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Sterling banknotes are the banknotes in circulation in the United Kingdom and its related territories, denominated in pounds sterling (symbol: £; ISO 4217 currency code: GBP).

Sterling banknotes are official currency in the United Kingdom, Jersey, Guernsey, the Isle of Man, British Antarctic Territory, South Georgia and the South Sandwich Islands, and Tristan da Cunha. One pound is equivalent to 100 pence. Three British Overseas Territories also have currencies called pounds which are at par with the pound sterling.

The Bank of England has a legal monopoly of banknote issuance in England and Wales but, for historical reasons six banks, three in Scotland and three in Northern Ireland, also issue their own banknotes that circulate in the system and may be used for cash transactions anywhere in the United Kingdombut the law requires that the issuing banks hold a sum of Bank of England banknotes (or gold) equivalent to the total value of notes issued. Versions of the pound sterling issued by Crown dependencies and other areas are regulated by their local governments and not by the Bank of England.

Currently circulating Bank of England notes
The pound sterling banknotes in current circulation consist of Series G Bank of England notes in denominations of £5, £10, £20 and £50. The obverse of these banknotes all feature the portrait of Elizabeth II originally introduced in 1990. Over time, banknotes featuring Elizabeth II will be phased out and replaced with notes featuring a portrait of Charles III. Select banks in Scotland and Northern Ireland also issue their own banknotes at par with Bank of England issues. Scottish and Northern Irish notes may be rejected as payment in England by merchants unfamiliar with them, and are likely difficult or impossible to exchange outside Britain.

History

Until the middle of the 19th century, privately owned banks in Great Britain and Ireland were free to issue their own banknotes. Paper currency issued by a wide range of provincial and town banking companies in England, Wales, Scotland and Ireland circulated freely as a means of payment.

As gold shortages affected the supply of money, note-issuing powers of the banks were gradually restricted by various Acts of Parliament, until the Bank Charter Act 1844 gave exclusive note-issuing powers to the central Bank of England. Under the Act, no new banks could start issuing notes; and note-issuing banks gradually vanished through mergers and closures. The last private English banknotes were issued in 1921 by Fox, Fowler and Company, a Somerset bank.

However, some of the monopoly provisions of the Bank Charter Act only applied to England and Wales.
The Bank Notes (Scotland) Act was passed the following year, and to this day, three retail banks retain the right to issue their own sterling banknotes in Scotland, and four in Northern Ireland.
Notes issued in excess of the value of notes outstanding in 1844 (1845 in Scotland) must be backed up by an equivalent value of Bank of England notes.

Following the partition of Ireland, the Irish Free State created an Irish pound in 1928; the new currency was pegged to sterling until 1979. The issue of banknotes for the Irish pound fell under the authority of the Currency Commission of the Republic of Ireland, which set about replacing the private banknotes with a single Consolidated Banknote Issue in 1928. In 1928, a Westminster Act of Parliament reduced the fiduciary limit for Irish banknotes circulating in Northern Ireland to take account of the reduced size of the territory concerned.

Elizabeth II was not the first British monarch to have her face on UK banknotes. George II, George III and George IV appeared on early Royal Bank of Scotland notes and George V appeared on 10/– and £1 notes issued by the British Treasury between 1914 and 1928. However, prior to the issue of its Series C banknotes in 1960, Bank of England banknotes generally did not depict the monarch. Today, notes issued by Scottish and Northern Irish banks do not depict the monarch.

The monarch is depicted on banknotes issued by the Crown dependencies and on some of those issued by overseas territories.

Everyday use and acceptance
The wide variety of sterling notes in circulation means that acceptance of different sterling banknotes varies. Their acceptance may depend on the experience and understanding of individual retailers, and it is important to understand the idea of "legal tender", which is often misunderstood (see section below).

In summary, the various banknotes are used as follows:
Bank of England banknotes Most sterling notes are issued by the Bank of England. These are legal tender in England and Wales. Bank of England notes are generally accepted in the Overseas Territories which are at parity with sterling. In Gibraltar, there are examples of pairs of automatic cash dispensers placed together, one stocked with Bank of England notes, and the other with local ones.
Scottish banknotes These are the recognised currency in Scotland, although they are not legal tender. They are always accepted by traders in Scotland, and are usually accepted elsewhere in the United Kingdom. However, some outside Scotland may be unfamiliar with the notes and they are sometimes refused. Institutions such as clearing banks, building societies and the Post Office will readily accept Scottish bank notes. Branches of the Scottish note-issuing banks situated in England dispense Bank of England notes and are not permitted to dispense their own notes from those branches. Modern Scottish banknotes are denominated in sterling, and have exactly the same value as Bank of England notes; they should not be confused with the former pound Scots, a separate currency which was abolished in 1707.
Northern Irish banknotes Banknotes issued by Northern Irish banks have the same legal status as Scottish banknotes in that they are promissory notes issued in pounds sterling and may be used for cash transactions anywhere in the United Kingdom. However, they are rarely seen outside of Northern Ireland. In England and Wales, although they might be accepted by any shop, they are often not accepted without explanation. Like Scottish notes, clearing banks and building societies will accept them. Northern Irish pound sterling banknotes should not be confused with the Irish pound (or punt), the former currency of the Republic of Ireland, which was replaced by the euro in 2002.
Banknotes of the Crown dependencies The Bailiwicks of Jersey and Guernsey, and the Isle of Man, are possessions of the Crown but are outside the UK; they are in currency union with the United Kingdom and issue pound sterling banknotes in local designs (Jersey and Guernsey pounds are freely interchangeable within the Channel Islands). In the United Kingdom, they are intermittently accepted by merchants. However, they are accepted by banks and post offices and the holder can exchange these notes for other sterling banknotes. They also issue their own coinage.
British Overseas Territories There are fourteen British Overseas Territories, many of which issue their own currencies which are distinct under ISO 4217: Gibraltar, the Falkland Islands, and St Helena, Ascension Island and Tristan da Cunha have their own pounds which are at par with sterling. These notes cannot be used in the UK or outside the territories of origin. Falkland Island pounds are also valid in South Georgia and the South Sandwich Islands and the British Antarctic Territory. Saint Helena pounds, however, cannot be used in the constituent territory of Tristan da Cunha, where sterling is the only official currency.

Legal tender
Legal tender is a narrow technical concept which relates to the settlement of debt, and it has little practical meaning for many everyday transactions such as buying goods in shops. But it does apply, for example, to the settlement of a restaurant bill, where the food has been eaten prior to demand for payment and so a debt exists. Essentially, any two parties can agree to any item of value as a medium for exchange when making a purchase (in that sense, all money is ultimately an extended form of barter). If a debt exists that is legally enforceable and the debtor party offers to pay with some item that is not legal tender, the creditor may refuse such payment and declare that the debtor is in default of payment; if the debtor offers payment in legal tender, the creditor is required to accept it or else the creditor is in breach of contract. Thus, if in England party A owes party B £1,000 and offers to pay in Northern Irish banknotes, party B may refuse and sue party A for non-payment; if party A provides Bank of England notes, party B must acknowledge the debt as legally paid even if party B would prefer some other form of payment.

Banknotes do not have to be classed as legal tender to be acceptable for trade; millions of retail transactions are carried out each day in the UK using debit cards and credit cards, none of which is a payment using legal tender. Equally, traders may offer to accept payment in foreign currency, such as the euro, yen, or US dollars. Acceptability as a means of payment is essentially a matter for agreement between the parties involved. Where a transaction is subject to VAT, the transaction must be converted to sterling for tax purposes.

Millions of pounds' worth of sterling banknotes in circulation are not legal tender, but that does not mean that they are illegal or of lesser value; their status is of "legal currency" (that is to say that their issue is approved by the British parliament) and they are backed up by Bank of England securities.

Bank of England notes are the only banknotes that are legal tender in England and Wales. Scottish and Northern Irish banknotes are not legal tender anywhere, and Jersey, Guernsey and Manx banknotes are only legal tender in their respective jurisdictions. Although these banknotes are not legal tender in the UK, this does not mean that they are illegal under English law, and creditors and traders may accept them if they so choose. Traders may, on the other hand, choose not to accept banknotes as payment, as contract law across the United Kingdom allows parties not to engage in a transaction at the point of payment if they choose not to.

In Scotland and Northern Ireland, no banknotes, not even those issued by local banks, are legal tender. They have a similar legal standing to cheques or debit cards, in that their acceptability as a means of payment is essentially a matter for agreement between the parties involved, although Scots law requires any reasonable offer for settlement of a debt to be accepted.

Until 31 December 1984, the Bank of England issued £1 notes, and these notes did have legal tender status in Scotland and Northern Ireland while they existed. The Currency and Bank Notes Act 1954 defined Bank of England notes of less than £5 in value as legal tender in Scotland. Since the English £1 note was removed from circulation in 1988, this leaves a legal curiosity in Scots law whereby there is no paper legal tender in Scotland. HM Treasury has proposed extending legal tender status to Scottish banknotes. The proposal has been opposed by Scottish nationalists who claim it would reduce the independence of the Scottish banking sector.

Most of the notes issued by the note-issuing banks in Scotland and Northern Ireland have to be backed by Bank of England notes held by the issuing bank. The combined size of these banknote issues is well over a billion pounds. To make it possible for the note-issuing banks to hold equivalent values in Bank of England notes, the Bank of England issues special notes with denominations of one million pounds ("Giants") and one hundred million pounds ("Titans") for internal use by the other banks.

Banknotes are no longer redeemable in gold, and the Bank of England will only redeem sterling banknotes for more sterling banknotes or coins. The contemporary sterling is a fiat currency which is backed only by securities; in essence IOUs from the Treasury that represent future income from the taxation of the population. Some economists term this "currency by trust", as sterling relies on the faith of the user rather than any physical specie.

Issuing banks and authorities
The following table lays out the various banks or authorities which are authorised to print pound sterling banknotes, organised by territory:

Bank of England notes

In 1921, the Bank of England gained a legal monopoly on the issue of banknotes in England and Wales, a process that started with the Bank Charter Act of 1844 when the rights of other banks to issue notes was restricted.

