School reception / lobby areas are the first point of call for any visitors, staff, parents and students. They should be able to instantly depict the school's personality, identity and ethos on all who pass through. Reception areas should provide a warm welcome, visually communicate the schools character, create an uplifting and stimulating space and provide functional yet aesthetically pleasing furniture. Technology integrations can form a supporting or central role, very much echoing the schools holistic view to technology whilst simultaneously providing enhanced functionality and efficiency.
The front of house positioning presents an unmissable opportunity to provide visitors and students alike with a snapshot of the quality and philosophy of the establishment. Signage, both static and digital should be included in any reception design to enhance information display and dissemination as well as create a memorable and engaging display for visitors to view whilst in the waiting area.
Soft furnishings need to provide the comfortable seating visitors expect whilst waiting and if specified correctly can add much needed splashes of colour which echo the school's colourway as well as providing a point of difference to other dull and utilitarian School reception areas.
As receptions are high-volume traffic areas, functionality needs to play a key part in any design, ensuring the administration hub can function as it needs whilst still imbuing the area with innovation, ease of use and practicality.
Speak to one of our design team who will gladly discuss innovative, practical and achievable design elements and help make your Reception / Lobby area stand out from the rest.


Eek! The holidays are coming!
Welcome to the November Etc by Danyale blog challenge! I don't know about you, but to me November means food and family. I mean after November and December, I usually have to go on a major diet! So this challenge revolves all around food. It could be a favorite food, or a favorite food memory. The theme is just simply food.
My family certainly loves food. And we love eating out. My kids get super excited about the thought of not having to eat at home. I guess that must mean I'm not a very good cook. So I used Danyale's awesome Southern Comfort Collection to scrap one of our fun, dining out experiences.
Scrap a food layout using any Etc by Danyale kit of your choice.
Upload your layout and post it here for us to gush over by midnight EST on Wednesday November 30, 2016.
Our October winner was Ruth Ann/ corsicar!
Loved this challenge and your kit, it was a must have… Here is mine!
Thank you for the Thankful mini kit freebie! It was exactly what I needed for these layouts of our Thanksgiving dinner this year.
I think I made it! I love this kit "Southern Comfort"! Thank you so much for the "Thankful" freebies this month! I love them and used the template on this layout.


text:
Miami-Dade County News
Report: A purple-haired grandma lives in a tree house. Now she's told it has to come down.
By By David Smiley
The Miami Herald |
Shawnee Chasser sits with Coonie, her pet raccoon, on the steps of her tree house. Miami-Dade Couty has ordered her to tear down the tree house. (Patrick Farrell)
Shawnee Chasser found a higher standard of living 25 years ago when she moved into a tree house, reports The Miami Herald.
Now, she has to come down.
A claustrophobic flower child with purple streaks in her graying curls, Chasser has spent the last year fighting Miami-Dade County over the fate of the wood cottage where she lives, nestled against the forked trunks of an oak and strangler fig in the wooded front yard of her late son's Biscayne Gardens home.
But the county says the open-air chateau was built illegally, is unsafe and must be demolished in the next four months. Chasser — who once marched from California to D.C. as part of an anti-nuclear arms protest — says that will never happen, setting up an only-in-Miami showdown between a $7 billion government and a 65-year-old grandmother who sells bags of organic popcorn at Whole Foods.
Go to Herald.com for the full report.
The Miami Herald
Sun-Sentinel • Most Read

redpajama_set_name: RedPajamaCommonCrawl


Asset allocation is very important in growing your wealth , the correct mixture of assets provide a bullet proof during rough times. There are several asset allocation are available Buffet allocation , Ivy allocation, 60/40, 40/60, Seven twelve , Faber etc.
Backtest from 1990 , this portfolio is amazingly performed very well in recession , market crash etc . The worst year it lost only 3% , average annualized returns is 6.5% per year.
The next nearest another Portfolio is is Ray Dalio portfolio , this allocation plan is discussed in detail in Tony Robbins MONEY Master the Game: 7 Simple Steps to Financial Freedom book as All weather fund.
What you think of your asset allocation plan ? Share your thoughts !!!
Does Great Product make Great Stock ?
When is next Recession ? Exactly !


Phase 2 of Regent Plaza is a new addition to the Manchester Skyline.
Located on Regent Road in Salford in the emerging creative quarter creating a contemporary living space. Regent Plaza is a prestigious landmark development comprising of five unique blocks surrounding a centralised landscaped garden with seating and barbecue areas.
Property investment - like any investment - can be fraught with risk. In order to negate some of this, there are ways in which you can find that perfect property. Whether it is building new or purchasing an already-constructed residence or commercial property, the key is to find an area that is in high demand. Here are some of the reasons why Manchester might be the property investment location you have been looking for.
A major part of property investment success comes down to location. Though you may be tempted to invest in property in lower-quality, high-interest locations, this can be a risk. Similarly, looking for a high-quality location that has low-interest is not a sound investment either. The trick is to find the perfect middle-ground; an area that is established and yet has room and potential to grow. Manchester fits this criteria perfectly, with recent investments in infrastructure, a growing population, well-paid government workers wanting to live close to their jobs, and developers creating quality apartments, and high profile projects like Manchester MediaCity, it is a hot destination for investment.
Manchester is experiencing a population growth that is three times the national average. With all of these people living in one place, there will definitely be high demand for quality properties. Statistics show an approximate 2.5 million people currently live in Manchester, with a strong workforce that contributes billions of pounds to the region's GDP. Development initiatives have seen the construction of high-quality hospitals, research facilities, universities, and accommodation. All of this has caused more people to move and work in Manchester over recent years. With the population continuing to grow, there is a constant need for housing, and this makes purchasing an investment property an attractive - and possibly very financially smart move.
Today, everyone wants to live in a connected area with good amenities. Living in an area that is separated from shopping centres, medical clinics, and educational establishments is no longer an option for most. The good news is that developers know this and are constructing homes and apartments in strategic locations. Manchester is a great example of this. It is home to the UK - and Europe's - biggest university campus, with thousands of both national and international students. Fashion and entertainment are also a major draw, with giant shopping centres, bustling nightclubs, and, of course, Manchester United and Manchester City football stadiums nearby.
Good transport links with highways, buses, trains, and airports are vital when choosing where to purchase your investment property. Not only does it make it a more enticing place for residents to live, but it facilitates tourism, which will raise the value of the area and your property. Manchester ticks lots of boxes. With the UK's largest regional airport, it sees around 22 million passengers travel through its doors every year. While there is no such thing as a sure-investment, Manchester is certainly a location you will want to keep an eye on.


Check out what the NBA Champion Heat will be wearing for opening night next week.
Today adidas and the Miami Heat have unveiled the NBA Championship Ring Ceremony Collection, which will be worn for the team's October 29th opening game against the Bulls.
The on-court jacket features a large Larry O'Brien NBA Championship trophy on the back, along with their three championship seasons. The NBA Championship Ring Ceremony Collection also includes a Swingman Jersey, Climalite Tee and hat collection.


In a previous post, Justin Cook set the stage for container-native monitoring. In the past, I've also written various pieces on container monitoring on our own blog, but now I'd like to take a step back and discuss how and why we arrived at the need for container-native monitoring. Because the answer "when you use containers, you need container-specific monitoring" sounds more like a sales pitch and is not very substantive. Why is it that existing monitoring tools are so hard to plug in container environments, and what do these new "container-native" tools do different?
Let's start by looking at how monitoring was done in "classical" environments, before containers were in fashion. In this case the applications run on classical servers or VMs and this part of the infrastructure is typically monitored by a server or infrastructure monitoring tool. Think Nagios, Zabbix, or something along those lines.
In a classical environment, we sometimes talk about "monolithic applications", although these typically consist of multiple tiers, e.g. a load balancer, a web server, an application server and one or more database and caching components.
What makes these applications more monolithic is that the business logic in the application server is typically one large and integrated block, e.g. some Java code running on a Tomcat server. To gain insight in what is going on at the application level, APM (Application Performance Monitoring) tools were devised. At the expense of some extra overhead, they profile your application code using techniques such as byte code instrumentation, to gain visibility inside the call stack of your application.
Of course you can containerize your classical application without any further changes, but typically containers go hand in hand with an evolution towards more microservice oriented architectures, where application logic is split up in smaller components, each running in their own container. The picture above now becomes a lot more complex, with for example the business logic component being split up in different smaller components that interact with each other.
In such a scenario, classical server monitoring is still needed, but now you also need to monitor the individual containers. And these containers are being orchestrated and managed themselves, for example by Kubernetes, so we also need to monitor that layer to understand how containers are distributed over the different servers and which services they run. This is an aspect typically not covered by classical APM tools, but fundamental to obtaining the right visibility in a container environment.
Finally, what are these containers doing? It's not enough to know what image or service a container is running, but also how the service inside is performing — and doing that in an efficient matter. This is where APM tools have difficulties, since they rely on an agent that needs to instrument every container, resulting in a lot of overhead and "modification" of the container image. So better and less intrusive techniques are needed that get relevant application metrics in a more lightweight manner, for example from log files, API's, management interfaces, Prometheus endpoints, and so on.
So, with containers, monitoring becomes a stack with more layers to be monitored that in a classical environment as shown below.
Of course, you can argue that APM tools still have value in such an environment, maybe not so much the instrumentation of the containers themselves (since there are other lightweight methods of doing so as we argued), but in understanding the interactions between different microservices. This part of the APM tooling is typically called "tracing" and works by injecting extra identification information in requests so that they can be stitched together to paint a picture of the interactions between the different microservices. This can help identifying problematic calls that are slowing down your application.
The recognition that distributed tracing is becoming an essential part for monitoring microservices has also fueled new initiatives, such as the OpenTracing or OpenCensus projects. Simplistically speaking, this is tracing without the byte code instrumentation of APM tools.
OpenTracing defines a tracing API (not an implementation!), and currently only a few of the newer microservices frameworks such as Dropwizard and Spring Boot support an implementation. For other applications, you need to define manual instrumentation. This is still a big difference compared to more automated but proprietary APM tools.
OpenCensus goes a step further in that it also provides some standard libraries for different languages. However these projects are evolving fast, and in particular OpenCensus is also supported by APM vendors, so we will likely see more automatic instrumentation capabilities going forward.
It's certainly exciting times for container and microservices monitoring. So far, much of the effort has been on defining and gathering the appropriate data in several forms: metrics, logs, structured events, traces, etc. Equally (or even more) important is making sense of all this data, linking these different data sources together and providing valuable insights. This is where the real differentiation will be made in the market, where monitoring tools need to provide adapted visualizations, workflows and analytics to solve customer problems.


