Two fun activities in one great day! Enjoy horseback riding on a beautiful white sand beach in the Riviera Maya, where the clear blue water is lapping at your horse's feet. You can gallop with your horse, or even take the horse swimming with you! Photos of you in the water with your horse are available.
That's not all - you'll also enjoy 40 minutes of riding a wave runner in that blue water - jump waves, feel the spray hit your face and you blaze at speeds of up to 70 mph. Horseback riding and wave runners - all in one fun day in the sun!
Private Transportation from Hotel: Private transportation is available for $99.00 (up to 10 people for this price - total cost, not per person). This would include pick-up and drop-off at your hotel. If you would like private transportation, please write it in the special instructions when booking.
Bring: Biodegradable Sunblock (SPF 30+), swimwear, camera, sunglasses and a hat.


This is one of those apps that every single hot air balloonist should have. If you saw Mark West talk about outflow at the BFA safety seminar and you would like to see those outflows before you are in one. This is a must have addition to your current arsenal.
Guidance is a forecast written by the meteorologist at that location. RUC soundings are forecast of the atmosphere up to 45,000 feet.
Flight service. You've probably called these guys before most of your flights. Now you can look at it online instead. Power to the people.
Best Sparker Ever...Yup. Wind Proof.


text:
Irish Catholic magazine and monthly asylum for neglected biography: plates from 1807-1815 Public Deposited
Irish Catholic magazine and monthly asylum for neglected biography: plates from 1807-1815
Is there anything remaining to be said about the 1798 Rebellion, and its impact on Irish political culture? In the years surrounding the bicentennial commemorations in 1998, a wave of new publications appeared at both national and local levels. These added considerably to our understanding of the rising, its background and its enduring importance in Irish collective memory. Many nuggets were uncovered. But by general admission, the bicentennial moment was more important in generating new questions that demanded further research, than in resolving older controversies. One rich, varied, but notorious publication that appeared in the post-rebellion years has remained somewhat neglected by historians. This is the Irish Magazine (IM), the most successful monthly periodical of the early decades of the nineteenth century. It was edited and published from 1807 to 1815 by the infamous and elusive Walter or 'Watty' Cox (ca. 1770-1837). Historians and picture researchers looking for demotic images of revolutionary violence have indeed made use of some of the prints that appeared in the IM, but the full gallery of plates has never been examined systematically, or indeed recognized for the remarkable source that it is. There are 94 prints in all: usually one accompanied each issue of the magazine. Apart from a few recurring images they have been overlooked in modern work, yet taken together they provide compelling visual evidence of the IM's role in shaping and representing anti-establishment and specifically Catholic opinion during this period. Some of the prints were only rough wood-cuts, but others displayed impressive workmanship, and the vast majority took the form of satirical cartoons of a kind never previously published in Ireland. Watty [Walter] Cox was the owner and editor of, and at times probably chief contributor to, the Irish Magazine. Most issues contained an eclectic mix of political and social comment, natural history and science, cultural reflection and biography, and articles ranged from mathematics and the topographical descriptions of Irish landscapes to Gaelic poetry and travel narrative. However most essays and features were largely satirical in tone, at times captivatingly so, and often highly scurrilous. That said, its bitter anti-establishment editorial position was regularly articulated with shrill and erratic incoherence. The crudity and rawness of much of the writing is perhaps one reason why scholars have paid the IM so little close attention. Cox's dubious personal history has not helped either: though his name is associated with extreme radicalism from the mid-1790s it is uncertain whether he ever became a sworn member of the Society of United Irishmen. Having trained as a gunsmith, he may have first approached the revolutionary movement in that capacity, but it was as a printer of subversive materials that he came to the notice of the authorities. When the inflammatory pro-United Irish newspaper, the Union Star, appeared in 1797 (published without the Society's approval), Dublin Castle offered a reward of £700 for information leading to the arrest of its author and publisher. Cox supposedly presented himself to the authorities as a potential informant, successfully negotiated his exile to America, and only then identified himself as the actual culprit. Upon his return from America, he seems to have continued to inform on the disaffected – or at least to pretend to be so doing - and it was this ambiguous and wily character that launched the IM in 1807, printing it at his premises at 150 Abbey Street. By an ironic twist of fate, a generation later the far more respectable Nation was published nearby, and much later again the Irish Independent set down its roots there. Ninety-seven issues of Cox's Magazine were produced, and in all but four issues (September, November and December 1809, and January 1810) an individual engraving accompanied the opening article. This was indeed common practice for magazines of the period. However in subject matter Cox's illustrations differed from normal conventions. Only three of the IM's 94 prints depicted antiquarian views, and less than ten were historical scenes or portraits, subjects which would have accounted for a large proportion of the engravings in any other contemporary magazine. Admittedly from the late 1770s, and particularly in the late 1790s, the commercially popular Walker's Hibernian Magazine (1771-1812) included political cartoons, but its editors refrained from the type of slanderous lampooning pioneered by Cox. Anthologia Hibernica (1793-95) included prints of a technically very high quality, but these focused on Irish subjects of topographical, historical or archaeological interest, part of its mission to celebrate Irish cultural achievement. During the first two years of publication (1807-9), many of the IM's prints were dignified portraits of prominent Irish Catholics, itself a relatively uncommon choice for this genre of publication. The IM's subtitle was indeed the Monthly asylum for neglected biography, so its early range of illustrations was fulfilling its commitment in that regard. Oddly, only once – in the January 1808 issue - was the title altered to Irish Catholic Magazine to reflect this interest. However, also portrayed in early issues were four leading Protestant United Irishmen (see plates 9, 11, 12 and 14). These were of course already immensely popular figures of heroic stature, in no way identified with Protestant politics or with the establishment. However the high proportion of political lampoons published in the IM from 1810 onwards were different in character, and their often graphic depictions of brutal incidents believed to have occurred during the 1798 Rebellion could not but have provoked the authorities. Following the publication of an incoherent and ranting article entitled 'The Painter Cut. A Vision' (July 1810, pp 293-295), Cox was convicted for libel. The piece had named prominent members of the post-Union Protestant political élite, both liberals and ultra-loyalists such as Sir Jonah Barrington, Claudius Beresford, Major Henry Charles Sirr (Dublin's police chief) and John Giffard, the leading city Orangeman of the day. Among Cox's legal team was the young counsel Daniel O'Connell, but despite such support he was found guilty and sentenced to imprisonment. Cox boldly publicized his plight in the amusing cartoon accompanying the April 1811 issue. It depicted the bewildered but defiant editor of the magazine in the pillory outside what is today Dublin City Hall (plate 38). He certainly achieved notoriety by continuing to publish after his conviction and confinement in Newgate gaol, and was assisted in this by Thomas Finn (although the extent of the latter's editorial involvement is unclear). The popular appeal of the IM was boosted by numerous lampoons of Major Sirr, and with a reported circulation of around 5,000 at this time its success surpassed all its Irish contemporaries. A marker of this success was that it seems to have reached a non-traditional readership, namely the poor and illiterate who were able to access it through public readings and by viewing its evocative images. Cox was released in 1814, and in the following year he ended publication of the IM, having accepted a government pension that was contingent on his immediate departure for America. It has not been possible to determine the identity of the artists or engravers retained by Cox, although according to specialist print scholars this is not unusual for the period. Attributions of some engravings to 'Brocas' throughout the literature are not borne out by any internal evidence; William Brocas sr. was the most prominent artist of the family, but several of his sons were also successful artists and teachers, but which if any were involved remains unclear. Clearly the artists drew inspiration from leading names of the genre such as Isaac Cruikshank, the inimitable James Gilray and the groundbreaking Goya. Given the controversial nature of the majority of the prints in the magazine, it is perhaps not surprising that they are unsigned. Other successful monthlies that included illustrations, such as Walker's Hibernian Magazine (1771-1812), Anthologia Hibernica (1793-5), Moore's Dublin Magazine (1799-1801) and the Cyclopaedian Magazine (1807-9), provided considerably more information on their artists, but the subjects of their prints were largely uncontroversial. It is clear that although Cox was held in disrepute in many quarters as a result of his associations in the 1790s he was successful in attracting competent artists for the magazine, men who ran considerable risks in becoming associated with him. In November 1808 the editorial expressed indignation that 'some of our Enemies have succeeded in an unfair collusion with the Engraver' to prevent the publication of the planned portrait of Robert Emmet. The 'missing' portrait (a bizarre echo of the young hero's missing grave) was eventually published in February 1809, but the inference that pressure had been exerted on the engraver is noteworthy. In June 1809 the allegorical image Three Jacks at the Hunt of Erin (plate 16) appeared and it heralded the bitter venom that was to follow. Attacking the Anglo-Irish troika who had controlled Dublin Castle before 1798 was a predictable theme, but this image was an usually sharp visual statement of contempt for the political establishment. There followed three of the most controversial political plates in the IM's history, published between January and April 1810 (plates 23, 24 and 26), yet despite their appearance Cox was allowed to continue with his enterprise. They depicted state-sanctioned displays of extreme violence by the military during the rebellion with singular starkness, practices which had fostered terror throughout the population. These included half-hangings, pitch-capping and flogging. Of all the IM images, these alone are well-known and have been widely used to illustrate histories of 1798. Astonishingly, Claudius Beresford was still alive when plate 26 was published in the April 1810 issue. The malicious pleasure attributed to him as he flogged his victim for information was powerfully captured by the artist. Yet 'Watty' and his magazine still avoided direct government attention.There followed an odd combination of mischievous and whimsical satires, many lampooning Major Sirr, the Methodists and the Protestant crusade in Ireland generally, as well as various movers and shakers of Dublin civic life. The cartoons depicting disturbances and outrages committed by a yeomanry corps heavily infiltrated by the Orange Order must be seen as a unique form of photo-reportage, informing on contemporary events rather than those relating to 1798. Though these incidents of sectarian tension were widely reported in the contemporary press they have not been the subject of modern scrutiny. Possibly because of the risks involved in accepting commissions from Cox, other less accomplished artists feature more and more, and this may account for the rushed style of some of the later political prints. But despite their somewhat unsophisticated execution the prints never fail to engage the reader. Not only do these cartoons predate by several decades the very famous prints by George Cruikshank which contributed to the success of Maxwell's History of the Irish rebellion (published in 1845), they are unique in that they reverse the subject of loyalist caricatures. They are wholly sympathetic to Catholics and to the unarmed country people of Ireland who had been the victims of outrages, the very class later depicted with simian or porcine features in English cartoons. In the IM plates it is the slovenly soldiers representing the state who appear as ghoulish or half-witted villains. There were few public voices of political protest in the seemingly uneventful years between the Act of Union of 1801 and the emergence of the Catholic Association two decades later. But however controversial a character 'Watty' Cox may have been, he succeeded in publishing the largest circulation monthly periodical of the early nineteenth century and in attracting skilled artists and engravers who, beyond professional considerations, must have been committed to freedom of expression.Given the increasing interest in visual culture and in the pictorial representation of national identity, it is timely that the Irish Magazine prints can now become more widely known in all their raw extravagance. Sylvie Kleinman, Johanna Archbold, David Dickson.(Notes accompanying prints compiled by Sylvie Kleinman; the list of library holdings is not exhaustive, and only includes Dublin-based institutions). This phase of the project would not have been possible without the generous assistance of Anne Hodge, Curator of Prints and Drawings, and Adrian Le Harivel at the National Gallery of Ireland, We also wish to thank Tom Bartlett, Charles Benson, Fintan Cullen, David Dickson, John Gibney, Peter Harbison, Jacqueline Hill, Máire Kennedy, James Kelly, Dáire Keogh, Anthony Malcomson, Bill McCormack, James MacGuire, James Quinn, Brendan Rooney, Patrick Walsh, Kevin Whelan, Christopher Woods.
Publisher location
Walter Cox
end -12-1815
start -01-1807
Catholics--Ireland--History--19th century
Psychologically abused women
Ireland--History--Rebellion of 1798
Ireland--Periodicals
Great Britain. Army. Yeomanry Corps of Ireland
Milatary officers
Flagellation--Pictorial works
prints (visual works)
V.k.69-76
Early Printed Books, Trinity College Library, Dublin
Cox, Walter, 1770-1837, Publisher
DCAT0120744
CoxPlate_38
Trinity College (Dublin, Ireland). Dept. of Modern History
This object has no parent works or subseries.
Irish Catholic magazine. Plates for 1807 V.k.69-76 Public

