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Kothoga
"As the flashlight beam hits it, MBWUN roars and looks up. Now we see it clearly for the first time. The monster is MASSIVE, putrid, rank. Slit reptilian green eyes are rimmed in red. A ridge of stiff black hair rises on the creature's buffalo-like humped back. The withers are muscled and covered with plates. A forked TONGUE licks out as purple lips draw back exposing razor sharp teeth. The claws raise up to fend off the light."
-Amy Holden Jones, Relic script draft, 1995
Initially, the monster in the film adaptation of Douglas Preston and Lincoln Child's Relic retained the original name — Mbwun, which means 'He who walks on all fours' — only to be successively renamed Kothoga, which in the novel is the name of the tribe that worships Mbwun. The reason for this change is currently unknown, but it is likely that 'Kothoga' was found to be more suggestive — or perhaps scary — as a name.
The novel Mbwun can be described shortly as a chimaera of a primate and a reptile. It was characterized by "extreme posterior-anterior dimorphism", and its surface covering ranged from naked skin and fur on the upper body to scales and scutes on the lower body. Other key traits included the three-fingered hands with "tripiramidal claws", and glowing red eyes that pierced the darkness of the museum alleys — encased in a "flattened", primate-like head. Size-wise, it was described as around the mass and weight of a tiger.
The creature, due to its nocturnal nature, had poor eyesight and relied on its advanced sense of smell to hunt; it was also described as having a heavy breathing sound, which was compared to "a horse with cold". This aspect was one of the few to be maintained in the film adaptation.
"Pendergast hesitated a moment before answering. 'I've got a better view of it this time. It's big, it's massive. Wait, it's turning this way… Good Lord, it's a horrible sight, its flattened face, small red eyes, thin fur on the upper body. Just like the figurine.'"
-Douglas Preston & Lincoln Child, The Relic
Stan Winston Studio was hired to bring the brute monster to life, even before director Peter Hyams was attached to the project. Due to that reason, the design process began simply from taking the basic concept from the novel — an amalgam of different animal species — without specifically adhering to the original description. The design evolved on its own with considerable artistic freedom, save for its size.
Stan Winston told Cinefex: "we knew that the creature would be a genetic mixup — part human, part mammal, part reptile. So there was a certain design freedom there. But there was no freedom in regards to the character's size. It was important storywise that he be enormous – at least seven feet tall, with an equally large body mass. He had to be that big in order to rip people's heads off and eat their brains – which I thought was a wonderful character element. A character that ripped heads off and ate brains was definitely something I want to be a part of developing."
Ultimately, the Kothoga's size was established at 15 feet of length, for six feet of height — far bigger than its novel counterpart, but not unfeasibly large.
Early Kothoga concept art by Mark 'Crash' McCreery.
The Kothoga was designed by Mark 'Crash' McCreery. Initially, the artist wanted to infuse the creature with both feline and human aspects. He commented: "we knew Kothoga should be fierce and ruthless, but also a very intelligent creature. I used a lion as the foundation of Kothoga's design because I believe lions to be more than just voracious eating machines. A lion is a bright, cunning animal, as opposed to, say, a great white shark." Other details were taken from reference pictures of horses and alligators.
Many elements of the design were progressively discarded once Hyams was attached to the project. By the time he was on board, several different conceptual ideas were ready on paper. The initial designs were striving for a more elegant outline, but Hyams wanted to take another direction for the character — establishing that the Kothoga's appearance should be altogether horrific and unpleasant. Hyams related: "every choice they presented was terrific and seductive — but some of them were almost too beautiful. If you're stuck in a room with a tiger, you're going to be scared because chances are you're going to die, but you won't be able to help but notice that the tiger is beautiful. He may be lethal, but he's also gorgeous. I told Stan and Crash that Kothoga couldn't be like that. I thought Kothoga should be so horrible to look at that if you were stuck in a room with him, at some point you would think, 'Oh, for Christ's sake, just kill me and get it over with."
Concept art by Mark 'Crash' McCreery, showcasing the spider silhouette in the head.
With this idea in mind, McCreery focused on redesigning the Kothoga's head, endowing it with the subtle silhouette of a spider. This idea paved the way to the Kothoga's large, gripping mandibles. McCreery told Cinefex: "to me, spiders are the most repulsive creatures in the world. So I took the basic shape of a spider and used that for the outline of Kothoga's head. The big spider abdomen is the upper half of his head; the spider legs are the mandibles that come out of his jaws; and, like a spider, Kothoga's eyes have no pupils. The spider shape of the head is subliminal — but when an image reminds you of something that really repels you, you can't help but be affected by that image in some way, regardless of whether you're aware of it or not."
Another Kothoga concept by McCreery, steering closer to the final design.
The Kothoga's mouth was fitted with 40 teeth of varying sizes, from the smallest ones to the skull-piercing fangs, and a long, forked tongue. A mane of dark fur ran down the creature's neck and back, with further tufts of hair on the mandibles — the only reference to the prominent hair covering of the novel Mbwun. Its scales and scutes, as well as its overall colour scheme, were based on alligators and crocodiles — whereas the head displayed warmer mammalian tones.
To justify the creature's ability to climb on walls, the Kothoga was also gifted with sickle-like claws on the last digits of its hind feet — dubbed the 'inverted Raptor toes'. McCreery said: "the story demanded that Kothoga climb a wall in the museum. At first, everyone was thinking suction cups on the feet, but I didn't think that would look very cool." Ironically enough, in the final film the Kothoga would climb the wall by simply pressing its feet on it — suggesting gecko-like footpads. In the film — following the novel — Hemidactylus turcicus (the Mediterranean house gecko) is found among the DNA sources of the plant virus.
McCreery's final Kothoga design, used as reference for the full-size sculpture.
As usual for Winston Studio, making a believable and realistic creature was an imperative. Winston said: "it was part of our job to take all of these obscure elements and put them together so that they made sense. We had to take all the diverse details of hair, skin, claws and mandibles — details that each had a life and character of its own — and bring them together so that it all looked natural. A creature should always look as if the man upstairs had something to do with it, and Kothoga has that quality. He doesn't look like a mutation."
A short pre-production and production time prevented Winston Studio from building a fully mechanized animatronic or puppet rig. Ultimately, the special effects artists chose a more traditional suit approach. Winston said: "not only did Kothoga have to make a lot of extreme moves – he also had to act. Because of that and our rather short preproduction schedule — under five months, which is not much for a creature like this — we decided to go with a man-in-a-suit design. That way, the movement of the creature could be motivated by an actor, while only the articulation of the head and face would have to be created through robotics."
Sculpting the beast.
When the crew started engineering the structure of the suit, it became apparent that the Kothoga was not designed to accommodate a performer inside of it — both for its proportions and its sheer size. In fact, Peter Hyams found it imperative to have an "advanced" design that would not even resemble a man in a suit. A body cast of performer Vincent Hammond wearing the leg and arm extensions was used as the base for the full-scale sculpture.
The Kothoga being sculpter in full-size — well past the initial block-out, but not yet complete.
The fiberglass cast was sectioned and used as the under-structure of the full-size Kothoga sculpture, based on McCreery's final design illustrations. The sculpture was first blocked out in separate portions, which were then assembled and refined. Time constraints forced the sculptors to use water-based clay, as opposed to oil-based clay. This proved to be an issue, because the water-based clay "always has to be covered and kept wet," Christopher Swift said. "Otherwise it dries, cracks and, unlike oil-based clays, shrinks." Wire was applied to the fiberglass molds in order for the clay to adhere more consistently. The Kothoga, in all of its body parts, was sculpted by Mark McCreery, Christopher Swift, Jackie Gonzales, David Grasso, and David Monzingo.
The Kothoga sculpture.
Once the sculpture was finished, it was de-assembled again and moulded in foam latex. Yak hair was punched manually onto the neck and back, as well as the head and mandible parts. Fangs and mandibles were cast separately in rigid foam, and then skinned in polyurethane resin. Painting of the creature was assigned to Mark Jurinko, with the heads painted by Tim Gore and other details by Richard Davison.
Of the three Kothoga suits — nicknamed 'Bob' on set — two were hero suits, and one was a stunt suit. The latter was used in certain shots of the underwater sequences and for when the Kothoga is set on fire in the climax of the film. Both arms and legs featured mechanical extensions, engineered by mechanical designer Kirk Skodis.
Front view of the Kothoga's head, before the mane was attached.
The Kothoga's massive head and neck, with full motion of all its components, included animatronic mechanisms devised by mechanical designers Rich Haugen and Al Sousa. The abdomen could inflate and deflate through a bladder system to simulate breathing. Haugen scanned McCreery's final drawing of the creature into a CAD system and reduced the scan to a simple outline; from there, three-quarters of an inch were calculated as the thickness of the suit skin, and the position of the actor's head in relation to the creature's body was established — a foot below the Kothoga's withers. This outline was used as the template for the mechanical understructure of the suit.
Painting the Kothoga's teeth.
Particular focus was given to the motion of the head and neck of the Kothoga. Haugen commented on the process, saying that "Kothoga had a massive neck, like a buffalo — so I knew that he wouldn't be whipping his head around with great speed. However, he did have to be able to look behind himself and to raise his head up to stare down at his victims, the way a bear does when it's up on its hind legs." Haugen designed the mechanical structure of this section of the creature, which featured servo-powered mechanisms that enabled a wide array of movements.
Haugen continues: "the trickiest part of the mechanical design was getting the neck to move all the way up or all the way down without its mechanisms hitting the actor in the head." In order to make the structure lighter for the performer to support, it was built in aluminium — restricting the weight to 45 pounds. Three puppeteers operated the head, and two maneuvered the tail, which was manually driven by wire pulls. The arm extensions were cable-driven; two puppeteers were needed to control the movement of the Kothoga's fingers.
In the midst of production, the eyes were also given pupils. "I remember the director, Peter Hyams, was discussing the look of the eyes," said Jason Barnett, part of the crew. "I cringed when he grabbed a Sharpie marker and began drawing pupils onto the animatronic head. Stan just rolled with it." The sharpie marks were later removed by the crewmembers, and the eyes were repainted.
The heads were also given an additional paint job, showing skin irritation and damage, as well as a blind eye, taken during the film's climax, and visible when the Kothoga chases Margo.
All three suits were wire-rigged in order to portray the feline leaps of the Kothoga. Due to the quadrupedal posture of the creature — and consequently, of the suit performer — a standard 'flying' harness could not be used. A solution was found, however, as explained by Swift: "ultimately, we came up with a system that was based on a flight jacket. It incorporated a customized set of pants that were connected to a harness with straps. A metal plate mounted to the back of the jacket held an interlocking bolt system for securing the actor to the suit." The Kothoga was performed by Hammond and known creature actor Brian Steele, in what was his first performance as a creature actor. John Alexander, an animal behaviorist, was hired as a consultant for the Kothoga's movements; the actors spent a total of 3 months learning how to perform with the arm and leg extensions, as well as creating a beast-like vibe in their movements.
One of the completed suits.
The suit was extremely difficult to wear and perform in. In order for the actor to fit inside, the suit was first hung in semi-horizontal position; the actor, wearing a jacket with a plate, would have to climb inside, through the abdominal area, and get set into position. The suit would then be lowered on the actor's back until the plate on the jacket and the plate inside the suit were aligned. A hatch in the back of the suit would then be opened, with crewmembers aiding the performer in sliding the suit bolt into the jacket's lock. Arms and legs were finally attached to the structure. Due to the heavy shooting schedules, the actors were needed to stay inside the suits for many hours; fans were installed inside, and fresh air was constantly piped inside the structure via a third lung. Haugen described this structure as "kind of like the setup of a diving suit."
Swift commented in The Winston Effect:"It was very difficult to make this wonderful design Crash had come up with work as a real character. It was very hard to configure a human being into a suit that in no way accommodated sticking a human being inside of it."
The Kothoga's hide being painted.
Once on set, the Kothoga expectedly proved to be arduous to shoot, and particularly difficult for the suit performers. Swift said in The Winston Effect: "it was really difficult for the performers. They were in a bad position, putting all their weight on arm extensions and leg extensions, which was very uncomfortable. To deal with it, Vincent would start reciting from The Prophet when he was in there — which sounded pretty funny coming from this horrible monster!". The experience was rather difficult for the actors, due to the fact the Kothoga, as a design, was detached from a human shape, save for its vaguely humanoid shoulders — which in turn were far wider than any human's. "I felt bad when the guys came back from the set talking about how miserable it was to work with this character," McCreery admitted in The Winston Effect, "I had tried to give Peter Hyams something very different; but, ultimately, I designed something without considering the actor inside it. It was a real lesson in how careful I had to be when I was executing a design. If you're telling people to follow a drawing, that drawing had better be right, and it had better work mechanically and practically. I learned a lot on The Relic — I just wish I'd learned it without people suffering!"
Shooting proved many expectations towards the suit wrong. Winston explained to Cinefex: "things you think are going to be easy often end up being very difficult, and things you think are going to be impossible often turn out to be easy. In The Relic, there was a shot near the climax of the picture in which Kothoga has Penelope Ann Miller pinned up against a dumbwaiter — a fairly simple performance moment that only involved the head. But because of all the metal work around that part of the set, we had a horrible time with radio interference, and that created problems for the radio-control head. So this seemingly simple performance became difficult. On the other hand, shots I thought would be nearly impossible we got on the first take." For certain scenes, components of the hero suits — such as the head, or the right arm — were used singlehandedly as insert elements.
