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Why Wisconsin Badgers coach Paul Chryst is the NFL's new 'QB whisperer'
Sean Keeler, Land of 10
Some of the finer points are fuzzy, but he remembers driving away impressed. While Mike Martz was offensive coordinator of the Chicago Bears six or seven Septembers ago, he made a side trip up to Madison to watch the Wisconsin Badgers practice and to talk shop with then-UW offensive coordinator Paul Chryst.
"It was almost like an NFL practice," Martz told Land of 10.
"I think they learn the game there. I think that's the No. 1 deal there. And I think that's extremely important … I think what they do is slow things down and they do a good job of teaching players."
We mention this because the NFL season kicks off Thursday night in New England, and the football fates happened to turn up this little nugget:
Of the 32 starting quarterbacks the league is rolling out for Week 1, two are former Badgers who worked with Chryst as a coordinator.
And three of the 32, almost 10 percent — Russell Wilson in Seattle, Scott Tolzien in Indianapolis and Tom Savage in Houston — had Chryst serving either as their collegiate coordinator or head coach.
Jim Harbaugh ain't the only QB whisperer in this league, kids.
3. Russell Wilson isn't only Paul Chryst QB seeing NFL success. Former PITT QB, Tom Savage, rallied Houston from 20-8 deficit to 21-20 win.
— Joe Robinson (@JoeDRobinson4) December 19, 2016
"They've been putting quarterbacks in the NFL the last two years and [most of] these guys are just game managers," offered Dan Shonka, general manager and national scout with Ourlands.com.
"I saw Houston, I'm like, 'What the [expletive]?' [Joel] Stave is a great kid, he's a good developmental guy. Tolzien … they're putting game-manager quarterbacks in the NFL, which is almost hard to believe."
Believe this: Of the seven Big Ten alums starting behind center on Planet Goodell this weekend, two of 'em — 28.6 percent — wore Badgers red.
"Credit to Paul Chryst," Shonka continued. "Paul Chryst still is a great quarterbacks coach. He has a lot to do with it. You have to give Chryst a bit of credit for developing those quarterbacks, no question about it."
Lake Monona: The Cradle of Quarterbacks?
"When GMs in the league as looking at quarterbacks, they're looking at the ability to transition to the league," Martz explained. "[Wisconsin's coaches] teach them to read [defenses], to take the ball from center as well as shotgun, the play-action after the 5-step drop, the 3-step drop from center.
"All the stuff they're going to be asked to do within the league, they've more or less done that. They understand that and they've done a good job of teaching it."
Badgers quarterbacks are learning pro-style concepts at a pro-style pace, an elan accrued from Chryst's formative years in the World League of American Football; stints in the CFL with Ottawa and Saskatchewan; and as Mike Riley's tight ends coach with the San Diego Chargers from 1999 to 2001.
'They know what he teaches. And they're very comfortable with the fact that those guys are going to be ahead of the curve.'
— Former NFL coach Mike Martz on how pro front offices look at players coached by Wisconsin's Paul Chryst
The NFL playbook looks like a calculus textbook to most rookies the first time they crack that bad boy open. Young pups who played for Chryst have already survived a crash course in processing complex equations on the fly.
"That's why at Michigan State or USC, where they're under center with quarterbacks, or Alabama, for instance, it's a lot easier to evaluate it," Martz said. "They're basically taught how to play under center and make the kinds of readers and the tempo and the timing to anticipate throws. Where the other [systems] kind of wait for guys to come open. Big difference."
NFL front offices like what they can trust and trust who they know. Chryst has a long list of admirers in the pro ranks — and an even longer list of pals.
From the story: Wisconsin coach Paul Chryst sent a letter to each NFL team vouching for Clement. #Badgers https://t.co/3KagSYz4lc
— Dave Heller (@dave_heller) March 2, 2017
#Badgers rookies on NFL rosters: T.J. Watt (Steelers), Ryan Ramczyk (Saints), Corey Clement (Eagles), Vince Biegel (Packers PUP list).
— Tom Oates (@TomOatesWSJ) September 3, 2017
"Absolutely," Martz said. "And I think that's important, because I think he's got a good relationship with guys in the league. They know what he teaches. And they're very comfortable with the fact that those guys are going to be ahead of the curve."
The post Why Wisconsin Badgers coach Paul Chryst is the NFL's new 'QB whisperer' appeared first on Land of 10.