redpajama_set_name: RedPajamaCommonCrawl


You don't have to travel far to allow nature to bring a little more light into your day.
I used to be the ultimate city girl: I didn't like to hike or camp; I would shriek and run at the sight of a worm (okay, maybe this one is still true); and I never had what you would call a fulfilling relationship with Mother Nature.
But gradually, my yoga practice changed all that. Yoga made me much more aware of the deepest needs of my body. These needs had always been there, of course, but learning to listen to my body on the mat—while cultivating my ability to discern and address my spiritual needs off the mat—helped me start to finally recognize them. One need in particular called out rather insistently: my body's longing for nature, for a place of refuge from the chaos outside so I could access the clarity inside. Something in me, for the first time, craved the outdoors.
Noticing a flower was no longer simply nice; it became a doorway into stillness. Breathing in rich and pure mountain air wasn't just enjoyable; it strengthened me physically and emotionally.
And so I responded. Slowly I began to awaken to the powerful spiritual practice of appreciating nature's beauty. Noticing a flower was no longer simply nice; it became a doorway into stillness. Breathing in rich and pure mountain air wasn't just enjoyable; it actually strengthened me physically and emotionally. I could sink my bare toes into the earth and feel energized. Little things I had taken for granted—or neglected to notice at all—became my personal expression of a yogic journey.
You aren't separate from nature; you're part of it. That's why it can make you feel so sublimely at home.
Each songbird's chirp, majestic tree, or funny-shaped cloud provides an opportunity to stop, stay still, listen deeply and watch intently. By giving thanks for these small daily gifts, you open yourself up to more of what nature has to offer.
On a regular basis connect with what's natural. Take a mindful stroll around your favorite park, sink your bare feet into fresh soil, or spend the afternoon swimming in a pond or lake.
That rejuvenation you feel after a weekend trip to a national park? That's your body rejoicing. Does gardening in your backyard leaves you a little more refreshed and grounded? Then perhaps tending the soil is, on some level, your body's way of healing itself. Its intelligence always knows what serves your being best, and those impulses you get—to go hiking, surfing, gardening, or bird watching—are manifestations of that inherent wisdom.
Our yoga practice strives "to yoke" and unify, and learning to feel our inherent oneness with nature is an accessible and immensely pleasurable place to start.


