Which Dog Breed Makes The Perfect Pet For Your Zodiac Sign?
Dogs are man's best friend, they make loveable pets and are faultlessly loyal, so much so that they'd follow their owners to the end of the world if they could. We have so much to thank dogs for, they cheer us up when we are feeling down and give us endless laughs, yet they ask so little of us in return. All they want is a little bit of TLC and a lot of food! Which dog breed makes the perfect pet for your zodiac sign?
Much like humans, dogs all have their own personalities and make for amazing life companions and friends! We'd be lost without these furry four-legged friends, which is why we think every zodiac sign needs a dog in there life for guaranteed daily smiles. We reveal the biggest animal lovers of the zodiac. Do you make the list?
Which Dog Breed Is The Perfect Pet For Each Zodiac Sign?
Dogs are so precious but the question is which breed of dog gels best with your zodiac sign? Is your sign a match made in heaven with a Chihuahua or a German Shepherd? Each breed of dog has its own unique personality like the 12 zodiacs sign, so what is your zodiac sign's perfect pooch? Which dog breed would your zodiac sign be? Which dog will be the perfect pet for your horoscope sign?
Curious about what's in store today? Today's horoscope reveals all!
The Aries personality' is an active soul and needs to be on the move constantly. Their boundless energy means a big, active dog such as a Boxer is perfect for them. Boxers, like Aries are energetic, lively and loving meaning they are a match made in heaven.
Taurus personality' is powerful and they are reliable characters, they love working hard and seeing the fruits of their labor. The perfect dog for a Taurus is a Sheepdog because they are very dutiful and love working hard to help their owners or best friends out.
Gentle, affectionate and curious are the best adjectives to describe the Gemini personality so what is the perfect dog for them? A Shih-tzu! Shih-tzu means little lion, but don't panic there is nothing fierce about these dogs, they are as sweet and loving as they come.
Get the spiritual advice you need!
the Cancer personality is attached to family and love being surrounded by their friends and family so they need they need a companion of a similar mindset, one that is great with children and who loves nothing more than lazing around at home. A Basset Hound would fit in perfectly with their home-life.
The Leo personalityis naturally very self-confident, they are born leaders but can be a little dominant if not reigned in. Their perfect dog companion is a German Shephard, a breed known for their assertiveness and stature, a German Shephard would be a great addition to a Leo's life.
Virgo personality is very philosophical and are highly intelligent, they are known for their good organizational skills and their strong intuition, hence why a Labrador would make a great companion for Virgo. Labradors are very intelligent and caring, which is why they are chosen to be guide dogs and ensure their owners safety.
People born under the sign of Libra personality are very gracious and love being surrounded by things of great beauty. Evidently the beautiful, long-haired, well-groomed Maltese would be an impeccable match for a gracious and well-presented Libra.
Open the doors to your future with the help of an expert!
The Scorpio personality is often misunderstood, they are often labelled as the most jealous zodiac sign and controlling characters, but deep down they are loyal and passionate. A Jack Russell is the Scorpio of the dog world and more often than not, their bark is worse than their bite, they are actually harmless underneath it all.
The Sagittarius personality makes amazing friends, they are very loyal and love being outside and running free, however, they are often very impatient and expect quick results. Their perfect dog friend is the cheerful, active and impatient, especially when around food!
Capricorn personalitypeople are hard-working, loyal and kind hearted souls, so who better to become a Capricorn's sidekick than a Golden Retriever? Golden Retriever's are amongst the most popular breeds in the US and it's easy to see why, they have great temperaments, are extremely loyal, playful and gentle.
The Aquarius personality is unassuming and quiet characters, as well as being very loyal and honest, they are very easy-going and often tend to bit a little lazy. A Chihuahua would fit perfectly into an Aquarius' life, because they are very low-key and don't require a great amount of exercise, just a great amount of loving!
Pisces personality is a Water sign, which means Pisces' people are very compassionate and sympathetic, they are typically very unselfish, willing to help and friendly! A Pisces and a Bulldog would make an amazing dream team; Bulldogs are just as loving and friendly as Pisces', and they love nothing more than curling up on the sofa for some downtime.
What is the perfect dog for your zodiac?