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Notes on The Miraculous at Edinburgh Sculpture Workshop [1]
Peter Amoore expands on 'The Miraculous' at Edinburgh Sculpture Workshop. Essay published as part of 'Footnoting the Archive: Endnotes'. Includes comments by Raphael Rubinstein.
RR: One day in 2015 a curator in Edinburgh happens upon a book…
The Miraculous is a new commission relocating the works and lives of the following artists, to the spaces of Edinburgh Sculpture Workshop: Bas Jan Ader, Joseph Beuys, Joseph Grigely, David Hammons, Helmut Heissenbüttel, Alison Knowles, John Latham, Lee Lozano, Marta Minujín, Daniel Spoerri, Cindy Sherman and Mierle Laderman Ukeles.
Working in dialogue with designers Maeve Redmond and Sophie Dyer, along with myself as curator, poet and critic Raphael Rubinstein has paired tales of artist's practice with architectural space, relating qualities of the artworks he describes to the locations in which they are read. For the project, a dozen entries have been selected from Rubinstein's book The Miraculous and designed by Dyer and Redmond in response to the functional spaces of the building completed by architects Sutherland Hussey Harris in 2015.
The Miraculous is the second in the series of exhibitions, On an otherwise ordinary evening . Thinking through artists' practice engaged with the telling of stories—in attentive homages and improbable encounters—the series follows the work of artist and filmmaker Holly Antrum, poet and art critic Raphael Rubinstein and artist and comedian Siân Robinson Davies. The Miraculous can be found between 4 June and 31 August 2016 at Edinburgh Sculpture Workshop.
Collapsed and extruded
Performances, photographs, paintings, monumental sculptures, street actions, text pieces, mail art, provocations and installations are condensed from their three-dimensional forms, transported from their geographical and historical locations, translated into short narratives and pasted onto the surfaces of a building dedicated to the research on, learning around and production of sculpture.
Film still, Challenge to Fascism Glasgow's May Day (1938) by Helen Biggar. Kinning Park Co-Operative Society float, in front of the Woolworth's Store. Still courtesy of Billie Love Historical Collection.
Rubinstein's narratives are extruded out from of the pages of his book and placed into the physical space of the reader…RR: The word 'extruded' for me evokes Prem Krismamurthy's design for the Paper Monument edition of The Miraculous, which adapts the very extruded looking font used in a 1974 paperback translation of Italo Calvino's Invisible Cities.
…These texts are encountered amongst the building; fixed onto the table artists sit at, found in the meeting room where the charity's Trustees and staff meet, and stuck to a bookshelf housing reference material for exhibitions. Rubinstein's prose announces the work of a dozen artists' in the corridors and workspaces where studio holders, members, education groups, exhibition visitors and staff travel through and work in each day. [2]
Affective gestures
"In 1979, an artist decides to shake hands with every employee of the New York City Sanitation Department. It takes her eleven months and two days to shake the hands of all 8,500 workers." [3]
Situated in the entrance corridor past the reception desk, Rubinstein's distilled account of Mirele Laderman Ukeles' work, Touch Sanitation (1979-1980) foregrounds ideas of invisible, infrastructural and affective labour within the organisation. The text is printed on a luminous green fly poster, highlighting Ukeles' acknowledgement of the sanitation workers who keep an entire city running. The glowing green print pasted to the wall relates Ukeles' gesture to the often invisible labour supporting the daily functioning of the Sculpture Workshop. The text must be walked past to get to studios, workshops, toilets and public events, ensuring anyone who works in, or visits the building…RR: Or whose job it is to keep the building clean and orderly…
…will be confronted with the component parts of Ukeles' work.
Placed at the entrance of the building Rubinstein's subjective recounting of events can also evoke other readings. Ukeles' shaking of hands speaks to the greetings and embraces made at the threshold of the building, to the touching of bodies and to conversations had there between strangers. RR: Suggests that my texts could be thought of as records of remarks or conversations that might have taken place in these spaces.
Suppression of names
Without explicit mention of Ukeles' politics, her actions in relation to second wave feminism, her stance on affective labour or the artistic climate of early conceptual and performance art, or even her name, Rubinstein's fable-like retelling draws out the essence of where these discourses around her work arise. The context of Ukeles' work while never stated out-right in the text remains implicit by Rubinstein's focus on the logistics of her action, which can never be completely separated from the circumstances surrounding it. If Rubinstein's retelling of Ukeles' work is politically quiet, it does directly point our attention to the radical work of an artist who ten years prior to embarking on Touch Sanitation, explicitly and confrontationally outlined her feminist politics in the text, MANIFESTO FOR MAINTENANCE ART 1969! Proposal for an exhibition "CARE" . [4] Here, and with all the matter-of-fact accounts in The Miraculous, the gaps in context and omission of artists' names allow for a re-discovery and re-appraisal of their work. Not aiming to obscure authorship, the artists' names are printed in large type as a key next to the lift on the first floor of the building. This gesture temporarily displaces the artists' identities away from an encounter with their work and asks what can be understood from a focus on artistic activity rather than on its author. The key then acts as a departure point for the piecing together of the details of the artworks and events Rubinstein outlines by signposting—via the artists' names—a route towards more familiar sources of art history. [5]
Lunch, worktables and teaspoons
Further along the corridor, nearby in a communal space, a text charting the life and work of artist Daniel Spoerri is pasted flat to the surface of two adjacent trestle tables. [6] The words are read horizontally, printed with large black type on fluorescent orange paper announcing itself as the loud voice at the table. Its glare draws attention to the eating, reading, working and conversation happening around the workshop tables.
The placement parallels Spoerri's consideration of his table and its surroundings as a focus of his artworks. Rubinstein's writing affixed to the tabletop allows another layer of objects, their marks, stains, remains and spillages to be placed directly on top of a reading of Spoerri's work, echoing the novelist Georges Perec's suggestion to "Question your tea spoons." The reading of Spoerri's work on the tabletop invites an enquiry into the objects—and their histories—found upon it. Spoerri and Perec propose that by inspecting the materiality of our immediate surroundings we see how everyday uses of objects and routine decisions have implications and connections to the wider social and political circumstances in which we live and work. [7]
Design and authorship
In a project that traverses the conventional roles of artist and designer, Dyer and Redmond in conversation with Rubinstein, discussed the relevance of the selected texts to their siting within the building. Subtly exposing the added layer of authorship their involvement within the project brings, the designers have underlined and circled phrases and dates from the texts. These annotations help to destabilise our reading of The Miraculous, questioning the validity of Rubinstein's—and in turn art history's—versions of events surrounding artists' lives and works.
Dyer and Redmond have inserted graphics around their layout of type. Abstracted images of objects photographed at Edinburgh Sculpture Workshop, draw attention to the texture and shape of materials mid-production and further ground Rubinstein's words to the function and activity of the Workshop. Stacks of cut wood appear as cross sections of architecture; a bird's-eye view of a carved stone boulder conveys weight, while a tight crop of a gloopy sculpture echoes Rubinstein's description of John Latham's infamous artwork Art and Culture (1966-69). The designers' image elicits the gloopy aftermath of Latham's event, where accompanied by his colleagues, students and friends the artist chewed up a copy of Clement Greenberg's book of art criticism, masticating it to pulp.
Further on, running up the three-metre height of the edge of a column, facing into the middle of the open aired courtyard, a tall thin fly poster describes Marta Minujín's monumental public sculpture Parthenon of Books (1983).
Emphasising the height of the sculpture, Dyer and Redmond's design tilts the reader's head up and bows it down again as the sentences are followed to the ground…RR: So different from how a reader would address this text within the pages of a book. This is true, of course, of the entire project, but especially here, I think.
…Rubinstein's words delineate the scale and materials of the Parthenon of Books . We are told the sculpture was made from around 30,000 books hung on metal scaffolding that were banned by the military dictatorship that governed Argentina between 1976 and 1983. The description constructs Minujín's sculpture in the Workshop courtyard; a space sufficient in size to accommodate her artwork, allowing it to be built up, placed there and undone again in the mind of the viewer.
"After the structure has been on display for three weeks, the artist invites the public to dismantle it. Climbing up tall ladders that have been provided, and assisted by cranes, men and women enthusiastically help themselves to the previously unavailable books, publications that might have been their owners' death warrants had they been discovered by the secret police during the so-called dirty war." [8]
Rubinstein's recounting of this event now towers up in public space, bringing an artwork that took place over thirty-three years ago in close proximity to a vast outdoor workshop area in Edinburgh. Minujín's heavily politicised work is now transposed to a site of production where artists make work of varying scales, using a breadth of materials and with a range of intentions. The juxtaposition of Minujín's work (along with all the texts sited in the building) questions the unknown implications of work in progress, of what agency a work will have in or past its site of production.
Held and lost "An artist in his mid-30s decides his next work will consist of sailing solo across the Atlantic Ocean." [9]