The bank issued its first banknotes in 1694, although before 1745 they were written for irregular amounts, rather than predefined multiples of a pound. It tended to be times of war, which put inflationary pressure on the British economy, that led to greater note issue. In 1759, during the Seven Years' War, when the lowest-value note issued by the Bank was £20, a £10 note was issued for the first time. In 1793, during the war with revolutionary France, the Bank issued the first £5 note. Four years later, £1 and £2 notes appeared, although not on a permanent basis. Notes did not become entirely machine-printed and payable to the bearer until 1855.

At the start of the First World War, the government issued £1 and 10/– Treasury notes to replace the sovereign and half-sovereign gold coins. The first coloured banknotes were issued in 1928, and were also the first notes to be printed on both sides. The Second World War saw a reversal in the trend of warfare creating more notes: to combat forgery, higher denomination notes (some as high as £1,000) were removed from circulation.

There are no Welsh banknotes in circulation; Bank of England notes are used throughout Wales. The last Welsh banknotes were withdrawn in 1908 upon the closure of the last Welsh bank, the North and South Wales Bank. An attempt was made in 1969 by a Welsh banker to revive Welsh banknotes, but the venture was short-lived and the notes did not enter general circulation, surviving today only as a collectors' curiosity.

All Bank of England notes issued since Series C in 1960 depict Elizabeth II, who was monarch at the time, on the obverse side, in full view facing left; her image also appears as a hidden watermark, facing right; recent issues have the anti-photocopier security EURion constellation around.

In September 2022, following the death of Elizabeth II, speculation arose as to precisely when the Bank of England would begin replacing banknotes with her portrait on for ones with the portrait of Charles III. After the end of the mourning period, the Bank announced that the portrait of the King intended for use on its banknotes would be released by the end of 2022. New banknotes with the portrait of the King would circulate alongside existing banknotes with the image of the late Queen for an unspecified period of time. Images of the revised notes featuring a new portrait of the King, as well as his personal cypher, were released by the Bank of England on 20 December 2022; they are planned to enter circulation by mid-2024.

The Bank of England has a set of criteria for choosing characters for banknotes – initially, it looks at who has previously featured, to allow for a reflection of the diversity of society. It does not accept fictional characters, or any living people with the exception of the reigning monarch, but instead aims for individuals that are both widely admired, and are considered to have made an important contribution to British society and culture. The final criterion is that the individual has an easily recognisable portrait available for use. This does not need to be a painting, as, up to  , there have been two sculptures and two photographs used.

Historical figures

Series D
In the mid-1960s, shortly after the introduction of Series C, the Bank of England proposed to introduce a new banknote series featuring people from British history. In addition to enhancing the appearance of banknotes, the complexity of the new designs was intended to make counterfeiting harder. The task of designing the new Series D notes was given to the Bank's new in-house designer, Harry Eccleston, who not only designed the notes themselves, but also created three individual portraits of the Queen. It was initially envisaged that all of the denominations of notes then in circulation would be issued under Series D. To that end, a Series D 10/– note was designed, featuring Sir Walter Raleigh, which would become the 50 pence note upon decimalisation, and intended to be the first of the new series to be issued. However, inflation had shorted the estimated lifespan of the note to roughly five months in circulation. As a result, the new note was not introduced, and the 10/- note was instead replaced with a 50p coin in 1969. Instead, the £20 note was the first Series D note to enter circulation in 1970, with William Shakespeare on the reverse.

Runaway inflation through the 1970s also considerably eroded the lifespan of the £1 note, and the Series D £1 note, featuring Sir Isaac Newton, was discontinued in 1984, having been replaced by a coin the year before, and was officially withdrawn from circulation in 1988. Nonetheless, all banknotes, regardless of when they were withdrawn from circulation, may be presented at the Bank of England where they will be exchanged for current banknotes. Other banks may also decide to exchange old banknotes, but they are under no obligation to do so.

Series E
When Series E was introduced in 1990, a new portrait of the Queen was commissioned based on photographs by Don Ford, one of the Bank of England's photographers. In this portrait, intended for all of the Series E banknotes, the Queen is shown wearing the Girls of Great Britain and Ireland Tiara, Queen Alexandra's cluster earrings and Queen Victoria's Golden Jubilee necklace. Two different Series E sets were produced, each with a different set of historical figures - the first Series E banknote was the £5 featuring George Stephenson, followed by the £20 (Michael Faraday), the £10 (Charles Dickens) and the £50 (Sir John Houblon). The three lower denominations were replaced by the Series E (Variant) series, featuring Elizabeth Fry, Charles Darwin and Sir Edward Elgar; the £50 note was not replaced during this period.

Series F
The Series F banknotes consists of the £20 note introduced in 2007 and the £50 introduced in 2011; no £5 or £10 notes were designed for this series. Its launch was announced on 29 October 2006 by the Governor of the Bank of England. These notes were withdrawn on 30 September 2022, after which they are only exchangeable for Series G banknotes.

The first of these new notes, a £20 note, features the Scottish economist Adam Smith, the first Scot to appear on an English note. (The first non-Englishman, Anglo-Irish Field Marshal Arthur Wellesley, Duke of Wellington, appeared on the Series D £5 in 1971.) Smith also features on £50 notes issued by the Clydesdale Bank. Previous issues of Bank of England £20 notes were known to have suffered from a higher incidence of counterfeiting (276,000 out of 290,000 cases detected in 2007) than any other denomination. The note, which also includes enhanced security features, entered circulation on 13 March 2007.

The next new Series F banknote, the £50 note, entered circulation on 2 November 2011. It is the first Bank of England banknote to feature two Britons on the reverse: James Watt (another Scotsman) and Matthew Boulton.

Series G

In 2011, the Bank of England announced plans to begin introducing a new set of banknotes, which were to become Series G. As part of the initial consultation, the bank obtained opinion on whether the planned new banknotes should continue to be made from banknote paper, or if they should be polymer. Having made the decision to switch to polymer banknotes, the first note of Series G, the polymer £5 note, entered circulation on 13 September 2016; the £10 note on 14 September 2017; the £20 note on 20 February 2020; and the £50 on 23 June 2021. The material used to make the banknotes is biaxially oriented polypropylene.

In April 2013, the Bank of England announced that its next planned new note issue, intended to be the £5 note in 2016, would feature former British Prime Minister Winston Churchill. The selection of Churchill to replace Elizabeth Fry raised some debate about the representation of women on British banknotes, with critics raising concerns that Bank of England notes would portray exclusively male figures, other than Elizabeth II who appears on every sterling coin and Bank of England note. In July 2013 it was announced that the Series F £10 note design would bear a portrait of 19th century author Jane Austen. In 2015, the Bank announced that they were accepting suggestions from the public for a figure from the visual arts to appear on the £20 note to replace Adam Smith, with the new note to be introduced in 2020. In April 2016, it was announced that J. M. W. Turner had been selected to appear on the new £20 note.

In September 2013 the Bank of England opened a period of public consultation about the introduction of polymer, or plastic, banknotes, which would be introduced into circulation from 2016 if the proposals were supported. The polymer notes will be "around 15% smaller" than the notes being replaced. Following the consultation, in December 2013, the Bank confirmed that plastic or polymer notes would be brought into circulation in 2016 with the introduction of the £5 note featuring Sir Winston Churchill. A spokesman for LINK, the company that operates many of the cash machines in the United Kingdom, said there would need to be significant investment as machines would need to be altered to fit the polymer £5 banknotes, which would be smaller than the previous ones. The Jane Austen polymer £10 note went into circulation in September 2017. The £20 shows J. M. W. Turner (from a self-portrait), the quote "Light is therefore colour" from an 1818 lecture by Turner, and a view of The Fighting Temeraire.

In March 2018, the Treasury began a consultation looking at the potential withdrawal of the £50 note, as well as the one and two pence coins, on the basis that they are used significantly less than other denominations, with an additional rationale over the £50 note being the perception in the UK of its use in money laundering, tax evasion and other financial crime, despite the demand for it overseas. The Series F version was introduced in 2011, while its predecessor was in circulation for twenty years, so there was some consideration to withdrawing the £50 note entirely as a way of combatting tax evasion, and the fact that cash transactions using such a high value note are becoming increasingly rare. However, in October 2018 the Bank of England announced plans to introduce a Series G polymer £50 note, following the review by the government. The new £50 note is planned for introduction once the Series G £20 note featuring J. M. W. Turner is released. In July 2019, it was announced that the new note would feature computer pioneer Alan Turing, from a photograph taken by the Elliott & Fry photographic studio in 1951, a table of formulae from Turing's 1936 work On Computable Numbers, with an application to the Entscheidungsproblem, an image of the Automatic Computing Engine Pilot machine, technical drawings of the British bombe machine, the quote "This is only a foretaste of what is to come, and only the shadow of what is going to be" from an interview Turing gave to The Times on 11 June 1949, and a ticker tape showing Turing's date of birth in binary code.

High-value notes
Not since 1945 have notes with a higher value than £50 been issued for general circulation by the Bank of England, although banks in Scotland and Northern Ireland still use £100 notes. However, the Bank of England does produce higher-value notes that are used to maintain parity with Scottish and Northern Irish notes. Banknotes issued by Scottish and Northern Irish banks have to be backed pound for pound by Bank of England notes (other than a small amount representing the currency in circulation in 1845), and special £1 million and £100 million notes are used for this purpose. Their design is based on the old Series A notes.

Scotland and Northern Ireland
While provincial banks in England and Wales lost the right to issue paper currency altogether, the practice of private banknote issue has continued in Scotland and Northern Ireland. The right of Scottish banks to issue notes is popularly attributed to the author Sir Walter Scott, who, in 1826, waged a campaign to retain Scottish banknotes under the pseudonym Malachi Malagrowther. Scott feared that the limitation on private banknotes proposed with the Bankers (Scotland) Act 1826 would have adverse economic consequences if enacted in Scotland because gold and silver were scarce and Scottish commerce relied on small notes as the principal medium of circulating money. His action eventually halted the abolition of private banknotes in Scotland.

