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:Creativity / DIY video production
How to DIY home video recording studio setup and video editing
by Author: Caitlin Miller
There's no better time for course creators to have their own home recording studio setup. Marketers have already identified video content as essential to gain and retain the fleeting attention span of an internet-based audience. The same strategy holds true for online course creators: Courses that include video are higher value products, sell for more, and create a greater connection between sellers and their audience.
But, don't be deceived into believing video production has to be complicated and expensive. Fortunately, the latest technology makes audio and video editing easier than ever before. Unless you're a musician, you don't need to worry about complicated equipment (such as xlr cables, midi keyboards, and studio monitors). A bedroom recording studio can be created no matter what your budget.
Creators can easily create high quality videos at home using simple equipment—and on a budget. Below, we're sharing exactly how to create a recording studio at home, our best gear shopping tips, and our top pre- and post-production tips.
Here's how to set up the best studio at home.
Use this guide to get it done.
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How to setup a home video recording studio
Consider this the good news of the day: A professional quality home studio can be made using material that many of us already own. Even if creators want to invest a few dollars here and there to up the production quality, there's a solid set up at every budget.
DIY an in home recording studio for free to $60
1. Shoot with a phone or laptop
Using a phone or laptop is a free option that can still deliver a high quality end result. Those not sure where to start should check out this guide to shooting high-quality video with a smartphone. The key thing to remember here is to shoot with the phone horizontal or the laptop upright to create a widescreen video that nobody will be the wiser that it's shot on an everyday device.
Lastly, those filming on a laptop should make sure the camera is at a 90-degree angle, as tilting the screen can look funny and distorted.
2. Buy a tripod or elevate a laptop set up
For the most flattering shot, a good rule of thumb is to place the camera lens at face level. For those using an iPhone or other smartphone, that may mean using a small tripod like this one comes in at only $26. An even more budget-friendly option for those using a laptop is simply a stack of books or boxes to elevate the laptop camera to face level.
3. Use the right editing tools
We suggest the Filmic Pro app to stabilize an iPhone video. For a laptop, we suggest Screenflow as an affordable way to film and edit content. Our Screenflow tutorial can help explain how to easily create videos. On a PC? Camtasia is a great alternative.
4. Avoid the zoom feature
Zooming in on a phone can make the video blurry. Instead of zooming, move the phone or computer closer to get the same effect without the blur.
5. Shoot at 24 frames per second
The average viewer might not catch this, but the trained eye will notice. It's a simple flip in the settings but makes a more pleasant viewing experience, as that's what the eyes are used to seeing for movies and TV shows.
6. Use one laptop or phone for video and another phone as a microphone
It may seem a little more complex to have two devices but doing so greatly improves the video sound quality. To try it, set one phone or laptop in front to record visuals but place another off-camera phone closer for a clearer sound. Later on in the editing process, the visuals from one device and the sound from the second can be spliced together.
7. Mark the start of a scene
When syncing up audio to a different visual source, it helps to have a visual cue for where that start syncs. A clapboard with its white stripes and loud noise is a symbol of cinema, but it's also a waste of money when you have two hands.
Clap loudly at the start of the scene to create a spike of noise that shows up as a tall spike during video editing. Use the height of this point to match the visuals from one camera with the sound on another.
8. Use a sheet as a DIY backdrop
When learning how to DIY a home video studio setup, a background is pretty easy to fake with any large piece of fabric. Remember this insider hack: Black works better than white, which tends to wash out its subject, especially with bright lights.
9. Use soft household objects to stop an echo
A common trouble point is getting an echo. This can come from large rooms, empty apartments, or from clearing furniture out of a room to create a studio setup. Luckily, a very simple solution is to use pillows, rugs, couches, and all things fluffy to absorb sound. It's as easy as throwing some cushions around the lights. Here's more on recording high-quality audio for courses.
10. Opt for natural light
Unfortunately, reading lights and other household lamps aren't ideal for casting even and warm light. And, lighting is something every creator wants to get right. Bad lighting can look sickly or cast unwanted shadows. The best option for cheap lighting? Filming by a window or glass door and using that good old fashioned natural light. When understanding how to DIY home video studios, remember that lighting is key.
Invest in a high-value studio for $300-900
The upgraded version of the "DIY home video studio" is to create a "high-value" studio. Although the DIY Studio can create beautiful results, it'll be easier to create high-quality video by investing in a few pieces of equipment.
The high-value studio also has two huge advantages. In the end it's low cost but yields a high return and it's semi-permanent. However, knowing where to invest can be a challenge, so we're breaking it down to know exactly where to put that money.
Home recording studio equipment to invest in
Here are some pro tools that can support your home studio design:
1. A mic
Hanging an iPhone from the ceiling with fishing line might make for a quick microphone fix and good story, but it's easily trumped by an affordable and higher quality microphone that instantly takes videos to the next level. For less than $150, creators can upgrade to a Blue Yeti. It's a condenser mic we use and love here at Teachable.
2. Clamp lights
For DIY home video studio lighting, we suggested using natural lighting. But, even natural light isn't always reliable. For those times, clamp lights are preferable. Add two key lights pointing at the main subject at 45-degree angles and one light aimed at the backdrop to round out the light and get rid of shadows from a moving subject.
Diffusion papers also soften the light to a proper level of brightness. In the case studio lights are the lighting of choice, be sure to shut out natural light as much as possible.
3. A camera
The natural progression from using a smartphone or laptop is to upgrade to a proper camera. There are many options, but a quality and reliable option we found is the Canon SL1. Just remember, when purchasing a camera, tripods are almost always necessary, too.
Before further upgrading gear, consider the following:
A professional backdrop: A green screen opens up a whole new world of opportunity. However, a classic grey or white backdrop also looks professional.
Sound panels: Buying and installing a few sound panels to muffle extraneous noise might be a good option for those wishing for higher sound quality.
A nicer camera: Because "Lord of the Rings" wasn't shot on an iPhone.
Video pre-production tips
We're sharing some of our best tips for video production:
Strong creators know it's always ideal to do competitive research. Focus on the technical side of competitors' videos: What angles are they using? How are they editing clips together? Do they use slides? Analyzing other's teaching methods can help creators design a teaching method of their own.
Think about framing
It might feel natural to sit smack-dab in the center of a video, but it may not actually be the best option. For those showing products or adding text overlays to their videos, it might make more sense to sit off to a side.
Beyond frame positioning, avoid sitting too close to the camera. We've all seen those videos that make you feel like you're nose to nose with the person on the other side of the screen. There are other ways to get up close and personal with students, trust us.
Blur the background
Increasing the distance between the subject and background can help achieve this. When the camera focuses on the subject's face, it will focus less on things farther away. Another option is to adjust the camera's lens. Changing the aperture changes how much of a scene the camera catches. The lower the aperture number, the smaller part of the scene that's in focus.
We won't go into a full photography tutorial right now but just remember this bit of wisdom: Want a blurry background? Add distance and shoot in a lower aperture.
It's going to feel awkward at first, but the one way to make it less awkward is simply to practice—and then practice some more. Rehearse the video's script to sound more natural and less forced. (Get our full rundown of how to feel more comfortable on camera this way.)
Post-production tips
We have a few tricks up our sleeve here at Teachable to make the video editing process smooth as butter.
Record room tone
Capture around 30 seconds of "room tone" or the base sound of the room. Turn on the mic and let it record. This sound will be used in the editing process to fill audio gaps, eliminate white noise, and smooth out transitions from one scene to the next. It's quicker than trying to edit out every time gap or inserting filler noise.
Give enough lead-time between takes
This is especially important with screencasts. It's fine to stop and keep going if a mistake is made during the filming process as long as there's ample lead-time left. Cut out fumbles and filler time and use room tone to smooth the transition.
Editing out a fumble:
Ease transitions with cross-fading
If there's a transition in a video that doesn't need room tone but rather a little smooth-over, use crossfading. A majority of non-linear video editing programs do this in one of two ways:
Drag the beginning/end of one clip over the end/beginning of another
Line up the two clips next to each other and then apply a cross dissolve/fade.
Save content on an external hard drive
Big screens aren't the only thing big about videos, they're massive files too. Some programs, including Screenflow, capture the whole project as one file (in this case a .screenflow file). Other programs create a series of source files, project files, and even rendering files. All are massive. Enter an external hard drive to make this a little easier.
When buying a great external hard drive, it might be a good idea to look for quality. Working with video, opt for at least 500GB of space, but we prefer 1TB+.
Also, check out transfer rates a.k.a. how long it takes to stream data to and from the computer. For creators saving and transporting big files, it's important to know that a 1.8GB movie transferring at .05MB/sec will take hours but at 25MB/sec only a few minutes.
Compress videos after exporting them in HD
The better the video resolution, the bigger the file, and thus the better the connection needs to be in order to watch, stream, or download the video in a reasonable amount of time.
We can't control the internet speeds of our viewers, but we can do our best with what we can control. Export videos in the highest quality possible, then compress them.
By implementing these DIY home video recording setup and tips, creators can create high quality content from at home and on a budget.
What do I need to set up a recording studio at home?
You can create a home studio with many items you may already own, such as a phone or laptop. You can get creative with books to prop up your camera, in lieu of purchasing a tripod. You will also want some video and/or audio editing apps, good lighting, a clean backdrop (consider using a sheet), and other household items. If you're ready to invest, a mic, lighting, and a professional camera are essential pieces of home studio equipment to consider.
How much will it cost to build a home studio?
Creators can easily create high quality videos at home using simple equipment—and on a budget. A professional quality home studio can be made using material that many of us already own. Even if creators want to invest a few dollars here and there to up the production quality, there's a solid set up at every budget. Whether you're ready to invest $300 to $900 or can only afford under $60, this article will covers everything you need to get started.
Sections of this post are adapted from previous content written by Ashley Hockney and Morgan Timm.
Tags: Cameras, Home Studio, Video, Video Equipment, Video Production
How to create digital downloads to sell & where to sell them
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Backward design lesson planning – What is it & why you should use it
How to edit YouTube videos for free
Author: Caitlin Miller, Caitlin Miller is the Manager of Content Marketing Strategy at Teachable. In her spare time, she's often found listening to vinyl records, buying too many house plants, and enjoying a run on the streets of Brooklyn.
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Mueller's Twin Grannies said:
Why would anyone want to drink anything that comes out of a Jets/Mets fan or any New Yorker for that matter?
I'm glad that the image link to whatever-the-fuck-that-is is broken.
It's actually funny. Well done, Hendu.
E5 Yaz said:
Honest question - why?
I don't see anything in the article but does Seaver have any kind of copyright on it? Because otherwise (no offense meant here) if you said 'Tom Terrific' to anyone under, I dunno, 50 (?) years old, they have no idea they called him Tom Terrific or at very least don't care. It's not exactly 'The Great One' or 'Air Something'.
I guess it is partially an an age thing. I hear "Tom Terrific" and I only think about Seaver; so, perhaps outside of people in my age range, baseball fans, and those in New York, I doubt it would have any resonance. With Seaver's degenerating illness, though, it just adds a layer of icky optics to the situation.
