The industrial safety technology/technician prepares individuals to assist engineers and other professionals in implementing and enforcing industrial safety standards. The graduate will be prepared for a wide range of positions in the areas of occupational and industrial safety. Lorain County Community College has articulation agreements with colleges and universities including programs offered by Lorain County Community College's University Partnership.


text:
Has the media turned on UK's Prince Harry and wife Meghan?
08 April 2019 | 12:37 pm
Less than a year after their wedding, Prince Harry and Meghan Markle have found themselves on the receiving end of some less than flattering media coverage as they prepare for the birth of their first child this Spring.
Prince Harry, Meghan take on royal duties for the last time
In their final public appearance as senior royals, Prince Harry and his wife Meghan attended the Queen's annual Commonwealth service. The couple and their son are set to spend most of their time in Canada.
Covid-19: Wedding bells silenced by a pandemic
The coronavirus pandemic has put life on pause for millions of people. Important life events and milestones have had to be canceled or postponed forever to help protect lives and properties. However, a few have been able to find a way around the seemingly dire situation.
Meghan Markle speaks against racism
As the UN Human Rights Council gets set to hold an urgent debate on allegations of "systemic racism, police brutality, and violence against peaceful protests" in the United States, we are reminded of the emotional speech delivered by Meghan Markle, the Duchess of Sussex, to her former high school, imploring the class of 2020 to "lead with love, lead with compassion" and "use your voice" amid the on-going protests against racial injustice and police brutality sweeping across the globe.
Beirut bride recounts 'nightmare scene' of wedding day blast
Israa Seblani was posing for her wedding day photos when a deadly explosion blasted through the Lebanese capital. In an interview with DW, the doctor describes the moment, caught on film by her videographer.
Gay couples tie the knot for first time at Taiwan military wedding
Waving rainbow flags and shedding tears of joy, two Taiwanese same-sex couples tie the knot at a mass wedding hosted by the military in a landmark for Asia's LGBT community.
Meghan Markle becomes first modern royal to vote in U.S. presidential election
Meghan Markle is using her voice in one of the most important ways and it's confirmed that she is the first modern royal to vote in the U.S. Presidential election.
Jennifer Lopez worries she can't re-create her dream wedding
Jennifer Lopez is worried she and Alex Rodriguez won't be able to "re-create" their dream wedding, after they had to cancel plans twice due to the coronavirus pandemic.
Turning Zanzibar into a Wedding paradise
Henna painters, makeup artist and fashion designers - they all come together at the Zanzibar Wedding Festival. The event aims to promote Zanzibari culture - and promote the island as a wedding destination.
Mass wedding in El Salvador on Valentine's Day
Couples say 'yes' at the altar during a mass marriage ceremony held in EL Salvador despite the Covid pandemic to mark Valentine's Day.
UK Prince Harry and Duchess Meghan expecting second child
The Duke and Duchess of Sussex are said to be overjoyed at the news. The baby will be eighth in line to the British throne.
Prince Harry calls split from British royal life 'unbelievably tough'
Prince Harry invoked memories of his mother Princess Diana in an interview with Oprah Winfrey. Meghan and Harry described their earlier situation in the UK as "un-survivable."

redpajama_set_name: RedPajamaCommonCrawl


He is Chairman of the Board of Directors of Toscana Aeroporti S.p.A – a company listed on the Italian stock exchange.
He founded and is Chairman of Cambridge Management Consulting labs, Cgnal and Cys4, companies operating in the field of strategic consultancy and data use and protection.
He is a member of the Board of Directors of the Fondazione Cassa di Risparmio di Firenze, of which he is a member.
He is a member of the Board of Directors of the Università Scienza e Vita San Raffaele.
He is a member of the Board of Directors of Bassilichi S.p.A.
He has been a consultant at the MIT (Massachusetts Institute of Technology) in Boston.
He is the founder and a member of the Advisory Board of Wadi Ventures Ltd.
He is a member of the Council for the United States and Italy.


Aircraft - Exotic and Special Interest Vintage & Old-Timer Designs Contest "TBD" or "The Baker's Dozen" Build Off . THE POLL IS OPEN, GO AND VOTE!
"TBD" or "The Baker's Dozen" Build Off . THE POLL IS OPEN, GO AND VOTE!
Quite a few people seem to be chomping at the bit to select their entries for this so I thought I would put the thread up a few days early.
So....the build off will run from 1st Octoberl 2016 to 31st March 2017. Models may be scaled up or down, power unit changed - e.g. IC to electric, rubber to IC or electric, glider to IC or electric - and also type of flying - control-line to R/C, F/F to R/C, R/C to control-line etc. Constructional methods and materials can be changed but the external appearance of the model should be retained. To qualify for the final poll a model must be finished but not necessarily have flown. A build log is much preferred, but as a minimum a photograph of the finished model is acceptable.
Please head the first post of the build log "(Model name) for TBD Build Off". If the build log is posted in a forum other than this one (Vintage and Old Timer Designs) please put a post on this thread as I may not automatically pick it up otherwise.
Lots of choice - must be 500 or so on OZ alone - so let's see if we can beat the extraordinarily successful Fifty Plus B. O entry of 58.
OK, off we go - let's show that model aeroplane BUILDING is still alive and well. Enjoy.
Last edited by Sundancer; Apr 01, 2017 at 10:52 AM.
Nope, not forgotten Andy, just had to break off because dinner was ready!
March may be a little early for a maiden here in the northeast, but I'm in!
Seaplane build off? Willards "Islander", my choice.
It's beginning to look like it!
I'll be building Boddo's Mini Pronto, and if time allows I'll double up with his Elf-16 delta.
You will be very pleased with the Scorcher's performance. Fast, flies like it is on rails. Electric will not be a problem, glow can have problems with fuel flow. Hand launching requires a strong throw often resulting in leaning out the engine.
I was a teenager when I flew mine - just loved it!
I'm in with the Paageboy ( Vic Smeed) electric powered and RC (RET)!
I was going to skip this one and finish other projects, but Fillon's little Hemiptere sucked me in.
I am going for Ken Willard's Schoolboy first, to be followed by Hoh Fang-Chiun's MK Sportster.
Hey Tom - March will still be the season of horizontal rain here in the UK! That's the main reason why all of Sundancer's build offs do not require the model to be flown to qualify as completed. The pressure to maiden in unsuitable conditions could cause the catastrophic loss of the model, which would defeat the purpose of the build off - which is to get MORE traditionally built models flying!
Count me in for a Keil Kraft Cadet glider (Bill Dean), enlarged to 300%.


Microsoft has made upgrades from Windows 7 or Windows 8.1 to Windows 10 "free" for some time. Microsoft has stated that free Windows 10 upgrades will end on July 29, 2016. Previously, Microsoft has suggested that users upgrade to Windows 10, and has provided links and pop-ups on the Windows desktop and task bar suggesting that users upgrade. In the past few weeks, Microsoft has taken a more aggressive tact, including the Windows 10 upgrade in the "Recommended" Windows update selections. Some Windows users are surprised to find their computers in the midst of an unexpected Windows 10 upgrade, which at the least will make the computer unavailable for a while, or, if there are other applications not compatible with Windows 10, may be disruptive to your work.
We want to first assure you that current versions of BRS Dental Software DOM have been tested to work fine in Windows 10. If you are faced with a Windows 10 upgrade already underway, do NOT simply turn off your computer, as that could corrupt files or make the computer inoperable. If Windows 10 is installed by error, there are steps that can be taken (up to 30 days after the upgrade) to roll back to the prior operating system.
Your first contact should be your local IT and network support organization. They can review how policies can be set up, and advise you on whether your office should upgrade some or all workstations to Windows 10. One of the considerations would be whether other applications, like digital X-ray or imaging, will work in Windows 10.
If you would like to learn more about the technical details of preventing a Windows 10 upgrade or rolling back to a prior operating system (for your home system, for example), a good resource is Download.com Stop or Roll Back a Windows 10 Upgrade .


In terms of sheer numbers, the list of cities who have seen largest population increases contains some more familiar names. New York leads the pack by some distance with a 12-month population increase of 67,058, while second-placed Houston and third-placed LA are practically neck and neck with 34,625 and 34,483 respectively.
What mortgage originators need to know?
Where are the best places to be a real estate agent in 2019?


Michael Farrar released a music video for his second single "Game Changer." Watch Michael Farrar Below: Purchase or stream here.
Michael Farrar released his new single "Game Changer." It follows up his single and music video for "Shots." Listen to Michael Farrar Below:  Purchase or stream here. Watch "Shots" Below: Purchase or stream here. Follow Michael Farrar on Facebook, Instagram, and Twitter.
Richmond Virginia based artist Michael Farrar drops a visual for his Rapzilla.com debut, "Shots." Watch Michael Farrar Below: Purchase or stream here. Follow Michael Farrar on Facebook, Instagram, and Twitter.
Richmond Virginia based artist Michael Farrar makes his Rapzilla.com debut with "Shots." Listen to Michael Farrar Below:  Purchase or stream here.


text:
La ligne de Varsovie à Gdańsk (ou ligne n°9) est une ligne ferroviaire de Pologne qui relie Varsovie à Gdańsk.

Histoire
L'ouverture de la ligne se fait par étapes: le premier tronçon de Gdańsk Glowny à Tczew en , le dernier tronçon de Mława à Dzialdowo en .
L'électrification s'étend de  à .

