolommeo and Raphael died before completing Alfonso's commissions and so as we saw with the painting Bacchus and Ariadne the Duke turned to Titian who was still only thirty years old and though he was a student of Bellini he was still not famous.
Aeneas at the Entrance to the Elysian Fields by Dosso Dossi (c.1514)
In 1514 Alfonso commissioned Dossi to produce ten paintings for his Camerino d'Alabstro. These works were to illustrate scenes from the twelve books of Virgil's epic poem, Aeneid and would be so hung, high up on the walls, so as to imitate a frieze. The first painting I have featured from this set, which is part of the National Gallery of Canada collection, is entitled Aeneas in the Elysian Fields and it illustrates a scene from the sixth book of the Aeneid. In the work of art, we see Aeneas in the far left of the painting with his plumed hat, carrying the golden bough, and accompanied by the Cumaean sibyl as they arrive at the Elysian Fields.
Aeneas and Achates on the Libyan Coast by Dosso Dossi (c.1520)
The second of the three surviving paintings from the "frieze" is entitled Aeneas and Achates on the Libyan Coast. This work is housed in the National Gallery of Art in Washington. The depiction is based on the first book of Virgil's Aeneid which is all about the story of Aeneas, who after the fall of Troy and seven years wandering, founded a settlement on the Italian peninsula, establishing the Roman state. In Book 1, Aeneas and his faithful companion Achates, having only just started their journey, and are forced to take refuge on the Libyan coast after their ships are wrecked in a storm.
Dosso Dossi worked for the Dukes of Ferrara for almost three decades. He died in 1542. His brother Battista who had taken over the mantle of chief court painter to the Duke of Ferrara on his brother's death, died six years later.
I will leave you with the words from a pre-exhibition write-up that accompanied the 1999 exhibition of Dossi's works at the Metropolitan Museum of Art, New York
"…In Orlando Furioso — the most widely read epic poem of the 16th century — Dosso is listed alongside Leonardo da Vinci, Raphael, and Titian as one of the great figures of his age by the renowned Renaissance poet Ludovico Ariosto, who likely admired Dosso's poetic and subtle — indeed enigmatic — representations of myth and allegory. Dosso's paintings have long been appreciated as celebrations of pictorial freedom and artistic invention, characterized by a rich palette, brilliant contrasts of light and shadow, and by the enduring echoes of joyousness, wit, and sensual delight. With the devolution of the Ferrarese court into the papal states in 1598, virtually all of Dosso's oil paintings were dispersed to collections in Rome and Modena, removing them from the elaborate context for which they were created…"
Author jonathan5485Posted on August 14, 2015 Categories Art, Art Blog, Art History, Dosso Dossi, Italian artists, TitianTags Alfonso I d'Este, Art, Art Blog, Art History, Bacchus and Ariadne, camerino d'alabastro, Dosso Dossi, Duke of Ferrara, Italian Painters, Lucrezia Borgia, Virgil's Aeneid2 Comments on Dosso Dossi. Part 2 – The tale of the young man who was a famous lady and the Ducal Palace of Ferrara
Portrait of a Woman by Bartolomeo Veneto
Portrait of a Woman by Bartolomeo Veneto (c.1525)
I have over the past blogs featured paintings of a women whose facial beauty I find quite stunning and have commented at length on their great beauty. Two especially come to mind, Jeunesse Dorée by Gerard Brockhurst (My Daily Art Display May 16th 2011) and Virgin Annunciate by Antonello da Messina (My Daily Art Display May 1st 2012). I mention this because today I am featuring another such painting which is a portrait of an exceptionally beautiful woman. The title of the painting is simply, Portrait of a Woman and the artist is Bartolomeo Veneto. I will look at the painting in detail later and explore the mystery of whose portrait it might be but first let me tell you a little about the artist.
Bartolomeo Veneto was born at the end of the fifteenth century but little is known of his early upbringing and family life. The first time his signature was found on a painting, was on his work entitled Virgin and Child and it was dated 1502. The signature itself gives an insight into his early days as he signed it:
"… bartolamio mezo mezo cremonexe venizian e…"
which when roughly translated means:
"…Bartolomeo half-Venetian and half Cremonese…"
In his early days he worked in Veneto, in North East Italy, Venice itself and Lombardy, which has its border to the west of Veneto. Whilst in Venice he trained under Gentile Bellini, who was the most prestigious painter in Venice in the early sixteenth century. Bartolomeo Veneto concentrated most of his art on portraiture and for that he received many commissions.
It is thought that around 1507 Bartolomeo worked at the Este court in Ferrara, which was ruled by the Duke of Ferrara, Alfonso I d'Este who in 1502 married for the second time. His new wife was none other than Lucrezia Borgia and Alfonso was her third husband. During his time at the court Bartolomeo gilded frames and made carnival decorations and completed a painting depicting the Virgin and Saints. After three years at the court Bartolomeo moved on and he is reported to have been in Padua in 1512 and Milan eight years later and it was here that his portraiture became influenced by the portraits by Leonardo da Vinci who had been in this Italian city some years earlier.
Today's featured painting by Bartolomeo Veneto, which he completed around 1525, is entitled Portrait of a Woman and is now housed in the Städel Museum in Frankfurt. I suppose the first question one asks when looking at this beautiful half-naked woman is who is she? There is no degree of certainty as to the answer but it is thought to be a portrait of Lucrezia Borgia. What makes her stand out is the fact that the artist has placed her, in three-quarter profile, dressed in a white tunic against a black background and he would use this black background technique in other portraits.
The staring eyes
Although she has turned to the left she keeps eye contact with us. Although her left breast is bared, it is her gaze that catches our attention. As we look at her we are almost mesmerized by that stare. The way she looks at us is in some ways unnerving. She has captured our attention.
Observe the ringlets of her golden hair as it cascades down her shoulders. See how Bartolomeo has painted each strand of it in detail. It is this extraordinary attention to detail that made his portraits so popular and led to many commissions from wealthy patrons. This tempera and oil on wood panel bears the name of the ancient goddess of spring, Flora and she was often a character portrayed in Renaissance art. In her right hand, she delicately holds up to us, between her slim index finger and thumb, a small posy of wild flowers consisting of daisies, anemones and buttercups,. These three flowers are attributes of Zephyr's wife Flora, the goddess who ushered in spring. This is her offering to us.
A lavish jewel adorns her forehead. Above the jewel is a blue silk band and her hair is covered in a veil which is crowned with myrtle, all of which lead us to believe that this woman is married. Another jewel hangs between her breasts on a pendant, the placing of which adds to the sensuality of the portrait. Having said that, I believe there is also chasteness in the way the artist has portrayed the woman. Could this then be a portrait of Lucrezia Borgia? The same Lucrezia Borgia who was one of the daughters of Cardinal Rodrigo Borgia, later to become Pope Alexander VI, and his mistress Vannozza Cattanei? Could this be the portrait of a woman who was accused of incest with both her father and her brother Cesare? Could this beautiful and delicate-looking woman be the infamous female who was accused of poisoning many of her adversaries and who had a string of extra-marital affairs?
So, are we looking at a beauty or a beast and is this a true likeness of Lucrezia Borgia?
Author jonathan5485Posted on May 31, 2012 Categories Art, Art Blog, Art display, Bartolomeo Veneto, Italian artists, Lucrezia Borgia, PortraitureTags Art, Art Blog, Art History, Bartolomeo Veneto, Italian Painters, Lucrezia Borgia, Portrait of a Woman by Bartolomeo Veneto, The Goddess Flora6 Comments on Portrait of a Woman by Bartolomeo Veneto


We offer you the ability to share information with your audience via a variety of stylish customized flash drives. Even better, our USB drives can be imprinted with your company's logo, tagline or contact information to create a unique product your customers and clients will love.
Flash drives are a small storage device with a USB interface that can be used on any computer. They are small, fast, have thousands of times more space than CDs & DVDs and are an affordable way to give your customers lots of information including video files, audio files, transcripts, forms, and so much more.
Our swing style flash drives are available in a variety of colors and sizes. If you need 50 or more flash drives, we can print your logo or message on the flash drive.


text:
Telacanthura és un gènere d'ocells de la família dels apòdids (Apodidae). Aquests falciots habiten a la ecozona afrotròpica.