In general, though, I've never been a fan of players or teams trademarking phrases to apply to themselves, particularly if those phrases or nicknames already have associations with others.
Each to their own. Like I said, it just seems like a rare mistake (to me) on his part
It's tacky in general. It's worse with a sick Seaver, which I didn't know about or forgot. It's small potatoes, but unnecessary bad optics.
On the plus side, it does tweak a shitload of New Yorkers.
Anthologos
I agree with the other old guys. It is a Johnny come lately approach to a fairly anodyne moniker, it seems tacky in general (to me) to trademark unoriginal nicknames, and it is especially gauche given Seaver's family's announcement in March. Small potatoes indeed, but...still a bad look. I love Brady, but he should have his people call this one off, imho.
reggiecleveland
Saskatoon Canada
I agree makes him look bad.
bankshot1
where I was last at
Not a great look ripping off a guy with Alzheimers.
Maybe next year he can go for "3-peat"
fuck Pat Riley, but leave Seaver be.
Renegade Crazed Genius
Central NJ SoSH Chapter
Early 40s here, never even knew Tom Terrific was associated with Seaver. He probably should have trademarked it himself. Frankly, I dont care if NY hates him more (although given the uproar, justified or not, I suspect they pull the filing).
bankshot1 said:
Riley copyrighted it, that would be kinda dumb, but sure.
I'll be 40 by end of year. I don't think I'd ever heard of Tom Seaver being called that, never associated it with him and didn't know he was sick. Despite being a pretty big sports fan I'd have thought nothing of it.
Brady has been called that for a while now by mainstream media. It's a generational thing to get upset, but as noted, to each their own and it's just mho. Brady isn't selling to (again, no offense meant) the generation that finds it offensive and it's not like he's trying to jump on an icon; I highly doubt even he knew Seaver has Alzheimer's. The tacky part is on the Mets for making it anything to begin with but to each their own.
Well seeing that Tom "Terrrific" Seaver hasn't pitched for the Mets in about 43 years, its not surprising that you are not familiar with the nick-name he earned on the playing fields of Shea. But it was clearly his nick-name.
And i was being facetious about Pat Riley and 3-peat, except for the "fuck him" part.
The TMing the 3-peat was a dick-move/money grab by Riley.
Now, that was tacky.
I'm surprised Brady;s global marketing team didn't do their homework and they inadvertantly got themselves into a pissing match with a guy who's dieing of a terrible disease.
Maybe TB/Terrific will donate some of the T-shirt sales to Alzheimer research.
h8mfy
I started out as a Mets fan and even as a kid thought Tom Terrific was a kind of lame nickname for Seaver, in a "granted by the teacher" sort of way.
If I ever heard TB called Tom Terrific I can't really remember it but I'm sure I'd have seen it as a Seaver reference, and even if it didn't connote Seaver, it isn't a natural nickname and kind of undersells Brady at this point in his GOATdom.
FormerLurker
For whatever it may be worth, while baseball does have a history of prosaic alliterative nicknames (Rapid Robert, Hammering Hank), Tom Terrific was originally supposed to be an allusion to a now-forgotten cartoon: https://en.wikipedia.org/wiki/Tom_Terrific. I would definitely think of it as Seaver's nickname, although I looked up his Hall of Fame plaque and it is not listed there. So who knows to what degree Seaver himself was really attached to it. I think I may have heard the more cutesy sportscasters occasionally use it to describe Brady, but not frequently.
joe dokes
bsj said:
I think trademarking one's own nickname is a fairly recent phenomenon. (Although I havent researched the say hey kid or splendid splinter.)
And tbh, I dont recall hearing Brady referred to that way very often. I dont where the line is, but at 58, I've associated Tom Terrific with Seaver since as far back as the early 70s.
Plantiers Wart
I've never heard Brady referred to as Tom Terrific. Ever. TB12, sure. The GOAT, absolutely. Never Tom Terrific. Seaver? Yes. That was his nickname, as lame as it is.
It reminds me a bit of George Costanza trying to claim TBone as a moniker and getting stuck with Coco.
In the end, it doesn't matter. Met fans are pissed and rightfully so.
I remember Seaver's brief stay with the Red Sox in 1986, and he was still sometimes referred to as Tom Terrific.
It does seem as if Brady's highy-paid PR team whiffed on this one.
TB12 should say he was unaware of the Seaver connection, meant no disrespect to the HoF pitcher, an all-time great, send his prayers to Seaver and his family, yada, yada, yada and move on .
Besides "Hondo" just opened up and if his marketing and branding team acts fast enough...
EvilEmpire
You guys should ask @TomTerrific for a ruling. He's a reasonable sort.
Edit: Though he might not be when Brady's legal team sends him a cease and desist letter...
drbretto
guidence counselor
Tom Brady is old enough to know who Tom Terrific is.
I'm old and you ask me who Tom Terrific is I'll say Seaver. But I've heard Brady called Tom Terrific many times, although I thought it was a little stupid because Seaver and because not very creative.
I assume the income Brady would make off this trademark is relatively negligible to him, but if Seaver or his reps really wanted the trademark for income or legacy they had nearly fifty years to do something about it besides wait for a more famous athlete named Tom to stroll on the scene and claim the moniker
TomTerrific
EvilEmpire said:
Not on this topic I'm not. Seaver was my first sports hero growing up in upstate NY and being a Jets/Mets fan. When I settled in Boston and transitioned to the Red Sox in the mid-80's, having Seaver join them eased that transition. (Still wish he had been able to complete the 86 season and pitch for them in the WS, that would have been beyond awesome.)
I think Brady is being stupid and grasping here. There are far, far more references to Seaver as Tom Terrific than there ever were for Brady (though in fairness I have seen him referred to as that on a few occasions, though only by the media). Add to that the fact that Seaver has it by right of precedent. Also, while Seaver may not quite have the same stature as Brady when comparing across sports, he's a legit HoF and, like Brady, lead a previous laughingstock team to an iconic Championship early in his career.
When I first joined the site in 2004 I actually liked the fact that TomTerrific had this sort of double entendre thing going with Seaver and Brady. Now I'm pissed.
See? That was perfectly reasonable. Brady needs to step off.
Only on SoSH could a TB12 sploogefest turn into a Tom Seaver thread.
All we need now is a renowned trademark lawyer weighing in and at least one conspiracy theory/persecution complex regarding the nickname thing, and we're good to go.
I'm willing to bet Tom Brady has around 0% to do with this filing.
And everyone get off this thread's lawn.
As an aside it is amazing to me how many of the hyped up "faces of baseball" when I began follwoing the psort in the 70s have fallen out of the public consciousness. Steve Garvy. Pete Rose, Tom Seaver were the faces of baseball. I suppose the information revolution has made playing in New York or LA less important, but if you read baseball magazines, the Sporting News (which was all a kid in Canada could do as a fan then) Seaver and Garvey were untouchables. "Tom Terrific" was used in virtually any reference to Seaver other than boxscores. To imagine the Hype imagine if Jeter really was the best player for in the game for 4 years and the best at his position over a decade or more.
This is a miscalculation from Brady;s crew.
reggiecleveland said:
My dude, I have some shocking news for you about what year it is presently ...
RedOctober3829
deep inside Guido territory
I can't believe people care enough to get this worked up about a nickname.
No you don't. Brady doesn't need "Terrific" and it gains him nothing. This is bad optics for him, and his people should have done better.
I for one am definitely not upset by any means. But it's still a dumb thing to do. It'd be like if Mike Trout tried to TM The Greatest Hitter Who Ever Lived.
https://www.cbssports.com/mlb/news/reggie-jackson-doesnt-want-people-calling-david-ortiz-mr-october/
Mugsy's Jock
Bi-Coastal, for the time being
There was a time the Mets and their fans were pretty cool... the sad sack pre-championship years (I'm not old enough to remember those), and the subsequent years from the Miracle Mets through 6/15/77 -- when the Mets front office succumbed to pressure from execrable Daily News columnist Dick Young to run Tom Seaver out of town. Since that moment, the Mets and their fans have been appalling or worse.
During during the Seaver years, he was sublime. Seaver was fantastic on and off the field (I was beyond psyched when the Sox acquired him) and was referred to as "Tom Terrific" as often as David Ortiz was referred to as "Big Papi". Brady was born a few weeks after the Midnight Massacre sent Seaver away from the Mets, but I gotta believe as a baseball player and fan he was aware of the nickname.
I wouldn't say I'm upset, and I definitely blame TB12's marketing department for this clumsy move moreso than the man himself, but yeah he should step back. Quickly.
RIFan
Blackstone MA
I've never associated "Tom Terrific" with Brady. I don't recall him ever referred to that way either. The only guy I've ever heard it associated with is Seaver. Here is an article from 1972 about Seaver.
TOM TERRIFIC AND HIS MYSTIC TALENT There is no reason for Brady to pursue this.
NortheasternPJ
I don't know if any non-mouth breather is. This is just a way to fill hours of sports radio.
joe dokes said:
And tbh, I dont recall hearing Brady referred to that way very often.
Plantiers Wart said:
RIFan said:
I've never associated "Tom Terrific" with Brady. I don't recall him ever referred to that way either. The only guy I've ever heard it associated with is Seaver.
It's been at least a decade:
To be fair, I've never heard a fan say it, only announcers looking for something pseudo-witty.
This thread has literally been awesome since this, in a morbid kind of way, albeit; but nonetheless, fantastically entertaining.
Y'all realize that when Seaver was relevant, we wouldn't have even known about this because the Mets wouldn't have made a public stink, right?
And the posts on "I've never heard him referred to as Tom Terrific" are so illustrative of the point...it's been on ESPN or sports talk or relevant outlets for a long time. If Brady deserves to get knocked on something, knock him on his "concussion water" crap. This is a nothing burger.
Also, I get he's got more money than he can ever spend between him and his wife, but I'd love to see one of you in his position say "Hey, before we do this, let's go back 50 years, pull up the microfiche, see if anyone was known under that nickname, check his health currently and with the team he played for, I don't want to look bad to the generation my marketing team isn't targeting."
sonofgodcf
The toilet.
If anything, this is just another data point on how great Brady truly is. Not only is he going to own pretty much every record possible and win a ton of championships, now he's after the nicknames of hall of famer's of any sport. The Black Mamba, The Great One, The Nigerian Nightmare - Brady is coming for all of the titles.
It seems to be pissing some people off so I'm loving it. Let the New Yorkers cry that the evil Brady is insensitively stealing an ailing legend's monicker as if he's twirling his mustache and cackling while doing so. Probably not great optics given Seaver's condition, but it's hard for me to have a real issue with something that gets the "Tom Brady is the Devil" crowd up in arms because it's very amusing when it happens.
You're right Brady applying for a trademark really isn't a big deal, but this is really an awful take especially on a baseball centric board. Seaver wasn't some obscure player and he was relevant in what really isn't the distant past. On the actual business side of this, yes most people who intend to register for a trademark would actually do a tiny bit of research to see if there were potential issues with getting the trademark granted. The red flags on getting this approved are obvious and Brady deserves every bit of crap he's getting if for no other reason than employing whoever greenlit the application without anticipating the potential reaction.
Is he getting crap? I haven't heard of this story anywhere except in this thread.
Anyway, if it pisses of Mets and Jets fans, all the better. It's a fucking nickname, who gives a shit?
It is not the nickname.
It is the monetizing of it when it is really someone else's nickname.
If he does this he needs to go all out.
I would like to see Brady take ownership of Mr. October, The comeback kid, Mr. Clutch, "Magic" as a first name, Broadway Joe, the Bambino, Rocket Roger, and Rocket Ismael,
Edit: Beaten
troparra
Chris Russo criticized Brady last night on his XM show.
This could be a big deal if the older than dirt crowd in NYC, who still talks about Willis Reed's return to the game as if it happened yesterday, decides to take it up as a cause.
Well, if we take Brady's explanation as the truth, then he won't be monetizing it, so perhaps this long sordid thread discussion can die.
Mystic Merlin
'TB12 disrespects Tom Seaver as he falls off a cliff' is an interesting twist on the media narrative for 2019.
Has anyone checked if Tom Seaver takes as much umbrage at this as Boomer Esiason does?
nice tight spiral on Tom Terrific's spin.
He should just trademark it and then license it out to Seaver for $1. Based on my extensive knowledge of copyright law I believe this is the best approach.
Edit: I should have said "the extent of my knowledge" instead of "my extensive knowledge"
Edit2: to clarify, that is none
Video of Brady's explanation
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redpajama_set_name: RedPajamaCommonCrawl