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Hokusai makes waves; George Shaw curates Graham Sutherland – the week in art
The legendary Japanese printmaker earns a closer look at the British Museum, while Turner nominee Shaw pays homage to a 20th-century great in Oxford – all in your weekly art newsletter
Jonathan Jones's top shows to see this week
Hokusai's Great Wave
This free exhibition offers a close look at a masterpiece of power, energy and awe. In about 1831, while Turner was relishing the grandeur of the sea in the European Romantic age, Katsushika Hokusai created this scintillating vision of nature unbound.
• At the British Museum until 8 January 2012
Graham Sutherland, curated by George Shaw
This survey of drawings by the British artist Graham Sutherland, whose spiky romantic reinterpretation of Picasso was a powerful force in British modern art in the 1940s, has been curated by painter George Shaw. Most of Shaw's paintings deal with the Tile Hill estate in Coventry where he spent his childhood and adolescence, and Sutherland's most famous work today is his tapestry Christ in Glory in Coventry Cathedral – so it seems his interest in this artist is both personal and local.
• At Modern Art Oxford from 10 December until 18 March 2012
United Enemies
Britain is becoming obsessed with its modern art history. As contemporary art roots itself in the national imagination, the history of 20th-century British art is increasingly popular. While Sutherland is in Oxford, the British sculptors of the 1960s and 70s are revisited here.
• At Henry Moore Institute, Leeds, until 11 March 2012
A new work about the music of Clara and Robert Schumann shows alongside early classics by this video art pioneer.
• At South London Gallery, SE5, until 12 February 2012
Asier Mendizabal
The biggest show so far outside Spain for a highly rated upcoming artist.
• At Raven Row, London E1, until 12 February 2012
Up close: artworks in detail
John Singer Sargent, Carnation, Lily, Lily, Rose, 1885-6
Tired of the cold weather already? This lovely painting transports you back to long ago summers and Victorian childhood. The light in Sargent's garden scene is rapturous in its subtle emotional glow. Never has beauty seemed more vulnerable and transient and needing to be cherished at all costs.
• At Tate Britain, London SW1P
Did artists in the past such as Caravaggio and Vermeer use a camera obscura to map their absorbing visions of reality? This optical wonder at the Royal Observatory lets you see what they might have seen. Light focused through a tiny hole casts a pale cinematic image of people in the park on to a flat surface. There's something magical about it, like trapping souls in a darkened chamber. This is just one of the ways art and science meet at the observatory where Wren and Halley once pushed back the boundaries of knowledge.
• At Royal Observatory, Greenwich
Caravaggio, Boy Bitten by a Lizard, 1595-1600
The boy's fingers are dirty, as the hands and feet of Caravaggio's people always are. It roots him in the low life of the Baroque city. Reflections of the studio glance and dazzle in the vase. Fruits are painted with a mesmerising realism. But the bite of the lizard hidden in the bounty warns of the dangers of sensual delight.
• At National Gallery, London WC2N
Piero di Cosimo, The Forest Fire, c1505
This tremendous vision of the primitive ages of the world is a rolling landscape that blazes at its heart. A forest is in flames, a dense hot nest of darkness and light at the centre of the scene. Beasts and humans and monsters flee. Piero went deep into mythology – it was said he was a misanthrope who lived on boiled eggs and was scared of church bells. Here he is in his element: the world of imagination.
• At Ashmolean Museum, Oxford
Willem Kalf, Still Life: Fruit, Goblet and Salver, 1660s
This Dutch artist casts a cool and steady eye on the pleasures of the physical world.
• At Manchester Art Gallery
What we learned this week
What happened when Freud asked Bacon to unzip his trousers
Why a band of academics are up in arms about some drilling in Florence
How William Hogarth dealt with the frosty glances of passers by
Why slow burners are wont to triumph in the Turner prize
Why Jeremy Deller believes "it's human nature to want to see when you've fucked up"
Your Art Weekly
Have you seen any of these shows? What have you enjoyed this week? Give your review in the comments below or tweet us your verdict using #artweekly.
George Shaw
Tags: George Shaw Painting Exhibitions Sculpture Art Art and design Culture Video art guardian.co.uk Features
The special ones: why art needs the Turner prize
In an age where we follow the crowd and glorify the ordinary in art, the Turner prize picks out the handful of extraordinary artists who truly deserve acclaim
One of the most fascinating arguments in Charles Saatchi's article in the Guardian on Saturday is his claim that many people in the art world "simply cannot tell a good artist from a weak one".
This opens up one of the most interesting questions in the whole world of contemporary art. That same issue arises every year at Turner prize time – which is where we are now. It's one thing to revile the whole of modern art and anyone who likes it, as does a Stuckist painter in a series of paintings starring me as their villain. It is much harder to sort the sheep from the goats, and try to identify what is worthwhile in the art of our time.
That's what Saatchi says curators, critics, and dealers and collectors fail to do. In fact he says they have no "eye" at all, and just pretend to love what everyone else happens to be pretending to love.
It's true. At any one time, there are waves of art-world enthusiasm for particular artists that go way beyond the artist's actual qualities. Broaden your view across the whole range of applauded contemporary artists and I reckon that about 70% of them are no good at all. This is only logical. The numbers of artists acclaimed and feted in Britain today exceed any possible real figure of truly outstanding artists in any one country at any one time.
Quantity, not quality, is the ethos of bienniales and art fairs. Critics reviewing the Venice Biennale simply accept that the vast majority of works will be boring and trivial, ignore it, and leap on the stuff they like. This year I felt it was a good Biennale because I liked five or six things – out of hundreds.
That actually is what art is like: out of hundreds of people who want to be artists, you are lucky if one has genuine talent. Real imagination and the ability to translate it into art come rarely, and even the best artists may only be truly good for a few years.
Discrimination should be the first rule of the art scene, because there is no value for anyone in glorifying the ordinary. The job is the find the extraordinary, and support that.
It's interesting how passionately audiences in New York responded to Alexander McQueen's posthumous exhibition at the Met. Evidently, the fashion world is much better than the art world at discerning real talent and celebrating the genuine stars, not the also-rans.
The worst problem with contemporary art is this suspension of critical faculties, the craven readiness to say the new and the cool must be great, by definition.
This is why the Turner prize matters. It is one moment when artists are judged instead of all being lumped together in a merry carnival. Once a year in December, a jury sits in a room and argues about what is truly good in art. Sometimes the decisions baffle and enrage me. They hurt the also-rans as much as they help the winner. But the Turner jury has a genuine chance to resist the tide of uncritical fashion and recognise the authentic, original handful of artists who truly deserve acclaim. I hope this year's Turner goes to George Shaw, a real artist if ever I saw one. And I hope the arguments that visitors enjoy are deep and serious and bitter – because passionate criticism is the only cure for the dreary feast of art for cool's sake.
Tags: Turner prize Art Awards and prizes Art and design Painting Culture George Shaw guardian.co.uk Blogposts
Adrian Searle: 'It's confusing. But it's the Turner prize'
Adrian Searle passes his verdict on the Turner prize 2011 in Gateshead, where Martin Boyce, Hilary Lloyd, Karla Black and George Shaw mix mediums to unsettling effect
Adrian Searle
Lindsay Poulton
Tags: Turner prize 2011 Turner prize Karla Black Martin Boyce Hilary Lloyd George Shaw Painting Installation Sculpture Exhibitions Art Art and design Awards and prizes Culture guardian.co.uk Editorial
Turner prize 2011 - review
Baltic, Gateshead; Hayward Gallery, London
George Shaw is an oddity in recent Turner prize history in that his paintings do exactly what they say on the tin. The tins in question are the little pots of Humbrol model paints with which he creates his meticulous one-size-fits-all scenes from the place he grew up, Tile Hill in Coventry. Eight of them are presented for his Turner prize 2011 show at the Baltic, four of which are new pieces. They quickly do away with arguments about sentiment and the limitations of simple depiction, and demand that you look.
If there is a soundtrack playing behind Shaw's compositions of the returned-to terrain of his 1980s adolescence it is the Specials' "Ghost Town". He finds traces of human occupation in his excavation of this recent past, like the shades of scrubbed-out graffiti on an end-of-terrace wall, but mostly this place is as emptied of life as Pompeii. He chooses his angles carefully. The places he dwells on, like his past itself, are boarded up and closed down to him. In the brick-built lock-ups of The Resurface even the ingrained child's-bike landscape of puddles and potholes, the gravelly contours of empty Sunday afternoons foregrounded in much of Shaw's painting, has been Tarmac-ed over.
Elsewhere, he can get only as close to the boxy houses of a new cul-de-sac as the wonky builders' fencing and rutted brownfield no man's land will allow. In The Assumption, his old primary school may have been razed but the gates remain stubbornly locked – one strut pulled out of true by some forgotten accident – along with the vestiges of the "Keep Clear" sign on the road.
Shaw's hobbyist's paints and Airfix eye for detail capture the diminished postwar reimagination of his corner of the city with an obsessive, metallic precision: the slowly accreted landfill mountain of black plastic sacks in The Same Old Crap; the brilliant comic incongruity of Landscape With Dog Shit Bin, an omphalos of council scarlet in the centre of a landscape leached of green by the drabness of the day and the neglected tiredness of verges and hedging.
Philip Larkin, another Coventry exile – Shaw now lives in north Devon – would have loved these paintings, but they are made with love as much as any kind of bitterness. They are also a hard act to follow.
The three other Turner nominees at the Baltic all make a strong fist of it, though. Martin Boyce is also much concerned with the interface between concrete and jungle. His work interrogates the implications of early modernist ideas of nature, in particular a photograph of four angular "tree" sculptures made by the artists Joel and Jan Martel in 1925.
He uses the leaf forms to create a kind of prefabricated ode to autumn; at ceiling height the stylised leaves become an elaborate lighting rig; flattened art deco versions of the pattern are adopted for ventilation grilles and a three-dimensional take becomes a waste bin. The floor is littered with paraffin-paper leaves artfully blown into piles.
Within this idealised municipal park, Boyce makes more personal statements; his angular forms are the basis of a self-invented hieroglyph typeface, etched into the school-desk surface of a work table inspired by an Eames design and referencing a Calder mobile. A utopian breeze from the 1920s seems to threaten to blow through these works and animate them – of nature and public spaces recrafted in harmony by the artist – but they remain as curiously inert and ghostly as George Shaw's shopping precincts.
Next door, there is creative nostalgia of a different kind in Karla Black's pastel swags and scrunched-up sugar paper hills and valleys which fill the room. The smells and colours are of a nursery school, and Black's make-believe landscape looks like a wilful return to more innocent artistic freedoms. She colours her polythene clouds by whacking them in a bin bag full of Early Learning Centre chalks until the colour sticks; pink bath bombs have part-exploded on her chalky hillsides. Beyond the sense of play there are primal psychologies at work, of a pure infant engagement with colour and material and form and, through adult eyes, all the loss of wonder it implies.
Hilary Lloyd's films are also hung up on barriers to wonder, especially the difficulties of looking itself. Moon is a pair of vertical screens on each of which 21 moving images of a full moon behind a clock tower outside the artist's window are projected. None will stay still for a moment; they flicker and bounce and move in and out of frame. You are reminded of the fragmentary rods and cones of vision, the way even the solidest of objects is pieced together from flickering fragments in the brain. Lloyd emphasises partiality – Shirt, a concentrated close up of a striped and spotted fabric, is a limited but smart illustration of how looking is as much to do with language as form – and you find yourself beginning to apply the same doubts to the complicated bridges and buildings that make up Gateshead through the adjacent window.
Going straight to the George Condo retrospective at the Hayward in London, after these discreet and concentrated slices of attention on Tyneside, is perhaps not the ideal juxtaposition. Condo's world is decidedly broad brush and translatlantic.
Having hung out with Keith Haring and Jean-Michel Basquiat in the heady New York of 1980, Condo has trademarked a personal purgatorial cartoon world that is one part Francis Bacon, two parts Bugs Bunny. His satirical objects are the perceived grotesques of our times – The Stockbroker a jug-eared knucklehead with his pants down, a limp rag doll standing in for his manhood, or The Executive, who is pictured, for comic effect, beneath a dangling carrot (the Queen, in nine versions, and Jesus, in two, come in for similar Looney Tunes treatment).
Much is made of Condo's internal menagerie of characters – as if this were unusual among cartoonists – and the speed at which he works. His more recent semi-abstractions tend to ape art history standards – harlequins in search of a Picasso or whatever; Old masters are recast with his speciality gurning faces, in the same spirit that the Chapman brothers defaced their Goyas, but without the sacrilegious questions raised.
Satire generally requires some specificity; Condo mines instead the archetypal – the homeless drunk woman with a windmilling drinking arm; the dinner-jacketed toff with an unhinged libido – and attempts to make it extreme enough to resonate.
It didn't, for me, as a rule. I liked his Uncle Joe not so much for the figure's post-coital leer and the champagne glass balanced on the upturned sole of his foot, but for the fact that his mad, staring eye was somewhat reminiscent of Steve Bell's Tony Blair and the visual echo seemed fitting. In this kind of context, Condo's portraits of Her Majesty, goggle-eyed in most, a carrot through her head in one, surprise principally for their laziness. Quite endearingly, the artist acts as his own cheerleader in the catalogue – though the unlikely duo of Will Self and Kanye West also tout his genius. "They may not be pretty," Condo explains of his portraits, "but I think we can all see ourselves in these pictures; they are so hideous and yet so utterly real." Speak for yourself, George.
Turner prize 2011
Tags: Turner prize 2011 Turner prize Art Art and design Exhibitions Culture George Shaw Karla Black Martin Boyce Hilary Lloyd Newcastle Jean-Michel Basquiat Painting Installation Sculpture The Observer Reviews
World of miseries
In the compact surrounds of Gateshead's Baltic gallery, George Shaw's miserabilist suburban brand of metaphysical painting marks him out as a strong contender for the 2011 Turner prize
The exhibition spaces given over to the four contenders for the 2011 Turner prize at Baltic in Gateshead are smaller than at Tate Britain, where the show usually takes place. This is no bad thing: the artists have to be concise.
When she represented Scotland at this year's Venice Biennale, Karla Black completely overdid her installation, and her Baltic show is much tighter, though still a joyous, childish mess. The way in is through a kind of airlock of dangling, paint-smeared polythene sheeting, like going into a spray-shed in a garage. Suspended precariously on bits of sellotape, you think the whole thing might collapse at any moment. Dried colour, poorly adhered to the plastic, sheers off in crumbly shards onto the floor.
Beyond are nests of scrunched-up cellophane and great wodges of torn and folded paper, painted in thin pinks and aqueous greens, the insipid tints of bath products and the poster paints kids use. A faint odour of deodorant and moisturiser hangs over Black's room-filling terrain of bulging, crinkled paper. It's like a kindergarten rockery. There's even a sort of grotto to rustle through.
Amid it all are Lush bath bombs, like little pastel cannonballs, and drifts and mounds of chalky pigment on the floor. I wish it were all more precise, or added up to something magical. I want more mystery and pleasure. I feel like mum, hands on hips, shouting: "Clear up all this mess NOW, or no TV for you!" This is painting or sculpture by other means, but it's all indeterminate abstraction, with its little formal niceties, the rips and folds and dustings of colour, the occasional finger-painted daubs. Black's work is fading on me, fast.
While Black attempts a sort of pre-linguistic, haptic play, Hilary Lloyd revels in a kind of techno-fetishism. Her room at the Baltic is alive with images, screens, trolleys and swanky suspension units. The ranks of projectors, the pole-mounted screens, the DVD players and monitors are as important as the hovering, flickering images they display. Images of part of a tower block shuffle about one screen, sheering and joggling against milky whiteness. Here they come, there they go. The rhythm of their passing is nice. In another work, the pistonlike movements of an unknown, silhouetted object – it could be a sink-plunger – thrust this way and that against a wooden floor.