Llista d'espècies
Segons la classificació del Congrés Ornitològic Internacional (versió 2.5, 2010) aquest gènere està format per dues espècies:
 falciot cuaespinós negre (Telacanthura melanopygia).
 falciot cuaespinós dels baobabs (Telacanthura ussheri).

Apòdids

redpajama_set_name: RedPajamaWikipedia


text:
The Day-to-Day: Artist and Designer Justin Giunta Wears Many Hats—and He Wouldn't Have it any Other Way
Calling Justin Giunta a "multi hyphenate" doesn't do him justice. He's an artist who makes richly layered oil paintings, intricately detailed pencil drawings and layered 3D floral collages. He's an interior designer who also makes chic brass wall sconces and decadent chandeliers. He's a CFDA award-winning jeweler who creates deeply personal, playful pieces from vintage charms and stones. He's collaborated and worked with everyone from Tory Burch to India Hicks to Calvin Klein to Alexander Wang (Oh, and he also designed the Land of Belle logo!) To get a sense of what's behind all that creative output, we spoke to Justin about his process, his biggest inspirations, and the reason he feels that variety is an essential part of what he does.
You juggle so many different projects—jewelry, painting, interiors, lighting design—how do you make it all work without getting overwhelmed?
I have always found that variety fuels my creative output. It has always been the nature of my work to cross disciplines, and to do this, I have always aimed to learn as much as possible about each area of design so that I can approach mixing material or style with an informed and skilled insight. Although I wear many hats professionally, I only have one head, and the crossover of ideas is fundamental to my process.
Did each project develop organically, or did you know before you started that you wanted to have multiple things going on at the same time?
When I was an undergrad [Giunta studied at Pratt Institute and the Gerrit Reitveld Academie in Amsterdam, and got his BFA from Carnegie Mellon] I was awarded an opportunity to do a studio program in the woods of Connecticut, for two months we ate, drank, and breathed our studio art practice. It drove me crazy! I took a job at the coffee shop, just so I could have some mental space to reflect on what I was working on in my studio. I have since adapted that to keep a rotation of projects that engage me creatively. I always return to painting, drawing, and jewelry as a constant in my practice, but working with interiors offers a three dimensional canvas on which all elements of scale, texture, decor, color, and light, all play into and well composed room.
A post shared by Justin Giunta (@jgsubversive)
What did you do before you went off on your own?
When I was a student, I had early intern experiences working for a slew of creative professionals—studio artists, and gallery owners, set designers, interior designers, theater directors, and even a PR firm in New York. Ultimately, I have forged my own professional path, starting and operating my own company at 23 years old, and have operated under the umbrella of that company ever since.
What was the most challenging part of running your own business?
Trying to do it all, and when knowing you can't do it all on your own, figuring out how you are going to pay the people you need to help you.
What does a typical work day look like?
In the morning, I review my email, and work on digital design files on the computer. Then, if you can believe it, I step away from my computer for most of the day and return to correspondence in the evening. Of course, computer time can take up days at time when I am working on a digital design heavy project. Otherwise, I divide my time between drawing and developing jewelry. I am often having meetings with clients, so it affords me the opportunity to be mobile. Moving around all over the city is the sort of sensory overload that I love. Like looking for a key in a junk drawer, the city is piled with visual stimulation, I always find something new, interesting and exciting when I navigate NYC. This is very much an understated part of my process: to walk, to look, to think.
What's the most rewarding part of your day?
It is a tie between starting a new project, and finishing another.
Where do you get inspiration from and how do you keep track of those moments?
Lots of pictures, lots of drawings, I do not limit my imagination or recording of ideas to the topics I am totally immersed in at any given time. Instead, I draw insistently, and eventually themes emerge that may seem new today, but have hints recorded through my old notebooks. For me it offers continuity to my work and process, I also take and organize photo notes into categories (architecture, design details, graphic design, and color swatches) and I often return to them for inspiration for different projects.
Do you have a favorite architect or designer?
I love the casual, yet elevated elegance of Axel Vervoordt. Rich colors, inviting furniture, and eclectic collection of objects, are, in my opinion, the elements of style that I embrace in my own design.
Are there any books and movies that have inspired your work?
Against the Grain (or Against Nature, depending on the translation) by J.K. Huysmans. It is the Decadent Manifesto and insists that man can triumph over nature with design and engineering. I also refer to The Society of the Spectacle by French theorist Guy Debord, in which our contemporary society has been predicted to include an inundation of visual messaging, and how to use existing imagery to re-contextualize meaning and message away from its original purpose.
Who are the artists and designers who have inspired you the most?
Martin Margiela and Dries Van Noten are two of my favorite clothing designers because they exist on opposite ends of the avant garde spectrum to me. Dries Van Noten makes ultra-modern garments with new fabrics. They have a feeling of deep color saturation and elaborate, decadent details that reference traditions like brocade and embroidery. Margiela appeals to my subversive nature, which calls into question the definition of design itself. As an artist, I pull different aspects of inspiration from different artists, but I love the honesty and drive to create that prompted the writer and painter Henry Darger to pursue a life of making art for his eyes only. (The world was lucky that his work has been discovered, preserved, and promoted after his death.)
Is there an architectural movement or period that you feel a real connection with?
It is hard to refute a love for Deco architecture, but I am always drawn to Baroque and Rococo architecture because they are feast for the eyes and inspirational details.
How do you maintain a work-life balance?
I don't, generally. They blend into one another quite fluidly and beautifully.
Do you have a work uniform?
Ha—I envy businessmen for always looking polished in a suit, I could never do that. It is so unnatural for me. I am a casual dresser, but not a uniform black t-shirt designer. I am very particular about I chose to wear, that is not too normcore but not flamboyant either. I usually wear clothes I can expect to get messed up. I have "enhanced" (or ruined) a lot of designer clothing.
What does your work space look like?
My workspace can best be described as "organized chaos." I have so many boxes, bins, and drawers filled with jewelry supplies, paint, glue, tape, paper—really a lot of stuff! Scissors and paper towels are pretty much the two staples I always have on hand,
If I hoard my garbage does it make me eco-friendly? #upcycle #letitgo #confessionsofacraftsupplyhoarder
A post shared by Justin Giunta (@jgsubversive) on Aug 6, 2018 at 5:07am PDT
What are a few qualities that make you good at what you do?
Being open minded and creatively agile gets me projects and helps me solve new problems. Being dedicated, humble, and hardworking helps keep clients. Being self-confident keeps me moving forward through the occasional disappointments.
What advice would you give people who want to start out in a creative industry?
You are your toughest critic. If you validate your work, others surely will too!
Alarm goes off at: No alarm, natural riser at 6:30 A.M.
Work starts at: 9 A.M.
Work ends at: 8-ish.
Typical bedtime: 12:00-1:00 A.M.
Coffee/Tea Order: COFFEE.
Highlight of your day: Morning light streaming in.
The skill that doesn't come naturally to you that you wish did: MUSIC, and learning foreign languages.
If you weren't doing what you do now, what would you want to be? An Archeologist.
Working from home, love or hate? Both. It can be great and distracting all at once.
Colors you're most drawn to: Deep saturated blues, greens, and yellows, and reds—I'm an artist, I love them all!
Down to Business: Designer Ariel Okin On Her New Furniture Collection With Society Social
Land of Ariel Okin: The Interior Designer on Entertaining Go-tos, Baby Nursery Design and the Keys to Setting a Perfect Summer Table
Land of Alyssa Kapito: The Interior Designer on the Most Fun Room to Decorate and the Necessary Pilgrimage for Anyone Interested in Design
Back to In Other Lands


