text:
Q: SignalR not workin on IIS ( CORS issue ERROR 405 ) I developed and Angular AspNetCore application.
In my development environment everything works fine.
I can make a hub connection with signalR and use it without any issues.
When I publish to IIS(10.0) however, I get the following error:
Access to XMLHttpRequest at 'http://localhost:5000/chart/negotiate' from origin 'http://localhost:8034' has been blocked by CORS policy: Response to preflight request doesn't pass access control check: No 'Access-Control-Allow-Origin' header is present on the requested resource.
On the server side in Startup.cs my configure services method contains this piece of code:
services.AddCors(options =>
            {
                options.AddPolicy("CorsPolicy",
                    builder => builder
                                .AllowAnyMethod()
                                .AllowAnyHeader()
                                .AllowCredentials()
                                .AllowAnyOrigin()
                    );
            });

and in the Configure method defines the signalr route
            app.UseSignalR(routes =>
            {
                routes.MapHub<MessageHub>("/chart");
            });

and adds the cors policy
app.UseCors("CorsPolicy");

I tried:

*

*Changing to different ports

*Chaning my Hub connection url to the port I deploy my IIS server on (8034)
This results in this error:
WebSocket connection to 'ws://localhost:8034/chart?id=vzjCtGG-Glo_8i-1j7oFDA' failed: Error during WebSocket handshake: Incorrect 'Sec-WebSocket-Accept' header value

*

*Enabling Https

*Changing AllowAllOrigin to WithOrigin("http://localhost:8034", ...)

*Adding HttpProtocols to web.config
      <httpProtocol>
          <customHeaders>
            <add name="Access-Control-Allow-Origin" value="http://localhost" />
            <add name="Access-Control-Allow-Methods" value="*" />
            <add name="Access-Control-Allow-Credentials" value="true" />
          </customHeaders>
        </httpProtocol>

Locally it works as a charm:
General
Request URL: http://localhost:5000/chart/negotiate
Request Method: POST
Status Code: 200 OK
Remote Address: 127.0.0.1:5000
Referrer Policy: no-referrer-when-downgrade

** Response Headers**
Content-Length: 252
Content-Type: application/json
Date: Thu, 31 Oct 2019 01:51:05 GMT
Server: Kestrel
X-Powered-By: ASP.NET
X-SourceFiles: =?UTF-8?B?QzpcQmFzZW1lbnRMYW5BcHBcQmFzZW1lbnRMYW5BcHBcY2hhcnRcbmVnb3RpYXRl?=

Request Headers
Provisional headers are shown
Content-Type: text/plain;charset=UTF-8
Origin: http://localhost:5000
Referer: http://localhost:5000/
Sec-Fetch-Mode: cors
User-Agent: Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/77.0.3865.120 Safari/537.36
X-Requested-With: XMLHttpRequest

When publishing to IIS on port 8034 it doesn't work.
General:
Request URL: http://localhost:5000/chart/negotiate
Request Method: OPTIONS
Status Code: 405 Method Not Allowed
Remote Address: 127.0.0.1:5000
Referrer Policy: no-referrer-when-downgrade

Response headers:
Content-Length: 0
Content-Type: text/plain
Date: Thu, 31 Oct 2019 01:28:35 GMT
Server: Kestrel
X-Powered-By: ASP.NET
X-SourceFiles: =?UTF-8?B?QzpcQmFzZW1lbnRMYW5BcHBcQmFzZW1lbnRMYW5BcHBcY2hhcnRcbmVnb3RpYXRl?=

Request headers:
Provisional headers are shown
Access-Control-Request-Headers: x-requested-with
Access-Control-Request-Method: POST
Origin: http://localhost:8034
Referer: http://localhost:8034/
Sec-Fetch-Mode: cors
User-Agent: Mozilla/5.0 (Windows NT 10.0; Win64; x64) AppleWebKit/537.36 (KHTML, like Gecko) Chrome/77.0.3865.120 Safari/537.36

This are my Launch settings:
{
  "iisSettings": {
    "windowsAuthentication": false,
    "anonymousAuthentication": true,
    "iisExpress": {
      "applicationUrl": "http://localhost:5000/",
      "sslPort": 0
    }
  },
  "profiles": {
    "IIS Express": {
      "commandName": "IISExpress",
      "launchBrowser": true,
      "environmentVariables": {
        "ASPNETCORE_ENVIRONMENT": "Development"
      }
    },
    "ChartApp": {
      "commandName": "Project",
      "launchBrowser": true,
      "environmentVariables": {
        "ASPNETCORE_ENVIRONMENT": "Development"
      },
      "applicationUrl": "http://localhost:5000/"
    }
  }
}

I don't understand why I get this 405 exception on my published environment.
I allow requests from all origins, so I would expect the response header to contain "Access-Control-Allow-Credentials" = "true".
What am I missing?