Moving through the building visitors are invited to pick up and take away a retelling of Bas Jan Ader's mythical final artworks from a ream of paper copies a little bigger than the size of a book page. Rubinstein's recounting of Ader's last artworks are typeset on prints that will be folded into pockets and bags and travel outwith the building. His short prose describes Ader's distribution of postcards sent to friends showing him 'convulsed in tears' and the irretrievable loss of his attempted transatlantic voyage, to which he gave the title In Search of the Miraculous (1975). [10] Resonating with the form of Ader's mail outs and his disappearance at sea, his story will be dispersed, move between hands and find home, or rest in untraceable places.
It is not inconsequential that In Search of the Miraculous gives its title to Rubinstein's collection of writing. Like Ader's work, all the extraordinary feats undertaken by artists that Rubinstein retells, exist aptly in language and circulate by story and rumour… RR: Originally I borrowed Ader's entire title for my book (cf. the French edition, which precedes the Paper Monument edition), and only shortened it to The Miraculous (which I think works much better for my book) at the suggestion of the editors at Paper Monument (Dushko Petrovich and Roger White).
….The agility of language and its ability to conjure ephemeral objects and events, in one moment, forgotten in the next, is sympathetic to Ader who sought out the intangible essence of experience in the unknown and transient. His attempt to sail across the Atlantic, held perilously on its waves in a 'twelve-and-a-half-feet-long' boat finds fitting form among a selection of stories that attempt to chart the extremes of human endeavour.
The text and the building "A simple announcement can open new demographic possibilities, may redirect attention and awareness, invite a pause, introduce a value, an imagery or a range of colours." [11]
In his essay On Imaginative Space, poet Thomas A. Clark imbues the spoken and written word with the ability to imaginatively transform space, asserting that "places are not as they appear to be but as they are imagined or declared to be."
In The Miraculous the activity of a dozen artists is announced in the workspaces, corridors and exterior walls of Edinburgh Sculpture Workshop through the filter of Rubinstein's concise prose and Dyer and Redmond's responsive design. Questioning the primacy of encounter, the project renders a secondary experience—in imaginative space—of artworks and events that occurred in the history of art's recent past. The texts presented on the walls, windows, tables and shelves of the building, proposes that the artworks they describe share the possibility to be conjured present day in the imagination as an equally relevant encounter to that of experiencing them first hand.
The circumstances of artists' lives are retold, their politics reintroduced and the encounter with them reshaped by their relationship to the physical spaces in which they are read. Removed from the mess, instability and uncertainty of their production, the works described are now represented in language as complete. Over the duration of the exhibition, the project seeks to question how the tales written and the artworks they evoke will affect the psychology of the place in which they are read. In Clark's terms, the prints affixed to the walls, windows and tables throughout the building have the ability to 'redirect attention' as inspiration to alternative possibilities, 'invite a pause' as provocation to perceived ways of thinking and 'introduce a value' into existing ways of making.
Peter Amoore is an artist and curator based in Edinburgh. He is assistant curator at Edinburgh Sculpture Workshop where he is programming the series of exhibitions, 'On an otherwise ordinary evening'. Between 2012 and 2016 he was a committee member of the artist-run gallery and studio project Rhubaba where he worked collaboratively to programme the exhibitions and events alongside running the studios.
Published as part of 'Endnotes', a series of online and printed commissions edited by Suzanne van der Lingen and Claire Walsh, MAP: Footnoting the Archive 2016. Contact info@mapmagazine.co.uk to receive a copy of the limited edition printed publication. Also available from Edinburgh Sculpture Workshop and the Edinburgh Art Festival Kiosk throughout Edinburgh Art Festival 2016.
[1]InJune 2016, Raphael Rubinstein (RR) responded to Amoore's text.[2] Upon seeing the extruded type on the cover of Paper Monument's edition of The Miraculous (designed by Project Projects) artist Sarah Tripp made the following connection: she compared the idea of exploding pages out from the book, turning them into an installation mimicking the collapse and expantion that occurs in writing. She articulated how physical objects and situations are flattened into two dimensions by their description, set in type onto the page, and then pulled out again in their reading. This was accompanied by hand gestures that scrunched and squashed forms mimed in air into the thin space between two flattened hands. The hands separated out again, one representing the flattened form, while the other attempted to pull the form back out into three-dimensional space: a visual metaphor for the process of the project.
[3] Raphael Rubinstein, The Miraculous, (Paper Monument, 2014): p. 53
[4] The crux of Ukeles' manifesto rages for maintenance in all its forms to be attributed cultural value, a position her subsequent artworks such as Touch Sanitation enact. "Maintenance is a drag; it takes all the fucking time (lit.)
The mind boggles and chafes at the boredom. The culture confers lousy status on maintenance jobs = minimum wages, housewives = no pay. Clean your desk, wash the dishes, clean the floor, wash your clothes, wash your toes, change the baby's diaper, finish the report, correct the typos, mend the fence, keep the customer happy, throw out the stinking garbage, watch out don't put things in your nose, what shall I wear, I have no sox, pay your bills, don't litter, save string, wash your hair, change the sheets, go to the store, I'm out of perfume, say it again— he doesn't understand, seal it again—it leaks, go to work, this art is dusty, clear the table, call him again, flush the toilet, stay young." Mierle Laderman Ukeles, MANIFESTO FOR MAINTENANCE ART 1969! Proposal for an exhibition "CARE", 1969. http://www.feldmangallery.com/media/pdfs/Ukeles_MANIFESTO.pdf (Accessed 21/07/2016)
[5] The key in the exhibition is equivalent to the index of artists' names found at the back of the book, The Miraculous . Of note is how this tactic is polarised in another of Rubinstein's writing projects, an online blog of art criticism titled The Silo . It takes an opposite approach to The Miraculous by prioritising the artists' names in its profile of their circumstances and artworks. The blog is "conceived as a personal, revisionist "dictionary" of contemporary art. Its primary aims are to challenge existing exclusionary accounts of art since 1960 and to offer a fresh look at some canonical artists." Raphael Rubinstein, The Silo, 2010-ongoing. http://thesilo.raphaelrubinstein.com/ (Accessed 21/07/2016).
[6] Rubinstein recounts two such projects: Spoerri's Snare-Pictures (c.1960s) where the artist stuck items leftover after meals directly to the tabletop before cutting its legs off and hanging it as a picture on the wall; and An Anecdoted Topography of Chance (1962) an artist book exhaustively mapping the foods and objects on his table revealing their provenance and connection to the friends who sat, ate and conversed around it.
[7] Georges Perec, 'Approaches to What? ' in Species of Space and Other Pieces, (Penguin Classics, 2008): p. 210. Daniel Spoerri's work is paralleled again in Perec's essay 'Notes Concerning the Objects that are on my Work-table ': "Thus a certain history of my tastes (their permanence, their evolution, their phases) will come to inscribed in this project. More precisely, it will be, once again, a way of marking out my space, a somewhat oblique approach to my daily practice, a way of talking about my work, about my history and my preoccupations, an attempt to grasp something pertaining to my experience, not at the level of its remote reflections, but at the very point where it emerges." Perec, p. 147[8] Rubinstein, p.15
[9] Rubinstein, p.66
[10] In contrast to Raphael's selected version of events—which also manages despite its economical length to maintain the complexity of the circumstances around Ader's final artworks—see art critic Jan Verwoert's detailed account excerpted here: "In July 1975 Ader announced the Atlantic crossing in a bulletin published by his Amsterdam gallery Art & Project, in association with Claire Copley and the Groningen museum in Groningen, Holland—Ader's native town, where all three parts of the project were to be shown after its completion. The bulletin contained the sheet music for the shanty A Life On The Ocean Wave and a black-and-white photograph of Ader in his tiny boat, facing away from the camera towards the horizon as if about to set course for the open sea. Here the title of the piece was given as In Search of the Miraculous (Songs for the North Atlantic: July 1975 — ). On the 9th of July 1975 Ader set sail from Cape Cod to cross the Atlantic in his one-man yacht, Ocean Wave." Jan Verwoert, Bas Jan Ader: In search of the Miraculous, (Afterall Books: One Work Series, 2006): p. 2
In his book Verwoert recounts the little known fact that Ader's artwork was intended to consist of three parts. The first, a night-time walk through Los Angeles to the Pacific Ocean, is documented in photographs with the words to the Coasters' song Searchin' written underneath them. The second was to be, the subsequently tragic, oceanic journey and the third was to be another nighttime walk, this time planned for Amsterdam after making land. Two months prior to announcing his trip, Ader exhibited his Los Angeles night walk photographs along with a recording of his students singing sea shanties in a solo show at Claire Copley Gallery in L.A.
[11] Thomas A. Clark, On Imaginative Space, (First published by Peninsula Gallery, 1998). www.cairneditions.co.uk/On_Imaginative_Space.pdf (Accessed 10 May 2016). These words were formative to imagining the capacity for text to generate encounters with artworks that are to be thought on rather than looked upon.Images: Raphael Rubinstein with Sophie Dyer and Maeve Redmond, The Miraculous, 2016. Photo by Graeme Yule
Curating / Endnotes / Essay / Footnotes
Possiplex*
Aideen Doran reflects upon Ted Nelson's Project Xanadu, a lost information future. Published as part of 'Footnoting the Archive: Endnotes'
#37 - January 2016
Suzanne van der Lingen & Claire Walsh introduce their 2016 MAP editorial project