Gov't Mule want you to make the official music video for their song Funny Little Tragedy. You can use either of the two versions of the song: the original by Gov't Mule, or the second version with guest vocals by Elvis Costello.
They're leaving the creative brief completely open – listen to the tracks, be inspired and create an amazing music video!
The winner will receive $4,000 and have their video used as the official music video for Funny Little Tragedy. One runner up will also receive $1,000.


Wednesday, April 26th 2017 – (Chicago, IL) On the 56th floor of Chase Tower, a group of Chicago's premier Developers met to discuss the state of the market. Jonathon McCulloch of Belgravia, Marty Paris of Sedgwick Development, Steve Fifield of Fifield Companies and Tim Anderson of Focus Development addressed the crowd and answered questions from moderator Michael Golden, @ Properties' Co-Founder.
Hosted by the Home Builders Association of Greater Chicago, the residential market was the focus and topics ranged from success stories, product trends, and hot neighborhoods, to challenges in the rental market and rising construction costs. Many recent discussions have focused on the threat of a rental bubble in the Chicago apartment market and how developers should adjust; Steve Fifield disagreed with the gloom and doom and pointed to recent success at many of their rental sites. Class-A-Buildings in the right neighborhood makes all the difference, as is evident by recent Focus project in Fulton Market. The Parker Fulton Market is currently 95% leased with rents exceeding the original proforma and achieving 10 out of 12 renewals.
Another topic of interest was the rising cost of construction and the impact they have on the market. As mentioned by Marty of Sedgwick, many local developers are having trouble getting projects off the ground due to the cost to build them. "Having a diverse portfolio, experience in different markets, and an in-house general contractor has really allowed Focus to grow steadily through the rescission and has insulated us from the costs of construction today," said Focus CEO Tim Anderson.
The conversation closed, centered on the country's largest generation to date, Millennials and their potential impact. The generation trends toward renting later in life than their predecessors and therefore when ready to buy, skip the 1 to 2 bedroom starter homes of old. This may explain some of the changes in the Chicago condominium market. McCulloch explained the trend in the for sale market for bigger condos, citing several of their recent projects like CA Washington which boasts large spaces and 3 bedroom floorplans.
While all recognized the aforementioned trends and some of their negative impacts, this group of panelist all agreed in the end that the state of the Chicago market is strong and the future looks bright.


text:
Q: Mixing constraints and autoresizing masks To be 100% clear, I've never used Auto Layout and constraints (I usually disable it at once) and I'm always using the usual Auto-resizing masks for layouts.
However, in my most recent project, I ended up using LITabControl (which does use Auto Layout and constraints). So my project is all set up the old-way (with autoresizing masks), with the only exception being LITabControl.
But, this is where the trouble starts.
First, I've been experiencing all sorts of weird resizing issues (that would normally work).
Last but not least, I keep getting from time to time errors in the log window along these lines:
Unable to simultaneously satisfy constraints: (
    "<NSAutoresizingMaskLayoutConstraint:0x6080000897e0 h=--& v=--& H:[NSView:0x600000123480(116)]>",
    "<NSLayoutConstraint:0x60000008d6b0 H:|-(0)-[NSView:0x600000123480](LTR)   (Names: '|':NSSplitView:0x6000001223a0 )>",
    "<NSLayoutConstraint:0x60000008d7f0 H:[NSView:0x600000123480]-(1)-[NSView:0x6000001230c0](LTR)>",
    "<NSAutoresizingMaskLayoutConstraint:0x608000089ce0 h=--& v=--& H:|-(116)-[NSView:0x6000001230c0]   (Names: '|':NSSplitView:0x6000001223a0 )>" )

Will attempt to recover by breaking constraint  <NSLayoutConstraint:0x60000008d7f0 H:[NSView:0x600000123480]-(1)-[NSView:0x6000001230c0](LTR)>

Set the NSUserDefault NSConstraintBasedLayoutVisualizeMutuallyExclusiveConstraints to YES to have -[NSWindow visualizeConstraints:] automatically called when this happens.  And/or, break on objc_exception_throw to catch this in the debugger.