Scottish and Northern Irish banknotes are unusual, firstly because they are issued by retail banks, not central banks, and secondly, as they are technically not legal tender anywhere in the UK – not even in Scotland or Northern Ireland – as they are in fact promissory notes.

Seven retail banks have the authority of HM Treasury to issue sterling banknotes as currency. Despite this, the notes can be refused at the discretion of recipients in England and Wales, and are often not accepted by banks and exchange bureaus outside of the United Kingdom. This is particularly true in the case of the Royal Bank of Scotland 's £1 note, which is the only £1 note to remain in circulation within the UK.

In 2000, the European Central Bank indicated that, should the United Kingdom join the Euro, Scottish banks (and, by extension, Northern Irish banks) would have to cease banknote issue. During the Financial crisis of 2007–2008, the future of private banknotes in the United Kingdom was uncertain.

After the financial crisis of 2007–08, a number of banks were rescued from collapse by the United Kingdom government. The Banking Act 2009 was passed to improve protection for holders of banknotes issued by the authorised banks, so that the notes would have the same level of guaranteed value to that of Bank of England notes. Critics of the 2009 Act expressed concerns that it would restrict the issue of banknotes by commercial banks in Scotland and Northern Ireland by removing many of the provisions of the earlier Acts quoted above. Under the original proposals, banks would have been forced to lodge sterling funds with the Bank of England to cover private note issue for a full week, rather than over a weekend, thereby losing four days' interest and making banknote production financially unviable. Following negotiations among the UK Treasury, the Bank of England and the Scottish banks, it was agreed that the funds would earn interest, allowing them to continue to issue their own notes.

During the public debate leading up to the 2014 Scottish independence referendum, the question of Scotland's future currency was discussed. Whilst the SNP advocated a currency union between an independent Scotland and the remaining United Kingdom, HM Treasury issued a statement in April 2013 stating that the present relationship with the Bank of England could be changed after independence, with the result that Scottish banks might lose the ability to issue banknotes backed by Bank of England funds.

Scotland

Until 1701 Scotland issued its own pound, the Pound Scots. The issuing of retail-bank banknotes in Scotland is subject to the Bank Charter Act 1844, Banknotes (Scotland) Act 1845, the Currency and Bank Notes Act 1928, and the Coinage Act 1971. Pursuant to some of these statutes, the Commissioners for Revenue and Customs publishes an account of "the Amount of Notes authorised by Law to be issued by the several Banks of Issue in Scotland, and the Average Amount of Notes in Circulation, and of Bank of England Notes and Coin held" in the London Gazette. See for example Gazette Issue 58254 published 21 February 2007 at page 2544.

Bank of Scotland notes

All Bank of Scotland notes bear a portrait of Sir Walter Scott on the front in commemoration of his 1826 Malachi Malagrowther campaign for Scottish banks to retain the right to issue their own notes. Bank of Scotland's 2007 redesign of their banknotes are known as the Bridges of Scotland series. These notes were introduced on 17 September 2007, and show Scotland's most famous bridges on the reverse side. The Bridges of Scotland series is currently being refreshed with the issue of new polymer notes with designs that follow the same basic theme of "bridges". The previous Tercentenary series notes are being withdrawn from circulation and replaced with the 2007 series (or polymer series as these are issued), but remain legal currency.
Following the announcement that HBOS (Bank of Scotland's parent company) would be taken over by Lloyds TSB in September 2008, it was confirmed that the new banking company would continue to print bank notes under the Bank of Scotland name. According to the Bank Notes (Scotland) Act 1845, the bank could have lost its note-issuing rights, but by retaining headquarters within Scotland, banknote issue will continue.

Royal Bank of Scotland notes

As of August 2017, the Royal Bank of Scotland is in the process of adopting a new series of banknotes. These will be made of polymer. Two (the £5 and £10 notes) have already been released, whilst a new £20 note is being designed. The £5 note shows Nan Shepherd on the obverse accompanied by a quote from her 1977 book The Living Mountain, and the Cairngorms in the background. The reverse displays two mackerel, with an excerpt from the poem  (The Choice) by Scottish Gaelic poet Sorley MacLean. The obverse of the £10 note shows Mary Somerville, with a quote from her work 'The Connection of the Physical Sciences', and Burntisland beach in the background. The reverse displays two otters and an excerpt from the poem 'Moorings' by Norman MacCaig. The obverse of the £20 note, to be introduced in 2020, will show Catherine Cranston.

The previous series of Royal Bank of Scotland notes, originally issued in 1987, remains in circulation, although it is now in the process of being replaced by polymer notes. On the front of each note is a picture of Lord Ilay (1682–1761), the first governor of the bank, based on a portrait painted in 1744 by the Edinburgh artist Allan Ramsay. The front of the notes also feature an engraving of the bank's former headquarters in St. Andrew Square, Edinburgh. The background graphic on both sides of the notes is a radial star design which is based on the ornate ceiling of the banking hall in the old headquarters building. On the back of the notes are images of Scottish castles, with a different castle for each denomination.

Occasionally the Royal Bank of Scotland issues commemorative banknotes. Examples include the £1 note issued to mark the 150th Anniversary of the birth of Alexander Graham Bell in 1997, the £20 note for the 100th birthday of Queen Elizabeth The Queen Mother in 2000, the £5 note honouring veteran golfer Jack Nicklaus in his last competitive Open Championship at St Andrews in 2005, and the £10 note issued in commemoration of HM Queen Elizabeth II's Diamond Jubilee in 2012. These notes are much sought-after by collectors and they rarely remain long in circulation.

Clydesdale Bank notes

Clydesdale Bank has three series of banknotes in circulation at present. The most recent set of notes, the Polymer Series started coming into circulation in March 2015, when the Clydesdale Bank became the first bank in Great Britain to issue polymer banknotes. The £5 commemorative notes, issued to mark the 125th anniversary of the construction of the Forth Bridge, contain several new security features including a reflective graphic printed over a transparent "window" in the banknote. Further notes in the polymer series will be introduced over time, replacing the previous paper notes.

The polymer notes continue the theme of the World Heritage Series of paper banknotes, introduced in autumn 2009. The new notes each depict a different notable Scot on the front and on the reverse bear an illustration of one of Scotland's UNESCO World Heritage Sites.

Banknotes of the earlier Famous Scots Series portray notable Scottish historical people along with items and locations associated with them.

The Clydesdale Bank also occasionally issues special edition banknotes, such as a £10 note celebrating the bank's sponsorship of the Scotland team at the 2006 Commonwealth Games

Northern Ireland

In Northern Ireland, three retail banks exercise their right to issue pound sterling notes: Bank of Ireland, Danske Bank (formerly Northern Bank) and Ulster Bank. , Northern Bank and Ulster Bank are the only two banks that have issued special commemorative notes so far.

Until June 2020, First Trust Bank (formerly Allied Irish Banks) issued their own banknotes but no longer do so.

Bank of Ireland notes

Like other banks in Northern Ireland, Bank of Ireland retains its note-issuing rights from before the partition of Ireland; while Bank of Ireland is headquartered in Dublin, it issues sterling notes within the United Kingdom. In spite of its name, Bank of Ireland is not, and never has been, a central bank; it is a retail bank. Its sterling notes should not be confused with banknotes of the former Irish pound which were in use in the Republic of Ireland before the adoption of the euro in 2001.

Banknotes issued by Bank of Ireland are of a uniform design, with denominations of £5, £10 £20, £50 and £100 each differentiated by colour. The notes all feature an illustration of a seated woman, Hibernia, and the heraldic shields of the Counties of Northern Ireland. Until April 2008, all Bank of Ireland notes featured an illustration of Queen's University of Belfast on the reverse side. A new series of £5, £10 and £20 notes issued in April 2008 depicts the Old Bushmills Distillery and these new notes will gradually replace the previous series as older notes are withdrawn from circulation. In 2019 the Bank of Ireland released new Polymer banknotes with the same design as their paper counterparts but the same size as the Bank of England equivalents.

First Trust Bank

Until June 2020, First Trust Bank issued notes in denominations of £10, £20, £50 and £100. The notes bear portraits of generic Northern Irish people on the front with varied illustrations on the reverse. Until 1993 the bank issued notes under its former trading name, Allied Irish Banks.

In February 2019, First Trust announced it would stop issuing its own banknotes, with the final withdrawal on 30 June 2020. Any notes still in circulation remained legal currency until 30 June 2022, after which they could be exchanged for other sterling notes at branches of the bank.

Danske Bank

In 2012, Northern Bank adopted the name of its Copenhagen-based parent company Danske Bank Group and rebranded its retail banking operation. In June 2013 the bank issued a new series of £10 and £20 notes bearing the new brand name; at the same time it also announced that it would cease production of £50 and £100 notes. Older notes bearing the Northern Bank name will continue in circulation for some time as they are gradually withdrawn, and remain acceptable forms of payment. In spite of the Danish name on the new notes, banknotes issued by Danske Bank are sterling notes and should not be confused with banknotes of the Danish krone issued by the Danmarks Nationalbank, Denmark's central bank.

Danske Bank does not issue £5 notes, but a special commemorative £5 note was issued by the Northern Bank to mark the Year 2000; it was a polymer banknote, printed on synthetic polymer instead of paper. It is the only one of the bank's pre-2004 notes still in circulation; all others were recalled following the £26.5 million pound robbery at its Belfast headquarters in 2004.

As of 2019, Danske Bank only issues the £10 and £20 denominations.

Ulster Bank

Ulster Bank notes all feature a vignette of three Northern Ireland views: the Mourne Mountains, the Queen Elizabeth Bridge and the Giant's Causeway. Notes issued from 1 January 2007 feature the Royal Bank of Scotland "daisy wheel" logo.