On this chip, there should be a row of numbers that says 100427287.
On the label side of the drive, near the top, there should be a line that says "Model: ST3250620A".
The P/N number is located a few rows below, it should say "9BJ04E-305".


Slide internals like extractor, firing pin, firing pin springs and blocks.
For sale is this complete recoil spring assembly which is the guide rod, spring, and plug. Price is $40 shipped within the CONUS.
I have parts lots of vintage parts for your slide, springs, pins and block and barrels. Let me know what you need I may have it. Price varies on component, plus shipping.


On a number of occasions, Akinbode Akinbiyi has said he moves quickest on foot. He says this when regarding his life as a photographer working in major African cities. Yet "quickest" contrasts with the rhythm of his work – he spends years, sometimes decades, working on a series of photographs. The idea of a photographer on foot in a city evokes a sense in which time doesn't merely move linearly, but recurrently. If you move by foot you occasionally pause to wonder, before moving again. Then you might feel obliged to return to where you walked past the last time. Each time he returns to a city where he has previously taken photographs, it is as if he reworks his assumptions about streets, roads, and the strangers who traverse them. These reworked assumptions – glimpses of a metropolis in a swirl of change – can be seen in his photographs of Lagos that go as far back as the 1970s. In some of these photographs it is remarkable how Lagosians are pictured. We see the sheer privacy of their lives, cast against the concrete, steel, and rubble of their city. They are often walking alone. Or where they stand with others, they act or gesture as if alone. An individual life can unfold distinctly within the bustle of a city.
As a photographer who has worked with the same kind of camera since the 1970s, Akinbiyi's vast, inimitable oeuvre is mostly, at the moment, inaccessible. This is promising. It suggests that what was at first familiar when the photographs were taken, becomes less and less so, until the images tell what has passed into history. In August 2016 I spent several days with Akinbiyi, just as he was about to leave for Berlin to receive the Goethe Medal. I was meeting him for the first time. Yet our conversation seemed to tend towards the conspiratorial. Not quite in the manner of old friends, but as though we were both eager to pass on undisclosed secrets about our lives. As the far younger man, I spoke to him as one would to a grandparent, or a fortune-teller, hoping that the prescient insights with which he responded would subsequently inform the trajectory of my life. He seemed to accept this secret kinship. He responded to me without restraint, focusing on my ideas instead of his, almost to the point of self-abnegation. I hope our conversation, some of which is reproduced below, captures a sense of his generosity.
I am not a postcard purveyor of images. I like to demand of myself but also of my viewers. To look at one image I always say you need about a year.
Emmanuel Iduma (EI): When I read about how people talk about your work, I find it interesting that you are frequently referred to as a Nigerian photographer. Would you say that's an accurate assessment, considering that you've lived outside the country for most of your life?
Akinbode Akinbiyi (AA): I see myself very much as a Nigerian photographer, a photographer who works within West Africa, but also on the African continent. But I understand, even more and more as I get older, the European ways of thinking or doing things, specifically because I grew up in Britain, in Nigeria and Germany, but also in different countries… France, Holland, Belgium. After a while it dissolves to one. I more or less know how to move through all these countries.
EI: When we are asked to say who we are or to tell our stories, we often move in a linear direction from point A to point B. I am interested in the definitive moments of your life, which Down the footpath In conversation with photographer Akinbode Akinbiyi are less linear. How would you sum up your experiences, your travels, so far?
AA: I like what you said because this linear narrative, I understand it. I appreciate it, but I prefer the narrative to be very much like jazz. For example, I just got back from Lagos. I spent the last two weeks with my parents, who are over 90, but still physically fit. So now, I am their 70-year-old son, I am their first-born, and the three of us were together. It was like going back to 70 years ago when I had just been born. I was born in Oxford. I wasn't aware then because I was a baby, but we were a close-knit group of three human spirits. Now 70 years later, we are back together again, living in the same house.
It's very interesting because now they are over 90, but their long-term memory is very sharp. They can remember things from those days. They were telling me some very interesting stories. It makes you understand much more about this socalled life in the sense that it is not linear – at least that is the way I see it. I much prefer it to "Once upon a time." I prefer starting from the beginning, the end, back to the middle, back to two-thirds, and so on.
I eventually moved to Germany. Not that it was an important move as such, but it was just that coming to grips with this whole drama of what had happened during the Second World War. I grew up just after the Second World War; I was born in 1946. I can clearly remember my parents talking about the horrors of the war and I had a particular picture of what Germany was like and what the Germans were like. But when you actually live in Germany, you realise that that is just a small part of the whole picture. You are living in a much more complex and very layered experience. And then of course I am very passionate about photography. And also fortunate because I had close friends like Jide Adeniyi- Jones; since the very beginning of my photography, we've been collaborating. Even before that, we knew each other. He studied photography; I studied literature. So we always had a close relationship, right up to today.
EI: And he was the one who introduced you to photography, if I remember correctly.
AA: No. Not as such. He taught me how to develop film, because he was studying photography in London at the time. I went over to London once from Germany, and he taught me the rudiments of the darkroom. All these years, since the early 1970s, we have been talking about photography.
EI: So when did you realise you wanted to be a photographer and what was the process?
AA: Initially I wanted to become a writer. That's why I studied English literature at the University of Ibadan, and then all those years I really read as widely as possible. I came back to Britain and did further study in literature, and moved to Germany to try and do a doctorate. And then it was in Germany where I first got a twin-lens reflex camera. That was when I realised I wanted to become a photographer, big time. In 1977 there was the Second World Black and African Festival of Arts and Culture [Festac 77], which took place in Lagos. Jide and I went for it. Then I realised I couldn't go back. I had to continue with photography. Ever since then, I've been a complete photographer.
EI: One of the striking things about how you talk about photography, especially in connection with your earlier interest in literature, is that you think of photography as a medium of storytelling. I want you to talk a bit about that, especially in relation to the kind of photographs that you have made. So beginning from the 1970s and up till now, there's been a strong interest in documentary photography in your work. I don't know if that is expansive enough to encompass the ideas that you've been working with. But for the sake of argument, we can say you are a documentary photographer. How have you returned to photography as a storytelling medium?
AA: It has always been there and I see myself as an artist very concerned with what is happening socially, politically, and culturally everywhere in the world. And then especially in big cities, what we now call megacities. I cannot drive, so I really like to walk. And I find walking the best way of navigating urban spaces. I walk in different parts of the city, trying to get an idea of the community or space. From time to time, I try to make photographs. After a year or two years of making photographs, I have a body of work. And what I try to do then is get the sequence going that tells a particular narrative.
In Lagos, I'm trying to tell a story almost in a linear kind of way of my growing up there in the 1960s. And then, how the city has moved on. I myself have moved on. Recently again in Lagos, this November, I sensed a new vibe in the city. That Lagos, despite the recession, is still constantly trying to redefine itself. I noticed this in Surulere, on Bode Thomas Street, near the shopping mall. In other parts of the city, there is a new kind of vibe. The younger people are coming on board, especially if they have a bit of money to spend, and they are moving around the city. They feel it is their city. It is their space. And they're not afraid of criminals or armed robbers; they just move around the city. Not late at night though, but in the daytime, in the evening. And I noticed this in many, many parts of the city.
AA: I am not sure that was my term in particular, but it is this idea of a specific light, like people talk about a special light in Paris. So, there's also a very special light in the tropics that Mimi consciously or subconsciously was working with in different bodies of work. She is very aware of the history of photography and is going deeper and deeper [into it]. By the way, the history of photography is so unlimited (laughs), you can never get to its real depth. The more you know, the more you realise that there is much to do, and also you become more sensitive to what has been done before and what is all around you right now.
EI: Yeah, but in that conversation you were talking about how African artists or artists in the tropics have made photographs that responded to the kind of photographs that were earlier made with the colonial impulse. And my question, in relation to your work, is if you think of your work within that kind of mode? Do you constantly feel that there is a kind of representation of Nigerian or African people that you are trying to counteract, or is that not necessarily the impulse?
AA: I don't think it is not a valid impulse. Chinua Achebe wrote Things Fall Apart to counteract the narrative that people like Joseph Conrad were putting out. So I think as photographers we have to do this. I don't think it is really necessary now, but there is a very strong attempt by the Western media and the Western world to depict the tropics, and specifically Africa, in a negative light, as if we are not capable of doing things ourselves. We are more or less like subhuman. This is kind of indirect. The only thing that happens with us is that we are starving. We have terrible warfare always. In fact, just this evening, I saw a big poster about world hunger I am going to photograph tomorrow. It depicts a young black boy seated almost naked on some kind of ground – because I saw it in the evening I am not sure what kind of ground it was – and they wrote under it: "This must stop." They can't see us as just black children, people, happy or dressed to go to school or going into the shopping mall. I am not saying that hunger is still not out there, but in the Western world the image in millions of people's head subconsciously is of an Africa which looks hungry. Directly or indirectly, we have to alter this. I think this is very important.
EI: When I look at a number of your images, what I am seeing is not that you are trying to prove a certain point, but there's a bustle and energy and vivacity, almost like an insistence on life, and especially because these are really big cities and all of these collisions are happening all the time.
In photography – and again, I'm trying to be very sincere – the first photographers that made me want to become a serious photographer were Mexican photographers and I saw their work in a Swiss magazine called Camera in the late 1970s. When I saw their work, I said, "Ah, Mexicans can do this? I can do it." And a few weeks later, I had work in that same magazine, from Nigeria. So I said, "Yes it can be done." So Mexican photographers were serious guides, though I have never met any of them in person yet. Later on, Japanese photographers. They took a different way of depicting life than the Europeans. But I also recognise and acknowledge European photographers. They are people I respect a lot, like forerunners. Also, American photographers. But then I discovered, through Jide Adeniyi-Jones, black American photographers, and this blew my mind. Because in the late 1960s they started organising themselves in New York, especially through the leadership of Roy DeCarava. DeCarava did some workshops and brought out the Black Photographers Annual, and this annual – Jide showed me first in London in the early 1970s – was just so impressive for us.
Coming back to Nigeria, there are very strong photographers like Pa Ojiekere, but also others who photographed in the 1920s and 1930s. And then there are others like Peter Obe. Peter Obe was a photojournalist working in the 1960s, -70s and -80s, and his photographs really struck a very strong chord within me.
EI: I know that for years now, you have been travelling to Osogbo to document the Osun-Osogbo festival and I wanted to know how this fits in with your earlier work, of documenting Nigeria's cities and towns.
AA: From the very beginning I realised that to understand our motives, what we do in life, cooking, eating, sleeping, making love, going out shopping, we have to understand the underlying reasons why we do these things. These underlying reasons are spiritual. This spirituality expresses itself in many different forms depending on the location and the people themselves. I realise this in my wandering of cities, because cities have grown up very spiritually. They've always had a market place, a place where a king or a ruler lives, and you see the market right in front of the palace and then it also always had a place for execution, for judgment, for festivals and so on. This is what I started trying to understand, read up about, and also photograph, whenever I found examples within Lagos or within Berlin or Paris or wherever. Over the years, I have realised, especially in West Africa and other parts of Africa, these spiritual things or traits are still very strong there. So, you still can find, sometimes even within Lagos, people will do a kind of offering at crossroads or at special corners and on the highway, people will kill a chicken and put it on a white piece of cloth. When photographing these things, I realised I have to get to the source. One of the main sources within Nigeria and especially within Yorubaland is in Osogbo. Osogbo is about the only city left in the whole of Yorubaland that has retained its sacred forest. That's the forest which is attached to the city or the town 200 years ago and this forest has not been cut down for residential areas or as part of the city. So, it is full of shrines and sculptural objects which have been there for the last, let's say, 100 years.
I have been going there since the 1990s, but more often to photograph the shrines and objects and also the festival itself. I am doing this as part of my work for documenta 14, which is going to take place both in Athens and in Kassel. But I am not just concentrating on Yoruba spirituality. My idea is to present my work on Yoruba spirituality, Greek spirituality, Germanic spirituality. I photograph spirituality wherever I find myself. It is very interesting because you find that, for example, the Greeks have a god for thunder. It is Sango in Yorubaland. So we have the same deity, but different names according to the particular locality of the people. And then you have variations in the way sacrifices are brought to God or the way he is remembered or the way he is now being reinvented in the modern world. So I am trying to delve deep into what underlies most of our ways of thinking, most of the reasons why we are actually now living today. Why do most of us want to live in harmony and peace? Why do we love certain people? Why do we want to have certain festivals or undergo certain rituals like weddings or funerals? These are the things I am going to be looking at, hopefully on a much more subtle level… And the works could be very dense. I'm really demanding a lot from the viewers, and I really hope it will get across.
EI: Why that kind of intensity and denseness?
AA: Because first of all, I am not the postcard purveyor of images. I like to demand of myself, but also of my viewers. If you give yourself time, you can begin to see the image, but you have to give yourself time and especially with photographs, because so many people nowadays take or make photographs but they don't look at them properly. To look at one image properly, I always say you need about a year. If a book has a hundred images, that's a hundred years. So, you really need a long time. I have read Things Fall Apart four or five times and I still haven't reached its depth. That's the kind of thing with music or with films or with sculpture… you can look at them for centuries literally. You really have to spend time.
This piece appears in the Chronic (April 2017). An edition which aims to complicate the questions raised by food insecurity, to cook and serve them differently.
Food is largely presented as scarcity, lack, loss – Africa's always desperate exceptionalism or exceptional desperation or whatever. In this issue, we put food back on the table: to restore the interdependence between the mouth that eats and the mouth that speaks, and to delve deeper into the subtle tactics of resistance and private practices that make food both a subversive art and a site of pleasure.


