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Transportation - 2m 34s ago
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Jeb Bush endorses Mitt Romney; calls for party to unite behind front-runner
by Jonathan Easley - 03/21/12 2:48 PM ET
Former Florida Gov. Jeb Bush endorsed Mitt Romney's presidential campaign on Wednesday and called for the Republican Party to unify around the former Massachusetts governor.
"Primary elections have been held in 34 states, and now is the time for Republicans to unite behind Gov. Romney and take our message of fiscal conservatism and job creation to all voters this fall," Bush said in a statement.
{mosads}The Romney campaign responded with a statement that looked to build on that sentiment, calling the endorsement a "key moment in the presidential contest."
Bush, an influential figure in the party, made his announcement the day after Romney won a double-digit victory in Illinois' GOP primary.
His endorsement adds to Romney's momentum and serves as a sign that the Republican establishment is rallying around its frontrunner, who appears to have an insurmountable lead in the GOP delegate race.
President Obama's campaign team tried to down play the endorsement.
"It kind of felt like Jeb Bush was holding his nose in making that endorsement," campaign adviser Stephanie Cutter said on MSNBC.
Meanwhile Rick Santorum, Newt Gingrich and Rep. Ron Paul (R-Texas) have refused to exit the presidential race, with Santorum and Gingrich both signaling their intention to stay in the contest through the GOP's convention in August.
The Gingrich and Santorum campaigns immediately looked to minimize Bush's endorsement.
"The Governor joins in supporting the establishment trifecta of moderates who lost in the fall: Bush, Dole, McCain," Gingrich spokesman R.C. Hammond said in an email to The Hill, referring to Bush's endorsements in previous presidential cycles.
And the Santorum campaign tried to paint Romney as the establishment candidate that will bring more of the same to Washington.
"We're doing this without the big-named endorsements, without the establishment endorsements," Santorum spokeswoman Alice Stewart told MSNBC on Wednesday. "Rick is out there to get the endorsement of the American people and he is doing very well doing that."
It's an argument similar to the one Santorum used Tuesday night after losing in Illinois, in which the campaign sought to portray itself as the underdog without the resources of the establishment candidate.
But Santorum, who has emerged as Romney's primary challenger, has had a rough week since his March 13 victories in contests in Alabama and Mississippi. He lost Puerto Rico to Romney on Sunday and likely made a tactical error in visiting the territory, where Romney was favored. He could have used that time in Illinois, where he also lost handily to Romney.
Santorum has a shot of winning in Louisiana on Saturday, but in April the GOP map seems to favor Romney.
Many Republicans would love for the primary fight to end to give time for the party to rally around Romney and against Obama. Yet Romney has failed to win over many conservatives — which Santorum and Gingrich have used to justify their decisions to stay in the race.
There have also been questions about whether Romney will be able to win the 1,144 delegates required to clinch the GOP nomination.
Jeb Bush is the second member of the Bush family to endorse the former Massachusetts governor. His father, former President George H.W. Bush, endorsed Romney in December.
Bush was frequently mentioned as a dark-horse candidate to enter the presidential race if voters failed to coalesce behind one of the existing candidates, and he had remained neutral throughout the primary season, even as Romney notched a convincing victory in Florida, Bush's home state.
The former Florida governor said in his statement that the country faced huge challenges and that Romney was the best leader for the GOP.
"We face huge challenges, and we need a leader who understands the economy, recognizes more government regulation is not the answer, believes in entrepreneurial capitalism and works to ensure that all Americans have the opportunity to succeed," he said.
The endorsement also had the peripheral benefit for the Romney campaign, taking the focus off of a gaffe made by campaign adviser Eric Fehrnstrom earlier in the day. Fehrnstom compared the positions Romney has taken during the primary to an "Etch A Sketch" toy, which can be erased to provide a blank slate.
"It's almost like an Etch A Sketch — you shake it all up and start over again," he told CNN of the general election.
It may have just been a verbal slip, but it played into the storyline that Romney's rivals have pushed, that the former Massachusetts governor is a flip-flopper and not committed to conservative ideals. Democrats hammered Fehrnstom on the slip but the Romney adviser joked about it on his twitter account.
When a reporter noted the length of time it took for the Romney campaign to release its official statement after the news of Bush endorsement broke, Fehrnstorm tweeted back: "Took a while the Sketch out the language."
— Daniel Strauss, Alicia M. Cohn, and Justin Sink contributed.
— This story was updated at 1:26 p.m.
Tyre Nichols's parents accept invitation to attend State of the Union
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by Rafael Bernal 6 hours ago
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Ex-NATO commander says West sending Ukraine tanks 'creates real problems for Putin'
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The Dynamites
BPL Final 2016
BPL Fixture
Nasir Hossain
Nasir Hossain is one of the young allrounders in Bangladesh who, if handled correctly, could be a long-term prospect for the national team in all forms. As a lower-middle-order batsman, Nasir can bat in different gears depending on the match situation; as an offspinner he has control and accuracy; and his fielding is perhaps the most exciting part of his game. His potential was seen in his first international game, when he scored 63 against Zimbabwe, the highest by a Bangladeshi on ODI debut. That performance led to his Test debut against West Indies in October 2011, a month before his 20th birthday.
That he had a feel for sports was obvious pretty early in Nasir's life: he joined Bangladesh's only sports institute, BKSP, in 2004 as a 13-year-old. In a few years, Nasir quickly became an important member of the institute's league team and played a key role in its promotion to the Premier League. Read more
A left-hand opening batsman, Nasir Jamshed has shown enough promise to be considered a long-term prospect in the Pakistan batting line-up. He made his international debut in early 2008, in the home ODI series against Zimbabwe, and though he did reasonably well in his early games, he was dropped in 2009 and spent two-and-a-half years away from international cricket. He returned with his appetite suitably whetted, and 2012 was a particularly memorable year for him, as he scored two ODI hundreds against India, and followed up with one more early the next year to firmly establish himself at the top of the order. An aggressive batsman, Jamshed plays strokes all round the wicket, but also backs it up with sound temperament and an ability to convert starts into big scores.
Jamshed's talent was visible from his junior days, and he made a mark very early in his cricketing career. Following an impressive 74 for National Bank of Pakistan (NBP) on his first-class debut when aged only 15, Nasir Jamshed was selected for the Pakistan Under-19s side to play the visiting Sri Lankans. Read more
Mustafizur Rahman is a left-arm pace bowler who came to Dhaka to try out for a fast-bowlers camp in 2012, after he had impressed in an Under-17 tournament in his hometown Satkhira. He was admitted to the BCB's pace foundation and soon caught the coaches' attention to make the Bangladesh Under-19 side for the 2014 World Cup. Mustafizur made his first-class debut for Khulna in the 2013-14 season and after taking eight wickets in the U-19 World Cup in UAE, he was surprisingly picked for Bangladesh A's tour of West Indies. Returning from that short trip, he was viewed as a better bowler and slowly picked up more variations. He initially lacked pace, but built it up through the 2014-15 first-class season, when he took 26 wickets at an average of 19.08. Soon enough, the Bangladesh selectors picked Mustafizur for the one-off T20I against Pakistan, where he removed Shahid Afridi and Mohammad Hafeez. Read more
Mosaddek Hossain, who comes from a family of cricketers, snuck up on Bangladesh cricket's consciousness during the 2013 Dhaka Premier Division Cricket League, helping Abahani Limited stay afloat in a disastrous campaign. He struck a century and three fifties, before having to head to the Bangladesh Under-19 training camp ahead of the 2014 World Cup in the UAE. The opportunity to get out of age-group cricket quite early proved to be an important milestone in his development.
His first-class debut in the 2013-14 season wasn't memorable: he got a pair against Khulna in Cox's Bazar. But in the following season, he struck 250 and 282, his first two hundred-plus scores in first-class cricket. He added another double-hundred in 2015. A Twenty20 International debut followed in January 2016, but it was a forgettable one against Zimbabwe. By then it was clear that he wouldn't be in coach Chandika Hathurusingha's 2016 World T20 plans. Read more
Confusion remains over Mohammad Irfan's actual height - the PCB has variously measured him at 6'8", 6'10" and 7'1". If he is indeed 7'1", he could be the tallest cricketer around, surpassing his idol Joel Garner. Irfan is a product of rural Pakistan, hailing from the eastern Pakistan town of Gaggu Mandi, which produced another tall former Pakistan quick, Mohammad Zahid. The lack of opportunities in his home town forced him to quit playing cricket and seek full-time employment to support his family. He was working in a plastic pipe factory and playing club cricket before Aaqib Javed had summoned him to the National Cricket Academy in Lahore. Aaqib was enthused by what he saw and soon after, he was playing first-class cricket for Khan Research Laboratories. He took nine wickets in his second game and ended the season with an impressive 43 wickets in ten games. Read more
With two centuries at the 2011 World Cup, including an exhilarating 119 that almost stunned England, Ryan ten Doeschate established himself as one of the finest players the non-Test world has ever produced. Reflecting his dominance, he won the ICC Associate and Affiliate Player of the Year Award in 2008, 2010 and 2011.
Born in South Africa, ten Doeschate cites Jonty Rhodes as his hero, and has played for Western Province. He is of Dutch descent, though, enabling him to qualify under the European Citizenship law to play county cricket. With his huge hitting, skiddy bowling and big smile, he soon became a cult figure at Essex, where he has played for a decade.
The rise in Twenty20 leagues around the world have come at a particularly good time for ten Doeschate. His combination of belligerent hitting, particularly to the leg side, and canny medium-pace have earned lucrative contracts not only in the IPL but also in Australia, Bangladesh, New Zealand, South Africa and Zimbabwe. Read more
Yasir Shah made his first-class debut in February 2002 but had to wait nine years to play international cricket. An ODI and two T20s later, he was back out of the reckoning, seemingly forgotten forever. The recall, when it arrived, came at a time of crisis for Pakistan, when Saeed Ajmal was banned for chucking in September 2014.
Yasir didn't just grab the opportunity; he made everyone forget they were supposed to miss Ajmal, spinning his way to 12 wickets in his debut series at an average of just over 17, as Pakistan whitewashed Australia 2-0. Bounding in with the energy of his spiritual forbears Abdul Qadir and Mushtaq Ahmed, but with the legbreak rather than the googly as his go-to weapon, Yasir quickly won a horde of admirers including Shane Warne, who praised his "energy and shape on the ball, also his over spinner and patience", and proclaimed he would finish with more than 200 Test wickets. Read more
Dawid Malan is an aggressive left-handed batsman of power, panache and obvious class.
Like many of his more illustrious countrymen, Shahzaib Hasan was only in his teens when he was fast-tracked into the Pakistan team. A robust and ungainly opening batsman, he enjoyed healthy returns in his debut first-class season, scoring 607 runs in ten matches for Karachi Blues in the Quaid-e-Azam Trophy. In domestic one-dayers, he has scored 250 runs in seven games at a strike rate of 96.11, which saw him drafted into the squad for the 2009 World Twenty20 and he came highly recommended by Rashid Latif and Basit Ali, men with a keen eye for Karachi's talent.
Hailing from Malakand agency in the North-West Frontier Province (NWFP), but based in Karachi, Sohail Khan had a debut first-class season in the 2007-08 Quaid-e-Azam Trophy few in Pakistan have equalled. The right-arm fast-medium bowler, playing for Sui Southern Gas Corporation (SSGC), took 65 wickets in his first nine matches, with as many as eight five-wicket hauls. The second of his ten-wicket match hauls was 16 for 189, which shattered Fazal Mahmood's long-standing national record for best haul (15 for 76). The performances have catapulted him from obscurity to the fringes of an international debut as Zimbabwe arrive in January 2008 for a series of five ODIs.
As soon as he broke into the side at the age of 22, while a law student, it was apparent that Kumar Sangakkara was destined for more than just batting stardom. The left-handers that had preceded him, like Arjuna Ranatunga and Asanka Gurusinha, had been pugnacious battlers but Sangakkara was cut from more graceful cloth, easing into strokes with the elegance often associated withthose that play with the 'other' hand. The cut and the pull came naturally to him and with growing confidence, he became a more assured front-foot player as well.
Ranatunga had already exploded the myth of the Sri Lankans being meek men who could be bullied, but Sangakkara has refined the belligerence, combining a suave exterior with cutting asides and sharp sledges from behind the stumps. Initially, his glovework wasn't for the purists, but such was his batting ability that there was no question of displacing him from the XI. Read more
A right-handed batsman, Shamsur Rahman played for the Under- 19s, Academy side and A Team before earning a national call-up, when he was included in the squad for the World Twenty20 in England in 2009, but didn't get a game. Nicknamed Shuvo, he was the leading run-scorer in the one-day competition for Dhaka Division that season. He was in good touch the following season as well, where he averaged 67 against South Africa A.
Mosharraf Hossain, at the age of 23, joined the long list of left-arm spinners to play for Bangladesh when he was handed his ODI debut against South Africa. Hossain impressed during a tied warm-up game between a Bangladesh XI and a strong South African side, picking up three economical wickets, and was ushered into the national side with veteran Mohammad Rafique having recently retired. Hossain bowled alongside the two more experienced left-arm spinners, Abdur Razzak and Shakib Al Hasan, and went for 40 in six overs. Hossain made his first-class debut in 2001-02 for Dhaka Division, where he has enjoyed decent success.
Shykat Ali, a right-hand batsman who bowls medium-pace, was in the Bangladesh squads for the 2008 and 2010 Under-19 World Cups. He scored a fifty as an opener in a one-dayer against England U-19 in November 2009 and also took 3-11 against the same team in another one-dayer. Saikat's favourite cricketer is Jacques Kallis whom he admires for his all-round skills.
Farhad Reza, a middle-order batsman who bowls useful medium-pace, was called up to the national squad for the tour of Zimbabwe in July 2006 after scoring the most runs in the previous year's domestic league. He got his chance in the second one-day international and became the first Bangladeshi to score a fifty - off just 57 balls - on debut. His good form continued on the tour of Kenya that followed and he steered Bangladesh to victory in the first and third one-day internationals.
Nabil Samad is one of the more experienced members of the Bangladesh U19 World Cup squad. He has played 20 first-class matches, and taken 86 wickets at an average of just 20.91. For the Bangladesh U19 team he has played 11 matches, generally being used as a first change bowler. He has taken 12 wickets with a very impressive economy rate of 3.48. His experience and strong form in Bangladesh's matches in the tri-nation series with England and Sri Lanka, look set to guarantee him a starting place in the team that plays in the U19 World Cup in Sri Lanka.
Abul Hasan shot to fame when he became the first No.10 to score a century on Test debut in 110 years. He achieved the feat against West Indies in Khulna in November 2012, even before he took the new ball - his primary role in the Bangladesh team. Born in Kulaura, a small town in Sylhet,
Irfan Sukkur (born 22 May 1993) is a Bangladeshi First class and List A cricket player. He was born in Chittagong, Bangladesh.