In November 2006, Ulster Bank issued its first commemorative banknote – an issue of one million £5 notes commemorating the first anniversary of the death of Northern Irish footballer George Best.

In June 2018, Ulster Bank announced the introduction of a new series of polymer banknote designs, the first in the United Kingdom to have a vertical orientation. The new series was designed around the theme "Living in Nature", highlighting Northern Ireland's botanical, zoological and geographical features. The first announced were the five-pound note, featuring images of Strangford Lough, the Brent goose and the fuchsia, was designed using the theme of "migration", while the ten-pound note, which carries the theme of "growth", features Lough Erne, the Irish hare and the Guelder-rose. In August 2019, the design of the new twenty-pound note was revealed, with the idea of Northern Ireland as 'dwelling place', and images including Lough Neagh, the European eel and the Hawthorn flower.

As part of the transfer of the business of Ulster Bank Limited to National Westminster Bank PLC that was completed on 3 May 2021, in 2020 the right to issue banknotes was transferred from Ulster Bank Limited to National Westminster Bank PLC.

Channel Islands
The Channel Islands are grouped for administrative purposes into the Bailiwicks of Jersey and Guernsey. The islands are not part of the United Kingdom but are dependencies of the British Crown and in currency union with the UK. Both Jersey and Guernsey issue their own banknotes. These notes circulate freely between the two territories, so Jersey notes are commonly used in Guernsey, and vice versa. Private banknotes are no longer in circulation in the Channel Islands. These notes are legal tender in their jurisdictions but are not legal tender in the UK.

The Government of Alderney (a part of the Bailiwick of Guernsey) is also licensed to issue its own currency, the Alderney pound, but only mints special commemorative sterling coins and does not issue banknotes.

States of Jersey notes

The current series of notes entered circulation on 29 April 2010. The obverse of the notes includes a portrait of Queen Elizabeth II based on a photograph by Mark Lawrence, alongside a view of an important Jersey landmark, with text in English. The reverse of each note includes an image of one of Jersey's numerous historic coastal defence towers, built in the late 18th century, as well as a further image of cultural or landscape importance, images of the twelve parish crests, and with denomination worded in French and Jèrriais. The watermark is a Jersey cow, and further security features include a see-through map of Jersey, and on the £10, £20 and £50 a patch hologram showing a varying image of the coat of arms of Jersey and the Island of Jersey on a background pattern of La Corbière lighthouse. On 1 June 2012, a £100 note was issued to commemorate the Diamond Jubilee of Queen Elizabeth II.

The previous series, gradually being withdrawn from circulation in 2010, depicted Queen Elizabeth II on the front and various landmarks of Jersey or incidents in Jersey history on the reverse.

States of Guernsey notes

The Guernsey pound is legal tender in Guernsey, but also circulates freely in Jersey. It is a sterling pound but the word "sterling" is omitted on banknotes, as on the English ones. Guernsey banknotes can also be exchanged in banks and in bureaux de change, although it has been reported that British banks no longer accept £1 Guernsey banknotes because they no longer have the facility for handling £1 UK banknotes (which are only issued in Scotland).

In addition to coins, the following banknotes are used:
 £1 note, green, Daniel De Lisle Brock, Bailiff of Guernsey (1762–1842) and Royal Court, St Peter Port (1840) on front and the Market, St Peter Port on back
 £5 note, pink, Queen Elizabeth II and the Town Church, St Peter Port on front, and Fort Grey and Hanois Lighthouse (1862) on the back
 £10 note, blue/orange, Queen Elizabeth II and Elizabeth College, St Peter Port on the front and Saumarez Park, Les Niaux Watermill, Le Trepied Dolmen on the back
 £20 note, pink, Queen Elizabeth II and St James Concert Hall, St Peter Port on the front and Vale Castle and St Sampson's Church on the back
 £50 note, light brown, Queen Elizabeth II and the Royal Court House on the front and St Andrew's Church and La Gran'mère on the back

Isle of Man

The Isle of Man Government issues its own banknotes and coinage, which are legal tender in the Isle of Man. Manx pounds are a local issue of sterling, but the word "sterling" does not appear on the banknotes. These notes can be exchanged in banks and in bureaux de change in the United Kingdom.

The front of all Manx banknotes features images of Queen Elizabeth II (not wearing a crown: she was only Lord of Mann on the island) and the Triskeles (three legs emblem). Each denomination features a different scene of the island on its reverse side:
 £1 – Tynwald Hill
 £5 – Castle Rushen
 £10 – Peel Castle
 £20 – Laxey Wheel
 £50 – Douglas Bay

British overseas territories

Three British overseas territories use their own separate currencies denominated in pounds which are at par with the pound sterling. The governments of these territories print their own banknotes which in general may only be used within their territory of origin. Bank of England notes usually circulate alongside the local note issues and are accepted as legal currency.

Gibraltar

In Gibraltar, banknotes are issued by the Government of Gibraltar. The pound was made sole legal tender in 1898 and Gibraltar has issued its own banknotes since 1934. The notes bear an image of the British monarch on the obverse and the wording "pounds sterling", meaning that more retailers in the UK will accept them.

Falkland Islands

The Falkland Islands pound is the currency of the Falkland Islands. Banknotes are issued by the Falkland Islands Government. The illustrations on all notes are the same, featuring the British monarch, wildlife and local scenes; denominations are distinguished by the size and colour of the notes.

St Helena, Ascension and Tristan da Cunha

St Helena, Ascension and Tristan da Cunha's constituent territories of Saint Helena and Ascension Island use the Saint Helena pound. Banknotes in these areas are issued by the Saint Helena Government and bear the image of the British monarch.

Counterfeiting
According to the central banks, the ratio of counterfeited bank notes is about 10 in one million for the Swiss franc, 50 in one million for the euro, 100 in one million for United States dollar and 300 in one million for sterling.

See also

 Bradbury Wilkinson and Company, printer of banknotes, postage stamps and share certificates
 Coins of the pound sterling
 List of British banknotes and coins
 Pound Scots and Scottish coinage, currency of Scotland before the union with England
 List of people on banknotes
 List of British currencies
 Polymer banknote

Commonwealth
States within the Commonwealth of Nations issue their own banknotes which are separate currencies:
 Commonwealth banknote-issuing institutions

References

Notes

Citations

External links
 Bank of England banknote page
 Committee of Scottish Clearing Bankers home page
 The Royal Bank of Scotland banknote page
 Isle of Man banknotes (IOM Treasury)
 History of Scottish Banks and Bank Notes – Rampant Scotland

Cultural depictions of Jane Austen
Cultural depictions of Winston Churchill
Cultural depictions of Charles Darwin
Cultural depictions of Charles Dickens
Cultural depictions of Isaac Newton
Cultural depictions of Florence Nightingale
Cultural depictions of Walter Raleigh
Cultural depictions of William Shakespeare
Cultural depictions of Alan Turing
Cultural depictions of J. M. W. Turner
Cultural depictions of Arthur Wellesley, 1st Duke of Wellington
Currencies of British Overseas Territories
Currencies of the Crown Dependencies
Currencies of the United Kingdom
Pound sterling
Pound sterling
Banknotes of Scotland

redpajama_set_name: RedPajamaWikipedia


Brand: 4medic. Code NFZ: J.039.00, J.039.01. Code UNSPSC: 42241704. Code UMDNS: 18029.
Long light knee brace EB-SKL/2RA-ACL is closed construction professional medical device, which increases the gait quality and is the support in rehabilitation of the locomotor system. It stabilizes knee joint and support the muscles insertions. It is made of a structural material ProFIX.
The device is equipped with independent sets of Velcro straps, dynamic ACL support and 2-axial anatomic sides splints 2RA-ACL. The splints was equipped with 2RA drop lock, which allows for ROM adjustment (flexion in 75o, extension in 15° and immobilization in 0°). Furthermore, the brace consists of ACL Precision System, what is an innovative support for anterior cruciate ligament (ACL), which in case of its injury, minimalize unrequired anterior drawer syndrome.


text:
/**
 * @module ol/Tile
 */
import EventTarget from './events/Target.js';
import EventType from './events/EventType.js';
import TileState from './TileState.js';
import {abstract} from './util.js';
import {easeIn} from './easing.js';

/**
 * A function that takes an {@link module:ol/Tile} for the tile and a
 * `{string}` for the url as arguments. The default is
 * ```js
 * source.setTileLoadFunction(function(tile, src) {
 *   tile.getImage().src = src;
 * });
 * ```
 * For more fine grained control, the load function can use fetch or XMLHttpRequest and involve
 * error handling:
 *
 * ```js
 * import TileState from 'ol/TileState';
 *
 * source.setTileLoadFunction(function(tile, src) {
 *   var xhr = new XMLHttpRequest();
 *   xhr.responseType = 'blob';
 *   xhr.addEventListener('loadend', function (evt) {
 *     var data = this.response;
 *     if (data !== undefined) {
 *       tile.getImage().src = URL.createObjectURL(data);
 *     } else {
 *       tile.setState(TileState.ERROR);
 *     }
 *   });
 *   xhr.addEventListener('error', function () {
 *     tile.setState(TileState.ERROR);
 *   });
 *   xhr.open('GET', src);
 *   xhr.send();
 * });
 * ```
 *
 * @typedef {function(Tile, string): void} LoadFunction
 * @api
 */

/**
 * {@link module:ol/source/Tile~Tile} sources use a function of this type to get
 * the url that provides a tile for a given tile coordinate.
 *
 * This function takes an {@link module:ol/tilecoord~TileCoord} for the tile
 * coordinate, a `{number}` representing the pixel ratio and a
 * {@link module:ol/proj/Projection} for the projection  as arguments
 * and returns a `{string}` representing the tile URL, or undefined if no tile
 * should be requested for the passed tile coordinate.
 *
 * @typedef {function(import("./tilecoord.js").TileCoord, number,
 *           import("./proj/Projection.js").default): (string|undefined)} UrlFunction
 * @api
 */