Caractéristiques

Exploitation

Notes et références

Voir aussi

Articles connexes
transport ferroviaire en Pologne

Liens externes

Gdansk
Varsovie
Varsovie

redpajama_set_name: RedPajamaWikipedia


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The Invasion Of The Irish Playwrights: McDonagh Vs. McPherson
by Jerome Weeks 4 Dec 2015
Katherine Bourne, Bruce DuBose and Scott Latham dancing to Marvin Gaye in 'The Night Alive' at the Undermain Theatre. Photo: Katherine Owens
Irish playwrights have been all over North Texas stages in recent years. Conor McPherson's 'The Night Alive,' currently at the Undermain Theater, is the third of his haunting plays the company has staged. Meanwhile, Martin McDonagh's dark comedies have been presented by Kitchen Dog, WaterTower, Second Thought and Stage West — at least. Art & Seek's Jerome Weeks takes stock of this Gaelic invasion with Justin Martin.
'The Night Alive] directed by Dylan Key, runs at the Undermain Theatre through Dec. 12.
I understand Conor McPherson and Martin McDonagh have had something of a feud. Or at least a rather chilly exchange. What's that all about?
JWConor McPherson has denied ever saying the insult that supposedly started everything a couple years ago. But the quarrel is interesting — if there is one – because it cuts to who they are, what being Irish means and what their plays do. Martin McDonagh is the most famous of the current crop of Irish playwrights. He made his big splash in the '90s and early '00s with a couple of trilogies, plays like 'The Beauty Queen of Leenane' and 'The Lieutenant of Inishmore.' They're set in far west Ireland and give us this grim, funny portrait of isolated, violent people. And they're known for their shock tactics. They've even forced theaters to up their level of onstage special effects. When WaterTower Theatre did 'Inishmore' four years ago, they brought in a specialist just to handle all the graphic bloodshed. That's why I think of McDonagh as the Irish Quentin Tarantino.
I've seen 'In Bruges,' the 2008 film that McDonagh wrote and directed.
JWYeah, OK. So you think the Tarantino comparison is fair?
If I remember correctly: hookers, dwarves, violence and cocaine. Yeah, it's pretty appropriate.
JWI thought it was terrific, too, even lovely, despite all the shootings. But back to this supposed feud. Martin McDonagh was raised by Irish parents – but in London. That kind of Anglo-Irish mix is pretty common in British literature. We Americans tend to think of writers like George Bernard Shaw and Oscar Wilde as veddy English, but on that side of the ocean, they're clear on the difference. Both were born in Dublin. So when you combine Martin McDonagh's London background with his penchant for portraying the Irish as brutal, backwoods loners, you can understand why Conor McPherson, who's from Dublin, may have dismissed McDonagh with a slur. He called his writing "stage Irish."
You blinked. Matt Moore and Kayla Carlyle in 'The Lieutenant of Inishmore' at the WaterTower Theatre. Photo: Mark Oristano.
JWIt's an old insult. It means he just plays to the prejudices of the audience by depicting the Irish as drunken, loud and lurid. But then some Irish ex-pats took a little umbrage at the remark. It seemed to them McPherson was saying McDonagh himself wasn't 'authentically Irish.'
Well then, what about McPherson's own plays?
JWHe's definitely subtler; he's more about the mood of menace. There's a reason he has often cited Harold Pinter — the master of unspoken menace — as a major influence. 'The Night Alive' at the Undermain has a perfect example of the differences between McPherson and McDonagh. There's this vicious beating that happens in the play, and McPherson has it happen offstage. It's still a jolt, but we only hear it.
Now, McDonagh would have put it front and center. McDonagh is all about showing us, sticking it to us, hammering away, making it so we can't look away, whether that's comedy or violence. Theater to him is about immediacy — being alive and present in the room when something happens. That's made his work very theatrical, very exciting, especially for younger audiences.
But I also think that penchant for bigger jolts, more attention-getting effects is a reason he's almost abandoned theater these days for film (although the word is he has a new play in the works for the Royal Court called 'Hangmen'). McDonagh has even said he has little respect for the traditions of theater and more respect for film. And that preference for ham-fisted violence and comedy is also why, I think, with 'Seven Psychopaths' — the film McDonagh made after 'In Bruges' — he fell into the Tarantino trap of over-the-top absurdity. The bloodshed and the humor feel manipulative and cynical.
In contrast, Conor McPherson is about nudging and suggesting things – particularly otherworldly, unseen things. He has said, growing up in Ireland, you're always aware of being on the far western edge of Europe. The Atlantic Ocean is the great beyond. So instead of the kind of ultra-splattery violence you get in Martin McDonagh's writing, McPherson's plays tap into the moodier, even melancholy traditions of the Irish ghost story. They're all about what's out of our control, what's beyond.
It can be almost a tic in his plays, this need to imply there's something else behind our accepted reality. McPherson himself has directed and co-written a film, called The Eclipse,' came out in 2009. I think it's seriously underrated by horror movie fans, people who want those big, gotcha, shock effects. The film actually conveys a creepy sense of loss, of unfinished emotional business of ghosts representing not letting go of this life. As they say, the movie casts a really nice pall.
At one point, a British novelist, played by Iben Hjejle, does a reading at a literary festival. And what she says sounds like McPherson's defense of the ghost story. Her character reads about how seeing a ghost splits your mind between what's real and what's not and changes your sense of the world. The character in her story wakes up and sees this dim figure sitting on her bed with its mouth open and its eyes mournful. Open-mouthed, unspeaking apparitions appear throughout McPherson's works: There's a world beyond this one, it seems, but it can't tell us much, we'll never get the answers we really want. And the woman in the novelist's story realizes, at that moment, fully for the first time, that she would die, her husband would die, all her children would die — and "that what she was looking at was reality." Reality, in this case, means knowing — with complete, painful finality — about loss and death, about our suffering after death yet also knowing you'll never know anything more. It's a turmoil of insight and ignorance.
That's why McPherson's plays all have this disturbing unease — even as they take place in perfectly ordinary settings with average people being pushed by cruel events. It's his way of seeing the world but it's also a theatrical effect: The spooky, the otherwordly, has a bigger impact when it happens in this context of the utterly commonplace. Or even the harshly real.
That harsh reality is what's lacking in the tone of the Undermain's 'The Night Alive.' Directed by Dylan Key, it's a good but not particularly vivid production. Bruce Dubose and Scott Latham play partners. Tey're both middle-aged losers who work odd jobs together and live in this dead-end basement apartment. Yet the actors are both a little too sweet and funny. So the play feels slack. Here's Latham's character, Doc, telling Dubose, who plays Tommy, and Katherine Bourne, playing Aimee, about a mysterious coincidence, the kind his dreamy character is fascinated by:
Doc: "I heard, on the news that they were hoping the pope was going to be able to walk down to the graveyard by himself. And the next day, the pope was dead."
Tommy: "What do you make of that?"
Aimee: "That's insane."
Doc: "Yep. Crazy."
Bruce DuBose, Gregory Lush and Max Hartman in the Undermain's 'Penelope.'
That's kind of creepy.
JWYeah, but in the atmosphere and buildup to that sort of thing, there's not enough tension between Tommy and Doc or between Tommy and Aimee. There's not enough spookiness or menace – even before the real violence comes. DuBose's character should be such a wretched, glum guy that when this one ghost does finally appear, it should feel like a blessing from beyond. His life is broken up — just a bit, for just a moment. He's given a vision, it's a kind of spiritual thank-you for the one kindness he did in his dim world of haggling and getting-by.
The funny thing, though?
JWI think, hands down, the single best play, the finest production of any Irish comedy or drama in recent seasons, still is the Undermain's staging of 'Penelope' at the City Performance Hall.
And that wasn't by McDonagh or McPherson. It was by Enda Walsh. He's probably the least known of the three — except for the musical, 'Once' — but I think he may wind up the most compelling, the most versatile playwright of the bunch.
Bruce Dubose
Enda Walsh
Jerome Weeks
local premiere
radio feature
Scott Latham
Undermain
About Jerome Weeks
Jerome Weeks is the Senior Arts Reporter/Producer for KERA. Previously at The Dallas Morning News, he was the book columnist for 10 years and the drama critic for 10 years before that. His writing has appeared in the San Francisco Chronicle, Salon, Los Angeles Times, Newsday, American Theatre and Men's Vogue magazines. View more about Jerome Weeks.
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Peace Like A River
Earlier in the year when I listed 2009 film adaptations based on fiction, I saw that there was an adaptation for Leif Enger's novel Peace Like a River in the works.
This led me to read the freshman novel of Leif Enger, a Minnesotan author who previously was a reporter and producer for Minnesota Public Radio.
This book has a unique appeal in that it is written with such a home-spun appeal that lends itself to fireside or rainy day reading. The book isn't gimmicky or avant garde, in fact it calls back to simple times and simple people.
Peace Like A River has a small cast of characters, that are honest and realistic. The narrator is 11 year old Rueben Land who reflects on a challenging time in his families life, the son of a poor janitor who's rich in every spiritual and emotional way. In many ways, Rueben's father, Jeremiah Land have an appeal similar to the Finch's in to Kill a Mockingbird.
Jeremiah's wife had previously abandoned her good natured husband, and three kids, and takes care of them, raising them in truth and honesty, despite each of his three children's (Davy, Ruben, Sweede).
Davy far more rebellious and independent than Rueben finds himself getting into serious trouble with the law that leads the family on their own challenging journey.
I wish their more stories like Peace Like a River. Not necessarily pastoral North American stories that re-invent the Western. No, what I wish is that more stories could develop realistic characters that are interesting and unique, without thinking that the characters needy to be girtty, edgy, and unhappy.
I think as a film, the novel Peace Like a River could certainly adapt well if handled in a manner that can transition the desolate open tone of the novel in a cinematic way. I am also excited and interested in seeing how the cast develops once production gets under way.
I've been meaning to read this for ages. Didn't realize it was being considered for film. Will have to bump it up. Nice review.
Loren Eaton said...
What I loved about Enger's debut was the way it subverted tradition "religious" fiction. Enger is obviously a Christian and wants to communicate his passion for it to the wider world, but he doesn't mind crafting flawed characters or delving into horrific acts of violence. The ending had me picking my jaw up off the floor.
Attila the Mom said...
Really nice review. Will look for it if it makes it to the wide-screen.
I blinged you today. Hope you drop by!