What are the differences in rates between economic, gender, age and ethnic groups?
Are there specific factors that are influencing these differences?
This will help actuaries to understand these varying rates and what are the main causes impacting specific segments of the population.
"Issues of Drug and Alcohol Abuse." 31 October 2012. Web. 24 April 2019. <https://www.essaytown.com/subjects/paper/issues-drug-alcohol-abuse/4470892>.
"Issues of Drug and Alcohol Abuse." Essaytown.com. October 31, 2012. Accessed April 24, 2019.


text:
Q: EJB Stateful bean doesn't have previous state I Have a rest app created with Jersey framework I'm trying to inject Stateful bean into my rest controller, but this bean always is created again. I'v tested this by passing test data into this bean after printing past data, but sout always printing null.
@Stateful
public class TestService {
   private String test;

   public String getTest() {
        return test;
    }

    public void setTest(String test) {
        this.test = test;
    }
}

@Path("/testController")
public class TestController {

    @EJB
    private TestService testService;

    @Path("/getTest/")
    @GET
    @Produces(MediaType.APPLICATION_JSON)
    public Response getPage(@QueryParam("TEST")String test) {

        System.out.println(testService.getTest());
        testService.setTest(test);

    }
}

A: REST stands for Representational State Transfer. The "S" stands for State not "Stateless".
State Transfer: because REST Services are meant to tranfer the state of entities from client to server or vice versa.
Nevertheless REST Components have a stateless nature.
They are not bound to a specific client. BUT Stateful Session Beans are bound to a specific client. A stateful instance can for example be destroyed if the bound client stays inactive for an amount of time.
you try to inject a stateful session bean in a stateless component. This is not possible or at least not consisent at all.
A use case for the practice when you are using CDI (best issue):

*

*Inject your Stateful Session Bean in a @SessionScoped CDI Bean.

*Do not forget to setup CDI correctly: simplest way is to create the \WEB-INF\beans.xml file and set bean-discovery-mode="all".

Another use case when you are not using CDI:

*

*Make a JNDI Lookup for the Stateful Session Bean and save the return (proxy) as a HttpSession-Attribute

redpajama_set_name: RedPajamaStackExchange


In this post, we will look at Fake News in Nigeria. Here you will see what fake news is all about, its causes, effects on national development and possible solutions.
Information that involves a motive to deceive?
The deliberate spreading of true and false stories to confuse the public?
Or just about any well-researched truth that dares go against the rich and powerful?
Which of these definitions makes sense to you?
In my opinion, the phrase itself is…..
A mess of conflicting meanings.
But why is fake news so easy to believe?
Why do Nigerians believe it all the time?
What can be done to limit or stop the spread of fake news in Nigeria?
Fake news -Donald Trump's favorite words.
Fake news –The most used words of politicians who can't stand the truth.
Fake news in Nigeria –more dangerous than any sane person would expect.
Modern technology (and maybe psychology) have created a perfect storm for super-super fake news to be perpetuated with extreme ease.
In the blink of an eye, and with the click of a button; you can retweet misleading information to 20,000 Nigerians–the results of which could spark heated controversy and needless….
Let me tell you a story that in my opinion, was the most talked about subject in Nigeria before the 2019 general elections.
That story was so manipulative, so profitable –bloggers and vloggers must have made a fortune sharing links and backlinks on articles and updates about the said controversy.
That's the only thing they (98% of them) care about anyway –outrageous sums of money, not truth.
For the social media influencer or blogger who relies on clicks for a living, sharing links with sensational headlines on trending news can be very tempting…..
Do you remember the Jubril Aminu –President Buhari story?
If that story was a book, it would have become an instant bestseller.
–Nnamdi Kanu speaking to IPOB supporters.
Can't you just see the average Nigerian nodding in interested agreement?
Not the most compelling of replies, but you don't need a PHD in common sense to see the logic in his statement at that press conference in Abuja.
The more emotional impact fake news has on its target audience…. The more difficult it is to…..
Of course, at the end of the day, any fool can believe fake news specifically designed as a tool for mass control of the masses, but it takes a very skeptical mind to see through the lies and apparent lack of evidence.
But I don't want you to get me wrong, more often than not, the real truth can be waved off as fake news if it seeks to expose shady dealings that could turn the people against very powerful figures, and even the government.
And usually, it's easier for the federal government or the guilty billionaire to turn the table against the incorruptible journalist just trying to do his job.
The shift from paper to digital media.
The high demand for entertainment-fueled news.
It is almost impossible to impose strict penalties on perpetrators of fake news.
A desire for mass control.
You know, it is far easier for people to believe a fake story that supports their suspicions than it is for them to believe a truth that debunks deep-seated beliefs.
And what are the effects of fake news in Nigeria?
The alarming speed at which all of this happens.
Fake news is frequently shared on social media, making it difficult to separate the truth from lies.
Increasing distrust and hatred for the mainstream media.
If you say that the president is dead, and has been cloned, you had better be able to provide verifiable proof, because if you can't, you deserve to have a legal experience so horrible, you'll….
Spend the rest of your days having nightmares!
Personally, I think it's almost impossible to bring all perpetrators of fake news in Nigeria to book, but on the few occasions when the source is physically traceable, the offenders should be made to regret their actions.
Also, I believe technological innovation makes it possible to track the source and location from whence the fake news originated.
But I also believe the government will abuse it –they'll probably start hunting down all political rivals in the name of tackling fake news and fighting corruption.
Do your own unbiased research (not because you want to discredit a truth you don't like, but because you want to be sure you've not be manipulated into believing a lie).
I'm sure you have a few ideas.
Sharing those ideas with your friends on social media?
The dangers of fake news are as real as hot urine that flows from your organ.
And we both know I'm not asking for your blood and sweat.
All I'm saying is, just do the little you can to make sure it doesn't get worse.
Andy Mukolo is one of the best direct-response copywriters in Nigeria. He's also a very passionate content developer who works with InfoGuideNigeria.com. InfoGuide Nigeria is a team of Resource Persons and Consultants led by Ifiokobong Ibanga. Page maintained by Ifiokobong Ibanga. If you need a personal assistance on this topic, kindly contact us.
MTN CarFi Price and Features and Benefits; Turn your car to a High Speed Internet Hotspot!!


The Novotel Paris 17 is a 4-star hotel located at the edge of the 17th arrondissement, by the Champs Elysées and the Palais des Congrès. The hotel, with free wifi, is composed of a 140 rooms, a restaurant, a contemporary cosy bar, a fitness room, a parking lot as well as 8 meeting rooms. Easily accessible by the Périphérique, by metro (Pereire line 13) and by bus (PC3). The spacious superior room adapts to all of your needs. Recently renovated, the 140 rooms are equipped with a flat screen TV, air conditionning, a mini bar and free WiFi. Private parking is offered to Dayuse clients.