Priority file folders alert you to your most important files with built-in priority flags. Writable erasable flags help you prioritize or provide you with reminders. Each flag is able to pivot up vertically or to the side of your file. Flag is writable and erasable with a ballpoint pen pencil and permanent marker. To reuse the flag simply erase and write again. Each folder also features a 1/3-cut tab and is made of sturdy 11 point stock.


text:
Neve Campbell explains why she won't be back for "SCREAM 6"
Monday, June 6, 2022 | News
The franchise's perennial protagonist has nixed another return to Woodsboro.
Variety reports that Neve Campbell won't be taking part in SCREAM 6, following her return to the franchise in this year's hit SCREAM reboot. "Sadly, I won't be making the next SCREAM film," Campbell told the trade in a statement. "As a woman I have had to work extremely hard in my career to establish my value, especially when it comes to SCREAM. I felt the offer that was presented to me did not equate to the value I have brought to the franchise. It's been a very difficult decision to move on. To all my SCREAM fans, I love you. You've always been so incredibly supportive to me. I'm forever grateful to you and to what this franchise has given me over the past 25 years."
SCREAM 6 is set to open March 31, 2023 from Paramount Pictures and Spyglass Media, with directors Matt Bettinelli-Olpin and Tyler Gillett, scripters James Vanderbilt and Guy Busick and creator/executive producer Kevin Williamson back on board from the previous installment. Returning cast members from that movie are Jenna Ortega, Melissa Barrera, Jasmin Savoy Brown and Mason Gooding, along with series stalwart Courteney Cox and Hayden Panettiere, reprising her SCREAM 4 role of Kirby Reed. Shooting is set to begin today in Montreal.
MORRIS CAMPBELL on June 9, 2022 at 1:14 am
JUST AS WELL SIDNEY'S STORY ARC IS DONE IN THE SERIES LET HER MOVE ON WITH HER LIFE WILL MISS HER THOUGH GOODBYE GOOD LUCK SID.


text:
Editors' Notebook/
Glyphosate Safety: An Untimely Convenient Truth
Editors' Notebook
5/1/2019 | 5:59 PM CDT
By Greg D Horstmeier , DTN Editor-in-Chief
Connect with Greg:
@greghorstmeier
In a move that had me gasp, then giggle, then seethe, EPA this week came out discussing the ecological consequences of glyphosate misuse. Well, that wasn't what the agency started out to do. In fact, that statement was probably lost to most readers, overshadowed by the much more positive support that the agency does not believe glyphosate is a carcinogen.
To be certain, the human health issue -- does glyphosate cause cancer -- should be front and center these days, given the number and size of the lawsuits that are latching onto claims of glyphosate's role in Non-Hodgkin lymphoma and other cancers.
But it was the secondary statement, that there might be other ecological issues with glyphosate, that garnered my responses. EPA said it was "proposing management measures to help farmers target pesticide sprays on the intended pest, protect pollinators, and reduce the problem of weeds becoming resistant to glyphosate."
(For full coverage on EPA's statement, see our story by DTN Staff Todd Neeley, "EPA: Glyphosate Safe, Not Carcinogenic," at https://tinyurl.com/…)
I gasped, because here was our "environmental" watchdog group, actually making a comment related to herbicides that was about the "environment." What a novel thought!
I giggled, just a little, as I imagined the scene of severely strained elbows after all that patting each other on the back as the news release was drafted. There was actually some gravitas put into the calling out of some issues that glyphosate can cause -- namely that it's been so effective as herbicide that it has led to weed resistance. "We bad!" I could imagine a group of emboldened bureaucrats saying as they plucked a fresh draft out of the office printer. "Oh yeah, we bad!"
But that image also made me utter a few words of which my dear mother would not approve. Here we are, more than 20 years after the Roundup Ready system of seeds and herbicides was brought to market, and EPA has finally publically mentioned an issue that farmers and others in agriculture have been dealing with for decades, actually from almost Day One: weed resistance.
I mean, this isn't just shutting the proverbial barn door after the horses are out. This is propping what remains of the barn door against the rotting heap of lumber, horse dung and straw left after the barn collapsed from neglect. The horses? Well, they are a distant memory, as faded as the recollection of the fields glyphosate once made squeaky clean with just a sprayer pass or two.
Why EPA previously ignored issues of pest resistance, not just in herbicides, but insecticides (pink bollworm, anyone?) and all other "cides," is explained in the law that guides the agency's pesticide actions. The Federal Insecticide, Fungicide and Rodenticide Act (FIFRA), was about protecting flora and fauna, particularly humans. FIFRA was not, EPA often said, about protecting the viability of a product. That was up to the industry to police.
But was viability the only issue? On multiple occasions during the past 30-odd years, this writer asked various EPA officials: Didn't things like resistant weeds, bugs or fungi actually constitute an "environmental" problem, and didn't they work for the "environmental protection" agency? On each occasion, I tersely received chapter and verse on FIFRA and EPA's mandate. It's only been in recent years -- mainly on the backs of the dicamba chemical trespass issues and the glyphosate weed resistance problem that gave those new dicamba systems economic viability -- that officials at EPA have decided to address the "other" environmental consequences around pesticide misuse and overuse.
As I've written before in this space, the future of glyphosate's downfall, that its strength would also be its Achilles Heel, was foretold many times in the early 1990s. Every time a scientific paper or event discussed the potential, even the reality, of glyphosate weed resistance, it was immediately followed by an "equal time" presentation wholeheartedly denying resistance could happen. For years, as the not-so-funny joke went, the official answer to glyphosate resistance was "more glyphosate."
The bigger crime, in my book, is that industry was allowed, we were allowed, to let that happen. Because EPA just didn't want to get in the middle of the proper use issue. They simply looked the other way, conveniently visioned by their FIFRA blinders.
Today's EPA, if recent comments are to be taken as a sign of change, might have given us another 20, 30, heck maybe even 50 years of effective glyphosate use with just a little mandated common sense.
Perhaps this new, broader look will prevent, or at least slow, resistance in the future. Maybe it will weigh into the current battle over dicamba, which by some scientific findings is already "breaking," with weed resistance showing up in places.
It's just a shame this revelation comes after what's arguably the most effective, safest weed control product since the iron plow has been reduced to a sideshow in the battle over weed populations. One has to wonder, if that common sense would have led to just a little less glyphosate use, and therefore less glyphosate residue showing up across the environment, if these lawsuits and the general growing hatred of that active ingredient might have been stalled as well.
Greg D. Horstmeier can be reached at greg.horstmeier@dtn.com
Follow him on Twitter @greghorstmeier
(ES/AG)
© Copyright 2019 DTN/The Progressive Farmer. All rights reserved.
Previous Post (Opioid Crisis Continues)
Next Post (MyPlanting19 Contest Winners)
Greg Horstmeier


Every Monday I will be sharing some random things. They will be shared as a simple list and I'll be including different things each week with a bit more personal content. I hope you like it!
1. When they think back to childhood, I hope treasure hunting at the beach is one of their fondest memories. I love these moments. With the first grey weekend signalling fall has truly arrived, it seemed fitting to add an extra layer of cozy with these gorgeous ponchos from Kindhood.
We hunted for sea glass, found the whitest shells, bright coloured rocks and enjoyed the quiet that is Kitsilano beach when the crowds of summer are gone. Kaia's little arm around Xavier makes my heart explode with happiness. These three are truly the best of friends.
2. Keva. Do you know it? It's a lifesaver in our house and entertains all three of our kids (sometimes at the same time!). The maple planks are so perfectly the same, I am in awe of the precision!
3. I know it's going to start raining (and raining and raining!) soon. I stumbled across these super cute rainboots this weekend from Alice + Whittles.
4. I pinned this quote over the weekend and thought it was a great one to start the week with.