The camera dwells on a patterned shirt, looking like an indoor landscape in a white room and, on a second screen, drifting off into static, or an inverted bleached-out after-image of the same thing. I am not really sure what I am looking at. Nor whether to sit and look, wander about, focus on the images, at the apparatus, even at my own shoes. All this drifting is the point, I think. One wall of Lloyd's space is a floor-to-ceiling window. Against it two screens, mounted one high above the other, display a fragmented, nocturnal London. Low-volume police sirens wail from the speakers. Big Ben hoves in and out of view. Is that the moon, or headlights in the night? The fragmentary images jerk and wallow around with a kind of rhythmic urgency, against the real, elevated view through the window, Newcastle and Gateshead going round a bend in the river. The real view wins.
Soon, all Lloyd's paraphernalia of projectors and DVD players, monitors and digital HD-branded hardware will look out of date. Later it will acquire a kind of redundant technology retro-chic. The images they display will be as inscrutable and inconsequential as they appear now, still swaying, going in and out of focus, still doing their thing, interminably as well as to no particular end. Paradoxically, that's when they might become interesting.
I like Martin Boyce's room very much. It feels like a place that's both real and fictional, present and past. From the decorative, fake ventilation grilles set low down in the walls to the suspended ceiling of flip-flapping white metal shapes hanging beneath the lights, casting a dapple of geometric shadows over the walls, it is a good place to be. The centrepiece is a library table, all canted angles, hidden over-slung lighting, solidity and frippery, confusing itself with a hanging mobile that dangles from above on a chain. Taking its inspiration from a library table by French designer Jean Prouvé, the table has a wood worktop inscribed with fragmentary letters and words, like an old school desk. It is an object you'd like to sit at, thinking complicated thoughts.
Boyce's installation is a play on modernist high style, with a twist. Most of all I like the geometric autumn leaves, made from waxy crepe paper, that drift and pile up in corners of the room. The whole installation is a play on insides and outsides, mental space and physical place. Look in the wonky rubbish bin and its binbag turns out to be woven, like an upturned, involuted jumper. I can't catch all the references to utopian modernist aesthetics, but just being here is pleasure enough. Perhaps Lloyd and Black want their installations to be places to be and linger in, too, places to sit and wait and ponder. But I guess the crowds won't allow that kind of meandering desultory contemplation.
George Shaw's paintings, on the other hand, depict places you want to escape from. You can take Shaw out of Tile Hill, Coventry, but you can't take the post-war housing estates out of Shaw. This is his perennial subject, with its abandoned 1950s follies, the Barratt homes and 60s semis, the scruffy woodlands and graffitied shop-fronts. Where Constable might paint a distant farmboy in a red shirt, to counterpoint all the bosky greenery, Shaw gives us a red-painted dogshit bin.
The feral woodlands, the brown field sites and the wanton atmosphere demarcate a familiar zone. Lucian Freud and Michael Andrews sometimes painted a similarly forlorn decrepitude, and, at his best, so did LS Lowry. Shaw records a perennial Sunday – or possibly Thursday – afternoon in indeterminate weather, and there's never anyone about. Shaw's paintings are always rendered in Humbrol enamel, the paint hobbyists and kids hard at it with their model plane kits use. Or did, before computer games took over.
Shaw has eight smallish paintings in the Turner show, some of which were shown in his immensely popular exhibition at the Baltic earlier this year, for which he was nominated. Shaw is popular because he speaks about his corner of England – though it could be anywhere – with a kind of melancholic truth. Shaw's art chimes in with an England of Tony Hancock and Philip Larkin, Orwell and Morrissey's Every Day is Like Sunday. Shaw's is a miserabilist suburban sort of metaphysical painting. The paint itself has a nothingy, curdled quality, like the place and the weather it depicts. It's all atmosphere, or the lack of one. And his art is always the same, everything just getting slowly worse and unloved and a little more embittered, just like England itself.
Should Shaw win? I prefer the hope I find in Boyce, whose elegant, astringent aesthetic appeals. There's hope in what he offers. But somehow I think Shaw should win, with his small miseries. He gives us the world we live in.
Tags: Turner prize 2011 Turner prize Art and design Painting Art Culture Awards and prizes Exhibitions George Shaw Martin Boyce Karla Black Hilary Lloyd guardian.co.uk Features Reviews
Muted masterpieces: contemporary art that does not need the wow factor
Richard Wilson's 'lake of oil' was the first artwork to give me a theatrical thrill. But there are quieter, more subtle artists on the march this autumn, such as Turner prize nominee George Shaw
What work of art first made you feel the wow factor? This does not mean just being impressed by, or loving, a work of art. I mean the particular theatrical vibe of contemporary art, that thrills, entertains, and diverts the spectator in a way that makes you just say ... "Wow."
The British modern art season is about to enter mad mode. With the new Tate Turbine Hall commission, the Turner prize, and the Frieze art fair all imminent, it is time to gargle and exercise your vocal chords ready to say ... "Wow." Or perhaps just say it in your head, and skim-read some art theory so you can mouth more impressive phrases. Or stay at home and watch television, or do the garden. Hey, I didn't have this bright idea of compressing a year's modern art into a week. Don't turn on me about it.
Anyway, the first work of art that brought the contemporary wow factor home to me was Richard Wilson's sleek and dark, reflective and apparently bottomless lake of oil, 20:50, which I first saw at the old Saatchi Gallery in Swiss Cottage. Walking for the first time down the narrow aisle between the two halves of the room-filling installation, with oil pressing against their edges, held in by molecular forces as it peeped over the steel walls, was awe-inspiring. The glassy reflections created a sense of floating in the air, so you felt at once menaced by oil and in danger of falling: as I write this I remember that strange sensation of both claustrophobia and vertigo.
Here we are, and you can still see that definitive work of contemporary art at the relocated Saatchi Gallery today. In the early 1990s, critics often carped that the taste for the wow factor was really the product of Saatchi's advertising sensibility. He even bought a pickled shark!
Now we know it was more than that. Something about the theatricality of today's art liberates and greases the pleasure principle. That thrill of going to a museum and getting a theme park ride is very real, and apparently universal.
Yet this autumn, among the rides, there are some imitations of a quieter art. The Tate Turbine Hall stole Saatchi's thunder long ago and is today the definitive arena of culture as spectacle. Yet this year's artist there is Tacita Dean. Her films, drawings, photographs and montages resist the wow factor. They make you think instead. She is truly serious, and in the best way mysterious, and her Tate piece promises to be a real event, not merely as spectacle but as sombre, subtle, complex art.
Similarly, in the Turner prize, the most fascinating contender is George Shaw, a painter of depth and passion. Shaw is a quietly miraculous artist. His paintings are eerie scenes of the ruinous edges of modern British life. Surreal and silent, they beckon your imagination. Nothing could be further from the culture of wow than the art of George Shaw. No one has ever seemed a more deserving candidate for the Turner prize.
So the real artistic wonders this autumn will leave the wow factor far behind.
Turbine Hall
Tags: Art and design Culture George Shaw Turner prize 2011 Turner prize Tacita Dean Turbine Hall Art Painting Exhibitions guardian.co.uk Blogposts
A new wave of serious artists
Tracey Emin is enjoying a retrospective at the Hayward, but the country's rising stars take a more practical approach
The reign of "the concept" in modern British art is finally over: long live "the object". As some of the former rebels of the notorious Young British Artist movement are accused of selling out to "the establishment", a new generation is taking their place, flaunting an altogether new aesthetic.
The freshest art on the contemporary scene appears to have turned its back on the ironic jokes and personal confessions epitomised by Tracey Emin's notorious unmade bed and Damien Hirst's dead floating shark. Emin's high-profile retrospective at the Hayward Gallery on the South Bank may be pulling in the London crowds, but she alienated many of her peers last week by confirming her Tory sympathies and backing the government's latest round of arts cuts. Damien Hirst also ruffled some liberal feathers by happily rubbing shoulders with billionaires at the last Davos summit.
And as the most famous and iconoclastic of the YBAs start to lose their shine as role models, the art world's best-known curators and commentators claim a new earnestness is sweeping the country's better art schools and informing the work of their successors.
One of the biggest names in contemporary painting is on the shortlist for the coveted Turner prize this year. George Shaw, at 44, is roughly the same age as both Hirst or Emin yet is one of the leaders of the emerging "serious" tendency. Shaw concentrates on the oddly beguiling nature of ugly cityscapes with his watercolours and enamel paint studies. He insists that his work is not a reaction to the tricksy habits of the YBAs, but art critics beg to differ.
With his show, The Sly and Unseen Day, opening on Tuesday at the South London Gallery, the Coventry-born artist says he is bemused to find himself the centre of attention: "My work was not done as a response. It was a conversation I was having with myself. Then I noticed other people were interested and I had to pinch myself."
Shaw originally intended to become a performance artist and studied installation, photography, video and sound, before discarding it all. "I realised a lot of stuff I was doing was just rubbish. I was just adopting the same sort of things that had gone on before. So I went back to what I used to think at college, which was that the most shocking thing you could do would be to make a watercolour of a tree." At that point Shaw felt "an installation with a dead baby in it" had become the new conformity.
Other coming stars are both younger and, for now, relatively obscure. On Wednesday last week the annual Catlin art prize, which celebrates promising new work, was awarded to 22-year-old Russell Hill from Rugby. Hill works with everyday objects to expose the hidden threats or contradictions lying dormant in apparently banal things such as air fresheners or an oil can.
"The main thing for me is to make my work as articulate as possible in terms of themes and messages," Hill said yesterday. "I always maintain the function of the object. That's important to me. If I change an oil can, then it's not an oil can. If there are elements of ambiguity when people see it, I have to accept that."
He uses juxtaposition to point up his ideas about objects. So the "DIY nostalgia" of an item such as an oil can is coupled with fabric softener then displayed in a deliberately "clinical, harsh setting – like a hospital product".
"It is a piece about two lubricants," he explains. "There is a real sense of exploitation in my work. I tend to strip back objects and make people more aware of the underhand nature of the things that we see around us."
Hill's influences, he claims, come from abroad rather than from famous YBAs, although he acknowledges a debt to Martin Creed, the Scot who won the 2001 Turner prize with his flickering light in an empty room.
Justin Hammond, curator of the Catlin show and editor of the prize's guide, who spotted the artist at his degree show in Wimbledon, has found that many young art graduates are focusing on objects in the world around them.
"There's a lot more serious work in the past couple of years, a lot less jokey one-liners and less frivolity," he said. "Instead, there's a lot of work with statistics now, for example, and there are more real objects being used in sculpture. Russell's work is so precise, so clinical and so clean. It was obvious someone had obsessed over it. He was the unanimous choice this year."
Joanne Hummel Newell, who will be exhibiting her work at a satellite show at the Venice Biennale next month, is another artist excited by the significance of objects. The 28-year-old uses found items in combination with collage to make intriguing sculptures.
And one of the stars of next week's prestigious sculpture show, The Shape of Things to Come at the Saatchi Gallery in south-west London, is also known for shedding new light on items of rubbish. David Batchelor makes installations from things he has found on the streets of the capital then turns them into brightly coloured light boxes. His work is a mission to prove that left-overs can be made beautiful.
"When I make works from light boxes, or old plastic bottles with lights inside, I hope the illumination suspends their objecthood to some degree, and makes the viewer see them a little differently – see them as colours before seeing them as objects," he has explained. At 55, Batchelor, who is Scottish, has blazed a trail for this kind of practical sculpture, while the YBAs experimented with conceptual ruses.
Not all emerging artists have turned away from the Concept. For the first time, the Catlin prize line-up for 2011 included a performance artist, Leah Capaldi. For the show Capaldi sprays two actors with a bottle of Chanel perfume each before they walk off around the Tramshed gallery in Shoreditch, East London. "The idea came from when I was at the British Museum a while ago looking at a statue and a woman walked past me wearing so much perfume it was unbelievable. I found it stifling and had a real physical reaction; I had to walk to the other end of the gallery to get out of that space," she recalls.
Visitors to the Catlin show can judge the impact for themselves at noon today when Capaldi performs for the last time before the exhibition closes at 6pm.
For Sarah Ryan, director of online gallery Newbloodart, the prospect of spotting emerging new trends is appealing. Her yearly task of visiting 100 summer degree shows is just beginning.
"We have just started with Oxford Brookes at the weekend and noticed a lot of integrated work that brings in all the sensory aspects, a more multi-discipline approach. This is immersive work, using sculpture and sound and performance. Maybe it has something to do with all the technical advances going on around us that make this easier to do."
Vanessa Thorpe
Tags: George Shaw Art and design Culture Turner prize 2011 Tracey Emin Damien Hirst UK news The Observer News
Artists kiss goodbye to London
The Turner prize shortlist – determinedly non-metropolitan – shows that the British art scene is broader and more geographically spread than ever
Every year the Turner prize shortlist is drawn up by four judges with individual tastes, outlooks and backgrounds. There is no continuity, and the prize is not a lifetime achievement award, but rather aims to rigorously reward the four best exhibitions staged by artists under 50 who are based in Britain. There's a limit, then, to the grand, sweeping conclusions one can come to about the state of the art based on the year's Turner prize contenders. And yet, and yet... there is a sense in which, taken together, the nominations, over their 27-year history, provide a crude kind of barometer to taste and trends in British art. Even that's not simple, though. It's easy to talk about a kind of Britart "heyday" in the mid-1990s for the prize: Damien Hirst won in 1995 and Gillian Wearing in 1997; but it was the sui generis Douglas Gordon who won in 1996; and Tracey Emin, though she was nominated in 1999, lost out to Steve McQueen, too much of an individual to be plugged into a YBA classification. And of course, it's impossible to distance the Turner prize from its reception: the prize has always been "about" how its artists have been labelled by the media as much as what its artists' practices have actually been aiming to achieve.
Bearing in mind all those provisos, then, what I would nevertheless extrapolate from this year's shortlist is that the centre of British art seems to be drifting away (and not before time) from London. This year, there are two Glasgow artists, Martin Boyce and Karla Black, on the list. Of the others, Hilary Lloyd is based in London but painter George Shaw in Devon. Last year's winner was Susan Philipsz, who was born in Glasgow, studied in Belfast and lives in Berlin. The year before that, was another Glasgow artist: the English-born but Scotland-raised Richard Wright, who studied at Glasgow School of Art and still lives in the city. Lucy Skaer, who also trained in Glasgow, joined him on that shortlist. What we are seeing is the success of a generation of artists, now mid-career, who were educated at Glasgow at the height of its powers (some, but not all, coming from the environmental art department which had such effect on those who passed through it). It's interesting that none of the artists on this year's list completed their undergraduate degrees in London (it was Sheffield and Newcastle for Shaw and Lloyd).
There's only so far you can go with this: next year every shortlisted artist will probably live in Hackney. But I'd like to think – as juror Katrina Brown put it – that the geographical spread is a sign of the increasing maturity of the contemporary art scene in Britain. It is no longer concentrated in the few square miles around east London, but finds ways of flourishing all around the country: surely something that is echoed – and will be helped in the future – by the proliferation of contemporary art galleries outside the capital, from the beautifully refurbished Mostyn in north Wales, to the about-to-open Hepworth in Wakefield and FirstSite in Colchester, the newly minted Turner Contemporary in Margate and the recent Mima in Middlesbrough and Baltic in Gateshead – the last being where, appropriately, the Turner prize exhibition will be held this year.
Charlotte Higgins
Tags: Culture Art Art and design Turner prize Richard Wright George Shaw Karla Black Martin Boyce Hilary Lloyd Damien Hirst Tracey Emin Tate Britain guardian.co.uk Blogposts
Turner prize shortlist 2011: the artists – in pictures
Painters George Shaw and Karla Black are joined on this year's Turner prize shortlist by sculptor Martin Boyce and video artist Hilary Lloyd
Tags: Turner prize Art and design Art Sculpture Culture Awards and prizes George Shaw Karla Black Hilary Lloyd Martin Boyce guardian.co.uk Editorial