/**
 * @typedef {Object} Options
 * @property {number} [transition=250] A duration for tile opacity
 * transitions in milliseconds. A duration of 0 disables the opacity transition.
 * @api
 */

/**
 * @classdesc
 * Base class for tiles.
 *
 * @abstract
 */
class Tile extends EventTarget {
  /**
   * @param {import("./tilecoord.js").TileCoord} tileCoord Tile coordinate.
   * @param {import("./TileState.js").default} state State.
   * @param {Options} [opt_options] Tile options.
   */
  constructor(tileCoord, state, opt_options) {
    super();

    const options = opt_options ? opt_options : {};

    /**
     * @type {import("./tilecoord.js").TileCoord}
     */
    this.tileCoord = tileCoord;

    /**
     * @protected
     * @type {import("./TileState.js").default}
     */
    this.state = state;

    /**
     * An "interim" tile for this tile. The interim tile may be used while this
     * one is loading, for "smooth" transitions when changing params/dimensions
     * on the source.
     * @type {Tile}
     */
    this.interimTile = null;

    /**
     * A key assigned to the tile. This is used by the tile source to determine
     * if this tile can effectively be used, or if a new tile should be created
     * and this one be used as an interim tile for this new tile.
     * @type {string}
     */
    this.key = '';

    /**
     * The duration for the opacity transition.
     * @type {number}
     */
    this.transition_ =
      options.transition === undefined ? 250 : options.transition;

    /**
     * Lookup of start times for rendering transitions.  If the start time is
     * equal to -1, the transition is complete.
     * @type {Object<string, number>}
     */
    this.transitionStarts_ = {};
  }

  /**
   * @protected
   */
  changed() {
    this.dispatchEvent(EventType.CHANGE);
  }

  /**
   * Called by the tile cache when the tile is removed from the cache due to expiry
   */
  release() {}

  /**
   * @return {string} Key.
   */
  getKey() {
    return this.key + '/' + this.tileCoord;
  }

  /**
   * Get the interim tile most suitable for rendering using the chain of interim
   * tiles. This corresponds to the  most recent tile that has been loaded, if no
   * such tile exists, the original tile is returned.
   * @return {!Tile} Best tile for rendering.
   */
  getInterimTile() {
    if (!this.interimTile) {
      //empty chain
      return this;
    }
    let tile = this.interimTile;

    // find the first loaded tile and return it. Since the chain is sorted in
    // decreasing order of creation time, there is no need to search the remainder
    // of the list (all those tiles correspond to older requests and will be
    // cleaned up by refreshInterimChain)
    do {
      if (tile.getState() == TileState.LOADED) {
        // Show tile immediately instead of fading it in after loading, because
        // the interim tile is in place already
        this.transition_ = 0;
        return tile;
      }
      tile = tile.interimTile;
    } while (tile);

    // we can not find a better tile
    return this;
  }

  /**
   * Goes through the chain of interim tiles and discards sections of the chain
   * that are no longer relevant.
   */
  refreshInterimChain() {
    if (!this.interimTile) {
      return;
    }

    let tile = this.interimTile;
    let prev = /** @type {Tile} */ (this);

    do {
      if (tile.getState() == TileState.LOADED) {
        //we have a loaded tile, we can discard the rest of the list
        //we would could abort any LOADING tile request
        //older than this tile (i.e. any LOADING tile following this entry in the chain)
        tile.interimTile = null;
        break;
      } else if (tile.getState() == TileState.LOADING) {
        //keep this LOADING tile any loaded tiles later in the chain are
        //older than this tile, so we're still interested in the request
        prev = tile;
      } else if (tile.getState() == TileState.IDLE) {
        //the head of the list is the most current tile, we don't need
        //to start any other requests for this chain
        prev.interimTile = tile.interimTile;
      } else {
        prev = tile;
      }
      tile = prev.interimTile;
    } while (tile);
  }

  /**
   * Get the tile coordinate for this tile.
   * @return {import("./tilecoord.js").TileCoord} The tile coordinate.
   * @api
   */
  getTileCoord() {
    return this.tileCoord;
  }

  /**
   * @return {import("./TileState.js").default} State.
   */
  getState() {
    return this.state;
  }

  /**
   * Sets the state of this tile. If you write your own {@link module:ol/Tile~LoadFunction tileLoadFunction} ,
   * it is important to set the state correctly to {@link module:ol/TileState~ERROR}
   * when the tile cannot be loaded. Otherwise the tile cannot be removed from
   * the tile queue and will block other requests.
   * @param {import("./TileState.js").default} state State.
   * @api
   */
  setState(state) {
    if (this.state !== TileState.ERROR && this.state > state) {
      throw new Error('Tile load sequence violation');
    }
    this.state = state;
    this.changed();
  }

  /**
   * Load the image or retry if loading previously failed.
   * Loading is taken care of by the tile queue, and calling this method is
   * only needed for preloading or for reloading in case of an error.
   * @abstract
   * @api
   */
  load() {
    abstract();
  }

  /**
   * Get the alpha value for rendering.
   * @param {string} id An id for the renderer.
   * @param {number} time The render frame time.
   * @return {number} A number between 0 and 1.
   */
  getAlpha(id, time) {
    if (!this.transition_) {
      return 1;
    }

    let start = this.transitionStarts_[id];
    if (!start) {
      start = time;
      this.transitionStarts_[id] = start;
    } else if (start === -1) {
      return 1;
    }

    const delta = time - start + 1000 / 60; // avoid rendering at 0
    if (delta >= this.transition_) {
      return 1;
    }
    return easeIn(delta / this.transition_);
  }

  /**
   * Determine if a tile is in an alpha transition.  A tile is considered in
   * transition if tile.getAlpha() has not yet been called or has been called
   * and returned 1.
   * @param {string} id An id for the renderer.
   * @return {boolean} The tile is in transition.
   */
  inTransition(id) {
    if (!this.transition_) {
      return false;
    }
    return this.transitionStarts_[id] !== -1;
  }

  /**
   * Mark a transition as complete.
   * @param {string} id An id for the renderer.
   */
  endTransition(id) {
    if (this.transition_) {
      this.transitionStarts_[id] = -1;
    }
  }
}

export default Tile;

redpajama_set_name: RedPajamaGithub


text:
Q: Einstein's special relativity beyond the speed of light Could someone with access to this paper, which claims to have new transformations between frames with relative motion faster than light which are supposedly consistent with special-relativity, say what the new transformations are and why they might make sense?

A: This is a trick that works in 2 dimensions, because the metric is
$$ ds^2 = dt^2 - dx^2 $$
Which under a sign change, interchanges x and t. So if you have the ordinary Lorentz transformation
$$ t' = t \cosh(\alpha) - x \sinh(\alpha) $$
$$ x' = x \cosh(\alpha) - t \sinh(\alpha) $$
You can combine it with the two metric sign-reversing symmetry operation
$$ t' = x $$
$$ x' = \pm t $$
$$ ds'^2 = - ds^2 $$
to produce an extended group with space and time interchangable. This is all they are doing. It works in 2d, because x and t are both 1 dimensional and the null directions are in 45 degree lines with the same topology relative to the t and x axis. This trick doesn't work in 3+1 d, because there are a different number of space dimensions, so the lightcones surround the t axis, but they don't surround the x axis.
This trick is not physically useful, beyond picking out the pure right-moving theories in 2d as special (and the pure left-moving theories too). These theories are special because they are preserved under certain of these space-time reflections too.
This idea is not physics, but it is a cute 2d oddity. A more interesting 2d oddity is covered in this question: Why does the Lorentz transformation in special relativity have to be like this?.

A: For information how the transformations look like see the answer by David.
Regarding physical meaning:
Let us call the boost with velocity $v$ (one space dimension) $L(v)$. Then for $v>c$ $L(v)^{-1}\ne L(-v)$, but $L(v)L(-v)=-1$. Thus if you could reach velocities $v>c$ you could reverse time. Physically this is… questionable, it would violate causality including all the known paradoxa. And those transformations cannot be a symmetry of our universe (superluminal travellers wouldn't obey the same laws of physics) because of the known parity violations. The largest subgroup of transformations of this group without time reversal (in fact the largest subgroup for which there is any pair of events with definite time ordering in every reference frame) is the Lorentz group without time reversal. And indeed there is no way to extend the Lorentz group without this so called "violation of causality", see this paper.

A: First, the existing theory: we know that special relativity is based on the Lorentz transformations, which for uniform relative motion in the $x$ direction take the form
$$\begin{align}
x' &= \frac{x + vt}{\sqrt{1 - v^2/c^2}} &
t' &= \frac{t + vx/c^2}{\sqrt{1 - v^2/c^2}}
\end{align}$$
Now, suppose you arbitrarily choose one particular reference frame $\mathcal{R}$ to be a rest frame. The Lorentz transformation allows you to connect $\mathcal{R}$ to any other frame moving with respect to $\mathcal{R}$ with a relative velocity $v < c$, and because all such transformations form a group, all these frames can be similarly connected to each other. The transformations also connect all reference frames which move with respect to $\mathcal{R}$ with a relative velocity $v > c$ to each other, but those frames are not connected to $\mathcal{R}$ by the Lorentz transformation. The paper by Hill and Cox investigates the possibility of an extension to the set of Lorentz transformations that can be used to go between (in some sense) these two connected components of the set of all possible frames.
The motivating idea is that the velocity transformation law,
$$u' = \frac{u + v}{1 + uv/c^2}$$
is not singular at $v = c$. This means (they argue) that you can meaningfully calculate the velocity of an object in two reference frames which are in relative motion faster than light.