redpajama_set_name: RedPajamaCommonCrawl


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UFC Videos
LeBron James ditched Cavaliers to play for Lakers and Cleveland's Stipe Miocic ain't even mad about it
By Jesse Holland Jul 3, 2018, 10:30am EDT
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A lot of sports fans were up in arms when LeBron James announced he was ditching the Cleveland Cavaliers to go play basketball for the Los Angeles Lakers, the iconic NBA team that ponied up $154 million across four years for the "King" of the court.
Cleveland native and Ohio sports fanatic Stipe Miocic wasn't one of them.
"I'm not mad all, whatever's best for him, it's his legacy," Miocic said. "He brought a title back like he said he would, you can't be mad at the guy. It's whatever he wants. At least he didn't wait until the end like last time."
Pic: Miocic, James Are The 'Kings of Cleveland'
The Cavaliers won the NBA championship back in 2016 and Miocic crashed the victory parade in Cleveland (video). "The Rock and Roll Capital of the World" tried to add yet another title that year, but the Indians came up short against the Chicago Cubs in game seven of the World Series.
They should have asked Miocic to pinch hit.
Miococ (18-2) will put his heavyweight title on the line against light heavyweight champion, Daniel Cormier, in the UFC 226 pay-per-view (PPV) main event this Saturday night (July 7, 2018) in Las Vegas, Nevada.


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Best Netflix And Chill Movies
The 13 Movies That Should Be On Every Man's 'Netflix And Chill' Shortlist
So you've finally convinced her to get on board for a night of Netflix and chill. You've settled down on the couch, (signed the necessary paperwork) kicked up your feet after an awesome sushi delivery dinner, but the night is young. What's next? Netflix, then chill, or chill then Netflix (or both at the same time)? You fired up the 'flix and are scrolling through the tons of B-level action movies, depressing documentaries and children's animation movies. How the hell are you supposed to find the one? That one flick that will upgrade your night in to the next level. What's the elusive, third base enabling, make out movie that will get you laid?
To give it to you straight, it ain't about the movie. Besides - let's be real - a successful Netflix and chill night should be heavy on the chill and very light on the Netflix. But sometimes things take a little longer. And once you sense that your date needs some more time, it's vital you give her some space. So, what better thing to do than to fire up a movie together? Who knows, maybe you can get away with the arm-around-her-while-yawning trick and ensure you'll see each other again another day.
So here are 13 steamy Netflix movies for your next date. Some of them we guarantee will move things along smoothly. Others will create a deep bond between you and your date (or her and Johnny Depp in Chocolat) that will leave her begging to see you again. But whatever you do, be safe and err on the side of safety and be wary of what she wants. You don't want to overwhelm her with your Netflix-and-chill-skills.
Adventureland (2009)
Goofy Jesse Eisenberg falls in love with manic pixie dream girl and Twilight sweetheart Kristen Stewart in this feel good and extremely forgettable indie flick. It'll create an awesome warm and fuzzy atmosphere capable of allowing even the most inexperienced to get some.
Almost Famous (2000)
As long as you're not trying as hard as the protagonist of Almost Famous, you should be fine. It has the most epic soundtrack of all, and one of the most intimate and unusual love stories. It's a great pick, that is, if you actually want to sit down for a whole 90 minutes.
Conan The Barbarian (1982)
Don't worry, Arnie will hold fort while you get it on with your date on the couch. But don't let him make up for your lack of gainz. You don't want to end up having her ogling at Arnie's bulging biceps instead of yours.
Chocolat (2000)
If Johnny Depp can charm the pants off chocolatière Juliette Binoche by seductively eating her chocolate treats, why can't you? Pick up a box of chocolates Valentine's Day style, and let this movie speak on your behalf. Oh, and Johnny Depp totally rocks some man braids in case you noticed.
Bad Boys (1995)
Legendary bro flick Bad Boys will serve as your best Netflix wingman when it comes to chilling on your couch. It's sexy, it's fast paced, and adds a touch of quintessential humor to a potentially amazing night in. What you gonna do? What you gonna do when they come for you.
Friends with Benefits (2011)
The title might be a dead giveaway. And it may not be a great way to spend an erotic night with your best friend. But Justin Timberlake and Mila Kunis make a surprisingly great fit for a time-tested paint by the numbers rom-com.
The Notebook (2004)
Chose The Notebook for an unforgettable (see what I did there?) night on the couch. We know, this pick is extremely on the nose, and seems far too obvious. But that's exactly why you should chose it. Besides, chances are very high your date already watched it a million times and will hopefully be able to pay you more attention.
Who knows, maybe it turns out she is the one that you want. You need to prove to her you're the kind of man who can dig a musical. Like, don't go overboard and show her your Glee DVD collection or anything. But we're sure she'll appreciate it.
They Came Together (2014)
It promises to take you on a journey of true love, but instead takes a dump on it. It features pretty much the entire cast of Wet Hot American Summer, which is an awesome thing as far as we are concerned. It'll make her laugh, and realize that you're a guy who doesn't take himself too seriously. Which is important. And besides, Amy Poehler and Paul Rudd are a match made in comedy heaven.
Rubber (2010)
If this movie about a "homicidal car tire" won't get you some chill action, we don't know what will. Let's face it. You're not here to watch a movie. You're here to take things to the next level with that significant other, who's yawning next to you on the couch right now. So what better way to initiate it by boring her to death with a movie about a homicidal, rolling car tire? She'll be begging to turn it off already.
Clueless (1995)
The ultimate 90s high school love story is just asking to be your pick for a night of Netflix and chill, unless of course you were born in the late 90s.
Before Sunrise (1995)
For the hopelessly romantic, Before Sunset could be a great pick. That is, if you don't have a problem with listening to an argument between two people for a good 90 minutes. But there's a whole lot of truth and meaning behind Ethan Hawke's rambling and a great way to kick things off for a night in.
Vampire's Kiss (1988)
If Nic Cage's experience doesn't make both of you crack the hell up, there's something wrong with the both of you. You'll lose your mind with laughter as Nic Cage loses his. His stellar performance is nothing to be missed or enjoyed alone. We suggest turning it off and getting to business before it wraps up though. The supposed "love story" derails and the weirdness becomes pretty overbearing.
Dating Rules First Date Dating Movies Netflix