redpajama_set_name: RedPajamaCommonCrawl


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Meter-based leak detection saving a million litres a day: SCRD
Lisa Mcknight-Yeates Sep 28, 2017 9:28 AM
Drought conditions have posed challenges for the Sunshine Coast Regional District (SCRD), which has been tackling the issues of water supply and water conservation simultaneously.
Michael Day, the SCRD's general manager of infrastructure, said metering and community outreach were priorities this year, with a focus on meter installations, leak detection and repair.
According to Day, water meter-based leak detection is saving about a million litres a day. As of Sept. 26, leaks totaling 780,000 litres per day in the Chapman regional system have been fixed.
"It's a lot of water," Day said.
He said a rough estimate of the amount of water that was being wasted every day is equivalent to the amount in the swimming pool at the Sechelt Aquatic Centre. The total yearly loss in the SCRD was approximately 350 million litres of water due to leaks.
Day told SCRD infrastructure committee members last week that "one in five of all service connections have been found to have leaks," and that more than 1,000 leaks have been found since February. He commended residents for voluntarily fixing the leaks; he said the voluntary response rate has been about 75 per cent.
Day said as well as conservation efforts to address the water situation, the SCRD has also been looking at new water sources.
"Access to additional water from Chapman Lake and groundwater resource investigation have been the two top priorities from a supply perspective," he said.
Results from a six-month groundwater investigation will be presented to the SCRD board in the coming weeks; however, Day said, "it will be some time yet before we have any operating wells."
The SCRD is awaiting provincial approval to deepen an outlet from Chapman Lake, which would enable water to be drawn down an additional five metres.
"The plan has been actively under consideration for a couple of years now by the province. It's a slow process. The lakes [Chapman and Edwards] are in a provincial park [Tetrahedron Provincial Park] and it's not a simple matter to change things," Day said.
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The original Nostell Priory was built in the 12th century but like most other monastic buildings it was dissolved by Henry VIII. The site of the original priory was built on in 1733 and that is the building you see today. Surrounding the house is 300 acres of parkland and gardens with a fully working kitchen garden.
When you first walk in it's easy to presume that this was the original kitchen garden that supplied the house but it fact it has been recently created. Now the produce is used in the Courtyard Café.
Along the garden wall is a 100m stretch of the white rose Iceberg. This overlooks a border of colourful plants and exotic species.
While idea is to recreate something like what was supplying the house in the 17th and 18th century some of crops have a distinctly modern feel to them. The bed of maincrop potatoes has been dug up for this year. The variety that was grown in this bed was Picasso that was introduced in 1992.
I always think it is brave to grow tomatoes outside. I know the weather this year has been of Mediterranean proportions so there shouldn't be a problem with the tomatoes ripening but what about blight? One of the reasons to keep tomatoes in a greenhouse is so they are protected from the dreaded blight disease that devastates entire crops. This variety could be the solution. Introduced in just 2015 Crimson Crush it claims to be 100% resistance to blight.
If you have ever grown courgettes you will know a little goes a long way in terms of yield. Rather than devoting a whole bed to the courgettes they have been slotted in amongst the sweetcorn.
The hot weather has caused some of the salad crops to bolt but there's still plenty to be served in the lunchtime salads.
The Lyon variety of leeks is an old English type from 1886. It's extremely hardy and can withstand temperatures down to -15°C. As a backup the Oarsman variety has been grown as well.
Onion envy! Look at the size of those onions! All beautifully displayed as well. It's almost a shame to harvest them.
It's been well documented how this summer's heat has affected the size and yield of carrot crops. No problems here though as the carrots growing out of the ground.
If there is one thing that seems to have benefited from the cold start to the year followed by a hot summer and that is this year's apple crop. Wherever I have been apple trees have had their branches bent with the weight of heavy apples and the orchard here was no exception.