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I don't read books from the horror genre often, but one of my friends recommended this book to me. The title sounded interesting, as did the name of the character. So decided to give it a chance.
The novel begins with a fantasy prologue, showing the birth of the sorceress in the Nilgiris Mountains. Then the timeline shifts, and we are introduced to Vanamala, who is headed on a solo trip to Ooty. The trip doesn't seem to go according to her plans, but she persists, taking adversity as it comes, and reaches Serenity Resort. Then there is Ray, who is a research scholar, and Arie, a travel blogger, descendant of the Piers Harrington who once lived in an estate in the Nilgiris. Ray wants to know something about Arie's ancestors, and so takes the chance to meet him at Serenity Resort as well. There is a spirit lying in wait, and waiting to escape from a spell it was cast under, so what fate lies Vanamala, Ray and Arie?
I believe paranormal thrillers succeed only if they can make the reader feel the horror, rather than just show it to them. It depends a lot on the narration, as well as the entity (ghosts, monsters, ghouls, whatever the case maybe). I think Drina succeeds because the reader feels the horror not through the ghost, but through the fear of those people who are affected by it. There is a backstory to the Earth sorceress, but the book doesn't delve into that much. I wish it had done so a bit more.
The plot builds up slowly. At first, one might not think this is a horror thriller, given that the first quarter of the book introduces Vanamala's character, and a solo trip where most things seem to go awry. There are twists that might be explained in the next book of the series. One twist, however, seems very understandable given the chemistry between two characters.
The novel is a page turner, quite engaging. The main characters are memorable. The author has chosen to end this part of the series at a crucial action point, so as a reader, the hope is that the second book comes very soon, and not after a long wait. With such an ending, a long wait kills the curiosity rather than adds to it.
Posted on June 12, 2018 June 12, 2018 Posted in BooksTagged 2018, BookReviews, eBook, Horror, Kindle, Self Published, Sowmya Thejomoorthy, Thriller	By Vinay Leo R.