redpajama_set_name: RedPajamaStackExchange


text:
Archive for 'Technology'
Larry Lessig admits "he's an old Communist"
By Maha Rafi Atal, 23 November, 2008, 2 Comments
Four years ago, Lessig's book Free Culture unleashed a movement to abolish copyright and bring down the evil corporate producers of "mainstream culture." I have never believed in this movement. Tonight, Lessig told Charlie Rose he doesn't believe it either.
He says he's an "old Communist," a la Gorbachev, trying to reform a system; the younger free culture radicals who quote him are Yelstins, who've taken his policies too far. Lessig says he doesn't want to get rid of copyright because it still incentivizes some people to produce valuable content who wouldn't do it for free. His hippie proteges think anyone who produces art for money is not worth society's time. Now whenever I've read Lessig, I've always felt he falls on the radical side of the line. Either I was wrong, or he's now changing tacks because he realizes the moderate approach has a better shot of reaching its goals.
He's not alone. Over at BuzzMachine, Jeff Jarvis says he doesn't have it out for print media and media corporations at all and outlines a business model for how established news organizations can coexist with a gift economy of citizen-journalists. It's a good plan and it strikes me as a deviation from the things Jarvis has written in the past; again I wonder if (as he claims) this is what he meant all along, or if he's just getting practical at last.
Either way, it's good to have people of Lessig's and Jarvis's clout advocating a middle-ground. Then again, Gorbachev tried to remind people to take it slow too…and it didn't work out so great for him.
Jeff Jarvis has a crush on Google
I wish Bruce Greenwald, my Corporate Strategy professor, would call Jeff Jarvis and tell him to stick to his competitive advantages. The man is pretty solid as a commentator on media, on why some newspapers are screwed and how serious web news outlets ought to develop their businesses to become serious competitors.
He is not, however, an all-around economic pundit and should not try to become one. Yet that seems to be exactly what he's trying to do on his blog and in his new book "What Would Google Do?" trying to use the company as a model for everything. In this post, he tries to give us the Google model for the financial sector, but he winds up spending many words undercutting (hedging?) himself as he takes melodramatic (highly leveraged) positions. Some gems:
"Google's first advantage is being digital. Who wants to be in the business of stuff any more – building cars, printing newspapers, selling CDs, growing food… Now the best retreat is to the value of knowledge." You cannot engineer food…the characters in Brave New World tried that, and it didn't work out so well.
"In Google's economy, small is the new big. Of course, big is still big — Google itself is gargantuan." Point being?
"Indeed, Google does not want to own the assets — content to commerce — upon which its empire is built." This is different from banks that re-packaged and sold off their bad loans like hot potatoes how?
"Another hallmark of Google's economy is transparency. Even as Google remains opaque about details of how it does business — its ad commission, for example — it demands transparency of the rest of us. For without openness, we get no search-engine optimization, no precious Googlejuice." Hypocrisy much?
So much for the argument that being in the blogosphere forces reporters to keep it real.
I have seen the future of media…
By Maha Rafi Atal, 12 November, 2008, 1 Comment
…and even the people there can't agree on how it works.
Last night, I went with high hopes to a panel at Columbia on the Changing Media Landscape, hoping to get some tips on how to prepare myself for the jobs I'll be applying for when this program is over. You can watch a video here but it's about 2 hours long. Or read my recap of the major points below.
By Maha Rafi Atal, 31 October, 2008, No Comment
It may be speaking way too soon, but I'm betting that the panic phase of this financial crisis is over. It will get worse before it gets better, but at least most of the experts and analysts I've called are starting to agree upon how long it might be (a year-ish downward, then a slow recovery into 2011 is the prediction I'm hearing). So imperfect as it was, the enormous infusion of cash into the banks across the world has addressed the immediate doom.
Now the real challenge. With Alan Greenspan of all people saying uber-deregulation might have had "a flaw" (or two or three hundred?), it's time to rethink the long-term system. I've suggested before some reflections on how to fix the public sector regulators and recruit smarter people to those roles. But what about a financial industry that equates "innovation" with unsustainable assets (those mortgage bundles) and irresponsible risks?
Interestingly, the best reflections on that problem aren't coming from financial experts (who remain stunned by it all) but from design blogger Bruce Nussbaum (full disclosure: He's a former boss of mine). Nussbaum says the future of capitalism will be a lot like the ZipCar–based on bottom-up, collaborative growth instead of top-down, proprietary models. His BusinessWeek colleagues make the point that even Web 2.0 (collaborative and bottom-up by default) will have to change in the ZipCar world–the techies too have been hooked on "irrational exuberance" before.
I've got my usual bones to pick with the collaboration theory–how is it capitalism if you aren't motivated by ownership; how do you incentivize sharing–but overall, I think Bruce is right. So, as a Halloween gift, no long diatribes. Just an encouragement to read Bruce's blog.
In case you didn't believe me
By Maha Rafi Atal, 30 October, 2008, 1 Comment
I wrote on Monday that blogs will add to, not subtract from or replace, existing media forms like the narrative or the investigation because people still want to know facts and tend to process facts best in narrative form.
Today, I listened to a great NPR session with Nick Lemann (Dean of Columbia's J-school, and my professor in a class on journalistic methods and ethics this fall), Andrew Sullivan (Atlantic writer and blogger extraordinaire) and Tina Brown (former editor of Vanity Fair and a newcomer to the blogosphere). Here's what this trio of media giants thought:
Even on the blogosphere, people aren't giving up on the need for information and analysis, for definitive answers in the way Jeff Jarvis et al contend. They just verify information in different ways. Lemann reminds us that the biggest web traffic still goes to the "established" sites. Sullivan says that among amateur blogs, the winners are still people with expertise in some niche, people you can "trust and verify" because they give you the links to their sources and encourage readers to correct them. If print professionals get you to trust that they tell the truth because of their personal intelligence, bloggers earn trust by transparency and humility.
Yet Sullivan just wrote in the Atlantic that blogs are a bit postmodern, based on cultivating a back-and-forth of opinions that might in a theoretical aggregate contain the objective truth, but not in any one place you can hold in your hand or read from start-to-finish. But, he says, just as postmodern criticism has failed to swallow up all of academia, blogs cannot and should not swallow up all of news production: for some things, people still like and need the fixed narrative.
Sullivan, Lemann and Brown make the same point in the NPR spot–newspapers shouldn't mimic blogs by getting more vitriolic, going all-digital or cutting stories to 150 word blurbs. They should worry about finding better ways to finance the kind of in-depth, objective-fact reporting blogs don't do.
I often talk about media convergence. What I mean by this is not that one form will win out and everyone will go there, but that news organizations will learn to produce some combination of old and new media so that individual journalists can work across platforms. Sullivan is a great example of that–a magazine man who is also a full-time blogger and understands the difference between the two forms. Lemann is getting there–he used to think blogs were the end of journalism, now (in this NPR spot at least) he thinks they are the "golden age" for free discourse and commentary, but should not and cannot replace old school investigations.
At the individual level, then, convergence is moving along fine. Even at the institutional level, many newsrooms are learning to strike a cross-platform balance. The issue is one of financing that balance and that's the one area where I thought this NPR dialogue covered new and controversial ground: late in the session, the group discussed the possibility of more public financing for print media, akin to the funding streams for NPR and PBS. I hadn't really thought about that, since newspapers in America have never had state aid.
But is there any inherent reason why public financing for print should be unacceptable when we already do as much for broadcasters? I'm still not sure what to make of the proposal, whether it's feasible and whether it would help the situation. What do you think?
From the talking heads to the echo chamber?
By Maha Rafi Atal, 27 October, 2008, 4 Comments
I consider myself something of a Web 2.0 moderate. Though I'm bullish about the prospects for technology to expand the reach of news to those who might not otherwise join in public discourse, I don't believe that populist outcome makes bloggers and tweeters as individuals inherently superior to their New Yorker foes. I find the moralistic tone of netroots commentators decrying the "establishment" pretty repulsive, just as I find the conspiratorial fears among print journos about the insurgent techies to be silly and exaggerated.
Yes, people are tired of a he-said-she-said model of media that often involves going back and forth between talking heads of various ideological poles and winding up with no answers at all. But bloggers are swinging in two equally dangerous directions.
Some, like Jeff Jarvis, have gone postmodern on us: forget answers, they say. Jarvis foresees a digital echo chamber where there aren't any narratives or accounts or collections of data. Instead, there will just be the "web" in its entirety, with any one blog post having value solely in its connections to every single item out there on the web on a given topic. I'm a big believer in the importance of links, and I see those as one of the web's main assets, but I see links as helping to deepen a reader's understanding on any one article or blog post. Just as I have never bought the litcrit argument that it's impossible to hold and analyze one aspect of a text when it's the "process of making meaning that matters", I don't really buy Jarvis' argument that Web 2.0 readers will be so wrapped up in the process of following the links that they will no longer want some conclusions about their world. Narrative–and thus some single unit like a story or a blog post–will still matter.
Other techevangelists, like Larry Smith, think the web is going to get more more fractured, more opinionated, with people embracing the spin of the single subset of definitive answers they choose to read, caring as much about the identity of the journalists as they do about the news. As people embrace what Larry calls the "Fifth Estate," the old media will become irrelevant and slip away. I don't buy this picture either: just as people still want to walk away from their daily media digest with some coherent narrative, they also still want that narrative to tell some facts. The human impulse for information is as real and enduring as the impulse for interpretation.
People have been predicting since the the 1840s that technologies which allow for the blurring of fact, fiction and opinion would somehow debase the public's ability to differentiate between these categories. 19th century public intellectuals angsted that readers would be so committed to factual objectivity that they would no longer value worldviews and social institutions. 19th century sociologists worried that readers would be so entranced with the fictional subjectivity of serialized novels that they would cease to care about real events–elections, wars, urban crime on their own street corners. Neither prediction came through; it turned out people wanted both information and interpretation, and the same print technology had to meet these two needs in separate ways. Newspapers, novels and magazine essays each found their place.
Similarly, the narrative/story–with its interpretative value–, the blog post–with its ability to make bias transparent, and the article–with its emphasis on data and figures all have a role in the 21st century. Web journalists will add the narrative and the article to their arsenal of forms, while print writers and analog broadcasters will learn from the web how to be more transparent about bias in their opinion-driven work. Overtime, as every journalist learns the skills of each platform, this dichotomy of established vs. netroots journo communities will evaporate, but not (as Jarvis says) by eliminating the differences between the content and purpose of these various media forms.
In other words, calm down. There will be change, but the sky is not falling.
Experience Does Matter
The people want change, yes, but not for its own sake. Knowing how to make change rationally? Well, that comes with experience. No, I'm not resurrecting the Democratic primary. I'm talking about Yahoo! and Facebook.
The Facebookers made it big by showing up straight from Harvard with a lot of intuitive genius about marketing, but little-to-no experience with the nitty-gritty of graphic design. When they started out, they had so few features that it didn't matter where and how they placed them. The page was sleek and clean because it had to be. As they've added more and more elements, however, Facebook has grown cluttered and this is not the first time I've complained about it.
In an attempt to deal with clutter, Facebook issued a major redesign this summer but it's not going over well. From their business/product-oriented perspective, the new page makes sense–it effectively merges all the features [new friends acquired, new wall posts, new photos] into one information flow and therefore should make everyone happy. But it doesn't look very appealing, and doesn't recognize that most users don't see all Facebook activity as equal. The Facebookers, it turns out, are very smart marketers and managers, but they're not great designers because they have zero experience with design.
By contrast, the folks at Yahoo! have been running and designing websites for eons. So when it came time to spruce up the Yahoo! homepage, they knew how to implement a design:
Apocalypse 8: How Dare They?
That's the reaction, apparently, of many newspaper editors to the AP these days. It seems some mid-size papers are opting out of the wire service, aiming to fill their pages exclusively with their own content and cut their costs.
It makes sense: when a smaller paper uses an AP story about a major international event, most of its readers are likely to turn to a major international outlet–print or online–for that information anyway. The city papers of America would be well-served to focus on local content, and they can report that without the AP.
More interesting, however, is the fact that the AP can now get on without these papers: it puts its stories on its own website, where it can monetize them directly through advertising. Really minute-by-minute breaking news often stays there while items that develop into clear cut narratives get picked up by the member newspapers, creating a second revenue stream. Indeed, the AP is, financially, lot more than the sum of its (newspaper) parts:
TV Still Matters
If the 1990s taught us anything, it was that video did not kill the radio star: despite their unappealing physical demeanors, Howard Stern and Rush Limbaugh did just fine. Radio survived the loss of the family dinnertime market by targeting a niche audience of political extremists at either end of the spectrum.
In a similar vein, if the financial crisis has taught me anything, it's that the Internet has not killed TV news. On corporate hallways in the middle of the afternoon, TVs are still running. And while websites carry stock tickers and financial news stories, only 24-hour news channels carry live speeches by government regulators or live Congressional negotiations (they sometimes show up YouTube! several hours later).
Those speeches are the news behind the stock ticker: for example, the day Ben Bernanke announced his plan to buy commercial paper, the Dow tumbled several hundred points. DURING his speech. Which means traders were watching it live, on TV. Similar trends apply to the market response during the Congressional bailout bill hearings.
Then there's the case of Jim Cramer, who spends weekday afternoons telling viewers how to make "Mad Money" on stocks. Not only did his ratings soar this past month with so much financial turmoil, but he learned (the hard way) that viewers really do care what he says. Many have gone as far as to blame him for some of the crisis: he was bullish on Bear Stearns when the company was about to go under; now he's telling people to stuff their mattresses when many experts say a little less caution might help us loosen a stuck financial system.
We like to think of Wall Streeters and their fans as high tech high rollers. Ironic then that the financial sector is turning out to be the niche audience for the media stepchild that is daytime television news.
The mob is coming for you
It's a pyrrhic victory when I find a cool new tech tool: more fun to be had but also more ways to procrastinate. Still, that doesn't stop me from adding new sites to my diet:
Mobdub.com is a new (beta) startup where users add live captions to videos. You click on the video while it's playing (say 39 seconds in) to add a caption, a relevant factoid or link and the next user sees your caption as a cartoon speech bubble embedded in the video, 39 seconds into the clip. For now, the clips on the site are all election related, but eventually–the founder tells me–there will be more diverse content. Other plans include sharing the software with other video sites, so that videos on YouTube! or hulu.com will have "dubbing" too.
When I showed MobDub to my sister, she thought it was a cool cross between Wikipedia and YouTube!. But when I saw it, the first thing I thought of was VH1's PopUp Video. And anything that recalls '80s music is in my good books.