"There was a moment during shooting when Kothoga was supposed to walk past an enormous museum display with zebras and lions on it. The creature was just standing there by the diorama, waiting to perform; and, to me, he looked as if he belonged there as much as any other animal."
-Stan Winston, Cinefex #69
Hyams generally preferred working with the practical Kothoga on set. "From a directing point of view, it is always preferable to work live, with something right there on the set," he said. "In order to get to know Kothoga, I had to have him there on the set. I could physically walk around him, get right up next to him, stroke him, stare at him, change the light on him — the way I would with anything else I was shooting."
Despite that, Hyams knew from the very beginning that the Kothoga suit would be unable to perform certain agile movements from the script — including the already-mentioned sequence where the creature climbs a wall, and scenes where the Monster runs rampant. Due to that reason, VIFX from Los Angeles was hired to create the film's total of 20 shots featuring a digital counterpart for the Kothoga.
At VIFX, a team of 40 artists headed by Greg McMurry, with Paul Taglianetti serving as visual effects coordinator. Digital effects supervisor John DesJardin started searching for a software system that would allow the team to render and animate the digital Kothoga.
The team devised a pipeline system that used different softwares for the various components of the digital shots. DesJardin told Cinefex: "we would animate skeletons in Softimage, create skin deformation — such as the wiggle and jiggle of flesh and muscles — in Alias/Wavefront, and render in RenderMan, with Prisms doing the interface between all of the separate packages. It seemed nightmarish at first, but we were able to develop the glue to stick it all together, and we ended up with a very efficient production channel." This system still required certain modifications, in order for the information to be successfully transferred from one program to the other. For example, a specific program was created to 'translate' the data created in Softimage for Alias. With this expedient, "if the bones of an arm were animated in Softimage, Alias would reinterpret how the bones moved — and then correctly interpret how the muscle movement of the arm should look. That was a satisfactory result since at this point in the process it was only necessary to see the skin surface deforming."
With the pipeline system finished, the visual effects team was ready to work on the model itself. Many of the early animation tests used a raw model the visual effects artists affectionately called 'Kothoga Michelins', due to their resemblance to the Michelin mascot. The final digital Kothoga was obtained by scanning a physical model, in turn based on mould portions of the practical sculpture — provided by Swift. The arrangement was initially confusing, as explained by VIFX model shop supervisor Scott Schneider: "we'd get something in for a few days, then have to send it back. I got all of Kothoga's anatomy in bits and pieces — portions of legs, separate claws, fangs — so I spent a lot of time scratching my head, trying to figure out what was supposed to go with what."
The VIFX model was cast in self-skinning polyfoam, a 'tougher' material that eased the digitizing process. The scanned model proved to be too complex to load, and ultimately had to be "derezzed", and as such lose a lot of its surface detail. Much like a practical skin, the seams between the digital model pieces had to be hidden. After that, deformation was applied to the model to recreate the bulging of the Kothoga's muscular system. The skin detail was created in PowerAnimator using reference photographs of the practical suits, with the color scheme matched using 3D paint packages such as Amazon.
The creature was animated using the suit performance as its basic reference. VIFX was also influenced by footage of tigers and lions for the Kothoga's agile and powerful movements. "I wanted Kothoga to move like a combination between a big cat, a lizard, and a spider," said modeler Eric Jennings, "I especially wanted him to have the crouching, prowling motion of a big cat. The problem became how to attach Kothoga's tail to that sort of motion so that it would look right. We just had to go with whatever seemed appropriate, shot to shot. As we experimented digitally, we found that if Kothoga moved too quickly, he tended to look small — it miniaturized him. So a lot of the digital movements were slow and calculating." Certain scenes required only a digital extension. When the Kothoga licks Margo, its forked tongue was a fully digital element.
One of the most difficult scenes to animate was the one featuring the Kothoga when it chases a police officer, grabs him by the shoulders and violently rips his head off. This scene was animated by Bill Dietrich. The actor playing the officer was placed on a greenscreen, with the same sequence filmed on the set. A digital policeman replaced the actor at the right moment, with a smooth transition, enabling the digital Kothoga to grab his head and brutally rip it off. In another, the Kothoga climbed up stairs, where "the camera shot the creature through the staircase from behind," said compositing supervisor Cheryl Budgett. "When the animation was put in, it covered up the stairs. We had to work really carefully on those mattes to keep in details such as his claws hanging over the edge of the stairs. It was a very blurry scene, which made our job even harder."
The most complex scene to animate, however, was the one that featured the Kothoga chasing Margo, effortlessly bursting through doors and walls in the process. A real motion-control cart — painted in orange to ease its replacement with the CGI creature — was used to burst through the walls. "We built an iron replica of the creature," McMurry said, "and painted it day-glo orange. We positioned black lights around the set and then pulled the heavy replica through the offices using a computer-controlled cable linked to the camera. In postproduction, we could then cut a hole wherever we saw orange and animate our computer-generated Kothoga in those areas." Given the cart's movement was controlled by the computer, the visual effects artists knew what speed the creature had to move. The final shot also included more computer generated debris, such as scattered pieces of glass and wood.
The sculpture for the Kothoga's remains after its death.
As a last minute addition, Peter Hyams decided that the monster's death should be more spectacular and explicit — and that the audience had to believe that the Kothoga, an intense and powerful monster, had really died. In the novel, the Mbwun was killed with a bullet shot in the eye, seeing as its skull was too thick to damage. In the tradition of Jaws, the death was rescripted for the film, as being caused by an enormous explosion — which completely annihilates the Kothoga, blowing him apart.
The specific explosion shot was obtained with a combination of practical and digital effects; an effort by Schneider and special effects supervisor Gary Elmendorf. A wax cast of the creature's head and torso was made, and fitted with primacord. The practical explosion was filmed, and then digitally composited and enhanced with fire elements in post-production. The practical effects team quickly sculpted and moulded (in latex) the remains of the creature, which included a shredded ribcage, charred guts, and a broken mandible.
Special Thanks to Paul Taglianetti for the invaluable pictorial insight for this article!
For more images of the Kothoga, visit the Monster Gallery.
Also see: Relic Kothoga pictures from Paul Taglianetti!
Posted on 20/10/2013, in Movie Monsters and tagged Brian Steele, Crash McCreery, Kothoga, Mbwun, Relic, Stan Winston, Vincent Hammond. Bookmark the permalink. 10 Comments.
movieartman | 21/10/2013 at 6:20 pm
so awesome, arguably my favorite movie monster, thanks for posting 🙂
Kaiju | 21/10/2013 at 6:58 pm
Ottimo Omega….
Decisamente più interessante la versione cinematografica della creatura rispetto a quella del romanzo….unico neo per me la CGI non proprio eccelsa nella scena in cui prende fuoco ed esplode….
Valaquen | 24/11/2013 at 4:18 am
What always freaked me out about this monster was that its head looked like part of a spider. Euch!
Jason | 02/05/2019 at 3:46 am
They should do a sequel but, this time have the creature more well lit.
Mark Nicholas | 16/03/2020 at 7:15 am
I have to say, my-friend, THE RELIC, is one of my "TOP", FAVORITE Monster movies of all time. Not alot of people have heard of it, but, "Horror-Movie fans all over the globe,have, & absolutely love it, including myself. So, just wanted to say THANK-YOU , for such a great "Treat", We need more monster movies like that today .
omega | 16/03/2020 at 10:11 am
Thank you Mark! Stay tuned, this one article may or may not be updated with some exclusive content this year…
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Race for the planet: how Wendy Schmidt is taking sustainability to the world of sailing with her 11th Hour Racing
Wendy Schmidt's 11th Hour Racing scheme aims to support the sailing community in helping to protect the marine environment Credit: Chris Sturman
America's Cup World Series
Just over a month before the start of the America's Cup here in Bermuda, Wendy Schmidt is preparing to host a party. Her husband, Eric Schmidt, is chairman of Google, and said to be worth over £9 billion. Technology titans such as Schmidt, Oracle's Larry Ellison, and Talk Talk's Sir Charles Dunstone are the Rockefellers and JP Morgans in the modern America's Cup era. But Wendy Schmidt is no dabbling socialite.
Tonight's "Eat Lionfish Throwdown" party is a cook-off in which chefs from each of the six competing national teams will prepare dishes made from lionfish. But this isn't just an excuse to demonstrate cookery prowess; the real aim is to stimulate culinary demand for an invasive species that's destroying Bermuda's reefs.
And it doesn't stop there with Schmidt. It never does. The family foundation created 11th Hour Racing to promote sustainable thinking around marine conservancy through sailboat racing. It's a good example of the kind of joined-up thinking that's emblematic of 21st-century technology companies.
There is a camaraderie in a team on a sailboat that for me is a model for management of people in general Wendy Schmidt
At the Throwdown, Schmidt will present the Guardian LF1, a US-designed fishing robot designed to catch lionfish at the extreme depth – 1,300ft – at which they hunt. It was used to catch some of the 200 lionfish consumed at the event.
"When the America's Cup World Series took place here in 2015, we were invited to a friend's house – he's part of the Bermuda Underwater Exploration Museum," explains Schmidt, who has in the past decade learnt to dive as well as sail. "There were some conservation folks there and also a friend of theirs, Colin Angle, from US robotics pioneers iRobot.
"We all sat around complaining about the lionfish. Some of the best spear-fisher guys were there as well. The conversation went something like, 'What can you do?' 'Well, maybe a robot…' 'Maybe we could help you with that robot…' 'Maybe we could help you fund development of that robot…' So one thing led to another."
And that's pretty much how it is with the 150-plus projects funded or part-funded by the philanthropy of the Schmidt Family Foundation. Wendy herself is cool, elegant, polished but not veneered – and approachable. Passionate certainly, but pragmatic more so. It's hard not to like her.
"I try to think about how to redefine philanthropy," she says. "Broadly speaking, it is a tool to empower people. I believe – and my husband does too, as we've lived through it – that our world is seeing an enormous revolution of technology and systemic thinking. I'd characterise us as proactive. We're trying to do things differently from conventional philanthropy. We move more quickly; we throw a wider net."
11th Hour Racing is part of The 11th Hour Project, which concentrates its work around energy and renewables. Its logo was the first to appear alongside Sir Ben Ainslie's BAR team logo when he launched his campaign to win the Cup. Schmidt and Ainslie first met in San Francisco during the nail-biting 2013 event, when her role was to raise public money for the event to help fund the policing and the sanitation.
"We promoted a scheme to rid San Francisco of plastic bottles during that event," she adds. (The city has since banned the sale of plastic bottles in public spaces.) The pair met again the following year, and now 11th Hour's sustainability criteria shape everything Ainslie's team does.
But he's not Schmidt's first titled British sailing legend. In 2012 she launched the Schmidt MacArthur Fellowship Programme with Dame Ellen MacArthur, to help support MacArthur's own foundation.
For someone so clearly comfortable around sailors, Schmidt was a late convert, growing up away from the coast in New Jersey. "We drove to the beach to get sunburned and sandy once a summer, and that was about it," she recalls. Schmidt graduated from Smith College – celebrated for alumni such as Gloria Steinem and Sylvia Plath. She then studied journalism and met Eric – "I edited his PhD thesis for him."
They bought their first boat together in 2007 from a friend in St Barts, and were soon hooked. It was inevitable sailing would become the channel for 11th Hour's work and a metaphor for its method.
"Sailors I know from all levels have an understanding of the power of the forces they are invoking," she says. "I call it a conversation with the wind. Sometimes it's a nice one, and sometimes it's very scary.
"There is a camaraderie in a team on a sailboat that for me is a model for management of people in general, because you're really all trying to do the same thing and if anyone in your team is not doing a good job, for whatever reason, then everyone suffers."
Indeed. Since the election of Donald Trump last November, environmentalists worldwide have been on red alert, and although Schmidt concedes that there are now "headwinds", she has no plans to panic and return to port just yet.
"I come from a place that's optimistic," she says. "I come from a body of people inside the Foundation who see the world through that lens, and you've just got to take the knocks sometimes. I don't believe anyone in the United States, whether they voted for the president or not, wants their water dirtier than it is now. I don't think people want a world that is described by turning the clock back 50 years."
America may be bearing away from environmental leadership but, with people like Wendy Schmidt at the helm, the increasingly tech-driven America's Cup certainly isn't.
11thhourproject.org
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How TV is going to shape men's style in 2020
Gallery: Classic, appropriate and very British: Prince Philip's timeless style
Louis Vuitton men's autumn/winter 2020: Virgil Abloh returns with a subtle collection
Last-minute UK Valentine's holidays - from a Cornwall spa stay to a luxury hotel break in London
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All of these images were created using Stella 4d: Polyhedron Navigator. This program is available at http://www.software3d.com/Stella.php.
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HC-One's St Clare's Court Care Home in Newton Aycliffe, County Durham, is celebrating the success of its Home Manager, Jason Parkinson, who received a Kindness in Care Award for the great work he delivers for Residents on a daily basis.
Jason was nominated for the award by a colleague, who highlighted his 'kind, caring and professional' approach. He was described as 'an exceptional manager who goes above and beyond', and someone who is 'always willing to listen'. Jason was presented with his award by HC-One Area Quality Director Mandy Falconer.