It's essential that when you choose a marketing agency, you ask yourself a really simple question: "Do I like these people and do they understand me?"
Choosing a marketing agency is one of the most important decisions you will make for your business. The success of your strategy depends on your marketing agency developing a sound understanding of you, your business and your customers.
You will work closely together to develop a strategy that is aligned to your company's business goals. At the core of an effective marketing strategy is the marketing plan, at the heart of which is a deep understanding of your company's products and market. We've had years of experience of working closely with teams, as well as individuals, in developing the layers that lead to the implementation of the 'marketing strategy'. The most successful outcomes have been primarily achieved through the close relationship and understanding we develop with our clients; as we become not only embedded in their teams, but we become their friends too through the sense of ownership we invest in all that they do.
Together we will identify your target market and the problems that they experience, and get to know to the audience we will be speaking to.
Once we know to whom we are speaking, we will develop the messages relevant to your audience and decide how best to deliver that message.
Offline marketing, digital marketing, inbound marketing, outbound marketing, the list goes on and on. As your marketing agency, we will work with you to choose the best solution and together develop, implement and monitor.
There is no one size fits all when it comes to marketing which is why we take the time to find out what's best for your business and delivers the results we all want to see.
The marketing solutions we present will always align with your company's defined business goals and objectives. We never lose sight of why we are doing what we are doing.
Understanding the effects of the marketing initiatives we implement is crucial to measuring success. As a marketing agency with years of experience, monitoring and evaluation is at the core of everything we do.


Sorting Out Your Winter Wardrobe and Transitioning Through to Spring!
With Christmas over and done with and spring on the way, it's easy to think that within a few weeks we'll all be busting out our spring/ summer wardrobes and spending time outside in the sunshine. However, realistically it's just not the case, and we're all going to need to wrap up warm for a few more months yet. Thankfully the colder weather can be a great time for fashion, you can layer up and play around with textures, as well as enjoy some of the darker deeper colours of the season. Here are some tips for getting your wardrobe in order for the next few months, and transition it through to when sunshine returns to our lives. Fingers crossed we get something at least close to that incredible heatwave last year!
It's so easy to end up with a wardrobe stuffed full of clothes when in reality, you only ever wear a few items. If it's been a while since you decluttered, a change of season is the perfect opportunity to crack on with it. Go through every item, try things on and check for signs of damage. Anything that looks scruffy, is out of style, no longer fits or you just haven't worn in a really long time- get rid! Give away or donate clothes that are still good, and throw away the rest. Don't forget socks and underwear- these will need to be regularly replaced before they're worn to death. Once you've scaled down your clothes to things that you actually like and wear, you can make a list of anything that's missing. Knowing exactly what you need can be really helpful and save time when you're out shopping.
To get the most out of your clothing choices, choose pieces that are warm enough to be worn now, but will still last you through to the spring, as the sun will be out but the temperatures will still be fairly low. Find items that look stylish as well as being warm, for men, light jackets and hoodies are perfect for this. The styles shown above are from Jacamo who have tons of affordable wardrobe staples. I still assumed this was a shop for larger men, but they actually do all sizes including smaller ones so are ideal for all guys. Jacamo are part of the JD Williams group that also include some of my favourites, Simply Be and Fashion World, as again they're good for high quality, affordable staples. For women, a mac jacket makes a good investment at this time of year, it will keep you warm enough for now but will still be light enough to wear right through to the spring. Light knitwear works well, and for women, dresses with long sleeves. These can be worn right now with tights or leggings, boots and a coat. When the weather warms up, they can be worn with sandals and a light cardigan.
Winter fashion tends to feature quite dark colours, so one way you can bring a bit of interest to your look is with accessories. Hats, gloves and scarves are an easy and practical way to add some interest and colour. If like me you're a fan of seasonal makeup looks, red lipstick and/ or nails adds a vibrant pop of colour to any dark outfit.
How will you be transitioning your winter wardrobe through to the spring?


People cool off under a fountain at the Bonnaroo music festival in Manchester, Tenn., Friday, June 12, 2008.
Bonnaroo is bringing part of the farm to the city.
For three days this week, the Tennessee music festival — which goes down on a massive, 650-acre farm — will host a series of events in Chicago as part of Bonnaroo's "Ready to Roo" Tour.
Overall, the series will hit 14 cities in three weeks, and Chicago gets a trio: tonight's "Raffle & Post-Work Hang" at Paradise Park, Wednesday's skee-ball tournament at Emporium Logan Square, then Drag Bingo with Lucy Stoole on Thursday at Big Star Wrigleyville.
The first event is tonight, and it's exactly what it sounds like. Bonnaroo will raffle off a pair of general admission tickets with a car camping pass, and guests can expect games, music and food and drink for purchase during an evening hangout session.
The skee ball tournament Wednesday night seems something like the main event. Not only is it the most competitive evening of the series, but it's also the biggest chance to win tickets. The champion takes home two GA tickets with a car camping pass; runner-up gets one GA ticket with a pass; and third place gets one GA ticket. Get your roll on, indeed.
For Thursday night's Drag Bingo, renowned Chicago nightlife performer and personality Lucy Stoole will host the bingo contest. Winners will receive festival tickets, although the details are unclear.
Guests who show up during the early hours of each event can receive complimentary drink tickets and Bonnaroo swag. Each event will also have the option for guests to buy festival tickets in person.
If you're anxious to do your 'Roo this year and are feeling lucky, check out the tour before it's gone.
5-10 p.m. Monday, Paradise Park, 1913 W. North Ave.
6-11 p.m. Wednesday, Emporium Logan Square, 2363 N. Milwaukee Ave.
Check-in between 6-7 p.m., must arrive by 7 p.m.
5-10 p.m. Thursday, Big Star Wrigleyville, 3640 N. Clark St.


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Description: Cyren engulfs one of his fists in flame for one post.
Weakness: If water is poured on his fist, this ability is nulled. If it's too cold in the surrounding area, this ability is nulled. He is still affected by the fire.
Description: Cyren gains a resistance to the damaging effects of fire and heat for 5 posts.
Weakness: If Cyren uses this ability in a cold area, he could freeze to death. This will prevent him from getting warm in any way in a cold area.
Can you give me a cool down for these two abilities bro~!?
More like the armor on the flesh is heating up and burning his flesh, but that's what the second ability is for.


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Throughout history, people with intellectual disability have been treated in degrading,paternalistic, hostile, disrespectful and sometimes cruel ways. They have been institutionalised, marginalised and systematically pathologised. Societal views about this group have historically included a broad spectrum of beliefs ranging from the Eugenics Movement of the early 20th century, which supported the sterilisation and euthanasia of people with intellectual disability (Goggin & Newell, 2005), to current times where the rights of people who have a disability to live good lives as valued members of their community are recognised (if not fully realised) through national legislation (such as the Commonwealth Disability Discrimination Act 1992) and the UN Convention (UN, 2006).
While there have been significant shifts towards a higher level of acceptance and understanding of people who experience intellectual disability, in reality we still see a wide variety of societal, community and individual views that represent various points across the entire spectrum. For example, people who do not experience intellectual disability are sometimes afraid of interacting with people with an intellectual disability, due to their own inexperience, lack of understanding and pervading negative social views about intellectual disability. This experience of unfamiliarity and lack of involvement with people who have an intellectual disability is a direct result of the historical context where institutionalisation, segregation and various other forms of social exclusion of people with disabilities were common.
It is not surprising then, that people with intellectual disability are often excluded from the types of counselling and personal supports available to other members of the community, and that professionals working in these roles are subject to the same misunderstandings and inexperience with this group as the wider population.
WWILD Sexual Violence Prevention Association Inc has developed How to Hear Me: a resource book and accompanying DVD that together form an important tool for building the capacity of victim support agencies, counsellors and therapists to work effectively with people with an intellectual disability who have become victims of crime. This resource is available for download, and the pages within this section provide the same content in a web-based format.
How to Hear Me (download the full resource) 2.2 MB