redpajama_set_name: RedPajamaCommonCrawl


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text:
All posts tagged "Alvaro Morata"
Atletico Madrid News1 month ago
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Atletico Madrid News2 months ago
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After an underwhelming run across competitions last season, Atletico Madrid aim to bounce back stronger in 2022/23. It is safe to say that of the three...
Manchester United in direct talks with Atletico Madrid striker over summer move
Atletico Madrid had a smooth start to their La Liga campaign on Monday night with a dominant 3-0 win over Getafe. The hero of the night...


text:
Army Sgt. Maj. implores others to seek help for suicide ideation
9/28/2020 By: Jacqueline Thomas, Fort Bragg Garrison Public Affairs
| Suicide Prevention | Psychological Fitness
"I prayed to God to just take me. For one, I was a coward, I didn't want to do it, and I would prefer He do it on his terms," recalled Army Sgt. Maj. Patrick McGrath, 108th Air Defense Artillery Brigade, of contemplating suicide in 2019.
McGrath's story goes back to his childhood. He detailed how this was a relevant point because the soldiers he serves with in the Army come from all walks of life.
"I didn't have the best childhood," said McGrath, who was born at Marine Corps Base Camp Lejeune in eastern North Carolina, but grew up in Huntsville, Alabama. "My father was in the Marines for seven years, but not during a time I can remember. My mother was a drug addict and alcoholic."
McGrath said it was after high school that he discovered the taste of alcohol.
He said he attempted to go to college, but it didn't pan out. He ended up becoming a pizza chain manager, but didn't feel a sense of purpose.
"I went home and told my dad I was going to look at all the services," he said.
After joining the Army, McGrath said he still had a "backpack full of stuff" stemming from his childhood, such as low self-esteem and no sense of value, but he felt he had a purpose.
"The Army gave me a little tag that told me this is how you wear your uniform, this is how you're supposed to act and follow the five Rs (right place, right time, right attitude, right uniform and right appearance)," he said. "This will ensure you're successful."
McGrath said he was on the pathway to success, but there came a moment when he drank until he blacked out. He said it was the first time in his life he thought he was like his mom, a road he didn't want to travel.
McGrath said he was 'boozing it up' only on the weekends. He hid his drinking habit, and no one suspected he had a problem. He had soldiers who relied on him. He stayed focused all the while struggling with his own challenges, but his soldier gave him a sense of purpose.
"When I came down on orders and went to Korea, everything was still good," McGrath said. "I was a first sergeant. I still had that sense of purpose, but I started drinking more. Weekends morphed into weekdays. My performance declined, but I was really good at what I did, so it appeared to those around me, I was doing what I needed to do. I had manipulated my leadership because I was getting results."
In November 2017, the sergeants major's list came out. His name was on the list and in August 2018 he'd be heading to Fort Bliss, Texas, to attend the U.S. Army Sergeants Major Academy.
"I'm in trouble," he remembered thinking to himself. "I knew I was going to have to leave my family, and I had no self-discipline. For 17 years, I had manipulated the Army."
On July 13, 2018, he left Ft. Bragg, North Carolina, for Texas, and regressed back to drinking. "I showed up to the academy, was assigned a squad leader for accountability and stayed in a hotel for about 20 days before the class started Aug. 8," McGrath said. "Following the accountability check, I would go back to my room and be drunk by 1300 (1 p.m.). I was in my room crying because I already knew I had gone too far."
McGrath said when school started, he became a bit more disciplined because there was a requirement from the Army. However, in order to thrive and succeed in the academy, he had to be self-disciplined, an area he failed at.
"I would wake up each day and tell myself I wasn't going to drink," he said. "I had the shakes, but no one knew I was going through this; it was a secret. I had three roommates, too, and they had no idea."
McGrath explained how one day he was driving to the Academy and started to plan how he was going to kill himself. "There's these crazy overpasses in El Paso and people jump off there all the time," he said. "That was my plan, too."
But Feb. 5, 2019, he bolstered the courage to ask for help.
"I went into the instructors' office at the academy and said 'If I don't get help, I'm going to kill myself,' " McGrath proclaimed. "I ended up going to resident treatment at Brooke Army Medical Center in San Antonio, Texas (now Joint Base San Antonio). I went back to the academy on April 9, 2019, was dropped for medical reasons, and came back to Fort Bragg."
The support he received was opposite from what he thought it would be.
"I couldn't comprehend the academy instructors being so supportive," McGrath said. "I thought they would say I was letting the NCO Corps down and the academy down. Their reaction gave me hope that I could still one day wear the rank of sergeant major. The experience also impacted my spiritual relationship with God. God was using them to tell me it was going to be OK!"
Elizabeth Bechtel, Fort Bragg's Suicide Prevention Program manager, said it is important to educate the community on Suicide Prevention/Intervention for a couple of reasons.
"The one thing we hear time and time again from those who survived an attempted suicide is they just wanted someone to listen to them," she said. "So, teaching active listening skills and how to care when someone is in crisis is very important."
McGrath echoed that sentiment. He added how his family, the academy instructors, the treatment in San Antonio, Alcoholics Anonymous meetings, and having the opportunity to help others who are struggling has renewed his purpose.
He said there are a lot of people like him and he wants them to know their darkness can turn into light.
"I finished the non-resident portion of the academy on April 3, 2020 and was promoted to sergeant major August 1, 2020," McGrath said. "I've been sober for 569 days."
All service members, veterans, and their families are encouraged to contact the Military & Veterans' Crisis Line by dialing 988 and selecting Option 1 to speak with a trained counselor. The support is free, confidential and available every day 24/7. If you or a loved one is seeking information about psychological health concerns, contact the Psychological Health Resource Center at 866-966-1020 to confidentially speak with trained health resource consultants 24/7.
Talking to Your Family and Friends About Your Depression
Talking with your friends and family about your depression symptoms is not easy. Use this worksheet to help plan the discussion. 1. Decide who to talk to. List the family and friends that you will tell. Bold or underline the person you will tell first.
Psychological Health Center of Excellence | Psychological Fitness | Depression
Patient Self-Management for Depression
You can do several things to help yourself feel better, even when you're not at your best. Start by selecting one of the activities from this list. Remember to take it slowly and add new things as you begin to feel better. (Make copies of this worksheet, and review it weekly with your mental health provider or a trusted family member or friend to track your progress.)
5 Tips to Prioritize Your Health Flyer
Use these five useful tips to support your psychological health.
Psychological Fitness
Suicide Prevention Tools for Warriors Fact Sheet
Use these helpful tools and resources if you or someone you know is in crisis.
Can We Talk? Infographic
If you're concerned about a loved one, friend or coworker, use this infographic to help you start the conversation and encourage them to seek care.
5 Apps for Staying Mission Ready
Download these five apps to stay mission ready and mentally fit whether at home or abroad.
5 Ways Military Leaders Can Address Stigma Fact Sheet
Break stigma and create a unit culture that supports psychological health with these tips and resources.
5 Questions to Ask Your Psychological Health Provider Trifold
Use these five questions to start a conversation about your psychological health with your provider. Make the most of your visit by being prepared and taking notes.
Do's And Don't's for Communicating about Psychological Health Infographic
Learn the do's and don'ts for talking about psychological health to help promote a positive narrative, address misconceptions and encourage others to reach out for help.
5 Tips to Stay Mission Ready Infographic
Follow these five tips to stay mission ready and mentally fit whether at home or abroad. View this infographic in Spanish.
Military Health Resources Infographic
Learn the different ways to seek care and take the first step. Managing the stress of military life can affect the toughest warrior. Find the resource to best fit your needs.
5 Consejos Para Estar Listo Para la Misión Infographic
Follow these five tips to stay mission ready and mentally fit whether at home or abroad.
Print PSA: Expanded Coverage for Mental Health and Substance Use Disorders
Public service announcement you can print locally to help spread the word about the expanded coverage for mental health and substance use disorders.
Information for Patients: About TRICARE |