redpajama_set_name: RedPajamaCommonCrawl


Elisa Allo was born in Messina, Sicily, Italy, in 1974, and she currently lives in Switzerland. Since 2006, she has managed a blog, Ama no Gawa. In 2007, she published a collection of haiku, tanka and senryū, Sushi diVersi. Some of her haiku and senryū were published in italian and international journals.
A moment is keenly captured in this imagistic haiku, and on second reading, the image of the sun as a white circle effectively carries symbolic significance.


Are philosophy and theology antithetical or compatible? What is the proper relationship between faith and reason? How do the tools of philosophy equip theologians to articulate and defend the Christian faith? Is Thomas Aquinas' Summa Theologiae a good example of how theology should interact with philosophy? How is John Calvin a model to theologians and philosophers alike?
In this episode of the Credo podcast, Matthew Barrett is joined by Paul Helm to discuss why he is committed to approaching philosophical theology from an Augustinian and Reformed vantage point. Reflecting on his career, Paul Helm shares his wisdom as to how younger thinkers can improve the state of philosophical theology for future generations.
Paul Helm is Emeritus Professor of the History and Philosophy of Religion, King's College, London, and the author of several books including The Providence of God and Eternal God: A Study of God without Time.


text:
using namespace Cef3D;

bool Cef3D_Init(const Cef3D::Cef3DDefinition& Definition)
{
	// Enable High-DPI support on Windows 7 or newer.
	CefEnableHighDPISupport();
	CefRefPtr<CefCommandLine> command_line = CefCommandLine::CreateCommandLine();

#if PLATFORM_WINDOWS
	CefMainArgs main_args(GetModuleHandle(NULL));
	command_line->InitFromString(::GetCommandLineW());
#else
	CefMainArgs main_args();
	command_line->InitFromString("");
#endif

	if (Definition.OffscreenRendering)
	{
		command_line->AppendSwitch("off-screen-frame-rate=60");
		command_line->AppendSwitch("off-screen-rendering-enabled");
	}
	GMainContext = (new MainContext(command_line));

	CefSettings settings;
	if (Definition.OffscreenRendering)
		settings.windowless_rendering_enabled = true;
	settings.no_sandbox = true;

	if (Definition.UseChildProcess)
	{
		CefString(&settings.browser_subprocess_path).FromASCII(Definition.ChildProcessPath.c_str());
	}

	CefString(&settings.log_file).FromASCII(Definition.LogPath.c_str());
	settings.log_severity = Cef3D::Cef3DPrivate::Cef3DLogLevelToCef(Definition.LogLevel);

	Cef3DBrowserApp = (new Cef3D::Cef3DApplication);

	GMainContext->PopulateSettings(&settings);

	return GMainContext->Initialize(main_args, settings, Cef3DBrowserApp, NULL,Definition);
}

int Cef3D_SubprocessLogic()
{
#if PLATFORM_WINDOWS
	CefMainArgs main_args(GetModuleHandle(NULL));
#else
	CefMainArgs main_args();
#endif

	return CefExecuteProcess(main_args, NULL, NULL);
}

void Cef3D_PumpMessageLoop(bool isWindowless)
{
	if(GMainContext->IsUsingCefLoop())
		CefRunMessageLoop();
	else
		CefDoMessageLoopWork();
}

Cef3D::Cef3DBrowser* Cef3D_CreateBrowser(int Width, int Height, Cef3D::Cef3DBrowserType Type)
{
	Cef3D::Cef3DBrowserDefinition settings;
	settings.Rect = Cef3DRect(Width, Height);
	settings.Type = Type;

	return Cef3D_CreateBrowser(settings);
}

CEF3D_API Cef3D::Cef3DBrowser * Cef3D_CreateBrowser(int X, int Y, int Width, int Height, const std::string & Url, Cef3D::Cef3DBrowserType Type)
{
	Cef3D::Cef3DBrowserDefinition settings;
	settings.DefaultUrl = Url;
	settings.Rect = Cef3DRect(X, Y, Width, Height);
	settings.Type = Type;
	return Cef3D_CreateBrowser(settings);
}

Cef3D::Cef3DBrowser* Cef3D_CreateBrowser(const Cef3D::Cef3DBrowserDefinition& Definition)
{
	return GMainContext->CreateCef3DBrowser(Definition);
}

bool Cef3D_Shutdown()
{
	GMainContext->Shutdown();

	Cef3DBrowserApp = 0;

	delete GMainContext;
	GMainContext = 0;

	return true;
}

redpajama_set_name: RedPajamaGithub


text:
Q: VB.net fastest way to check if a string contains 1 of many strings OK, so i want to check if a large string contains one (any) of many other strings within an array.
I can loop through that array and perform 'if largestring.contains(arrayitem) do something then exit for' but i feel this is probably inefficient especially if the array of strings is very large.
Plus the performance will vary depending on the position in the array of the found string
Is there a better way to do this?

A: Best Approach I think is to use regular expressions
Imports System.Text.RegularExpressions

Dim arrayitems As New Regex(arrayitem(0) & "|" & arrayitem(1) & "|"  & arrayitem(2))

If arrayitems.IsMatch(largestring) Then
  'Exists
  '...
End If

Another Alternative is to use IndexOf which (in theory) is marginally faster than Contains
Dim str As String = "Hello World."

' Does the string contain "World"?
If (str.IndexOf("World") <> -1) Then
  Console.Write("string contains 'World'")
Else
  Console.Write("string does not contain 'World'")
End If

A: Dim result As String() = Array.FindAll(arr, Function(s) s.Contains("whatever"))

redpajama_set_name: RedPajamaStackExchange


text:
Stazione di Civitavecchia vasútállomás Olaszországban, Civitavecchia településen.