text:
The 2018 Flu Is So Bad That Hospitals Are Treating Patients in Parking Lots
By Robert Donachie February 1, 2018 at 11:02am
Emergency rooms are having a difficult time handling the sheer volume of patients suffering from the 2018 influenza strain and hospitals are scrambling to find ways to keep up.
The 2017-2018 influenza strain is expected to kill over 50,000 people this flu season — the highest number of casualties since 2014.
Data suggests now 5% of the entire U.S. population may be infected with the flu, as the epidemic worsens: https://t.co/tTfMemo05h pic.twitter.com/K7muCnDuoY
— Good Morning America (@GMA) February 1, 2018
Unlike other years where the flu outbreak experiences peaks and troughs, this year's strain is maintaining an unusually high rate of infection across the country.
As a result, emergency departments are seeing a huge influx in patients seeking treatment for the flu, creating a sort of run on hospitals around the nation.
By mid-January, the number of patients seeking treatment for the flu exceeded every year in recent memory other than the 2009-2010 flu season.
Hospitals are creating makeshift treatment centers because emergency departments are overflowing, The Wall Street Journal reported.
A number of hospital systems across the country are reporting upwards of 250-400 flu patients per day.
An Atlanta-based hospital is treating 25 percent more flu patients this year than the previous flu season.
Have you gotten a flu shot?
No: 24% (4 Votes)
To keep up with the volume, the hospital created a mobile treatment center in its parking lot, equipped with enough supplies and beds to treat 14 patients.
Other hospitals are working hard twice as hard to triage patients, trying to safe much-needed space for older, more at-risk patients.
Healthier, younger patients are more likely to need minor medical treatment, as their bodies are better able to handle the flu.
Some additional measures are getting put in place, like wardening off flu patients into separate waiting rooms and treatment areas, so as to keep the spread of the illness to a minimum.
Hospitals are also reporting having to postpone operations and other treatments to focus on caring for growing number of flu patients.
Pfizer Responds to Undercover Video, Makes a Huge Admission About What It Does with Viruses
The Centers for Disease Control will be holding a live Facebook event Friday afternoon to answer questions people may have about the flu.
CDC experts will answer questions about #flu on Friday, February 2, during a live Q&A on Facebook. Join us from 1-2 PM ET. https://t.co/3TcPf1sE6v #fightflu pic.twitter.com/xgIcxS7Rm8
— CDC (@CDCgov) February 1, 2018
A version of this article appeared on The Daily Caller News Foundation website.
Robert Donachie
Summary Recent Posts Contact
Founded by Tucker Carlson, a 25-year veteran of print and broadcast media, and Neil Patel, former chief policy adviser to Vice President Dick Cheney, The Daily Caller News Foundation is a 501(c)(3) non-profit providing original investigative reporting from a team of professional reporters that operates for the public benefit. Photo credit: @DailyCaller on Twitter
Ukraine Conflict Entering Critical New Phase, Expert Predicts 'Bloody Spring and Summer'
Biden's New Border Policy Has Loophole So Big 'You Can Drive a Truck Through'
Biden Blocks US Mining Project, But Pay Attention to What He Signed the Week Before
Former Democrat Congressman Calls Party Brand 'Toxic', Tells Liberals to Stay Away From One Issue
Colorado Court Rules Against Christian Baker Jack Phillips - But His Plan Is Already in Motion


text:
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Updates on the EU settlement Scheme
The Home Office have released a number of updates on this scheme in the last 2 weeks.
There will be no fee for a settled status application. Applicants who applied during the pilot phase will receive an automatic refund and the money will be paid to the card which paid the fee for the application. Those who have paid the fee should look out for this. Our prior experience is that refunds from the Home Office can be missed and they do sometimes have to be chased.
How is it working so far?
The Settled Status Scheme has been open in a pilot form since last year. It is currently open to those EU nationals who have a biometric passport and EU family members who have a biometric residence permit issued since April 2015.
The Home Office say that they have processed over 150,000 applications, with no refusals. Anecdotally, we have heard that the process is fairly straightforward when the technology works. Most issues have been with the App not working, however this was a pilot phase largely to test the App and therefore some bugs may be expected.
The full scheme will now be opened in phases.
30th March- Scheme will open to EU nationals and their family members who are applying from inside the UK. The scheme will also be open for nationals of Iceland, Liechtenstein, Norway and Switzerland and their family members who are applying from inside the UK.
9th April- Scheme opens for applications from outside the UK.
1st May- Scheme opens for Zambrano carers.
Additional Help and Support
The application process for the EU Settlement Scheme is online and requires an Android device with 'near field communication' i.e. contactless technology. This is because the biometric chip in the passport can be read and authenticated by the Android device.
For those who do not have this, there will be a number of locations where applicants can take their passports to be authenticated. They will be in the following locations,
London (Camden)
London (Southwark)
Contact details for each location are available here https://www.gov.uk/government/publications/eu-settlement-scheme-id-document-scanner-locations/locations-offering-chip-checker-services . Those wishing to use the service must book an appointment.
The geographical spread of these is clearly limited. For those without an android phone who are not local, it may be cheaper to buy a new phone than pay the travel cost!
There is also additional support for those who have difficulty with using the technology, including those with disabilities. Applicants can attend an 'Assisted Digital' location and a range of locations listed here https://www.gov.uk/government/publications/eu-settlement-scheme-assisted-digital-service/assisted-digital-test-location.
Home visits are offered in the locations listed here https://www.gov.uk/government/publications/eu-settlement-scheme-assisted-digital-service/assisted-digital-home-visits .
Overall, the spread of services seems rather odd and quite patchy, particularly in Scotland and Northern Ireland. The system works well for those who have the access to, and ability to use, the online system. However, for those who cannot use it, for instance due to poverty, disability or vulnerability, the support appears patchy and difficult to access. Anybody who struggles with using the internet will have significant difficulty.
What do you get to show 'settled status'?
One of the more unnerving aspect of this process is that it is electronic only. Applicants do not get any physical evidence of their status. They do receive a grant letter, but this states on it that it is not evidence of immigration status. There is no vignette or stamp in a passport and no biometric residence permit.
Employers who have to do 'right to work' checks will have to use a new online system here https://www.gov.uk/check-job-applicant-right-to-work . This is separate from the 'Employer Checking Service' which is used if an employee has an application outstanding with the Home Office.
The applicant must give you an access code, which is generated by the Home Office. You use that code to access their record. Of course, such a system is only as good as the technology and record keeping behind it. As with many of these systems operated by the Home Office, when they work, they work well. However, as soon as something unexpected or unusual happens, it can become very difficult to resolve.
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text:
Q: make image fit to division in responsive way I'm trying to fit the whole image into the division and want to make it responsive using media queries. the main aim was to fit the image inside the container without stretching the image and the image should be fit within the div tag. so even if we stretch the screen the image should be responsive within container and even i shrink the screen it should be responsive within container.
i've been trying it in multiple ways. my final code is

.grid-container{
 width: 70%;
 margin: 90px auto;
}

.box {
    height: 200px;
    width: 100%;
    min-height: 200px;
    position: relative;
}
.box1{
    background: transparent url('https://i.picsum.photos/id/210/200/200.jpg?hmac=ofnpd0LAPvyH0juHuFCaLU6Y6jqJe4qpuc90jXbzUjY') no-repeat;
    height: 100%;
    position:relative;
    background-size: cover;
    background-position: center;
}
.box2{
   background: transparent url('https://i.picsum.photos/id/210/200/200.jpg?hmac=ofnpd0LAPvyH0juHuFCaLU6Y6jqJe4qpuc90jXbzUjY') no-repeat;
    opacity: 1;
    background-position:contain;
    background-repeat:no-repeat;
   }
.box3{
   background: transparent url('https://i.picsum.photos/id/210/200/200.jpg?hmac=ofnpd0LAPvyH0juHuFCaLU6Y6jqJe4qpuc90jXbzUjY') no-repeat;
    opacity: 1;
    background-position:contain;
    background-repeat:no-repeat;
   }
.box4{
   background: transparent url('https://i.picsum.photos/id/210/200/200.jpg?hmac=ofnpd0LAPvyH0juHuFCaLU6Y6jqJe4qpuc90jXbzUjY') no-repeat;
    opacity: 1;
    background-position:contain;
    background-repeat:no-repeat;
}
.box5{
background: transparent url('https://i.picsum.photos/id/210/200/200.jpg?hmac=ofnpd0LAPvyH0juHuFCaLU6Y6jqJe4qpuc90jXbzUjY') no-repeat;
    opacity: 1;
    background-position:contain;
    background-repeat:no-repeat;
}

.sub-con {
 display: grid;
 grid-template-columns: 1fr 1fr 1fr;
 grid-column-gap: 10px;
 grid-row-gap: 10px;
}

@media only screen and (max-width: 1000px) {
 .sub-con {
 grid-template-columns: 1fr 1fr;
 }
}

@media only screen and (max-width: 700px) {
 .sub-con {
 grid-template-columns: 1fr;
 }
}

A: Please try the following css
img {
max-width:100%;
height:auto;

}

redpajama_set_name: RedPajamaStackExchange


text:
NSString * const TRITableViewCellIdentifier = @"TRITableViewCellIdentifier";

@interface TRIFeedsTableViewController () <ACTimeScrollerDelegate,NJKScrollFullscreenDelegate>
@property (nonatomic, retain) NSMutableArray *shots;
@property (nonatomic) NSInteger currentPage;
@property (nonatomic) BOOL isLoading;
@property (nonatomic, retain) ACTimeScroller *timeScroller;
@property (nonatomic, retain) NJKScrollFullScreen *scrollProxy;
@end

@implementation TRIFeedsTableViewController

- (id)initWithStyle:(UITableViewStyle)style
{
    self = [super initWithStyle:style];
    if (self) {
        // Custom initialization
    }
    return self;
}

- (void)viewDidLoad
{
    [super viewDidLoad];

    self.shots = [[NSMutableArray alloc] init];
    [self prepareView];

    self.currentPage = 0;
    self.isLoading = false;
	[self loadMoreShots];
}

- (void)viewDidAppear:(BOOL)animated
{
    [self showNavigationBar:YES];
}

- (void)loadMoreShots
{
    if (self.isLoading) {
        return;
    }
    self.isLoading = true;
    self.currentPage += 1;