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text:
Land Titles Registration Policy and Procedure Guides
STR-09 Amendment of By-Laws
Strata Titles policy and procedure guides
Survey and Plan policy and procedure guides
Land transactions forms and fees
Land transactions reference guides
Customer self-serve videos
Version 4 – 05/06/2019
The information provided in this guide is not intended to amount to legal advice. Professional assistance may be required to determine the most appropriate action to protect your legal rights. Please read our Terms of Use on the Land Titles Registration policy and procedure guides web page. Landgate accepts no responsibility where parties print this guide and seek to rely on information that is out of date.
A strata company may make by-laws that are not inconsistent with the STA as amended for:
- its corporate affairs
- any of the matters specified in schedule 2A of the STA as amended
- any of the matters set out in s.42A and 42B of the STA as amended
- the establishment of a fund for administrative purposes in the case of a two-lot scheme (see s.36A (3) of the STA as amended)
- the exclusion of certain provisions contained in s.35, 35A and 36 of the STA as amended in the case of 3, 4 or 5 lot schemes (see s.36B (1) of the STA as amended)
- other matters relating to the management, control, use and enjoyment of the lots and any common property.
The by-laws set out in Schedules 1 and 2 to the STA as amended are deemed to be the by-laws of a strata company registered after 14th April 1996. These By-laws may be amended, repealed or added to:
- by a resolution without dissent (or unanimous resolution in the case of a two-lot scheme) for Schedule 1 by-laws
- by a special resolution, for Schedule 2 by-laws
- in accordance with any order of a court, referee or any written law.
By-laws previously contained in the 1966 and 1985 legislation continue in existence until 14 April 1997 (the Termination Date). After the Termination Date, the by-laws contained in Schedules 1 and 2 of the STA as amended will apply to all strata schemes.
Any by-laws already registered on strata plans before 14th April 1996, or any by-laws added to or amended and which are registered on the strata plan before the Termination Date (which are not inconsistent with the provisions of the STA as amended) will be saved and will become part of either the Schedule 1 or 2 by-laws that will automatically apply after the Termination Date.
A by-law can be made by a strata company at the request of the Local Government or a public authority and may be expressed to require their consent to an amendment or repeal of the by-law. No by-law, amendment or repeal of a by-law may operate so as to restrict the dealing with any lot by a proprietor or modify or destroy any easement implied under the STA as amended.
The amendment, repeal or addition to any by-laws contained in Schedules 1 and 2 have no effect until notification of the change is made to the Registrar of Titles and endorsed on the strata plan.
Note: Definitions of a resolution without dissent, special resolution and unanimous resolution are outlined in s.3(1), 3AC, 3B, 3CA and 3D of the STA as amended.
2 Registration of an Amendment of By-Laws
Registration is achieved by lodging a notification of change of by-laws at Landgate. The notification of change of by-laws must be set out substantially in the manner of Form 21 of the STGR, which may be typed on ordinary sheets of white A4 size paper attached to a Cover Sheet or typed on a Form B4 with additional page to Form, if required.
Amendments to by-laws (where the resolution was passed after 14 April 1996) must be registered within 3 months of the passing of the resolution. The 3 months commence from the date the strata company meeting was held.
Resolutions passed prior to 14 April 1996 must be registered within two years after the date of the resolution or the 14th April 1997, whichever date is the earlier of the two.
3 Exclusive Use By-Laws
Section 42(8) of the STA as amended allows the Strata Company, by a resolution without dissent (or unanimous resolution in the case of a two-lot scheme), to create a by-law to grant exclusive use and enjoyment of, or special privileges to a lot proprietor for all or part of the common property. The lot proprietor must consent in writing to the terms of the by-law.
By-laws for exclusive use or special privilege may contain conditions such as the requirements for maintenance and repair.
The portion of the common property which is subject to exclusive use or special privilege must be clearly defined by a sketch that contains sufficient information to accurately plot the affected land. The sketch must be approved by a Plans Senior Consultant at Landgate. Sketches may be forwarded in PDF format to Plans.Consultants@landgate.wa.gov.au for pre-approval.1
1[Email address updated on 5/06/2019']
Note: The areas of exclusive use or special privilege may be described in a narrative form provided they can be plotted in reference to the lot boundaries. In this circumstance, a sketch is not required. The granting of exclusive use or special privilege is not binding until they are registered as by-laws at Landgate. Registration is affected in the same manner as for a notification of amendment of by-laws outlined above.
The STA has been amended to make it clear that grants of exclusive use and exclusive use by-laws have not in the past and will not in the future require the consent of the West Australian Planning Commission or local government.
- SUB-01 Subdivision
- STR-01 Strata/Survey-Strata Plans


where they had their meetings. It was once a community gathering place, with dances and parties, but had fallen into disrepair over the years.
They've spent several years raising thousands of dollars to restore the historic building to its former glory, by holding car shows, dinners, and music.
Slowly, the money came in, all donated by the community.
Now, they've got a huge, beautiful stage, newly installed carpet, and a brand new kitchen.
While the building still needs a few final touches, veterans say they are happy to just finally have a place to come together again.
"It's good to get veterans and their families together, talk about experiences and everything," said Oneida veteran Avery Lee Honeycutt. "It's very therapeutic. I encourage any veteran in the community to get involved in it."


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Katie and Mike's wedding day began at their parents' homes in Arlington Heights and Lake Forest, IL. I just loved everything about Katie's parent's home. We were surrounded by windows in the getting ready room which provided so much natural light – I was in heaven! Her details were the perfect mixture of glamorous and elegant. The lacing and beading on the back of Katie's dress was absolutely stunning and I love the image below of her mom helping her with the buttons! Does Katie not remind you of Audrey Hepburn? She just radiates beauty and grace!
They were married at the St Edna Catholic Church in Arlington Heights. From there, we took portraits at a nearby park and then went to the reception location for more! The bridal party rocked out to their favorite songs on the drive over to The Royal Melbourne Country Club (thanks to Windy City Limo!).
The Royal Melbourne is absolutely gorgeous! One of the best things about getting married at a golf course is getting to ride in the golf carts! This is the best way to get around the property and not waste any time! 🙂 We found some beautiful spots for portraits and had enough time for them before needing to turn back because of the rain! The reception space was filled with red rose bouquets, rose petals, and accents of gold complete with a classic white tablecloth. Their cake smelt absolutely amazing and was possibly one of the best cakes I've had at a wedding. SO yum!! Enjoy viewing this beautiful wedding day!
Congratulations Mr. and Mrs. Tung!


Menusifu Inc. is a leading American internet company, keen on providing intelligent dining and ordering system in catering business. Menusifu products serve a full range of restaurants, help restaurants optimize expenses, improve revenue, enhance management, and accommodate the needs of new internet era.
Since its inception, Menusifu is currently working with PAX (E-Menu) on the software (E-Menu), the world's most expensive POS terminal manufacturer. At the same time, Menusify also signed with Grubhub (the largest online ordering platform in the United States), the online order and POS system, becoming one of the few players have the ability to integrate. Their team has continued to grow and expand. It is expected that 3-5 years, Menusifu will cover more than 10,000 restaurants in North America and bring a more comprehensive and intelligent restaurant system.


Think It's A Game (TIG) Records C.E.O. Girvan "Fly" Henry is making moves to take the company to the next level in 2019.
Fly has announced that the company has signed on 25-year music industry veteran "Bigga Rankin" as the label's new Senior VP of A&R.
One of Bigga's first tactical initiatives for TIG Records is the formation of the new "Bigga Is Betta/TIG Record Breakers" DJ Coalition.
This strategic partnership aims to further bridge and strengthen the connection between TIG Records, its artists and DJs, so that together, they may increase their reach to the masses.
The news of the company's decision has garnered great enthusiasm and support from the TIG Records family.
"Bigga Rankin" also chimed-in on the celebration to express how grateful and optimistic he is of this opportunity.
Prior to joining TIG Records, "Bigga Rankin" has dedicated over 25 years to the hip-hop industry.
Most recently, Bigga worked extensively in the Atlanta radio scene with Street's A&R, where he was famous for mixtape hosting, his independent artist "Street & Greet" tours and his record-breaking Cool Running DJs organization.
His expertise in promoting has also brought great success with powerhouse labels, such as Young Jeezy's Imprint CTE, Atlantic Records, Goodlife Music Group, Def Jam, Slip N Slide Records and Interscope.