Which still looks pretty... cryptic to me.
I've tried using setTranslatesAutoresizingMaskIntoConstraints: (and setting it to NO for my main views, and subviews) - pretty randomly I must admit (I mean I simply do not know what I'm doing!) - but this led to even worst issues, with views disappearing completely.
What is going on here? How should I approach that?
I know that LITabControl (my only AutoLayout element) is the cause, but I still need it. Any chance of somehow "converting" it to using Autoresizing masks? What should I do?

redpajama_set_name: RedPajamaStackExchange


Greatly abetted by the no-nonsense, very un-Hollywood-ish approach that British director Michael Winterbottom takes to this fact-based thriller, Jolie dons dusky makeup, dark contact lenses and corkscrew curls.
She's surprisingly successful at disappearing into the role.
Mariane, of course, is the widow of Daniel Pearl, the Wall Street Journal reporter who was kidnapped and executed by Islamic fundamentalists in Pakistan.
"A Mighty Heart," adapted by John Orloff from a memoir by Mariane Pearl, focuses on five agonizing weeks beginning on Jan. 23, 2002 at the Pearl home in Karachi, Pakistan.
Daniel Pearl, who is researching a story on shoe bomber Richard Reid, disappears after a scheduled meeting with a source.
The Afro-Cuban-Dutch Mariane, a fellow journalist and onetime radio host in her native France, quickly assembles an international team – Daniel's colleagues from the Journal and Pakistani and American officials – to find her husband.
Even before it's revealed the source is bogus and Mariane starts getting e-mails containing ominous photographs from the kidnappers, it's clear that Daniel is in real trouble.
Because he's Jewish, some in Pakistan assume he's a Mossad agent. Because he's American, others suspect he's working for the CIA.
The focus is on the desperate hunt for Pearl's kidnappers, and Mariane never stops asking questions – even though she's six months pregnant with the couple's first child.
Though she's a devoted and apparently fearless journalist, the film doesn't adequately explain why she chooses to spend her pregnancy in such a dangerous place.
Winterbottom isn't the sort of director who spells things out neatly.
He also doesn't encourage movie-star showboating. Jolie isn't allowed to let loose until Daniel's body is found.
Even then, Winterbottom shoots in near-darkness – but it's still enough to pretty much guarantee Jolie a Best Actress nomination.
Among the standouts in the well-chosen cast are Irfan Khan ("The Namesake") as the resolute head of Pakistan's anti-terrorist unit and Archie Panjabi as Mariane's reporter pal Asra, whose Indian nationality alone is enough to make her a target in Pakistan.
Daniel Pearl is played by Dan Futterman (the Oscar-winning writer of "Capote"), a look-alike who makes the most of his extremely limited screen time, primarily flashbacks of the Pearls' life together before Daniel's kidnapping.
The movie eschews demonizing Pearl's killers and instead focuses on the difficulties of international communication – a theme it has in common with "Babel," another film that was produced by Jolie's husband, Brad Pitt.
"A Mighty Heart" isn't nearly as affecting as the earlier movie, though. Like Mariane Pearl, it's tasteful and restrained – there is only the briefest snippet from the beginning of Daniel Pearl's death tape, which Mrs. Pearl has refused to watch.
Still, it's pretty heavy going for a summer movie.
Running time: 108 minutes. Rated R (profanity). At the Empire, the Cinema 1, the Chelsea, others.


I'm on a blueberry mood just now. As I told in my previous post (baked blueberry cheesecake with a sour cream jelly topping, remember) we're having a very good year of blueberries and bilberries in Estonia just now, so the amount of blueberry dishes that are being cooked and baked in Nami-Nami kitchen just now is quite considerable (take note of these yeast rolls with blueberry, vanilla and curd cheese filling, for instance). And the season is not even over yet, although other lovely berries - tart lingonberries/cowberries, for instance, are ripening quickly.
This simple coconut and blueberry cake was featured on our table twice during last week alone. Simple, quick, tasty, and has already received positive feedback from my Estonian readers, so it comes with good recommendations. Because of its simplicity, I'd describe it as rather a midweek cake and not a fancy weekend affair.
Adapted from the Swedish food magazine Allt om Mat.
Butter and line the base of a 24 cm springform tin with parchment paper.
Mix the dry ingredients (flour, coconut flakes, baking powder, salt) in a medium bowl.
Whisk the eggs and sugar in your mixer until light, thick and fluffy. Gently stir in the melted butter and the dry ingredients, then season with lemon juice and zest.
Pour the batter into the cake tin. Scatter the blueberries on top, sprinkle with demerara sugar.
Bake in the middle of a preheated 175 C/350 F oven for 30 minutes, until the cake is fully cooked and light golden on top.
Cool a little, then cut into slices and serve.
I like blueberries too and coconut is great with blueberries!
It's blueberry season, definitely have to give this a try.


text:
Q: Case changing and detecting with expl3 that works for all engines As noted in interface3.pdf, commands such as \str_case_e:nn are engine-related. Thus
\str_case_e:nnF {\text_titlecase:n {a}} { {A} {true} } {false}

will result in true for all engines, while
\str_case_e:nnF {\text_titlecase:n {\`a}} { {\`A} {true} } {false}

will be false for all engines, and
\str_case_e:nnF {\text_titlecase:n {à}} { {À} {true} } {false}

will be false for pdflatex and true for unicode engines.
When writing a package, I need a reliable way to change and detect text cases that works for all engines. The input may be in the form of normal letters (Aa), letters with accents in macros (like \'a) or with unicode (like Àà). If there are no unified method, I would also like to know if there are separate ones for different engines.

Motivation:
This question is for the package crefthe. For now the command \Crefthe does not work properly due to this issue.


text:
Q: Initializer list in user-defined literal parameter I don't know if it's possible but I want to do stuff like
int someval = 1;
if({1,2,3,4}_v.contains(someval ))

but when I try to define literal as:
std::vector<int> operator"" _v ( std::initializer_list<int> t )
{
    return std::vector<int> (t);
}

to accept initializer list of ints I get
 error: 'std::vector<int> operator"" _v(std::initializer_list<int> t)' has invalid argument list

Is there a way to do this? What I really want is to finally be rid of stuff like
if(value == 1 || value ==2 || value == 3 ...

Having to write stuff like this is really annoying, because you'd expect syntax to be
if value in (value1, value2 ...)

or something similar.

A: How about this:
#include <initializer_list>

template <typename T>
bool contains(std::initializer_list<T> const & il, T const & x)
{
    for (auto const & z : il) { if (z == x) return true; }
    return false;
}

Usage:
bool b = contains({1, 2, 3}, 5);  // false

A:

you'd expect syntax to be
if value in (value1, value2 ...)

or something similar.

If you're willing to add one extra character, try this syntax:
#include <algorithm>
#include <iostream>
#include <array>

template <typename T0, typename T1, std::size_t N>
bool operator *(const T0& lhs, const std::array<T1, N>& rhs) {
  return std::find(begin(rhs), end(rhs), lhs) != end(rhs);
}

template<class T0, class...T> std::array<T0, 1+sizeof...(T)> in(T0 arg0, T...args) {
  return {{arg0, args...}};
}

int main () {
  if( 2 *in(1,2,3) ) { std::cout << "Hello\n"; }
  if( 4 *in(5,6,7,8) ) { std::cout << "Goodbye\n"; }
}

A: §13.5.8/3 says:

The declaration of a literal operator shall have a
parameter-declaration-clause equivalent to one of the following:
const char*
unsigned long long int
long double
char
wchar_t
char16_t
char32_t
const char*, std::size_t
const wchar_t*, std::size_t
const char16_t*, std::size_t
const char32_t*, std::size_t

So it looks like you can't have a parameter of initializer_list type.
I can only think of the obvious as an alternative; if you don't mind typing a little more you can do something like
std::vector<int> v(std::initializer_list<int> l) {
    return { l };
}

int someval = 1;
if(v({1,2,3,4}).contains(someval))

Alternatively you could get wacky and write an operator overload for initializer_list (haven't tested though):
bool operator<=(std::intializer_list<int> l, int value) {
    return std::find(std::begin(l), std::end(l), value) != std::end(l);
}

And
if ({1, 2, 3, 4} <= 3)

should work...
Actually nevermind, it doesn't. You'll have to go with a normal function.


When the French mathematician worked on the mathematical equilibrium theory, he probably never thought that these findings will end up fueling roulette strategies. Nevertheless the D'Alembert Roulette strategy appeared soon after he passed away and it is still used in both brick and mortar and online casinos. It follows a very simple wagering pattern and although there are many variations such as the Reverse D'Alembert Roulette strategy, the original is still the most frequently used. The reverse conversion does not alter the core of this roulette system and can be just as profitable as the original if used properly.
The D'Alembert Roulette strategy proposes that players start by wagering a single unit and increase the bets by another unit when they lose. The equilibrium is reached by decreasing the wager by a unit after winning, so in the end the progression is silky smooth and can be used for hours in a row.
Obviously not all roulette players were satisfied with the original version, and so the Reverse D'Alembert Roulette strategy emerged. It suggests that the exact opposite should be done and while the wagers increase at the rate of one unit, this is done after the winning spin. It might not look like a big deal, but the difference is real and the strategy is more suitable for those who are aiming larger profits.
The Reverse D'Alembert Roulette strategy has the merit of converting longer winning streaks into more significant profits than the original. Even so, the risks are minimized because when losses eventually occur they will not throw the player off balance because the money comes from winnings. One would say that there is basically no risk in using this roulette system, and it is very difficult to argue with them.
If you are not regarding the roulette as a get rich soon scheme and prefer to focus on mitigating the risks of using a sustainable wagering pattern, the Reverse D'Alembert Roulette strategy can be the one you seek. It is worth giving it attention because among all systems that have been around this is the one that has passed the test of time. While it doesn't guarantee winnings and is not a foolproof roulette strategy, it won't cause significant losses in a short period of time like many of its counterparts do.


STOCKHOLM, SWEDEN – 19 September, 2018. Ziccum AB (publ) has already been approved for listing on Stockholm stock market Spotlight, provided the minimum limit of the company's new issue and the marketplace's proprietary spread requirements are met. The subscription period for the company's new share issue begins today and continue until October 3, 2018. The first day of trading on Spotlight is scheduled for October 25, 2018.The Investment Memorandum, Teaser and Application Form for the issue is available on the companies' respective websites, www.ziccum.com, www.aqurat.se and www.
STOCKHOLM, SWEDEN – 14 September, 2018. Ziccum AB (publ) has been approved for listing on Stockholm stock market Spotlight, provided the minimum limit of the company's new issue and the marketplace's proprietary spread requirements are met. The subscription period for the company's new share issue will begin on September 19 and continue until October 3, 2018. The first day of trading on Spotlight is scheduled for October 25, 2018.The Investment Memorandum, Teaser and Application Form for the issue will be available on the companies' respective websites, www.ziccum.com and www.