    [[UIApplication sharedApplication] setNetworkActivityIndicatorVisible:YES];
    AFHTTPRequestOperationManager *manager = [AFHTTPRequestOperationManager manager];

    NSUserDefaults *defaults = [NSUserDefaults standardUserDefaults];
    NSString *player = [defaults objectForKey:@"player"];
    if (player == nil) {
        player = @"luin";
    }

    [manager GET:[NSString stringWithFormat:@"http://api.dribbble.com/players/%@/shots/following?per_page=30&page=%d", player, (int)self.currentPage] parameters:nil success:^(AFHTTPRequestOperation *operation, id responseObject) {
        NSDictionary *dict = responseObject;
        [self.shots addObjectsFromArray:[dict objectForKey:@"shots"]];
        [self.tableView reloadData];
        self.isLoading = false;
        [[UIApplication sharedApplication] setNetworkActivityIndicatorVisible:NO];
    } failure:^(AFHTTPRequestOperation *operation, NSError *error) {
        NSLog(@"Error: %@", error);
    }];

}

- (void) prepareView
{
    self.scrollProxy = [[NJKScrollFullScreen alloc] initWithForwardTarget:self];
    self.tableView.delegate = (id)_scrollProxy;
    self.scrollProxy.delegate = self;

    [self.view setBackgroundColor:[UIColor colorWithRed:0.922 green:0.922 blue:0.922 alpha:1.0]];
    self.tableView.separatorStyle = UITableViewCellSeparatorStyleNone;

    self.timeScroller = [[ACTimeScroller alloc] initWithDelegate:self];

    UIRefreshControl *refreshControl = [[UIRefreshControl alloc] init];
    [refreshControl addTarget:self action:@selector(handleRefresh:) forControlEvents:UIControlEventValueChanged];
    [self.tableView addSubview:refreshControl];
}

- (void) handleRefresh:(id)sender
{
    [(UIRefreshControl *)sender endRefreshing];
}

- (void)didReceiveMemoryWarning
{
    [super didReceiveMemoryWarning];
    // Dispose of any resources that can be recreated.
}

#pragma mark - ACTimeScrollerDelegate Methods

- (UITableView *)tableViewForTimeScroller:(ACTimeScroller *)timeScroller
{
    return self.tableView;
}

- (NSDate *)timeScroller:(ACTimeScroller *)timeScroller dateForCell:(UITableViewCell *)cell
{
    NSIndexPath *indexPath = [[self tableView] indexPathForCell:cell];
    NSString *date = [[self.shots objectAtIndex:indexPath.row] objectForKey:@"created_at"];
    NSDateFormatter *dateFormattero = [[NSDateFormatter alloc] init];
    [dateFormattero setDateFormat:@"yyyy/MM/dd HH:mm:ss Z"];
    return [dateFormattero dateFromString:date];
}

#pragma mark - Table view data source

- (CGFloat)tableView:(UITableView *)tableView heightForRowAtIndexPath:(NSIndexPath *)indexPath
{
    return 160;
}

- (NSInteger)tableView:(UITableView *)tableView numberOfRowsInSection:(NSInteger)section
{
    return self.shots.count;
}

- (void)tableView:(UITableView *)tableView didSelectRowAtIndexPath:(NSIndexPath *)indexPath
{
    TRIShotDetailViewController *vc = [[TRIShotDetailViewController alloc] initWithNibName:nil bundle:nil];
    vc.shotId = [[self.shots objectAtIndex:indexPath.row] objectForKey:@"id"];

    TRIShotsTableViewCell *cell = (TRIShotsTableViewCell *)[tableView
                                                                      cellForRowAtIndexPath:indexPath];

    vc.placeholderImage = cell.shotImage.image;
    vc.imageURL = [[self.shots objectAtIndex:indexPath.row] objectForKey:@"image_url"];
    vc.placeholderTitle = [[self.shots objectAtIndex:indexPath.row] objectForKey:@"title"];

    [self.navigationController pushViewController:vc animated:YES];
}

- (UITableViewCell *)tableView:(UITableView *)tableView cellForRowAtIndexPath:(NSIndexPath *)indexPath
{
    TRIShotsTableViewCell *cell = [tableView dequeueReusableCellWithIdentifier:TRITableViewCellIdentifier];
    if (cell == nil) {
        cell = [[TRIShotsTableViewCell alloc] init];
    }

    cell.viewsLabel.text = [NSString stringWithFormat:@"%@ views", [[self.shots objectAtIndex:indexPath.row] objectForKey:@"views_count"]];
    cell.likesLabel.text = [NSString stringWithFormat:@"%@ likes", [[self.shots objectAtIndex:indexPath.row] objectForKey:@"likes_count"]];
    cell.commentsLabel.text = [NSString stringWithFormat:@"%@ comments", [[self.shots objectAtIndex:indexPath.row] objectForKey:@"comments_count"]];

    cell.authorLabel.text = [[[self.shots objectAtIndex:indexPath.row] objectForKey:@"player"] objectForKey:@"name"];
    [cell.shotImage setImageWithURL:[NSURL URLWithString:[[self.shots objectAtIndex:indexPath.row]
                                                          objectForKey:@"image_teaser_url"]]];

    if (indexPath.row == self.shots.count - 1 - 18) {
        [self loadMoreShots];
    }

    return cell;
}

#pragma mark - UIScrollViewDelegate Methods

- (void)scrollViewWillBeginDragging:(UIScrollView *)scrollView
{
    [_timeScroller scrollViewWillBeginDragging];
}

- (void)scrollViewDidScroll:(UIScrollView *)scrollView
{
    [_timeScroller scrollViewDidScroll];
}

- (void)scrollViewDidEndDecelerating:(UIScrollView *)scrollView
{
    [_timeScroller scrollViewDidEndDecelerating];
}

- (void)scrollFullScreen:(NJKScrollFullScreen *)proxy scrollViewDidScrollUp:(CGFloat)deltaY
{
    [self moveNavigtionBar:deltaY animated:YES];
}

- (void)scrollFullScreen:(NJKScrollFullScreen *)proxy scrollViewDidScrollDown:(CGFloat)deltaY
{
    [self moveNavigtionBar:deltaY animated:YES];
}

- (void)scrollFullScreenScrollViewDidEndDraggingScrollUp:(NJKScrollFullScreen *)proxy
{
    [self hideNavigationBar:YES];
}

- (void)scrollFullScreenScrollViewDidEndDraggingScrollDown:(NJKScrollFullScreen *)proxy
{
    [self showNavigationBar:YES];
}

@end

redpajama_set_name: RedPajamaGithub


NASA has awarded a pair of contracts worth up to $376 million for engineering and other professional services at two of its centers, the agency said in separate announcements Wednesday.
Under one potential $112 million contract, Booz Allen Hamilton will conduct reviews and assessments of organizational tactical and strategic planning efforts at the Johnson Space Center in Houston. Work also includes assessments of costs, schedules, technical risks, safety and mission assurance aspects of human exploration programs.
The Strategic Professional Engineering Assessment Contract is a blanket purchase agreement with one base year that begins Feb. 27, 2019. SPEAC also includes four individual option years that would extend the work to Feb. 26, 2024.
For the second contract, Analytical Mechanics Associates and New Horizons Aeronautics will provide engineering and technical support services at NASA's Armstrong Flight Research Center in Edwards, California.
This contract is valued at $264 million over eight years and also includes support for project planning and control, range support, lab support and special studies.