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A modest room on the third floor of a Victorian warehouse in Acton, West London, where recording equipment included only an old 16-bit Akai S1000 stereo sampler, a dozen and a half FX-effects, a Yamaha SY22 synthesizer, a 16-track mixing console, a small Atari computer and a music creation pack Cubase—that was the No U Turn label in 1996, the year when it became famous.
This room became the birthplace of techstep. Cold, dark, obsessively mysterious, it determined the mood of drum'n'bass musicians for many years to come. Techstep was the perfect counterpoint to ragga jungle and the whole jungle community, affected by the Jamaican virus. In the second half of 1995, former junglists and now drum'n'bass figures took a new course and began to develop a new movement. The invention of techstep really came in handy.
The first techstep track was a remix of a known jazzstep track Mutant Jazz, which came out in the second half of 1995. Even then, you could hear a minimal amount of drums, a humming bass and compulsively wicked atmosphere above your head. Thoroughly edited samples, taken from funk records, were the base of the rhythm. The base for the humming bass was a recreated extract of a techno track from the second half of the 80s.
T.Power vs. MK-Ultra — Mutant jazz (DJ Trace remix) 1995
Written by Marc Royal, Nigel Samuel
Remixed by Duncan Hutchinson
From Turquoise / Mutant jazz single, SOUR
Two men with similar names indirectly participated in the creation of the techstep structure. The first is Alex Reece, who in 1995 published a minimalist track that, according to many musicians and music publications, changed drum'n'bass. The composition of Pulp Fiction had a completely different rhythmic figure. Before, there were only two states of drums: jungle and drum'n'bass. But Reece showed a third, 2-step state where the rhythm is steady and the bass drum makes only two kicks: pom-nothing-pom-nothing. Roughly speaking, if you remove every second kick of the bass drum from house or techno, you'll get 2-step.
Just want another chance
The second man indirectly involved in the creation of techstep was Kevin Saunderson nicknamed Reese (from his middle name Maurice). In 1988, Saunderson released a techno song Just want another chance, which contained the distinctive bass that was later appreciated by the head of No U Turn who was also one of techstep's founders—Nicholas Sykes (Nico). Actually, a similar bass line was used in 1994 by Ray Keith in Terrorist, but it was after the invention of the techstep Reese bassline that it became omnipresent.
Killamanjaro
The founders of techstep (Ed Rush, Trace, Nico) released enough material in 1996 to draw notice not only to themselves, but also to their creation. And it did happen: Grooverider adopted techstep and its aggressive promotion started in clubs as well as on the shelves of music shops. Techstep themes make up more than half of the tracks of his compilation Prototype Years. The Ed Rush's single Killamanjaro released by Prototype label became the anthem of 1997 while in 1996 this honourable title belonged to Skylab, which was released by the label of the almighty Goldie.
A map of Detroit and the Metalheadz logo hovering over the city—this was the idea of John Black who made the sleeve for Skylab. Perhaps Detroit is a reference to the digitally recreated bass part of a track from the techno age, where this style emerged in the early 80s. Perhaps it reflects the sound of the track: its technical mastery of the rhythm, indifferent melody and desperate future. Actually, it doesn't matter, because drum'n'bass entered a new stage of development. When jungle plunged for a while into the first stage of darkside—darkcore—you could say that it became itself, finding more differences than similarities from hardcore. During the second coming of the dark forces, drum'n'bass found more differences from jungle and finally became a fully-fledged independent phenomenon.
Ed Rush — Skylab 1996
Written by Ben Settle
From Skylab single, Metalheadz
People love to compare techstep and darkcore, to hint at the continuity of the genres and to talk about the drug experiments of musicians who were high while creating their masterpieces. After three years, ecstasy dropped out of the range of their favourite substances and now cannabis derivatives became popular: ganja and skunk. The last one, a hybrid variety of cannabis, which contains from eight to twenty four percent tetrahydrocannabinol, is a chemical compound causing hallucinations, unreasonable anxiety and fear, which is basically the main musical feature of techstep. When the guys from No U Turn were asked how they created their tracks, the head of the label (Nico) said that they spent a long time (all night) with red eyes in the ganja smoke—like in horrific experiments, where the guinea pig's nervous system gets slowly but surely suppressed. Ed Rush confessed that he consciously smoked to reach a gloomy state of mind, because otherwise he couldn't achieve the necessary consistency of anxiety in his tracks.
Anxiety means a lot in techstep. It's literally the base of the right sound. Almost all techstep tracks are made by a formula that includes a frequent minimalist percussion underneath and a compulsive mystic atmosphere above, not a flat one like in films, but like in real life, representing again a decline of civilization and not promising its recovery. It creates an interesting panorama: musical layers are on opposite poles; they interact with each other, but don't merge. The middle, meaning the horizon, always remains empty. It's always like this in techstep—there is a permanent void, some emptiness inside. If anything, techstep is a minimalist version of darkcore.
Doc Scott — Drumz '95 1995
Written by Scott McIlroy
From Drumz '95 (Nasty Habits remix) / Blue skies single, Metalheadz
One of the most important strands linking the dark forces of 1993 and 1996 is a techstep remix of a darkcore hit Here come the drumz by Doc Scott.
Techstep is a music of unknown empty planets, ambient music for heartless and aggressive space, the essence of RoboCop, Blade Runner, Terminator, Alien, Predator and other super-technological movies heroes of their super-age. This is a deeply sci-fi music from the future, which is ruled by deeply emotionless scientists who are deeply indifferent to the future of their people. Jonny L watched Apollo 13 and created one of the anthems of 1997—Piper.
Jonny L — Piper 1997
Written by John Lisners
From Piper single, XL Recordings
Mentasm
Piper is probably a good illustrative example of the percussion technique and of the definition of techstep which doesn't imply that it was created under the influence of techno. It's rather closer to industrial music with distorted drums, an even more distorted bassline, the presence of noise and some foreign sounds, and a not exactly healthy atmosphere. The experts talk about the influence of Belgian hardcore from the beginning of the 90s on techstep; it was mainly produced by R&S Records, with the horse in the logo, just like Ferrari.
Meanwhile, there is no unanimous opinion about who coined the term techstep. Some say that the word entered everyday life thanks to the creators of the genre; others claim that the credit belongs to the Techsteppin compilation, which was released by a SOUR branch—Emotif Recordings (with subtitle: a journey into experimental drum & bass). Considering that the compilation mainly consists of No U Turn guys' material, just under different names, and the fact that it was Trace who made a selection for this landmark compilation, you can say that one way or another, the name belongs to the founding fathers.
In the Dynamics track, Dominic Angus fully reflects the roots of the subgenre and demonstrates the continuity of generations as well as the transition from one style to another—techstep emerged from hardstep, just by getting rid of the needless drums.
Dom & Roland — Dynamics 1996
Written by Dominic Angus
From Dynamics / The planets single, Moving Shadow
"When I put a needle on the record, I immediately feel energy", confesses Nico Sykes. "But nice and sweet melodies like in ambient drum'n'bass don't appeal to me. It's just music for lifts, background music for a nice time at sunset on a Sunday evening, nothing more. The real power of drum'n'bass is in its fast changeability. Like the rhythm of our restless life and the technological world we live in. Rapidly evolving technologies present themselves as a new religion and it creates fear, it makes you feel lost." In 1997, No U Turn label released a compilation called Torque with tracks of their own production. The name of the compilation as well as the names of the tracks (Droid, Sector 3, Proton, Crystal, Coma Tone) represent an exercise in technicality, industrialization and total soullessness, an absence of the human. Perhaps if intelligent robots located in some military base could create music, it would sound like that. In darkcore, the grandfather of techstep, the track titles reflected the mystical (esoteric) component of the tracks, chemical experiments of new times, malice and the worst human features. Techstep, by naming the tracks in this style, justifies its name, its reason for self-definition.
Ed Rush & Nico — Sector 3 1997
Written by Ben Settle, Nico Sykes
From Torque compilation, No U Turn
Fierce & Nico — Crystal 1997
Written by Daniel Burke, Nico Sykes
In the same year, one of the godfathers of jungle and drum'n'bass, the lord of the dark side of the genre—Grooverider, released the compilation Prototype Years. It was a mixture of popular techstep and the coming wave of neurofunk. Grooverider openly commercially supported the new heroes of the stage, the new trend-setters, not only in the club, but also at his own Prototype Recordings label. Of course, techstep musicians got enough attention (especially the No U Turn guys), but a compilation called Grooverider Presents is probably the sweetest moment for a musician of the drum'n'bass crowd and the highest stage of recognition. The appearance of a themed compilation from Grooverider himself on the shelves of shops doesn't show bad taste on the part of the compiler, it's a mark of quality of the genre. Techstep was getting completely legitimised.
John B. — Secrets 1997
Written by John B. Williams
Dillinja — Silver blade 1997
Dom & Roland isn't a very well-known person but he did a lot for techstep. In 1995, Dominic, with his favourite Roland S-760 sampler, invented the break which would later be often used in techstep. At that time, Dominic worked as a sound engineer for DJ Trace who heard this invention and realised what he lacked for remixing Mutant Jazz. Dominic didn't manage to implement his idea first and the new break was named after DJ Trace. So, it was named tramen (from Trace and amen break). As Trace himself later recalled, it was named tramen after his joint work Nitrous with Fresh, the leader of Bad Company. Soon Dominic put dots on the i's and Trace himself didn't want to steal someone else's creation. People who know better correct the others: it's domen, not tramen (dominic + amen break).
A true domen
"I want to hurt people with my beats", adds Ed Rush to the manifesto of the techstep movement. And in fact, one of the mottos of this leading label is hurter's mission. According to some sources, this phrase was present on some, if not all, No U Turn records—it was scratched out on the matrix when making impressions for the future creations which would be soon distributed to music shops. For a very short period of time, techstep became a massive craze. In just a few years, the phenomenon would gather a circle of serious like-minded musicians, who first would lure drum'n'bass to the dark side (Darth Vader's appeal was heard :-) and then would listen to accusations that drum'n'bass died before it could separate from jungle.


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This is a real story from "Romance of the Three Kingdoms" which happened in ancient China almost 2000 years ago:
One day, Sun Quan gave king Cao Cao an elephant as a present. Cao Cao was very pleased and he rushed to see the arrival of the elephant with his seven year old son and his many ministers.
A crowd formed around the elephant, awed by the size of the gigantic creature. The elephant's legs were the size of pillars. The people who stood under it could not even reach its stomach!
Cao Cao said: "This elephant is enormous! But how much does it weigh?!"
A discussion opened between the ministers. One said: "We need to make the world's biggest scale to weigh this elephant!" Another said: "That is not possible! Let's kill the elephant, chop it up, and weigh the pieces!" Other's began to laugh at some of the comments, "We cannot kill this behemoth! It is a gift for the emperor!" Cao Cao agreed, the elephant was not to be killed. But Cao Cao was still very intrigued by how much this elephant must have weighed.
A while later, Cao Cao's son, Cao Chong had an idea of how to weigh the creature. How did he do it? Are you as smart as this seven year old?
December 27th, 2011 | Category: Animals, Brain Riddle, Geography, History, Real Life, Science Riddles | Email This Riddle
2 guesses to The Elephant in the Room
I've actually heard this before. Something to the lines of coaxing the elephant into a boat, mark the water line, then remove the elephant. You would have to then add weights to the boat until you reach the water line.
In theory, it would work just fine. The idea of a seven year old coming up with it is far-fetched. I guess they were much more educated in ancient times!
Correct, Judd.
Put the elephant in a boat. Measure the waterline depth. Coax the elephant off the boat and add known weights until the boat sinks to the marked waterline.
You are today's winner.


thank you for the felt sewing tutorial. Summer is the perfect timing for this tip. My granddaughter (11yrs) is a bonfire beginner seamstress. She is always looking for sewing projects. Felt is definitely a fun material for children and adults alike.
Thank you for sharing your tutorial with me. I am just finding the love for felt and I appreciate all the help I can get. I am interested in making things for my grandbabies and I really want them to last for years.