It was not the second-half showing the small band of Model county supporters expected, as a horror show after the break eventually condemned Wexford a ten-point defeat as Galway stormed all over them in this Allianz Hurling League quarter-final at a windswept Pearse Stadium in Salthill on Saturday.
One cannot disguise the fact that neither side had the ideal preparation as, following torrential rain over the previous 15 hours, a pitch inspection was called for 8 a.m.
A decision was then taken for a further inspection at 10 a.m., before the game was eventually given the go-ahead. There may have been a storm of rain but the pitch was in excellent condition, making one wonder why there was a delay in confirming the game would be played.
Such was the fine condition of the surface that both the hurling and the Galway versus Roscommon football game took place, with players having no difficulty with the surface.
Given Wexford's first-half performance, which saw them carry a one-point lead into the break, having played into the strong wind and showers, one felt they let a glorious chance of victory slip away.
But once the second-half got under way it was evident that Wexford were facing a transformed Galway outfit, who by the 43rd minute had turned that deficit into a seven-point lead (2-16 to 3-5), having hit the visitors for 2-3 in a blistering spell of hurling.
Whatever the reason for the agonies of that second-half, Cork referee Cathal McAllister did not endear himself to the Wexford crowd.
In truth, he had a nightmare game for the full 70 minutes, in contrast to Wexford's second-half collapse. During the opening 35 minutes the free count was 14-4 in favour of Galway.
Galway had struggled in that first-half and, but for the supreme accuracy of Joe Canning who contributed twelve of their 13 points, eleven from placed balls, they would have been further behind.
As Wexford chased and tackled, while also contributing some excellent passages of hurling, many of the controversial refereeing decisions against the visitors came back to haunt them, as the free-taking alone of Caning kept the westerners in contention.
Some of the Wexford tackling may have been sloppy but some of the refereeing decisions bordered on the bizarre, particularly given the challenges and tackling of Galway that went unpunished.
It was a nightmare refereeing performance from McAllister, particularly from a Wexford viewpoint through the opening 35 minutes.
Wexford kept their shape through an intense first-half despite the passionate support behind the home side.
After Conor McDonald had pointed Wexford in front inside the opening minute, a Canning free brought the sides level, but Wexford were responding to each challenge as Lee Chin swung over a fine point.
Three Canning pointed frees had Galway in front but Wexford who struck for the game's opening goal after ten minutes.
McDonald linked up with the advancing Matthew O'Hanlon and took the return pass before sending a ground shot to the net.
When Diarmuid O'Keeffe followed almost immediately with a point, Wexford led by 1-3 to 0-4 despite playing into the elements.
The flawless Canning kept chipping away at Wexford, hitting over a succession of pointed frees from a variety of angles, along with a superb point from play when, having out-fielded Matthew O'Hanlon under a puck-out, he made ground down the sideline before sending over a beautiful point off the wing, edging his side into a 0-9 to 1-3 lead after 17 minutes.
Wexford were showing a real passion during this opening spell with Chin pointing, and then the second goal arrived after 25 minutes.
After a Galway attack had broken down, Matthew O'Hanlon picked up a crossfield ball and sent in a great delivery that was superbly fielded by McDonald who found the net with a blistering shot, leaving Wexford leading by 2-4 to 0-8.
Galway had edged back in front by 0-11 to 2-4 when Cathal Dunbar swept through the defence on a fine run, but his shot was saved by 'keeper Fergal Flannery.
The ball was cleared to one side but Dunbar succeeded in getting it back across the centre to Lee Chin who crashed home an excellent goal, giving Wexford a 3-4 to 0-11 lead.
Minutes later Aidan Nolan got himself into a goalscoring position but delayed his shot and was crowded out. Cathal Mannon and Canning responded with points, but Wexford still led 3-5 to 0-13 at the interval.
While the Galway defence looked all over the place, manager Micheál Donoghue responded with the introduction of Johnny Coen and the switching of Gearóid McInerney to full-back.
This had a major influence on the second-half as Wexford could only manage six more points, with two from play coming in the closing minutes from defender Matthew O'Hanlon and midfielder Aidan Nolan, as Galway succeeded in closing out the visitors' attack.
Galway took control on the resumption. Mannion stormed into the match around midfield, while Canning was hurling superbly all over the pitch.
Inside forwards Conor Whelan and Brian Concannon were also causing huge problems for the Wexford defence, which was not helped by the retiral of Liam Ryan with a groin injury just three minutes into the second period.
His replacement, Darren Byrne, was also forced out through a hamstring injury. To compound matters, when the game had already gone away from them, Lee Chin was forced to retire with an ankle injury, having been clearly stepped on twice without even a free being awarded.
Just 30 seconds before Ryan left the field, Cathal Mannion found the net after the Wexford defence were punished for a series of mistakes on their own 45-metre line, having failed on several occasions to clear the ball.
The goal gave Galway a huge lift as they now led by 1-14 to 3-5, with Canning having pointed an earlier free. Niall Burke and Brian Concannon added points before a Paul Morris 40th-minute pointed free opened Wexford's second-half account.
But three minutes later Galway had their second goal. Brian Concannon picked out Davy Glennon inside the Wexford defence and his ball across the face of the goal was finished to the net by Niall Burke, after 'keeper Fanning had excellently saved the initial shot, giving the home side a 2-16 to 3-6 lead.
The two goals, apart from Canning's supreme free-taking (he missed just one during the course of the game), were telling factors, as Galway totally dominated the second-half, with Wexford unable to find a way to assert themselves.
Galway were leading by 2-21 to 3-9 when Canning swept through the Wexford defence, and forced a great save out of Fanning, but substitute Tadhg Haran, not long in the game, managed to tap the breaking ball to the net.
Wexford's solitary second-half scores from play arrived in additional time through O'Hanlon and Nolan, but there was no denying which county was the superior outfit.
Wexford must now re-group following the rounds of club championship games before meeting Dublin on May 19, while having to revisit Salthill on May 26 in the Leinster championship, having received a forewarning of what is to come, particularly with Galway expected to have many of their key players back.
For Wexford it was a setback, and not even the absent Rory O'Connor (hamstring) could have turned matters around.
Wexford: Mark Fanning; Damien Reck, Liam Ryan, Simon Donohoe; Pádraig Foley, Matthew O'Hanlon (joint capt., 0-1), Shaun Murphy; Jack O'Connor, Kevin Foley; Aidan Nolan (0-1), Lee Chin (joint capt., 1-2), Diarmuid O'Keeffe (0-1); Cathal Dunbar, Conor McDonald (2-2, 0-1 free), Paul Morris (0-4, 3 frees, 1 '65). Subs. - Darren Byrne for Ryan, inj. (39), Liam Og McGovern for O'Connor (46), Shane Reck for Byrne, inj. (52), Ian Byrne for Chin, inj. (58), Harry Kehoe for Morris (69).
Galway: Fergal Flannery; Jack Grealish, Paul Killeen, Aidan Harte; Darren Morrissey, Pádraic Mannion, Gearóid McInerney; Cathal Mannon (1-2), Seán Loftus, Niall Burke (1-1), Joe Canning (0-15, 13 frees, 1 '65), Seán Bleahane; Conor Whelan (0-1), Brian Concannon (0-2), Thomas Monaghan. Subs. - Kevin Hussey for P. Mannion, inj. (22), Davy Glennon for Monaghan, inj. (34), Johnny Coen for Morrissey (HT), Seán Kilduff for Harte (63), Tadhg Haran (1-0) for Bleahane (68).