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Tag: The Masters
59. Harry Ellis Wins The Amateur Championship
England's Harry ELLIS yesterday won the Amateur Championship on the 38th hole at Royal St. George's G.C.
Ellis, who was 4 down with 5 holes to play, showed remarkable courage and nerve to overcome Australian Dylan Perry's apparently unassailable lead.
In doing so the 21 year old from Southampton also guaranteed himself a spot in Great Britain & Ireland's 2017 Walker Cup team. The selectors have been clear in recent years that a home winner of the Amateur Championship, in a Walker Cup year, would rightly have to be included in our team.
Harry Ellis (Photo: @RandA)
Harry will also receive exemptions into the 2017 Open Championship at Royal Birkdale GC. and the 2018 U.S. Open Championship at Shinnecock Hills GC., as well as an invitation to the 2018 Masters at Augusta National GC. In addition there will also be other European Tour and PGA Tour invitations available to him if he wishes to pursue them.
In what is becoming a recurring theme this year Harry is another player performing well and winning who was not included in the initial 19-man Walker Cup squad. However, to be fair to the R&A selectors I don't think many people would have included him back in January 2017.
This is Ellis' second major amateur victory. In 2012, aged just 16, he became the youngest player to win the English Amateur Championship. This led to both Boys and Men's representative honours for England in 2012 and 2013.
He moved to Florida State University in January 2014, his start date deferred due to the tragic death of his mum Tracy in 2013 from cancer aged just 50.
Understandably he found his Freshman year difficult and his golf suffered. With Florida State having a strong line up Ellis decided to take a red jacket Sophomore year, playing no competitive College golf. In 2015/16 he returned to the golf squad but found it hard to get any game time. In his four tournaments he had an average score of 75.58. His patience and hard work were finally rewarded in 2016/17, his Junior season, where he was required to play a leading role for the Seminoles. He played 39 rounds, the joint highest in the Florida state line up, and delivered a 71.62 stroke average (the second best) which strongly contributed to the team reaching the NCAA Division 1 National Championships. He finished the season ranked 53rd in the Golfstat US College rankings and as a result was selected for Europe's Arnold Palmer Cup team.
Despite his strong season in the United States it still appeared at the start of last week that Harry would come up short in the Walker Cup selection debate.
You may recall I wrote an article suggesting this – '54. Will Any Of Our US College Players Make The Walker Cup Team ?'. There appeared little reason to change this view after Europe's comprehensive defeat to the U.S.A. in the Arnold Palmer Cup a couple of weeks ago where Harry had one foursomes win (with Harry Hall) to show for his four matches.
He needed to deliver a knock out blow in the coming weeks to force his way in to the Walker Cup picture. It's one thing needing it, it's another delivering it.
How quickly things can change. Despite only flying back into the country 10 days ago and without the links practice that many of his fellow GB&I players will have enjoyed over the last 6 weeks he managed to deliver that knockout blow in some style. Harry Ellis – 2017 Amateur Champion.
As a quick Walker Cup aside we should of course note that one man's success is another man's failure. Ellis wasn't in the now 21-man Squad and whilst nearby wasn't a probable pick before his stunning Amateur Championship victory. Harry Ellis has therefore just cost some one else there place in the 2017 GB&I Team.
When you look at Harry's recent story – from personal tragedy to the ups and downs of (College) golf – you can quickly see how mentally strong he must be. Few players in the world would have been able to battle to the very end yesterday – after 10 rounds in six days – and win. He is now fully deserving of his Walker Cup spot and the spoils of victory that will come his way.
Well done Harry.
Appendix – Other GB&I Amateur Championship Performances
Two other US college golfers did very well at The Amateur. Ireland's Paul MCBRIDE (Wake Forest) reached the Quarter Finals whilst Ryan LUMSDEN (Northwestern) fell in Round 4. McBride now has a very good chance of making our 2017 Walker Cup team
Robert MACINTYRE and Jack SINGH BRAR also reached Round 4 further strengthening their Los Angeles 2017 claims.
Here's a look at how all of the leading GB&I players got on: –
Match Play Stage
Harry ELLIS (ENG) – Champion / Won 38th hole v. Dylan Perry AUS)
Paul MCBRIDE (IRE) – Lost 2 holes to Harry Ellis (ENG)
Ryan LUMSDEN (SCO) – Lost 2 holes to Jarle Kaldestad Volden (NOR)
Robert MACINTYRE (SCO) – Lost 1 hole to Frerik Niléhn (SWE)
Jack SINGH BRAR (ENG) – Lost 1 hole to Paul McBride (IRE)
Charlie STRICKLAND (ENG) – Lost 4&3 to Alejandro Tosti (ARG)
George BAYLIS (ENG) – Lost 1 hole to Robert MacIntyre (SCO)
Stuart GREHAN (IRE) – Lost 1 hole to Ryan Lumsden (SCO)
Craig HOWIE (SCO) – Lost 20th hole to Kristoffer Ventura (NOR)
David LANGLEY (ENG) – Lost 4&3 to Frerik Niléhn (SWE)
Daniel O'LOUGHLIN (ENG) – Lost 1 hole to Zach Murray (AUS)
Caolan RAFFERTY* (IRE) – Lost 25th hole to Alejandro Tosti (ARG)
Tom SLOMAN (ENG) – Lost 1 hole to Matias Honkala (FIN)
Jordan SUNDBORG (ENG) – Lost 6&5 to Stefano Mazzoli (ITA)
David BOOTE (WAL) – Lost 3&2 to Frerik Niléhn (SWE)
Ben CHAMBERLAIN (WAL) – Lost 2&1 to Hurly LONG (GER)
Robin DAWSON (IRE) – Lost 5&3 to Ryan Lumsden (SCO)
Sean FLANAGAN (IRE) – Lost 2&1 to Jack Singh Brar (ENG)
Evan GRIFFITH (WAL) – Lost 4&2 to Hayden Springer (USA)
Matthew JORDAN (ENG) – Lost 2&1 to Jordan Seiple (USA)
Chris MACLEAN (SCO) – Lost 1 hole to Tom Sloman (ENG)
Llewellyn MATTHEWS (WAL) – Lost 3&1 to Luca Cianchette (ITA)
Conor O'ROURKE (IRE) – Lost 3&2 to Min Woo Lee (AUS)
Gian-Marco PETROZZI (ENG) – Lost 3&1 to Alejandro Tosti (ARG)
Craig ROSS (SCO) – Lost 1 hole to Danile O'Loughlin (ENG)
Sandy SCOTT (SCO) – Lost 2&1 to Charlie Strickland (ENG)
Euan WALKER (SCO) – Lost 3&2 to Jordan Sundborg (ENG)
JR GALBRAITH (IRE) – Lost 3&2 to Casper Simberg (FIN)
Tim HARRY (WAL) – Lost 19th hole to Kim Koivu (FIN)
Josh HILLEARD (ENG) – Lost 5&4 to George Baylis (ENG)
Conor PURCELL (IRE) – Lost 3&1 to Frerik Niléhn (SWE)
Connor SYME (SCO0 – Lost 1 hole to David Langley (ENG)
William WHITEOAK (ENG) – Lost 2 holes to Tom Sloman (ENG)
Stroke Play Stage
*Caolan Rafferty achieved medalist honours in the Stroke Play Qualifying Competition. He shot 70 at Royal St. George's GC on Day 1 and a new course record 62 at Prince's on Day 2 for a 132 (-10) total.
The Match Play qualifying cut fell at 141 (-1).
Notable players, mainly in the context of the Walker Cup, to miss this cut included: –
Bradley MOORE (ENG) Ev
Alfie PLANT (ENG) Ev
Jamie STEWART (SCO) Ev
Jack DAVIDSON (WAL) +1
Jake BURNAGE (ENG) +2
Colm CAMPBELL (IRE) +3)
Dan BROWN (ENG) +5
Peter O'KEEFFE (IRE) +5
Liam JOHNSTON (SCO) +6
James WALKER (ENG) +6
Marco PENGE (ENG) +7
Alex GLEESON (IRE) +7
Harry HALL (ENG) +8
Owen EDWARDS (WAL) +12
Barry HUME (SCO) +12.
Click here to view the – 2017 Amateur Championship SP Results
Click here to view the – 2017 Amateur Championship MP Results
Posted on 25 June, 2017 25 June, 2017 Categories Walker Cup 2017Tags Dylan Perry, Harry Ellis, Royal St. George's GC, The Amateur Championship, The Masters, The Open Championship, The US Open Championship, Walker Cup2 Comments on 59. Harry Ellis Wins The Amateur Championship
29. Scott Gregory Targeting The Walker Cup
The Amateur Champion, Scott Gregory, gave an interview to Sky Sports News at the British Masters last week.
In his third professional start after The Open Championship and The Bridgestone Challenge he confirmed that he was not looking to rush into the pro ranks after next year's Major exemptions.
His Amateur Championship win at Royal Porthcawl will of course afford him invites to the 2017 Masters in April and US Open in June.
Scott Gregory (Photo: Andrew Griffin)
Talking about his future plans the 21 year old from Corhampton GC in Hampshire said: "I don't feel I'm ready yet. For me to turn pro, I want to do it when I'm ready to compete. Obviously playing events like the British Masters gives me an idea. I'm just learning and getting better each day."
Scott shot rounds of 74 and 69 at The Grove to finish tied 74th on +1. He missed the cut at his first European Tour event by 1-shot.
It was pleasing to hear him go on and say: "One of the events I'd love to play in is the Walker Cup, so I'm hoping to wait it out and play a nice season next year. It's going to be a big year. I understand that I have to work hard and keep getting better. My objective now is just to keep winning as much as I can while I'm still an amateur and make the move professionally when I feel like it's the right time."
Given the recent number of players who have turned pro this will no doubt be music to the ears of Great Britain & Ireland (GB&I) team captain Craig Watson. Watson will have pencilled in Scott after his St. Andrews Trophy contribution for GB&I and more recent role for silver medal winning England at the Eisenhower Trophy in Mexico.
Of course one strong performance in a US Major could change these plans but at least Scott is talking positively about hanging on until September 2017 at the moment.
[The quotes used above were first reported in an R&A article published on Global Golf Post on 17/10/16]
Posted on 18 October, 2016 16 April, 2017 Categories Walker Cup 2017Tags Amateur Championship, Craig Watson, Royal Porthcawl, Scott Gregory, The Masters, US Open, Walker CupLeave a comment on 29. Scott Gregory Targeting The Walker Cup


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Richard Blair Modzelewski (Natrona, Pensilvânia, 16 de fevereiro de 1931 – Eastlake, Ohio, 19 de outubro de 2018) foi um jogador de futebol americano profissional, de 1953 a 1966, que atuava como defensive tackle na National Football League pelo Washington Redskins, Pittsburgh Steelers, New York Giants e Cleveland Browns. Ele também serviu como treinador dos Browns no jogo final da temporada de 1977.