Have you noticed the "Upload a favicon" button under the appearance tab of your Didacte school? It's an optional step that adds a personal touch to your website.
Short for favorites icon, the favicon is a small yet perfectly square icon . It was originally created to make your website stand out within a user's toolbar list. It is now displayed next to the title of a web page in most browsers.
The favicon should generally be your logo and always needs to be a square. The minimum size of the icon is 16x16 pixels.
Don't worry, we won't ask you to learn graphic design or install software in order to create your favicon!
There are many free resources available to accomplish this, but our favorite is this simple website. It creates all the most commonly used sizes of favicons in one file.
Don't select sizes that are superior to your square image.
Let's say you are launching a cooking school and really like this royalty-free image found on Pixabay.
Press the Convert button, the website automatically creates a file named favicon.ico. In your school's administration, on the Appearance tab, select the favicon.ico file, upload it and press Save.
Your new custom favicon replaces the default Didacte logo !


text:
By JoshC., September 29, 2018 in General Discussion
ProudToServe
11 hours ago, StevenVig said:
Just to clear things up about WWTP
The reason such upbeat tracks were chosen, is because Big Bob describes the terror and massacres that are occurring in such a positive tone of voice, bit creepy right? Imagine someone telling you that you are all going to die with a massive smile on their face, and then Sunshine, Lollipops & Rainbows is played.
It's not immediately obvious, but if you listen it is there.
I think people are hearing the cheery 60s tracks and are automatically assuming that it is the usual loop. It's not unless you stop and listen to the brand new Big Bob vocals, that you will realise why these tracks have been chosen. Everyone is just expecting Monster Mash ?
Come on... if you put cheery 60s tracks in the mix that are used on the standard amity track, then people are going to assume its the same BGM or just pure laziness, just like I did as I walked through Amity in 4mins, hearing no FN related stuff at all. This actually ruined the atmosphere for me completely, as BGM plays a massive part in the mood. No one wants Big Bob, its Fright Nights for god sake.
You can't be on here defending the track saying "had you listened longer and closer" you would have heard the FN theme. Are you standing outside Thorpe Park telling all the other guests this? I'm not going to hang around for 10mins to hear some Halloween related audio. This just means the sound design is very poor. Just sounds like it's been created as it's something a bunch of fans wanted to do. You should be able to pick out the mood instantly when walking into an area, and the amity track isn't doing this at all, this is like the first thing that should be thought about. Not that you want to recreate more Big Bob indents or include theme park enthusiasts in in the mix. Hey, now it's all available online, for what, ego feeding? what utter rubbish. Why is this even a thing in the UK, I don't see Universal posting their tracks online.
The park was built for 'islands' but everything is such a mash and islands are so close and mixed, with broken speakers and poorly levelled across the park, until this is fixed, adding zoned audio for FN's isn't effective and should have just been one or two park wide tracks, designed allowing the roamers to act along with, and actually make you feel like at 3pm, it's Fright Nights, and not normal TP. Regarding ride audio, you do it all, or non at all. Saying theres more to come, err the event opened last week, it should have been done.
6 hours ago, Nick Hutson said:
There's a good 25 minutes where evil takes over; spooky rock and roll songs play and big Bob Jones is possessed.
It's all about the story though; it all depends what time you get there. But - there are horrors in there.
Why would you theme only 25mins of the track. Why would you put a story into the track, in an area which no one is going to be around to listen, because the mazes are on the other side of the park. It shouldn't depend on what time you get there, it should be there ALL the time.
----------------------------------ION------------------------
This has to be the worst Fright Nights ever, everything has been thrown into it to make it the biggest, but it's all shoddy, low class, black walls, poorly designed atmosphere and mazes and then go to the lengths of using enthusiast to produce content across the park, including the vloggers, where I'm 100% sure have been paid to say it's the best Fright Nights ever, when it's the worst. I mean, 2017's top maze couldn't even come back, despite owning everything for it, apart from a tent to put it in. As for Scare zones... what scare zones? Fright Nights 2018 has nose dived. I feel extremely sorry for the Actors who are trying the hardest, as I saw in some mazes, but frankly they are not given the environment to make scares happen. Everything's so open. Instead I found them more of an annoyance, just standing there and then stamping in front of me.
Marhelorpe and MilesK reacted to this
There's a lot of focus on WWTP which is a shame as a lot of the park wide audio is quite good - as has been mentioned the Colossus track is probably my favourite - especially in the station (video below) although I did notice sometimes the normal track plays - I don't agree with there should be one / two tracks park wide - even with speakers not working during normal season we have themed audio for the areas and it works so I think it's good this year we've seen the areas go back to having their own Individual Fright Nights tracks.
Goung back to WWTP I do see what it's trying to do though it is subtle - back in 2006/7 maybe we had a fright night themed WWTP which had Halloween songs between the standard Big Bob voice overs which worked but was pretty cheesey.
Agree with comments on the lighting - would be nice to see the LED lights set to just one colour in the areas which they are used.
For all the bad points regarding the mazes this year one good thing to come out of this year IMO are the roaming actors, the guys over at Amity do a great job of generally being pretty freaky, always interacting too which is nice to see. The Big Top clowns also I feel would have a lot more praise if they weren't a "replacement" for one of the best mazes the park has had, on their own the show does a pretty good job of scaring anyone in the dome and causing general havoc in there whilst when there roaming park wide they do a good job - it's just a shame it's at the expense of The Big Top. There was also a Zombie Flash mob there on Saturday - saw some videos which looked good hoping it returns next weekend!
Overall for me id say the biggest problem with Fright Nights this year is the lack of a stand out attraction - we've always had one (The Asylum, Cabin, Big Top) where even if you had bad run throughs on the other mazes - these are almost certain to deliver, this year im not certain what the headline attraction would be.
Glitch, JoelAllen and jessica2 reacted to this
Doesn't matter, got creds!
Quite sad to see the person involved in something creative responding to criticism in a very "YOU DON'T UNDERSTAND THE SUBTLETY OF MY DESIGN" approach...
Like, I've no idea how it actually sounds, but most people aren't going to be sat around Amity Cove listening to the music in order to 'get' it... You might get lucky and hear another part of it as you pass through, but if you need extensive listening to understand it then you've already failed at the job at the creative aspect of passing on the story for guests...
Consuming other media to get the full story only works for those who are dedicated, this goes for games, movies and anything else...
SteveJ, MilesK, Altitude and 3 others reacted to this
Disney fanboy
You guys are absolutely brutal this year.
MattyMoo and terrortomb reacted to this
A Lost Zookeeper
Normally adding layers of story to the area music wouldn't be that bad, but at Thorpe (and more importantly Amity) where less than a half of all speakers actually still work, having guests have to wait around 15+ minutes to understand why the same music that plays all year round is playing is laughable. Especially in queues like Stealth where only two of the speakers in the plaza actually work.
If having a few 'theme park celebrities' (a very loose term - haven't heard of half of them, not sure many of Thorpe Parks target audience have either) is a cheap way of them getting some more guests in, that is laughable. Why not use the Imascore loop created for FN last year, and spend some of the money that was used to create the new loops on the mazes that lack quality or depth. I'm no expert, but Imascore can't be cheap, and it sounds a lot better than a couple of theme park fans creating a dream WWTP playlist. Why not use something for more than a month.
Marhelorpe, Altitude and Ringo reacted to this
12 minutes ago, A Lost Zookeeper said:
Thats not quite true - Tidal Wave finally has music back in its queue line and station, Stelath has had it's plaza speakers which were removed put back into place and the rest repaired.
MattyMoo
15/10 on the Scare Scale
9 hours ago, ProudToServe said:
including the vloggers, where I'm 100% sure have been paid to say it's the best Fright Nights ever, when it's the worst.
This is why our Lord Sanbrooke was not invited to FN Press Night - he tells it like is bruv, he called Vulcan out as the worst halloween attraction ever #notimmersive.
Just to throw some positivity into the mix - as much as Big Top Showtime is an insult to the iconic Big Top, the kids who were in the Dome when the clowns did their thing did seem to be having a cracking time on Saturday, and I did like the atmosphere. Just don't pee on our mini doughnuts by referring to it as Big Top plz.
As I said after press night and has been said now so many times, general consensus is that it totally is quantity over quantity. The cheapness of dividing fences between P15 and Zombie Hunt woods, the black fabric "walls" in (what should be a prestigious IP maze) on Do Or Die - not good enough. Interesting thing is too, as soon as the mazes open at 3pm and 6pm, the biggest queues I've seen at those times are Saw Alive & Blair Witch respectively. And then later on, the biggest queue is at Guest Services after everyone has been on Vulcan Peak
Marhelorpe and jessica2 reacted to this
SteveJ
Unprofessionalism from many people at the park this year. Certain people predictably still obsessed with using theme parks to further their careers and trying to earn status amongst fans then.
Would theme park 'personalities' please stop trying to be the Fright Nights mascot. In reality, a huge amount of collaboration and differnt teams go into putting on these events, most the work never gets seen – because what matters is the end result. But when people start going online to claim "hey I've done this, it's mine, enjoy my work everyone" then you know what people's real agendas were.
Fright Nights this year is clearly very poor, perhaps budget from the lords above was a big factor in that. Either way it's a bit sad to see we've got to a state where the people involved in an event and their mates come on to a forum to tell people how clever and smart their work actually is.
A bit like when we had Bradley Wynne tell people on Facebook how actually clever Derren Brown's Ghost Train was and how its "supposed" to be disjointed. That's not the point when the end result just doesnt entertain.
I'd wish Thorpe Park all the best for next year and hope it goes better. The park needed a really strong Halloween event this year and just didn't manage it.
onair, Wicker Matt, HermanTheGerman and 1 other reacted to this
16 minutes ago, Wumbamillio said:
Sums up the park completely.
Needs a management refresh who takes back control of the park instead of the social team...
onair reacted to this
Mattgwise
Matt Wise
Meet Organiser
6 hours ago, Marc said:
Worth a mention actually, it sounded a lot better around Tidal Wave and Stealth plaza. Only thing left to sort out now is the third or so queueline speakers for stealth that are not working (and cranking the volume up slightly in the queue)
12 hours ago, Marc said:
I don't agree with there should be one / two tracks park wide - even with speakers not working during normal season we have themed audio for the areas and it works so I think it's good this year we've seen the areas go back to having their own Individual Fright Nights tracks.
The park has no clearly defined zones due to broken speakers or areas not had speakers added as the islands expand/contract/move/appear. Like the bridge into the park, entrance plaza, Colossus, angry birds splitting amity/stealth plaza up, dock yard, dock yard, is that still a thing? The Jungle island has little to no speakers yet has it's own track? There's nothing in these areas which have dedicated scare zones or actors themed to the tracks/island they are in. So you have Clowns walking through a jungle area to a jungle themed track, yeah that makes sence? Do you see what I'm getting up? You have zoned up areas, yet no one actually knows the areas as they are not defined enough to make it immediately obvious. Until this is fixed, having so many different tracks just comes across as messy. Picking out amity, dome area and maybe old town as areas having their own tracks but the rest should be a generic BGM FN track.
8 hours ago, MattyMoo said:
Ah yes, by paid, I mean indirectly paid via press night invites, exclusives, and other incentives that'll keep those vlogs rolling out with positives vibes for Thorpe. I have a lot of respect for Scaretour
5 hours ago, Ringo said:
Oh and how that is happening, maybe not the right way still though.
Sorry if I'm being very blunt or direct, but seeing how it's turned out this year, compare to last year, makes you wonder what went so wrong on the Island Like No Other.
ChessingtonSam
The time has come for the Wicker Man to rise
19 hours ago, ProudToServe said:
then go to the lengths of using enthusiast to produce content across the park, including the vloggers, where I'm 100% sure have been paid to say it's the best Fright Nights ever, when it's the worst
cough Jack Silkstone cough. Whether he gets paid or just a suck-up, it was so blatant when he repeated the exact same stuff after every single maze on the preview night. It was "soo sick".
Also, watched two POVs of Vulcan Peak just now, and oh my word. I didn't make it through all of I'm a Celeb because it got too much for me and I don't think I would be even slightly scared in that thing. Love how before the ending you literally just walk through the behind the scenes area that I exited through, without any attempt to theme it.
This is certainly true. Merlin need to take a long look at Thorpe because right now, its really not in a good place.
12 minutes ago, ChessingtonSam said:
He went to Tulley's press night but the vlog for that had nowhere near the amount of detail Vs Fright Nights Press Night.
To be fair to him though he didn't say Vulcan Peak was good or sick... However one of his mates said "at least it's another attraction" which isn't a viewpoint I'd share personally.
Terrain Matters
42 minutes ago, MattyMoo said:
And that sentence right there is what's entirely wrong with Fright Nights now - quantity is more valued than quality.
I have nothing against the vloggers online at these press events, (except Silkstone who has essentially nicked sections of my own YouTube videos without asking me beforehand a few times very recently...) as it's evident these people clearly fall into Merlin's good graces, so won't dare discuss the issues with the event this year. But by doing so, it undermines their positions in my view where they are not being honest with their viewers and as a result, I pay almost no attention to what they have to say.
Just wish those with a position of influence like the vloggers can be brutally honest to the viewers and not toe the line.
I'll have a look at that then, I try to avoid YouTubers who use the word "sick" and use those hand motions he does as much as I possibly can but I guess I'll make an exception. Then again, I've never seen a negative comment during a press night anywhere so it probably won't be the same.
That last bit says it all really.
It's really is quite sad to see how the quality of Fright Nights has dropped this year. In fact its not just Fright Nights its the whole running of the park.
They seriously need a complete refresh at present its seems the social media wannabees are running the place.
HermanTheGerman
1 hour ago, Mark9 said:
So far all they've done is sack the Divisional Director. Arguably not the best resolution, and definitely not getting to the root of the issue. Hopefully there's a more intensive attempt at shake up ahead, as the entire structure and direction of the park needs rectification. The constant U-turns and unprofessional management need to go asap.
Coaster, onair and Ringo reacted to this
It currently seems that a bunch of disjointed theme park fans are running the park. With the bizarre and irrelevant IPs popping up constantly; rushed, poorly managed, low-budget attractions; and pointless, disappointing events it is difficult to see where the park is planning on going.
Hopefully they will learn from this mistake, and sort out the actual root of the problem. The people who believe that creating 8 Mazes and a 'Show' (very, very loose term) in one to two months with minimal staff who seem to be not experienced enough to make it work. It seems that the Marketing team saw what Universal are doing, and decided that they would take it all and do it in the UK, without thinking about the amount of money that goes into those attractions, and the large group of designers, technicians and builders who manage to create these attractions.
MattyMoo reacted to this
11 hours ago, Marhelorpe said:
This will never happen because then the parks won't invite people just in case they're mean honest...
Like I doubt Bakken or Walygator would ever give me freebies...
Ringo reacted to this
Over at TowersStreet it's been confirmed that Ian Crabbe (Towers divisional director) is currently acting as interim at Thorpe and the marketing director is also believed to be gone, which isn't surprising at all.
59 minutes ago, Ringo said:
Ahh I didn't know they'd chucked the marketing direc. too? Well hopefully the shakeup continues, and they get a whole new direction for the park. It's desperately needed.
5 hours ago, HermanTheGerman said:
Yeah it's much needed, as I said elsewhere they need to go back to basics and make sure they deliver on the simple things first.
Also employ staff who are better suited to the job, the behaviour of some staff at Thorpe wouldn't be tolerated at any other park.
I doubt we'll see a proper change in direction until 2020.
9 minutes ago, Coaster said:
Wasn't the new Divisional Director only appointed last year?
https://www.thorpeparkmania.co.uk/news/09-01-2017/Resort+Appoint+New+Divisional+Director
It doesn't say much about the park if they're going through directors that quickly, but it does explain the constant misdirection and change in target market.
Yes he was about November 2016 so almost 2 years. To be fair the last Director (Mike Vallis) managed nearly 8 years in the job.
Wicker Matt
What Kills You Makes You Stronger
It's a great shame Dom Jones has left as the park's divisional director, however I am not surprised either.
Sure he wasn't perfect but definitely had some ambitious plans, many of which were likely noticeably downsized or cancelled altogether such as the reopening of Loggers. I've met him many times and seemed a down to earth guy who tried to improve the park's cosmetic appearances such as tweaking the entrance, bridge and Dome areas.
Sadly I'm not surprised he's gone as I thought it was a matter of time before he went. Despite being the now former front man, he was likely restricted into what he could realistically do amongst insufficient resources too maybe.