text:
How To Eat: Hotdogs
Tony Naylor , guardian.co.uk | Updated: January 28, 2014 14:57 IST
Yo, dudes! This month, How to Eat is saluting an American classic, the hotdog. But should it be beef or pork? In a bun or baguette? Eaten with champagne or beer? And smothered in mustard or, erm, brown sauce?
Hot diggety, folks! It's 2014, a new year, a new start and for How to Eat - the blog that is all about the most awesome ways to eat your favourite blue-collar classics - it is time to get back to the business of smart-ass chow pedantry. As you may have guessed, dudes (unless you imagine I typed this drunk, in Albuquerque), we're chewing over a US import this month, the hotdog.
Please remember that while, below the line, a franks exchange of a opinion is welcome, dogs' abuse is not. If someone doesn't agree with you, don't be a little wiener about it, it only makes things wurst.
To be clear, we're talking about what a Brit would understand as a frankfurter: a relatively smoothly blended pork sausage. There are people who would try and convince you that a hotdog sausage should be all beef, aka the "tube steak", but they are as wrong, albeit for different reasons, as those who would try and sell you a frankfurter made entirely from mechanically recovered chicken.
Due to the rise of the gourmet hotdog (surely, an oxymoron?), beef dogs are making inroads in the UK, but, certainly historically, compared to pork, I have found beef dogs too tightly compacted, too meaty and - as with many upmarket sausages knocking on for 100% meat content - a bit dry. You can't make sausages from just lean, prime cuts. Sausages need the sort of lubrication that pork readily supplies.
In fact, you have to be careful in jazzing up the hotdog (you want to be able to take a clean bite of sausage with each mouthful), that you don't ruin this simple pleasure. If too dense, too coarsely ground, sausages can be a chore to eat. If they're not prepared or cooked with care, natural casings (in principle, far preferable) can be problematically chewy. If you have to wrestle with and tear at your dog, much less resort to a knife and fork, something is badly wrong. No, you do not want to eat a bland "frankenfurter" emulsion of gummy, minimum-meat-content material, rendered inert by sodium nitrate and ascorbic acid, bulked out with soya protein and potato starch, but, despite the hype, not every "haute dog" eats better than its factory-made equivalent.
Fundamentally, you want a fat, sensitively smoked (it anchors and adds a bit of depth to the flavours) pork frankfurter. Its bouncy inner should be semi-coarse - so there's a dense texture to it, but you don't get lockjaw chewing it - its casing taut enough that, when grilled, it delivers a pleasant (as the German would have it) knack or crack, as you bite into it. Size isn't everything, but I find 18cm satisfying, with a girth around 4cm. That dog must fill that bun and then some. There should be at least a 1.2:1 meat-bread ratio or it looks and tastes all wrong.
Go easy on the spices, too. Chilli-laced dogs (as opposed to dogs topped with chilli), are usually more raw heat than tasty meat, and a heavy handed use of cayenne pepper, garlic, mace etc, can be equally offputting. The predominant true and smooth flavour of that sausage should be pork. And is there a vegetarian alternative? Not personally. I've never met a vegetarian sausage that I liked.
The current popularity of the corn dog - essentially, a battered sausage for people who wouldn't be seen dead eating a battered sausage - is mystifying.
In terms of practicality, the Austrians have this nailed. They serve small or half baguettes - tip cut-off and then hollowed out - into which the sausage is dropped. That is a serious amount of bread to go at, which may explain why it has never caught on here. Instead, as in the US, the bun choice is between a side-split/hinged bun or a top-loader. The New England top-loader (lightly grilled to give it backbone, but please, no steaming) is far preferable, both aesthetically - everything sits up nicely, in the bun - and because, trusting it is of sufficient depth, it can absorb a reasonable amount of moisture without collapsing. Structurally, that "hinge" on a side-split bun is a notorious weak spot which, when wet, splits all too easily.
While, but of course, you now see places serving brioche hotdog rolls, it is curious that, unlike with burgers, there hasn't been more tinkering with the hotdog bun. Surely, the perfect hybrid roll is yet to come, amalgamating the strength and durability of a higher-gluten bread on the rustic-sourdough axis, with the easy eating of the fluffy, white original.
Toppings & condiments
In many ways, your attitude to sauces and toppings will be defined by how you eat yours. Have you have remained true to the original concept of the hotdog as a mobile, hand-held meal? Or are you a fashionable flibbertigibbet, happy to sit and eat one at a table?
The integrity of the hotdog as a portable product can only be maintained if key rules are observed. 1) All toppings must be secured either under a layer of grilled cheese or, on a top-loader, by making sure said toppings are firmly tucked deep into the bun's cleft. It may look appealing, but anything you stack in a teetering pile atop a hotdog, will end up on the floor as soon as you take a bite. 2) It is all too rare, but sauces should be applied under the sausage so they don't end up all over your top lip and nose. 3) The bun must not be sopping wet. Anything moist, ie. beef chilli, pulled pork, should be placed on top of the sausage, not just poured all over the bun.
But which toppings and condiments do and don't work? You can put anything on a dog, but should you?
Yes: butter-braised or, at a push, boiled/ steamed onions; bacon (Bubbledogs do a bacon-wrapped dog that sounds like a stroke of genius); mild mustard; dried, fried flakes that adhere well (chicken skin, onion flakes, bacon bits); ketchup; gherkins; cheese; sauerkraut (shredded items conveniently mould themselves around the sausage, see also coleslaw); pickled cucumber; tomato relishes; a bit of beef for contrast (eg. not overly hot chilli, chopped pastrami etc); macaroni cheese. NB: combine no more than three.
No: fried onions (bitter, stringy, a Zantac attack!); squeezy cheese; pulled pork, chopped ham etc. (pork on pork, why?); chorizo is too domineering; likewise hot jalapenos carpet bomb any food they are served with; mayonnaise, sour cream, thousand-island (cold, smooth, unctuous sauces taste wrong against a grilled bun); fried egg, chips; olives; mango chutney, BBQ sauce (the devil's goo); sweetcorn, peppers, mushrooms; guacamole; brown sauce on "breakfast" sausages; out-of-context mozzarella; raw onion or fresh tomato - does this look like a salad?
The only thing you want with a hotdog is another hotdog. Unlike a burger, which if it's a good one, should be greasy and running with juices, there isn't the moisture in a dog that would make fries a wise side. With the bun, it just ends up a carb overload. What's that? Onion rings? Ha ha. Very funny. No one really likes onion rings ... do they?
There is a minor trend in that, there London for cocktails and champagne with hotdogs. I offer that fact without comment. It doesn't need any. Given that it and the hotdog were both stars of the 1904 World's Fair in Louisiana, you could argue that Dr Pepper and dogs are historical bedfellows. But that would be forgetting that Dr Pepper is horrible. No, stick with cola, fizzy water (the carbonation will help "scrub" your mouth clean) or a dry beer with a sharp, hoppy lick, which will further cut across the dog's flavours.
So, hotdogs, how do you eat yours?
Photo: Hotdogs ... do you go easy on the mustard or not? Photograph: Getty Images
Tags: Hot DogsSnacksTony Naylor
Mummy Dogs
Chili Dogs
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Valedictorian sues school: Was she snubbed because of race?
A recent high school graduate from Arkansas is suing her school district, claiming it refused to recognize her as the school's sole valedictorian because she is black.
Kymberly Wimberly, 18, earned the highest grade point average in McGehee Secondary School's 2011 graduating class. She did so as a young mother, according to the complaint she submitted to the U.S. District Court for Arkansas' Eastern District. She was named the school's valedictorian and then later given co-valedictorian status with a white student who had lower grades, her complaint says.
Kymberly Wimberly
No legal response has been filed by lawyers for the school district or any other school or district representatives, according to court officials. Superintendent Thomas Gathen said he has yet to be served with any sort of court documents. Because of this, Gathen said he was unable to comment on several individual issues brought up in Wimberly's complaint.
"The issue that someone's trying to paint is that this was a racially motivated," Gathen told CNN. "That wasn't an issue with (the co-valedictorians). This is strictly an academic issue and a policy issue, not a racial issue."
Wimberly is seeking punitive damages of $75,000 and recognition as the sole valedictorian of her class. Wimberly's complaint also argues the McGehee school district, in southeastern Arkansas not too far from the Mississippi River, habitually withheld access to challenging classes from black students.
Wimberly said students were told at a schoolwide assembly that advance placement classes were very rigorous and that only those who really thought they would thrive with intense workloads should elect to take them. Then, individual students were taken aside and told that the classes really weren't all that bad, she told CNN. The overwhelming majority of those students were white, she said, adding that she was the only black student in her AP literature class and one of two in calculus.
"Black students are meant to stay in regular course levels and mostly play sports," Wimberly said. "That's what were good at that that's what we should stick to - that's the mentality of McGehee."
Wimberly said she had one teacher, for AP biology, who encouraged all students to take the class. Its racial makeup was half black, half white, and was more reflective of McGehee's student population, which is 46% black.
The case has been gaining increasing attention since Courthouse News Service reported on it Monday.
According to the complaint, Wimberly's mother, Molly Bratton, works as the McGehee district's media specialist. On May 10, Bratton learned from the school's counselor that her daughter had earned the top grade point average in her class. After sharing the exciting news with her daughter, she overheard someone in the school's copy room saying the accolade would cause "a big mess," according to the complaint.
Later that day, the complaint says, Bratton confirmed her daughter's status with Superintendent Gathen.
Then things began to unravel, according to Wimberly.
The next day, the school's principal, Darrell Thompson, told Bratton that he had decided to appoint another student, who was white, as a co-valedictorian. CNN was unable to reach Thompson for comment.
The complaint says Thompson attributed the decision to something in the student handbook, though the complaint says he did not list a specific policy.
In regards to recognition of a valedictorian, the McGehee handbook says that "students must be continuously enrolled at McGehee High School the last two semesters without transferring during this time to be considered in class ranking or eligible for valedictorian or salutatorian status."
The handbook says students will be given the same class rank only if their grades are the same, but in deciding class rank, students with lower GPAs who are taking more or harder classes will not be penalized. Gathen said the Wimberly's co-valedictorian had half a credit more than Wimberly and the difference in the students' GPAs was .03 or .05. Gathen said the outcome would have been the same were the situations reversed.
"I would have made the same decision," he said. "I was the one who made the ultimate decision."
Wimberly said she knew of students sharing the valedictorian position in the past, but only if their GPAs were the same, "down to the very last decimal point."
When she found out that her daughter would have a co-valedictorian, Bratton called Gathen, who told her he had OK'd Thompson's decision, court documents state. The school's counselor had already sent out a news release to the local community about Wimberly's achievement, but the school then sent out an additional one about the co-valedictorian.
Bratton sought to bring up the issue at a school board meeting but was told by Gathen that it would have to wait for a meeting after the school's graduation ceremony because of an error in the form she filled out, according to the documents.
In addition to these details of the case, the complaint also claims that the district places more emphasis on challenging its white students than its black ones.
"African-American students were not encouraged to take Honors or Advanced Placement classes," the complaint says. "Caucasian students had to almost opt out (of advanced classes)."
Wimberly said she was lucky in that she had parents who would support her academic pursuits, even if many of her teachers would not.
"(Other students') parents aren't as active as mine," Wimberly said. "Think about children who don't have parents who are active in the school."
Post by: Journalist Ali Elkin
Filed under: Arkansas • Civil Rights • Courts • Education • Justice • Race • U.S.
It IS Arkansas
August 12, 2011 at 11:56 am | Report abuse |
I honestly think that what the administrator did was legitimate, however it was unpopular. If 2 students have nearly identical GPA's (being that a 99.00 and a 99.03 are very similar), you cannot discount the student with the lower GPA because he/she had 1/2 or 1 more credit than the higher GPA student. If the student with the lower GPA decided to drop an AP class during the final semester and decided to take a regular class, he or she would most likely have gotten a higher grade and subsequently raised the GPA .03-.05 points. Both students would then be equal. When I was in high school I graduated 9/20. Since then I have gotten an AS degree, BA degree, and will get my MPA degree next fall. While I understand this may be frustrating, as long as the school can justify how the co-valedictorian process was established by stating a school policy, then the school and school board is safe. As far as $75,000, doubt she will get that.
August 14, 2011 at 4:38 pm | Report abuse |
CHIKENISH
How could you be more wrong? If the student who dropped the AP class in the last semester's (we'll say studentB) GPA is lower then it is said students own fault! You should not punish student A, who by the way obviously stuck it out til the end, by making her share her honor, no matter race, age, creed, or color!! This article ticks me off and the comments you people are making are ridiculous to the point of no return!! If the GPA of student A is 99.03 and the GPA of student B is 99.00, then student A has earned the honor! PEROD!! Obviously, 99.03 is MORE than 99.00!! Duh!!
Jahacopo2221
While I sympathize with Miss Wimberley's position, I can also see the other side of this issue. When I was in high school, one of my very good friends was knocked from the valedictorian position because she took band class all four years of high school. Though she got straight A's in all of her classes, she still ended up with a lower GPA because of band. This happened because band class was not weighted (like advanced and advanced placement classes are/were). So an 'A' in band was worth less than an 'A' in a weighted class. The young lady who ended up being valedictorian got around this system by only taking weighted classes her last two years of high school. She graduated with two fewer credits than my friend, but because her numerical GPA was higher, she was made valedictorian. My friend accepted this, realized it would shake out like that about midway through our junior year, and she and her parents made the decision to continue with band and not to make a fuss. However, in this situation, we don't know if that is what was the case with the co-valedictorian that had half of a credit more (and a GPA just a couple hundredths lower). It certainly sounds very similar, and perhaps her parents did want to kick up a fuss (and maybe that's where the 'huge mess' comment that the mother overheard came from.
Here's the Math for those who can't figure out how this would happen.
Weighted classes: A=5, B=4, C=3, D=2, F=0 Unweighted classes: A=4, B=3, C=2, D=1, F=0
Student A takes 14 unweighted classes (all A's) and 12 weighted classes (all A's). GPA= 116/26=4.4615
Student B takes 16 unweighted classes (all A's) and 12 weighted classes (all A's). GPA= 124/ 4.4285
So you see, even though student A took fewer classes, and the exact same weighted classes as student B (and all with the same 'A' grade results), student A ends up valedictorian at the expense of student B. Is it fair to punish student B for taking more classes, even though they weren't weighted?
August 15, 2011 at 11:45 pm | Report abuse |
Realized I left off something: In the line with the calculation of Student B's GPA it should read 124/28 = 4.4285
Carol Snyder
Do you think they would have thought this hard about it had they originally named the white student valedictorian?
Parents Threaten To Sue LA School District For Not Naming Daughter Valedictorian
June 26, 2012 at 1:49 pm | Report abuse |
I think she is suing for too little. The lawyer gets 1/3 of it, and that barely leaves enough for four years of college at a good school. Hopefully she will get a full scholarship somewhere and she can put this money aside for her next step in life. I wish her the best! The school needs to learn a lesson and this may be the only way they can learn it – via their pocketbook! Without the suit, they would probably just continue on their merry way – and unwilling to have a valedictorian who is an African-American.
I need more information on their GPA's and how many credit hours they took. If the white student took more hours, they would have a lower GPA due to how AP classes work; even if they got an "A" in the class. Having more credit hours actually dilutes your GPA. Many schools will account for that and take the extra credit off one student to make it comparable to the other student. It is very possible and very likely that these two students actually have the same exact GPA when you hold credit hours constant. People should take that into account before they start speculating discrimination. It could be that the counselor wasn't taking this extra credit issue into consideration when she told her she had the highest GPA. I was co-valedictorian with two other students in my class. We made sure we took the same amount of credit hours so we wouldn't have this issue.
pattic
Taking more credit hours does not dilute your GPA. The "A" stands for "average." If you take 4 classes and get an A in each (A=4 points) you earn 16 points. 16 dived by 4 = 4; your GPA is 4.0 or A. If you take 5 classes and earn an A in each, your GPA is still 4.0 (4 x 5 = 20 / 5 = 4.0). The inequality comes in when a person who is taking EASIER classes earns an equal or higher grade than one taking harder classes and therefore ends up with a higher GPA.
Many school districts give extra points for advanced placement or honors classes, to reduce any penalty for the harder classes. I don't know about this school district in particular, but my school district assigns 6 points (on a 4-point scale) for an "A" in an advanced placement class, 5 points for an "A" in an honors class, and the usual 4 points for an "A" in a regular class – because of that, someone with mostly A's and a few of these advanced or honors classes can have a GPA greater than 4.0 (My valedictorian had something crazy like a 5.1).
creoleboi4friend
All of the ifs, maybes and "it could have beens" are ridiculously far fetched and stray away from the obvious. I think that it's obvious that something really needs to change within the district and it may not be the best place for normal people to be educated, taking their current decision makers into consideration. Sounds like a bunch of "Self-Defined Christians" to me. What a shame? If that darrell thompson (dt) were at one of my schools...I would carefully remove his existence to the unemployment line...right where it belongs.
To Ms. Kymberly Wimberly...please know that as an older, educated and successful African-American, it is best to observe this behavior and move on but never forget it, there's more to come as your matriculation process becomes more valuable to you. I've learned that it's worth it because you'll see them again as they will you. I was born in that area, just outside of Pine Bluff and trust me...you'll learn that they're not so smart. You'll leave their league quickly and they will be irrelevant to you...trust me. Congrats and I'm waiting on you at the top "Sista"!!! This really brought back some memories for me and I'm smiling in remembrance of how simple-minded people can be...SMH & LOL
November 25, 2011 at 12:36 am | Report abuse |
How to get punished for taking extra classes (which the plaintiff did not):
Regular class = 4 points
AP class = 5 points
Take 3 classes (1 AP): (5 + 4 + 4) /3 GPA = 4.33
Take 4 classes (1 AP): (5 + 4 + 4 + 4) /4 GPA = 4.25
February 25, 2012 at 3:07 pm | Report abuse |
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Freedom from a boss – that's what motivates some freelancers to quit their traditional jobs and strike out on their own. They love the prospect of being in charge of their own schedules, of working in their "grubs" from home, of deciding what projects to take and when to take them.
It's really an ideal work life for those who have a passion for what they do and have the motivation and the organizational skills to keep themselves on track and productive.
Being a freelancer can be a time management nightmare, if you don't have strategies and tools in place to get to the balance you need between work, personal, and social/family responsibilities.
But what successful freelancers all say is that they do have processes and procedures in place to keep themselves productive so that they do have time for other parts of their lives.
Here are seven time management tools to keep you organized and productive.
One of the things that freelancers do not usually track is the time they spend on each aspect of their workday – time spent on the phone, marketing to new clients, working on client projects, taking breaks, accessing social media and other non-work related activities.
Using this tool will provide you with a full accounting of the time you spend on each activity, with an easy-to-read report. Once you have the report, you will be able to assess and adjust. Time Doctor will remind you when you visit social media sites, for example, asking you if this activity is for work or not?
The goal is to stay focused on work when you should, and to perhaps feel a bit guilty when those little messages come in.
The Pomodoro method of time management has been around since the 1980s and is really quite simple. Basically, you set a timer, usually for 25 minutes, and work in a focused manner for that 25 minutes before taking a five minutes break. That's one session and you could have four sessions before taking a longer break, like 30 minutes. Each session is called a Pomodoro (Italian word for "tomato").
There are several pieces of software that use variations of the Pomodoro Technique – check them out and find one that will meet your needs.
If you are charging your clients by time spent, you want to be as honest and forthright as possible. Your reputation is at stake, and you could lose clients because of overcharging and not having a good record of time spent. Sighted changes all of that. You can set the tasks related to each client project and digitally track the time spent. The report you generate will validate your time for a client, and provide validity to your charges.
A recent survey of 2,000 workers reported that the average employee wastes about 759 hours a year. This has resulted in employers beginning to utilize time tracking software such as Toggl. But Toggl is not just for the formal workplace. Freelancers can set up their own time-tracking parameters, setting work and break times and setting up reminders when they veer from work to other distractions.
Rescue Time is a nice little piece of software that puts freelancers in complete control. With it, you can block websites that will distract you during your work time, or set alerts to let you know when you have spent a set amount of time on a specific task. And the software will automatically log highlights about how much time you spend on each task during your day (e.g., email, on the phone, etc.).
Do you know how much time you spend with each client vs. the amount of revenue generated from them? How accurate are your timesheets if you are charging by the hour? Thrive Solo even generates automatic invoices based upon your entries. Reports are generated so that any freelancer can see how his time is spent and how that time might be better managed.
Time management also means streamlining as many of your tasks as possible by finding automated methods of task completion. Harvest may be the answer. Daily reports in graphical form provides daily tracking of how much time you spend on each project – something that will help you estimate time for future projects and craft better estimates. Other features allow automated billing and payment receipts, as well as tracking expenses.
Staying on-task is difficult for freelancers – more difficult than in a traditional office environment where superiors are tracking. You're all on your own without accountability to anyone but yourself. It takes a great deal of self-control to avoid distractions, especially when working from home. A piece of time management software is certainly not the single answer, but it can provide a partial solution and is worth a shot.