Nascidos em 1931
Naturais da Pensilvânia
Jogadores do Washington Football Team
Jogadores do Pittsburgh Steelers
Jogadores do New York Giants
Jogadores do Cleveland Browns
Treinadores de futebol americano
Mortos em 2018

redpajama_set_name: RedPajamaWikipedia


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CLOVERDALE PRODUCTIONS
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Looking for a simple solution to your production needs? Let's talk about making your life easier, and we'll hire the crews, handle logistics, produce, direct, score, edit, and give you back the finished product. Whether it's film, television, commercials, live events, tours, or photo shoots, we'd love to talk to you about being you're one-stop source.
Apps/OTT/OOH Platforms
Partner an app with your order. We design dynamic content for OTT (Over The Top), and OOH (Out Of House) platforms. We can compliment your content with custom ads for Instagram, Facebook, Twitter, and other social media sites. Cloverdale is always looking to the future, with emerging technologies such as ARKit, that allows developers to make apps that blend virtual objects with your environment.
Does your set need a little something extra, does your company need some new graphics, or do you need a set designed and built from scratch? Luckily, that's our specialty. We'll handle the initial drawings, digital renderings, fabrication, delivery, set up, and any additional art direction or set dressing you may continue to need throughout the course of your project.
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Setting up a casting tour, concert tour, publicity tour, or anything else that needs to roll from city to city? We'll help you design, plan logistics, set up venues, book film crews, and whatever else you need. We'll even connect you with one of the many fantastic PR Companies we've worked with over the years, and find the one that's right for you.
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A juried exhibition featuring the work of artists who were students at the College of Visual Arts in St. Paul, MN.
Form+Content Gallery is pleased to present the first juried exhibition of artwork by alumni and students from the College of Visual Arts since its closing in 2013. Anyone who attended the college during its rich and lively history from 1948-2013 is invited to submit their work to this juried exhibition. Exhibition venues are Form+Content and Traffic Zone Galleries located one block apart in downtown Minneapolis. The juror is Kristin Makholm, Executive Director of the Minnesota Museum of American Art. Members from Form+Content Gallery, Traffic Zone Gallery and CVA Action have generously committed to providing exhibition space and hosting for this exciting event. Additionally, a one night accompanying event will also take place at Rosalux Gallery. The exhibition runs from February 26–March 21, 2015.
The exhibition is open to all media including but not limited to: drawing, painting, photography, printmaking, sculpture, graphic design, web design, illustration, book design, corporate identity, video, mixed media, etc.
Kristin Makholm, Executive Director of the Minnesota Museum of American Art, is a respected curator, art historian, and teacher.


Book Four of the Girls of Spindrift. From the New York Times bestselling author of the Flowers in the Attic and My Sweet Audrina series (now Lifetime movies) continues a haunting new series featuring highly intelligent teenage girls who struggle to survive a specialized high school and find their place in a world that doesn't understand them.
Among these students stride a clique of three beautiful girls known as the Supremes—Corliss, Donna, and Mayfair. They rule the school with a well-manicured fist. For Donna and Corliss, this is the only place they've felt at home. But Mayfair… Mayfair is different.
Spindrift, the fourth installment of the Girls of Spindrift series, as well as the prequel to Bittersweet Dreams (which I have not read yet). The novella cannot be read as a standalone.
In this installment, the novella is shared by our previous narrators: Corliss, Donna, and Mayfair, featuring the aftermath of the events that took place during Mayfair.
Spindrift is a school for those beyond what we would see as geniuses. While they are smarter than most people on the planet, the girls are still subject to the human condition – mistakes, hormones, puberty, emotion, and human nature. The girls have a difficulty rationalizing something that isn't rational – emotions and emotional needs, no matter how highly intuitive they may be.
Mayfair is AWOL, with Corliss and Donna figuring out where she may be, then taking the responsibility for their irresponsible actions.
The novella had a finite feeling – as if it was to be left open-ended.
Just an observation: the prologue and the first chapter are only seconds apart in a linear timeline, so I was unsure why there was a prologue at all. This had me thinking there was a time jump, when it took place the same night and the day after the events taking place in Mayfair, the earlier portions of the novella parallel in time with the ending of Mayfair. While the epilogue is an indeterminate time in the future, there being a prologue made zero sense and gave me confusion on determining the timeline.
Recommended to fans of the author – yes, the earliest novels were written by Virginia Andrews, but her name has become a brand, not a singular identity. While I don't have the info on whether or not it has always been the same author(s) since, I will state the continuity of the writing across this series most certainly feels as if written by a singular author who respects the brand and the voice.
For reviews & more info, check out our Corliss post.
For reviews & more info, check out our Donna post.
For reviews & more info, check out our Mayfair post.
Reviewers on the Wicked Reads Review Team were provided a free copy of Spindrift (Girls of Spindrift #4) by V.C. Andrews to read and review.


text:
William "Bill" Sikes is a fictional character and the main antagonist in the 1838 novel Oliver Twist by Charles Dickens. Sikes is a malicious criminal in Fagin's gang, and a vicious robber and murderer. Throughout much of the novel Sikes is shadowed by his "bull-terrier" dog Bull's-eye.

Role in the novel
Dickens describes his first appearance:

His girlfriend Nancy reluctantly tolerates, but is intimidated by, his violent behaviour. However, when he thinks Nancy has betrayed him, Sikes viciously murders her. After police identify him as travelling with a dog, Sikes attempts to drown Bull's-eye to rid himself of his companion. In the end he hangs himself while trying to escape. It is left ambiguous whether or not this act was accidental or intentional.

Sikes is a somewhat conflicted character. For instance, after preventing Nancy from keeping her midnight appointment with Rose Maylie and Mr Brownlow, he wondered aloud to Fagin if being indoors for so long in their dingy lodging was beginning to affect her after she dedicated the whole day caring for him. After he brutally beats Nancy to death, Sikes apparently is capable of feeling guilt—although the reader cannot be sure the emotion is not merely his suspicion that Fagin lied to him about her betrayal and fear of being arrested for the crime.

Sikes lives in Bethnal Green and later moves to the squalid rookery area of London then called Jacob's Island, east of present-day Shad Thames. Otherwise, Sikes's background and early life prior to joining Fagin are not mentioned in the book.

Theatrical, cinematic and TV portrayals

In the theatre, Sikes was played by Richard John Smith in Oliver Twist; or, The Parish Boy's Progress (1839), and by Henry Irving opposite Ellen Terry as Nancy in Oliver Twist at the Queen's Theatre in London (1868).

Robert Newton first played Sikes on screen in the 1948 British film noir Oliver Twist. Sikes's death is changed slightly: while attempting to swing to another building to escape the mob, he is shot by a police officer and dies while dangling from a building by a rope around his body. Perhaps Newton's portrayal is the closest to how Dickens himself envisioned the character: a vicious, heavy drinking sociopath.

Peter Vaughan portrayed Sikes in the BBC's 1962 television adaptation, which saw the character portrayed in a gritty, violent way considered to be faithful to the original book. The scene where he brutally murders Nancy was very controversial at the time, with questions being asked in parliament if the serial should've even been allowed to air.

Sikes was played by Danny Sewell in the stage musical Oliver! which won several awards in the early 1960s. Oliver Reed played Sikes in the musical's 1968 film adaptation which also won several awards, including the Oscar for Best Picture, with Reed's performance often cited as one of the best portrayals of Sikes – being labelled as "the sinister core of the film". His songs are removed from the film, making his performance of the character closer to that of the novel rather than the stage version. The famous climax of the 1948 film adaptation is retained and Bill Sikes dies in the same manner of being shot then hanging himself.