text:
Bars expected to close for indoor service yet again, Wednesday
Friday residents had drinks while they could, at bars across New Orleans
Updated: 9:34 AM CST Dec 14, 2020
Shay O'Connor
AGAIN. VERY GREATLY. SHAY. SHAY: TRAVERS, THIS IS THE LAST WEEKEND BEFORE BARS THAT DO NOT SERVE FOOD WILL BE CLOSED TO INDOOR SERVICE ONCE AGAIN, AND I HAVE BEEN SPEAKING TO PEOPLE WHO WORK AT BARS, THOSE WHO FREQUENT BARS COME WHO TELL ME THEY ARE JUST TRYING TO TAKE IT ALL IN. SHELLY: IT WAS KIND OF BOUND TO HAPPEN, EVEN THOUGH ORLEANS PARISH HAS DONE ITS BEST. SHAY: FRIDAY, MANY GOT THEIR LAST THRILLS IN AT VARIOUS BARS THROUGHOUT THE CITY. THIS WEEKEND IS EXPECTED TO BE THE LAST UNDER THESE GUIDELINES, AT LEAST FOR THE TIME BEING. JUSTIN: THE HYPOCRISY OF WHAT'S GOING ON IS ABSOLUTELY RIDICULOUS THERE IS NO RHYME OR REASON. THESE BUSINESSES DO NOT NEED TO BE SHUT DOWN. THEY ARE REGULATED, AND PEOPLE ARE FOLLOWING THEM. SHAY: THE SCALED-BACK RESTRICTIONS COULD HAPPEN AS COVID-19 CASES AND HOSPITALIZATIONS CONTINUE TO RISE. HEALTH OFFICIALS SAY THE PERCENT POSITIVITY RATE HERE IN NEW ORLEANS HAS NOW RISEN THREE TIMES MORE THAN WHAT IT WAS A MONTH AGO, HIGHER THAN THE 5% RATE NEEDED TO KEEP BARS OPEN. FOR LOCAL BARTENDER SHELLY JENKINS, THIS MEANS HI LIVELIHOOD. THE BAR WHERE HE WORKS JUST REOPENED FIVE WEEKS AGO. SHELLY: WHAT WILL HAPPEN TO THE SERVICE INDUSTRY? WHAT'S GOING TO HAPPEN TO BARS? WHAT WILL HAPPEN TO VENUES? IT'S ALL UP IN THE AIR. SHAY: UNDER THE NEW RESTRICTIONS, OUTDOOR BAR SERVICE CAN STILL REMAIN IN EFFECT AT 25% CAPACITY UNDER THE STATE'S GUIDELINES. CONOR: WHERE THESE PLACES ARE TRYING TO THRIVE AND SURVIVE, I THINK SAFETY IS THE MOST IMPORTANT THING AS A RESTAURANT WORKER. SHAY: JENKINS SAYS, FOR THE MOST PART, SERVICE-INDUSTRY WORKERS UNDERSTAND THE RISKS. HE HAS A MESSAGE FOR RESIDENTS. CONOR: PLEASE WEAR A MASK. WASH YOUR HANDS. WE ARE TRYING TO DO OUR BEST, SO WORK WITH US. SHAY: NOW, THIS IS ALL EXPECTED TO GO INTO EFFECT ON WEDNESDAY, AND WE DO
It is the last weekend before bars will be closed to indoor services. Wednesday the revised restriction is expected to go into effect. Those we spoke with said they were just trying to take everything all in. Shelly Jenkins, works at a local bar, and said "It was kinda bound to happen, even though Orleans Parish has done it's best." "The hypocrisy of what is going on is absolutely ridiculous. There is no rhyme or reason on why these businesses should be shut down. They are regulated and the businesses are following the rules, said Justin Huber, a resident. The scaled back restrictions could happen as COVID19 cases and hospitalizations continued to rise. Health officials said the percent positivity rate here in New Orleans has now risen three times more than what it was a month ago.Higher than the five percent rate needed to keep bars open. For local bartender Shelly Jenkins, this means his livelihood. The bar where he works just reopened five weeks ago. "What will happen to the service industry? What is going to happen to bars? What will happen to venues? It is all up in the air."Under the new restrictions, outdoor bar service can still remain in effect, at 25 percent capacity under the state's guidelines. Conor Donohue lives in Midcity and works in the service industry. He said, "Where these places are trying to thrive and survive, I think safety is the most important thing. As a restaurant worker. "Jenkins said for the most part, service industry workers understand the risks. He had a message for residents. "Please wear a mask. Wash your hands. We are trying to do our best so work with us."Health officials said most likely gatherings will also have to size down.
It is the last weekend before bars will be closed to indoor services.
Wednesday the revised restriction is expected to go into effect. Those we spoke with said they were just trying to take everything all in.
Shelly Jenkins, works at a local bar, and said "It was kinda bound to happen, even though Orleans Parish has done it's best."
"The hypocrisy of what is going on is absolutely ridiculous. There is no rhyme or reason on why these businesses should be shut down. They are regulated and the businesses are following the rules, said Justin Huber, a resident.
The scaled back restrictions could happen as COVID19 cases and hospitalizations continued to rise.
Health officials said the percent positivity rate here in New Orleans has now risen three times more than what it was a month ago.
Higher than the five percent rate needed to keep bars open.
For local bartender Shelly Jenkins, this means his livelihood. The bar where he works just reopened five weeks ago.
"What will happen to the service industry? What is going to happen to bars? What will happen to venues? It is all up in the air."
Under the new restrictions, outdoor bar service can still remain in effect, at 25 percent capacity under the state's guidelines.
Conor Donohue lives in Midcity and works in the service industry. He said, "Where these places are trying to thrive and survive, I think safety is the most important thing. As a restaurant worker. "
Jenkins said for the most part, service industry workers understand the risks. He had a message for residents.
"Please wear a mask. Wash your hands. We are trying to do our best so work with us."
Health officials said most likely gatherings will also have to size down.