Vasútvonalak
Az állomást az alábbi vasútvonalak érintik:

Kapcsolódó állomások
A vasútállomáshoz az alábbi állomások vannak a legközelebb:

Kapcsolódó szócikkek
 Lazio vasútállomásainak listája

További információk

Források

Bottal létrehozott olasz vasútállomás cikkek
Lazio vasútállomásai
1859-ben megnyílt vasútállomások

redpajama_set_name: RedPajamaWikipedia


Wash the vegetables carefully and put them on to cook in boiling water. Delicately flavoured vegetables (spinach, celery, fresh peas, etc.) will require but little water, and that should be allowed to boil away at the last. If spinach is stirred constantly, no water need be added. Starchy vegetables should be completely covered with water, and strongly flavoured vegetables (as turnips, onions, cabbage, and cauliflower) should be cooked in water at simmering temperature.
After the vegetables have cooked for a few minutes, salt should be added, one teaspoonful to each quart of water. Cook the vegetable until it can be easily pierced with a fork. Let the water boil away at the last. If it is necessary to drain, do so as soon as the vegetable is tender. Season with salt, pepper, and butter (1/4 teaspoon salt, 1/8 teaspoon pepper, and 1/2 tablespoon butter to each cup of vegetable).
Note. The water in which the vegetables are cooked should be saved for soups and sauces, as it contains most of the valuable mineral matter.


text:
Shooting the Mafia
At the age of forty, Letizia Battaglia, who's now eighty-four, became the first female photographer in the Italian daily press; this candid and passionate documentary portrait, directed by Kim Longinotto, shows that Battaglia has always lived at the turbulent crossroads of history. Born and raised in Palermo, Sicily, Battaglia escaped her domineering father by marrying at sixteen, and then escaped her oppressive husband by taking lovers, with melodramatic consequences. Finally on her own, she became a journalist before turning to photography at a time of unprecedented Mafia violence, which became her subject and her obsession—and resulted in death threats. Her coverage of the murder of judges led to a new career in politics. Longinotto cannily juxtaposes Battaglia's photographs with both news footage and clips from fictional films and shows the photographer in conversation with men in her life—asserting the unity of sexual, political, and creative freedom, and observing the patriarchal violence of traditional families and Mob families alike. In Italian.
— Richard Brody


We learned a lot since the first mention of virtual reality. We have all equipment that you need for 360 shootings, further processing and uploading in virual reality helmets in our rent park.
Virtual reality is not only computer games and graphics as a majority of people think.
Our 360 shootings and a creation of separate virtual realities with using of Gear VR helmets will open for you new emotions and opportunities.
- Feel like a hero in existing and not existing realities.
We are erase boarders between possible and impossible, real and unreal. Our projects do not have 100% computer graphics, only shootings and after processing. The shootings are being made in the real conditions and let you feel full immersion in what is happening on the video.


Gman just keeps getting better and better. For this year's contest, Gman entered the wonderful world of clamshell design. The only thing that rivals its beauty is its features, so let's get into it!
Gman used a handful of custom PCBs last year, but this year he went all out. Just about everything that could be mounted on a custom board is, and the controller is no exception. The above board's primary feature is a custom PS2 controller emulator dubbed "PS2+". Designed from the ground up by Gman, along with Matthew and Dave, PS2+ is still in development right now. Once finalized, it will change PS2 portablizing as we know it. This board also features controls for screen settings through the PS2 controller, an audio amp that switches between the built in speakers and headphone seamlessly, indicators for the current battery life, as well as FFC connectors that go to Nintendo Switch joysticks.
Something has to be controlling that battery indicator though, and that something is another PS2 game changer that Gman has been developing – PowerS2. PowerS2 has many features, including full voltage regulation for everything the portable needs, battery protection and regulation, single port charge and play, an on/off button, and the ability to autoboot the PS2. The battery indicator is very smart, and has an RGB LED that cycles through different modes depending on what the user wants and the status of the battery. It's a pretty slick system overall.
A classic insane Gman trim.
The final internals, organized and tidy as always. But wait, is that a Raspberry Pi? Is the PS2 Razor just being emulated by a Raspberry Pi, or is the Pi being used to run games through Ethernet, in order to avoid the brutal load times that come when trying to run games off of a USB stick? I suppose it's the latter, but we'll be keeping an eye on this portable.
It doesn't get much better than this, at least until Gman builds his next masterpiece. Until then, enjoy looking through his worklog and finished thread for more awesome pictures and details.
The summer building contest just finished up, and Gman took home the gold with his beautiful, top of the line PS2 portable. Sure, I guess it's somewhat vain to name a project after yourself, but let's just say he earned it.


text:
adadvertisementsuniqlo
New releases from Uniqlo this March 2021: Haruki Murakami and Paul & Joe
by AVA TE-ZABAT♥ - March 16, 2021
As a brand that we have come to love over the years, Uniqlo has always given us new collaborations to look forward to when it comes to artists and designers. This month of March is no different as they'll be launching new UT collections from popular author Haruki Murakami and Parisian brand Paul & Joe.
More about each collection and a glimpse of it below...
HARUKU MURAKAMI / MURAKAMI RADIO UT
The world of Murakami comes to UT through illustrations from his novels and radio program
Haruki Murakami has a huge collection of T-shirts stacked in cardboard boxes and has written about his favorite T-shirts and the stories behind them. This collaboration takes inspiration from the memorable phrases and striking cover designs of six of his novels that have been particularly praised in Japan and around the world (Pinball 1973, Norwegian Wood, Dance Dance Dance, Sputnik Sweetheart, Kafka on the Shore, and 1Q84) and incorporates the designs into T-shirts. The lineup also includes designs with illustrations of the cat featured on Murakami Radio, the music program that Murakami himself produces and hosts, and other items reflecting his unique sensibility.
Born in Kyoto, Japan, in 1949, Murakami graduated from the First Department of Literature, Waseda University. His debut novel Hear the Wind Sing was published in 1979, and his novel Norwegian Wood (1987) became a best seller. Other notable works include Kafka on the Shore and 1Q84.
Men's T-shirts: Php 790
Murakami Radio
Murakami Radio is a popular radio program hosted by Murakami featuring music that he selects himself. It is broadcast on TOKYO FM and other stations in the JFN38 network, Japan.
Collaboration overview
Launch date: Monday, March 22, 2021
Availability: All UNIQLO stores in the Philippines and the uniqlo.com/ph online store
Sizes: XS – XL available in All Stores; 2XL – 3XL available in online store only
UT feature Page: https://www.uniqlo.com/ph/en/spl/ut-collection
"This collaboration with UNIQLO came about because their commitment to offering everyday clothing matches my desire to create apparel that finds favor with everyone. I also sympathized with the company's approach to manufacturing, which pursues quality" commented Paul & Joe founder, Sophie Mechaly. "For this collection, I want people to coordinate items as they like, whether that's by mixing plain and patterned pieces or matching patterns. I want to share the joys of spring."
The lineup features items in soft pastels with such motifs as chrysanthemums, characteristic of the Paul & Joe brand, and Lily of the Valley, a flower believed to bring happiness. It also presents bold designs of the brand's iconic cats. Supplementing the UTs are such wardrobe essentials as dresses, blouses, scarves, and pochettes. There are also items for kids and babies for matching with mothers' outfits.
T-Shirt - Php 790
Blouse - Php 1,490
Skirt - Php 1,490
Dress - Php 2,490
Scarf - Php 590
Pochette - Php 790
Collaboration overview: Launch date: Monday, March 29
Availability: Select UNIQLO stores and uniqlo.com/ph
Special site: https://www.uniqlo.com/ph/en/spl/ut-collection/paul-&-joe
I think the Paul & Joe collaboration is what I'm most excited about. Just look at those designs! How about you? :)
Tags : ad, advertisements, uniqlo
Manilyn Inciso Dacut March 20, 2021 at 9:38 AM
Ang ganda ng bagong collection


text:
DepEd RO III kicks off National Teachers' Month Celeb; launches Regional Search for Outstanding Teachers and School Heads
Press Releases ›
City of San Fernando, Pampanga—The Department of Education Regional Office III officially kicked off the 2019 National Teachers' Month Celebration today, September 5, 2019.
The annual celebration, which will run until October 5, is pursuant to Presidential Proclamation No. 242 entitled Declaring the Period of September 5 to October 5 Every Year as National Teachers' Month, as well as Republic Act No. 10743 entitled An Act Declaring the Fifth Day of October of Every Year as the National Teachers' Day and its Implementing Rules and Regulations and the designation of the World Teachers' Day every 5th of October by the United Nations Education and Cultural Organizations (UNESCO).
The celebration aims to honor those who are in the teaching profession; acknowledge and give emphasis on the crucial role, loyal service, and dedicated commitment of teachers in developing globally-minded citizens, nurturing families, strengthening communities, and building the nation; revitalize the image of and respect for teaching as a vocation by increasing public awareness on the value of teachers in the Philippine society; take the occasion as an opportunity in building the image of teaching as an attractive and fulfilling profession; generate widespread support and assistance for teachers; and express gratitude for the positive influences on Filipino learners.
In line with this, the DepEd Regional Office III shall conduct the 2019 Regional Search for Outstanding Teachers and School Heads with the following categories: Outstanding Kindergarten Teachers, Outstanding Elementary Teachers, Outstanding Secondary Teachers, Outstanding Elementary School Heads, Outstanding Secondary School Heads, and Outstanding School Heads of Integrated Schools.
The Regional Search aims to give special recognition to teachers and school heads who manifest profound commitment, exemplary competence, and remarkable dedication to their work.


text:
MCI: 1000 new graduates in Management, Technology & Society
March 31st 2022
MCI | The Entrepreneurial School® continues on its path to success - In 2021, more than 1,000 graduates completed their Bachelor or Master degree at the MCI - 15,000 MCI alumni around the world - High demand on the job market due to excellent qualifications
More than 1000 MCI graduates completed their degrees in 2021. Photo: Klaus Maislinger
The last Bachelor and Master degree certificates were conferred at the latest festive graduation ceremonies. In total, more than 1,000 graduates completed their studies at the Entrepreneurial School® last year. They completed one of a total of 29 degree programs in the fields of Management & Society or Technology & Life Sciences, or one of the six continuing education Master degree programs. Thirteen of these courses are held entirely in English. Numerous students have completed a so-called double-degree program, in which they have acquired an additional international degree. More than 7,000 guests from all over the world attended the event at the Congress Innsbruck.
15,000 MCI Alumni
This increases the number of alumni since the MCI was launched in 1996 to an impressive 15,000, with a success rate of 84%. This internationally remarkable figure is achieved through a demanding admission procedure, dedicated faculty, close supervision, and a series of other measures, such as mentoring and high-performance student services.
Outstanding job opportunities
Due to close cooperation with industry and the practical orientation of all degree programs, MCI graduates are in particularly high demand and already receive an average of 2.6 job offers1 upon graduation. The MCI's annual Recruiting Forum, a high-profile recruiting event, which as of last year was attended by 80 employers from Austria and abroad in search of outstandingly qualified graduates, also reflects the great interest shown by the job market.
1Source: MCI Alumni Survey 2019/20
Patricia Pichler, BA Press & Project Management +43 512 2070 - 1527 Send email
Next application deadline: April 03, 2022
Online-Admission


AAA has appointed Sternberg Automotive Group in Jasper as an Approved Auto Repair facility after the completion of a rigorous inspection into the shop's qualifcations and customer service.
The Jasper Chamber of Commerce will host a ribbon-cutting for Collins Law Group LLC, owned by attorney John Collins and located at 225 W. 41st St., Suite B, at 9 a.m. Thursday. The public is invited to attend.
Jasper Engines & Transmissions announced a record-setting share value during the company's recent annual Employee Stock Ownership Plan shareholders meeting.
Jasper Engines & Transmissions was named one of America's Best Midsize Employers for 2019 by Forbes magazine, the second consecutive year the company has been named to the list.
Memorial Hospital and Health Care Center has added Nurse Practitioner Ethan Merkel to the hospital's medical associate staff. He will work alongside Dr. Sohail Qadir and Physician Assistant Shawn Valuch in Memorial Hospital's Pulmonology Clinic.
Brookside Village has hired Dr. Evan Hurst to serve as medical director alongside Dr. Frank Hopkins.
Hoosier Hills Credit Union continued its strong growth trajectory throughout 2018, ending the year with $554.2 million in assets, an increase of $38.3 million, or 7.4 percent, over 2017 year-end.
SVB&T Corporation, the parent company of Springs Valley Bank & Trust Company, announced Friday that its board of directors declared a quarterly dividend of 25 cents per share of the corporation's common stock.
More than 500 miles from Memorial Hospital and Health Care Center's home base in Jasper, a crowd erupted on Sunday night when the local organization was ceremoniously honored with the 2018 Malcolm Baldrige National Quality Award.
The 800 Gift Shop at Memorial Hospital and Health Care Center in Jasper has been remodeled and expanded.
Kimball's manufacturing plant in Salem has been recommended for a three-year recertification to Voluntary Protection Program Star Status by the Occupational Safety and Health Administration.