As the graph shows, a velocity calculated this way will always be faster than light itself, i.e. $v > c \implies u' > c$. This prevents objects from crossing the light speed "barrier," just as special relativity does.
The velocity transformation law extended to $v\to\infty$ gives $u'u = c^2$ (actually they use this argument backwards, starting from $u'u = c^2$ at $v\to\infty$). This implies that the "extended Lorentz" transformation they are looking for should reduce to $x' = \pm ct, t' = \pm x/c$ in the limit of infinite relative velocity. Working from these conditions and from the equations
$$\begin{align}
\frac{\mathrm{d}x}{\mathrm{d}v} &= \frac{-t}{1 - v^2/c^2} &
\frac{\mathrm{d}t}{\mathrm{d}v} &= \frac{-x/c^2}{1 - v^2/c^2}
\end{align}$$
(though I don't understand where they get those from), they come up with the new transformations
$$\begin{align}
x' &= \pm\frac{x + vt}{\sqrt{v^2/c^2 - 1}} &
t' &= \pm\frac{t + vx/c^2}{\sqrt{v^2/c^2 - 1}}
\end{align}$$
which relate velocities measured in frames with relative velocity $v > c$. They then go on to show some counterintuitive results involving combination of such velocities.
A simple way to understand what they are proposing is as follows: Lorentz transformations can be extended to $v > c$ by using $\frac{c}{v}$ in place of $\frac{v}{c}$ for superluminal relative velocities.
This extension to special relativity seems to make sense, at least in the sense that it is mathematically consistent, but it doesn't really have any physical applications as far as I can tell. It does provide a way to analyze events from the viewpoints of multiple observers with relative velocities greater than $c$, but special relativity tells use that no such observers can be made to exist (because nothing can be boosted past the speed of light), and I don't see that this new work does anything to change that.
TL;DR I think this work is interesting but not useful. I'm not sure if that was clear from what I originally wrote.

redpajama_set_name: RedPajamaStackExchange


Students at Trinity High School grow food in a hydroponic facility that combines curricular concepts and community service.
Students in the Advanced Hydroponics Management course at Trinity High School use concepts of agriculture, chemistry, and biotechnology to grow over 800 heads of lettuce and other vegetables and herbs to benefit needy families through the local food bank. The Freight Farm is one of only 6 on a high school campus in the United States. Soon, the farm will be powered mostly by wind and solar power.
Washington, PA, 30 miles south of Downtown Pittsburgh, is home to a diverse economy, ranging from bedroom suburbs to manufacturing, industry, and agriculture.
Trinity High School's Freight Farm is housed in a shipping container on campus, and it houses the equivalent of an acre of farm land, while using minimal resources of power and water.
The fully automated Freight Farm is supervised by Mrs. Jeannette Hartley, a Trinity Agriculture and Gifted Specialist, who has a unique background as a teacher and a farmer with a biology degree. Students in the Greenhouse Production Management course help to plant, maintain, and harvest the crops. Additionally, students from Advanced Placement courses such as AP Chemistry assist with the mixing of chemicals to foster optimal growing conditions.
The Freight Farm grows between 800-1,200 heads of lettuce per week. 800 of these heads are donated to the Greater Washington County Food Bank to benefit needy families within our region.
The Freight Farm has been the catalyst for business and industry partnerships, where students create advertisements and other promotional documents that are used by the Food Bank and other local business partners in their businesses. Additionally, students are actively involved as the producers of food, and they are actively involved in the production of advertisement/promotional materials that are used by our local business partners. All of these artifacts give our students the ability to use 21st Century Skills, such as collaboration and communication, as well as having items to add to a portfolio that students can use in job or collegiate applications.
Trinity Area School District uses a Freight Farm hydroponic farming facility, funded from a grant from the Local Share Account (LSA), in partnership with the Greater Washington County Food Bank.
Locate a funding source to purchase a container.
Choose a site to house the facility.
Freight Farms supplied training to our staff in Boston.
Students in Agriculture, Science, and Business classes connect to both the production and business sides of agriculture.
In addition to connecting Business, Science, and Agriculture with renewable power.


text:
Home Cuisine Foodways Tina Antolini
Tina Antolini
In "Gravy," Tina Antolini uses food as a vehicle for Southern redemption
Photo by Lucie Monk Carter
In the mid-morning crowd of freelancers, telecommuters, and college kids at The Orange Couch coffee shop in the Bywater, the auburn-haired woman with her neck wreathed in headphones was another stranger to me … until she spoke. I've heard Tina Antolini's wry alto many times now through her role as host of the Southern Foodways Alliance's podcast Gravy, a finalist for the James Beard Foundation's 2016 "Best Podcast" award. In thirty-three episodes, so far, Gravy's audio narratives have ranged from the trendy kitsch of mason jars and tamales at the Kentucky Derby to Natchez' waning Jewish community and fried chicken's mixed bag of economic empowerment and stereotypes.
Native to Maine, Antolini now lives in New Orleans, where she both produces and hosts Gravy and frequently hits the road in support of developing stories. Below, find excerpts from my conversation with Antolini on the comfort and catharsis of storytelling through food.
On the origins of Gravy:
TA: I worked for this documentary show called State of the (re)Union that traveled all over the country. Every episode, we'd go to a different city or town and do an hour of stories about what was building community in that place. We created a portrait of the place through the issues local people were working on. But while working there, I felt like there should be a public radio program that used food in an interesting way; that, in my mind, there stood this big missed opportunity to tell stories that actually went in all these different directions, because food was this nexus, this intersection point between environment, history, culture, and business. Why not use that?
And so I started having conversations with people I knew in the food world through having been tangentially connected to it for a long time. And one of those people was John T. Edge at the Southern Foodways Alliance. It turned out that they had been thinking about branching more seriously into podcasting and audio production. The timing just could not have been better. Instead of me going out to do my own thing, it was me partnering with them to create [Gravy] together. I get to build upon the work they've already been doing for a long time.
On food as a common denominator:
TA: We all eat. You can get into pretty much everybody's experience through food. And because we all eat three meals a day, it's also this omnipresent factor of life. As a storyteller, too, food is super attractive because it can lead us into so many different places. With the South in particular, food is such a deeply prized aspect of life. I can't think of a better vehicle for exploration of this region than what people are eating, cooking, and harvesting. It created this big tent that I felt like we could get a lot of people and a lot of stories underneath.
Even before I was doing Gravy, I would be traveling and working on stories, and if I needed to start conversations with strangers, I'd just ask them where to eat in town. It's territory that we all share and people feel comfortable around. People get excited talking about what to eat.
Gravy is not always about the most delicious stuff. If it was like that, you'd know where every story was going to land. Food can lead us to some more complicated, interesting places … which are, sometimes, also delicious. If you can ease people in with the things they like talking about, you can get to deeper spots if you persist with it.
On how a story unfolds:
TA: I remember early on I did this story with a guy named T Cooper who was living in Knoxville at the time. It was a story about evangelical Christian coffeehouses that weren't expressly evangelical. That one was so eye-opening to me because it was in part about twenty-first-century Christianity and the way in which people are seeking to integrate that into everyday lives, and now everyday lives involve coffeehouse culture. But also a bunch of these coffee-shop owners thought of their latte slinging as holy work.
I produced a story that just came out at the end of December that was, like, a six- to eight-month reporting project. It was looking at the loss of black-owned farms in the South and how the USDA has discriminated against these farmers. The more I researched, the more I was astonished that this was something that was not widely known about. Any time that I'm having that experience of discovery in myself, that's when I know that this is something that will really work for the podcast because I want the listeners to have that experience of discovery as well.
On getting to know the South:
TA: Even contemporary Southerners are not necessarily super acquainted with the whole region. Living in New Orleans, you may not know the weird history of a pocket of southwestern North Carolina. People think of the South as this region, but there are actually so many hyperlocal pockets.
Most familiar things, approached with new eyes and new curiosity, can be unpacked in a way that even somebody who's lived in a place for a long time will reflect on [that familiar subject] differently. It's actually been a real gift that I didn't have an encyclopedic knowledge of the South when I started doing this work because I was ready to be surprised by things that people might have just taken for granted; and yet, pairing that with the knowledge that the staff at the SFA has of the region so that we're not making dumb mistakes is essential.
On harder issues:
TA: My instinct is that we should go toward the discomfort. If we're uncomfortable, that means it's probably interesting. That's one of the challenges as a journalist. To some degree, you have to put people in that position. But I feel like there's a way you can do it that will actually end up feeling like a relief to people, a catharsis. I really do think it's a powerful act, listening to people. Doing this work for more than a decade, I've seen that even when you're asking people to talk about things that are uncomfortable for them, it can be really empowering for them to be heard.
The Southern Foodways Alliance has really been engaging with that work of the hard conversations and also the concept of the Welcome Table, everybody sitting and eating together. I feel like that concept has this huge capacity for healing in a region that is still working on it.
We did a story almost a year ago called "The Jemima Code" that is about the cookbooks written by African American cooks and chefs that sort of were invisible to the mainstream public for a long time. There was a real pain around some of the history there—the dynamics between slave cooks and their white owners that played out even after slavery. (Though then in that story I got to interview Leah Chase, who speaking of people it was an honor to get to sit with—such strength and such grace.) So even in the stories that have harder moments, there are always redemptive ones too. This is part of the power of food—it can lead us in these difficult directions and it can also heal. I really believe that.
On legacy:
TA: People [in the South] have maintained an attention to their history, family history and otherwise, on a level that's culturally given credence [to history] that isn't always given in the Northeast. It feels to me that, for Southerners, history is very present. What's that quote everyone quotes? "The past isn't even past"? You find that people have kept track of their generational legacies. They stay in the same places and build on [their legacies], which makes for really great stories because they have that generational memory as well. It gives you a really interesting vantage on how things have changed and are changing, too.
Listen to episodes of "Gravy" and subscribe to its companion print quarterly at southernfoodways.org.
April 2016 Louisiana cuisine New Orleans

redpajama_set_name: RedPajamaCommonCrawl


text:
Music, Premiere
Exclusive Premiere: Stream Aaron Kowal's New Single "Phobia"
Posted by Aesthetic Magazine ⋅ January 28, 2021 ⋅ Leave a comment
Filed Under Aaron Kowal, Exclusive, Indie, Premiere, Singer-songwriter, Winnipeg
By Staff –
Winnipeg-based singer-songwriter Aaron Kowal is back with his new single "Phobia", which you can stream exclusively via Aesthetic Magazine below.
The song serves as a captivating electro-queer-pop track that taps into the anxieties of the age.
"I first had the idea for "Phobia" back in 2019, said Kowal. "I knew I wanted to write a song that addressed anxiety, particularly the social anxiety I've experienced throughout my life. I wanted to make it personal, but still keep it dancy, edgy and bit cheeky. Musically, the sounds of this track are meant to evoke a sense of alarm & panic, while lyrically, the "phobia" in question is a metaphorical fear of commitment. "Phobia" is the first in a string of singles slated for release in 2021 that address this central theme of fear and/or uncertainty in relationships. But I wanted to release this song now because it's content reaches well beyond my own anxieties and those of my generation, and connects with the widespread isolation, insecurity and vulnerability that people are facing today as a result of this pandemic. As the lyrics go: "you can try to love me but I'll be just out of reach…I got a phobia of your love."
With a musical ability that blends passionate and creative songwriting with the seductive, mysterious, devil-may-care attitude that only the finest of pop music greats possess, Kowal has entered the stage with a smirk and a flourish, determined to earn his place on your playlist no matter what the cost.
Aaron Kowal · Phobia
« Exclusive Premiere: Stream Julie Title's New Single "A Wreath To Lay"
Exclusive Premiere: Stream Beth Henderson's Debut EP "Questions" »