In Disney's animated version, Oliver & Company (1988), Sikes is renamed Sykes and he is a cold-hearted loan shark who lives and works in a New York shipyard with his pet Dobermans, Roscoe and DeSoto, and is voiced by Robert Loggia, who was cast in the role after Marlon Brando rejected an offer to voice the character because he felt the film was going to be a flop. Fagin, here depicted as a dogkeeper, owes him money before Sykes proceeds to kidnap a young wealthy girl, Jenny Foxworth, planning to take a ransom to himself. In a final confrontation, Sykes chases Fagin and the dogs into the subway tunnels in attempt to recapture Jenny until they reach the Brooklyn Bridge. While Roscoe and DeSoto are killed when they fall onto the electrified railway, Sykes fights with Oliver and Dodger on the roof of his limousine, and is brutally killed when his car collides with a train, sending his corpse falling into the East River.

In Disney's 1997 live-action television production, Oliver Twist, Bill Sikes is played by David O'Hara. In the 2005 Oliver Twist Bill Sikes is played by Jamie Foreman. In 2007, Sikes is portrayed by actor Tom Hardy in the BBC One miniseries Oliver Twist, later aired in the United States on PBS' Masterpiece Classic. In the 2015 BBC TV series Dickensian, Sikes is played by Mark Stanley.

In the 2021 movie, Twist, Sikes is altered into a female portrayed by Lena Headey with a pet Doberman named Bull's-eye and appears to be a lesbian when seen in a supposed relationship with Nancy. This version, however, was criticized for transitioning a male character into female.

References

Oliver Twist characters
Fictional murderers
Musical theatre characters
Literary characters introduced in 1838
Male literary villains
Male film villains
Fictional child abusers
Fictional domestic abusers
Fictional English people
Fictional kidnappers
Fictional thieves
Male characters in film
Male characters in literature
Male characters in television


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It Is A Human Right Of...
It Is A Human Right Of Person Accused Of Sexual Harassment To Get Info To Defend Himself, Says CIC; Penalises "Penny-wise" CPIO [Read Order]
akanksha jain
28 Jun 2018 2:38 PM GMT
The Central Information Commission (CIC) has held that it is the human right of a person accused of sexual harassment in his capacity as a citizen and accused under the RTI Act and under the principles of criminal justice, to get all the related information to defend himself in a penal proceedings while imposing a penalty of Rs 25,000 on a Public Information Officer for denying the information...
The Central Information Commission (CIC) has held that it is the human right of a person accused of sexual harassment in his capacity as a citizen and accused under the RTI Act and under the principles of criminal justice, to get all the related information to defend himself in a penal proceedings while imposing a penalty of Rs 25,000 on a Public Information Officer for denying the information to an officer accused of sexual harassment at workplace and recommended disciplinary enquiry be conducted against him.
CIC Madabhushi Sridhar Acharyulu also criticised the CPIO for demanding Rs. 6 for three pages supplied to the appellant by writing a letter, as the CIC said, "The RTI Rules say the CPIO can collect the copying fee at Rs 2 per page but did not authorize him to demand Rs 2 by spending more than that. This reflects at least, the harassing nature of the CPIO, which is surely a sign of malice. The problem of CPIO is the mindset and attitude. It is part of malice."
"It is the human right of the appellant in his capacity as a citizen and accused under RTI Act and under the principles of criminal justice, to all the related information to defend himself in penal proceedings. The expression 'human rights' is defined in Section 2(d) of the Protection of Human Rights Act, 1993. "human rights" means the rights relating to life liberty, equality and dignity of the individual guaranteed by the Constitution or embodied in the International Covenants and enforceable by courts in India," said Acharyulu.
"There are, in fact, two human rights—one, right to defend himself in penal proceedings and second, right to information to prepare for that defence. These two human rights are founded on a) principles of natural justice and due process, b) principles of criminal justice, c) the provisions of SHW Act of 2013, d) the provisions of RTI Act 2005," he added.
The CIC was hearing an appeal moved by an officer facing an inquiry on a complaint of alleged sexual harassment. He had sought information on 15 points, including copies of Statements of the named individuals obtained by the Internal Complaints Committee (ICC) during the preliminary inquiry and copies of correspondences between an official and the president of the ICC.
While the CPIO denied him the information, three documents were given to the appellant which included a copy of the order by which ICC, Mandsaur, was formed, a copy of order by which a particular member of ICC was placed on superannuation list and a copy of his retirement charge report.
The CPIO also wrote to the appellant to pay Rs. 6 for a page.
To the CIC's surprise, the appellant was denied the other information by the CPIO citing Section 16 of the Sexual Harassment at Workplace Act, 2013 which is prohibition of publication of information to and by the media about the identity and addresses of aggrieved woman, respondent and witnesses during the conciliation and inquiry proceedings, and action taken etc.
The CIC noted that "the provision does not mean that information could be denied to respondent-accused. Hence denial of information sought by the appellant is in clear breach of all above provisions of SHW Act of 2013".
The CPIO also invoked exemption clauses 8(1)(d) and (g) of RTI Act to deny the appellant the information, which the CIC said, should have been given as per principles of natural justice, rules of disciplinary inquiry, Act of 2013, Rules made thereunder, official handbook of the Ministry containing guidelines for prevention of Sexual Harassment. The CPIO used exemption clauses under the RTI Act also.
Section 8(1)(d) of RTI Act says; information including commercial confidence, trade secrets or intellectual property, the disclosure of which would harm the competitive position of a third party, unless the competent authority is satisfied that larger public interest warrants the disclosure of such information.
Section 8(1)(g) says: information, the disclosure of which would endanger the life or physical safety of any person or identify the source of information or assistance given in confidence for law enforcement or security purposes.
The first appellate authority also upheld the denial of information.
The appellant moved the CIC saying as a charge-sheeted accused before ICC, the principles of natural justice demand that certified copies of all documents relating to the inquiry report, including copies of the statements of witnesses, should be given to him to facilitate him to substantiate his defence and for the conduct of the inquiry in a fair manner.
How are statement of witnesses a trade secret?
The CIC observed, "The CPIO neither explained nor justified how these clauses could be invoked in this case. He has not applied his mind at all. How the statement of witnesses and other documents relating to sexual harassment complaint could be considered as 'trade secret', 'commercial confidence' or 'intellectual property' of the third party or public authority? This is absolute absurdity.
"The appellant himself gave the names of the four witnesses and asked for their statements of evidence given during inquiry. This information was denied under an excuse that their physical security is threatened. These excuses are laughable and amounts to misuse of law by authority to deny the right to information of the appellant. It also reflects malafide on the part of the CPIO. If this is the way information is denied and accused is not allowed to defend, false allegations will increase and real purpose of Act of 2013 and RTI Act will be totally defeated."
"The charge of sexual harassment is a serious allegation which if falsely made and proved by suppression of information to the accused, it can ruin the career of the accused, cause permanent and irreparable damage to the reputation and also disturb his domestic life affecting his relations with his wife and children. Society will look him down and people talk badly about him in his absence or some may even insult him openly. As per SHW Act 2013, he would be shifted, and he might even face criminal prosecution under IPC which in our country would span over a decade or more involving huge expenditure and going to courts for several rounds as an accused person. A false allegation can render his life a hell for the accused officer and if innocent, the officer might suffer serious mental torture also. It can destroy a person totally. The due process, principles of natural justice and legal provisions of the SHW Act of 2013 provide him a right to defend himself from allegation of sexual harassment, and the right to information to secure those related documents will strengthen that right".
Referring to the Supreme Court verdict in Maneka Gandhi v. Union of India in which it was held that right to live under Article 21 is not merely a physical right but includes within its ambit the right to live with human dignity, the CIC said, "An unproven charge of sexual harassment seriously affects the dignity of a person. And not facilitating the procedural rights including right to information/documents that are being used against him will deprive him of a due opportunity to defend himself, which is the human right to free and fair trial that amount to breach of Article 21."
The CIC also referred to various provisions of the CrPC and also the Sixth Amendment to the US Constitution which provide for an accused to be informed of the nature and causes of accusations and the right to cross-examine while being allowed to put the witness in his defence.
It also referred to another recent judgment of CIC in M Dinesh v PIO, Bureau of Immigration/Intelligence Bureau, wherein it was held that it was a human right of the accused facing inquiry to have complete information.
"By denying the information the appellant was not only harassed by the public authority, but also by the CPIO. While public authority denied him the documents which he was entitled under SHW Act of 2013, the CPIO denied them under RTI Act besides wrongfully invoking Section 8(1) (d) and (g). It is absurd to think that copy of inquiry report and statements of witnesses could be 'trade secret', 'intellectual property' or of 'commercial confidence'," said Acharyulu.
A pennywise CPIO
"The CPIO was penny wise when he demanded Rs 6 to give 3 pages. The CPIO might have spent at least Rs 15 to Rs 100 approximately (taking into account the time, energy, paper, typing or correcting mistakes, which is quite possible, and posting) to write a letter demanding Rs 6. If it is his personal money, no prudent man would spend Rs 100 for collecting Rs 6. Is it not wrongful spending of public money? If this CPIO is demanding money up to Rs 18, by spending Rs 20 to Rs 100 every day hypothetically, what should be the loss of exchequer per year? Even if the appellant positively responds and pays Rs 6 promptly, still the loss would be Rs 94. The RTI Rules say the CPIO can collect the copying fee at Rs 2 per page but do not authorize him to demand Rs 2 by spending more than that. This reflects at least, the harassing nature of the CPIO, which is surely a sign of malice," said the CPIO.
Read the Order Here
TagsCentral Information CommissionCICCIC Madabhushi Sridhar AcharyuluCPIOHuman RightSection 2(d) of the Protection of Human Rights Act 1993Section 8(1)(d) of RTI ActSexual Harassment
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Kerry Washington notwithstanding, African American images on television tend to suffer from too much trifling and not enough authenticity—which is ironic considering the overwhelming number of reality shows featuring African Americans currently being thrown in our face. So we were thrilled to witness the dead-on writing and performances in Mara Brock Akil and Salim Akil's "Being Mary Jane," starring the delightful and hilarious Gabrielle Union.
Union's portrayal of the hard-driving and successful Mary Jane Paul, whose personal life is deliciously complicated, felt like a mirror propped up in front of the modern black woman. The Akils (Mara as writer and Salim as director) hardly missed a note. And it was so gratifying to see Union sink her pearly whites into a role that fully takes advantage of her considerable comedic skills.
After watching the show on Tuesday night, we were even more thrilled with this bit of very welcome news: "Being Mary Jane" was a ratings smash!
The show scored an impressive 2.0 rating with adults 18-49, bringing in an impressive 4 million viewers. To give more perspective, consider this: Among that most desirable demographic of 18 to 49, only NBC's "America's Got Talent," with a rating of 2.3, attracted more viewers than "Being Mary Jane." The BET original was the highest rated show on all of cable television Tuesday night.
This is the kind of news that gets our hearts racing here at MyBrownBaby because it can have such far-reaching implications. It means that perhaps more studios besides BET will decide to take a chance on bringing real, authentic, believable black characters to the small screen. Perhaps we might be rescued from drowning in the sludge of the reality television horror shows and their scary depictions of black women.
Our hats off to BET for bringing us "Mary Jane," which is the network's first scripted drama series. But we do have some bad news: after the debut of the pilot this week, the series doesn't actually come on until 2014.
Oh well. We can't for Mary Jane's triumphant return. In case you missed it (or you need another fix), here's the Mary Jane trailer. Enjoy.
Nick Chiles is a Pulitzer Prize-winning journalist and a New York Times bestselling author of 12 books, including the upcoming "The Rejected Stone: Al Sharpton and the Path To American Leadership," which he co-authored with Al Sharpton.
Glad to hear it did so well. I loved this movie, and I'm happy to see BET stepping in the right direction with this one.
I loved this movie! I thought it was well written, and funny and kinda scary cause there are women out there that will go to those lengths to have babies! And have families that expect them to save them from EVERYTHING!
Can't wait for the series!
Alrighty then. Clearly, we saw two different programs. Sorry you didn't like it. I thought it was stellar.