text:
RareNoise Records
by Indigo Mist (Cuong Vu Trio w. Richard Karpen)
Colin Cahill
Craig Teicher
Gary Couse
ItsPeter
Paul E. Mansur
Kevin Clancy
John Cratchley
gselich
olu-dolliver
12" Vinyl (Heavyweight)
Glossy Slipcase with Printed Innersleeve.
Orders will be fulfilled by RareNoiseRecords.
Orders will ship from the United Kingdom.
Artwork and Design by Petulia Mattioli
Includes unlimited streaming of That The Days Go By And Never Come Again via the free Bandcamp app, plus high-quality download in MP3, FLAC and more.
4 Panel CD Digipack (with Insert)
Design and Artwork by Petulia Mattioli
L'Heure Bleue 05:04
Indigo Mist 09:33
A Flower Is A Lovesome Thing 02:35
Billy 03:04
Duke 06:52
In A Sentimental Mood 01:25
Charles 01:41
Lush Life 01:49
The Electric Mist 03:14
Mood Indigo 08:11
Trumpeter-composer Cuong Vu has established himself as a distinctive voice on the new music/improvising scene for his adventurous work over the past 20 years with the likes of guitarist Bill Frisell, Pat Metheny and Laurie Anderson as well as his four recordings as leader. Pianist Richard Karpen has earned accolades for his work in the classical field as well as for being a cutting edge sonic experimenter of the highest order. Joined by innovative bassist Luke Bergman (their faculty colleague at the University of Washington) and Vu's longstanding bandmate, drummer Ted Poor, these two kindred spirits push the envelope in a myriad of provocative ways on That The Days Go By And Never Come Again. An extended suite that pays tribute to the indelible composing team of Duke Ellington and Billy Strayhorn in a most uncompromising fashion, their extraordinary RareNoise Records debut under the collective name of Indigo Mist is unlike any Ellingtonia you've ever heard.
Says Vu, "The whole record, to me, is a tone poem that is deeply affected by their music, even to the point where as we were at the apex of experimenting, Duke and Billy were always in the room with us and we had to come to terms with their presence. I feel that we've respectfully paid homage to them by taking our own connection to them and sprinkled that all over the record like a mist."
The unlikely duo of New York-based improviser-bandleader Vu and Seattle academician Karpen crystallized when they met at the University of Washington. As Vu explains, "One of the things that I did when I became a new faculty here was to research my colleagues, mainly just to get to know about the various interests of the School of Music faculty and get a feel for how I would move about within that musical community. Once I started reading about Richard, I was immediately interested because his work was on the forefront of electro-acoustic music as well as being a composer from the Western Classical Art Music tradition. Much of classical music had such an impact on how I interfaced with music while I was doing my bachelors of music that I've always been interested in working with a serious composer at some point. Then when I heard his music I was completely blown away and knew that I had to work with him, if not to just make music together somehow, then to at least learn from him."
Adds Karpen, "It is very unusual for a 'classically' trained composer like me, with my particular background and continued interest in experimental music and several decades of very deep involvement in the development of computer music both as a composer and as a programmer, to be head of such a School of Music. And it seems to me to be just as unusual for someone coming from a jazz background like Cuong, who is deeply involved in breaking through artificial boundaries through many kinds of experimentation, would be on the a faculty of such a school. The chance that both of us would be at the same place at the same time, and with one of us heading this school, seems to be one chance in millions! We are both people who know good luck when we see it. Our meeting is just great luck and we have taken full advantage of it!"
After getting to know each other, the idea of collaborating on a project soon emerged. "It became apparent that Richard was a fan of jazz and was into improvisation," Vu recalls. "I had Ted Poor coming to the UW as a guest artist and decided to see how that would go if we played trio with Richard on piano. And from that beginning it's been an amazing confluence of musical approaches, traditions and concepts that work so well together. Outside of the musical areas that we overlap and that are perfectly congruent, the best parts of this musical mix are the disparate musical aesthetics, intent and varied points of reference and traditions that make for extremely challenging waters to navigate, but in such an exciting, educational and rewarding way."
The four participants met and played together several times (including in live performance situations) before finally devising a plan for this uncompromising electro-acoustic outing. As Karpen explains, "The piece was developed over many months and the computer technologies, which are very complicated from a computer application point of view, took many hours of planning and programming. We knew early on, based on Cuong's initial idea, that we would be basing this work on the music of Ellington and to some extent a conceptual reference to the compositions of Charles Mingus. With regard to Mingus, it's not any particular piece but the way in which musical ideas drift in and out of focus, into and out of what you might call 'musical realism' and 'musical surrealism.' That's something one hears also in Beethoven and it's a way of creating music in time that has resonated with me since I was a very young composer in my teens."
Adds Vu, "It was my idea to address the music of Ellington because I was deep in a re-examination of the jazz tradition phase which started in my first year of teaching at the University of Washington, crystalized by my teaching the jazz history course. Our approach to this project developed over time and the only thing that I really was sure of outside of this idea of addressing Ellington's music was that I wanted to tap into Richard's area of expertise with electro acoustic music and serious composition. I felt that Ted, Luke, and I were broad enough in our musical interests and thinking, even while firmly coming from the jazz tradition, to make this experiment in which we were 'colliding' with Richard's musical world work. And I felt that Richard's music was also a manifestation of an incredible breadth of interests, musically and beyond, that would enable him to move about freely and effectively within our collective (Ted's, Luke's and mine) world. I was sure that this mixture of chemical agents was going to produce something that I hadn't made or experienced before but was going to be super cool."
The provocative tone poem kicks off with a torrent of drums from Ted Poor entitled "L'Heure Bleu." While traversing the kit with power and precision, Poor's drumming is sonically enhanced to give it the effect of rolling thunder, gently falling rain or a phalanx of drummers. Poor then switches to mallets for the evocative title track as Karpen and Vu make their entrance into the mysterious soundscape, beginning with Karpen's sparsely plucked notes from inside the piano and continuing with Vu's electronically treated trumpet and Luke Bergman's sparse bass lines. The piece builds to a thunderous crescendo with Karpen's throbbing bass notes and Cecil Tayloresque cascading in the high register of the piano. Poor's potent free drumming fuels the track while Vu's intuitive keening trumpet wails over the top of the fray. This urgent piece gradually morphs into a haunting treatment of Strayhorn's "A Flower is a Lovesome Thing" that has Vu remaining close to the melody as Karpen pushes the harmonic envelope with his probing piano work. It then flows organically into a thoughtful but uncompromising meditation on Strayhorn entitled "Billy."
An element of swing enters the picture on "Duke," which opens with Poor's hip, syncopated playing on the kit in intimate conversation with Vu's unaffected trumpet workd. Bergman and Karpen enter the conversation near the midway mark and extrapolation ensues until they build up to extreme layers of density and dissonance with Vu reaching into his bag of extended techniques on the trumpet to match the pitch of the turbulent proceedings. At their tumultuous peak, Vu and Bergman lay out and Karpen gradually settles into zen-like repose on the piano, setting up for a sublime reading of Ellington's gorgeous "In a Sentimental Mood," which is played beautifully by Vu and underscored with tastefully restraint by Karpen, Bergman and Poor. This gentle but brief bit of Ellingtonia then morphs into the more mysterioso excursion "Charles" (for Mingus), which in turn leads into a highly impressionistic take on Strayhorn's "Lush Life."
Karpen's furious, rolling bass notes and aggressive stabs at the keyboard next come into play on "The Electric Mist," a frenzied improvisation which has the pianist going toe-to-toe in full-out Cecil Taylor mode with drummer Poor augmenting his urgent attack with some powerhouse playing of his own. The piece ends with an electronic barrage that is purely of the 21st century. The album concludes with a spacious, abstract rendition of Ellington's "Mood Indigo" that begins with the sounds of a gong (or singing bowl) and plucked piano strings penetrating the silence before Bergman and Vu enter with a walking-on-eggshells approach. The familiar theme of this final nod to Ellington is hinted at throughout the course of the piece but not truly revealed until near the end of its eight-minutes in the beautifully warm tones of Vu's trumpet.
Regarding the nature of this complex and highly provocative music and how it all came to fruition at the recording session, Vu explains: "Due to the nature of writing for improvisers, even when I bring in a completed piece to my groups, they are always incomplete until we workshop them and the musicians inject their aesthetics and values into the music. So who composed what is usually not so defined at every level of creation. In this case, I would say that the overall compositional feel of the piece would reside with Richard and how he heard us interfacing with and addressing the live electronics sound design and computer programming. To me, the foundational architecture of the piece came out of how Richard structured each of the objectives of how we would interact with the electronics with the Ellington and Strayhorn pieces places as strategic landmarks. With this roadmap/structure, some of it loose and some more specific in timing and intent, we were free to improvise the rest of the music and affect the composition of the piece as much or as little as we considered appropriate."
Says Karpen of the musical rapport he developed with Cuong Vu during the preparation and subsequent recording of this Indigo Mist project: "It's an amazing convergence. We have learned to have an enormous amount of trust in each other as players and composers. I'm much more a composer than a performer and I will go so far to say that after not performing in public (or with anyone else, even in private) for nearly 25 years, it was only after playing with Cuong that I decided to return to playing piano as part of an ensemble and to perform in public. During those 25 years I have composed many works for a wide variety of great performers, but did not
feel that I wanted to engage with them as a performer myself. But getting back to the piano after so many years and to play with a real master performing artist such as Cuong as well as with his colleagues has been quite a thrill!"
Vu adds that he found this Indigo Mist experience highly invigorating and eye-opening. "There are always musical elements at play where I'm always on my toes and have to be completely fearless and open minded in order to interface and interact with in ways that produce effective music"My mindset most of the time is that I don't really know what this is and exactly what I'm doing within these contexts, but I know that it works and it's good. But most importantly, that it's new and fresh to my ears and to how I play. I haven't felt like that since I first started to scratch the surface of free improvisation with Jamie Saft back when we were just figuring all of this stuff out together. It's definitely the most challenging music I've been engaged in for a long time. And while it's probably the most uncompromising music that I've put forth to the public, in that we are really researching and experimenting together and doing it to mainly satisfy our musical interests and curiosities, I'm at a place in my life right now where it's crucially important for me to make music that is completely honest and without any external pressures."
While Cuong Vu has been hailed in the past for his adventurous use of effects on his six previous recordings as a leader (2000's Bound and Pure, 2001's Come Play With Me, 2005's It's Mostly Residual, 2007's Vu-Tet and 2011's Leaps of Faith), he delves into wholly new territory on this Indigo Mist release for RareNoise Records. "What we did in my previous records was to use basically guitar effects and loopers as orchestrational devices as well as sound altering devices to help get us into territory that was new to us. Here, it is a much deeper level, and that's why I enlisted an innovative and leading figure in electro/acoustic music in Richard. While I think that the way I was able to craft my sonic territories in the past and what that resulted in was deep and required quite a bit of skill and creativity, this whole world is a much more complex living organism that what we had been dealing with. This world has infinite possibilities that is just mind boggling. It's completely out of my area of expertise and this is where Richard's expertise was crucial for this project. Simply put, none of this would have been possible without him. It's a whole other discipline of innovation in itself, a science in itself. It's a whole other lifetime of rigorous study and research. The only thing that I know is that the sounds that we were dealing with and how they came about and how we sound on the recording as I listen back is an aural area that I've not experienced before. And that's so exciting and what this project is all about."
"We're trying to do something new and different while flipping the whole idea of playing 'jazz' upside down," says Vu of this Indigo Mist project. "And by choosing this music as our primary subject matter or subject of inspiration, we are addressing jazz in a way that I feel is in reverence and trying to add our own perspective of the greatness what jazz really means to me along with the greatness of these two masters."
Richard Karpen - piano
Live Electronics iPad Performers - Ivan Arteaga, Shih-Wei Lo, Douglas Niemela, Joshua Parmenter
1. L'Heure Bleue
2. Indigo Mist
3. A Flower Is A Lovesome Thing
4. Billy
6. In A Sentimental Mood
7. Charles
8. Lush Life
9. The Electric Mist
10. Mood Indigo
"In A Sentimental Mood" and "Mood Indigo" composed by Duke Ellington
"A Flower Is A Lovesome Thing" and "Lush Life" composed by Billy Strayhorn
All other compositions by Karpen, Vu, Bergman, and Vu.
Published by Jack House Music, BMI 2014.
Produced by Karpen, Vu, Bergman
Live Electronics Sound Design and Computer Programming by Richard Karpen and Joshua Parmenter
Recorded by Michael McCrea at the Floyd and Delores Jones Playhouse
Mixed by Luke Bergman
Mastered by Chris Vita at Vita Mastering
Executive Producer for RareNoiseRecords: Giacomo Bruzzo
Special thanks to - DXArts - Center for Digital Arts and Experimental Media, The University of Washington's Royalty Research Fund
© + ℗ RareNoiseRecords 2014
billy strayhorn duke ellington experimental jazz ambient chamber music electroacoustica experimental jazz rock Seattle


English worksheets follow the drinking gourd slaves on their way worksheet to freedom pre. The ojays gourds and drinking on pinterest follow gourd book activity guide. Activities student and african americans on pinterest follow the drinking gourd writing activity students will analyze how enslaved used this. Traditional lyrics and songs on pinterest one of my favorite mued blogs ever beths music notes follow the drinking gourd. 1000 images about fiar drinking gourd on pinterest solar system constellation activities and the planets.