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D 1-1 vs Crawley Town (H) - League Two - Tue 7th Dec, 7:45pm
RobHarv3y 5 December 2021 15:28 #1
So the circus stays in town as we look forward to our second home game out of three in a row, where we welcome Crawley Town to the Banks's Stadium for a League Two encounter.
The Red Devils are managed by John Yems who is a bit of a character (Click here to find out more) and find themselves 19th in League Two ahead of their trip here, 3 points behind us with a game in hand.
John Yems768×432 38.9 KB
Their recent form is a bit sketchy but they will still pose a threat to us, given that we will be a bit lower on confidence following a trio of demoralising defeats. There isn't a lot of news available on Crawley at the moment, but they do have a goalkeeper on loan from Stoke City with a great name that sounds a little bit Christmassy - Blondy Rudolph Nna Noukeu - although he has only made one appearance in the EFL Trophy this year.
Crawley Town's last six games have provided the following results:
30th Oct - Port Vale (H) - Lost 4-1
6th Nov - Tranmere Rovers (H) (FACR1) - Lost 1-0
9th Nov - Southampton U21's (H) (PJT) - Lost 4-0
20th Nov - Barrow (A) - Won 1-0
23rd Nov - Newport County (H) - Drew 1-1
27th Nov - Mansfield Town (H) - Lost 2-1
Onto the Saddlers now and we head into this game sitting 14th in League Two with a defeat in each of our last three games vs Carlisle United (League), Cambridge United (Papa John's Trophy) and Swindon Town (FA Cup), looking to get our season back onto some kind of track.
Injury-wise the only person guaranteed to miss out as it stands is of course Rory Holden, with potentially Stephen Ward being added to that list if he was indeed left out because of injury this past weekend.
Onto team selection, this will be interesting. Personally I think that Otis Khan played himself into a starting spot with his performance on Saturday, and I think that Zak Mills was solid enough as a replacement for Stephen Ward so where Khan would come in is anyone's guess. If I was manager I'd be playing him on the right-wing, moving Conor Wilkinson into the number ten role, dropping Emmanuel Osadebe to the bench. That said, Liam Kinsella should be bought back into the starting XI, so more likely would be dropping Osadebe, moving Jack Earing to the ten role, and Kinsella slotting in next to Joss Labadie.
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What do others think? One thing is for sure, there should be a lot of thinking done by Matt Taylor as to who will play on Tuesday.
Matt Taylor1200×675 115 KB
One thing that baffled me on Saturday was Earing being left in a defensive mid position and Labadie being put further forward into the ten role. Can't say I want to see that again…
With reports that the weather is going to be horrendous again this week this could be a very interesting and very cold fixture, so hopefully we can make the most of being at home and not having to travel hours on the day to play, and we can grab the 3 points.
Walsall vs Crawley Town - Match Result
Walsall Win
Crawley Town Win
0 voters
WalsallOne 5 December 2021 15:32 #2
I have gone for a win but not with a great deal of confidence.I would be more confident if the changes mentioned in the introduction were made.
JumboTrudgeon 5 December 2021 15:40 #3
On yesterdays evidence it seems daft that Khan is on the bench. I thought he was our MOTM even if he did only have 25 minutes on the pitch. There are a few positions for which he looks a better option than the current regular choices.
I can't see past 0-0 draw myself, but I live in hope. Was it these a few years ago who we played on a Tuesday night, we'd scored four goals in eleven games or something and then beat them 5-0, out of the blue. Brian The Beast Jensen was in goal for them. Maybe something like that will happen again. I'll keep clutching those straws.
Belphegor 5 December 2021 15:45 #4
Wilkinson with 2
3608 in attendance
Sephiroth92 5 December 2021 15:53 #5
7-0 walsall all from set pieces
AndyWTaylor 5 December 2021 16:07 #6
You must mean breakaways following 7 of their corners and free kicks as we never score from our own.
Sephiroth92:
Bradley and Viveash were at the Harrogate game. Did you talk them into coming out of retirement?
matt_saddlesore 5 December 2021 16:09 #8
8-0, all direct from corners
Scooby2167 5 December 2021 18:00 #9
Bloody good stuff that Whiskey is mate another couple of glasses we will be league champions only jesting though I feel we will win this also 2-1 for me Wilkinson and Miller on target.
latviancheese 5 December 2021 18:10 #10
I fancy an edgy 2-1 win. Weather forecast is grim with another storm comin so our slick short passing game might be affected…
Otiswfc 5 December 2021 18:14 #11
1-0 Walsall 3,650 inc 50 Crawley fans .
davidusa 6 December 2021 09:51 #12
We need to right the ship as we've been adrift recently.
We're out of the cup competitions, the squad is getting healthier so we can entirely focus on climbing the table, a win tomorrow night would be a good start.
NortonRob 6 December 2021 10:06 #13
It'd be easier to predict a postponement tomorrow than a Walsall result! I gave up on that years ago.
JumboTrudgeon 6 December 2021 10:25 #14
OK, I'll go for called off at 1815 hours, due to waterlogging.
ShropsSaddler 6 December 2021 10:49 #15
Interesting that Khan is getting the plaudits and the nods for a starting place…and yet that pass for Cambridge's first, played aimlessly right across the danger zone, was one of the most woeful you could see from a professional footballer.
Don't get me wrong, I've liked the look of him at times, but maybe Taylor doesn't trust him enough for a starting place yet.
Gensanx123 6 December 2021 10:54 #16
Crawley and Colchester are must wins if we have any hope of the play offs
ShropsSaddler:
that pass for Cambridge's first,
That's fair, it was dreadful. But I think most of our players are woeful at times, they have made so many individual and collective errors, with Khan he looks capable of giving us several positive things mixed in with the odd negative. If we were a good team we could leave him on the bench, but we aren't and we need something to give us some energy and skill. Along with Wilkinson he looks the most likely to create something from nothing in the final third.
It isn't as though it would be unfair to drop anybody to make way for him, there are several who could make way.
Laundryman 6 December 2021 12:26 #18
Maybe but he would need to be in the attack. The giveaway against Cambridge was not the first time he has made similar errors around our penalty area, it's just that the others were not punished.
I don't see the team as just the starting line-up. There are many players who make more impact as subs than when they are in the starting 11. Frankly, there is not much to chose between the attacking midfield players.
Should Kinsella replace Labadie, by the way?
Pingu 6 December 2021 13:08 #19
Personally think we should go with this:
Rushworth
White, Mayo, Monthe, Mills
Labadie, Kinsella
Wilkinson, Earing, Khan
With decent options from the bench in Phillips and Kiernan… plus the options of Shade and Osadebe.
Sephiroth92 6 December 2021 13:14 #20
Exactly what I'd go for if we are to stick with this formation.
Atleast try khan and earing where there meant to play as were hardly scoring anyway it won't hurt to try