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Blacklanderz®
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Outlander: Inside the Making of the Greatest Sex Scenes
Outlander is famous for its sex scenes—but unlike many shows on television, these scenes don't just serve to titillate and objectify. They're stories within the story, never superfluous, and always purposeful. They drive character development, and are essential to the relationship between protagonists Claire and Jamie. They're also just really beautiful to watch, because guess what? Sex is normal and showing it on TV isn't a big deal!
In celebration of Jamie and Claire finally getting back together (across time and space, no less) in Outlander's upcoming episode, MarieClaire.com spoke to cast members and creators about the making of the show's four most memorable sex scenes.
The Wedding: Season 1, Episode 7
In what's probably Outlander's most iconic and visually stunning sex scene, Claire and Jamie make love for the first time in order to consummate their marriage. The room is bathed in soft light, and filmed with a male and female gaze in mind—with equal time spent undressing and highlighting both characters. Filming the scene took several days, and it was intricately choreographed.
Anna Foerster, Director: "I think we were five days in the wedding chamber—and not just the sex scenes, everything leading up to them, too, all the connective tissue. There are moments where you do maybe two takes, and you're fine. But then we did pick-ups—I'd choose several angles and within those pick a moment and film it several times. For example when Claire walks around Jamie and traces her hand around his back, it was very important to get the fluidity and sensuality. We'd shoot a pick-up like that as many as six times, and [sometimes] I'd talk to the cast and camera operator while shooting."
Matthew B. Roberts, Producer: "We tried to make it like any other scene because you don't want to make the actors feel different than they would otherwise. But as the production, we were careful with how we prepped the scene—we gave it much more attention without a doubt. They were choreographed, we got rehearsal, the lighting in the room was tested, there were tests on what the costumes would look like. We don't always do that for every scene, there's not enough time. What we normally do for intimate scenes like this is rehearse first, prior to the day. You want the actors to be comfortable with the moves they're making—you have to let them be free to open up in front of the crew."
"We taped out the floor plan of the wedding chamber, and went through a very specific choreography."
Anna Foerster: "It's a huge responsibility to make the actors feel safe. Part of the way we achieve that is through rehearsal time—which is not always possible on television. We spoke very clearly about what the moments were, what the emotional beats were–and then we did something very technical and specific: We taped out the floor plan of the wedding chamber, and went through a very specific choreography, movement by movement. The actors felt comfortable—they knew where to move, which direction to fall on the bed, how their hair was falling so I could capture it—it's very technical."
Matthew B. Roberts: "We always close the set and have the bare minimum of crew—just the two actors, camera operators, and costumers. We also close the monitors to just the director, the creative producer, writer, and director of photography. During a normal scene you have open monitors and as many as 50 people wandering around doing things."
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Q: Conditional running tally sql server I play basketball and want to tally my points under certain conditions. I never play on Sat or Sun, though I do not always play every week day.
If I miss a week day session, my tally resets. If I lose, my rally resets. If I win on a Friday and win the following Monday, my tally should continue.
Here is a sample result set:
|       Date | Points | Won_Flag | Tally |
|------------|--------|----------|-------|
| 2015-07-23 |     18 |    false |     0 |
| 2015-07-24 |      7 |     true |     7 |
| 2015-07-28 |     10 |     true |    10 |
| 2015-07-29 |     20 |     true |    30 |
| 2015-07-30 |     11 |    false |     0 |
| 2015-07-31 |     18 |     true |    18 |
| 2015-08-01 |     31 |     true |    31 |
| 2015-09-14 |      0 |    false |     0 |
| 2015-09-15 |      8 |     true |     8 |
| 2015-09-16 |     13 |    false |     0 |
| 2015-09-17 |      9 |     true |     9 |
| 2015-09-18 |      1 |     true |    10 |
| 2015-09-21 |      7 |     true |    17 |
| 2015-09-22 |     15 |    false |     0 |
| 2015-10-01 |      9 |    false |     0 |
| 2015-10-02 |      5 |     true |     5 |
| 2015-10-05 |     14 |     true |    19 |
| 2015-10-13 |      3 |     true |     3 |
| 2015-10-14 |     14 |     true |    17 |
| 2015-10-15 |     12 |     true |    29 |
| 2015-10-16 |      8 |     true |    37 |