Description: A sentence by sentence commentary on al-Kitáb al-Aqdas in two volumes. Extracts of this work have been published in Yádnámiy-i-Fádil-i-Yazdí (Hofheim: Bahá'í Verlag, 2012). Typescript, pp. 450-897 of ts. (224 pp. of PDF). For Table of Contents, see previous volume, INBA volume 5.


Posted on March 29, 2017 at 11:32 pm.
President Trump's initial federal budget plan has proposed completely eliminating the National Endowment for the Arts, along with its $148 million annual budget.
Miami's cultural institutions are, obviously, concerned. NEA grants are rarely massive, but if you get one, it's a stamp of excellence that pretty much anyone understands. And that's when dollars from other donors begin rolling in.
"I got my first NEA grant in 1981 for a chamber music project in a little town where I grew up: Park City, Oklahoma. At that point in time, the idea that I had, the idea of creating the festival, needed credibility and the NEA provided that credibility," said Howard Herring, president and CEO of the New World Symphony.
Back in 2001, the NEA gave NWS $100,000 for arts and tech development – the largest such grant in its history. Today NWS is at the cutting edge of mixing tech and the symphony music experience.
The value of an NEA grant isn't just in the dollars awarded. An NEA grant award is an endorsement that arts organizations can leverage into hundreds of thousands of dollars in additional support.
For example, just this past year PAMM received a $25,000 grant from the NEA for the exhibition Julio Le Parc: Form Into Action. With this internationally recognized seal of approval, PAMM was able to secure multiple additional private donations in order to present this extraordinary exhibition in Miami.
For a big, well-known organization like PAMM, that money can come from elsewhere. But for organizations in less wealthy communities or outside metro areas, an NEA grant can be make or break.
"It's not so much for organizations like YoungArts that [the NEA grants are] truly a vital part of our funding. It's most important for communities where there are very few other resources for funding. It's those communities who are overlooked by the larger foundations. They don't have a great amount of personal wealth in their towns," said Carolina García Jayaram, the CEO and president of the National YoungArts Foundation.
She's referring to organizations like the Opa-locka Community Development Corporation, which received $30,000 in 2014 (considering the city is now bankrupt, funding like this is more important than ever). For two years, the NEA provided a significant portion of the Rhythm Foundation's budget for Big Night in Little Haiti.
This should feel far from hopeless, though. So far it's merely a proposed budget. There's plenty of time to sign a petition or call your representative to tell them not to accept the cuts.
Some of their districts have received a massive amount of NEA funding the last couple years – take a look at the map below. Organizations in Rep. Ileana Ros-Lehtinen's district, the 27th, received $1 million between 2014 and 2017.
Need help contacting them? We've provided telephone numbers in the table below, or you can check out Facebook's Town Hall.
Rebekah Monson contributed to this piece.
202-225-4136 To support performances of The Roaring Twenties, a music program featuring compositions from the 1920s, featuring guest pianist Christopher O'Riley, with related residency activities.
202-225-4136 To support performances, workshops, and a master class featuring narrator, writer, and broadcaster Jamie Bernstein with the Sinfonia Gulf Coast.
202-225-4136 To support performances featuring electric violinist, composer, and producer Tracy Silverman, with related outreach activities.
202-225-4136 To support an underwater public art exhibit in partnership with the South Walton Artificial Reef Association.
202-225-4136 To support the regional premiere of "Dead Man Walking" by composer Jake Heggie and librettist Terrence McNally.
202-225-5235 To support the Florida Folklife Program.
202-225-5235 To support the Florida African Dance Festival.
202-225-5235 To support the Florida Folklife Program (FFP).
202-225-5235 To support Partnership Agreement activities.
202-225-5235 To support the Annual Florida African Dance Festival.
202-225-5235 To support the translation from the Chinese of "Poems, Sixty of Them" by Taiwanese writer Hsia Yu.
202-225-5744 To support "Metamorphosis," an exhibition and artist residency by artist Michelle Stitzlein with related activities at the Appleton Museum of Art.
202-225-5744 To support the Youth Workshop Series, designed to improve choral performance skills among music students.
202-225-5744 To support a study of the effects of live preferential music on emergency department operations.
202-225-5744 To support "Stickwork," a site-specific, outdoor sculpture constructed by artist Patrick Dougherty.
202-225-5744 To support production and post-production costs for a film by Churchill Roberts.
202-225-5744 To support "Aftermath: The Fallout of War – America and the Middle East," an exhibition and an accompanying catalogue.
202-225-2501 To support Cummer in the Classroom.
202-225-2501 To support a residency with the Dover Quartet, including performances and master classes.
202-225-0123 To support the Juvenile Justice Arts Program, an arts education project serving incarcerated young men ages 13-17.
202-225-0123 To support a residency with AXIS Dance Company at the Maggie Allesee National Center for Choreography (MANCC).
202-225-0123 To support an artist residency featuring the New York Brass Arts Trio.
202-225-0123 To support Any Given Child Jacksonville.
202-225-0123 To support the creation and installation of a mural, with related activities.
202-225-0123 To support the MANCC Forward Dialogues residency.
202-225-0123 To support an artist-in-residence outreach program led by a classical music ensemble, the Carpe Diem String Quartet.
202-225-0123 To support developmental residencies for dance artists and their collaborators at Maggie Allesee National Center for Choreography.
202-225-0123 To support a series of multidisciplinary activities in and around local and national parks, an Imagine Your Parks project.
202-225-0123 To support the production of "Louis and Ella" as part of the Aurora Jacksonville Black Arts Festival.
202-225-0123 To support an artist residency by choreographer and dancer Christopher Huggins.
202-225-0123 To support a multidisciplinary arts education program for at-risk youth, in collaboration with PACE Center for Girls.
202-225-2706 To support the Artists-in-Residence program and related activities.
202-225-2706 To support artist residencies and related activities.
202-225-4035 To support Masters of Percussion, a concert of traditional music of India, with related activities.
202-225-4035 To support the Florida Film Festival.
202-225-4035 To support School Learning Trips and Teacher Professional Development Workshops.
202-225-4035 To support a concert of traditional classical music of India and related activities.
202-225-4035 To support a residency for emerging choreographer Arcadian Broad.
202-225-4035 To support a school residency and student performance in African dance.
202-225-4035 To support the exhibition "Spinning Yarn: Storytelling Through Southern Art" and related programming.
202-225-4035 To support Parampara: An Evening of Indian Dance, and related outreach activities.
202-225-4035 To support the 26th Florida Film Festival.
202-225-3671 To support an exhibition of large scale outdoor kinetic sculptures and an accompanying symposium.
202-225-3671 To support an exhibition of southern folk art and associated educational activities.
202-225-3671 To support an exhibition of art works from the National Aeronautics and Space Administration (NASA) collection and associated activities.
202-225-9889 To support the tour of "Winter Wonderettes," a 60s-based holiday musical, to facilities for seniors in Florida.
202-225-9889 To support the production of "Schoolhouse Rock Live" and associated activities.
202-225-2176 To support a residency by the dance company Pilobolus.
202-225-1002 To support artist workshops.
202-225-5755 To support documentation and presentation of the region's Greek traditions by the Cultural and Civic Services Department.
202-225-5755 To support opera community outreach programming.
202-225-5755 To support the Cultural and Civic Services Department's initial production of a documentary about the Greek community in Tarpon Springs, Florida, and related programming.
202-225-5961 To support Professional Development and Symphony Chats to engage the larger community in music.
202-225-5961 To support Art for All Kids. The assessment tool is the required product.
202-225-5961 To support a residency by performance artist Kevin Spencer.
202-225-5961 To support a residency by the North Carolina Tap Ensemble.
202-225-3376 To support the Florida Dance Festival and dance workshops for middle and high school students.
202-225-3376 To support the presentation of Anita Hollander's one woman show, "Still Standing: A Musical Survival Guide for Life's Catastrophes," with related activities.
202-225-3376 To support a study of the impact of piano training on cognitive, psychosocial, and neurophysiological dimensions of well-being in older adults.
202-225-3376 To support The Music Box: Tampa Bay.
202-225-3376 To support a performance series and associated workshops featuring artists with disabilities.
202-225-3376 To support teaching residencies, the NewGrounds Festival, and the creation and presentation of dance works.
202-225-3376 To support the Cultural Intersections performance series.
202-225-3376 To support a study examining how a technology-based musical training program prepares early learners.
202-225-3376 To support artist fees and administrative costs for the Jazz Composers Symposium.
202-225-3376 To support performances by singer-songwriter and guitarist James Durbin, with related activities.
202-225-1252 To support the Sarasota Music Festival.
202-225-1252 To support presentations of nationally touring children's shows at the Van Wezel Performing Arts Hall.
202-225-1252 To support the presentation of ballets in celebration of the company's 25th anniversary season.
202-225-1252 To support the Winter Opera Festival.
202-225-1252 To support the presentation of ballets by Sir Frederick Ashton.
202-225-1252 To support a production of "Dialogues des Carmelites" ("The Dialogues of the Carmelites") by composer Francois Poulenc.
202-225-1252 To support the translation from the French of the novel "When the Plums Are Ripe" by francophone Cameroonian novelist Patrice Nganang.
202-225-5792 To support the exhibition "Sensuality Meets Symmetry: Art Nouveau to Art Deco" (1890-1940).
202-225-5792 To support an artist residency program for a Charlotte County Public School.
202-225-5792 To support artist residencies and related activities.
202-225-5792 To support an artist residency program for the Charlotte County Public Schools.
202-225-5792 To support artists residencies.
202-225-3026 To support Cultural Conversations, Adult and Student Editions.
202-225-3026 To support the conceptual design phase for the Old Palm City Ripple Eco-Art Project.
202-225-2536 To support performances by Moving Current Dance Collective with associated workshops.
202-225-2536 To support an artist residency at the Jewish Family and Community Services of Southwest Florida.
202-225-2536 To support the multidisciplinary Fall for the Arts festival.
202-225-1313 To support the design of a new civic gathering place and a work of public art in Sunset Point Park, which is adjacent to the Florida Everglades.
202-225-1313 To support the training activities, mainstage productions, and community outreach of the Young Artist Program.
202-225-1313 To support streetscape design and ecological public art planning in the North Beach Village neighborhood.
202-225-1313 To support a series of jazz concerts and workshops honoring the jazz saxophonist Julian Cannonball Adderley.
202-225-1313 To support Year 2 of the Do Something Different: Discover Opera program.
202-225-1313 To support multidisciplinary arts activities at the Old Dillard Museum in Fort Lauderdale, Florida.
202-225-1313 To support the final year of the Do Something Different: Discover Opera initiative.
202-225-9890 To support the annual Palm Beach Poetry Festival.
202-225-9890 To support multidisciplinary presentations.
202-225-9890 To support an artist residency by Japanese classical dancer Satomi Hirano at the Morikami Museum and Japanese Gardens.
202-225-9890 To support the exhibition "Imaging Eden: Photographers Discover the Everglades," with accompanying catalogue.
202-225-9890 To support the Spady Living Heritage Festival.
202-225-9890 To support the Palm Beach Poetry Festival.
202-225-9890 To support the Spady Living Heritage Festival and associated activities.
202-225-3001 To support the Broward Arts Journalism Alliance Program, which will develop local arts coverage and criticism efforts.
202-225-3001 To support a symposium exploring Latin America's impact on the arts economy of South Florida.
202-225-3001 To support the planning and implementation of a comprehensive organizational marketing campaign.
202-225-7931 To support the design of a new performing arts center and plaza, along with an arts demonstration project in the heart of Pembroke Pines.
202-225-7931 To support a traveling exhibition featuring the work of William Glackens.
202-225-7931 To support From Brazil to the World educational concert programs.
202-225-7931 To support conservation activities for the NSU Art Museum's collection of Cobra art.
202-225-7931 To support arts instruction and related programming at the ArtHouse.
202-225-4506 To support the Carnival Arts Apprenticeship program.
202-225-4506 To support artist residencies and related activities.
202-225-4506 To support the stabilization and digitization of the South Florida Folklife Collection.
202-225-4506 To support an exhibition series for emerging and mid-career artists.
202-225-4506 To support the 31st Miami International Film Festival.
202-225-4506 To support the MDC Live Arts Performance Series.
202-225-4506 To support Here & Now.
202-225-4506 To support the educational outreach project The Young Person's Guide to the Orchestra, an introduction to orchestral music for fourth graders.
202-225-4506 To support an artist-in-residency program, lecture series, and exhibitions highlighting the South Florida African Diaspora.
202-225-4506 To support AileyCamp Miami, a summer dance camp for middle school students.
202-225-4506 To support the activiation of the master plan for New Town Square surrounding the Adrienne Arsht Center.
202-225-4506 To support Murals for Dorsey Park, a community-based public art project guided by painter and author Kadir Nelson.
202-225-4506 To support residencies and related activities for interdisciplinary artists and scholars.
202-225-4506 To support the Heritage Spotlight Series.
202-225-4506 To support an exhibition series and public art commissioning program for emerging and mid-career artists.
202-225-4506 To support the presentation of theater, dance, and musical artists.
202-225-4506 To support a community engagement project led by the Bang on a Can All-Stars.
202-225-4506 To support the educational outreach project Beethoven Lives Upstairs, an introduction to orchestral music for students.
202-225-4506 To support artist residencies for visual and media artists.
202-225-4506 To support the Miami Street Culture Project.
202-225-4506 To support an exhibition series and art program for emerging and mid-career artists.
202-225-4506 To support a multidisciplinary performing arts series.
202-225-4506 To support a contemporary performing arts series.
202-225-4506 To support a project exploring the intersection of indigenous and industrialized cultures.
202-225-4506 To support a multicultural performance series including music, dance, theater, and film.
202-225-4506 To support an orchestral music educational outreach program.
202-225-4506 To support the presentation of orchestral concerts by the Adrienne Arsht Center for the Performing Arts.
202-225-4506 To support "film-maker," an initiative that will showcase works from South Florida filmmakers.
202-225-4506 To support the multidisciplinary Outside the Box performance series.
202-225-4506 To support the FIRE multidisciplinary series.
202-225-4211 To support the presentation and correlating outreach programs for "The Passenger" by composer Mieczyslaw Weinberg.
202-225-4211 To support performances of "Before Night Falls" by composer Jorge Martin with libretto by Martin and Dolores Koch, with related outreach activities.
202-225-2778 To support the Key West Literary Seminar and the digitization of audio clips of author readings from the 1980s and '90s.
202-225-2778 To support an arts master plan and public art installations at Truman Waterfront Park.
202-225-2778 To support an exhibition on modern Dutch design, including a publication.
202-225-2778 To support Lost at the Beach, a multidisciplinary arts event at West Martello Fort in Key West, Florida.
202-225-2778 To support the Miami International GuitART Festival.
202-225-3931 To support the Out in the Tropics Festival.
202-225-3931 To support the Musician Professional Development Program.
202-225-3931 To support Big Night in Little Haiti.
202-225-3931 To support the XXIX International Hispanic Theatre Festival of Miami.
202-225-3931 To support the Dance as a Vehicle for Success project.
202-225-3931 To support Sabor Latino, a film series and related outreach activities.
202-225-3931 To support Out in the Tropics, a contemporary performing arts series.
202-225-3931 To support the production of "Choir Boy" by Tarell Alvin McCraney.
202-225-3931 To support the exhibition "Tapies: From Within," a retrospective on the works of Catalan artist Antoni Tapies (1923-2012).
202-225-3931 To support the premiere of a new ballet by choreographer Justin Peck.
202-225-3931 To support the online classical music portal MUSAIC.
202-225-3931 To support the International Hispanic Theatre Festival of Miami.
202-225-3931 To support performances of "Lorca en Vestido Verde/Lorca in a Green Dress" by Nilo Cruz.
202-225-3931 To support a concert series, featuring performances by musicians from different genres of music, and related activities.
202-225-3931 To support the restaging of "Ritmo Jondo," created in 1953 by Doris Humphrey for the Jose Limon Company.
202-225-3931 To support Art Bursts, a series of arts engagement events for youth.
202-225-3931 To support Dance Band Night, a participatory music and dance series.
202-225-3931 To support a residency program and related activities for contemporary artists.
202-225-3931 To support the Jazz at Pinecrest Gardens concert series and Gen-Next Jam Jazz educational outreach.
202-225-3931 To support performances of "Sotto Voce"by Nilo Cruz.
202-225-3931 To support the creation and presentation of the "The Fairy's Kiss" by choreographer Alexei Ratmansky.
202-225-3931 To support a fellowship program for professional musicians.
202-225-3931 To support Community Ballroom, a participatory music and dance series.
202-225-3931 To support a commissioning and performance project of new choral works by American composers.