There is a lot of effort involved in making two passes in two directions so as to remove the vegetation that has built up on an old lawn and you may wish for the lawn care company to perform this these mowing tasks for you at additional expense.
The area will then be scarified hard and the debris cleared. It will be aerated with solid tines to a depth of at least 100mm and then again with over seeding tines and finally over seeded with new grass seed, fertilised with a slow release fertiliser and top dressed with a desirable top dressing material.
After about three or so weeks, the new seed will germinate and the new lawn will soon develop. It should then be fertilised again three months later and thereafter. The minimum clear run access required to move a professional mechanical equipment into a rear garden is 30cm so consideration should be given to chimney breasts, guttering down pipes, and out buildings that might obstruct access and brick walls and terraces allowing ease of access onto the lawn area.


text:
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redpajama_set_name: RedPajamaGithub


Bio page for Bailey at Chroma Salon in Queen Anne. Chroma Salon is an Aveda concept salon.
Bailey graduated in 2014 from the Gary Manuel Aveda Institute in Seattle, WA. She then moved to Idaho and completed the required hours at the Aveda Institute Twin Falls. Bailey spent the next three years as a stylist in an Aveda salon in Boise, ID. She has continued her advanced education with local artists as well as Aveda global artists.
Bailey is passionate about all blondes, balayages, and big color changes. She loves pairing a new color with a fresh cut, making them work in synchrony. Bailey thinks the integrity of your hair is most important and loves educating her guests on how to keep their hair happy and healthy.
Outside of the salon Bailey enjoys spending time with her friends and her pup, Daisy. She also enjoys going to concerts and learning about astrology.
Favorite Aveda Product: Damage Remedy Daily Hair Repair, aka Magic in a Bottle! It instantly repairs hair and continues protecting hair from further damage.


Young, bold, and ready to take your wardrobe up a notch, let me introduce you to a designer whose name you will hear again: Anna Kocsis. A recent graduate from Moholy-Nagy University of Art and Design Budapest (MOME) with a degree in Textile and Knitwear, she is ready to make the fashion world turn its head.
Kocsis' most recent designs playfully mix your favorite neutrals with fringe, a perfect combination for fall. Featuring her latest line, Diploma 2010 in a recent photo shoot for The Foundation, a small international group of fashion photographers who collaborate together in Budapest, her fierce yet focused silhouettes are draped with luxurious fringe accessories pieces. Whether it's a fringe scarf over a classic sheath dress or fringe overlay layered over a body suit, she continually shows how to mix and match timeless pieces with the more whimsical for an unexpected twist. Adorning her model with an eccentric head piece and a fresh yet subdued makeup look, the long fringe drapes over the head piece to further highlight how versatile it really is.
While her looks may seem more curtore than your everyday ready to wear, I love that you can see Kocsis's personality and vision in her line. Focused yet fun, she is not afraid to play with shape or texture which is refreshing amidst all the cookie cutter fashion we see day to day. As our technological savvy continues to strengthen and we have more ways to contact each other instantly, regardless of location, Kocsis is a prime example of how international fashion is able to inspire us all.


The Great Migrations – Zebra 1 oz Silver Coin begins this incredible new coin collection from New Zealand Mint. This exciting collection celebrates one of nature's impressive wonders, when millions of animals start their great annual migration, covering vast distances in search of food, mating partners or shelter.
The coin reverse shows an engraved illustration of a zeal of migrating zebras, against a backdrop of their Serengeti habitat. A few zebras are highlighted in colour. This stunning coin comes in a compact printed rectangular coin case, which incorporates an impressive, printed scene of this great migration. The uniquely numbered Certificate of Authenticity is presented in the packaging.
With a worldwide limited mintage of only 3,000 coins, this would make a special gift for animal enthusiasts and coin collectors. Begin your Great Migrations coin collection today! Available online now from New Zealand Mint.
One of nature's most impressive wonders is displayed each year, when millions of animals start their great annual migration, covering vast distances in search of food, mating partners or shelter.
The great Serengeti migration is the annual movement of vast numbers of zebra and wildebeest. The timing of the migration is dependent on rainfall and the purpose is to seek fresh grazing plains and water.
Each year around 1.5 million wildebeest and 300,000 zebra start their long, clockwise journey from Tanzania's Serengeti Plains to Kenya's Masai Mara National Reserve. This difficult journey, that covers the vast distance of around 2,900 km (1800 miles), brings with it severe dangers, and many animals are lost along the way.


The second and final concert of the year for Camerata Academica of the Antipodes, a vibrant performance of Corelli, Purcell, Bach, Nachez, Gilbert and Sullivan, and more, harked back in the best of ways to its inaugural performance (held just four months earlier in August 2014). The enthusiasm and flair of the performers, the wide variety of musical styles and flavours presented, and the genuinely welcoming atmosphere created by the musicians and their guest artists were all present once more in full force, and will no doubt be hallmarks of this exciting ensemble's performances in the years to come.
The programme spanned six centuries of music, with an emphasis on the Baroque. Both the items selected and their performance were, as the concert programme noted, thematically linked by the concept of inventiveness on the part of master-musicians, and the dynamic interplay between scholarship and musical creation. The timeless role master musicians have often played in re-inventing or revitalising music inherited or acquired from other times and places for a new audience was also a central touchstone, whether in the form of Geminiani's 'La Folia' Concerto Grosso No. 12 (after Corelli's 'La Folia' variatios) and Mendelssohn's baroque-influenced Sinfonia No.4 in C minor, or in the arrangements of carols, and a new setting of Lewis Carroll's Beautiful Soup premiered at this concert. Director Dr. Imogen Coward brought a synthesis of scholarship and musical ability to the performance, with this orchestra of multi-instrumentalists-vocalists accordingly delivering, as they did at the inaugural concert, a distinctive sound and artistry.
Dr. Coward kicked off proceedings by asking the audience to relax, and (with a nod to the performing traditions of earlier eras) applaud whenever they felt moved to, setting a comfortable tone for the evening. A surprise performance of Good King Wenscelas by a group of young violinists and pianists followed. Charmingly on point, their surprise appearance was also in keeping with the Camerata's continued support for the Australian Children's Music Foundation.
The ensemble then took over the stage, opening with a spirited performance of Corelli's 'Christmas' Concerto Op.6 No.8, with dual pairs of soloists (Christopher Porteous/Taliésin Coward, and Kathryn Hall/Laura Chung) taking the movements in turn. Selections from Purcell's Abdelazar followed, with each featuring excellent balance across all parts. Geminiani's 'La Folia', introduced to the audience as the 'cello killer' for its fiendishly difficult violoncello part, came next. Dr. Coward – who neglected to mention that this work could also be considered a 'violin killer' – was nothing less than a master at play as the solo first violin, together with the solo second violin Taliésin Coward and solo cellist Jemma Thrussell, who all delivered with effortless flair. Thrussell performed impressively, executing dazzling and (as promised) difficult passages with panache. Added to this was the delight that shone through in her playing, not only in this work, but also in her performance of the slow movement from Porpora's Cello Concerto in G, which highlighted her constant superb tone quality.
Popular songs 'Glee' (performed in a new arrangement for strings only) and 'Alone, and Yet Alive!' from Gilbert and Sullivan's The Mikado, were thoroughly moving, with guest artist mezzo-soprano Catherine Bulfin giving us a sympathetic rendition of Katisha's famed aria. As in the Camerata's recent inaugural concert, stage lighting was used to great effect, with the shifting colours subtly underscoring musical and lyrical changes.
Two of Leon Coward's compositions followed, with Leon himself performing each. The premiere of Beautiful Soup, inspired by a poem of the same name from Lewis Carroll's Alice's Adventures in Wonderland, was envisaged as being the Mock Turtle's lament, and was charming in its ethereal beauty. The delicate sounds Leon brought forth from the piano, together with the orchestra in this purely instrumental work, intertwined with the memory of the words of the poem, which, having been read aloud just before the piece began, still hung in the air. As one audience member commented, it felt so logical, as though it was 'always meant to exist.' Nocturne, performed at the Camerata's previous concert, seemed even more appropriate and beautiful on this dark and stormy night, with the rain and lightning only enhancing the atmosphere created by Coward's Chopin-esque composition.
The Filipino Chaplaincy Chatswood Parish (FCCP) Vocal Ensemble's performances of the French Noel Nouvelet (with soloists Dr Imogen Coward and associate guest artist Tania Polhill) and Bach's Jesu, Joy of Man's Desiring were honest, enjoyable and impressive. The traditional French carol was arranged by Dr Coward for two sopranos, choir and orchestra, with haunting renaissance-inspired harmonies introduced gradually and the carol finishing on a full, rounded tone. Bach's cantata was all the more impressive for the fact that it was the FCCP Vocal Ensemble's first foray into this music, sung in German. The quality, fullness, and range of sound was, in both instances, a pleasure to hear and appreciate.
Handel's Water Music Suite No.3, which also featured in the inaugural Camerata concert, was included in the programme by popular audience demand. It was executed with a luscious sound, and with added interest through the inclusion of solo and improvisatory passages by James Tarbotton, Amelia Tan and other members of the Camerata.
Mendelssohn's Sinfonia No.4 in C minor was a revelation. The Camerata, with its focus on scholarship, and intense engagement with Baroque-period works, brought a new vision that was very much 'baroque-style' rather than the sound we associate with nineteenth-century orchestral music. It seemed at once radical, and at the same time a logical, organic and unified expression of what Mendelssohn created. As with the whole programme, the orchestra produced a clean but rich tone throughout. Each line could be discerned clearly, and was always well balanced.
The third of the Coward siblings, Taliésin, gave a spirited performance of the rarely heard virtuoso show-piece, Nachéz's Gypsy Dances, on the violin. The pizzicato section, in particular, was just the right mix of humour and pizzazz. Present throughout the performance was precisely the right energy and wildness needed to evoke the spirit of the piece. This was a virtuoso performance, and rapturous applause rightly followed.
In keeping with the ensemble's positive, collective-oriented atmosphere, the concert closed with all performers coming back on stage for a joyous rendition of Oh Come All Ye Faithful arranged by Dr. Coward. Taliésin Coward swapped violin for voice in this item, with the first verse sung in Latin as a solo with orchestra, giving us a second chance to hear his rich baritone voice (heard earlier in the programme in a Schubert Lied). The choir sang the second verse in English, with a third verse in Latin finally bringing together all the performers. The evergreen carol was given full justice, the medley of musicians and singers breathing new life into the familiar tune, and giving the audience a wonderfully warm feeling with which to end the evening. There was no showmanship from these musicians – just an honest love and sharing of music, which translated itself into utter joy for the performers and audience.
What continues to impress about Camerata Academica of the Antipodes is their obvious passionate positivity, coupled with the richness of sound produced by the fairly modest number of musicians. The results of their engagement with scholarship and historically informed practices, their enthusiasm, talent, and entertaining variety of repertoire, make for a musically combustible mix, and will no doubt produce many more fine concerts in 2015.
Camerata Academica of the Antipodes performed in Sydney, Australia on December 6th 2014.