Bonnie Blue is a rockstar who lives with hundreds of celebrities.
She is an award-winning caricaturist who has turned her actual house into a work of art. Why not!? She's done the same with her cars, turning them into renowned Art Cars, and has traveled nationwide sharing smiles across the miles. Bonnie Blue, AKA the Rock Lady, also came up with the ingenious idea eighteen years ago to paint people on rocks.
Since then, her rock art has been seen on the Ellen Degeneres Show, The Tonight Show with David Letterman, WBAL news in Baltimore, and more. Bonnie Blue even painted Bill Murray in person on a rock!!
She is a celebrity in her own right in her hometown of Houston and the Women Rock Art Car is an icon in the Art Car movement. Bonnie lives and breathes art and loves that her home has become an extension of her vision of art for all!


text:
Fisher Client Redemptions Near $1 Billion As Boston Pulls Out $248 Million
Home Financial news Fisher Client Redemptions Near $1 Billion As Boston Pulls Out $248 Million
Via Zerohedge
Just days after a $70 billion retirement fund pulled its assets from Fisher Investments, the city of Boston is following suit, pulling $248 million in pension funds from the asset manager, according to Bloomberg.
Mayor Martin Walsh said:
"Boston will not invest in companies led by people who treat women like commodities. Reports of Ken Fisher's comments and poor judgment are incredibly disturbing."
Days ago we reported that the state of Michigan pension fund had ended its relationship with Fisher's fund. Fisher managed $600 million in retirement funds for Michigan and the state's exit ends a 15 year relationship with Fisher's firm.
Michigan's chief investment officer, Jon Braeutigam, notified the state investment board of the termination on October 10. In his letter, he said that Fisher's comments were "unacceptable" and that although employees at his fund hadn't witnessed similar comments, "history does not outweigh the inappropriateness of the comments."
Fisher was managing about $10.9 billion on behalf of 36 state or municipal government entities at the end of 2018, down from $13.2 billion at the end of 2017. That number will likely be sizeably lower at the end of 2019.
And as we stated days ago, the blowback may not be over: it was about a week ago that we reported that other clients of Fisher's were "reevaluating" their relationship with the firm after the manager's sex jokes at a financial conference.
Shawna Lode, a spokeswoman for the Iowa Public Employees' Retirement System, had said late last week: "Fisher's remarks are obviously concerning. Although our investment management contracts do not include a conduct policy, we hold our partners to the highest standards and reserve the right to amend or sever any contract at our discretion."
READ ALSO Shanghai govt signs investment agreements on 62 projects
Maxwell Rule, chief financial officer of Hames, a company who has their 401(k) managed by Fisher, said last week: "It certainly taints their reputation. I wouldn't comment at this point whether this would lead us to take our business elsewhere, but I will certainly have a conversation with the ownership regarding that. As a fiduciary I have an obligation to have that conversation."
About two weeks ago we reported that at a conference in San Francisco, Fisher – whose firm manages more than $100 billion – shocked attendees when he compared gaining a client's trust to "trying to get into a girl's pants." Fisher also said at the same conference that executives who were "not comfortable talking about genitalia should not be in the financial industry."
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Three to increase pay-as-you-go roaming charges 2021-01-16


Abstract : Phytoremediation is one of the effective methods in the treatment of water pollutant. In this study, Colocasia esculenta, Pistia stratiotes, and Limnocharis flava were used in this study to remediate the contaminated aquaculture wastewater. The removal efficiency of parameter elements (Fe, Cd, and P), ability to increase DO, as well as accumulation of parameter elements (Al, Fe and Cd) were evaluated. Aquaculture wastewater taken from tilapia pond was used as influent to be treated in constructed wetland reactor tank with the selected plants. The HRT was set as 2 days for each of 6 batches. The plant sample analysis was carried out using Bruker S2 Ranger Energy Dispersive X-Ray Fluorescence (EDXRF) at the beginning and end of the whole set experiments, while the wastewater analysis was carried out using EDXRF and YSI 556 MPS before the experiment and for each batch. This study has shown the suitability to be used in phytoremediation of aquaculture wastewater was arranged ascending as Limnocharis flava < Pistia stratiotes < Colocasia esculenta.


Description: Subscription based service. Provides high speed commercial access to the White Pages� directory database.
In Detail: It is designed to support credit verification and management, telemarketing, return mail investigation and CRM applications.
Provided primarily for use in telecommunications, corporate, financial services, government, insurance, direct mail, telemarketing and fund raising fields.


text:
Q: process PHP without leaving page FUNCTION onsubmit="loadXMLdoc()" HOW do i get this to work

onsubmit

, instead of

onclick with a button?

I have a form:
    <form id="form">
    <label>Email:</label>
    <input type="email" name="email" id="email" class="iput" placeholder="jane@doe.com" reguired="required"/>
    <input type="button" id="nbut" onclick="loadXMLDoc()" value="NEXT">
    </form>

the button works fine to call and process the javascript:
function loadXMLDoc() {

 var xmlhttp;
 if (window.XMLHttpRequest)   {
    // code for IE7+, Firefox, Chrome, Opera, Safari
    xmlhttp=new XMLHttpRequest();
 } else {
   // code for IE6, IE5
   xmlhttp=new ActiveXObject("Microsoft.XMLHTTP");

 }
 xmlhttp.onreadystatechange=function()   {
 if (xmlhttp.readyState==4 && xmlhttp.status==200)
     {
       document.getElementById('response').innerHTML=xmlhttp.responseText;
       document.getElementById('step1').style.display = "none";
       document.getElementById('step2').style.display = "block";
     }
 }

 var em = document.getElementById('email');
 var em1 = em.value;

 xmlhttp.open("GET","bin/process.php?email="+em1,true);
 xmlhttp.send();
 }

This only works with a button onclick, I can not get it to work onsubmit and don't know why..

A: onsubmit is a <form> element event.
You could very simply remove the onclick attribute from the button and change your form to
<form id="form" onsubmit="loadXMLDoc(); return false;">

The return false prevents the default event handler (form submission) from executing.

A: When using onsubmit you should also return false:
<form id="form" onsubmit="loadXMLDoc(); return false;">


text:
Search Results for : Iprospect
iProspect Named Global Media Partner for Luxury Group Kering
Dentsu Brings iProspec and Vizeum Brands Together
October 17, 2019 TJ Lightwala joins Accenture Interactive
WPP's GroupM MENA's former head of digital now is Experience Services Lead for Accenture Interactive in the Middle East.
August 29, 2018 Did Google & Mastercard's secret deal just violate consumer privacy?
For the past year, select Google advertisers have had access to a potent new tool to track whether the ads they ran online led to a sale at a physical store in the US. That insight came thanks in part to a stockpile of Mastercard transactions that Google paid for. But most of the two billion […]
July 12, 2018 MediaCom scores another global win
Shortly after winning the global adidas contract for media, WPP and GroupM's MediaCom has scored another huge win. Hilton has selected WPP's MediaCom as its media agency of record for cross-channel planning and traditional media buying following a review. A Hilton spokesman confirmed the selection to Ad Age in an emailed statement. "We selected MediaCom for its […]
July 04, 2017 iProspect MENA appointed as digital performance agency for Atlantis, The Palm
iProspect, the Dentsu Aegis Network digital performance agency, has been awarded the SEO, content and SEM duties for Atlantis, The Palm following a competitive pitch process. The agency will launch and execute a new performance-driven approach for the brand, targeting local, GCC and international markets. Ravini Perera, senior vice-president of sales, marketing and PR at […]
June 07, 2017 Digital Republic Linked by Isobar appointed as digital creative agency for RAK Tourism Development Authority
Digital Republic linked by Isobar, the Dentsu Aegis Network digital creative agency based in Cairo and Dubai, has been awarded the digital creative, strategy and social media activation duties for Ras Al Khaimah Tourism Development Authority (RAK TDA). The agency will create and execute a number of digital and social marketing campaigns for the tourism […]
January 05, 2017 Carat wins global media strategy, planning and buying business for Standard Chartered Bank
Following a multi-agency pitch process, Dentsu Aegis Network's Carat has won the global remit for media strategy, planning and buying for Standard Chartered Bank, led out of Singapore across more than 60 markets, including the Middle East and North Africa.
December 15, 2016 iProspect launches in Saudi Arabia
Dentsu Aegis Network's digital performance agency iProspect has launched a new operation in Saudi Arabia, which will be headquartered in Jeddah and supported by staff from Dentsu Aegis' second Saudi office in Riyadh and the iProspect Hub office in Dubai. iProspect will introduce a complete suite of digital marketing services to the Saudi market, including […]
June 16, 2016 Dentsu Aegis retains Kellogg's media account for EMEA
Dentsu Aegis Network agencies Carat and iProspect have jointly retained the account following a statutory review of Kellogg's EMEA media planning and buying business over the past six months. The review, handled in-house by Kellogg's media and procurement teams, includes all cereal and snack brands, including Pringles, across 31 markets in EMEA, including the MENA. […]
May 27, 2015 Dentsu Aegis Network acquires John Brown Media
Dentsu Aegis Network has acquired branded content agency, John Brown Media.
April 21, 2014 Fire away
How has iProspect grown globally and in the region from an operational standpoint? The business was founded in Boston, US, during the late 1990s. Dentsu Aegis Network acquired iProspect in 2005. So up until three or four years into the acquisition, it was still just a search agency in the US. Then it struck […]
February 27, 2014 Dentsu Aegis Network launches Vizeum in MENA
Global communications network Dentsu Aegis Network has announced the launch of Vizeum, a media buying agency, and the network's fifth agency brand part of Aegis Media, in the MENA region. The launch extends Vizeum's products and services to 60 offices in 41 countries, its Middle East client roster already including Total, Hitachi, Pegasus Airlines and […]
December 23, 2013 Reckitt Benckiser names four shops to global media roster
Reckitt Benckiser has named four shops to handle its global media-planning and -buying account following a review, the company said, including Aegis in the US, which replaces Publicis Groupe'sZenithOptimedia. Publicis remains on the global RB roster along with fellow incumbent Havas and newcomers IPG Mediabrands and Aegis. RB reported it spent $1.8 billion last year on "brand equity […]


text:
package GUI.Swing.circleLayout;

import java.awt.*;
import javax.swing.*;