SQL Fiddle

A: You can do this with a cumulative sum and lag().  Use lag() to determine if the tally needs to restart.  Then accumulate this flag to get a group identifier that can be used for a cumulative sum:
select t.*, sum(tally) over (partition by grp order by date) as cumeTally
from (select t.*, sum(tallyStartFlag) over (order by date) as grp
      from (select t.*,
                   (case when lag(date) over (order by date)) = datedd(day, -1, date) and
                              datename(weekday, date) in ('Tuesday', 'Wednesday', 'Thursday', 'Friday')
                         then 0
                         when lag(date) over (order by date) = dateadd(day, -3, date) and
                              datename(weekday, date) = 'Monday'
                         then 0
                         else 1
                    end) as tallyStartFlag
            from t
           ) t
     ) t;

Handling the weekend days is a bit tricky.
EDIT:
I missed the part about losing.  That is pretty easy to incorporate:
select t.*, sum(case when won_flag then tally else 0 end) over (partition by grp order by date) as cumeTally
from (select t.*, sum(tallyStartFlag) over (order by date) as grp
      from (select t.*,
                   (case when won_flag = false
                         then 0
                         when lag(date) over (order by date)) = datedd(day, -1, date) and
                              datename(weekday, date) in ('Tuesday', 'Wednesday', 'Thursday', 'Friday')
                         then 0
                         when lag(date) over (order by date) = dateadd(day, -3, date) and
                              datename(weekday, date) = 'Monday'
                         then 0
                         else 1
                    end) as tallyStartFlag
            from t
           ) t
     ) t;

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REACH project at the CHCD – International Symposium on Cultural Heritage Conservation and Digitization
Beijing (China), 13-14 September 2018
Organized by THID Tsinghua Heritage Institution for Digitalization , this biannual event had attracted so far foreign experts from over 30 countries and regions promoting a tradition of international collaboration and exchange on the theme of cultural heritage, digital technologies, conservation and digitization.
The theme of 2018 conference was "Re-member: heritage driven economy" and aimed to explore the potential of heritage as a driver for the economic growth.
Many are the contributes collected during the two days meeting: international experts related on their research, projects, lessons, and opportunities, taking advantage of the opportunity to confront and debate on their respectively results on tangible and intangible heritage.
Among the participants, we mentioned Dr He Yan President and Board Member of Tzinghuja Heritage Institute for Digitization and Dr Huan Ying, Deputy Director and Chief of Internation Cooperation Division of Haidian District Science & Technology Commission, Beijing.
The Conference was also joined by Dr Franco Amadei, Director of the Italian Institute of Culture of the Italian Embassy in Beijing and a special contribution was left by Dr Marcin Grabiec, Counsellor of the Delegation of the European Union in China.
Of particular interest was the panel dedicated to the research on cultural heritage in Italy curated by Dr Antonella Fresa from Promoter srl and introduced by two presenters:
Prof Piero Baglioni, Department of Chemistry and CSGI, University of Florence, Italy, whose speech was titled "New methods and materials for the Conservation of Cultural Heritage" and Dr Mattia Previtali, from Politecnico of Milan, who presented "Some experiences on digitisation of Cultural Built Heritage: HBIM and Open Data Hubs as new paradigms".
Towards a permanent coordination structure for cultural heritage research
One year after the "Horizons for Heritage Research" Symposium held in Brussels in March 2019, under the aegis of the European Commission, the REACH project planned to continue the discussion about the need a permanent coordination structure of the cultural heritage research during its Conference planned in June 2020. Because of the pandemic, the Conference was cancelled and it was not possible to carry on the work. However, the coordination structure of cultural heritage research is still a pri...
Urban regeneration and digital heritage: two valuable experiences for the REACH project
A very intense period for the REACH project the one between the end of October and the beginning of November: 2 on line events provided the occasion to present the results of the REACH project activities and to increase its network. From 27th to 30th October the REACH project was invited to held a booth to the virtual exhibition organized in the framework of the ROCK Opening Knowledge Week an on line initiative dedicated to explore the challenges of the urban heritage: the success of this e...
This afternoon, Thursday 5th November, stay connected and join the REACH project at the Euromed 2020...
In the framework of the storytelling session of Euromed 2020 conference, the social platform of the REACH project will leave its contribution presenting a short speech titled "The Reach Project Contribution to Protecting, Preserving and Valuing Tangible and Intangible Heritage through Participation" So far, the online high level event has gathered more than 150 followers and more than 1000 registration coming from 70 different Countries. The 8th biannual European-Mediterranean (EUROMED) confer...
REACH Project at the #OpenKnowledgeWeek on line exhibition
From 27 to 30 October 2020, REACH will participate to the virtual exhibition organized in the framework of the Rock Open Knowledge Week, a four days on line event for city officers, policy-makers, urban researchers, cultural actors and civic changemakers. The event will be joined by more than 50 keynote speakers, hundreds of participants and offers an extensive programme of 20 sessions including talks, live sessions, thematic online seminars and the virtual exhibition to discover the technologic...
#participateinculture 2018 European Year of Cultural Heritage Berlin Best Practices Budapest call for papers Charles University citizen participation civic engagement Conference and events conferences and events Coventry University cultural heritage cultural participation Cyprus University of Technology digital preservation Eötvös Loránd University EU projects Europa Nostra European citizens European Commission European Year of Cultural Heritage 2018 EYCH H2020 Horizon 2020 innovation Institutional Heritage Pilot MEMOLA project MEMOLab Ministero dello Sviluppo Economico minority heritage Minority Heritage Pilot participatory approaches participatory approaches to cultural heritage Prague preservation Promoter SRL Prussian Cultural Heritage Foundation REACH project resilience Resilient Cultural Heritage and Communities in Europe Roma rural heritage Rural Heritage Pilot Small Towns Heritage Pilot sustainable development UNESCO University of Granada urban heritage workshop


The Cyber Dialogue conference, presented by the Canada Centre for Global Security Studies at the Munk School of Global Affairs, University of Toronto, convened an influential mix of global leaders from government, civil society, academia and private enterprise to participate in a series of facilitated public plenary conversations and working groups around cyberspace security and governance.
A recent stream of documents leaked by former NSA contractor Edward Snowden has shed light on an otherwise highly secretive world of cyber surveillance. Among the revelations — which include details on mass domestic intercepts and covert efforts to shape and weaken global encryption standards — perhaps the most important for the future of global cyberspace are those concerning the way the U.S. government compelled the secret cooperation of American telecommunications, Internet, and social media companies with signals intelligence programs.
For American citizens, the NSA story has touched off soul-searching discussions about the legality of mass surveillance programs, whether they violate the Fourth and Fifth Amendments of the U.S. Constitution, and whether proper oversight and accountability exist to protect American citizens' rights. But for the rest of the world, they lay bare an enormous "homefield advantage" enjoyed by the United States — a function of the fact that AT&T, Verizon, Google, Facebook, Twitter, Yahoo!, and many other brand name giants are headquartered in the United States.
Prior to the Snowden revelations, global governance of cyberspace was already at a breaking point. The vast majority of Internet users — now and into the future — are coming from the world's global South, from regions like Africa, Asia, Latin America, and the Middle East. Of the six billion mobile phones on the planet, four billion of them are already located in the developing world. Notably, many of the fastest rates of connectivity to cyberspace are among the world's most fragile states and/or autocratic regimes, or in countries where religion plays a major role in public life. Meanwhile, countries like Russia, China, Saudi Arabia, Indonesia, India, and others have been pushing for greater sovereign controls in cyberspace. While a US-led alliance of countries, known as the Freedom Online Coalition, was able to resist these pressures at the Dubai ITU summit and other forums like it, the Snowden revelations will certainly call into question the sincerity of this coalition. Already some world leaders, such as Brazil's President Rousseff, have argued for a reordering of governance of global cyberspace away from U.S. controls.
For the fourth annual Cyber Dialogue, we have invited a selected group of participants to address the question, "After Snowden, Whither Internet Freedom?" What are the likely reactions to the Snowden revelations going to be among countries of the global South? How will the Freedom Online Coalition respond? What is the future of the "multi-stakeholder" model of Internet governance? Does the "Internet Freedom" agenda still carry any legitimacy? What do we know about "other NSA's" out there? What are the likely implications for rights, security, and openness in cyberspace of post-Snowden nationalization efforts, like those of Brazil's?
As in previous Cyber Dialogues, participants were drawn from a cross-section of government (including law enforcement, defence, and intelligence), the private sector, and civil society. In order to canvass worldwide reaction to the Snowden revelations, this year's Cyber Dialogue will include an emphasis on thought leaders from the global South, including Africa, Asia, Latin America, and the Middle East.