A report from Cleveland-based market research firm, The Freedonia Group, has projected that global construction of new housing units will skyrocket to 61.3 million by 2018 despite expectations that the global population will decelerate. The report suggests that rural to urban population migration will spur on the demand for new housing units, namely in the Asia-Pacific and African/Middle East regions. It projects that construction of multifamily housing units will outpace that of single-family housing units.
The report also suggests that countries that suffered from residential construction decline from 2008 to 2013 will bounce back with new housing unit construction through 2018. The report indicates that North America is forecast to post nearly eight percent annual growth in new housing units.
If the report's analysis is accurate, then the construction industry will benefit significantly from a recovering and healthy market demand. The full report - World Housing - from The Freedonia Group can be found on their website.


The Dolly Mixtures Running Group is committed to protecting and respecting your privacy.
You may give us information about you by filling in forms at an event or online, or by corresponding with us by phone, e-mail or otherwise. This includes information you provide when you subscribe to our newsletter, or participate in discussion on our Facebook page. The information you give us may include your name, date of birth, address, e-mail address, phone number, name of the EA/WA-affiliated Clubs with which you are registered, health issues and gender which is classed as special category personal data.
The reason we need to hold your Athletics Data is to be able to administer your membership, and provide the membership services you are signing up to when you register with the club.
sharing personal data with leagues, county associations (and county schools' associations) and other competition providers for entry in events.
club newsletter promoting club activity.
Any special category health data we hold on you is only processed for the passing to leaders to allow the safe running of training sessions. We process this data on the lawful basis of consent. Therefore, we will also need your explicit consent to process this data, which we will ask for at the point of collecting it. The club has social media pages on: Facebook and Twitter. All members are free to join these pages. If you join one of the Social Media pages, please note that the provider of the social media platform(s) have their own privacy policies and that the club does not accept any responsibility or liability for these policies. Please check these policies before you submit any personal data on the club social media pages.
When you become a member of the Club you can also choose to be registered as a member of Welsh Athletics Limited. This means we will provide Welsh Athletics with your Athletics Data which they will use to enable access to the MyAthletics online portal. Welsh Athletics will contact you to invite you to sign into and update your MyAthletics portal. You can set and amend your privacy settings from the MyAthletics portal. If you have any questions about the continuing privacy of your personal data when it is shared with Welsh Athletics, please contact dataprotection@welshathletics.org. The Club does not supply any personal data it holds for this purpose to any other third party.
We will hold your personal data on file for as long as you are a member with us. Any personal data we hold on you will be securely destroyed after four years of inactivity on that member's account, in line with Welsh Athletics Limited's retention policy. Your data is not processed for any further purposes other than those detailed in this policy.
As a data subject you may have the right at any time to request access to, rectification or erasure of your personal data; to restrict or object to certain kinds of processing of your personal data, including direct marketing; to the portability of your personal data and to complain to the UK's data protection supervisory authority, the Information Commissioner's Office, about the processing of your personal data. As a data subject you are not obliged to share your personal data with the Club. If you choose not to share your personal data with us we may not be able to register or administer your membership.


On April 28, 2016, Bryn Mawr Rehab Hospital hosted a reception to view the gallery display of more than 30 masks created by survivors of brain injury. Approximately 65 former patients, members of the community and clinicians attended the event to view the masks and to hear their stories.
Speech language pathologist Jessica Petrongolo spearheaded this project at Bryn Mawr Rehab and introduced the concept to her patients as a method of expressing their feelings associated with their brain injury. It quickly caught on and the project expanded into other areas of treatment including survivor support groups.
To show others that persons living with a disability due to their brain injury are like anyone else, deserving of dignity, respect, compassion and the opportunity to prove their value as citizens in their respective communities.
The event included opening remarks from David Long, MD, medical director of Bryn Mawr Rehab's Brain Injury Program, an introduction to the project by Petrongolo, and the presentation of two masks by the brain injury survivors who created them.


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if [ $# -lt 3 ] || [ $# -gt 3 ]; then
	echo "Not enough arguments: script [fname] [sname] [age]";
	exit;
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mysql -u root -p -e "
CREATE DATABASE IF NOT EXISTS test_db;
CREATE TABLE IF NOT EXISTS test_db.people (id INT NOT NULL AUTO_INCREMENT, fname VARCHAR(25), sname VARCHAR(25), age INT, PRIMARY KEY(id));
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text:
Close Call for Alabama Leads to Odds Tightening Heading Into Playoffs
Published on December 15th, 2018 12:10 pm EST
Click Here To Bet on College Football Playoffs
A few weeks ago, there seemed to be no doubt that Alabama was destined to win another college football championship.
After all, they were making mincemeat out of the competition, destroying teams left and right en route to a perfect season. Ranked or unranked, it didn't seem to matter - Alabama was crushing them all.
In their final game of the season, however, Alabama had a great deal of difficulty getting past Georgia, which led many to wonder - is Alabama actually beatable? This led some bettors to adjust their wagers, which resulted in the odds of Alabama winning the national title tightening somewhat.
That being said, Alabama is still the clear favourite to win the national title, though perhaps there is a bit of doubt in the minds of gamblers now.
Here are the playoff rankings:
2. Clemson
Alabama, Clemson and Notre Dame basically didn't budge all season, while Oklahoma managed to sneak in due to losses from the likes of Michigan and Georgia at the end of the season. Oklahoma is led by Kyler Murray, who is just coming off of his Heisman Trophy win and may be playing his last ever football game against Alabama (Murray is going into baseball apparently).
The Orange Bowl will see Oklahoma take on Alabama in the Orange Bowl, while Notre Dame will square off against Clemson in the Cotton Bowl. The two winners will then square off in the National Championship game.
Here are the current playoffs odds as of this moment, courtesy of Bet365:
Source: Bet365
Time Stamp: December 15th, 2018 12:04 pm EST
Odds Subject to Change
Alabama, 1.41
Clemson, 3.75
Notre Dame, 15.00
Oklahoma, 15.00
Will Nick Saban add yet another national title to his collection, or will Alabama stumble when it matters the most?