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Select a Show Version
Choose from a selection of iconic songs by legendary composer Stephen Sondheim to create your own tribute concert.
Sondheim Tribute Revue is a customizable revue featuring the work of the incomparable Stephen Sondheim.
The Stephen Sondheim Society notes that Sondheim was "widely acknowledged as the most innovative, most influential and most important composer and lyricist in modern Broadway history. For more than 50 years, he has set an unsurpassed standard of brilliance and artistic integrity in musical theatre. His accolades include an Academy Award, eight Tony Awards (more than any other composer) including the Special Tony Award for Lifetime Achievement in the Theatre, multiple Grammy Awards, multiple Drama Desk awards and a Pulitzer Prize."
And now, you can bring a selection of Stephen Sondheim to your stage with Sondheim Tribute Revue. Please note performances must occur on or before December 31, 2023.
AVAILABLE IN THE US & CANADA ONLY.
Organizations purchase the sheet music for the Stephen Sondheim songs to be performed in concert.
Only songs with music and lyrics by Stephen Sondheim (i.e. no Gypsy or West Side Story) are permitted. Permitted musicals include:
A Funny Thing Happened on The Way to The Forum
Sunday in The Park with George
No more than three songs from a show are allowed
Excerpts from scenes and the use of show-specific sets or costumes is prohibited.
This license is not intended for productions in which the songs will be performed with an orchestra, whether in a theatre or orchestral setting.
View billing and production contract details for Sondheim Tribute Revue here.
What is this a license for?
The license allows organizations to present a tribute concert of Stephen Sondheim songs where both the music and lyrics are by Sondheim.
What is included in the license?
In licensing the concert, organizations are granted permission to produce a concert of Stephen Sondheim songs. You will also receive the logo pack for Sondheim Tribute Revue.
Is sheet music included with the license?
No rental materials or resources other than the logo pack are included with the license; organizations are responsible for purchasing sheet music for the songs you wish to perform. This license grants performance rights and includes the logo pack to use for the concert.
Can I orchestrate my own version of the songs?
Organizations are only permitted to use and perform songs using the sheet music available for purchase from a third party.
Can I perform X song?
The only songs permitted to be performed in Sondheim Tribute Revue are those written for stage musicals with both music and lyrics by Stephen Sondheim (songs from films i.e. Dick Tracy are not permitted). The rider in the contract for the performance outlines these requirements.
Can I charge admission to my concert?
Yes! Organizations are welcome to do so and when applying for the license, will need to indicate the number of performances, performance dates, anticipated attendance, and ticket prices.
Do I need to separately secure ASCAP, BMI or SESAC rights or is the existing Sondheim in Concert license all that's required?
In the case of Sondheim Tribute Revue, the license covers everything you need to perform the piece. Organizations did not need to obtain individual song permissions from other organizations.
Can I add dialogue to the show in between songs?
Licensees are permitted to add remarks and dialogue, but performing any of the show's scene or including language from the show's book is prohibited.
Can I perform any of the scenes from the show related to the specific song?
No. Licensees are permitted to add remarks and dialogue, but performing any of the show's scene or including language from the show's book is prohibited.
Can I wear costumes?
Licensees are not permitted to wear costumes from the shows associated with the selected songs, but are free to wear any costume not-specific to a certain show.
Is there a limit on how many songs we can use in total?
There is no limit on the total number of songs performed, but the only songs permitted are those with both music and lyrics by Stephen Sondheim. There is also a three-song limit from each respective show. The rider in the contract for the performance outlines these requirements.
Can I record or stream my performance?
No, recording the show is prohibited and streaming / remote performance are not available.
Am I required to use the official logo provided by MTI or can I create my own?
Organizations must use the complimentary logo pack included with the show license.
What am I permitted to do with the logo pack?
Organizations may use the logo pack on posters, programs and to create t-shirts for cast and crew.  No other merchandise is permitted, and T-shirts cannot be sold or otherwise distributed except to cast and crew.
Materials and Orchestration
Show Essentials
Music and Lyrics by
Full Billing
Estimate the approximate cost of your licensing fees by providing a few details about your production.
The Sondheim Collection
No matter where you are on your theatrical journey, our innovative production resources will enhance your show experience!
Pre-Performance
Logo Pack
Promote your show with the officially licensed logo.
Pre Performance
ShowTix4U
Manage ticket sales online and maximize your box office.
Stage Write: Staging Assistant
Enable your creative team to easily track the moving pieces of your production.
By jokefrog01
Related shows or resources: Sondheim Tribute Revue
Cost?
Is there anyway to estimate the cost of this? Not able to see any way to estimate the cost of getting the rights to this.
By misterb
Sondheim Concert
Hi, we have applied for a license to perform the Sondheim concert. It has been a few weeks and have not heard a response. Please advise.