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VILLANOVA, Pa.--Coming up on Saturday morning, the Villanova women's cross country team will race in the BIG EAST Championships at Jamesville Beach Park in Jamesville, N.Y. The conference meet is a 6K race that will begin at 10:30 a.m. An awards ceremony at Noon will follow the competition.
"The BIG EAST Championships represent the start of the championship part of our season and we are excited to get going and face some of the great teams in our conference," Villanova head coach Gina Procaccio said.
Entering this weekend's meet, the Wildcats have been ranked No. 1 in the nation in the USTFCCCA national poll since the start of the season. Villanova has captured the last two BIG EAST titles as well and will be in action at the conference meet for the first time since winning the Penn State National two weeks ago.
Seniors Sheila Reid (Newmarket, Ont.) and Amanda Marino (Jackson, N.J.) lead a veteran group of runners for the Wildcats and came in first and second, respectively, at the Penn State meet. Senior Ali Smith (Columbia, Md.), junior Bogdana Mimic (Pancevo, Serbia) and freshman Emily Lipari (Greenvale, N.Y.) complete Villanova's formidable top five.
"Our girls like to compete and they seem to rise to the challenge against good competition," Procaccio said. "The BIG EAST has some highly-ranked teams and we are looking forward to a great meet."
Also running for the Wildcats will be seniors Sarah Morrison (Chambersburg, Pa.) and Callie Hogan (Bay Shore, N.Y.), sophomore Shannon Browne (Staten Island, N.Y.) and freshman Nicky Akande (Lawrenceville, Ga.).
"I am very excited about the depth we have developed this year, starting within our top five and their ability to run with each other and continuing with the rest of the team being able to step up and push themselves closer to that group."
Jamesville Beach Park is a brand new location for the BIG EAST Championships and the race will be held on a golf course that features rolling hills along the course.
"Last year's conference meet was also in a new location so it really doesn't make a difference to our girls where they run," Procaccio said. "We are hearing that this is a hilly course and that works to our strengths as a team."


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School time
PUBLISHED: October 18, 2007 at 12:00 am | UPDATED: April 21, 2018 at 4:25 am
The second-grade classes of Guillermina Alfaro, Diane Forrester, Al Gonzalez and Gale Hornsby at Mill Street School in Orland, will visit Country Pumpkins this morning, to study the life cycle of crops.
Fourth-graders from Fairview School in Orland, will participate in Native Californian Day 9-11 a.m. today.
A choral concert will be performed by sixth-graders at C.K. Price Middle School in Orland, at 6 p.m. today.
Blue Oak Charter School will have a presentation by Roze Sabino Blodget on "Read Aloud and More," at 6 p.m. today. The event is part of a series of parent education discussions. For information call 879-7483.
A family math night will be held at Citrus School 6:30-8 p.m. today.
Student pictures will be taken Friday at Marigold School.
A blood drive will be held at Pleasant Valley High School Friday. Students must be 16 years old and weigh at least 110 pounds. Those under 18 years old need a signed parental consent form.
Students from the Hamilton High School drama class will visit Chico State University Friday to meet with university drama students and view performances.
Students from Citrus School, McManus School and Marigold School will participate in a Sports-a-Rama event 6:30 p.m. Friday at Pleasant Valley High School.
The Durham Mosquito Festival will be held at the Durham Elementary School playground 4-7 p.m. Saturday. The event will include game booths, food and a silent auction.
Nord Country School will have a Halloween carnival Saturday. The public is invited to wear costumes, play games and purchase food items.
Hamilton High School Sports Boosters Club will have a fall festival dinner and dance, beginning at 6:30 p.m. Saturday, at Flaherty Hall at the Orland Fairgrounds. For tickets, $30 per person, call 826-0921.
The Fabulous Swing Kings, an authentic big band era orchestra, will perform a benefit concert for the Orland High School music department at 7 p.m. Saturday in Orland Memorial Hall. Admission is $10 for adults and $3 for students. For information, contact Butch Peterson at 865-1210, Ext. 125.
Red Ribbon Week will be celebrated during the week beginning Monday in many local schools to encourage students to stay drug-free.
A community workshop will be held 6-8 p.m. Monday at Pleasant Valley High School. Information will be presented about existing facilities, enrollment projections, proposed projects and funding. District staff will collect ideas, suggestions and feedback from the public.
Orland High School counseling office will hold a College/Career Parent Night 6:30-7:30 p.m. Monday. Information will cover post-secondary education, financial aid and scholarships. All interested parents and students may attend, although the presentation will be focused on senior students' interests.
Make-up day for student portraits at Neal Dow School will be Tuesday.
C.K. Price Middle School, in Orland, will hold a recycling fundraiser 3:30-6:30 p.m. Tuesday, sponsored by the Environmental and Spatial Technology — EAST — class. Community members are asked to bring in aluminum cans, and plastic and glass bottles, or drop them off at the school's bus area south of the front entrance.
Pleasant Valley High School will present "The Diary of Anne Frank" at 7:30 p.m. Tuesday through Friday in Valhalla. Tickets prices are $5 in advance or $7 at the door.
FFA students from Chico High School will travel to Indianapolis and Washington, D.C., to participate in the National FFA Convention, leaving Wednesday.
This column appears each Thursday during the school year on page 4A of the Enterprise-Record. Information on school or school organization awards, special event, fundraisers and the like can be e-mailed to: cgullick@chicoer.com or faxed to 342-3617. Information may be edited for space.


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Prayer and Sauerkraut
One of the New Year traditions in the Kaylor household (ok, to be fair, it's actually my tradition that my family tolerates) is that we serve sauerkraut and hot dogs on New Year's Day. It's a nod to my mother, who used to make us kids eat sauerkraut that day under pain of death if we refused. While mom was a deeply committed Christian, she was also pretty superstitious and that meant that 'kraut on New Year's was the equivalent of canon law.
Eating sauerkraut on the first day of the year is actually an old "Pennsylvania Dutch" tradition, which goes back to the German settlers who populated much of the state in the 18th century. The idea was that eating a magical combination of pork and fermented cabbage would bring good luck and prosperity for at least the next twelve months. Since pigs "root forward" as opposed to chickens and turkeys who "scratch backward," pork symbolizes a good future. Sauerkraut is made of cabbage, which is green. German farmers would pickle it for the winter, thus when it was broken out on January 1 it was to symbolize prosperity or the "green" of money that would surely come with its consumption.
Truth be told, I hated sauerkraut when I was a kid. Now I look forward to it. Instead of a pork roast, however, we substitute hot dogs which, for me at least, is a nod to baseball and the prospect of spring in the midst of a cold winter. I'm also not a believer in luck, choosing instead to gravitate toward the Roman Stoic philosopher Seneca's that, "Luck is what happens when preparation meets opportunity."
I do believe in tradition, however, because those traditions tend to help us mark the past and give us sign posts for the future. Eating sauerkraut on New Year's Day takes me back to my childhood and fond memories of my mother, and it is always the taste of a new year full of possibilities.
This year, I'm adding a new tradition, however, that is far more significant than sauerkraut and offers more preparation in advance of opportunity–and that is to engage in praying in the new year. There's actually a Methodist precedent for this. John Wesley, along with several of his friends, prayed all night on New Year's Eve 1738. In his journal for January 1, 1739, Wesley wrote:
About three in the morning, as we were continuing instant in prayer, the power of God came mightily upon us, insomuch that many cried out for exceeding joy, and many fell to the ground. As soon as we were recovered a little from that awe and amazement at the presence of His majesty we broke out with one voice, 'We praise Thee, O God; we acknowledge Thee to be the Lord.'
While others were partying (and maybe even wolfing down sauerkraut and pork), Wesley and his friends were at prayer. They were preparing for the year ahead and God's power fell on them to provide them with the opportunity for a new movement of the Spirit. Earlier in 1738, both John and Charles Wesley had experienced a personal conversion and movement of the heart. Now that movement would spread exponentially, resulting in a powerful awakening of Christian faith and life in England. Prayer had a lot to do with that–preparation meeting opportunity.
As we move into 2020, it seems to me to be the perfect time to revisit this tradition of praying in the New Year. The year ahead promises to be a contentious one in a lot of arenas, from the ballot box to the halls of the United Methodist General Conference. Lots of important decisions will be made and there will be opportunities as well as challenges ahead. I also believe, however, that we're on the cusp of another Great Awakening. Prayer is the best preparation we can undertake in the tradition of not only our Methodist ancestors but also that of Jesus himself, who regularly spent nights in prayer in preparation for important events.
That's why we here at Tri-Lakes UMC have set up a 24-hour prayer vigil that will run from noon on New Year's Eve to noon on New Year's Day. We're inviting people to take a 30-minute shift to pray in preparation for 2020. We've provided a prayer guide to help align our prayers, focusing on some key challenges and opportunities ahead of us. But this isn't only a vigil for our local church–it's a vigil that we hope lots of churches and individuals will adopt as a new tradition. Imagine opening the year with "awe and amazement at the presence of His majesty" and placing ourselves in a position to be part of another great awakening.
We'll begin and end the vigil with a short prayer service with Holy Communion at the church at noon on New Year's Eve (December 31) and end with another service at noon on New Year's Day. You can sign up to join in the prayer vigil, whether you are a part of TLUMC or not. We also encourage others to engage in the tradition praying in the New Year, and maybe even add fasting to that as well. While others are partying and feasting, those who wait upon the Lord will find an even greater reason to celebrate.
Of course, I will also break my fast on New Year's Day with hot dogs and sauerkraut. After all, it's tradition!
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AppArmor is a Mandatory Access Control (MAC) system, implemented upon the Linux Security Modules (LSM).
AppArmor, like most other LSMs, supplements rather than replaces the default Discretionary Access Control (DAC). As such it's impossible to grant a process more privileges than it had in the first place.
Ubuntu, SUSE and a number of other distributions use it by default. RHEL (and its variants) use SELinux which requires good userspace integration to work properly. SELinux attaches labels to all files, processes and objects and is therefore very flexible. However configuring SELinux is considered to be very complicated and requires a supported filesystem. AppArmor on the other hand works using file paths and its configuration can be easily adapted.
AppArmor proactively protects the operating system and applications from external or internal threats and even zero-day attacks by enforcing a specific rule set on a per application basis. Security policies completely define what system resources individual applications can access, and with what privileges. Access is denied by default if no profile says otherwise. A few default policies are included with AppArmor and using a combination of advanced static analysis and learning-based tools, AppArmor policies for even very complex applications can be deployed successfully in a matter of hours.
Every breach of policy triggers a message in the system log, and AppArmor can be configured to notify users with real-time violation warnings popping up on the desktop.
AppArmor is available in all officially supported kernels.
Install apparmor for userspace tools and libraries to control AppArmor. To load all AppArmor profiles on startup, enable apparmor.service.
44 profiles are in enforce mode.
0 processes have profiles defined.
0 processes are in enforce mode.
To load (enforce or complain), unload, reload, cache and stat profiles use apparmor_parser. The default action (-a) is to load a new profile in enforce mode, loading it in complain mode is possible using the -C switch, in order to overwrite an existing profile use the -r option and to remove a profile use -R. Each action may also apply to multiple profiles. Refer to apparmor_parser(8) man page for more information.
To prevent from loading AppArmor profiles at the next boot disable apparmor.service. To prevent the kernel from loading AppArmor, remove apparmor=1 security=apparmor from the kernel parameters.
To create new profiles the Audit framework should be running. This is because Arch Linux adopted systemd and doesn't do kernel logging to file by default. AppArmor can grab kernel audit logs from the userspace auditd daemon, allowing you to build a profile.
New AppArmor profiles can be created by utilizing aa-genprof(8) and aa-logprof(8) tools available in apparmor package. Detailed guide about using those tools is available at AppArmor wiki - Profiling with tools.
Alternatively profiles may be also created manually, see guide available at AppArmor wiki - Profiling by hand.
Strings preceded by a @ symbol are variables defined by abstractions (/etc/apparmor.d/abstractions/), tunables (/etc/apparmor.d/tunables/) or by the profile itself. #include includes other profile-files directly. Paths followed by a set of characters are access permissions. Pattern matching is done using AppArmor's globbing syntax.
Remember that those permission do not allow binaries to exceed the permission dictated by the Discretionary Access Control (DAC).
This is merely a short overview, for a more detailed guide be sure to have a look at the apparmor.d(5) man page and documentation.
Tip: You may use other already existing system groups like wheel or adm.
Note: Depending on your specific system configuration there could be A LOT of notifications displayed.
For more information, see aa-notify(8).
Note: Since 2.13.1 default cache location is /var/cache/apparmor/, previously it was /etc/apparmor.d/cache.d/.
See Samba#Permission issues on AppArmor.
This page was last edited on 7 January 2019, at 08:00.