text:
Issue 8: Interview
Contemporary Arab Representations Act III (The Iraqi Equation)
Abdellah Karroum
Translated by Nadine Katkhouda
Latif Al-Ani, Tahrir Square, Baghdad, 1960, photograph, collection Latif Al-Ani, courtesy of Arab Image Foundation
Fundacio Antoni Tàpies
April 28–June 25, 2006
Contemporary Arab Representations is a project initiated in 2002 by Catherine David, made up of seminars, exchanges, exhibitions, and publications in several European art centers. 'The Iraqi Equation, the third installment in this series, began with a conference at the University of Seville in 2005 with readings by author Ali Bader, journalist Käis Al Azzawi, and sociologist Pierre-Jean Luizard. At the same time, the Tàpies Foundation in Barcelona played host to an exhibition program, revealing a project with a variety of forms of public participation, from media installations to artistic films and documentaries. Herein was a wealth of information on Iraq, its current culture, and its sociopolitical and religious conflicts.
Following the focus on Lebanon, Egypt came to the stage in David's series.The singularity of the current,third exhibition is that Iraq is a country still at war, a fact that undeniably constrained the curator's ability to meet with those involved, whether in Jordan, London, Brussels, or elsewhere.
Maysoon Pachachi, Return to the Land of Wonders, 2004
Contemporary Arab Representations wades knee-deep into its subjects' current events — a refreshing approach and a far cry from the trend common at L'Institut du Monde Arabe, for example, or the British Museum, where generic artist exhibitions are selected on the basis of national origin or identity only. The social and political complexity of Iraq makes its representation from a single vintage point impossible. David seems to understand that one must look at a nation's history and literature, and beyond, to even begin to comprehend its artistic production.
Entering the gallery space of the Tàpies Foundation, before reaching the main platform, visitors passed the "Bench of Democracy" (Democracy, 2005), a work by artist, architect, and designer Talal Refit. This passage was framed physically by images of twentieth century Iraqi modernity, photographs taken from the archives of the Arab Image Foundation, reproduced for the exhibition and presented in a slideshow. These photographs bore witness to life in pre-war, postcolonial Iraq.
From there, the public was invited to an open, media-filled space that presented current events amidst a kind of Baghdad Cafe decor, with real ottomans and tables where pamphlets, texts, books, and web addresses replaced the traditional tea and treats. The background wall was a huge fresco, a reproduction of Faisel Laibi Sahi's mural, Cafeteria in Baghdad.
The exhibition continued in several projection rooms, allowing visitors to interact with documentaries,witness accounts, and more. There was work by Maysoon Pachachi, an Iraqi documentary filmmaker exiled in England who plans to create a school and a film festival in Baghdad. And by Hana Al-Bayati (born in Aurilllac in 1979), a filmmaker and journalist with a background in politics and art, who made On Democracy in Iraq, a movie documenting a meeting of the Iraqi opposition in London, three weeks before the American invasion. Tariq Hashim (Baghdad, 1960) who studied theater and film in Baghdad, Copenhagen, and Bulgaria, returned to an Iraq deep in war, after twenty-three years of exile. He taped sixteen hours of film, culminating in the movie 16 Hours in Baghdad (2004). Filmmaker Baz Shamoun attempted to rediscover his country after twenty-seven years of exile in Where Is Iraq? (2003). Another work by Talal Refit (Kirkuk, 1957) completed the exhibition space with an animated drawing entitled Epilog (2005).
Barcelona presented other documents, publications, and documentaries by filmmakers, authors, analysts, and activists who chose to film in their country (Koutaiba Al-Janabi, Sinan Antoon, Nedim Kufi, Scheherazade Qassim Hassan, Saadi Youssef).
A collection of documentaries showed people living in Iraq in ordinary fashion or, alternatively, working toward an elusive peace — subjects far removed from the clichés usually presented by the international media.
David's exhibition attempted to give voice to Iraq's real actors, an alternative to prevailing reductionist representations. At the same time, this voice is more intended for the western public than for citizens of the Arab world. After all, European institutions are the ones welcoming these exhibitions. Such organizations are usually more prone to distancing themselves from Middle Eastern conflicts, cleaving to mere representation. The non-drama of David's everyday scenes contrasts with the spectacular images of the mass media, both from the East (AlJazeera, Al-Arabiya) and the West (CNN, EuroNews). Is the impact of such an exhibition in a European art center that important in the case of Iraq? Are artistic activities rightly mixed with political activism?
Contemporary Arab Representations forces us to reflect on our relations with Islam, the Arab world, and other cultures beyond. In light of Iraq's current situation, it is difficult, if not impossible, for Iraqi artists to express themselves in their motherland. These artists have no choice but to speak up in foreign countries, with their own countries' histories continuing to inform the content of their activity.
All the same, the violence of its subject matter almost distracts from the exhibition, hijacking the very message it wishes to convey. At the end of David's installation, the Iraqi equation remains unresolved. This is an exhibition of testimony; the public awaits another encounter with works that may take us beyond simple facts and sound bites. Iraqi artists continue the struggle to recover their country, their heritage, outside the bounds of a conventional gallery space or museum. Expression, we should remember, is a luxury during war time.
Interview, Fall 2006
Next: This Brand is Your Brand


text:
White House backs Detroit automakers on EV tax subsidies
Under the budget proposal laid out by the White House on Thursday, Detroit automakers would be able to offer USD$4,500 more in tax credits to US electric car buyers than rivals such as Tesla Inc., Volkswagen Group, Honda Motor Co., and Toyota Motor Corp. under the USD$1.75 trillion tax and spending proposal.
The proposal calls for all automakers to be able to offer USD$7,500 to consumers for EV purchases for the first five years of the law. However, EVs made by American manufacturers, in the U.S., with union-represented workers would be allowed to offer an additional USD$4,500 in credits according to a draft text of the bill.
Used EV buyers would be eligible to receive USD$2,000 in tax credits.
The union provision is an "an insult to the 673,000 Americans who work in international nameplate manufacturing plants and dealerships," Cody Lusk, president and CEO of American International Automobile Dealers Association (AIADA), said in a statement. The provision also "makes it more difficult for Americans to buy green vehicles, as it can only be applied to a handful of the more than 60 electric vehicles available for sale today."
Bloomberg »
President Joe Biden said the proposal, when paired with an infrastructure bill that has already passed the Senate and has funds for charging stations, will boost the growing market for electric vehicles.
"We'll build out the first ever national network of 500,000 electrical vehicle charging stations all across the country so when you buy an electric vehicle — and you'll get credit for buying for — you can go all the way across America on a single tank of gas, figuratively speaking," Biden said in a televised address.
The EV proposal would also allow car buyers to receive an additional $500 for electric cars that are made with domestically-built batteries — something that would benefit Tesla buyers — according to the House draft.
Buyers would have the option of taking the credits against their income taxes or at the point of purchase. All the benefits, which are limited to cars under certain sticker prices and subject to income limits, would expire after Dec. 31, 2031.
Honda, Tesla, Toyota, Volkswagen Group
American International Automobile Dealers Association (AIADA)
High demand for Ford F-150 Lightning, Mach-E, and E-Transit
2022 Lucid Air, a worthy Tesla opponent