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This exhibition features new works from our members who are new emerging and established artists all together in a carnival collection.
Artists were given the theme of BLUE, the colour of one of our iconic traditional carnival characters, the Blue Devil. It's with these cobalt hues which artists were asked to create works of art with a carnival theme and Carnival visitors can take immediate delivery of any purchases.
We are pleased to be screening the award winning local film, "Play the Devil" on the 28th Feb at 6:30pm as part of this exhibition.
Join us for the opening lime and please tell your friends, family and visitors about the Art Society of Trinidad and Tobago.
Companies purchasing artworks from this exhibition qualify for the tax incentive and may claim the expense at 100% in the year of expenditure.
Gallery Hours: Tues-Sat 12 Noon – 6pm. School visit welcome anytime but can be arranged for 11am-1pm Tues-Fri.
Address: 3-7 Vincent Ave, Federation Park. Lots of Parking available on our compound.


Excerpt: On today's show, we have special guest, Kelly Nyland. She has worked with some pretty awesome brands and launched over 120 digital and physical products. After working with technology for 15 years, Kelly has now founded a new lifestyle brand, Petalfox.
Player not working? Subscribe on Spotify, iTunes or wherever you get your podcasts. Visit the TOBE Agency for additional download options or if you want to grab the resources mentioned in this podcast.
TOBE: You have a really interested background with some pretty awesome brands. Give us a little introduction to yourself, your work background and what you specialize in.
Kelly: I've contributed to building 6 "nothings" to "somethings" including Parrot, Sphero, ROLI & Snapchat, my dad's printing company and a marketing services agency. Petalfox is my lucky #7.
I hail from Detroit and I've also lived in Nashville, Boulder & LA (and almost London). I've built businesses in 40 of the world's top countries on the back of international retail partnerships w/ folks like Apple & Amazon.
I've launched around 120 physical and digital products that all focus on some kind of emerging technology. I've mostly spent my time marketing products that don't have a market when they first launch, so product/market fit is just a natural part of how I think. So many lines between marketing, sales and product development are blurred for me because they all fit together like puzzle pieces.
Which brings me to "specialize". I cringe at the word :). I love learning. I'm a curious and fearless person. The only thing I really fear is being boxed in by an idea, a system or a way of thinking.
My roles have spanned marketing, comms, sales, biz dev, brand, creative web, ecom and product development. I've never played the finance or operations roles(s), but I love numbers and I'm really good at forecasting and stretching a dollar - those are more like games for me :). I spend a lot more time thinking about how to make money then how to save it.
I would say if I specialize in anything, it would be in generating good relationships with people - teams, people I hire, people I partner with or have sales relationships with, investors, leadership, etc.
TOBE: You've done product launches around the world — what have you learned in your experience working with different cultures on both a professional and personal level?
Morphing, changing and learning how to be a chameleon.
TOBE: Let's get a little technical — You have an awesome background in bringing products to market, from soup to nuts. Can you walk through what you believe is the "right" process to bring a product to market? How does marketing, branding and the overall user experience tie into this?
Kelly: In my experience, usually the product you think you have isn't for the market you think it's for. Or vice versa.
Getting to product/market fit takes equal parts information (usually acquired thru listening) and intuition (when you stop listening and go with your gut).
Many people lose touch with what it's like to be a consumer the minute they start thinking about their own product.
Lots of times, making money gets in the way of creating a great experience. Sales & marketing are often at odds with each other. I've run them both, and I've sat on both sides. I understand that respect for the other's pull is what keeps them working in harmony.
TOBE: Let's talk a little bit about branding. In your own words, what is branding to you? Why is branding important?
Brand to me is really simple. The original idea of "brands" comes from a particular person, family or community specializing in a way of making a product - tailor, shoemaker, baker…..
I think the reason brand has become so important is because we are building different types of relationships now, some would argue we've forgotten how to build relationships. This works for your brand on social, for partnerships, in selling. People want to work with & associate with good people.
Building a brand happens one relationship at a time, brick by brick. I like to think of premium brands being built through an investment in more romance and courtship than commodity brands. I'm obsessed with the cycle of building the relationship from nice to have, to need to have. I think I've learned the most about this from the French and Japanese cultures which is why they are probably my favorite places in the world.
A great resource that I recently read and reviewed: The Physics of Brand by Aaron Keller, Renee Marino and Dan Wallace.
TOBE: Let's talk a little bit about your own brand, Petalfox — tell us what it's about, what gave you the inspiration, where you are today and where you're headed in the future.
We are building a lifestyle brand that [simply] begins with flowers. Petalfox is a weekly, bi-weekly or monthly flower delivery service. We are focused on designing small moments that are made for your desk or more intimate spaces where you work and play.
We believe that brands and experiences, like us, are important because the digital pendulum suggests that most of our lives are surrounded by grey, screens and wires. And I'm not hating on drones, droids and robots. In fact, I still plan to work on robots sometime in the future! But I would like to help now, to bring flowers, plants and green life into a bit size micro transaction opportunity.
It's becoming more and more important for focus, mindfulness and inspiration to have these "sacred spaces" where we can create, think and do. We want to help build more intentionality in each day. Many people are feeling the grind of work & daily life and eventually escape into more artistic endeavors and working independently. The WeWork generation is on the rise, and we are here to help bring more organic life to that community and beyond.
Physical space is important. Mental space is even more important. Many of us don't have or give ourselves the freedom to find inspiration in a book, a walk, meeting new people, etc. Our minds can be more productive and more creative when we have space.
Packaging - to evolve with shipment carriers, food preservation, autonomous vehicles & drone deliveries.
Rethink the part that flowers play in everyday life and the importance and inspiration we can find in green life. We hope this focus also turns into an appreciation for the environment and our earth's ecosystem as the demand on our planet gets even greater as we pass this on to our kiddos. I have an 8 year old son who is obsessed with animals, insects and marine biology.
Create a great experience that fits into how our consumer behavior is evolving. We like the subscription model because it's a set-it-and-forget-it. But we appreciate on-demand even more because I only have to think about it once.
So in short, Petalfox is the flat white of the flower industry. Thirty years ago, my parents used to crack open a gallon of Folgers when they wanted some caffeine. We are here to create a lifestyle brand that will hopes to earn a daily spot on your desk or coffee table. Our goal is to simply inspire one deep breath, a "reset", in the middle of each day.
Kelly met Andrew & Jared at UNITA - a creative co-working space in Los Angeles. TOBE is a digital agency that focuses on Content Strategy, Creative Content, Growth Marketing and Digital Branding. Kelly has enjoyed collaborating with TOBE on their individual businesses and clients alike.


Exterior Worlds is amongst Houston's finest and most creative landscape design firms. Since 1987 Exterior Worlds has specialized in high quality, high-end residential landscape design, construction supervision, development, implementation and maintenance. We are located just north of I-10 and specialize in servicing Memorial, Memorial Villages, River Oaks, Tanglewood, West University, the Galleria area and the greater Houston, "Hou" area. Below is an outline of our basic services.