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text:
Bullet With Butterfly Wings
Bottom/ A Passion Play (Chrysalis, 1973) is a concept album released by Jethro Tull. Apparently concerning the spiritual journey of one man in the afterlife, it is similar to Thick as a Brick in that it is one long track split across both sides of the LP vinyl record (actually a medley of segued shorter songs,) save for the interruption of the oddly-whimsical spoken word piece "The Story Of The Hare Who Lost His Spectacles". The dense lyrics, filled with wordplay and allegory, along with music that some found lacking in creativity compared to earlier work, have made A Passion Play one of the most disputed albums in Tull's catalog. Even today, Jethro Tull fans are still divided over the merits of the album. Jethro Tull's best-known work, Aqualung, was released in 1971. Top/ Echoes, Silence, Patience & Grace (RCA) is the sixth studio album by the Foo Fighters, released on September 25, 2007. Foo Fighters is an American alternative rock band formed by singer/guitarist Dave Grohl in 1995. Grohl formed the group as a one-man project after the dissolution of his previous band Nirvana in 1994. Dave Grohl joined the Aberdeen, Washington grunge band Nirvana as the group's drummer in 1990. Cobain was found dead in his Seattle home on April 8, 1994, and Nirvana subsequently disbanded. Over the course of the Foo Fighter's career, three of its albums have won Grammy Awards for Best Rock Album, and all six have been nominated for Grammys.
Posted by Sonic Nurse
Once Upon A Town
Walking In Space
We Are Glitter
Fade Into You