The wheel does not have to be reinvented several times. Therefore, we support our customers by scouting for already existing technologies. In case that the available technology does not completely match the requirements of the customer we close the gap by developing bridging structures and adaptions to the specific needs.


The information contained in this website is for general information purposes only. While we endeavor to keep the information up to date and correct, we make no representations or warranties of any kind, express or implied, about the completeness, accuracy, reliability, suitability or availability with respect to the website or the information, products or services contained on the website for any purpose. Through this website you are able to link to other websites which are not under the control of the JCEDC. We have no control over the nature, content and availability of those sites. The inclusion of any links does not necessarily imply a recommendation or endorse the views expressed within them.


text:
package org.apache.camel.component.olingo2;

import java.util.HashMap;
import java.util.Map;

import org.apache.camel.AsyncCallback;
import org.apache.camel.Exchange;
import org.apache.camel.RuntimeCamelException;
import org.apache.camel.component.olingo2.api.Olingo2ResponseHandler;
import org.apache.camel.component.olingo2.internal.Olingo2ApiName;
import org.apache.camel.component.olingo2.internal.Olingo2Constants;
import org.apache.camel.component.olingo2.internal.Olingo2PropertiesHelper;
import org.apache.camel.support.component.AbstractApiProducer;
import org.apache.camel.support.component.ApiMethod;
import org.slf4j.Logger;
import org.slf4j.LoggerFactory;

/**
 * The Olingo2 producer.
 */
public class Olingo2Producer extends AbstractApiProducer<Olingo2ApiName, Olingo2Configuration> {

    private static final Logger LOG = LoggerFactory.getLogger(Olingo2Producer.class);

    private static final String RESPONSE_HTTP_HEADERS = "responseHttpHeaders";

    private Olingo2Index resultIndex;

    public Olingo2Producer(Olingo2Endpoint endpoint) {
        super(endpoint, Olingo2PropertiesHelper.getHelper(endpoint.getCamelContext()));
    }

    @Override
    public boolean process(final Exchange exchange, final AsyncCallback callback) {
        // properties for method arguments
        final Map<String, Object> properties = new HashMap<>();
        properties.putAll(endpoint.getEndpointProperties());
        propertiesHelper.getExchangeProperties(exchange, properties);

        // let the endpoint and the Producer intercept properties
        endpoint.interceptProperties(properties);
        interceptProperties(properties);

        // create response handler
        properties.put(Olingo2Endpoint.RESPONSE_HANDLER_PROPERTY, new Olingo2ResponseHandler<Object>() {
            @Override
            public void onResponse(Object response, Map<String, String> responseHeaders) {
                if (resultIndex != null) {
                    response = resultIndex.filterResponse(response);
                }

                // producer returns a single response, even for methods with
                // List return types
                exchange.getOut().setBody(response);
                // copy headers
                exchange.getOut().setHeaders(exchange.getIn().getHeaders());

                // Add http response headers
                exchange.getOut().setHeader(Olingo2Constants.PROPERTY_PREFIX + RESPONSE_HTTP_HEADERS, responseHeaders);

                interceptResult(response, exchange);

                callback.done(false);
            }

            @Override
            public void onException(Exception ex) {
                exchange.setException(ex);
                callback.done(false);
            }

            @Override
            public void onCanceled() {
                exchange.setException(new RuntimeCamelException("OData HTTP Request cancelled!"));
                callback.done(false);
            }
        });

        // decide which method to invoke
        final ApiMethod method = findMethod(exchange, properties);
        if (method == null) {
            // synchronous failure
            callback.done(true);
            return true;
        }

        if (LOG.isDebugEnabled()) {
            LOG.debug("Invoking operation {} with {}", method.getName(), properties.keySet());
        }

        try {
            doInvokeMethod(method, properties);
        } catch (Exception e) {
            exchange.setException(RuntimeCamelException.wrapRuntimeCamelException(e));
            callback.done(true);
            return true;
        }

        return false;
    }

    @Override
    public void interceptProperties(Map<String, Object> properties) {
        //
        // If we have a filterAlreadySeen property then initialise the filter
        // index
        //
        Object value = properties.get(Olingo2Endpoint.FILTER_ALREADY_SEEN);
        if (value == null) {
            return;
        }

        //
        // Initialise the index if not already and if filterAlreadySeen has been
        // set
        //
        if (Boolean.parseBoolean(value.toString()) && resultIndex == null) {
            resultIndex = new Olingo2Index();
        }
    }

    @Override
    public void interceptResult(Object result, Exchange resultExchange) {
        if (resultIndex == null) {
            return;
        }

        resultIndex.index(result);
    }
}

redpajama_set_name: RedPajamaGithub


text:
2017 Festival of Nine Lessons and Carols: The Lamb - John Tavener
Sinden.org published its traditional preview of the music list for the Festival of Nine Lessons and Carols from King's College, Cambridge late last month..
For the days leading up to the service, we have been offer a Kalendar of Carols: a more in-depth look at each piece of music to be sung.
So far, we've covered the opening hymn, Bidding Prayer, In the bleak mid-winter – Harold Darke, Adam's Fall – Richard Elfyn Jones, Love came down at Christmas – arr. Stephen Cleobury, How shall I fitly meet thee – Bach, I saw three ships – arr. Ledger, Illuminare Jerusalem – Judith Weir, the hymn "O little town of Bethlehem", and A spotless rose – Herbert Howells.
How funny the little word "carol" is.
Really a whole essay should be written (and perhaps has) about what it is that makes a Christmas carol, and why William Blake's poem "The Lamb" qualifies in this instance, and how John Tavener's mirror-image counterpoint helps the whole thing work.
But more to the point, Stephen Cleobury's retirement is on the horizon (more on this later), and this carol was sung in 1982, his first Carol Service, 35 years ago.
It was not technically commissioned – all lists of commissioned carols begin 1983 with Lennox Berkeley's "In wintertime" – but, having been composed earlier in 1982, Tavener's "The Lamb" was the first truly new carol heard at the service.
There is a real excitement that new music brings to this story, and the stability of the architecture and the liturgy seem to harness it, and amplify it. This doesn't mean that composers don't fail here. I think they sometimes do. But if they have succeeded in making something of worth, the Chapel, the Choir, and the Service prove willing and ready partners.
For Cleobury be able to bring something of such radiant simplicity to his first Carol Service at King's was a real feat. Unrepeatable, even. Except that he has brought new sounds and new ideas into the music of this service year after year.
That is, in part, what I think this carol means in this year's service – perhaps the last time that Cleobury will direct it on a December the 24th. It is a nod to the ethos of this service under the Cleobury era. From 1982 to now: from Tavener to Watkins.
It is no less than being open to those possible moments of profound ecstasy in the light of the Incarnation.
It is new music that can "gather into one things earthly and heavenly".
It is writing and performing new music as a sacramental act.
Labels: Christmas, King's College (Cambridge), Lessons and Carols, Tavener