text:
Why residents of a Leyland apartment block want to stop their private car park being turned into an access road
Paul Faulkner
Residents of an apartment block in Leyland say that the private car park in front of their homes should not be used as an access road for a new development next door.
South Ribble Borough Council has granted permission for six further apartments on land off Butlers Farm Court.
READ MORE >>> Penwortham bar will not be allowed live music or longer hours
But some of those living in the existing block told the authority's planning committee that they are paying for the upkeep of what will now become a public thoroughfare.
"This so-called access road is a car park and for the last 13 years, our maintenance bills have paid for it," resident Carol Livesey told councillors.
"If anything goes wrong with the road, we are responsible for it - and now cars will be coming in and driving over our water metres," she said.
When a council officer told the meeting that the issue was "not a material planning concern", several residents in the audience shouted out, "Why?"
The car park area is currently unadopted - meaning the local highways authority, Lancashire County Council, does not maintain it.
One committee member, Barrie Yates, suggested residents still held the destiny of their driveways in their own hands - even though councillors' hands were tied.
"We can give planning permission, but if [the developer] can't get access, it's not our problem," Cllr Yates said. "If it's in your deeds that the area is your property, then nobody can go across it without your permission."
The meeting heard that the occupants of the new block would share the future cost of the road's upkeep. Chris Wheetman, agent for the developer, said an "agreement" had been reached that it would be maintained in the same way.
He also rejected a suggestion that the development could act as a gateway to bigger building projects on neighbouring land.
"The application is very limited - there is no wider development, as no other part of the land is under the applicant's control," Mr Wheetman said. "You have a 3-storey apartment block and this is another 3-storey apartment block next to it - I don't see how that can be out-of-keeping."
'What about us?' The villagers feeling forgotten about in bus plans
Committee member Michael Nelson raised a concern that, during site clearance work which had already taken place, the fast-growing Japanese knotweed plant had been spread across the area.
But Jonathan Noad, South Ribble's Director of Planning, said the issue was covered by separate legislation and was not part of planning policy.


text:
Nightingale pg 1 1-6-22
caption, page 1:
Beaver pond in Nightingale Forest. Photo courtesy of the Wyndham Land Trust.
captions, page 6, clockwise from top left:
The extensive wetlands form the headwaters of Nightingale Brook
Harry Townshend enjoyed fishing on the family property. Photos courtesy of Wyndham Land Trust.
An active beaver lodge
Beavers imported by Harry Townshend have created extensive wetlands on the property.
Harry and Deb Townshend at their 70th wedding anniversary in 2012. Photo courtesy of Townshend family.
POMFRET CENTER—A remote section of unbroken forest in the Quiet Corner is now protected from development thanks to the acquisition of a large piece of land by the Wyndham Land Trust.
The Wyndham Land Trust recently acquired 364 acres in Pomfret from the Townshend family. The land — the largest single acquisition by the land trust in its 46-year history —includes a large scenic wetland with open water, marshlands, shrub swamp, and forested swamp that form the headwaters of Nightingale Brook. The woodlands that surround the wetlands support important forest-nesting birds such as Canada Warbler and Black-throated Blue Warbler.
The property sits in a remote corner of Pomfret that borders Eastford to the west and Woodstock to the north. The Wyndham Land Trust is actively working to protect this area of extensive woodlands and has christened it the 'Nightingale Forest.' Their Nightingale Forest now covers 1,120 acres of protected land, of which almost 800 were donated by or purchased from the Townshend family.
The late Henry "Harry" Townshend, the patriarch of the prominent Townshend family in New Haven, was responsible for creating the core of this valuable habitat. Harry, looking for a place where he could enjoy his passion for hunting and fishing, purchased almost 1,200 acres in Pomfret in the late-1950s.
The Pomfret land soon became a cornerstone of the lives of Harry Townshend and his wife Deb, and their five children spent many happy hours exploring the woods. The family kept horses and rode on the extensive trail system that was created to support dog field trials.
"Dad loved the outdoors which offered him fields, forests, mountains, streams and lakes to satisfy his hobbies of hunting, fishing, and field trials," said Nancy Townshend Vess. "But I think the biggest reason he liked the outdoors was the solitude it brought him. The properties he bought in Pomfret were all places of solitude.
"We children grew up surrounded by nature," she added. "Each of us has an appreciation of the natural world as a result of this upbringing. I do believe the Wyndham Land Trust is an organization that will help the Pomfret community balance man against nature. I'm glad we were able to work with the land trust to maintain that balance."
"I'm happy to give this Pomfret land over to the protection of the Wyndham Land Trust and for the enjoyment of the public," said Sharon Townshend.
"Nature has been a source of renewal, healing, adventure, and art ideas for me; and I'm glad I can now enjoy this land as a member of the public."
"I once asked Dad if he believed there was a 'God,' said Hervey Townshend. "His answer was 'no not in the common belief.' But he said 'if there was a God, his spirit would live in the woods among the trees, in nature, and in all the animals.' Nature was Dad's God. Walking in the forest was entering a spiritual place to be treated with respect. We would often walk together, stopping occasionally to listen to the silence of the woods."
"This new property contains an excellent network of trails," said Penny Foisey, land trust treasurer and president of the Pomfret Horse & Trails Association. "The forest here is pristine and open. It reflects the careful planning of Mr. Townshend with many of his original field trial markers still there for the observant to find."
The land trust plans to mark the trails and parking areas this summer, and information about public access to the property will be available on its web site.
Funding for the acquisition came from the State of Connecticut Open Space and Watershed Land Acquisition grant program, the Bafflin Foundation, the Town of Pomfret, the Community Foundation of Eastern Connecticut, the Summerhill Foundation, and from Wyndham Land Trust members and supporters.
The Wyndham Land Trust was formed in 1975, and the work of the all-volunteer group is possible only through the generosity and dedication of its members and donors. To learn more about the Wyndham Land Trust visit wyndhamlandtrust.org. You can also follow them on Facebook and Instagram.


A lot of homeowners have the mistaken belief that to do a kitchen remodel requires gutting the entire room and starting over from scratch. That's simply not true. There are many ways you can transform your cooking space without breaking the budget.
There are two routes when it comes to kitchen remodels. You can do most of the work yourself or leave a lot of it to the professionals. These tips will help you, no matter which route you choose.
Doing a lot of the work yourself will save you money. However, you need to know what you can do and what you should leave to the pros. That way, you won't be paying twice for the same work.
Decide what you want to change about your kitchen. Then decide what order you want to tackle each project. A plan gives you a clear roadmap and minimizes changes midstream. Plus, you can do it over time, paying as you go instead of using credit.
Materials make up a significant part of your kitchen remodeling budget. Look for bargains where possible. Pick up closeout flooring. Check reused stores for materials. Look at scratch and dent appliances.
Labor is the other part of the remodeling budget. There are many ways to cut those costs. You can do most of the demo yourself. Be the clean-up crew at the end of the day. Pick up a paintbrush instead of having the pros do it.
If you have skilled DIYers in your circle, ask them for help. Be willing to trade your services for theirs. For example, you help with their move. They help paint your kitchen cabinets.
Flat pack cabinets cost less than their pre-assembled counterparts. If you choose the flat pack option, do the assembly yourself instead of paying the pros to do it.
Standard cabinets come in predetermined sizes and finishes. These cabinets cost less because they are mass-produced. If you decide on custom cabinets of non-standard sizes or finishes, you are going to pay a premium price.
Unless the kitchen cabinets are falling apart, consider renovating them instead of replacing them. A fresh coat of white paint can transform the dreariest cabinets. Changing the doors and refinishing the wood is another cost-effective option. Sanding and refinishing wood floors cost less than brand new wood flooring.
If you decide to change your kitchen's floor plan or layout, your costs will go up. Plumbing moves can involve changes from the basement to the attic. Electrical moves may require bringing the electrical box up to code. Moving walls may require structural changes to the house.
Each of these simple options will help keep the cost of your kitchen remodeling under control. Do you have other cost-saving measures you plan on using?


text:
OSBI investigating Stillwater homicide
Ponca City Now - June 4, 2019 1:01 pm
Earl Oswalt
STILLWATER, OKLA. – On Monday, the Payne County Sheriff's Office requested that the Oklahoma State Bureau of Investigation assist with an investigation into a missing person case that has evolved into a homicide investigation.
Chelsey Chaffin, 29, last spoke to her mother by text during the evening hours of May 25, which was the last time she was heard from by friends or family. On May 24, Chelsey moved into a residence located in the 2600 block of Gregory Lane in Stillwater. The residence belonged to 54-year-old Earl Oswalt, who worked with Chelsey at a tile company in Stillwater.
The Payne County Sheriff's Office and the OSBI followed up on dozens of leads in the missing person case that ultimately led to the arrest of Oswalt on a murder complaint. Investigators say he killed Chaffin in the early hours of May 26. At approximately 1 a.m. on May 27, Chaffin's body was dumped over a bridge into the Cimarron River.
Oswalt is a registered sex offender who spent 20 years in prison on a 60-year sentence for Rape in the First Degree. He was paroled in 2017.
The search continues today in hopes of recovering Chaffin's body and the investigation is ongoing.