Boasting Dual AEROSystem technology, the Cloud 352 Aero Road Helmet from Catlike allows you to adapt to the environment thanks to its interchangeable shells. With more possibilities, the Cloud 352 bike helmet comes with a vented and solid shell which allows you to fine-tune the helmet based on the race conditions. Purpose-built for triathletes and cyclist seeking to maximize their performance, the Cloud 352 aero helmet offers superior aerodynamics without sacrificing excellent ventilation. It features Catlike's proprietary MPS eVo (Multi Position System Evolution) 4-point adjustable retention system for ultimate comfort and Dual Flow thermal regulation to keep you from overheating on the toughest rides. A winner on any course, under any rider, the Catlike Cloud 352 Aero Road Helmet aims for the podium, and delivers the win!


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3 min readMystery Sequences Involved in Gene Regulation Decoded
Mindzilla
Toronto ON, Canada – Every cell in an organism's body has the same copy of DNA, yet different cells do different things; for example, some function as brain cells, while others form muscle tissue.
How can the same DNA make different things happen? A major step forward has been announced that has implications for our understanding of many genetically-linked diseases, such as autism.
Scientists know that much of what a gene does and produces is regulated after it is turned on. A gene first produces a molecule called RNA, to which tiny proteins called RNA binding proteins (RBPs) bind and control its fate. For instance, some of these proteins cut out parts of the RNA molecule so that it makes a particular protein, while other RBPs help destroy the RNA before it even produces a protein.
But these mechanisms are not well understood because the RNA sequences, which the RBPs bind to, have been so difficult to decipher. To fully understand gene regulation (and disregulation, as in the case of disease), scientists have needed to employ advanced lab techniques and data analysis to identify the patterns of the RNA sequences.
This gap in knowledge motivated a team of researchers co-led by Senior Fellow Tim Hughes (University of Toronto and the Canadian Institute for Advanced Research) to produce the first-ever compendium of RNA-binding sequences, which was published in Nature on July 11, 2013.
"It took us a long time to generate and analyze the data," explains Hughes. "After spending years developing and perfecting a method, we started looking at all the proteins in humans, fruit flies and other complex organisms that look like they may bind RNA and found which sequences they like to bind to. Our compendium of RNA-binding sequences will become a resource for researchers in this field, and will be especially useful in human genetic analysis."
The team found that humans and fruit flies have similar RBPs, since they derive from a common ancestor, and that in many cases they essentially bind the same sequences. The researchers anticipate that this is the case for proteins in other organisms.
"We looked at just over 200 proteins in total, but can probably infer the preference for tens of thousands of proteins in many other organisms," says Hughes.
In addition, many of the sequences similar across species were at the end of the RNA transcript, which is a region associated with regulation of RNA decay or movement of the RNA to another part of the cell. "This indicates that there is probably more regulation of gene expression itself at the level of stability or destruction of RNA," explains Hughes.
One of the major insights that came out of the team's analyses was about a well-studied protein called RBFOX1, which was already known to have a function in regulating RNA splicing and to be decreased in autism. The team's findings suggest that RBFOX1 has a role in regulating the expression level of nervous-system-related genes in brains with autism, and that it does so by making RNA more stable.
The underlying causes of disease are more complicated than a single gene not working right, says Hughes. He anticipates that the team's compendium will be useful in human genetic analysis.
"What often happens is that scientists identify a genetic variation associated with a disease, but then they don't understand why it leads to the disease. What exactly do these sequence changes cause? If the sequence is in a regulatory region of the RNA, then with our compendium, other scientists will be able to see what protein binds to it. This will give them a better idea of what is being disrupted."
The study was a large collaborative effort, supported in part by CIFAR, that involved Senior Fellows Brendan Frey (U of T) and Andrew Fraser (U of T) and Global Scholar Alumnus Matthew Weirauch (Cincinnati Children's Hospital Medical Center) in CIFAR's Genetic Networks program. Hamed Najafabadi (U of T), a postdoctoral fellow who performed much of the analysis in this study, was partially funded by CIFAR.
"Members of the Genetic Networks program have motivated us to look at roles for RNA-binding proteins causing disregulation of gene expression in disease," says Hughes. "We anticipate that this new knowledge will be valuable to other program members working on specific disorders."
The next steps for the team are to expand their compendium to encompass all complex organisms.
Frey also hopes to take these findings further to build models that will more accurately describe observed gene expression patterns.
"My research focuses on deciphering the regulatory sequences in DNA, which ultimately shape the fate of an RNA molecule," explains Frey. "I hope to take the RNA-binding sequences identified in this paper and use them as tokens to figure out how they act in a regulatory fashion. This will help us better understand human disease by providing insights into how a mutation in DNA affects regulation."
Publication: A compendium of RNA-binding motifs for decoding gene regulation. Debashish Ray, Hilal Kazan, Kate B. Cook, Matthew T. Weirauch, Hamed S. Najafabadi, Xiao Li, Serge Gueroussov, Mihai Albu, Hong Zheng, Ally Yang, Hong Na, Manuel Irimia, Leah H. Matzat, Ryan K. Dale, Sarah A. Smith, Christopher A. Yarosh, Seth M. Kelly, Behnam Nabet, Desirea Mecenas, Weimin Li, Rakesh S. Laishram, Mei Qiao, Howard D. Lipshitz, Fabio Piano, Anita H. Corbett, Russ P. Carstens, Brendan J. Frey, Richard A. Anderson, Kristen W. Lynch, Luiz O. F. Penalva, Elissa P. Lei, Andrew G. Fraser, Benjamin J. Blencowe, Quaid D. Morris, Timothy R. Hughes. Nature (2013): http://www.nature.com/nature/journal/v499/n7457/full/nature12311.html
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OTHER BROADWAY SHOWS IN SAN FRANCISCO
The Band's Visit Event homeBuy tickets Harry Potter and the Cursed ChildTo Kill A MockingbirdThe PromHadestownOklahoma!Jersey Boys
Until February 6, 2022
GOLDEN GATE THEATRE
Jersey Boys (Mar 1 - 13, 2022)
Professor Brian Cox (Jun 14, 2022)
Weird Al Yankovic (Jun 15 - 16, 2022)
The Prom (Jun 21 - Jul 17, 2022)
Oklahoma! (Aug 16 - Sep 11, 2022)
To Kill A Mockingbird (Sep 13 - Oct 9, 2022)
Ain't Too Proud - The Life and Times of the Temptations (Nov 8 - Dec 4, 2022)
Golden Gate Theatre Please selectVenue homeLocation and directionsPre-theatre diningOvernight accommodationSeating maps Jersey Boys (Mar 1 - 13, 2022)Professor Brian Cox (Jun 14, 2022)Weird Al Yankovic (Jun 15 - 16, 2022)The Prom (Jun 21 - Jul 17, 2022)Oklahoma! (Aug 16 - Sep 11, 2022)To Kill A Mockingbird (Sep 13 - Oct 9, 2022)Ain't Too Proud - The Life and Times of the Temptations (Nov 8 - Dec 4, 2022)
1 Taylor St, San Francisco, CA 94102
Boredom has never sounded sexier than it does in 'The Band's Visit, the beautiful musical by David Yazbek and Itamar Moses... includes one of the season's most exquisitely wrought score.
Why See The Band's Visit?
Broadway ShowsMusicals
WINNER OF THE 2019 GRAMMY AWARDS FOR BEST MUSICAL THEATER ALBUM!
The winner of ten (ten!) 2018 Tony Awards and the 2019 Grammy Award Winner for Best Musical Theater Album, David Yazbeck and Itamar Moses's The Band's Visit will make a stop in San Francisco during the 2011/22 Broadway season following on from its spellbinding, record-breaking run on the Great White Way. Following the story of an Egyptian police band stranded in the Israeli desert after a literary mix-up, it's warm, poignant and utterly captivating.
Stuck waiting for the next bus and with no hotels in town, it falls on the friendly and curious locals to take in the musicians, where each side discover more about themselves and their shared humanity.
Adapted from the award-winning 2007 film, Tony-winner Yazbeck has crafted a new original score capturing life, loss and the enchantment of the desert, alongside Moses' touching and heart-warming book. A Critic's pick in the New York Times, prepare to moved by a show the paper called, 'One of the most ravishing musicals you will ever be seduced by.'
Based on the 2007 critically acclaimed movie by Eran Kolirin, this new musical adaptation sees two very different cultures mesh together throughout the course of one-night. A simple spelling mistake at the Egypt/Israel border sees the Alexandria Police Band redirected to the wrong town, where there is no public transport, nor hotels. Taken in by the charitable restaurant owner as they discuss their predicament, the band are invited to stay at his various relatives' homes overnight. Love is in the air for one member of the band, which culminates in an enchanting evening at the local ice-skating rink. The others realise that their lives are changed forever after this change in circumstance.
Opening night: 11 January 2022
Suitable for ages 12 +
90 minutes, no intermission
Images taken from the original Broadway production and may not reflect this casting.
Cast and Creative
Book by Itamar Moses
Music and Lyrics by David Yazbeck
Directed by David Cromer
TONY AWARDS, 2018 - WINS
Best Performance by an Actor in a Leading Role in a Musical - Tony Shalhoub
Best Performance by an Actress in a Leading Role in a Musical - Katrina Lenk
Best Performance by an Actor in a Featured Role in a Musical - Ari'el Stachel
Best Book of a Musical
Best Original Score (Music and/or Lyrics) Written for the Theatre Best Lighting Design of a Musical
Best Sound Design of a Musical
Best Direction of a Musical - David Cromer
Best Orchestrations
DRAMA LEAGUE AWARDS, 2018 - WINS
Outstanding Production of A Broadway Or Off-Broadway Musical
DRAMA DESK AWARDS, 2018 - Wins
Oustanding Sound Design in a Musical
Sound good to you? Share this page on social media and let your friends know about The Band's Visit at Golden Gate Theatre.
Please note: The term Golden Gate Theatre and/or The Band's Visit as well as all associated graphics, logos, and/or other trademarks, tradenames or copyrights are the property of the Golden Gate Theatre and/or The Band's Visit and are used herein for factual descriptive purposes only. We are in no way associated with or authorized by the Golden Gate Theatre and/or The Band's Visit and neither that entity nor any of its affiliates have licensed or endorsed us to sell tickets, goods and or services in conjunction with their events.