text:
News & Events /
UH Professor Offers Insight into Saharan Dust Migration
Calendars & Events
UH News
Mailing Lists & Subscriptions
Satellite pictures of Saharan dust clouds have been in the news all summer, but to Shankar Chellam, they have just raised more questions.
How much impact did the Saharan dust have on Houston's air? Is it more toxic than our home-grown dust?
Chellam, a professor in the department of civil and environmental engineering at the University of Houston's Cullen College of Engineering, is searching for answers to those and other questions.
Clouds of African dust often migrate across the Atlantic Ocean during summer months, affecting Houston's air quality from mid-June through mid-September. Chellam said it's especially prevalent in late August and early September.
The dust, whipped up by sandstorms in northwest Africa and carried by trade winds across the Atlantic Ocean, takes about 10 days to two weeks to reach the United States and, ultimately, Houston.
Chellam said he collaborates on the project with Joseph Prospero, professor emeritus of marine and atmospheric chemistry at the University of Miami.
Chellam became interested after he noticed "the most curious coincidence" as he was collecting data on industrial air pollution outside plants along the Houston Ship Channel in 2008.
He began the project expecting that the plants would emit a constant amount of pollution, as measured from just beyond their property lines. But he discovered that on some days they emitted relatively little, while emissions were much higher on other days.
"What we quickly realized was that the impact of the refineries varied with time," he said. "We naively had gone into our research expecting that if we took three months of data, we would get an average."
A five-day period in July and August 2008 showed a large variation. That coincided with an influx of Saharan dust, Chellam said.
To determine the actual impact of the Saharan dust required scientific detective work. Chellam and his team determined the "fingerprint" of the African dust, allowing them to differentiate it from other types of pollutants in their samples: industrial dust, vehicle pollutants and smoke from wildfires, among other things.
"There are millions of sources of pollution," he said.
His lab works with African dust collected in Barbados, before it has picked up other contaminants along the route to the United States. Still, he said, the metals in the dust are distinct.
That finding allowed him to determine that a spike in pollution levels in the 2008 readings reflected the arrival of Saharan dust. A paper on those findings has been accepted for publication in in the journal Environmental Science and Technology. In addition to Prospero, his co-authors include Ayse Bozlaker, a post-doctoral researcher working with Chellam, and Matthew Fraser of Arizona State University.
Work by other scientists has linked the dust migration with coral reef stresses and other environmental problems, but the impact on human health is less clear.
Chellam, whose research does not extend into health impact, said he would expect it to affect people with asthma and other respiratory problems. "But clearly more research is needed," he said. "The composition of the dust is not the same" as other industrial and vehicle dust.
"And if the composition is different, the health impact may be different," he said.
To request an interview with Professor Chellam, contact Jeannie Kever at 713-743-0778 or jekever@uh.edu.
Categories: Research


text:
http://beyondkayfabe.com/website/wp-content/uploads/2017/10/deebowtlc2017review.mp3
Attention: There is an Audio Review, though, it was a terrible recording. I'm trying to get comfortable doing this by myself, and so there are lots of "ums…", stumbles and big deep breaths into the mic. If you don't want to hear me struggle, I would suggest just reading the review below.
Pre-Show
Alicia Fox vs. Sasha Banks
Winner: Sasha Banks
Rating: 2.75/5
They took a couple minutes to hit their stride. Once they were both able to compose themselves, they put on a watchable match.
– They took a couple minutes to hit their stride. Once they were both able to compose themselves, they put on a watchable match.
Pretty hard hitting, though I'm not sure if that was by design.
– Alicia has her past working against her. She is a relic from the "diva" generation of wrestlers. While she is better than most from her past, you can tell the difference between her and the women that WWE is producing now.
– Having just said that, Alicia Fox has the best bridge in WWE.
– Typical performance from Sasha. It won't be on her greatest hits WWE special, but it's better than not putting on a good performance at all.
Winner: Asuka
– I like Emma's entrance. This has nothing to do with the match, but it was pretty fun to watch. I don't know if she has been doing that entrance on RAW yet, because I don't watch RAW on a weekly basis.
– Fantastic pop for Asuka. The Minapolis crowd was pretty hot all night.
– Asuka was one wrong move away from having a wardrobe malfunction. I think her top may have been made a bit too small. The last camera shot at the end of the match, showed quite a bit of underboob.
– A great performance by both women. Emma got a lot of offense. The match reminded me of Nakamura's debut, but done a lot better. Asuka and Emma gelled a lot better than Nakamura and Ziggler did.
– Apparently, not only was this Asuka's WWE PPV debut, this was also Emma's first PPV singles match. Which is kind of a shame if you think about it. Emma is under appreciated by both the WWE brass and the fans. Hopefully, with how she did all the offense she got in the match, that means there will be a substantial push in her future.
– My one critism is that Asuka really needs to tighten up that crossface chicken wing. It barely looked like she had her in the move.
Jack Gallagher and The Brian Kendrick vs. Rich Swann and Cedric Alexander
Winners: Rich Swann and Cedric Alexander
– It was nice to see Nigel on the PPV doing commentary. Nigel's partner on commentary is absolutely terrible. Nigel isn't the best commentator, so I don't quite understand why you would pair him up with the most generic-white bread commentator you can find.
– I don't really watch 205live, so I really don't understand or care about the background of this match. I knew Gallagher turned heel a little while back, but I haven't seen or read much about him since.
– #TagTeamBasics for Alexander and Swann. The first rule of all tag teams is that they should wear the same color.
– I kind of wish they would send Alexander and Swann back down to NXT to replace the void that DIY left. They are surprisingly a good tag team.
– Gallagher's head butt is one of the most vicious moves I have seen in the WWE.
– Nothing really noteworthy happened. Typical Cruiserweight match. Alexander picked up the win after a well executed Lumbar Check.
RAW Women's Championship Match
Alexa Bliss(c) vs. Mickie James
Winner: Alexa Bliss
– All 3 women's matches were very entertaining.
– I'm still not that impressed by Alexa's in-ring work. She needs to work on her strikes. They don't seem convincing. Not as bad as Ambrose's punches, but they are clunky.
– Mickie definitely carried the match.
– This was probably Mickie's best match since she wrestled Asuka at NXT Takeover Toronto last year.
– With that being said, Mickie hasn't lost a step. She seems to be in the best shape of her career. She was very crisp in the ring.
– The most clunky parts of the match were when Alexa was taking over. Though, I will say that she worked over the arm extremely well. It even looked worn over by the end of the match.
– Great back and forth action in the middle of the match. That slap fight they had was pretty entertaining.
– The point where they knocked each other out was a very well executed spot.
– The drop kick from Mickie off the top rope completely missed. I know it's wrestling, they are not really hitting each other. But that was John Cena levels of bad.
– The crowd chanting for tables was extremely annoying. Both women worked extremely hard, and it was very disrespectful. They did the same thing later in the night.
– Alexa wins after hitting Mickie with the DDT. I'm fine with Alexa using the DDT as a finisher, but they need to stop other wrestlers from using that move. That means for both male and female wrestlers. When someone else uses a DDT, it kind of makes Alexa's DDT not seem that impressive.
– Mickie's promo at the end of the match was heartfelt, but at the same time, I'm kind of sick of wrestlers doing this kind of promo. It's just too cliché.
Cruiserweight Championship Match
Kalisto(c) vs. Enzo Amore
Winner: Enzo Amore
– I understand that Enzo is probably the hottest thing in the cruiserweight division right not, but at the same time, he is extremely dreadful to watch in the ring.
– I love Kalisto's Muta mask. He should wear that mask instead of his other mask.
– Kalisto doesn't really add much to the Cruiserweight division. If he was able to do the stuff that he did on the Indy scene, he would be an asset. Though, without that, he is just another name. Grand Metallic and Lince Dorado do a better job of incorporating the lucha style into the WWE style. On top of that, I would much rather see Mustafa Ali in Kalisto's position. He is just a better more believable babyface.
– The match was okay. Typical stuff by Enzo and Kalisto. Enzo picks up the win after a thumb to the eye and an Eatdefeat.
AJ Styles vs. "The Demon" Finn Balor
Winner: Finn Balor
– Goddamn this match was great. It was probably the best singles match I've seen in WWE all year. If you haven't watched it yet, click out of this tab and go watch it. It wasn't Okada/Omega, but it was pretty damn close.
– The crowd was hot from start to finish.
– They started a "This is Awesome" chant before the match even started. Throughout the entire match there were "Two Sweet" chants.
– Balor paint design was fantastic. That's probably my favorite design he has done.
– I liked the touch of Balor wearing red and AJ wearing blue. I don't know if that was on-purpose, but it looked great on screen.
– Their chain wrestling at the beginning of the match was a bit clunky, and AJ seemed visibly frustrated at first by that.
– The match only got about 19 minutes, but AJ and Finn really made that 19 minutes count. Besides the opening couple minutes, they gelled extremely well together. It wasn't a finisher fest, which is great by the way. It was just a straight up wrestling match. There is nothing I else I can really say about this match. The match speaks for itself.
– Finn picked up the win after a Coup De Grâce. Both guys looked really good after the match that it didn't matter who won. I understand that they have to keep Finn looking strong for his eventual match with Lesnar.
– They two sweeted each other at the end of the match. Earlier in the match they mention that both Finn and AJ were leaders of a certain faction outside WWE. Considering how petty WWE is towards Bullet Club members outside of WWE, it's funny to see them subtly using Bullet Club to drive the story of the match. There was a couple times where they cut to the crowd, and the focal point of the shot is a guy wearing a Bullet Club shirt.
– I want to see a rematch between Finn and AJ at Survivor Series. Considering Mahal and Lesnar are going to face each other, I don't see why they couldn't do the rematch between Finn and AJ.
– I feel bad for Bray and Roman picking up whatever "viral infection" they have, but the Viral Infection is probably going to win the "Booker of the Year" award at the 4 annual Faybies.
Jason Jordan vs. Elias
Winner: Jason Jordan
– I didn't care for the match. After a couple minutes I ended up fast forwarding through the match.
– The segments before the match where Elias was trying to perform were fantastic. Elias is extremely fun to watch. I can't really say the same about Jason Jordan. They need to turn Jordan heel and quick. He is nothing without Gable. I think a heel turn would allow him to experiment more with his character. Sort of how Kurt did back when he debuted.
5-on-3 Handicap Match
The Bar(Sheamus and Cesaro), The Miz, Kane, and Braun Strowman vs. Dean Ambrose, Seth Rollins, and Kurt Angle
Winners: Ambrose, Rollins, and Angle
– Holy shit was this match chaotic has hell.
– Kurt Angle coming out in Shield garb was funny. There were memes over the last couple days with Angle's face superimposed over Reigns' face. That was pretty entertaining.
– I would have rather seen Angle get his own entrance, and wear his own gear. Despite all three members of the face team coming out to the Shield theme, the crowd still found a way to chant "You Suck", so that was pretty funny.
– They immediately started with chair shots and such. Soon into the match, they had already setup a table spot where Ambrose and Rollins jumped through the commentary tables with Kane and Strowman laying on them. Rollins' fall was kind of scary because he was grabbing at his knee after the spot. Luckily, I think he was fine. He continued in the match with no problem.
– Angle took Miz, Cesaro, and Sheamus to Suplex City.
– Surprisingly Angle actually took a big bump. About 10 minutes in the match, Strowman put him through a table with a power slam. That ended up bringing the trainers out, and Kurt took a rest in the back for the majority of the rest of the match.
– The heels kind of looked stupid after Angle got taken out of the match. They literally had a 5-on-2 beat down session with Ambrose and Rollins, and they ended not attempting to pin either one of them after they beat the ever living shit out of them.
– The big rift of the heel team started when Kane accidentally hit Strowman with the chair. This lead to Strowman pushing Kane on his ass. After that, they seemingly didn't do anything else between the two up until the big spot later in the match.
– The Miz called out a garbage truck. The heels tried to throw Ambrose and Rollins in the back of the truck. Ambrose and Rollins somehow came back and fought them all off.
– All of a sudden after that, Kane and Strowman started fighting each other. I don't know if they missed something off camera, but it didn't really make that much sense. Kane ended up chokeslaming Strowman through a crashpad, then he did the chair thing that John Cena did to Wade Barrett all those years back.
– Strowman recovered. He went after Kane. The Miz tried to talk him down, but Strowman threw him into the LED board. Then he put a beating on Sheamus and Cesaro. Then he and Kane started fighting again. After that, Miz, Sheamus and Cesaro came back and helped put a beating on Strowman. They ended up throwing Strowman in to the back of the garbage truck, and ended up crushing him while he was in the truck. So yeah, they literally tried to murder Strowman on live television.
– After that, the remaining heel team, went back to putting a beating on Ambrose and Rollins. Then Angle made his return to the ring with his theme, though, he was still wearing the Shield garb.
– The match ended when the faces hit their finishers on the Miz. Then they did the Shield Triple Powerbomb to Miz.
– You really have to watch this match to get the sense of how chaotic it was. It was entertaing, but it wasn't as good as the Finn/AJ match.
– The crowd kind of died down after the heel team murdered Strowman with the garbage truck. After Angle made his return, the fans got back into it.
– It was a great return for Angle. I wonder how different the match would have been if Reigns had been in the match.
Overall Grade: A
This PPV was better than Smackdown's Hell In A Cell PPV. While the big matches from each show delivered, the undercard for TLC was head and shoulders better than Hell In A Cell. I would definitely say watch this PPV.