text:
Items Portraits.
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection
Wilhelm Raabe.
Raabe, Wilhelm Karl, 1831-1910
Other local Identifier: Portrait File
Universal Unique Identifier (UUID): 60f1af00-c59d-012f-a6a6-58d385a7bc34
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. "Portraits." The New York Public Library Digital Collections. http://digitalcollections.nypl.org/items/7e3d5c3b-5422-b0c2-e040-e00a18066cbd
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. "Portraits." New York Public Library Digital Collections. Accessed July 19, 2019. http://digitalcollections.nypl.org/items/7e3d5c3b-5422-b0c2-e040-e00a18066cbd
The Miriam and Ira D. Wallach Division of Art, Prints and Photographs: Print Collection, The New York Public Library. Portraits. Retrieved from http://digitalcollections.nypl.org/items/7e3d5c3b-5422-b0c2-e040-e00a18066cbd
<ref name=NYPL>{{cite web | url=http://digitalcollections.nypl.org/items/7e3d5c3b-5422-b0c2-e040-e00a18066cbd | title= (still image) Portraits. }} |author=Digital Collections, The New York Public Library |accessdate=July 19, 2019 |publisher=The New York Public Library, Astor, Lennox, and Tilden Foundation}}</ref>


1. - Wynona Ryder, House of Spirits, 1993. Danish director Bille August ("Ingmar Bergman's spiritual son") could only blame himself for losing August. His wife - the 1992 Cannes best actress in his Best Intentions - was pregnant!


text:
Dr Martin Chidinma Iwuji
Home / School of Environmental Technology / Environmental Technology Department / Dr Martin Chidinma Iwuji
Lecturer I
Environmental Technology Department
Email: martin.iwuji@futo.edu.ng, martiniwuji@gmail.com
2017 – PhD – Geography & Environmental Science – University of Calabar, Nigeria
2003 – M. Tech – Remote Sensing Applications – Federal University of Technology, Minna, Nigeria
1998 – B.Sc – Geography & Regional Planning – University of Calabar, Nigeria
Remote Sensing, Geographic Information System, Forest Ecology, Environmental Resource Conservation, Landuse Change, Climate Change, Biogeography, Soil Studies, Biodiversity Conservation, Flood and Erosion Studies, Environmental Impact Assessment.
G. T. Amangabara, J. D. Njoku & M. C. Iwuji (2017): People's perception of soil erosion and its impact in Imo State, Nigeria. International Journal of Research in Applied, Natural and Social Sciences. Vol. 5, Issue 12, Dec 2017, 77-88, ISSN (P): 2347-4580; ISSN (E): 2321-8851
M. C. Iwuji, C. P. Iheanyichukwu, J. D. Njoku, F. I. Okpiliya, S. O. Anyanwu, G. T. Amangabara and K. O. E. Ukaegbu (2017): Assessment of Land Use Changes and Impacts of Dam Construction on the Mbaa River, Ikeduru, Nigeria. Journal of Geography, Environment and Earth Science International. Vol. 13, (1), pp. 1-10, ISSN: 2454-7352
M. C. Iwuji, O. L. Iroh, J. D. Njoku, S. O. Anyanwu, G. T. Amangabara and K. O. E. Ukaegbu (2017): Vulnerability Assessment of Soil Erosion Based on Topography and Vegetation Cover in a Developing City of Orlu L.G.A, South East Nigeria. Asian Journal of Environment and Ecology. Vol. 4 (4), pp. 1-10, ISSN: 2456-690x
M.C. Iwuji, C.P. Ibe, J.D. Njoku, S.O. Anyanwu, G.T. Amangabara, N.Ac-Chukwuocha and K.O.E. Ukaegbu (2017): Analysis of Land use and land cover dynamics in Orlu, Nigeria. Asian Journal of Environment and Ecology. Vol. 4 (1), pp. 1-10, ISSN: 2456-690x
K.O.E. Ukaegbu, M.C. Iwuji, C.C. Uche, I.E. Osumgborogwu and G.T. Amangabara (2017): Spatial Assessment of Temperature and land cover change as climate change monitoring strategies in Owerri, Nigeria. Journal of Geography, Environment and Earth Science International. Vol. 4, (1), pp. 1-9, ISSN: 2454-7352
Amangabara, GT; Njoku JD; Iwuji MC and Nlemedim, V.C. (2017): Assessment of the Suitability of some sites for Aquaculture Development in the Onitsha Sub-basin, Anambra State, Nigeria using GIS methods. FUTO Journal Series, Vol. 3, Issue-1, pp. 114-130, e-ISSN: 2476-8456 p-ISSN: 2467-8325
Okpiliya, F.I., Abua, M.A. and Iwuji, M.C. (2016): Technological Imperatives in Forest Resource Conservation: A Panacea for National Development. Journal of Nigerian Environmental Society (JNES) Vol. 10, No. 2 pp.119-130, ISSN 1596-7751
Njoku, J.D., Ukaegbu, K., Iwuji, M. and Nwuze, U. (2016): GIS-Based Mapping and Statistical Analysis of Atmospheric Pollution in Portharcourt, Southern Nigeria. International Astronautical Federation (IAF) IAC-16,E2,1,2,x31854
Njoku, J.D., Ukaegbu, K.O., Amangabara, G.T., Iwuji, M.C. and Anyanwu, J.C. (2015): Correlation of Impervious Surfaces and Ambient Temperature Variation in Owerri, Southeastern Nigeria. Journal of Renewable and Alternative Energy Technologies (JRAET) Vol. 1 pp. 115-123
John D Njoku, Martin C Iwuji, Ikechukwu L. Osuocha and Franklin C. Okoro (2014): Effects of Oil Spillage on Surface Water Resources in Ohaji and Egbema Areas of Imo State, Southeastern Nigeria. Journal of Nigerian Environmental Society (JNES) Vol. 1 pp.88-96, ISSN 1596-7751
Iwuji, M.C., Njoku, J.D., Anekwe, A.J., Uwazuruonye, J.U., and Amangabara, G.T.(2012): Analysis of Erosion Site Dynamics Using Geospatial Data; A Case Study of Amucha in Njaba L.G.A., Imo State. Journal of Nigerian Environmental Society (JNES) Vol. 7 (3) pp.67-73, ISSN 1596-7751
Member, National Registry of Environmental Professionals (NREP) USA.
Member, Nigerian Environmental Society (NES)
Member, Forestry Association of Nigeria
Member, Association of Nigerian Geographers
Dr P. N. Okeke
EVT Home
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text:
Radikal 82 mit der Bedeutung "Haar, Borste" ist eines von 34 der 214 traditionellen Radikale der chinesischen Schrift, die mit vier Strichen geschrieben werden.

Mit 23 Zeichenverbindungen in Mathews' Chinese-English Dictionary gibt es relativ wenige Schriftzeichen, die unter diesem Radikal im Lexikon zu finden sind.

Das Radikal "Haar" nimmt nur in der Langzeichen-Liste traditioneller Radikale, die aus 214 Radikalen besteht, die 82. Position ein. In modernen Kurzzeichen-Wörterbüchern kann es sich an ganz anderer Stelle finden. Im Neuen chinesisch-deutschen Wörterbuch aus der Volksrepublik China steht es zum Beispiel an 111. Stelle.

Als Sinnträger im zusammengesetzten Zeichen stellt  (mao) das Bedeutungsfeld haarige Dinge her, wie in  (zhan = Filzhut),  (tan = Wolldecke),  (hao = feines Härchen) oder verdreifacht  (= Flaum).

Bisweilen fungiert  (mao) als Lautträger wie in  (mao = Fahne in alter Zeit),  (mao in: 时髦 shimao = modern),  (mao = hochbetagt),  (hao = Auster),  (hao = verbrauchen).

Beim Schreiben ist auf langes Ausziehen des vertikalen Hakenstrichs zu achten, sobald der Radikal die linke untere Eckposition einnimmt wie in  (tan = Wolldecke).

Dieses Schriftzeichen ist auch der Familienname Mao Zedongs 毛泽东.

redpajama_set_name: RedPajamaWikipedia


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