New Delhi [India], Feb 12 (ANI): Razorpay, India's first converged bills answer corporate added but some other feather of their illustrious cap. In an inventory printed by way of CB Insights, a company that tracks startups globally, Razorpay has been indexed within the most sensible 50 personal firms on this planet this is at the trail to a $1 billion valuation. Razorpay is one in all the 5 Indian firms that made it to this prestigious record.
During the last four years, Razorpay has accomplished important milestones and accolades for his or her technologically awesome product suite, customer support and a perfect paintings tradition. They've additionally witnessed super expansion, each, when it comes to marketplace proportion and mindspace with consumers and business friends.
CB Insights is a era marketplace intelligence platform that analyzes tens of millions of information issues on project capital, start-ups, patents and partnerships, with an intention to lend a hand one see 'day after today's alternatives, as of late'. They've analyzed a number of information to reach on the record of 50 personal firms.
Razorpay has been charting an exponential expansion since inception. The corporate recently powers virtual bills for greater than 200,00zero small & massive companies; over 60% of companies use a couple of product.


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EMA: SIEWCast
Join Rachel Kelly as she speaks to key energy leaders in the run up to Singapore International Energy Week (SIEW) on the key trends you need to know about when it comes to a resilient and sustainable global energy future.
SIEWCast: ExxonMobil's journey from oil to energy provider
The move to a lower-emission future requires multiple solutions that can be implemented at scale to address some of the highest-emitting sectors of the economy. This is where ExxonMobil says it is focused - leveraging its experience and long history of meeting vast complex challenges. Here in Singapore for example - ExxonMobil has embarked on a series of initiatives that have led to energy efficiency gains of more than 25 per cent since 2002. Rachel Kelly speaks to Geraldine Chin, Chairman and Managing Director, ExxonMobil Asia Pacific to discuss this further.
SIEWCast: Scaling Singapore's Sustainable Energy Future
By 2025, Asean aims to generate up to 23 per cent of its energy through renewable sources. South-east Asia is already home to several large-scale renewable power projects. Over the past few years, Singapore has increased its solar energy capacity exponentially - but this is only one pillar of the energy mix. In a special SIEWcast brought to you by Singapore International Energy Week, Money FM 89.3 and ExxonMobil, Rachel Kelly speaks to Mr Koh Chiap Khiong, CEO, Singapore and Southeast Asia, Sembcorp Industries about the future of Singapore's energy mix.
SIEWCast: IRENA's vision for Asia's energy future
The International Renewable Energy Agency is an intergovernmental organisation that supports countries in their transition to a sustainable energy future. This year marks the second Singapore-IRENA High-Level Forum which will focus on much needed investments in the region. IRENA has highlighted that by 2050, a total of US$33 trillion of additional investment—an increase of 30%—will be required to be on track for a 1.5°C pathway. Rachel Kelly speaks to Francesco La Camera Director-General of the International Renewable Energy Agency to find out his vision for the energy landscape in Asia in 2050.
SIEWCAST: LNG's role in powering the energy transition
Transition - A buzzword that has dominated energy conversations over the last 2 years. Liquified Natural Gas or LNG is often seen as a valuable source that can power the shift to renewable sources. To find out more about the key LNG trends Rachel Kelly spoke to Martin Houston, Vice Chairman, Tellurian. This SIEWcast is brought to you by Singapore International Energy Week and Money FM 89.3 in Partnership with ExxonMobil. SIEW is an annual platform for energy professionals, policymakers and commentators to share best practices and solutions within the global energy space.
SIEWCAST: Singapore's Future Energy Journey
Singapore aims to reach net zero by or around mid-century - And as the city state commits to doing its part to tackle climate change - the energy sector plays a key role in reaching the country's targets. Rachel Kelly speaks to Mr Ngiam Shih Chun, Chief Executive, Energy Market Authority as he shares his views on Singapore's future energy journey. This SIEWcast is brought to you by Singapore International Energy Week and MONEY FM 89.3 in partnership with ExxonMobil. 01:26: What is Singapore's vision for charting the energy transition to 2050? 04:48: What are some of the key challenges when it comes to reaching energy targets for Singapore? 06:07: What are the opportunities and areas of growth for companies?
OCBC Securities: Trading Matters
An 8-part interview series with Elliott Danker and an OCBC Securities expert on how the latest news will impact markets worldwide, including Singapore, the US, China and Hong Kong.
The Afternoon Update with Rachel Kelly
Fill your workday afternoon with Rachel Kelly as she brings you conversations that will inspire and inform on programs like 'Eco Money', 'Money in the Market' and 'Your Health'. #TheAfternoonUpdate #EcoMoney #MarketView #MoneyintheMarket #YourHealth #SustainableSingapore #TheView
Money Fact
Hongbin Jeong tells you a fun money fact that you probably haven't heard of. Discover interesting facts about your money with topics ranging from currencies, banknotes and coins, the history of money and much more.
Your Money with Michelle Martin
Your Money With Michelle Martin (9am - 12pm) It's all about Your Money with Michelle Martin from 9am to 12pm. How to save, invest and make the best financial decisions for yourself. Listen to inspiring thinkers with "Influence" and hear from great authors in "Read".
#Wanderlust by Expedia x MoneyFM
With travel rebounding, 2023 is the year for many to splurge and travel to their favourite destinations. Join Tim Go as he speaks to travel experts and Expedia Flight Partner to uncover the top air travel trends in 2023, and how this affects your travel planning and decision-making.
UOB: ASEAN Conversations
A 4-part interview series in various topics circling ASEAN consumer sentiments and trends.
Prime Time with Timothy Go, Bharati Jagdish & Finance Presenter Chua Tian Tian
Stay current with the latest news, market movements in Singapore, Europe, and the US, and property investment insights in this ever-changing economy on Prime Time with Timothy Go, Bharati Jagdish and Finance Presenter Chua Tian Tian from 4pm to 7pm.
Emerging Enterprise Awards 2022
Jointly organised by The Business Times and OCBC, Emerging Enterprise Awards 2022 celebrates the SMEs that have demonstrated business innovation, resilience and excellence. Discover what it took for the finalists to stay viable in unexpected times and emerge triumphant.
The Breakfast Huddle with Elliott Danker & Finance Presenter Ryan Huang
Start your day with Elliott Danker and Ryan Huang as they discuss the latest global market trends with business insights from industry experts.