Take time out for a relaxing moment at the Deep Nature spa in the Restanques Holiday Village, a Pierre & Vacances residence offering magnificent views overlooking the Gulf of Saint-Tropez.
A luxurious relaxing experience on the Riviera!
After a day full of activity or for a relaxing holiday experience, the Deep Nature space, overlooking the Gulf of Saint-Tropez, offers a wide range of body treatments, facials and massages guaranteed to produce feelings of well-being and relaxation.
Indulge yourself in the Deep Nature Immersion signature massage, which associates the sweet scents of Polynesia to provide a moment of deep relaxation for the body and mind.
Set in a 25-hectare landscaped estate, the Les Restanques Holiday Village overlooks the Gulf of Saint-Tropez and offers breathtaking views of the Mediterranean.
This holiday village blends naturally into its surroundings and offers several types of accommodation and views: apartments, houses and duplex villas with views of the sea, the water park or lake.
Located just 3 km from the sandy beaches, its 3 swimming pools are spread over the estate.


Manchester United midfielder Jesse Lingard claims the players "feel free" under new manager Jose Mourinho.
The 23-year-old scored a sublime solo goal as United claimed a 2-1 win over Leicester City in Sunday's Community Shield clash at Wembley, in which Zlatan Ibrahimovic's late header secured a first trophy for Mourinho since he took over at Old Trafford in May.
Lingard enjoyed a promising season under Louis van Gaal in 2015-16 and scored the winning goal in the FA Cup final – a match which proved to be the Dutch manager's last in charge of the club.
Van Gaal was often criticised for encouraging a more prosaic style during his two-year United spell, and Lingard admits that the attacking players have already begun to feel liberated since Mourinho stepped into the role.
Lingard was delighted to start the season with silverware and a win over the Premier League champions, who equalised early in the second half through striker Jamie Vardy.
"Both teams played really well, we kept the ball really well, they created chances as well. It's a massive plus for us," said Lingard.
Lingard was substituted after being caught by Robert Huth and he was seen applying an ice pack to his foot in the United dugout, but he is confident he will be fit for his side's league opener away to Bournemouth next Sunday.


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David Matthews: Music For Solo Violin, Volume Two
David Matthews and Peter Sheppard Skærved have been collaborating on a series of works for violin for many years now, with Matthews setting Sheppard Skærved formidable technical challenges, and Sheppard Skærved surprising Matthews by finding a way to overcome the difficulties in his path. And behind all the pyrotechnics, this collaboration is generating one of the largest, and most musically rewarding, body of compositions for solo violin by any living composer.
Peter Sheppard Skærved, violin
https://d3i77y9w5vf4up.cloudfront.net/TOCC0309/01.mp3
Fantasia on Paganini's Second Violin Concerto, Op. 147, No. 1 (2007)
Three Chants, Op. 138 (1997/2009):
I. Lento
II. Poco con moto
III. Poco andante
Four Australian Birds, Op. 84a (2000-4)
No. 1, Munro's Song
No. 2, The Two Cuckoos
No. 3, Whipbird in the Rainforest
No. 4, The Butcher Bird
Sonata for Solo Violin, Op. 8 (1974–75)
I. Quasi Cadenza
II. Prestissimo
III. Lento flessibile
IV. Allegro non troppo
The National Anthem (2007)
Song Thrush Fragment (2004)
Birthday Piece for Richard (2012)
An Album Leaf for Sally (2009)
Not Farewell (2003)
Fifteen Preludes for solo violin, Op. 132 (2007-14)
No. 1, C major, Lento
No. 2, C minor, Molto animato
No. 3, G major, Con moto
No. 4, G minor, Allegro
No. 5, D major, Andante
No. 6, D minor, Andante
No. 7, A major, Andante festive
No. 8, A minor, Andante
No. 9, E major, Poco con moto
No. 10, E minor, Maestoso
No. 11, E flat major, Andante grazioso
No. 12, F sharp minor, Luminoso
No. 13, F major, Leggiero e cantando
No. 14, B minor, Gently flowing
No. 15, B flat major, Allegro moderato
David Matthews: Music For Solo Violin, Volume Two quantity
Composer: David Matthews
Artists: Peter Sheppard Skærved
Music For My Love, Volume Two
Jeremy Dale Roberts: Chamber and Instrumental Music
Giuseppe Tartini: 30 Sonate piccole, Volume Four – Sonatas Nos. 19-24
May 2017 Bundle