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Road to VR: New VR Theme Parks from Landmark Entertainment Group to "Fuse Art, Culture, and Retail with Virtual Reality"
Scott Hayden
OFFICIAL ARTICLE: http://www.roadtovr.com/vr-theme-park-landmark-entertainment-group-to-fuse-art-culture-and-retail-with-virtual-reality/
The Landmark Entertainment Group, a theme park and live entertainment creative studio, has recently announced they are creating an interactive virtual reality park in China. The first of its kind, the park is said to heavily emphasize VR and AR in a theme park setting.
Kevin Williams of The Stinger Report brings us the news that Landmark's so called L.I.V.E. Center (Landmark Interactive Virtual Experience) is going to offer park-goers a "mixed reality entertainment destination," that promises to "fuse art, culture and retail with virtual reality, augmented reality and themed architecture and design."
The first Center, which plans to break ground in China in the next 12-18 months with the help of a Chinese investor group, will include an interactive museum, a virtual zoo, a virtual aquarium, a digital art gallery, a live entertainment stage, an immersive movie theater, and themed experience retail spaces. There's no word yet on what specific headsets or systems they have in mind for these VR/AR spaces.
Landmark's long list of design credits go back to the 1980s, where they helped to develop a number of live attractions, retail experiences, and well-known rides including 'Terminator 2 3D', 'Jurassic Park: The Ride', and 'The Amazing Adventures of Spider-Man 5D'.
Founder and CEO Tony Christopher, a former Walt Disney creative producer and designer, has more recently lead the company into Asian markets, developing massive park design concepts in China and South Korea. The company has helped to realize a $600-million futuristic 'Robot Land' currently underway in Incheon, South Korea.
The key behind the L.I.V.E. Center is its ability to accommodate a high variability of rides and experiences, making the platform more flexible for changes in content.
"The majority of what exists in the virtual reality market today is short-form content, whereas our goal is to work with brands to create long-form virtual reality entertainment destinations. What we're creating is the equivalent of taking your family to a theme park for a day, and enjoying that experience so much, that you want to repeat it over and over again – the only difference is that the experience will happen in the virtual world," said Tony Christopher.
Interestingly enough, the authentic '80s-inspired concept art for the L.I.V.E Center was created by 81 year old Syd Mead, one of the concept artists behind Blade Runner (1982), Aliens (1986), and Tron (1982); and more recently Elysium (2013) and Tomorrowland (2015).
We'll be following the park's development closely, as the center represents a large step not only for the Chinese market into virtual reality spaces, but for out-of-home VR locations in general like newly planned out-of-home park, The Void, currently in development just outside Salt Lake City in Pleasant Grove, Utah.
Here's what happens when a theme park company designs a library
USA Today: Talking Tech with Tony Christopher
Digi-Capital - Landmark Ranked Among Top AR/VR Companies for 2015
Hypergrid Business: Landmark to open virtual theme park
Digital Trends: The Virtual World's Fair will transport you to the world's wonders, and disasters
The Hollywood Reporter: Landmark Entertainment Group Staging Virtual Reality "World's Fair"
The Verge: The Virtual World's Fair is where VR hype meets theme parks
Road to VR: Building A Better Mousetrap: A "Landmark" Dream Of The Ultimate Content Platform
Fortune: Landmark is Launching a VR social platform in 2016, and here's why
Digital Trends: Landmark Is Working On A Virtual Reality World's Fair
FOLLOW US:
Copyright 2016 Landmark Entertainment Group. All Rights Reserved.