text:
Album ReviewsMusicPsych Insight
Say Psych: Album Review, Soy Dios by Dead Sea Apes
Simon Delic — October 12, 2016
"The bell at the beginning of this album seems to tell us that we are entering some sort of sacred space, and certainly the processive drone of the first track, Pharmakon, sounds to me like it could be set in a Buddhist monastery. Although the title of the track would suggest otherwise, it is, like the rest of this 57 minute album, a beautiful and etherial experience that one will want to sit and listen to rather than have as background to something else. It is ambient in the sense of being calming, but certainly not passive. Indeed, the press release for the album describes it as being 'ghostly', and while I would not disagree with this I would say that while this word describes a presence, it also suggests that something is absent; not how I would describe the music on this album. It is very meditative in a way that holds your attention."
This is how I began my review of 'Lupus', and is a fairly accurate way of how I now remember first hearing the album, itself my first experience of Dead Sea Apes music. I had seen the band live supporting The Lumerians in Sheffield a year earlier, and had been intrigued by them then; but Lupus was a significant moment for me and, at the time, a fitting way to begin to experience their music.
What I hadn't realised, until very recently, was that Dead Sea Apes first released music in 2010, in the guise of the 'Soy Dios' single; comprising the first three tracks found on this, their latest release. Switch, then, to the last time I saw the band live in a wonderful co-operative art space in Belper, Derbyshire. Choosing to listen to this album on the way down I found myself heading down the motorway gradually becoming more and more mesmerised by the music as the lights seemed to get longer and longer…like going into some hyperdrive…before finding myself, during Soy Dios III, on some sort of four lane astral plane blacktop….totally lost in the moment…forget der Autobahn this was der Kosmischebahn.
[bandcamp width=100% height=120 album=571558935 size=large bgcol=ffffff linkcol=0687f5 tracklist=false artwork=small track=3157747185]
Listening to Soy Dios with the benefit of hindsight, six years after its original release, it begins like some ur-Dead Sea Apes sound. All the elements are there from the moment that the guitar transudes into the track as if summoned from another dimension. And there it is; somehow complete…a fully formed sound from a band just starting out, not a formula but a template upon which the band have continued to build, warp and transcend over their ensuing albums. This then is how I see side one of this release. That moment when everything coalesces a couple of minutes into track I is just perfect.
On side 2 the aforementioned Soy Dios III is one of those tracks which seems so simple but is somehow so loaded with meaning, a basic single drone with minimalist deviations away from it, while the new track, Soy Dios IV, seems to continue with that atmosphere while at the same time picking up the themes of Soy Dios I and II.
This, put simply, is a beautiful album. It is calm and meditative, thought provoking and intense; I imagine it is whatever you want it to be and I am pleased that it has once again seen the light of day.
'Soy Dios' is still available on download, vinyl (Cardinal Fuzz release but sold out there), and cassette (a Sky Lantern Records release) on the Dead Sea Apes bandcamp. North American listeners can get both vinyl and cassette from Sky Lantern here.
You can find my other writing for Backseat Mafia here.
Follow me on Twitter @psychinsightmusic, Facebook and Instagram
Tags: Cardinal FuzzDead Sea ApesManchesterPsychPsych albumsSky Lantern Records
Next post Live: The Mission + Peter Murphy - Manchester 5-10-16
Previous post New Music: Pangaea - In Drum Play
About the Author Simon Delic
Premiere: Fingerless – Tambourine Addict Who Plays the Drugs
Arun Kendall, July 6, 2019
Say Psych: News: Full Line Up for Fuzz Club Eindhoven 19 Confirmed
Le Crowley, July 4, 2019
Track: Ty Segall – Radio
Jim F, July 1, 2019


What are Bohol Peanut Kisses' Ingredients?
What are Bohol Peanut Kisses made of?
Production volume of Bucarez peanut kisses increased from its initial 51,800 kilograms to 86,400 kilograms.
Sales posted a 70-percent increase – from P10 million to P17 million.


text:
using System;
using System.Collections.Generic;
using BBS.Libraries.Extensions;

namespace BBS.Libraries.IO.Serializers
{
    public partial class JsonSerializer<T> : Serializer<T> where T : class, new()
    {
        public override string Serialize(object @object)
        {
            throw new NotImplementedException("Please use extensions");
        }

        public override T Deserialize(string value, List<Type> knownTypes)
        {
            throw new NotImplementedException();
        }

        public override T Deserialize(string value)
        {
            return value.FromJsonString<T>();
        }
    }
}

redpajama_set_name: RedPajamaGithub


text:
VIA warns of Serial ATA II incompatibility
By Derek Sooman on July 27, 2005, 15:53
VIA has issued a warning of problems with chipset support for hard drives using the Serial ATA II standard. Seemingly, VIA's VT8237 and VT8237R chipsets don't provide forward compatibility for Serial ATA II. As hard drive makers are increasingly moving towards this type, this could be a problem for customers who bought these chipsets and might be seeking to do a hard drive upgrade. To combat these issues, VIA is getting ready to release VT8237R Plus, which will solve the problem.
Western Digital and Samsung are already shipping these Serial ATA II devices, while Seagate and Maxtor will start shipping them during this quarter.
If you connect S-ATA II drives to an old VIA chipset which includes the VT8237, VT8237R, VT6420 and VT6421L, the devices won't be detected.
More anti-robocall legislation is making its way to the House Energy & Commerce Committee
Microsoft scores multibillion-dollar cloud deal with AT&T


text:
<?php

interface Tx_ExtensionKey_FooInterface
{

}


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text:
/ Horror
A Quiet Place: Part II
The Grudge Reboot
The Conjuring: The Devil Made Me Do It
V Wars
Could 'Avengers: Endgame' Directors Be Developing 'Poltergeist' Reboot?
By Jamie Jirak - April 10, 2019 06:08 pm EDT
Joe and Anthony Russo have quickly becoming some of the most sought after directors in Hollywood. The duo behind Captain America: The Winter Solider, Captain America: Civil War, Avengers: Infinity War, and Avengers: Endgame have become a household name, and now they've made a new deal with MGM. According to Deadline, the Russo's company, AGBO Films, made the MGM deal to become the "spiritual creative architects of some of the iconic properties in the MGM library." There are plenty of classics to choose from, and many are speculating that Poltergeist is on the top of that list.
Originally, the Deadline article mentioned the 1982 horror classic by name, but they have since removed it from the post. It's currently unclear why they chose to remove mention of the movie, but other outlets have continued to speculate and share the original information given about the possibility of a Russo/Poltergeist endeavor.
"Now, Marvel darlings Joe & Anthony Russo are disturbing MGM's burial ground as they've been given carte blanche to make films from anything in the studio's library, Deadline is reporting. Of the massive library, it's already been decided that the duo will be tackling another remake of Poltergeist," Bloody Disgusting wrote.
"Also exciting are the other films the MGM catalog includes, first and foremost being the horror classic Poltergeist. Deadline speculates about this title specifically, noting that the deal is 'fueled by the allure' of its potential remake," SyFy Wire added.
Another Poltergeist remake happened in 2015 with Sam Rockwell as the lead, but it wasn't met with much love from fans or critics. While there are plenty of other movie options on the table, it'd be interesting to see the Russos tackle the horror genre.
According to Deadline, the first movie to be produced through the MGM/AGBO partnership will be The Thomas Crown Affair, which is expected to star Black Panther's Michael B. Jordan.
Joe Russo spoke about the overall deal, explaining how it falls in line with their company's mission.
"This deal reflects the fundamental tenets upon which AGBO was built: a storytelling driven studio designed to develop and produce a complex array of narrative in an ever-evolving landscape. Artist ownership is primary to our agenda, and we'll be serving as partners on every film. It's also an amazing opportunity for AGBO to work with MGM, which owns one of the greatest libraries in the world."
How would you feel about the Russos remaking Poltergeist? Tell us in the comments!
The Russo's newest film, Avengers: Endgame, hits theaters on April 26th.
In this latest episode, we dive deep into Shazam!, One Punch Man and more! Make sure to subscribe now and never miss an episode!
Kevin Bacon Says He's Just "Waiting for The Call" for a Tremors Sequel
The Boogeyman From Stephen King Gets First Trailer
Sarah Michelle Gellar Reveals Why She Didn't Watch a Movie with Husband Freddie Prinze Jr. For 15 Years
Mayfair Witches: The Devil Comes in Many Forms in New Episode Teaser
Infinity Pool Is Officially Certified Fresh on Rotten Tomatoes
Skinamarink Streaming Date Confirmed
Peacock TV Series From The Vampire Diaries Creators Scrapped


Just like sunscreen for your skin, the liver acts like a filter that protects your body from harmful substances as foods and fluids are being processed and enters the body. The liver has numerous essential functions in the body like filtering your blood, fighting off infections as well as viruses, helping to discharge waste and giving your body the energy you need to carry on your day-to-day activities.
As you can see, our liver plays an important role in maintaining our bodily functions and because of that; we should definitely take care of it. Keeping our liver healthy isn't as complicated as it may seem. Here are 10 Essential Tips for a healthy Liver.
Get regular and consistent exercise. Exercise is essential to maintain a healthy body. A healthy body also means a healthy liver. A simple 30 minutes to an hour a day makes a huge difference in your health.
Plan a regular 3-day detox diet try to do it once a month to cleanse your body from harmful toxins.
Control your alcohol intake. Excessive intake of alcohol destroys liver cells which may lead to swelling and a condition called cirrhosis. Ask your doctor about daily alcohol limits.
Be cautious with your medicines. Certain drugs may sometimes have side effects which can harm the liver. Ask your doctor for possible complications before taking any medication.
Eat a healthy diet. Eat plenty of liver cleansing foods such as beets as well as green leafy vegetables.
Avoid processed foods. Processed foods put a lot of strain on the liver. Eliminate artificial foods and preservatives to give your liver a breather.
Manage your diet. Eat multiple small meals instead of the usual 3 large meals. Incorporate vegetables and fruits in your diet as well.
Take high quality supplements. Take the utmost care for your liver by giving it the essential nutrients that it needs. A single nutrient deficiency could pose a threat to your liver.
Take sleep seriously as it helps improve your overall health. Just like exercise, sleep is essential in maintaining healthy functions of all organs in your body.
Get the most out of your liver cleansing with the help of our Liver Support today! This supplement contains all the essential multivitamins and minerals to help support your liver's regular healthy functions and maintain its optimum performance. Get one today and experience a healthier new you!


text:
Q: Region name restrictions in AppFabric Cache We use Windows Server AppFabric Cache 6.1 x64. Having an instance of Microsoft.ApplicationServer.Caching.DataCache and trying to get an object by key/region causes DataCacheException if the region name contains characters like '!' or '.':
 ErrorCode<ERRCA0018>:SubStatus<ES0001>:The request timed out.