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The Evolution of Cyber Risk Management
As computer systems become more and more integral to our lives, the need for robust cybersecurity increases. Simply securing data through technical safeguards is no longer enough. In today's digital landscape, human error carries tremendous weight on cybersecurity. The role of Human Risk Management in cybersecurity is a significant one. To understand why and how this has shifted through the years, let's take a look at how cyber risk management has changed.
Cybersecurity in the 1960s-1970s
According to Jeff Yost, in his article, A History of Computer Security Standards, the field of cybersecurity got its start alongside the development of the first computers, developed by the US Department of Defense in the late 1960s. Beginning with the Advanced Research Projects Agency Network (ARPANET), a pre-internet network of interconnected computers widely regarded as the first real network as we know it, governmental agencies relying on this network naturally relied on it to be secure.
As computer technology moved from private, governmental usage to public usage, this need for security continued, but it also became more complicated. Like other attacks against communication systems, such as the manipulation of tones used by the telephone system in order to gain access to the network, make free calls, or otherwise exploit telecom networks, the initial attacks waged against the early computer networks were also primarily based on seeking out and exploiting technical weaknesses.
Eventually, telephone companies got wise to this phone hacking, or "phreaking" activity, and changed the way the entire system worked. But computer networks were more complex, and as time went on, and the internet expanded, this ever-increasing complexity led to more and more network vulnerabilities, just waiting to be exploited. In the 1980s, commercial antivirus software began to be developed in response to these growing threats and new viruses. Each antivirus program hoped to stay one step ahead of the exploits as they emerged.
Cybersecurity in the 1980s
The 1980s saw the emergence of the first commercially available antivirus software. Companies such as Symantec, McAfee, and Trend Micro led the way in providing reliable protection against malicious programs. This period also saw an increase in computer viruses, as hackers began to target personal computers and business networks. In addition, this decade marked the rise of Internet security and the emergence of the international Computer Emergency Response Team (CERT).
The 1990s saw further development in cybersecurity, with the launch of firewalls, which act as a barrier to keep unwanted threats out. Companies such as Check Point Software Technologies created firewall systems that help protect against intrusions and malicious attacks. This decade also saw a huge increase in the number of cybercrimes, with hackers increasingly targeting critical infrastructure and corporate systems. As a result, governments around the world began to focus on improving their cybersecurity capabilities by introducing laws and regulations to protect citizens from online threats.
The start of the 21st century saw the emergence of sophisticated cyber threats. As technology continues to evolve, so too does the sophistication of malware and other malicious software. The 2000s saw a rise in phishing scams, ransomware, and zero-day attacks, prompting governments and companies to increase their investments in cybersecurity solutions. This decade also marked the beginnings of large-scale data breaches as hackers began targeting sensitive data.
The 2010s saw the emergence of cloud computing, which enabled companies to store data remotely on shared networks. However, this also created new risks, as malicious actors were now able to target multiple systems at once. To protect against these threats, businesses began investing heavily in security measures such as multi-factor authentication, encryption, and cyber insurance. This decade also saw an increase in the use of artificial intelligence (AI) and machine learning algorithms to detect potential threats before they can cause any damage.
The 2020s have brought even more challenges to the world of cybersecurity, including state-sponsored attacks, quantum computing, and the rise of 5G networks. In response, governments and companies are investing heavily in innovative technologies such as blockchain and artificial intelligence to help protect their systems from malicious actors. As cybersecurity continues to evolve, we expect to see further advances in the technology used to protect our data and networks. Cybersecurity is an ever-changing field, but with the right information and resources, we can all stay safe online.
By understanding the history of cybersecurity, businesses, organizations, and individuals can create an informed approach to security. Whether it's protecting against malicious threats or building a secure infrastructure for data storage, having a knowledge of the past can help us shape the future of cybersecurity.
The Origins of the term "Cybersecurity"
The use of "cyber"-everything started with "cybernetics," popularized by mathematician Norbert Wiener in the 1940s. For his book Cybernetics, Wiener borrowed the ancient Greek word "cyber," which is related to the idea of government or governing. He described a futuristic idea—that one day there would be a self-governing computer system that ran on feedback.
According to the Oxford English Dictionary, there's evidence of the prefix "cyber-" usage going back to 1961; however, it became popular in the 1990s. The term became prevalent with the invention of the World Wide Web, and the early 1990s saw the predominance of words like cyberbully, cybercommunity, and cyberwar.
The Need for Constant Transformation
As cyber threats continue to evolve, it's vital that security measures continue to transform as well—including the approach to security awareness and training. A 2022 Data Breach Investigations Report from Verizon found that 82% of breaches involved errors in human behavior, making it the biggest threat to cybersecurity. Because of this, the best way to reduce cyber risk is to take human behavior into account, not by assuming that humans will always be risky, but by understanding what behaviors lead to cybersecurity risks, and which ones can be changed. It's simply not good enough, or effective enough, to let 82% of breaches fly by with a, "Well, what can you do?" approach.
Turns out, there's a lot we can do.
Development of Security Awareness Training
As concerns about cybersecurity have continued to expand, so too have perspectives on security awareness and training. In the early days of computing, the field of cybersecurity ran parallel to the development of computers themselves, but today, the field of cybersecurity is its own complex arena.
The field of security awareness and training developed out of a need to inform employees across an organization of threats and to train them how to respond to them. Today, most companies have a dedicated team of cyber risk management specialists who monitor and report on threats and deal with incidents as they arise. As computer access became more widespread, security teams recognized that more and more threats were targeted at regular users, many of whom might not have the same level of technical savvy as those with an IT background.
Security leaders train employees to be aware of threats and how to respond to them by informing them of potential risk areas and giving them information about how to prevent an incident. This type of training typically covers a few key categories, including:
Physical Security: Having a good awareness of things like access to buildings and/or restricted areas of a company; badge swiping protocols; document printing, sharing, and disposal protocols, etc.
Best Practices: Teaching employees the importance of using complex passwords, logging into and out of workstations, and other basic security knowledge.
Remote Computing: A subject of more recent discussion, given the emergence of remote work in the past few years.
The most important of all of the categories covered in cybersecurity training is Social Engineering. Social engineering is the psychological manipulation of human behavior that allows cybercriminals to thrive. As noted hacker-turned-security-expert Kevin Mitnick states in his book The Art of Deception, "Why are social engineering attacks so successful? It isn't because people are stupid or lack common sense. But we, as human beings, are all vulnerable to being deceived because people can misplace their trust if manipulated in certain ways."
If history has taught us anything, it's that technologies may come and go, but people are people, and human behavior is, and always has been, a key component in cybersecurity. It's only recently that organizations are starting to clue into this, however. The most successful approaches to risk management in cyber security must involve an understanding of human behaviors.
Importance of Human Risk Management
Human Risk Management faces this risk head-on by changing the cybersecurity risk management model. Instead of assuming that human behavior will always be the weakest link in the security network, Human Risk Management starts with the idea that human behaviors can be changed in order to support a safer security culture, a more empowered workforce, and an organization where every employee can be at the front line of defense against all kinds of attacks.
Three Key Components of Human Risk Management
Monitor the behavior of users within an organization
What are your employees doing when faced with certain threats, such as phishing, remote work, and other key security principles that could lead to vulnerabilities?
Analyze and report on their behavior
Analyze and report on any weaknesses, show trends, and preempt threats before they occur. Knowing what we now know, which groups' behaviors might potentially put company data at risk?
Deploy strategic, effective cybersecurity training
Provide training to these users and groups to redirect them from disempowered to empowered. CISOs can turn human risk into a security culture that empowers each and every employee to know what to do, and when to do it.
Future of Cyber Risk Management
Cybersecurity is changing, and if history is any indication, it will continue to change, grow, and adapt to new challenges. More and more companies are considering how best to integrate things like long-term remote work, new security architectures, and higher supply chain risk, into their cybersecurity frameworks.
It's vital that security leaders continuously evaluate the security management of their organization. Thankfully, there are tools emerging on the market that allow these leaders to gain insight into their worker's behavior, assess the risk, and apply the findings. Once they know how to assess cyber risk with the human element in mind, the whole culture can change for the better.
Cyber Risk Management You Can Trust
Human-driven risk thrives in fear, uncertainty, and manipulation but effective Human Risk Management only grows stronger with knowledge, confidence, and empowerment. Whether it's preventing employees from doing what they shouldn't be doing, to encouraging them to do things correctly that they might be skipping over or forgetting, simple changes and engaging training can go a long way to preventing cyber attacks before they start. At Living Security, our Unify Human Risk Management platform can change the cybersecurity game for your organization starting today.
Want to learn more? Let's talk.
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CURTIS WILLIAM FOREMAN
A self-described undeniably unique creative, Curtis William Foreman is an artist who is committed to the metamorphosis of his subjects with his visionary SFX, make-up and hair concepts. Curtis has spent the last 20 years creating memorable characters, and is most currently passionate about the work he is doing for popular film and television, including The Fate and the Furious, Gifted and Stranger Things 2. With his pop-surreal aesthetics, Curtis' innate instinct for sculpture and design has led Curtis to continuous professional success and respect amongst his innovative peers.
Originally from Lake Charles, Curtis has steadily channeled his Cajun roots throughout his artistry from the beginning as the National Educator & Platform Artist for Alterna Hair Products to wig designer for entertainers and actors on screen, stage and in print. After graduating from Cinema Makeup School in Los Angeles, Curtis branched out from his notable hair talent to make-up and SFX, making him a true transformative trifecta in performance arts. Named one of the top 25 artists to watch in 2014, by Frontiers Magazine, Curtis' career has exploded since joining SAG-AFTRA and basing himself in Atlanta.
Perhaps Curtis' most noteworthy trademark is his WigART. Described as "one-of-a-kind" and "sculpting magic," WigART combines Curtis' desire to transcend boundaries by working with unconventional wig materials and integrating skillful techniques that make for visually stunning "high concept" masterpieces. Although mostly utilized for couture editorial, Curtis' WigART remains one of his most passionate pursuits that reflects early influencers such as the likes of hair guru Linda Flowers and the Academy Award winner Ve Neill for make-up.
DOWNLOAD RESUME OF WORK


Stand up paddle boards are in. They are versatile, personal watercraft that the whole family can enjoy, with models to accommodate everyone's wants or needs. Paddle boarding is an excellent way to get or stay fit. If you are near open water- ocean, lake, river, pond, or pool- you can take advantage of what stand up paddle boarding has to offer.
Cruising boards are short, narrow, and light weight, great for beginners or riders who just want to tootle around the neighborhood.
Performance boards are long boards with long fins that offer maneuverability in tight places or agility for stunt riding.
Adventure boards are medium length, wide boards made for long trips with gear or cargo. They are considerably heavier than other personal SUP craft.
Fitness boards are short, moderately wide, stable platforms for doing yoga and similarly stationary exercises.
Fishing boards are mid-length, wide boards with a heavy duty capacity and the capability of accessorizing specifically for fishing.
Kids boards are small, light weight, easily maneuverable units.
Personal safetyshould always be your number one priority, and a few SUP board accessories are required to ensure you're prepared & safe. Wearing a Coast Guard approved personal flotation device (PFD), waterproof sunscreen, and eye protection should be automatic.
If you are a beginner or have issues with your balance, "training wheels" or inflatable stabilizer pontoons can be attached to the board to increase stability.
For your convenience, accessories for paddle boards may be attached with Velcro strips or lever activated suction cups. These include drink holders, lashing tabs, and tie down straps. Cargo nets are available to hold your camping gear or cooler on board. A waterproof wallet with a lanyard, for your keys, ID, cash, and credit cards, can be worn on your person or tied to the board for safe (dry) keeping.
Fishermen rejoice! Your stand up paddle board is your new favorite fishing buddy. With a wider, more stable board, you can load on enough gear to get through a long day in the backwater or a trek to the cove. With your fishing rack and fishing bucket rack attachments, you can kick back and get serious while the racks hold your poles and keep your stuff dry. Don't forget to bring the anchor. You might want to hang around that secret fishing hole.
Water safety classes and stand up paddle board courses are offered in most locations where these activities take place. With the right accessories and a little common sense, your SUP experience will be SUP-er!


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