/**
 * @version 1.32 2007-06-12
 * @author Cay Horstmann
 */
public class CircleLayoutTest
{
   public static void main(String[] args)
   {
      EventQueue.invokeLater(new Runnable()
         {
            public void run()
            {
               JFrame frame = new CircleLayoutFrame();
               frame.setTitle("CircleLayoutTest");
               frame.setDefaultCloseOperation(JFrame.EXIT_ON_CLOSE);
               frame.setVisible(true);
            }
         });
   }
}


MILMAG Military Magazine is one of the 3 Polish magazines which, thanks to Fabryka Broni, received the new 5,56-mm Grot S16 FB-M1 semi-automatic rifle for testing (It's here - Grot S16 FB-M1, 2018-04-05). We got the firearm before it was released to the market so we could examine it and inform the manufacturer about our observations and conclusions.
We picked our Grot up on 4th of April 2018 from Radom and started testing the next day. We wanted to provide MILMAG`s readers with an honest assessment. Right after taking the firearm from its protective covers it was subjected to many different trails. Grot was intentionally covered with sand, we shot it from various stances and at pretty wild angles. It has been fully disassembled and reassembled. A rifle was tested by around 60 shooters, including top competitors in long-range shooting.
During the following two weeks, we fired over 1200 rounds from our Grot S16 FB-M1. We used many different brands of ammunition, including GGG (this was our main testing ammo – both civilian and NATO rounds), Fiocchi, Barnaul and even some military-grade rounds from Mesko. During this time we did not experience a single jam. The rifle mechanisms worked without a flaw. Grot is also miles away from AK-based firearms in its ergonomics and functionality.
Unfortunately, we picked up on a few issues which, in our opinion, impinge general characteristics of the weapon. What`s worse, the problems aren`t noticeable with a new Grot and start surfacing when around 700 rounds are fired. Initially, we believed the issues occur only in one rifle – ours.
We want to point out, that Fabryka Broni response was rapid. After our remarks, a new lower receiver with improved trigger group was provided. All the modifications to the above-mentioned parts are also to be included in the manufactured rifles which results in a delay of deliveries to the civilian distributors. All this sounds a bit cryptic – we will provide more details in the upcoming article in MILMAG Military Magazine.
In our opinion, Grot S16 FB-M1 has an amazing potential and its modular construction is a great base for future improvement. However, considering our journalistic honesty and objectivity, we can`t say buy this and have clear conscience. At the moment, we would need to finish the article on Grot with better wait for an improved version.
We presented our conclusions to Fabryka Broni Board of Directors and Grot`s designers and suggested a few changes, which will address all the issues observed by MILMAG when testing. Moreover, we also managed to convince the Lucznik representatives that potential buyer should have the possibility of chooseing the desired Grot configuration at the point of purchase.
We are really happy to inform, that our conclusions were noticed and accepted by Fabryka Broni. Unfortunately, perfecting the design will take time. The reaction was very quick and today we were informed, that Lucznik is starting the modification process.
Modifications will be carried upon the trigger group, the buttstock and the handguard. Modified buttstock housing will be introduced first and enable the use of commercially available AR buttstocks. At the same time a new trigger system, compatible with commercial AR trigger groups, will be developed. Simultaneously, Lucznik will continue working on the existing trigger mechanism to fulfil the needs of civilian shooters. Last change will affect the handguard – it`s going to be lengthened. All the modifications will be implemented in the last quarter of 2018.
It`s important to mention that Grot S16 FB-M1, thanks to its modular construction, can be modified by the end-user. Going further, there will be a possibility of choosing the desired configuration when purchasing the firearm. Future buyer will be able to choose Grot S in its base form, almost identical to military version, or a modified version, adapted to competition shooting. Different trigger groups or AR buttstocks are just a beginning of what can be achieved with Grot`s modular construction.


A new recruit to CPP is Phil - having been talked into joining the fabulous CPP Choir last year, we are very excited to have Phil as a cast member in the Music Man. Being an avid Karaoke fan, Phil loves the singing and performing that comes with a musical production.
Phil is playing Constable Locke in the show, and spends a lot of time trying to pin down the elusive Harold Hill - with little success!
While he loves the rehearsal process, getting to the hall on time is still a bit of a challenge as he works in the city and lives all the way out in Eltham!
Phil is enjoying the dancing and acting in the show, although, when asked if he CAN actually dance, Phil says 'depends on who you ask'!! Well, we think you are doing a great job Phil! Well done!
Who is that grumpy man!!
While his character, Mayor Shinn, might get easily tongue-tied and sound a little crazy, our fellow cast member Russel is nothing of the sort! After playing the kind Inn Keeper in last year's show The Man of La Mancha, Russel is back again, this time playing the slightly odd character himself.
Russel has been in around 20 CPP shows and has been a member for 18 years. A friend of his mothers initially got him involved with the group, and we are very glad they did!
This year, Russel is very appreciative of the job Michelle, our choreographer, is doing: "she has the hardest job"!
Before auditions, Russel knew only that The Music Man had 'some trombones in it', of course we have now all learnt much more about this lovely romantic comedy and Russel's comedic tendancies are shining through!
Russel doesn't know much about his costume yet - but wanted it noted that he will most likely be wearing a 'fat suit'!!!
See Russel in all his 'fat suit' glory - get your tickets now!
Hi I'm Helen and I'm loving being a cast member for The Music Man this year.
My favourite musical, apart from The Music Man is Les Miserables, which CPP performed a few years ago. I particularly enjoy musicals because of the laughter, engagement and the way we all work as a team to produce a fantastic show!
Definitely the most fun part of the show so far is being part of a cast that includes my husband, 3 children, my brother and 2 nephews AND many wonderful friends! The show is on soon - I can't wait to share the music and story with an audience and to watch their reaction and enjoyment!


text:
Theodore Francis Green State Airport (PVD) - Information & Facts
Please use the search tool below to search for flights from Theodore Francis Green State Airport (PVD) in Warwick, Rhode Island (PVD)
[switch to Flying To Warwick, Rhode Island]
Flying From Warwick, Rhode Island
More About Theodore Francis Green State Airport (PVD)
Airport Name: Theodore Francis Green State Airport
Airport Address: 2000 Post Road, Warwick, Rhode Island 2886
Main Airlines: Southwest Airlines Co., Federal Express Corporation, Commutair Aka Champlain Enterprises, Inc., United Parcel Service, Atlas Air Inc., Tradewind Aviation, United Air Lines Inc., Air Wisconsin Airlines Corp, Delta Air Lines Inc., Piedmont Airlines, ExpressJet Airlines Inc., Trans States Airlines, Republic Airline, American Airlines Inc., Frontier Airlines Inc., GoJet Airlines LLC d/b/a United Express, Allegiant Air, Envoy Air, PSA Airlines Inc., SkyWest Airlines Inc., Mesa Airlines Inc., JetBlue Airways
T. F. Green International Airport (officially Theodore Francis Green Memorial State Airport) is a public international airport in Warwick, Rhode Island, United States, south of the state's capital and largest city of Providence. Opened in 1931, the airport was named for former Rhode Island governor and longtime senator Theodore Francis Green. Rebuilt in 1996, the renovated main terminal was named for former Rhode Island governor Bruce Sundlun. It was the first state-owned airport in the United States.
The Federal Aviation Administration (FAA) National Plan of Integrated Airport Systems for 2017-2021 categorized it as a small hub primary commercial service facility.
Outbound Routes from Theodore Francis Green State Airport (PVD)
PVD to ATL
PVD to BNA
PVD to BWI
PVD to CLT
PVD to DAL
PVD to DCA
PVD to DEN
PVD to DTW
PVD to EWR
PVD to FLL
PVD to HOU
PVD to IAD
PVD to JAX
PVD to MCI
PVD to MCO
PVD to MDW
PVD to MIA
PVD to MSP
PVD to ORD
PVD to PBI
PVD to PGD
PVD to PHL
PVD to PHX
PVD to RDU
PVD to RSW
PVD to STL
PVD to TPA
We hope you will enjoy your flights to and from Theodore Francis Green State Airport (PVD) in Warwick, Rhode Island!


Chicago • After playing 10 games in China this year, "Big" Al Jefferson has officially retired from the NBA, according to a report from the Boston Globe.
Jefferson, now 34, had a 14-year NBA career after being originally drafted by the Boston Celtics. He was later the returning centerpiece of the Kevin Garnett trade, before finding himself in Utah in exchange for Kosta Koufos and two first round picks.
In Utah, Jefferson played 221 games, the most of any of the five teams he played for in his NBA career. He was consistent in a Jazz uniform, averaging 18.5 points and 9.5 rebounds per game. Perhaps his greatest Jazz game came in the stretch run of 2012, when Jefferson scored 28 points and pulled down 26 rebounds in 54 minutes of a triple-overtime win over Dallas that helped boost the Jazz to a playoff berth.
His NBA game will be remembered for an accurate, hard-to-stop sweeping "push shot" in the lane, a convincing pump-fake on his jump shot that caused numerous young players to turn red in the cheeks — "One of the best pump-fakes I've ever seen, you know it's coming but he still got people with it," Derrick Favors said — and an overall approach to life in the NBA that tended to turn him into a locker room favorite wherever he went.
Later, Jefferson was acquired by the Hornets for three seasons before signing with the Pacers for two as a bench threat. This year, he signed a deal with the Xinjiang Flying Tigers, but decided to come home in November.
But now, he seems to have found the league that fits his nickname: the Big3 League, the 3-on-3 venture created by Rapper Ice Cube in 2017. And just as they hoped, it looks like Jefferson will be a draw for fans of the game, especially the post game.
Jake Lindsey is home with his Baylor team during the NCAA Tournament, so what lies ahead now that his playing days are done? More basketball, he hopes.
Donovan Mitchell heard about a former teacher's daughter and friend who needed money to finish school. He gave her $25,000.
"I'm definitely going to be tuning into the Big3 league this year," Favors said.
Jeremy Harmon | The Salt Lake Tribune Tim Duncan is defended by Al Jefferson as the Jazz host the Spurs in the first round of the NBA playoffs at EnergySolutions Arena in Salt Lake City, Saturday, May 5, 2012.