A gentle facial cleansing gel that removes traces of makeup and impurities formulated to brighten complexion.
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text:
The Serious Business of Writing a Series
by Garrick | Feb 6, 2021 | Australia's Son, Author notes, Author stuff, The Boys of Bullaroo, The Cricketer's Arms, The Seventh of December, Wheelchair
The Serious Business of Writing a Series.
This year, my publisher will be putting out the second books in each of the two series that I've been writing over a number of years. The Gilded Madonna is book #2 in the Clyde Smith Mysteries, and X for Extortion is book #2 in The Seventh of December series.
I've found that writing a series needs a different approach than writing a stand-alone book. There are several reasons, the first of which is the premise that a book with no sequel must have all the ends securely tied up, the foreshadowings explained and the story to be encapsulated within the pages. For example, there's nothing worse that leaving the reader wondering what happened to Aunt Agatha who suddenly disappears on page 124 for no reason.
A series, however, has to have an over-arching theme or story-line that joins each of the books and makes them relevant and relate to each other. There's a major caveat here: it doesn't give the author license to suggest that the reader has to buy the next book in the series to find out what's happened—in my opinion, cliff-hangers are bad for business. Each book in the series needs to be able to stand on its own, but with a created "universe" of characters, themes, and places that are carried through the successive books. Obviously, a series may take many forms. Perhaps it's a main character or characters that hold each of the books together, or it's an event or a place or profession that remains as the unifier and in which people come and go—like a series about a local newspaper for example, or an event over time, like a war, or a political movement. The Rise of National Socialism in Germany, or the Railroad Barons of Nineteenth Century USA, or the Napoleonic Wars could be examples in which different people appear in each book of the series, perhaps never to be seen again, because it's less about the continuing stories of the actors, and more about the location, or the business, or the event.
The most common series are private detective novels and sci-fi sagas. Of course, there are many other genres that are successful, but these two offer the greatest scope for individual stories linked over time, each connected, yet which do not require the reader to have read what comes before. If you've ever tuned in halfway through a long-running soap opera on the television, you might throw your hands up and abandon it because there's been a long-standing and extensive history that's come before you arrived and without which you flounder to understand who means what to whom and what the hell is actually going on. This is one of the things I believe we writers need to try to avoid when writing book series. There's nothing worse for the reader to start on a new book and find themselves half-way through an epic story, non-plussed, trying to figure out what and where they are and who all these unknown folk are.
This leads me to what I've found to be one of the major problems when writing my series. How to make a new reader, who might start with book 2 or 3 comfortable and yet not alienate someone who already knows your universe and wants to dive right back into the world.
I've seen that some authors write a prologue that gives the bones of what's happened before, rather like the re-cap one sees before episodes of many television drama series. The other, more painful way is to insinuate past events, people, and places into the narrative in a way that it educates the reader subtly, without becoming an information dump. It's a more finessed method and infinitely more painful to do.
In both my series, The Clyde Smith Mysteries, and The Seventh of December WW2 series, it's the method I've chosen to follow, mainly because, as a reader, I'm not fond of the prologue style "When we last left Kevin and Joe, they were teetering on the edge of a cliff …" formula. With a prologue like that, the reader has to hold too much initial information in their mind before starting the story.
It's harder work to gradually build past history into the narrative, but I truly believe the gradual information sharing method is the way that suits me best.
Here are a few points about writing a series that I believe an author needs to do.
Keep a timeline.
Don't foreshadow an event and not resolve it.
Keep your characters true to themselves. Events may change some of their ways of thinking, but they are still the same people.
Don't introduce someone new into a later book, who should have been dealt with at an earlier time.
Don't give someone a name in a book unless they're part of the universe.
Make a previous reader feel comfortable when they start on a new book set in your world but make it interesting enough to engage a new reader who might be reading your books out of sequence, or for the first time.
Timelines are really important. I keep one for each story within a series, and then a larger timetable that encompasses all of the books. If you make a mistake, a reader is bound to write to you to let you know. A good editor will usually pick out errors before they get to print, too. But I like to try to make sure I get it right before I send my manuscripts off to be edited.
Don't forget anyone. I've had comments from readers (and reviewers) wondering whether I could have lost two characters in the first of my Clyde Smith mysteries. Let's look at them. First off, Craig, Clyde's best friend from childhood who owns the local baths. Who doesn't have a buddy or a close friend from childhood who stays with them during their life? Craig becomes more important in each book of the series. Harley, the delivery boy, is the second character that readers said they wouldn't have missed. Hang five folks! Harley's story evolves in book two, and he becomes the feature of book 3. Trust me, if I give a character a name it's not an accident, otherwise they'd be called "Clarrie's son" or something like that. Secondary characters can be just as important as your main characters and most often can feed into new plots and situations or become pivotal in books further along the line.
Foreshadowing? One of my pet peeves is to become interested in a particular person or an event that's not given closure, unless there's a hint that closure for them/it in the particular book in the series isn't important but will be explained or resolved in full later in the series. One can't jam everything into one book when you're writing an overarching story that takes place over many books … or years.
Keeping your characters true to themselves is a tough one, because we all change over time. We all, as human beings, learn as we live. However, if we go through a cathartic experience, something fundamental about ourselves might change as a result. But, if one character is fond of a particular food in one book, you can't make it something else in another. If they live two blocks from their local shop, don't have them driving there at a later stage. Consistency of character is really important. Do they smoke? Did they drink? If they stopped either, why? Their brand of cigarettes, perfumes, colognes, likes, and dislikes are what make your characters consistent and interesting.
I've dealt with introducing someone new who should have appeared earlier. "Oh, my long-forgotten aunt Agatha, who lives two doors down the road. She lives in the house in which the body was found. Didn't I mention I had an aunt?" I've actually read something similar in a series. It drives me crazy. Why wasn't Aunt Agatha on the spot at the time, especially if she's important enough to appear again further along in the series?
Giving a name to a minor character is something I dwell on a lot. Should I give them a name or merely a description. If your character goes, like Clyde Smith does, to the local milk bar regularly, he's likely to say "Hello, Ralph," to the owner, especially if he gets into conversation with him. Nothing worse than dialogue tags like "yes, Clyde," the milk bar owner said, followed by a dozen awkward tags that would be more easily solved by giving the man a name. The reader will start to wonder why the guy doesn't have one if he's in several scenes or wonder if he doesn't have a name for a reason that's yet to be revealed—can he be part of the mystery? Easy enough solved: just make sure Ralph is nearly always associated in someway with the milk bar, but without overworking it. Easy? Um … not always.
Making a new reader comfortable is easy enough. All my readers love Gladys, Tommy Haupner's assistant in The Seventh of December. In the second book, which starts in time immediately after the ending of the first, I just gave her a few old-fashioned one-liners in the introduction. Hopefully, that old familiarity will come flooding back with those who've read the first book in the series. For a reader who starts on the second book, they might think, "who's this sassy woman with the quips? What is the relationship between her and her boss?" Either way, the hook is there, and with a bit of luck, so is the interest and the beginnings of the reader's investment with Gladys Gleeson and her story.
In my mind, there are two types of series. The first type is open-ended, the second consists of a finite number of books. Both are dependent on the premise of the arching storyline. To give you an example: an open-ended series can be about a detective (a successive infinite number of cases, each with it's own book) or a place (All Creatures Great and Small is a good example, about a vet practice and the people and animals that pass through its doors). A closed series is a succession of stories about an encapsulated period of time or the life of a person. Think of a series about the First World War for example, or the events and people who inhabit a house from its building to its destruction.
I decided to stick to two continuing stories: The Clyde Smith Mysteries—an open-ended series about a Sydney detective in the 1950s—and The Seventh of December—a seven book series which covers WW2 and revolves around the lives of two intelligence agents who meet in 1940, and whose story ends with the Nuremburg trials in 1946, not because they die (spoiler) but the focus of the story is their wartime adventures, not what comes after.
I've found it immensely challenging keeping my ducks lined up in a row, mostly because of record-keeping and the depth and breadth of the worlds I've created. I hope my readers have been fascinated, delighted, and at times shocked or provoked with what I've served up for them.
The Gilded Madonna, book #2 of the Clyde Smith Mysteries, due for release late March/early April, 2021, and X for Extortion, book #2 of The Seventh of December series, due to be published in July, 2021.


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Google faces EU charge of abusing market dominance with Android
Google has once again come under fire from the European Commission (EC), which accused the U.S. search giant of abusing its dominant position with the Android mobile operating system.
The EC has sent a statement of objections to Google and its parent company Alphabet, noting that its preliminary view is that "Google has implemented a strategy on mobile devices to preserve and strengthen its dominance in general Internet search."
The commission alleges that Google has breached EU antitrust rules by requiring manufacturers to preinstall Google Search and Google Chrome and set Google Search as the default search service on most Android devices sold in Europe; closing off ways for rival search engines to access the market; and giving financial incentives to manufacturers and mobile network operators on condition that they exclusively pre-install Google Search on their devices.
Competition Commissioner Margrethe Vestager said: "Based on our investigation thus far, we believe that Google's behaviour denies consumers a wider choice of mobile apps and services and stands in the way of innovation by other players, in breach of EU antitrust rules. These rules apply to all companies active in Europe. Google now has the opportunity to reply to the commission's concerns."
The EC has already charged Google over the promotion of its own shopping service in Internet searches at the expense of rival products. Reuters noted that this case has dragged on since late 2010 and is marked by three failed attempts to resolve the issues.
Vestager has also previously vowed to press ahead with investigations of tax deals by technology companies including Apple and Google with individual EU member states.
However, the Android case could have a major financial impact for Google if the company is ultimately forced to change its business practices. Reuters said Google made about $11 billion (€9.6 billion) last year from advertising sales on Android phones with Google apps.
The EC said about 80 per cent of smart mobile devices in Europe and in the world run on Android. In the European Economic Area (EEA), it said it considers that Google generally holds market shares of more than 90 per cent in the areas of general Internet search services, licensable smart mobile operating systems and app stores for the Android mobile operating system.
European Union antitrust regulators first opened a formal investigation into Google in relation to Android in April 2015.
In November last year, Google defending its Android apps licensing programme by saying that device makers are not required to use its applications when deploying the Android smartphone operating system, and that consumers have similar freedom of choice.
The search giant was responding to comments made by search rival Yandex, which said it complained to the EU in April last year that Google's Android licensing conditions abuse the company's dominant position in the smartphone OS market. FairSearch, a lobby group backed by Microsoft, ad-blocking company Disconnect and Portugal-based app store Aptoide made similar complaints at the same time, Bloomberg reported at the time, citing a Yandex statement.
- see the EC statement
Apple faces near €50M charge in French challenge to mobile operator contracts
Cook meets Vestager to defend Apple's Irish tax arrangements
EC's Vestager vows to continue probing Google, Apple's EU tax arrangements
Report: Apple responds to EU operator concerns with tool simplifying shift from iOS to Android
Google maintains Android licensing is fair, as Yandex reveals complaint to EU
Another looming 5G challenge: Getting customers to upgrade
Moving subscribers to 5G networks will help carriers manage network traffic, but they can't do it until customers buy 5G-ready smartphones.
by Martha DeGrasse May 16, 2018 12:00pm