I love hitchhiking. Don't tell my mom.
Now, just to be clear, I'm not talking about car pooling or ride shares. I'm speaking of standing on the side of the road, shouldering your backpack, perhaps holding onto a cardboard sign with your destination written on it, while, with the other hand you stick out your thumb.
It's terrifying. It's exhilarating. It's pretty stupid.
But the thing I love about hitchhiking, is that it allows you to get to know people in a way you never otherwise would. While you travel in their cars, sharing the same smells and sights and breathing space, you learn about each other. And then you say goodbye. Perhaps never to meet again. But in small ways, your stories have changed.
Every hitchhiker needs a buddy. And for years, mine was the righteous, Benjamin Thompson. Ben and I had many hitchhiking adventures. Can I tell you my favorite story?
I was visiting Ben when he lived in Inveremere, BC and one afternoon, we went for a walk. We found ourselves down by the train yard, just as a freight train was slowly pulling out.
Ben: "I've always wanted to hitch a ride on a train."
Britt: "Yeah. That would be totally amazing."
Ben:(gesturing toward the moving train) "There's one now."
In the next few moments, Ben and I jogged alongside the train and climbed on. What followed was a three-hour journey through the mountains crouched on the platform between two rail cars, and hanging on for dear life. When the train finally stopped, Ben and I scrambled off and looked around. We had no idea where we were or how we were going to get back home. So naturally, we found the nearest road and stuck out our thumbs.
Living in a city, I don't get much chance to hitchhike anymore. And there are definitely fears that come up when you're in your thirties that you never felt when you were in your twenties. I'm not swearing I'll hitchhike again, but I'm not promising I won't, either.
So share your tale of the last time you thumbed a ride, or tell me why I'm crazy.
Have an inspired weekend dear adventurers, and I'll see you back here on Monday for a new story.
Good times. But let's not forget our other epic trek down to Cranbrook -- thawing your feet with the blow dryer in a McDonalds bathroom, and getting a lift back north the next day with a lone 80-yr old woman going on a ski trip. What on Earth was her name??
Check him out on youtube. Love the song!
It's what I love about you the most, your fearlessness, it also makes me want to slap you and hold you close.


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Home News Rowan SGA approves new constitutional change
Rowan SGA approves new constitutional change
The final SGA meeting of the 2016-2017 school year takes place in the pit of the Chamberlain Student Center. -Photo Editor/Amanda Palma
In its final meeting of the 2016-17 school year, Rowan's Student Government Association (SGA) approved a change to Article III of the organization's constitution.
The main point of the article change was standardizing the GPA requirement to serve on the executive board. Previously, the students running for the positions of president, vice president, chief financial officer and student trustee needed at least a GPA of 2.75 while other positions on the executive board only needed a 2.5 GPA. Under the new rules, every position will require a 2.5 GPA.
Outgoing SGA president Daniel Cardona said that the move came in response to what the current executive board felt was an issue that put some prospective candidates at a disadvantage.
"We lowered it so everyone is on an equal playing field," Cardona said. "We're not holding people to a higher standard than others. We wanted to look at the opportunity for students to get more involved with SGA."
The other major change made to Article III involved striking from the article the need to have previously served on the SGA executive board or in the general senate beforehand. The move comes as a chance to open up elections to students in other groups who had previously been unable to run, as they didn't have any prior time in SGA.
Incoming SGA president Lauren Bitzer said the decision was the result of multiple ideas that had been kicked around by the board.
"We felt that it gave more opportunity for the students," Bitzer said. "Opening more doors so that you don't have to necessarily be elected as a class senator, or as an academic senator in order to find more ways to get involved in student government."
Cardona agreed, contending the new policy would also help strengthen other key groups on campus, including the Peer Referral and Orientation Staff (PROS) and student workers.
"There's many, many leaders on this campus, not just in SGA senate," he said. "So opening these doors to leaders and opportunities around campus that about two hours ago [before the meeting started] would not be allowed to apply, will make SGA and the student population stronger."
Outside of the change to Article III, other business included voting on the SGA's financial budget for the upcoming fiscal period from 2017-2018, which was approved.
For comments/questions about this story, email news@thewhitonline.com or tweet @TheWhitOnline.
daniel cardona
Lauren Bitzer
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JC Siano April 25, 2017 at 10:26 pm
Good decision on the adjusting the GPA to a similar rule set. The extra .25 does it really make a difference? Does it really bring in someone with a better motivation to volunteer, give up personal time and service to the students they would represent? I say not.
As long as the GPA is at a level of allowing graduation. Grades aren't always a factor in determining someone's abilities, passion for learning and improving themselves for their future and employment endeavors. Getting students to participate in leadership roles is difficult to being with but adding an arbitrary barrier is not necessary. BTW, most employers want to know that you've graduated period and not overly concerned with a GPA.
— "JC" Class of 1990; former BOSP (Publications) lead


Previously, an individual tailor could make only a few items of clothing in a certain time period; factories could make hundreds. Prior to the , most work was performed by individual craftworkers. Just showing interest attracts the attention of those you want to build relationships with. The Human Relations class has helped me in my life because it is a very important tool for personal and professional development of human beings. They have significant experience in the field they are teaching, and most have advanced degrees. This time, they decided to evaluate rest periods and work hours on workers.
In some cases, workers are cross-trained so they can do the work of others, if necessary. Florida State College at Jacksonville is accredited by the Southern Association of Colleges and Schools Commission on Colleges to award the baccalaureate and associate degree. I believe that the satisfaction of doing a good Job is a strong motivation. This degree is offered both in the classroom lecture and distance learning modes. That includes all of a person's experiences, knowledge, biases, emotions, values, and attitudes. Initially, the two men thought that lighting levels would have an impact on worker productivity, and they predicted that the more light there was, the more productive the worker would be. Contact the Commission on Colleges at 1866 Southern Lane, Decatur, Georgia 30033-4097, or call 404 679-4500 for questions about the accreditation of Florida State College at Jacksonville.
Included within communication is the importance of self-disclosure and trust. Complex organizations depend on dividing the work among many formalized groups. When the organization promotes an employee, it is relating to the individual. After the Hawthorne studies, more psychologists and researchers jumped on the human relations band wagon. Furthermore, I have learned through this class that Human Relation Skills will make or break you in the work and the everyday world. .
It is important for everyone to develop those interpersonal skills that are valued by all employers. Graduates will fill professional roles requiring expertise in business and human relations skills such as healthcare, communications, human resources, education, and training. They must also learn how to assume the roles of teacher, mentor, and resource person. He has been a college marketing professor since 2004. Donham, Dean of Harvard Business School to Harvard President A. The history of the human relations movement in management has led to the realization that the employees of an organization, also known as the human assets, are highly important.
The ability to work well through conflict and tension and come to resolution brings people together. Likewise, when a company seeks to terminate a relationship with a vendor or supplier, one of the reasons is that the vendor was not able to understand and address the company's business needs. Human relations is the analysis of people's issues that arise due to interpersonal and organizational relationships. This productivity is good for business since more work is done in less time. Dalton and Roy both carried out influential research by means of that showed how this method could illuminate the behaviour of industrial work-groups. Written by: Lea Serrato A happy worker is a productive worker. Related: No matter what you do for a living or aspire to become, none of those fads du jour will have a material impact on how things turn out for you or your business.
If you ask 10 entrepreneurs to tell you the key to business success, you're likely to get 10 different answers. Donham Office Files, Baker Library, Harvard Business School. Ten years into my engineering management career, I thought I had everything going for me. With increased use of voice mail, e-mail, fax machines, and videoconferencing, it is a wonder people have time to read all the incoming information, let alone interpret and respond to it. Poor communication also takes a toll in employee injuries and deaths, particularly in industries where workers operate heavy equipment or handle hazardous materials.
Brought to you by Positive Perception Good communication and interpersonal skills promote feelings of goodwill between individuals and companies. Trahair, The Humanist Temper: The Life and Work of Elton Mayo. In a service business, they're the biggest factor, hands down. Every job, every piece of advice, every business deal, every vendor relationship - there's that word - every single one. Restaurants, hospitals, banks, public utilities, colleges, airlines, and retail stores all must now gain and retain patronage. The labor market has become a place of constant change due to the heavy volume of mergers, buyouts, a labor shortage, closings, and changing markets.
However, human relations theorists have also been noted for a willingness to downplay the role of economic motivations even within the workplace itself, and to stress instead the supposed logic of sentiments affecting worker behaviour. Unfortunately, you, my friends, have all been sold a bill of goods. It means there's a good chance you're wasting precious time, even years of peak earning potential, focusing on the wrong things to build your career and grow your business. As the attempts to cope with rapid technological change and new competition from international companies, there is every reason to believe that there will be more volatility in the labor force. Nothing proves this more than the history of the human relations movement in management. Six women volunteered to take part. One of the most significant developments in recent years has been the increased importance of interpersonal skills in almost every type of work setting.