"Why do you want to learn meditation?" I often ask this of my students, before teaching them a formal meditation practice, which includes their personal mantra. And over the years I've gotten quite a variety of responses. I find almost any reason is good. Well, almost every reason.
While I teach meditation to help people find mental peace and spiritual fulfilment, meditators shouldn't forget about physical health.
For today, let's talk about what works on the physical level. These are all tried and true techniques. The main ingredient you need to add, to make meditation work, is your willingness to do these things. It may mean you have to think or live outside your present box. But if you can make your health and meditation better, why not move into a bigger box, or move outside the box altogether?


After almost four months, the doors to the main emergency department lobby reopen.
The first phase of the Sentara Northern Virginia Medical Center Emergency Department Renovation is complete.
SNVMC is expanding upon its commitment to serve the community by redesigning and renovating its Emergency Department. Starting Friday, August 4, 2017, the main emergency department lobby reopened.
The hospital is redesigning the Emergency Department in its efforts to meet the needs of the community by offering a state of the art space that caters to the patient experience and patient care work flows.
Sentara Northern Virginia Medical Center announced in April it would accept emergency patients through the hospital's main entrance to expedite the check-in process while the ED lobby was under renovation.
While the first phase of the renovation, which includes the emergency department lobby, is reopened to the community, the redesign and renovation continues. The entire project is expected to be completed by the end of the year.