Footwear designer Cleo Barbour talks about cracking into the industry, colour-shy customers and moving into her teen idol's flat.
How has your footwear brand, Cleo B, evolved since your first collection in autumn 09?
It has found its signature style now [as seen above right and below]. It has always been colourful but we've added touches like shoe clips and accessories to offer the customer something different.
As a young designer did you find it difficult to break into the industry?
It's challenging. The footwear industry is a very competitive market, particularly as a lot of the shoe departments are controlled by the same companies. The business side of things can also be difficult to manage when you are designing and manufacturing at the same time. It's a real balancing act.
How did you break through those barriers?
I tried to network with as many people as possible. The trade shows also helped. Last season I went to Platform and Sole Commerce in New York and Micam in Milan.
I loved Sole Commerce. There seemed to be a more niche buyer there compared with Platform, which is absolutely huge. The Americans are always really friendly and there is a great vibe at the show.
That's a tough one. I guess everything has been a high point so far, just launching my own label and seeing my designs come to life has been amazing. Being highly commended at the Drapers Footwear & Accessories Awards 2014 was also up there.
What's your favourite part of the shoemaking process?
Definitely designing. Unfortunately it can sometimes get overshadowed by the other parts of the business but I always look forward to those two months every season where I can get my ideas down on paper.
What other footwear and accessories designers do you admire?
Charlotte Olympia for her unique and refined detailing and strong brand image, and I've admired Pierre Hardy since I was a student.His creations are amazing and have such a distinctive style. I also adore Kate Spade, I'd like to be the British equivalent one day.
Both, but I can only wear comfortable heels. I'm really into my midi heels as they are comfortable but look great too.
What's your favourite pair of shoes?
My Cleo B Ironhide boots from autumn 13 and Tribeca wedges from spring 10.
Do you wear other shoe brands?
I wear Cleo B, of course, and I'm a bit obsessed with Nike trainers. I like to find special edition trainers and customise them with Nike iD. Then I decorate them with Cleo B shoe clips.
What sets Cleo B apart from other footwear brands?
It is very wearable, it's a designer brand but still affordable [with wholesale prices from £58 for pumps to £132 for knee-high boots]. Wearability is also key, we're realistic about styles and heel height - it's a woman-friendly brand. The collection is really colourful which can be a bit intimidating, but I try to inspire people to wear more colour.
How do you feel about seeing your name on the label?
It was strange at first but the brand has taken on a life of its own now.
You're moving house at the moment, how has it been juggling that with work?
Really stressful. The refurbishment has been huge but we're nearing the end. The best part is that the flat used to belong to Duncan James of [boyband] Blue. I was completely in love with him when I was 16.
Did that seal the deal?
Well I had already put an offer down, but that made it better.
How do you plan to store all of your shoes?
I've actually been working with an architectural firm, Alexander Owen, which has made me an incredible custom-built shoe wardrobe. It uses mechanical car parts, it's amazing.
You share your name with Cleopatra, Queen of the Nile - if you could be queen for the day, what would you do?
I would create a law to make everyone wear colourful clothes and shoes, and paint buildings, streets and walls in colours and patterns.


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EWA Announces 2017 Winners of Top 3 Education Reporting Prizes
May 10, 2018 2017 Awards Sponsor
The Education Writers Association is delighted to honor "Children and Gun Violence," a feature series from The Washington Post, with the top prize in the 2017 National Awards for Education Reporting. This year's Fred M. Hechinger Grand Prize for Distinguished Education Reporting will go to the reporter behind the series — John Woodrow Cox.
"Beautifully and compellingly written. John Cox shows how much damage is done to children who are affected by gun violence, even when they're not injured," wrote one of the award competition's judges. "Cox's stories demonstrate the power of reporters to illuminate forgotten stories and to shine a light on the challenges of the vulnerable," wrote another judge.
Six other journalists were also honored with premier prizes at the EWA's 2018 National Seminar held at the University of Southern California in Los Angeles.
Bethany Barnes of The Oregonian was named the best education beat reporter in the country for her coverage of schools in Portland, OR. Barnes won the EWA's second annual Ronald Moskowitz Prize for Outstanding Beat Reporting, named for the late California education journalist and EWA board member. This prize singles out one of the four winners of the EWA's beat reporting category prizes — the best beat reporters in small, medium-sized, large and broadcast newsrooms. "The diversity of Barnes' work — from tough, investigative pieces to insightful profiles — sets her reporting apart," wrote one of the competition judges.
The EWA judges also declared a tie for the fourth annual Eddie Prize, the journalism award from The Edwin Gould Foundation that recognizes the best work on the challenges low-income students face completing college. Besides a cash prize, each Eddie-winning team gets a bowler hat to honor the preferred headwear of the philanthropist who funded many services for children.
This year's Eddie winners are:
The APM Reports team of Sasha Aslanian, Catherine Winter, Emily Hanford, and Stephen Smith won for their podcast documentary "Shadow Class: College DREAMers in Trump's America." Their radio documentary profiled undocumented students facing uncertain prospects as the embattled Deferred Action for Childhood Arrivals (DACA) program was slated to end. "Nuanced, contextual, informed by history, and featuring some nicely intimate touches that really great radio is so good at capturing," wrote an Eddie Prize judge of the APM Reports entry.
The Chronicle of Higher Education's Eric Hoover won for his feature "The Long, Difficult Journey to College." "The article does an incredible job of capturing the faces behind so many of the issues that make it difficult for low-income students to succeed in their efforts to earn college degrees," wrote one of the Eddie Prize judges. "The outstanding reporting by this year's finalists and winners of the Eddie Prize are helping the public better understand the hurdles facing low-income students on their paths to postsecondary success," said Mark Bieler, the chairman of the Edwin Gould Foundation's board of trustees. "Helping them reach their goals can yield tremendous benefits, not only for the individual students but also for society as a whole."
The EWA grand prize, named for the late New York Times education editor Fred M. Hechinger, carries an award of $10,000. The winner of the Eddie Prize receives a bowler hat — the signature headwear of the late New York philanthropist Edwin Gould — as well as a $7,500 cash award. The Moskowitz prize, honoring a bequest to EWA upon Moskowitz's death in 2013, comes with a $2,500 cash award.
On Wednesday, EWA's judges named winners in 16 categories. Qualifying category winners were eligible for the Grand Prize for Distinguished Education Reporting. The Moskowitz Prize was picked from the winners of four beat-reporting categories. The Eddie Prize was drawn from a separate pool of entries.
The awards competition, an EWA tradition stretching back five decades, was independently judged across four rounds by nearly 70 current and former editors and reporters.
"This year's awards' entries were superb, making for some very tough decisions by our distinguished judges," said Greg Toppo, the president of the EWA Board of Directors. "We are thrilled to showcase work of this caliber and to honor the dedicated and talented journalists behind these important stories."
The Eddie Prize
The Fred M. Hechinger Grand Prize
2017 Awards Sponsor
EWA is grateful to the College Board for its generous support of the 2017 National Awards for Education Reporting.
71st EWA National Seminar
Los Angeles • May 16-18, 2018
EWA's National Seminar is the largest annual gathering of journalists on the education beat. This multiday conference provides participants with top-notch training delivered through dozens of interactive sessions on covering education from early childhood through graduate school. Featuring prominent speakers, engaging campus visits, and plentiful networking opportunities, this must-attend conference provides participants with deeper understanding of the latest developments in education, a lengthy list of story ideas, and a toolbox of sharpened journalistic skills.
The support of our members makes our work possible. Your contribution enables us to continue our work empowering education reporters and writers to tell stories that make a difference. Please consider making a tax-deductible* donation to the Reporting on Education Fund.
Last year your support helped EWA greatly expand the number of Reporter Scholarships to events designed to expand their skills and knowledge of the education beat. We hope you'll help us this year as we continue to upgrade our offerings.
National Awards for Education Reporting
The Education Writers Association's National Awards for Education Reporting advance education journalism by recognizing the field's very best efforts. The award goals are to
Encourage and inspire more and better education journalism, and
Underscore the importance of excellent coverage and storytelling as a cornerstone of democracy and education.
2016 Category Winners for the National Awards for Education Reporting
April 21, 2017 2016 Awards Sponsor
On May 31, EWA announced the category winners for the 2016 EWA National Awards for Education Reporting.