Meet Evie. Evie came to us because no one else wanted to 'deal' with her. Evie is a very special little girl who has so much love to give, but she needs but needs a very specific home situation - you see, Evie hates men. Not just some men, all men. We can only assume she was treated very poorly in her questionable past so we do require she go to an all female home. Please call Colleen if interested 1914.469.1070 Evie is good with dogs (she loves to play), and likes to chase cats but wouldn't hurt them. She also loves kids, prefers girls but boys it takes her a while to warm up to them. Evie is beginning to feel like there is no home out there for her, but we know there is a very special someone that will be her best furever friend.


text:
Police Coast Guards Rule the Pool
TEXT: SOL E SOLOMON
Swimming powerhouses from SPF and SCDF made their marks at the third successful edition of the HomeTeamNS REAL®Swim. The REAL® Swim 2017 was one of the first swimming races to be held at the newly opened Our Tampines Hub Swimming Complex.
The race attracted over 300 Home Team NSmen, members, families and friends on 12 August. As part of the NS50 commemorative activities, which celebrate 50 years of National Service in Singapore, a new 50-lap category was introduced this year. While it surprised no one that the top awards went to the Police Coast Guard and Marine Command, AC Lee Chin Ek, Assistant General Secretary, HomeTeamNS, noted that Pro-Com finished strong this year by clinching the 2nd Runner-Up spot in the REAL® Swim Team Challenge. The Police Coast Guards were clearly dominant – Team 1 and Team 2 were awarded Champion and 3rd Runner-Up respectively.
Apart from the main swimming races, the event also saw fringe activities such as Aqua Zumba, Aqua Tabata, Stand-up Paddle Trials, and a Flippaball Challenge, in which everyone could participate and have fun together.
One participant, SSSGT (NS) Archer Wee, 40, raced in the morning and then went on to swim with his two daughters in the 20-lap Fun Swim. "The best thing about this event was that there was time for me to be competitive, and there was also time for me to just relax and spend time with my family.
I am so proud that my daughters and I managed to complete the fun swim together," he shared. For more information on HomeTeamNS healthy lifestyle events, log on to www.HomeTeamNS.sg.
Individual Veteran Category
Individual (NSMen) Category
Individual (NSF) Category
DAC (NS) Chan Soon Chee from Singapore Police Force Champion
CPL (NS) Syed Ilyas Aljunied from Singapore Civil Defence Force Champion
NSF NSI Tang Lingxi from Police Coast Guard
1st runner-up
ASP (NS) Chen Kuoh Sheung John from Singapore Police Force 1st runner-up
NSI (NS) Sufiyan Hadi Bin Armita from Singapore Polcie Coast Guard 1st runner-up
CPL (NS) Mekal Ziad El Heluo from Singapore Civil Defence Force
2nd runner-up
CPL (NS) Tan Zhen Wei from Singapore Police Force 2nd runner-up
SSG (NS) Teo Wei Yang Kenneth from Singapore Police Force 2nd runner-up
SGT (NS) Chu Bay Min Ben from Singapore Civil Defence Force
Saving lives as a volunteer with SCDF
The Sam Willows guitarist on music and NS


On the other hand, living according to the Spirit is another form of life found in Christ contrary to the flesh. It's a form of life that determines whether someone is a true Christian or not. They are both fundamentally different to each other in every aspect. One is centered upon pleasing self, whereas the other one is centered upon pleasing and glorifying God by denying self.
You cannot try to live a life in accordance with both at the same time. As a recap, living according to the flesh is to set your mind on the very things the flesh desires. And living according to the Spirit is to set your mind on the things the Spirit desires (Romans 8:5). The question is what does both the flesh and the Spirit desire?
The flesh desires things like sexual immorality, impurity, and debauchery; idolatry and witchcraft; hatred, discord, jealousy, fits of rage, selfish ambition, dissensions, factions, and envy; drunkenness, orgies, and the like (Galatians 5:19-21). In other words, these things are the fruit of the flesh. Conversely, the fruit of the Spirit is love, joy, peace, forbearance, kindness, goodness, faithfulness, gentleness and self-control (Galatians 5:22). These are the very things the Holy Spirit manifests in anyone who is in Christ.
Nevertheless, it's important to realize that one leads to death and the other one leads to life (Romans 8:13). The choices that people make in the present determine what will happen later. The direction that you take with your life determines your own destiny. If you're not saved, it's a clear indication that you're living your life in accordance with the flesh whether you realize it or not. However, if you're in Christ, it simply means that you're living in accordance with the Spirit.
Let's Use a Balance Scale Analogy in Order To Further Illustrate Both Lifestyles.
Let's say, for instance, you have a balance scale which is representative of your life in relation to the choices that you're making. In other words, the balance scale is symbolic of your own God-given free will. In a balance scale you have two sides, meaning that if either one of them has more loads, it will surely outweigh the other one.
Let's say that the right side represents what ought to be the good side of our being, and the left side represents the bad side. To proceed with that simple analogy, the Holy Spirit would actually dwell on the right side in order to empower us to live a life pleasing to God through our own human spirit in relation to the new nature we've been given in Christ (2 Corinthians 5:17).
The left side is actually where Satan dominates people's lives through the flesh by taking advantage of their sinfulness. Prior to being saved, it means that the left side had literally outweighed the right side since the Holy Spirit had not been there yet to provide self-control. And every sin we had ever committed was turned into heavy loads being placed on the left side.
The more we had continued to sin against God, the more and more loads that were being placed to the extent that Satan literally chained up the left side. Consequently, we had become more prone to do evil. God along with His Word had become repulsive to us. We had been programmed only to act upon our sinful desires. Thus, our minds had been hostile to God because we had no desire at all to submit ourselves to God's law (Romans 8:7).
As you reading this post, there are many who're currently living their lives in such horrible state of total depravity. We're currently living in a culture of mental illness. Critical issues that have extreme eternal implication are seen in complete reverse while they should have been given top priority.
Sinful lifestyles that people should have fled from at any cost due to God's impending eternal wrath are being embraced as normal. It's mind-numbing to even see how people are celebrating their own eternal condemnation.
Christ Reverses The Tide With His Own Death And Resurrection.
When we came to Christ, a mind-blowing transformation occurred. He took care of that colossal imbalance issue by paying off the massive debt that we owed with His own precious blood. He broke up the chains that had bound us by cutting off Satan's influence over our lives.
As a result, we were automatically transitioned from the kingdom of darkness to the Kingdom of light. He then sent the Holy Spirit to indwell us in order to preserve the victory He's given us on the world, Satan, sin, and the flesh. In that case, it's easy for us to see from this illustration above, there's a complete reversal that initially took place during the moment of salvation.
Since the Holy Spirit dwells on the right side of the balance scale's analogy being used, that particular side has come to outweigh the left one. It means that there's a change of attitude that must be taken place.
Even if we're still struggling with the impulses of the flesh, but the Holy Spirit is infinitely more powerful than the impulses of the flesh. Our minds are to be set on the things the Spirit of God desires in order to counterbalance the impulses of the flesh. Unlike Satan, the Holy Spirit respects our free will and will not impose on it. Therefore, it's left up to us to choose whether we want Him to control every aspect of our lives.
Living in accordance with the Spirit means being willing to put to death the misdeeds of the flesh (Romans 8:13). That's to say we have to stop following the sinful desires of the flesh. Doing that isn't about following a simple magic formula. This can only happen by allowing the Holy Spirit to carry out what He was sent to accomplish in our lives by submitting ourselves to the authority of the Word of God through which He operates.
Living according to the flesh is to be shortsighted, selfish, deceived, desperately wicked, and blinded by the impulsive desires of the flesh and Satan. Living in accordance with the Spirit is to look up to God by coming out of our human ways in order to let Him transform us into the person that He wants us to be by His own Spirit.