text:
Posted on December 19, 2017 by Lily Java
Many of you have asked about Garrett and Laura's back story. Why was Garrett gone so long? Why would Laura wait and doggedly look for him? Sometimes you just have to go back to the beginning to understand some things. Sometimes it's all about that first encounter that tells us almost everything… or just enough.
So here's a long one for you that answers at least one of your questions.
Home At Last 4
Garrett walked for a long time after he left Laura's. He could always think best when he kept it moving. Focusing his mind on putting one foot in front of the other, then clearing his head of everything else, he knew the more methodical he was about it, the better he'd feel. A side benefit of his injuries was discovering how to use a meditative process to make even small movements a helpful therapeutic tool. His innate ability to concentrate on the rote physical actions and tune everything else out soothed his anxieties, and became his salvation in the army and in life.
It was cold but not bitterly. He kept up a brisk pace passing row after row of Brooklyn brownstones. Every few houses he passed came with an intermittent jolt of Christmas swagger. Besides the bright and colorful twinkling lights each decorated house came replete with Santa Claus figurines and large lighted candy canes in a variety of sizes. He knew when he'd made it to the Italian section of Cobble Hill because there was a crèche depicting baby Jesus in a manger on every house instead of reindeer.
Before he realized it, he had walked at least three miles and reached the Brooklyn Bridge. He decided to walk home to Chelsea or at least what he was calling home for now. He'd sublet his aunt's spacious apartment to a mature gay couple. Lenny and Bob, who owned a huge house in Jersey couldn't have been happier to get a rent controlled two bedroom with a working fireplace in the middle of a predominantly homosexual mecca only blocks from the Village. They were exactly where they wanted to be.
Luckily, when Garrett had called to check in with them a few weeks ago, they weren't surprised to hear from him. It had been so many months they'd been mildly worried when he hadn't done it sooner. Lenny, the more assertive partner of the couple said they'd tried to reach him too, but had gotten the army runaround "something we gays have grown used to honey" he'd added. In the end, since they paid their rent on time and they weren't in any trouble with the landlord, they figured if it wasn't broke, don't fix it. Besides, they loved the apartment.
When Garrett called he asked if he could stay with them for a week in the guest bedroom while he figured out what he was doing. As it turned out the timing couldn't have been better, they were going to visit their families for the holidays and would be driving all over the mid-west so Garrett could have the place to himself for at least two weeks.
It was a relief to have somewhere to lay his head. The truth was he didn't know exactly what Laura's reaction would be to seeing him. He'd just known he couldn't wait any longer. He needed to see her. He needed her. After running the scenario over and over again in his mind the dream outcome was always the same. Him holding her, kissing her, bending her to his will — as if that shit were even possible.
One of things he loved about Laura almost immediately was that she wasn't afraid of him. Garrett was a big guy with some showy muscles. He was used to being a little intimidating to the average female and male alike. Nevertheless, while Laura was a little slip of a thing she didn't scare easy… at all.
She'd been tending bar in Chelsea when they met. McCauley's Pub had been around since before Garrett was around. He knew it well because his Aunt Meg was a regular. The place saw all types from college kids to old drunks like his Aunt who were holdovers from before the neighborhood gentrified in the late eightie's. If the place hadn't served a passable dinner and he hadn't had a trust fund that his Aunt could use to take care of him, he might never have gotten fed.
After Meg McClellan died, Garrett was utterly alone in the world. Even though it wasn't his kind of place — he preferred a younger, stankier club setting where you could dance close, get your freak on, and everyone knew what they came for. But when some of Meg's friends insisted, he'd gone straight to the pub after the funeral to have a boiler maker in his Aunt's honor. Sitting there at the bar drowning his orphan sorrows he hadn't even noticed the shift change so when he heard the lovely voice coming from behind the bar, at first, he thought he was imagining things.
"Do you play poker?" She asked him.
That was the first thing she ever said to him but the first thing he noticed about her, was her skin. It looked flawless, infinitely touchable, and was the color of gingerbread.
She was small, 5'3″ maybe an inch taller or shorter, but she looked sturdy like she worked out regularly. She had curves too, noticeable ones. A perfect figure eight, she was wearing all black. The jeans looked really old and worn to the point that they seemed more like a soft cotton pajama than denim. A thick black leather belt with an intricate silver buckle held the pants up just at her hipbone. The buckle looked like a symbol of some kind but he couldn't make out what. The tee-shirt was soft too, cut off right above her waist with a slight flare, and draped snugly over the rest of her upper body — hiding little. Her breasts seemed a bit large on her tiny frame. Well, it seemed tiny to him anyway. Even so, she carried herself well, with a regal quality that didn't really fit in with the somewhat gritty environment. Her clear brown eyes examined him impassively while he in turn found it difficult to control blatantly… appreciatively, looking her over.
"Sure, I play poker. Why do you ask?"
"I need someone to remind me of what beats what and you seem like you might know. That is if you're not too busy doing anything else." She said with a cocked eyebrow and a faint smile. "I know everything up to a full house but I can't remember the order of some of the rest."
So began the longest poker game Garrett ever played and that included some of the all-nighters that he'd barely participated in and happened regularly with the guys at base camp. It couldn't be helped. Laura was working the four to midnight shift and from where he sat at the end of the bar he could watch her move, sway, jiggle, and laugh easily while she worked. The show was riveting and made the time move quickly.
It was a penny ante game. Since a quarter was the maximum bet allowed, a couple of regulars joined in on their game periodically throughout the evening. Charming them all, Laura would buy the winner a beer when she lost a hand. She didn't lose much though which led him to wonder if she actually played the game better than she'd led him to believe.
He marveled at her excellent bartending skills. She managed the nearly 30-foot bar with a quiet authority that made her clientage feel like they were safe and well taken care of. She was warm, approachable, and a good listener. Even when she was hit on and that happened at least two or three times every half hour according to Garrett's attentive estimation, she was never flustered, only pleasant and easy-going, which of course made her all the more appealing.
People talked to Laura because she had a handle on how to ask the open-ended question that could get someone to tell everything about themselves before they even realized it. About halfway through the evening he recognized that she'd used the skill on him. He'd told her all about the funeral and about Aunt Meg. He'd also spill his guts about how he lost his Mother from cancer when he was seven and his Dad to an undetected heart condition when he was fourteen and how the number seven and all it's damn multiples made him nervous to this day. He told her about how he'd joined the army almost right after high school so he could see the world and stop watching his Aunt drink herself to death. Before long he felt lighter, less morose, like someone had given him a hit from an oxygen tank and every breath he took felt cleaner.
She asked him questions about the army and seemed very interested especially in hearing about some of the world he'd seen in his travels. After a while tiring of hearing his own story and deeply interested in hearing hers, he tried to get her to answer questions too. By comparison, he was only mildly successful at her interview technique.
"So, Laura how does a beautiful and competent black girl wind up a bartender in an Irish pub?"
Laura smiled as if she had a secret, which sent a wave of relief through him. Garrett hadn't said anything remotely flirtatiousness all evening but he'd had several beers by then. He was beginning to feel bold because of them. He felt other things too, whenever he looked at her.
"What's being black or female got to do with it?"
"Nothing I guess. It's just that it's not every day… you know what I mean?"
"I guess I do." She nodded. "Dad and the owner of the pub were friends from way back. When I started college and got my first place on my own, I wanted to earn some money. I knew that bartending could pay well in tips, so I read a book and memorized fifty drink recipes."
She was making White Russians while she spoke. Holding the Kahlua and Absolut bottles simultaneously she made a double pour over three iced glasses fluidly, with a precision you didn't learn in a book, but from lots of practice.
"My first job was working at an outdoor restaurant on the pier in lower Manhattan. There was an outdoor beach volleyball set up and they served fried shrimp in a basket, buffalo wings, and burgers with loads of beer and mixed drinks in plastic cups. The place was a goldmine for tips but it was also a summer thing. My dad doesn't much like my life choices but when he heard I was looking around for another gig tending bar he suggested I meet Patrick who owns this place and ask him to give me a shot. So I did. That was three years ago."
Garrett couldn't take his eyes from Laura's face as she spoke to him. He knew it was strange, predatory even but he wanted to know everything about this woman. More so because he detected something mysterious about her. He couldn't put his finger on it. There were too many contradictions. In a few short hours he felt connected to her and he didn't want that connection to end but how was he going to…
"My shift ends soon." Laura said, breaking into his thoughts but not looking at him, as she wiped down the bar.
Garrett said nothing, loudly.
She turned towards him folding the damp cloth in her hand. "After I tally up, Jerry our manager… well, he closes the bar. I usually walk to the Dunkin Donuts on 14th not too far from here to unwind. Would you like to join me?"
14th Street? That was at least ten blocks from here. There was no way he would let her do that walk alone at this hour. She'd be a siren's call to every freaky ass dude in New York out late and prowling. Garrett nodded his head yes, his thoughts jumbled together making it a struggle for him to say what was on his mind. He hadn't been alone with a woman who stirred him in several months. He considered the colleagues he had who were women completely off-limits. The potential for cataclysmic drama was too great and drama of any kind was something he liked to avoid whenever possible.
He'd boinked around with a few babes he met in various places while on tour, but usually it was one night stands, and he kept his shit covered up tight — not like some of his friends who took stupid chances. His last… his only real intimate relationship had been with a friend from school. She'd been a shy bookworm who had helped tutor Garrett in the after school program. He credited her with getting him so interested in reading that it became rare for him not to have a book in his pocket. She helped him to graduate and decide what he wanted to do after he left school. When she told him she didn't want to be a virgin when she got to college, he wasn't surprised. She'd always been honest to a fault and since remarkably he was still a virgin too, he understood how she felt.
Their first time was at his aunt's house. The sex was slow, sweet, and safe. Both overwhelmed and happy afterwards they continued to be an item for the rest of senior year. Typical of her she'd read up on what to do and how to do it. Their sexual exploration and experimentation was thorough without being sordid. In the end, they loved each other without being in love still, saying goodbye wasn't easy. She got into Brown… of course. They emailed each other occasionally. Worried for him she was especially diligent about it after he enlisted. She was seeing an engineering major now and seemed happy.
He was happy too. The army felt like home to him. He loved the structure and sameness of it. The travel and new experiences when they happened were perks that brought him out of himself too. He'd often felt his life was filled with missing pieces like an unfinished jigsaw puzzle. For the longest time, he assumed from the loss of his parents and his Aunt's hands off parenting approach, that what he needed was family and stability. The army provided both in spades.
Now, gazing at Laura as she counted the money from the till, her brow furrowed in concentration, her lips unintentionally pursed into a kiss as she focused on turning all the bills in the same direction, Garrett wondered if there was something else omitted from his life that he hadn't realized he wanted… or needed. He wondered if he found it, not halfway across the globe or in a cold barrack, but instead in an old Chelsea pub playing a penny ante card game.
Posted in Shorts, WritingTagged #4Writers4Love, #HolidayShorts, #HomeAtLast, Writing