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The Old Weird Albion
Landscape, Memory & Myth
Thin Place Mixtape
Epic Soundtrack #1: Rise Above
Written by Justin Hopper
In September, 2018, I walked across London listening to Epic Soundtracks' debut solo album, Rise Above, on repeat. The route I followed was between 3 Bodney Road in Hackney and 129 Sumatra Road in West Hampstead – the move Soundtracks himself took in leaving a difficult and stultifying location to one he thought would free him a little bit. The move was prescient in that, at Sumatra Road, Soundtracks created a series of artistically successful solo albums – and, in Rise Above, at least one genuine classic. The problems he faced weren't solved, however, and it was in the basement flat at Sumatra Road that Epic Soundtracks died on Bonfire Night, 1997.
The inspiration for this walk occurred five years ago when, living in Hackney myself, I was approached by a teenager in a coffee shop. 'What'cha doing?' they asked me, all smiles and optimism. I snapped, 'Why? What do you want?' They recoiled, and walked away with a tear in their eye. I packed my things and left, shocked at this person I had become. London is a wonderful city, and Hackney an exciting, 'vibrant' (in a sense long destroyed by grantwriters and estate agents) place that is still close to my heart. But something about me at that point in life, and living, for the first time, in a megalopolis, had changed me.
Walking home from that café I thought one line, from one song, 'Fallen Down' on Rise Above, over and over:
'I'm being called from across the sea / "Get out of London," you know it's killing me…'
3 Bodney Road in Hackney
I've been haunted by Epic Soundtracks since hearing the first notes of 'Fallen Down' 25 years ago. His was a ghostly presence even then – he was the shade behind the drumkit for two of my then-favourite artists: Crime & the City Solution and These Immortal Souls, as well as his origins in uber-hip groups I was just dipping into like Swell Maps and Jacobites.
I never spoke to Kevin Godfrey – who, as a teenage post-punk in the Swell Maps with his brother Nikki Sudden, changed his name to the glorious Epic Soundtracks; I spent a single hour in his presence at CBGB's a quarter-century ago, listening as he sang and intermittently stroked a few piano keys. It has held. The music on Rise Above and in that performance: I have listened to sad songs all my life, but these were beyond mere 'sadness' – these were, and are, songs of out-of-place-ness. They are molasses and they are levitation. Rise above, indeed – whether you want to or not. And then, the drop.
My 2018 walk was a psychogeographic experiment: what changes in our experience of a place when altered only through a repeated soundtrack? How can the music born of such a path affect that path's tracing?
The answer is: a lot. The answer is: too much.
Sometimes experiments fail. It's been nearly a year since that walk, and I've been unable to return to it; unable to write anything about it. The experience was wrenching, and at times, genuinely bizarre. In the three-plus hour walk, including a few diversions, I went through a range of emotions from nostalgia and yearning, to paranoia and, eventually, terror.
Not far from the end, I came to 165 Broadhurst Gardens – the one-time location of Decca Records studios where, in 1962, the Beatles auditioned and were turned down. Knowing that this would've been a touchstone location for Epic Soundtracks, I stopped at the building and took out my earbuds; stopped the soundtrack. The relief was physical – I realized, only then, that my pulse was racing, my head spinning. I never restarted the music.
At 129 Sumatra Road, the curtains were drawn – there was a 'HOME' sign on the door; no one answered my knocks. It was hometime, and children were beginning to filter into the tree-lined streets. It felt comfortable and safe in a way that – at least in his songs – I'm not sure any home ever felt to the ghost I chased.
129 Sumatra Road, basement flat
I have not revisited this project since because, like most of us, I sometimes feel close to the state of Rise Above; closer than I'd like to admit. Close, and yet extremely so-far-away. Rise Above's genius is to make those feelings – of yearning, of almost-there and once-was; of terror at the night and at a pair of worn-down shoes and at the vast unknowable world – to make them something accessible, the way we might feel the madness of Lear or of Ahab only to shrink that feeling away into a pocket, knowing that, when we need to, it's there, to revisit.
I always – always – feel one half-step away from the rest of the world. I always – always – feel that there is a tiny bit of information that all those around me possess and which I do not. Just a point of fact, or a tradition, or some kind of unwritten rule. Listening to Rise Above it's easy to see that Epic Soundtracks felt that way, to an Nth degree. Looking back, it's comforting – a reminder that it's a feeling that millions of people have in the modern world, if not everyone, to some degree. And I can put it in my pocket.
When Soundtracks sings, 'I don't understand / why nothing goes as planned', he's not talking about a relationship or a friendship or a late-night meet-up or a gig, he's talking about literally everything. It's familiar, and it's a relief.
Listening to Rise Above in its entirety five, six times, walking the busy, frantic, packed-yet-empty, solemn streets of London's northern middle, I felt that nothing had ever gone to plan, nor would it. That's not Epic Soundtracks' fault and it's not London's. It's mine, for not understanding the power of these combinations – that two inert objects, for example the strings on 'Sad Song' and the man kneeling on his coat for midday prayers in Simla Court off Brewery Road, could have such an explosive emotional and, indeed, spiritual reaction. Epic and London: they're just doing their jobs. Nature.
Four lines from four songs:
'What is the point of me even writing this song?'
'Everybody else is always putting you down'
'I don't expect you to understand'
'I don't trust a soul after this, I don't trust a soul, not even me'
By Sumatra Road, I had to try to transform back. I'd already decided not to write anything – decided to abandon the project and just try to salvage my sense of self. I had spiralled into a comic-book version of another person: I'd let my insides mirror someone else's art; this deepest and darkest, never-real version of a man I'd never met, never knew; someone with whom I shared a room once in my life.
(That night, at CBGB's in New York City, Epic arrived onstage in double-denim, eyes obscured; he played an electric piano. I don't recall him speaking, just singing a short set and off again. It was magical and worrisome. Out of a festival of scores of artists throughout the city that weekend, his was the performance that resonated the most. As I left the venue, another man said to his late-arriving friend, 'Yeah, you missed it, but there wasn't much to miss – Epic Soundtracks has gone lounge and it was shit.' We had experienced utterly different things.)
I hope someday to recreate this walk, in a different mood, a different mental starting point, and write it. But while this experiment didn't work as intended, it has shown me that there's something powerful about the concept itself. Another decision: I will re-enact this experiment with other soundtracks and other landscapes, but in a different form. Inspired by Hamish Fulton and Richard Long, I won't attempt to note and then describe, but to poeticize.
I suggest you listen to Rise Above. I suggest you buy it; and Jacobites, and Jane from Occupied Europe, and Get Lost, and many more. I suggest you live with it for 25+ years, as I have. I've listened to it many times since the walk – it's a worthy companion in this half-step world. But I use it carefully.
And I apologise to Epic for not being able to do justice to this process. His work deserves more. One day, I'll try again.
Thin Place Mixtape Previous
Borderlands Next
Browsing the stacks
Caroirendephindisplar
General Eccentric
Over the wireless
Sing-song
TOWA Book
Uncanny Landscapes
War On Solstice
In the Algorithm
Torches Burn Slowly
On Deep Steward
Blood On The Vine


Cameron Church talks about the importance of video in advertising, the challenges, and the way forward.
Watching That is the world's first software platform that leverages big data and Machine Learning to ensure businesses get the most views, money and success from online video. With over $145 billion spent annually in digital video advertising, there's a lot at stake. Unlocking only a slice of this pot means millions of dollars in reward — Watching That is the key.
What kind of clients do you work with and what services do you provide?
Watching That works with premium media organizations from across the globe, such as newspapers, magazines, broadcasters and digital natives.
The formula to online video success is relatively well known — produce great videos, get them seen by those that matter, maximize your business return from each of those views, and do it all at scale while operating at high speed.
What is unknown is how to achieve those outcomes and the answers to questions such as: How do you know what your audience wants to watch? Where do you find your target audience and stand out from the crowd? How to ensure the experience is top notch to maximize their openness to your attempts to extra value (by advertising, etc)? How do you keep across everything while you're trying to do everything else? Watching That provides the answers to all those questions and more.
Why do you believe video is so important in advertising?
If advertising is all about informing, persuading and reminding people about your products and services, then there is simply no better medium than video to do this. Video is fully captivating — while you watch a video, you're not able to do anything else. It also enshrines your message, so that no matter where it travels: mobile, desktop, TV, etc, the core message is completely intact with its integrity ensured. And the richness of this messaging that can be delivered across sight and sound is unparalleled. Video, when done right, is second only to being there.
What are the current challenges facing the industry in regards to video advertising?
There are many challenges facing the industry and they are constantly changing. Alongside not fully understanding how to go about being successful, there are external pressures on the industry such as GDPR, Autoplay Restrictions, Brand Safety, Viewability, Vertical Ad Formats, Skipabble Ads.
There are also more nuanced challenges such as ensuring your demand partners are behaving properly, that creative files are correct, and that you're not taxing your user too much while trying to ensure the high value for the inventory. Suffice it to say there are many challenges that impact video advertising. Fortunately, the prize is even bigger so it's always worth the effort.
Why should advertisers be taking more notice of video analytics and why do you think so many advertisers and marketers aren't currently doing so?
Ultimately, those that know what's going on have an unfair advantage over those who do not and analytics is the difference between the states of unknowing and knowing.
Those that leverage the data and insights supplied by intelligent platforms like Watching That will be the ones that succeed as they will be able to react more quickly when things go wrong. They will be able to spot and unlock more opportunities faster than the competition and do it all in a much easier way.
I do think that advertisers and marketers have been aware of video analytics for a long time, I just don't think that a specialist, purpose-built platform has emerged until Watching That launched. Up until then, everyone had to rely on complex spreadsheets and generic tools to try and get a glimpse into the workings of the complex beast that is their video operations.
At the early, expansive times of the industry, you could get away with this. However, now it's much more competitive and rational. Everyone across the supply chain wants positive ROI so there is now a demand for unifying insights to allow video businesses to reach the next level.
How can advertisers leverage video analytic insights in the way they publish and share video ads?
Monitoring real-time activity — Having a heartbeat to your video ad inventory is crucial to ensuring your viewers are getting the best experience possible. And when things do start to go wrong, you can jump on it well before those problems impact your business.
Troubleshooting issues — Things can go wrong, a lot. But getting to the source of the error can be a real challenge. There are so many systems involved in delivering an enjoyable viewing experience and when something has gone wrong you need to be able to get to the cause quickly. That can mean looking across many dimensions of data and how it all joins together. Watching That collects and correlates over 100 data points across the entire technology stack, in real-time, to get you to the source of any problem.
Learn and get better – Video ads have an end objective, they are meant to achieve something. Video analytics should allow you to track how well they achieve their purpose and, more crucially, the analytics should let you understand what has and has not worked.
How have emerging technologies, such as Artificial Intelligence, impacted the way marketers and advertisers use and understand video marketing?
AI is letting everyone, marketers and advertisers included, do more with less. AI allows for the automation of previously manual jobs — indeed, the power of AI techniques such as Machine Learning are a real game changer as it's also opening up access to insights that can't be derived by humans alone. The biggest value add from AI in this space though is the ability to sift through oceans of data to find all the key insights, assess them for opportunities (albeit at a basic level), and alert the human operators to their existence. This means so much more can be achieved with the same level of investments.
Where do you see the future of video advertising going? Will it still be as impactful as an advertising tool as it is now?
More so. Over the horizon there is a gamut of VR and AR technologies getting ready for their prime time and they are fundamentally video at their core. Video advertising is ripe for an offline and online renaissance. From the digital poster to the TV and from the mobile phone to the visual overlays you'll get in AR headsets, the thing that binds them all is the video format. As a marketer what medium, other than video, lets you reach your audience so conclusively and so effectively than video?
Thank You, Cameron, for answering all our questions. We hope to see you again at MTS, soon.