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Q: How to solve Python poetry dependency error When trying to install the Python dependencies with Poetry, I've the following error:
$ poetry install
The currently activated Python version 2.7.15 is not supported by the project (>=3.6).
Trying to find and use a compatible version.
Using python3 (3.7.4)
Skipping virtualenv creation, as specified in config file.
Updating dependencies
Resolving dependencies... (1.7s)

[SolverProblemError]
The current project's Python requirement (>=3.6) is not compatible with some of the required packages Python requirement:
  - pre-commit requires Python >=3.6.1

Because no versions of pre-commit match >2.2.0,<3.0.0
 and pre-commit (2.2.0) requires Python >=3.6.1, pre-commit is forbidden.
So, because my-proj depends on pre-commit (^2.2.0), version solving failed.

Here is my environment:
$ python3 --version
Python 3.7.4
$ poetry --version
Poetry version 1.0.5
$ pre-commit --version
pre-commit 2.2.0

And a sample of my pyproject.toml:
...
[tool.poetry.dependencies]
python = ">=3.6"
...

[tool.poetry.dev-dependencies]
pre-commit = "^2.2.0"
...

I've tried changing the python version in pyproject to 3.7, but didn't change the result. And if I remove the pre-commit dependency, I've got the same error on another dependency.
I don't know what should I look for: upgrading/downgrading the versions, incompatible versions

A: As mentionned by @Arne in the comments, it seemed to be a virtualenv problem.
I've run poetry config virtualenvs.create false previously for another project and the configuration was set at a global level. Running the reverse command poetry config virtualenvs.create true solved the problem (maybe add --local to set it to individual projects).


Blogging can be a powerful way for you to build your personal brand and increase the visibility of your company within your industry. Ideally, both at the same time.
Your end goal, of course, is to become a top leading expert on the topics that matter to your niche. And when you're first starting out, committing to a niche is important. You must own and dominate it.
Yet, a day will eventually come when you've exhausted your niche. You'll realize that you have finally worked "until you no longer have to introduce yourself," as the great anonymous once put it so eloquently.
What do you do then, when the "law of diminishing blogging returns" kicks in?
If you've reached this point, you may want to start exploring topics that are outside of your core niche. After all, writing off-topic posts can have many benefits. To help you better understand this strategy, let's walk through some of the reasoning, as well as a few tips for getting started.
1) You can reach much bigger audiences.
Once upon a time I was a nobody, writing for an internet marketing company nobody had ever heard of. A smart content promotion strategy changed all that.
Suddenly, I was no longer writing about marketing topics just on the WordStream blog. I was writing for major industry publications like Search Engine Land, Moz, Search Engine Watch, and Search Engine Journal about PPC, display advertising, social media marketing and advertising, and SEO.
At this point, I was thrilled when a blog post would become a "unicorn" -- getting tens of thousands of views, and absolutely thrilled whenever one would get a couple hundred thousand views.
This was a great achievement. But I soon realized I was hitting my own point of diminishing returns by writing about advertising and marketing. So I started going off-topic a couple of years ago. I started writing for Inc.com, mainly about startups and entrepreneurship -- which I'm ridiculously passionate about.
Now, suddenly, the unicorns were even more sparkly and amazing. When I'd hit a home run with a blog post, it might get a million views. And if I hit a grand slam with a blog post, it might get more than 10 million views.
And they weren't all about marketing; they spanned across topics like boosting your intelligence and making a first impression.
Bottom line: What you lose in topical relevancy you'll make up for in volume.
2) You can start biasing future customers.
People who know they need the product/solution you sell.
People who don't yet realize they need the product/solution you sell.
Writing about off-topics is a brilliant way to reach and start biasing that second group of people toward you and your brand. And that's why I started writing about entrepreneurship. Entrepreneurs probably aren't actively looking for articles about AdWords, but small business owners are definitely interested in marketing topics.
Writing about off-topics allows you to connect with people before they even need the types of services your company provides. By establishing a relationship through a shared interest now, you can increase the odds that later on those same people will come to you first and become your customers when the need arises.
3) You can increase your social media engagement.
If you're fortunate enough to write for a large publication such as Inc.com, which has millions of fans on Facebook and Twitter, you'll see your follower counts soar. All you have to do is write about interesting topics.
Every time Inc.com shares my content organically, I pick up more followers: When I started writing for the publication couple of years ago, I had less than 100,000 Twitter followers. Now, I have more than 300,000 followers.
Medium is another great platform to pick up new readers with your off-topic posts. Plus, publishing on Medium might help you get noticed by a publication with a large readership.
Just as one example, I published a post on Medium about multitasking that generated almost half a million views.
It was so successful that it ended up being syndicated on a couple major publications, and it was tweeted by the Arianna Huffington. Amazing, right?
At the end of the day, having more followers gives you an even larger promotional vehicle for your on-topic content, so why not give it a try?
4) You can truly express yourself.
Going off-topic gives you the opportunity to share more about yourself.
Simply publishing generic posts doesn't cut it anymore. There's way too much competition. You need to think about the tone and style of your content.
In case you couldn't tell, I really like unicorns and memes. It's kind of what I'm known for.
I want my posts to be useful by including data and actionable tips. But it's equally important for me to write memorable posts, which is why I try to add some humor and use lots of visuals.
Remember: A little personality goes a long way and will make you more interesting.
5) You'll keep your sanity.
Once you've been writing for a few years, you'll find that it will become increasingly hard to come up with new and interesting things to say about the same topics.
Take me, for example. If I were just writing about nothing but AdWords features and tips for years, I'd go nuts.
Diversify! For the sake of your own sanity.
Now that we've covered why you need to write about a wider variety of topics, how do you get started?
Do your research. Before you expand, think about how the off-topic posts you want to write will help advance your career. What audience could you reach and how could that help you?
Find a way to set yourself apart from established influencers in the same space. How are you going to be memorable? Make sure you know what you want to accomplish and have a strategy to achieve your goals.
Once you sort through the initial research and planning, you'll need to nail down where you want to publish. To get started, do a search for popular sites that feature posts on the topics you want to write about. Read the sites and figure out their style and what types of article perform well.
To do this quickly and easily, you'll want to lean on BuzzSumo. With BuzzSumo, you can look into the top performing posts for any domain to generate a better understanding of what works well.
I saw your great article on [topic] and wanted to see if you'd have interest in publishing an article about [topic] that I could write exclusively for you.
Use Twitter to audition topics. If you want to know whether you should invest your time writing about a certain topic, tweet about it on Twitter. If your tweet generates lots of engagement, then you can be confident that there's an audience interested in that topic. If your Twitter audition bombs, forget about that topic for now. You can always revisit it in the future.
Use BuzzSumo to discover topics. Again, BuzzSumo is a powerful tool that helps you discover which topics are super hot in any industry, and which posts are the most popular on individual websites. Yes, it's paid, but I'd consider it one of the wisest investments if you're serious about your content strategy.
I can't leave without issuing one warning about off-topic posts: Don't overdo it.
The worst thing you can do is to lose focus. To prevent this, I'd suggest following the 80-20 rule, where 80% of the content you create covers your money "bread and butter" topics, and the remaining 20% of your efforts go toward off-topic content to establish yourself in a new niche.
Stay focused. And best of luck as you embark on your new journey and begin growing your influence in new areas.
Have you experimented with off-topic blog posts? Did you see positive results? Share your thoughts and experiences below.


text:
Emil Richli (Zúric, 24 d'octubre de 1904 - Zúric, 13 de maig de 1934) va ser un ciclista suís que fou professional entre 1928 i 1933. Especialista en pista, va guanyar 3 cops el campionat nacional de Velocitat. Va participar en els Jocs Olímpics de 1924 en la prova de Persecució per equips.

Palmarès
 1928
 1r als Sis dies de Frankfurt (amb Willy Rieger)
 1929
 1r als Sis dies de Breslau (amb Willy Rieger)
 1r als Sis dies de Stuttgart (amb Pietro Linari)
 1r als Sis dies de Leipzig (amb Karl Göbel)
 1931
  Campió de Suïssa de Velocitat
 1r als Sis dies de Chicago (amb Willie Grimm)
 1932
  Campió de Suïssa de Velocitat
 1r als Sis dies de Colònia (amb Paul Broccardo)
 1933
  Campió de Suïssa de Velocitat
 1r als Sis dies de Stuttgart (amb Jan Pijnenburg)

Enllaços externs
 Palmarès a sitiodeciclismo.net
 Palmarès a cyclebase.nl
 Palmarès als Jocs Olímpics

Ciclistes de Zúric
Esportistes suïssos als Jocs Olímpics d'estiu de 1924
Esportistes olímpics suïssos
Morts a Zúric

redpajama_set_name: RedPajamaWikipedia


When you must take into consideration safety? http://law.alaska.gov/department/civil/consumer/home_improvement.html The answer to this query incorporates variability. If the system is put in during development of the roof, it saves loads of client funds. As well as, designers have the opportunity to order electrical energy directly within the efficiency of roofing and heating system to choose the most related features of construction of the roof area coated by the system. The figures of energy consumption can range from 2 to 50 kW. Furthermore, fluctuations are straight proportional to the heated roof area and the complexity of the shape. Optimize the power consumption helps professional design.