Blogging is one of the most vital activity we need to do in adult niche, we need to links blogs with particular websites to achieve the best results.
The number of people who look for dating partners online is increasing with every passing day. People now tend to select their dates through the net in comparison to at bars, or at a singles mixer. Thus the demand for online dating sites is much higher. If you are a professional match maker or operate a dating service website then it is very much imperative that you have a well optimized website to attract people who are sitting on the other side of that fence called love.We offer dating site SEO to increase qualified leads and improve the website conversion rates.


I was hungry, tired, and in a hurry one day so I made a pasta sauce with random ingredients in the kitchen. I probably broke a lot of "chef" rules making this, but it was easy and it tasted pretty good.
The chicken thighs were already marinated in the freezer, so I thawed it in the microwave and put it in the oven (375 degrees) for about 20 minutes (check if it's cooked through!). Then cut the meat into bite size pieces. Heat up the olive oil then put onion and garlic in the pan for 10 minutes then mix in the tomatoes and the can of soup. Put the chicken in and let it simmer for 10 minutes or so. Cook any pasta of your choice (I actually used macaroni... weird, I know) and serve. Done!
Mmmm. It looks really creamy and delicious!
Looks kinda gray, but maybe its just the lighting.
I disagree, its looks quite yummy. What a fun experiment.


text:
Whats On Twitter
You are here > What's On > Huw Warren Trio & Mark Lockheart
Huw Warren Trio & Mark Lockheart
Nottingham Lakeside Arts, University Park, Nottingham, Nottinghamshire, NG72RD
Call direct on:
Djanogly Theatre | Lakeside Arts
Wednesday 25 March 2020 | 7.30pm
Highly regarded Welsh pianist Huw Warren performed last year at Lakeside with Quercus; he returns to perform music from two new albums: New Day with saxophonist Mark Lockheart and Everything In Between with bassist Dudley Phillips and son Zoot Warren on drums. Warren's deep understanding of Brazilian jazz infuses the music with quirky rhythmic grooves and simple, romantic melodies. Jazz that is simultaneously complex, beautiful and approachable.
"Soaring and elegant melodies borne aloft by rhapsodic textures" London Jazz News
1 hour 50 minutes including interval
Huw Warren Trio & Mark Lockheart (25 Mar 2020)
Eurydice Prevails
Eurydice Prevails, at Nottingham Lakeside Arts is one of a series of inverted tree works…
Lakeside Arts
Nottingham Lakeside Arts is The University of Nottingham's unique public arts centre and…
Highfields Park
The core of the existing Highfields Park originates from the landscaping carried out by…
Nottingham Tennis Centre
Nottingham Tennis Centre is one of the largest in Europe and is home to the prestigious…
Eric Irons Plaque
Eric Irons OBE, Britain's first black magistrate and well-known campaigner for social…
Chinese guardian lions
A pair of Chinese guardian lions gifted to the city by Ningbo, Nottingham's sister city…
Natural History Museum at Wollaton Hall
Since Wollaton Hall opened to the public in 1926, it has been home to the city's natural…
Spectacular Elizabethian Mansion and Deer Park set in the beautiful suburbs of Nottingham…
Nottingham Industrial Museum
Discover the people, companies and industries that made Nottingham famous around the…
The Park Tunnel
The Park Tunnel was built in 1855 to allow horsedrawn carriages access to The Park Estate…
Please note: due to a fantastic £29.8m Heritage Lottery Funded grant, Nottingham Castle…
Albert Ball Statue
If you're visiting Nottingham's historic Nottingham Castle, then you have a perfect…
Robin Hood Statue
An iconic Nottingham landmark, join the hundreds of celebrities and visitors who have had…
Sky Mirror at Nottingham Playhouse
Anish Kapoor's Sky Mirror is a must see piece of art, located at Nottingham Playhouse…
An interactive journey back through history to the time of Robin Hood in the heart of…
The Museum of Nottingham Life at Brewhouse Yard
Please note: The Museum of Nottingham Life at Brewhouse Yard is closed until 2020 while a…
Lakeside Arts, Beeston
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text:
Villagarcía de la Torre
Calle Hospital, 10
06950 Villagarcía de la Torre , Badajoz (Extremadura)
Contact person: Town Hall Villagarcía de la Torre
Email: villagarcia[@]dip-badajoz.es
Website address: www.villagarciadelatorre.es/
A stroll through the streets of this town will enable you to make contact with its people, its culture, its traditions and popular festivals so that you can experience Extremadura in full.
Church of Nuestra Señora de la Granada
A religious monument built over an old Mudejar building. This unique building houses a fusion of architectural styles.
Castle of Villagarcía de la Torre
This stately castle in Badajoz province was devastated by war leaving only the keep.
Campiña Sur-Embalse De Arroyo Conejos Special Protection Area (SPA) for Birds
This Special Protection Area for Birds is home to a large number of water birds, listed as a site of international importance, as well as a refuge for the anaecypris hispanica (jarabugo), an endangered species of fish.
Colonias de Cernícalo Primilla de Llerena Special Protection Area (SPA) for Birds
The area attracts kestrels throughout the year, especially in the breeding season.
Llerena — an artistic centre
The importance of Llerena as a town attracted an endless flow of leading artists who enriched its heritage.
Llerena Tourist Office
Come and discover all that Llerena has to offer.
Llerena traditional extremaduran pig slaughter
This town in the administrative region called La Campiña Sur pays tribute to one of the most important moments of Extremaduran gastronomic culture: "la matanza" (the Slaughter). There is no shortage of typical pastries or dishes like migas (fried breadcrumbs), cocido (stew) and prueba de cerdo (cooked pork).
Llerena bus station
Llerena Railway Station


text:
Yukie Nakama
The Last Stage
The Last Stage (album)
Yukie Nakama (仲間 由紀恵, Nakama Yukie, born October 30, 1979) is a Japanese actress, singer and former idol.
She was born in Urasoe, Okinawa, Japan, into a fisherman's family, the youngest of five siblings.
At the start of her career she was a gravure idol and singer (her debut single "Moonlight to Daybreak" was released in 1996), and appeared in bit roles until her career breakthrough playing Sadako in "Ring 0: Birthday (2000)."
In 2000, Nakama demonstrated her talent for comedy with her lead role in the Japanese television drama Trick which proved so popular that it had two more seasons and three film versions, but it was the top-rating 2002 TV series Gokusen, a live-action version of the popular manga, that established her as one of Japan's most popular and bankable actresses. Gokusen continued on for 3 seasons, which had many cameo appearances by actors who were on previous seasons. She is also known for her role in the drama, Saki, which Co-starred Shohei Miura.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/Yukie_Nakama
The Last Stage (Polish: Ostatni etap) was a 1947 Polish feature film directed and co-written by Wanda Jakubowska, depicting her experiences in the Auschwitz concentration camp during World War II. One feature that makes the movie very unusual is the fact that although all of the actors are Poles, the ones depicting German guards speak German. This was an additional effort for the actors, but adds to the authenticity and atmosphere. The film was one of the earliest cinematic efforts to describe the Holocaust, and it is still quoted extensively by succeeding directors, including Steven Spielberg in Schindler's List.
Marta Weiss (Barbara Drapinska), a Polish Jew, arrives by cattle car to the Auschwitz concentration camp. While there she catches the attention of the guards as she is multilingual and is put to work as a translator. When she inquires about the factory at the camp a fellow inmate informs her it is a crematorium and that the rest of her family has likely been murdered.
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/The_Last_Stage
The Last Stage is a compilation of unreleased Budgie tracks, mostly from the early-to-mid eighties. Many of these tracks were intended to be released on the follow-up to 1982's Deliver Us from Evil, a follow-up that never saw the light of day. The track "Beautiful Lies" was supposedly meant to be included on the album but never made it. It was previously made available on the Budgie compilation album An Ecstasy of Fumbling – The Definitive Anthology.
The sound quality varies from track to track, as each song was at a different level of completion before it was scrapped.
"Love Is When You Love" - 3:25
"House of a Sinner" - 4:00
"Same Old Sad Affair" - 3:26
"Signed Your Own Fate" - 3:51
"Hard Luck" - 3:44
"Living with Another Man" - 3:25
"You Ain't Got Love" - 3:14
"Renegade" - 3:48
"Sweet Fast Talker" - 4:25
"Wait till Tomorrow" - 4:14
"Rock Your Blood" - 3:55
"Nutbush City Limits" - 3:17 (Ike & Tina Turner cover)
"Can't Get Up in the Morning" - 4:29
"Heaven in Your Eyes" - 3:14
This page contains text from Wikipedia, the Free Encyclopedia - https://wn.com/The_Last_Stage_(album)
遠い日のメロディー released: 1998
遠い日のメロディー
add to main playlist Play in Full Screen SNOW BIRD
add to main playlist Play in Full Screen 遠い日のメロディー(アルバム・ヴァージョン)
add to main playlist Play in Full Screen ダメな恋
add to main playlist Play in Full Screen 心に私がふたりいる
add to main playlist Play in Full Screen ONE MORE CHANCE
add to main playlist Play in Full Screen ヴィオラの夢
add to main playlist Play in Full Screen SHUBI-DUBA, DUBI-DUBA
add to main playlist Play in Full Screen 負けない愛がきっとある
add to main playlist Play in Full Screen トレモロ
add to main playlist Play in Full Screen トゥルー・ラブストーリー ~恋のように僕たちは~
add to main playlist Play in Full Screen MOONLIGHT to DAYBREAK (アコースティック・ヴァージョン)
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The Stage, Slauter Xstroyes
The Stage, Waltari
The stage loomed in the distance
It was powerful
And it was massive
The stage sung to me a siren song
Summoning me to perform
Inky black curtains were threatening me
It was some unknown terror
It was a paralyzing fear
The very air shimmered with magic
It goes to form the essence of the theater
The stage in its majestic glory
Whispered enchanting strains
It was numbing my mind
Is my goal for this light year 1985
Who of you are daring enough to join us
Who of you are fearless enough to watch
I was scared to death
But then I stepped onto center stage
The lights beamed down
And I thought if I tried
I could become a showman
Yes I let it take me away
Higher through the skies