Kumar Tumuluru | Dodi Iriyanto.
Kumar Tumuluru Photography is an elegant and minimalist photography website. This website is powered by WordPress which provides tons of options to manage and modify any aspect of the theme.


This is the second podcast with Gabriela, this time we will focus 100% on the writing.
Her questions are below in italics, followed by a summary of my answer.
Can I use two examples of studies, I mean one for each body paragraph, or is it better to use only one, and for the other example just talk about a tendency in general?
Using two examples is ok, but make sure you use a different grammatical structure for each one.
-1- For example, a recent study by the UK government showed that three out of four males under 35 preferred to work as an independent contractor.
-2- Take for instance recent statistical data collected by academic experts at Oxford university, their data clearly shows a direct correlation between crime and income.
-2- Take for example, a recent report by the charity Oxfam showed that five out of ten students preferred to work in the library than at home.
The second example uses pretty much the same vocabulary and grammar in both sentences, this makes it difficult for the examiner to award points.
For those questions "Agree or disagree", can I agree to some extent?
Yes, you can, but it can make it harder to write and possibly more difficult to read. I would recommend this route if you are very confident about with your writing. It should not be forgotten that writing a discursive essay is not essential to score a Band 7 but a clear coherent essay is.
In your course, you correct 8 essays, is it enough? For my last test, I was writing 2 essays daily?
Each student is different, if they want the guarantee of "Jump to a Band 7 or it's Free", and they are at 6.5 already, then from experience 8 essays is usually enough. However, they must be completing them quickly, not 2 essays in January and the next two in October. If the student is working well then the whole writing course can be completed in 10 days.
It is ok, but you would be better to transform the generic words into more specialist vocabulary that will score more points.
In the interview, I made a small mistake at this point, but anyway, yes I do think so, especially if you are taking the General test.
Having gotten 6,5 all this time, how long would it take to get 7? I'm thinking about taking the next test on June, 4th.


The purpose of this project was to analyze the ordering policies for a distribution system. The company has one central distribution center and nineteen branch warehouses spread throughout the country. Each branch warehouse can order product lines either through the local Distribution Center or directly from the vendor. The problem is that the current order policies are ineffective, and it was hypothesized that changes to these policies could result in a significant improvement over the current operations. Therefore, the distribution system was analyzed using an Arena computer simulation model that was developed previously. This project focused on comparing the current ordering policies for the product lines to the optimal policies as determined by the simulation model. Before the simulation runs could be completed, eleven input files needed to be created for each vendor. This process was completed using Visual Basic macros to ease future input file generation. These macros search and compute data from the spreadsheets provided by the company. The results of the analysis show that in general, the company should order more products through the vendor than they currently plan. Changing the ordering policies for all 25 of the studied vendors could potentially yield a profit increase of $629,500 over a nine month steady-state period.
Forney, Elizabeth A., "Distribution supply chain optimization." (2007). Electronic Theses and Dissertations. Paper 450.


text:
Home » sport » Top stars for Lakshya Cup
Top stars for Lakshya Cup
12/23/2021 Comments Off on Top stars for Lakshya Cup
Unique mixed-gender tournament
Some of the top air rifle shooters in the country will vie for honours in the 12th edition of the RR Lakshya Cup, a unique mixed-gender tournament, in Panvel, Navi Mumbai on Friday and Saturday.
Leading the field will be Aishwary Pratap Singh Tomar, who was a member of the Indian contingent in Tokyo and is the reigning junior world champion. He will be hoping to take home the senior winner's cheque worth ₹1 lakh.
The tournament, being revived after the pandemic-forced cancellation of last year's event, is the brainchild of Suma Shirur, the Olympian shooter-turned-coach. According to Shirur, the event will offer all shooters the rare chance to showcase skills without the pressure of having to vie for National selection.
"Ever since the pandemic set in, domestic shooters have been competing only in selection trials or National championships," Shirur said at a media interaction on Thursday. "So, I am glad we are hosting the event wherein shooters can perform in the best of conditions to gain an upper hand against some of their competitors."
The Lakshya Shooting Club, Shirur's academy, invites the top 20 shooters among juniors and seniors for the tournament. Shirur feels the mixed-gender event adds a special touch to the event, which has been a regular feature at the year-end for a decade now. "Usually the girls are more keen to outshine the boys, so that's always something to look forward to," Shirur said.
"Sensing that gender parity would be pushed down the line, I thought of initiating the open event when we started the Lakshya Cup," Shirur said. "I am glad that not only do the top shooters look forward to the event but the tournament has also established itself as an exposure event for promising shooters."
Legends League | Akhtar and Jayasuriya for Asia Lions
Water level in KRP Dam rises close to full capacity


Many different theories exist regarding the best time to switch your baby to solid foods. Some experts agree that you should let your baby dictate when he or she is ready for solid foods, while others think it's best to stick to a strict schedule. Different studies back up the reasoning behind each theory, so you should do your research and determine which you like best based on your own personal preference. Once you've decided when to give your baby solid foods, you'll still face challenges at the dinner table. Some mothers report that their baby tends to gag on whatever food they try to feed him. Gagging is obviously scary for a new mom because it seems as though the baby is choking. Gagging is a natural response in all humans. When something touches the back of our throat, our body instinctively pushes it back out so we don't choke. Babies have that same reflex, but they are not yet used to it and there is no way of telling when it might present itself.
If your baby is having trouble eating because his gag reflex is sensitive, you might have switched to solid foods too early. The gagging is caused by the sensation of food at the back of the throat, which you can imagine is pretty shocking for a baby who has never eaten solid foods. If you try feeding him or her solids for a week without success, that's a good indication that you should stick with formula for a little while longer. If you know it's time, try making sure your baby is relaxed and comfortable before eating. That way, the reflex might be quieted enough for your baby to realize that eating is not a dangerous activity. There are also certain dietary changes you can make if your baby has a gagging issue, so you should speak with your doctor about pureed foods and other items that will make the switch to solid foods smoother.
If your baby gags while he or she is eating, you'll probably be worried. As long as you know he or she is not choking though, gagging is not something you should worry about. Only if it interferes with your baby's eating should you have a pediatrician look into the problem. Otherwise, the solution is just a matter of giving your baby time to get used to solids.


Bottega Veneta intrecciato woven leather shoulder bag. Leather top handles with chain insets, 12. 5" drop. Flap top with snap closure. Inside, suede lining and zip pocket. Divided interior creates two open pockets. 6. 5"H x 10. 5"W x 4"D. Bag weighs approx. 2lbs. Made in Italy.


Congratulations to our Year 5/6 Netball Team who finished in second place, winning the silver medal at the Inter schools tournament at Holmes Chapel Comprehensive School.
The tournament consisted of a series of matches between six teams held on three separate afternoons. We won eight matches, drew one and lost three.
We would like to thank all members of the team for their effort and commitment.
Chelford Y5/6 Netball Squad — Georgie Saunders, Ella Egerton, Rachel Smith, Isabel Badger, Jacob Turner, Jake Bessant, Natasha Shepley, Lucy Thorp, Adam Cunningham and Todd Shemilt.