text:
At the Ordinary Meeting of Council held on 1 May 2018 the decision was made to establish a Design Review Panel. The Panel has been formed to provide independent expert advice to the City's Council, Administration, and applicants on the design and site planning of specified development proposals prior to the submission of a Development Application. This includes, but is not limited to, architecture, urban design, amenity, landscape architecture, environmental sustainability, character and heritage.
The Panel facilitates an improvement in urban design and the quality of the built environment within the City of Vincent through the provision of information, expert advice and recommendations.
The Panel provides professional and technical advice, in a non adversarial and informal manner, to the City's Administration and the Council in relation to the design of buildings and other related matters. The Panel performs an advisory function only and does not make decisions on or approve applications.
The Panel's role is to:
Provide the City of Vincent with high level independent expert advice on urban design, architecture, landscape design, sustainability and heritage in relation to proposals referred to the Panel for consideration;
Act in an advisory capacity on specified proposals with respect to matters including, but not limited to, the following design principles:
Context and character;
Landcape quality;
Built form and scale;
Functionality and build quality;
Sustainability;
Amenity;
Legibility;
Safety;
Community; and
Aesthetics.
Applications to be referred to the Panel
Applications for planning approval for proposed development (Development Applications) are to be referred to the Panel for their consideration and comment in accordance with the Design Review Panel - Terms of Reference. These include but are not limited to:
Proposals that are considered, significant because of their size or uses they support;
Proposals that are considered, significant because of their site;
Proposals that are considered, significant because of their community impact;
Proposals which would benefit from the design review process; and
Any scheme amendment, structure plan, policy, precinct plan, local development plan or design guideline which would benefit from Design Review by the Panel.
Design Review Panel - Terms of Reference
An Applicant's Guide to Presenting to the Design Review Panel
NSW Legislation - State Environmental Planning Policy No 65 - Design Quality of Residential Flat Development
NSW - Residential Flat Design Code
UK Design Council
Development Services team
9273 6000 or mail@vincent.wa.gov.au


In October 2016, Carers NSW and icare (Insurance & Care NSW) announced a partnership that recognises the critical role of family carers in the years and months following the serious injury of a loved one at work or in a motor vehicle accident or the diagnosis of a family member with a work-related dust diseases.
wecare works with the families of icare participants to increase their knowledge, resilience and wellbeing at any time post injury or post diagnosis, with the exclusion of those living overseas. Two wecare programs are currently available.
The Mentoring carers program, for adult family members, is delivered as six to eight mentoring sessions and provides information and support to strengthen carers coping strategies and address the challenges they face.
Families can be referred to the wecare program through a number of avenues including icare Coordinators, GPs, Community Rehab team, Allied Health services and self-referral, by contacting wecare@carersnsw.org.au or 1800 242 636 and asking to speak to the wecare team.
For more information on the wecare program and to find out if your family is eligible, speak to your icare Coordinator or contact the wecare team on wecare@carersnsw.org.au or 1800 242 636 and ask to speak to the wecare team.


At Global Action Project youth make media, grow their leadership, and create innovative stories that promote and amplify movements for social justice from low-income, new immigrant, TGNC (trans and gender non-conforming) and LGBQ (Lesbian, Gay, Bisexual and Queer) communities.
SupaFriends is GAP's social justice media-arts leadership program for TLGBQ (Transgender, Lesbian, Gay, Bisexual, Queer) youth in New York City. SupaFriends builds community and takes leadership in defining their issues and solutions; produces strategic, thought-provoking media expressing the unique stories and perspectives of TLGBQ youth. The media that is produced is used to facilitate discussions, and enter into public debates about issues that impact the lives of TLGBQ young people, particularly who are youth of color and low-income youth.
Above is 2018's featured film Ella for Prom Queen. It is a story of a teenage Latinx trans immigrant woman who runs for prom queen despite the criticism she faces by bullies in her school. Please check out our Video page for more films produced by Youth Breaking Borders and Supafriends.
Are you an TLGBQ youth interested in working with a group to make your own media? Let us know you are interested.


The neonatal intensive care unit (NICU) is the part of the hospital where premature or sick newborns are given care.
But the NICU (say "NIK-yoo") is much more than a place in the hospital. It's where these three elements work together to give your baby the best possible care: Staff, technology, and you.
A neonatologist, who specializes in the care of newborns.
Specialists skilled in the treatment of your baby's particular problem.
Nurses and neonatal nurse practitioners.
Your baby will be kept in a special bed called an Isolette. It provides warmth and calm in the busy NICU.
Monitors will track body temperature, heart rate, blood pressure, and oxygen levels in the blood.
Other equipment may supply medicine, air, food, and fluids.
You are a big part of the care team, too. Your baby needs you. Working with the NICU staff, you'll find out about your baby's needs and what you can do for him or her. You'll learn about technology, medical words, rules, and procedures. When your baby's condition permits, you may also help with breast milk and cuddling. During your baby's stay in the NICU, you and the NICU staff will get to know each other well. Be sure to ask questions and join in the discussions about your baby's care.
You may see tubes and wires attached to your baby. This can be scary to see. But these things help the doctor treat your baby. The tubes supply air, fluid, and medicines to your baby. The wires are attached to machines that help the doctor keep track of your baby's vital signs.
Your baby may need oxygen. It is given to the baby through a tube in the nose or throat.
Enter V972 in the search box to learn more about "Learning About Infant Care in the NICU".


Insurance at Pounds 3,000 a Year?
Home » News » Insurance at Pounds 3,000 a Year?
Young drivers could see their annual car insurance premiums soar to more than pounds 3,000 by 2017, it has been claimed.
Motorists aged 17-21 are already paying more than double the annual average insurance, research from uSwitch.com found.
Over the past ten years, the cost of car insurance for young drivers has gone up by 92 per cent.
And by 2017, it could cost a young driver as much as pounds 3,097 to insure a Ford Fiesta.
Average premiums for all drivers are now around pounds 409 a year, but for 17-21-year-olds the figure is pounds 948, with young males forking out pounds 1,181.
If premiums continue to rise at this rate, by 2017 the average young driver can expect to pay pounds 1,820 for annual car insurance.
Young drivers represent just 4.2 per cent of the market, yet they account for 16 per cent of motoring offences, and under-21s account for 34 per cent of dangerous driving offences.
This, combined with the fact that young male drivers are also ten times more likely to be involved in an accident, could go some way to explain why insurers charge younger drivers higher premiums.
Aron Thompson, head of insurance at uSwitch.com, said: "We urge young drivers to research insurance before buying a car."


China's biggest online video streaming site, Youku.com, has pacted with 20th Century Fox to license 250 pics, both new release and library titles, on its Premium platform.
The films will begin appearing on Youku Premium this month, ahead of the Chinese New Year holiday in late January.
The number of pay-per-view transactions on Youku Premium more than tripled between the second and third quarters of 2011, the company said in a statement. As of November, 13.5% of Youku Premium users paid to view premium content more than once per month.
"We have been working closely with Hollywood studios in providing quality content to millions of Chinese Internet users while effectively protecting intellectual properties," said Zhu Huilong, VP of movie operations and corporate development.
"We are encouraged by the growth of the Youku Premium platform, and our new licensing agreement with Fox will make Youku Premium more compelling for our users," said Zhu.
Youku Premium has processed more than 1 million orders since launching in beta a year ago.
In August, Youku struck a deal with DreamWorks Animation for online distribution of the "Kung Fu Panda" franchise.