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#DeleteFacebook – The Social Network's Big PR Problem
Facebook has been in hot water ever since the news broke that Cambridge Analytica, a political data consulting firm, harvested private data on over 50 million Facebook users without the users' permission. This is just one of many scandals that Facebook has had to weather recently, including recent criticism over the role it played in the 2016 election. With the #DeleteFacebook movement gaining momentum, and brands such as Tesla and Pep Boys removing their company pages from the platform, Facebook is facing a massive PR nightmare.
3 PR Lessons from Working with IBM Watson Health
By Chanel Benoit
At Aria, we've worked with plenty of large, multi-national companies, but few can match the enormity of IBM. Since the launch of IBM Watson Health just over a year ago, Aria has played a role in introducing the company and its executives to eager journalists and key influencers in the healthcare industry.
7 Website Design Tips from our Digital Marketing Partner, Altos
I'm going to let you in on one of our secrets for success. As a smaller PR agency, we know we can't do it all. So, we've partnered with some amazing companies to help expand our capabilities and add value for our clients. One such partner is Altos, a digital marketing agency whom we bring in for client projects such as website design. We think they're the best in the biz, which is why I reached out to Altos Creative Director, Justin Martin, to see if he could share his top website design tips with our blog readers. Lucky for us, he obliged. So, take it away, Justin:
A Day in the Life for an Aria Marketing AC/AE
For Public Relations professionals, each day brings new tasks and challenges. It can become pretty hectic, which is why Aria's upper management team likes to sprinkle in fun activities whenever possible. Account Coordinators (ACs) and Account Executives (AEs) like me are tasked with a variety of projects daily, and though no day is the same, we thought it would be fun to share what a "typical" day at Aria Marketing might look like.
A Perfect Ten: Getting to Know Aria's Newest Senior Account Executive, Cate Hannum
By Lindsey Honig
Fall is a wonderful time of year in Boston. Leaves are changing colors, apples are ripe for the picking, and this year, our beloved Red Sox are playing in the World Series. Likewise, the autumnal season brings exciting changes to Aria: this month we welcomed our newest Senior Account Executive, Cate Hannum! I sat down with Cate to get to know her better and talked everything from books and movies to travel and future goals. Here are ten things I learned about the newest addition to Team Aria:
A Sneak Peek at Kyruus' Virtual Patient Access Conference (ATLAS)
By Kahler Buckley
For the 7th consecutive year, our client Kyruus is hosting its Annual Thought Leadership on Access Symposium (ATLAS), an event that brings together health system and hospital leaders from across the country to collaborate on transforming patient access and the patient experience. Like many other events, ATLAS is going to be conducted virtually this year. This setting actually allows Kyruus to bring in even more experts from across the industry, including C-level executives from top U.S. health systems like Banner Health, Geisinger, and Providence. Some other agenda highlights include:
All About Aria's Newest AE, Brittney Darner
Brittney Darner joined the Aria team as an account executive (this past July. In just a couple of months, we've gotten to know her a whole lot better and want to share some of her interests, hobbies and quirky characteristics – some of which may surprise you for a 22-year old PR newbie. Here's our list of top ten fun facts about Brittney:
Aria Client VisualDx Spotlights Racial Disparities in Dermatology in New York Times
A frostbite-like rash on feet or hands is just one potential symptom of the novel coronavirus. If you search Google Images for the colloquial term, "COVID toe," you'll find dozens of photos of toes with reddish or purplish splotches – almost entirely on white skin. You'll likely have to scroll and scroll before finding a single image of brown or black skin. (That is, if you find one at all.)
Aria Marketing Announces New Healthcare IT Clients; Makes Several New Hires to Support Demand
Aria Marketing today announced it has signed on three new healthcare IT clients, including Life Image, the world's largest global network for sharing clinical and imaging data powered by leading interoperability standards. The award-winning agency also expanded its team with strategic hires to support its increasing client base.
Aria Marketing Establishes Wellness Officer Role, Launches Comprehensive Programing to Advance Employee and Company Wellness
Aria Marketing, a leading healthcare public relations and marketing communications agency, today named its first-ever Wellness Officer in an effort to advance the health and wellness of its employees. Senior account executive Ashley Owen will draw on her years of professional and personal experience in the health and wellness space to lead Aria's wellness initiative in addition to carrying out her client responsibilities.
Aria Marketing Executive Vice President Selected to Present at 2019 Healthcare IT Marketing and PR Conference (HITMC)
Aria Marketing, a leading healthcare public relations and marketing communications agency, today announced that its Executive Vice President, Jessica Cohen, was selected to present a break out session at the annual Healthcare IT Marketing and PR Conference (HITMC), which takes place April 17-19 in Boston.
Aria Marketing Named Top PR Firm in Boston by Expertise
Aria Marketing today announced it was named one of the Best PR Firms in Boston by Expertise. The recognition comes at a time of momentum for the company, as it brings on new clients, such PatientMatters, and makes strategic hires to help support both new and existing clients.
Aria Marketing Named Top PR Firm in Boston by Research Firm Expertise
Aria Marketing, a leading healthcare public relations and marketing communications agency, today announced it has been named one of the Best PR Firms in Boston by Expertise, a research organization and publisher of top-ranking local business lists. This recognition comes at a pivotal time for the agency as it continues to experience a rise in demand for its services in response to the coronavirus disease 2019 (COVID-19). As a thought leadership-driven healthcare PR agency, Aria is uniquely positioned to support the healthcare industry during this time of crisis.
Aria Marketing President Scott Collins Receives Top 100 Healthcare Leaders Award at International Forum on Healthcare
Scott Collins, president of leading healthcare public relations and marketing communications agency, Aria Marketing, has been recognized as one of the Top 100 Healthcare Leaders for his contributions to the healthcare industry by the International Forum on Advancements in Healthcare (IFAH). Collins received the award at the third annual IFAH held in Las Vegas, NV in June 2019.
Aria Marketing Reports Monumental Growth in 20th Anniversary Year
Aria Marketing, a leading healthcare public relations and marketing communications agency, recognized 2019 as a pivotal year in which the company increased revenue by nearly 20% and added three leading healthcare technology companies to its client roster. In conjunction with these achievements, Aria also announced an employee retention rate of 93%.
Aria Marketing to Represent Leading Healthcare IT Companies at Annual HIMSS Conference
Aria Marketing, a leading healthcare public relations and marketing communications agency, today announced that for the 20th consecutive year, it will be representing over a dozen healthcare technology and services companies at the Healthcare Information and Management System Society's (HIMSS) Annual Conference, taking place February 11-15 in Orlando.
Aria's HITMC Presentation on Leveraging Data for Maximum PR Impact
Each year, we look forward to the one and only event that is truly geared toward our niche (PR and marketing for the healthcare industry), the Healthcare IT Marketing and PR Conference (HITMC). This year, not only did Aria again sponsor and exhibit at the show, but I was selected to present alongside longtime client, Kyruus. During our session, we shared insights on how to curate and leverage data to highlight market leadership via an integrated public relations and marketing campaign. For those reading who were unable to attend our session, I included some of the highlights below.
Aria's Holiday Break
The Aria team took a break (mostly) from the world of health IT PR for a full two weeks this holiday season. After a year of hard work, a crazy pandemic, and a transition to WFH, we took some well-deserved time to relax. Read about the team's much needed R&R over the holidays:


Offering fun and supportive fitness coaching for women in Edinburgh. Clients can choose from one of our friendly boot camps or personal training. We have weight loss specialists who are extremely encouraging and helpful.
Personal trainer Ronnie McKeever. Gym Rebel's private 1-2-1 studio provides a professional array of equipment that is suitable for males and females of all ages. Wishaw, Lanarkshire.
Origym offers personal trainer courses and fitness certification in every major city in Scotland and we have our very own training centre in Glasgow. Become a personal trainer and realise your potential through helping others.
Pinnacle Fitness is a fitness equipment wholesaler outside Edinburgh. It sells second hand, refurbished gym equipment.


Maui Sunset is the perfect vacation home. The large 112 square foot private lanai, overlooks the beautiful gardens, pool and ocean. It is perfect for watching whales play in the morning or sunsets in the evening.
Located on 6.5 acres of oceanfront property makes Maui Sunset perfect for walking along the beach, relaxing by the pool, playing tennis or shuffle board with friends.
A-314 was updated in the fall of 2006 and has a newly remodeled kitchen and living area. We continue to update on each visit. 2016 has added a new shower in the half bath, new window in the bedroom and blinds in the living room.
We have been owners since the summer of 2002. We were looking for a place to get away from the Minnesota winters and have giant yard for our 3 kids (and typically a few more) to run and play. We found it at Maui Sunset. Our kids are grown but we all have some of our best memories at Maui Sunset.
A friend of ours owned a unit at Maui Sunset. We stayed several times. We fell in love with the location, the grounds and the feeling of Maui. When the opportunity to buy a unit at Maui Sunset came up, we knew this was the place to be!
The view of the ocean is breathtaking. We rarely miss an evening sitting on the beach watching the sunset. The grounds at Maui Sunset are absolutely beautiful. We have had guests tell us they had to go pull the grass to see if it was real because it is so perfect. Whale watching, kite-surfing are great ways to spend an afternoon and it is all available from the lanai or on the beach in front of you.
Counter seating in the kitchen, Table and chairs in the living are and table and 4 chairs on the lanai.
The condo is furnished with everything you should need for a perfect vacation. There is a concierge available at the pool to help you plan events and activities.
This is our first time in Maui and we thoroughly enjoyed our stay at Maui Sunset A314. It comfortably housed our family of five. They had many useful amenities that made our stay memorable. The community at Maui Sunset was very welcoming as well. We sat at the beach every night to watch the sunset and we enjoyed the pool too.
We appreciated the little Hawaiian touches throughout the suite. The hawaiian coffee mugs and plates and other hawaiian decor that made our first hawaiian experience for the kids so much fun. thank you very much. we will definitely recommend Maui Sunset to our friends and hope to go back one day!
Thank you so much and we are thrilled you enjoyed your stay. Please come again! I hope you got to see the turtle on the beach. I guess we have one that has been coming in every morning to rest. It was so fun for our grandchildren the week before.
Beautiful Location for 30 Days!
This condo worked out perfectly for our family. From the lanai we enjoyed our morning coffee and watched the sunsets each evening. The grounds are groomed impeccably. The condo was clean and well-supplied with all that we needed. We love spending time on the Kihei/Wailea beaches-and then coming back for some pool time in the late afternoon. We definitely recommend this property to others for their upcoming vacations.
The property is well maintained and the unit was clean, comfortable and well equipped.
Lovely condo in a complex that is well-managed, clean, neatly manicured, with views of the ocean at all times. A quiet, family environment. We've returned often to this property and have always been pleased.
The condo provided us with just what we were looking for for a five night stay on Maui. It is not a luxury condo, but a very nice condo with everything and more we needed for our stay. The full sized kitchen and washer and dryer are great to have. The grounds are really beautiful and the views of the ocean are picture postcard perfect. The condo is in a great location for getting around to other areas of Maui. It is conveniently located near shopping and restaurants. If I am looking for a more budget priced place to stay on Maui, I would definitely consider this condo again.
Great value. Very clean. Nice view. Just north of the very busy downtown Keihi (which is nice). We will be back!!
Rates do not include the 13.41% Hawaii GE/Lodging Taxes (HI Tax ID TA-077-893-2224-01 and GE-077-893-2224-01) There is a $125 cleaning fee for each stay. 2 night deposit required to hold the hold the unit.


2iC are a thought-leading UK company that makes innovative software to integrate diverse systems that are usually unattended, wearable or vehicle-borne. 2iC's software enables flexible integration and coordination across old and new digital systems; where previously it was too difficult, too expensive or too slow.
- Provides flexible, secure coordination between digital systems – enabling interoperability.
- Enables integration of old, new and future systems – maximising investment.
- Lowers development and support costs – cutting development time and risk while increasing margins.
The 2iC technology has been proven by the UK Ministry of Defence.


A natural skin smoothing exfoliating mitt made from natural ramie fibres. This Exfoliating Body Mitt can be used as a wet or dry brush to stimulate circulation and cell renewal, polishing your skin to leave it feeling soft and radiant.
Before bathing / Practice dry body brushing before bathing or showering to remove dead skin cells. In upward strokes, lightly brush the dry mitt towards the heart.
During bathing / Apply your ASPAR Body cleanser to your dampened Exfoliating Mitt and gentle massage over the body in circular motions.