'-', '_' are fine. However, any character is fine for item key but not for region name. MSDN is silent about any restrictions. Why? How do you escape it?

A: Ended up with this one:
    static Regex regex = new Regex(@"[^a-zA-Z_\-\d]", RegexOptions.Compiled);

    /// <summary>
    /// Fixes invalid characters in region names that cause
    /// DataCacheException ErrorCode<ERRCA0018>:SubStatus<ES0001>:The request timed out.
    /// </summary>
    /// <param name="name">Region name to process.</param>
    /// <returns>Escaped name where all invalid characters are replaced with their hex code.</returns>
    protected internal static string Escape(string name)
    {
        if (string.IsNullOrEmpty(name))
            return name;

        string result = regex.Replace(name, m => ((int)m.Value.First()).ToString("X") );
        return result;
    }


arms, August 18, 2006, following a brief illness. Born August 9, 1996 at BC Children's Hospital, weighing 1 lb. 15 oz., Casey lived a full and rich life. He loved spending time with his Mom and Dad and Brent, camping, horseback riding, games, videos, anything and everything related to firefighting and knocking down Brent's construction projects. His smile touched each person he met – when the sun wasn't shining, he was shining for it. He taught those close to him to stop, smell the dandelions, and make the most of every day. He demonstrated daily that a disability doesn't matter when it comes to active participation and living life to the fullest.
The family is appreciative of the quick response by the ambulance team and the St. Joseph's Hospital emergency staff. Special thanks to Lyn Baker, Debbie Williams, and Heather Campbell for the daily loving care and support they provided Casey and his family.
A Celebration of Casey's life will be held Wednesday, August 30, 2006 at 2:00pm at Piercy's – Mt. Washington Funeral Home, 440 England Avenue, Courtenay.
Contributions may be made to Y.A.N.A. Fund Society, Box 3159, Courtenay, BC V9N 5N4, or Comox Valley Therapeutic Riding Society, 4839 Headquarters Road, Courtenay, BC V9J 1P2, or Comox Valley Child Development Association, 237 Third Street, Courtenay, BC V9N 1E1.
In Casey's memory, live life to the fullest and make the most of everyday.
Arrangements are by Piercy's – Mt. Washington Funeral Home.


There will be lots of things inside homes that are damaged or torn if there are kids who are too young living in them. They might be injured by these or could eat them up and items which prevent these include a childproof toilet paper holder. Tissue is found inside these, which is soft or springy, and are made in rolls which children really love to play with and event chew.
While paper of this sort is not a thing that could cause real injury, you might need to have to clean up following the mess kids make with this item. They might get acquainted with it through toilet training but could imagine it to be a good thing to play with. Any loose and handy item like is certainly a candidate for informal plaything.
A holder is more practical to have, not only because it helps to keep childish hands from getting to the tissue but also because the product then is easier to take out. In fact, you can economize on its use when you have such a holder. Also, there will be any amount of unholy messes when the tissue gets scattered and torn.
Children and pets find this item something of a plaything, along with water in tubs or toilets and other stuff that are soft and light. They do not actually mean anything by it, or are not thinking of destruction. Everything is more often than not simply play for them and you should put in items according to this.
It will mean having holders which are not things that injure and cause any harm and discomfort to kids or pets. That means choosing the safer stuff, those items that do not have handles or sharp edging for instance. Containers like these are therefore smoother, with rounded surfaces and no holds, conforming only to products contained therein.
This means no corners or edges which are sharp, so that skin does not break with hard contact or have things detached and could be swallowed. This for children means items which are also for pets and using those for pets might work better. The concerns are interchangeable, and could feature petproofing as an item working better.
That will be something you might reconsider if choosing between options here. Going online will help you get at sources or those stores with stocks for products like these. These are products conveniently found in internet sites that could feature them exclusively or have entire ranges of like stuff for the home or for consumers.
There are holders that have colors and designs, and nothing actually is matte or uncolored and neutral. There is premium on lighter tones for the toilet and domestic places because these will mostly conform to the design and color schemes. There might be designs on the items too and these are often simply images.
These as mentioned are handier for use in homes. Homes here will have many kinds of items that are functional or useful like these. You simply have to have the more affordable ones which remain reliable and fit needs for spaces they will be used for.


Note: We have more DNA testing service centers near Holland . If this location isn't close to you, please call! Separate collection appointments can be made for tested parties who are living outside of the Holland area.
We have a location near you! Please call one of our friendly and knowledgeable Case Managers at (877) 848-6918 to arrange for your DNA sample collection at a time that is convenient for you. Please note, separate collection appointments can be made for tested parties who are living outside of Holland area. Also, if money is tight, we can help with flexible payment options too!


Custom monthly programming design and tracking, customized nutrition program, mental health activities with email breakdown and education segment, along with 30 MIN phone/video coaching accountability check-in and review Monday, Weds and Friday every week for 4-week periodization.
Recommended for those who have little to no gym experience looking to gain an understanding of how training programs work, confidence in a gym setting, and/or those who know they need to be held accountable to achieve their goals.
Experience professional online-coaching to improve your overall wellness, push you toward your goals and to keep you accountable to your plan.


text:
Diamondback Adds City Bikes and Hardtails to Spring 2021 Collection
The Division, Metric and Hatch bikes kick off a summer of riding with versatility and accessibility
April 28, 2021 Verde Brand Communications
KENT, Wash., (April 28, 2021) — Diamondback Bicycles is furthering its commitment to exploring the road less traveled with the addition of the Division, Hatch and Metric bikes to its collection. Striking a balance between accessibility and performance, Diamondback continues its efforts to design and build quality bikes at a price point that offers opportunities for all.
The Division series is comprised of the Division 1 and Division 2, the ultimate commuter bikes. Nimble like a mountain bike but designed for the pavement, both bikes are built with a high range of gears, lightweight components and versatile tires that can do it all. The Metric 1, Metric 2 and Metric 3 offer an efficient fun ride while its geometry keeps things stable. The Hatch 1, Hatch 2 and Hatch 3 round out the collection with a do-it-all build and front suspension that ensures they're at home on the trail or on the road.
"We're incredibly excited to add these new bikes to our lineup," said Michael Brown, VP of Product Development for Alta Cycling. "They're amazing additions to the Diamondback family that add depth to our collection with a broad range of end-uses and price points. We can't wait to see them out in the wild."
The Division 2 ($850) and Division 1 ($765) are built for city travel if that's to work, school or local restaurant and the unpredictable surfaces riders may encounter. This ultimate multi-use machine is like a mountain bike for the city. Designed with a lightweight aluminum frame and fork, the Division 1 and 2 are lightweight enough to lift up steep stairs to an apartment, but durable enough for hardcore city use. The Division 1 Division 1 features a 1×8 Shimano drivetrain and mechanical disc brakes. The Division 2 features a 1×9 Shimano drive system with a larger diameter handlebar and Hydraulic disc brakes for optimal stopping power. These bikes have smooth-shifting and are low-maintenance with serious braking power for wet and dirty conditions and the big all-terrain tires roll over almost anything in their path giving riders the ultimate city cruiser.
The family of Metric bikes give riders the nimbleness of a road bike, but the stable and upright riding position of a mountain bike makes them a great city and commuter bike. The Metric 3 ($885) features a Shimano Acera 9 speed drivetrain, a custom alloy frame and flat handlebars for a stable ride. With Tektro Hydraulic brakes, 700c wheels and smooth 35c tires that are wide enough to tackle obstacles riders find along the way. The Metric 2 ($675) features a Shimano Acera 8 speed drivetrain as well as a custom alloy frame, flat handlebars and 700c wheels and 35c tires. The Metric 1 ($585) also features a Shimano Acera 8 speed drivetrain, custom alloy frame, flat handlebars and 700c wheels and 35c tires plus a Tektro 837, Aluminum V-Brake. All three bikes come equipped with rack and fender mounts giving riders the ability to customize the bike for any commute.
Rounding out the spring collection the Hatch 3 ($700), Hatch 2 ($650) and Hatch 1 ($600) are made for dirt, gravel and pavement and are for people who want to explore the path less travelled. The Hatch collection features Progressive Wheel Sizing meaning depending on the rider's size will determine the tire size. The sizing includes extra small and small with 27.5X2.25 tires and medium, large and extra large with 29X2.25 tires. All three bikes have a 100mm travel fork and grippy 2.25-inch wide knobby tires to help riders easily roll over bumps and potholes with confidence. With 21 gear combinations riders can always find a comfortable pedaling pace. The Hatch 3 features Tektro hydraulic disc brakes and the Hatch 2 comes with Tektro mechanical disc brakes that both provide reliable stopping power. This affordable and reliable bike is ready for any adventure.
All the new bikes will be available online at diamondback.com and in select authorized Diamondback retailers nationwide. Diamondback will be taking full advantage of their omni-channel sales model, using their own website to educate consumers on all the new bikes, as well as drive traffic to independent bike shops via their dealer locator.
For additional information on all Diamondback bikes, please visit www.diamondback.com or follow on Instagram, Facebook or Twitter.
About Diamondback Bicycles:
Born in Camarillo, California, in 1978 and today based in Kent, Washington, Diamondback designs and builds performance bicycles for every rider at every level. With roots in the BMX world, and ongoing innovations in road, triathlon, and full-suspension mountain technologies, Diamondback continues to build a legacy of quality, service, and community. For more about Diamondback Bicycles, visit www.diamondback.com.