It was posted by Wiley Sharp, who is a broker for Denison Yacht Sales and well known in the catamaran community for his strong presence on YouTube and various closed/private sailing communities on Facebook.
55% of all catamarans sold in the US in 2018, sold in under 6 months.
76% of those sold in less then 6 months.
Overall 88% sold within a year.
If you click on the "SHOW MORE" within the video information section, you'll see Wiley has posted a number of sale sheets that show the year/make/model of boats sold with the listing/closing price, and time to sell included.
Normally you don't have access to this information without talking to a broker first, and even then it's only accessible with some varying degrees of difficulty. For both prospective buyers and sellers, these sale sheets provide very useful information.
While it's possible to sell (or buy) a boat anywhere in the world with access to online services like Yacht World, as the boat was sitting in South Florida, the Caribbean and US market was our main competition.
With so little inventory available, we knew that our boat was in demand, which was one of the reasons we decided to sell at this time.
You can find LOW FLITE on both the US and Leopard Catamaran Sale sheet as a 2015 Leopard 44 that sold in 0 months. It sold so fast because we were in the right place at the right time and ended up with multiple offers, even before the boat listing went live on the market.
We were very fortunate, and benefited from this particular market that Wiley describes in his video. Something that we likely won't encounter in the future.


This exhibition at the Virginia Center for Architecture features Gwathmey Siegel Kaufman's United States Mission to the United Nations, the new Richmond courthouse, a series of new U.S. border stations, and a selection of other Design Excellence Program projects. The exhibition illustrates the government's goal to commission inspiring, contemporary civic architecture that reflects and promotes American ideals. It is augmented by the story of the GSA's Fine Arts Collection, which has been integral to the program.The exhibit, which was curated by the Virginia Center for Architecture and co-sponsored by the U.S. General Services Administration, runs through May 27. The Center is located in Richmond, Virginia.


text:
Q: Is it possible to have multiple hive tables represented within the same HDFS directory structure? Is it possible to have multiple hive tables represented within the same HDFS directory structure? In other words, is there a way to have multiple hive tables pointing to same/overlapping HDFS paths?
Here is my situation:
I have a table named "mytable", located in hdfs:/tables/mytable
CREATE EXTERNAL TABLE mytable
(
id int,
...
[a whole bunch of columns]
...
PARTITIONED BY (logname STRING)
STORED AS [I-do-not-know-what-just-yet]
LOCATION 'hdfs:/tables/mytable';

So, HDFS will look like:
hdfs:/tables/mytable/logname=tarzan/....
hdfs:/tables/mytable/logname=jane/....
hdfs:/tables/mytable/logname=whoa/....

Is it possible to have a hive table, named "tarzan", located in hdfs:/tables/mytable/logname=tarzan ?  Same with hive table "jane", located in hdfs:/tables/mytable/logname=jane, etc.
The tarzan, jane, whoa, etc sub-tables share some columns (timestamp, ip_address, country, user_id, and some others), but there will also be a lot of columns that they do not have in common.
Is there a way to store this data once in HDFS, and use it for multiple tables as I described above?  Furthermore, is there a way to store the data in an efficient way, since many of the tables will have columns that are not in common?  Would a file format like RCFILE or PARQUET work in this case?
Thanks so much for any hints or help anyone can provide,

A: Yes, we can have multiple hive tables with the same underlying HDFS directory.
Example:

*

*Create table emp and load data file file3 into it.
create table emp (id int, name string, salary int)
row format delimited
fields terminated by ','
-- default location would be used

load data
local inpath '/home/parv/testfiles/file3'
into table emp;

*Create another table mirror.  When you will select data from mirror table, it would be as same as of emp table (contents of file3).
create table mirror (id int, name string, salary int)
row format delimited
fields terminated by ','
location 'hdfs:///user/hive/warehouse/parv.db/base';

*Load data into mirror table.  When you will select data either from mirror table or emp table, it would return same results (contents of file3 and file4).
load data
local inpath '/home/parv/testfiles/file4'
into table mirror;

Conclusion:

*

*Same data files are shared among both tables emp and mirror.

*But, strange, the HDFS filesystem only shows data directory for emp table and not for mirror table.  However, both the tables are present in hive and so can be queried.

A: Answering my own question:
It IS possible to have multiple hive tables represented by the same HDFS directory structure, but for what I am looking to do:

*

*A mytable table partitioned by logname (logname=tarzan, logname=jane, etc...)

*A separate table for each logname: A "tarzan" table with only columns used by the tarzan table, and not any other logname, same for the "jane" table, etc

*Only represent the data one time in HDFS

A better solution is to have the 1 mytable table, partitioned by logname, AND create views for each logname table, with only the subset of columns needed in each.

A: Yes, you could point multiple tables to the same location on HDFS.  However, Hive doesn't support dynamic columns.
Is there a reason you can't just have 3 different tables?  This would allow you do have different schemas (columns) for each.
--Brandon


text:
Q: TableView with fix first column and rest columns scrollable Android I have a problem. in my situation I have tables with 10+ columns, I really need to have a horizontal scroll for it and also making more width for each column. And fix the first column like excel. is there anyway to do that?
Please let me know any simple and smooth library in android for the same.

A: There is a TableView Library for Android. It's also open source and located in github.
There is a sample app that show how you can use tableView on your application.


text:
Q: Unity Replacing a material at run time I'm trying to change the material of an object at run time based on a tag I've selected. However, instead of replacing the material, Unity is adding an instance of my target material and adding it to the object.
Is there a way through code that I can delete the existing material and replace it with my targeted one?
This is the code I have at the moment that deals with this:
if(hit.collider.gameObject.tag == "Colour1")
{
    GameObject[] _Colums = GameObject.FindGameObjectsWithTag("column");
    foreach( GameObject c in _Colums)
    c.renderer.material.color = hit.collider.gameObject.renderer.material.color;
}

A: Try this extension method
public static void ChangeMaterial(this GameObject go, Material mat)
{
    go.renderer.material = mat;
}

Then you can call it by using
if(hit.collider.gameObject.tag == "Colour1")
{
     hit.gameObject.renderer.material.ChangeMaterial( Your Material );
}

Here is another extension method for changing the color
public static void ChangeColor(this Material mat, Color color)
{
    mat.SetColor("_Color", color);
}

Edit: Found my old extension method that supports multi materials on the gameObject
public static void ChangeColor(this GameObject go, Color color)
{
    if(go.GetComponent<MeshRenderer>())
    {
        Material[] materials = go.gameObject.renderer.materials;

        foreach(Material m in materials)
        {
            m.SetColor("_Color", color);
        }
    }
}

Finally to be more specific to your problem here is one final function for you
public static void ChangeColor(GameObject[] gameObjects, Color color)
{
    foreach(GameObject gameObject in GameObjects)
    {
        gameObject.renderer.material.ChangeColor( "Your Color" );
    }
}

then you can call it like this:
if(hit.collider.gameObject.tag == "Colour1")
{
    GameObject[] _Colums = GameObject.FindGameObjectsWithTag("column");
    ChangeColor(_Colums, "Your Color");
}


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