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Stephen Curry: Golden State Warriors star makes game-winning score on the buzzer
Germany's Lufthansa is set to buy 40% stake in Alitalia's successor ITA
Home/Euroleague/Lakers fully guarantee Avery Bradley's & Austin Reaves' deals for the rest of the season
EuroleagueSports
Lakers fully guarantee Avery Bradley's & Austin Reaves' deals for the rest of the season
Avery Bradley's and Austin Reaves' Lakers contracts for this season will become fully guaranteed at 2 p.m. PST on Friday and they will remain with the team, according to Dave McMenamin of ESPN.
Avery Bradley is averaging 6.4 points, 2.5 rebounds, and 0.8 assists in 23.8 minutes per game this season. Meanwhile, Reaves is averaging 5.6 points, 2.5 rebounds, and 1.1 assists per game.
Avery Bradley's and Austin Reaves' Lakers contracts for this season will become fully guaranteed at 2 p.m. PT and they will remain with the team, league sources told ESPN
— Dave McMenamin (@mcten) January 7, 2022
Report: Lakers fully guarantee Avery Bradley's and Austin Reaves' contracts for rest of 2021-22 season https://t.co/pwcGYQTZv1
— Lakers Daily (@LakersDailyCom) January 7, 2022
The post Lakers fully guarantee Avery Bradley's & Austin Reaves' deals for the rest of the season appeared first on TalkBasket.net.


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Forgotten Cars
4WheelsNews.com
Fisker Automotive appoints Tony Posawatz as new CEO
Article by Anita Panait, on August 21, 2012
Fisker Automotive has named Tony Posawatz, former chief engineer for the Chevrolet Volt, as its new chief executive. Posawatz replaces Tom LaSorda, a former Chrysler chief executive, barely six months after the latter took over the top post at Fisker. The carmaker, however, did not cite any reason for LaSorda's departure from the company.
Posawatz's arrival at Fisker came at a point when its officials are scrambling to avert a cash flow shortage. According to Henrik Fisker, Fisker Automotive's co-founder and executive chairman, even though its second vehicle, the Atlantic, has been under development for some time, Posawatz will play a vital role in the final unit.
Despite gaining a respected EV engineer in Posawatz, Fisker lost LaSorda, its best manufacturing brain, at a time when the carmaker tries to commence the production of the Atlantic, a mid-sized plug-in hybrid sedan expected to be priced between $50,000 to $60,000. Fisker is planning to sell the Atlantic in greater volumes than its Karma sedan. The company sold only over 1,000 Karmas in the US since its rollout in October 2011.
Fisker needs to sell more vehicles to generate the revenue the carmaker needs to survive in the long term. Fisker, however, is facing one big problem – the company is nearly cash-strapped and it needs a large amount of money to start producing the Atlantic.
Fisker originally set the production of the Atlantic to commence in late 2012. The Atlantic was to be the leader in Fisker's product offensive that would include a Fisker convertible and five-door wagon. Fisker unveiled the Sunset convertible concept in 2009. Henrik Fisker told Autoweek in 2011 at the Frankfurt auto show that the Sunset would be rolled out for sale in 2013.
Fisker Automotive is excited to reveal its new variant, the Atlantic car. This is the newest variant in the brand's extensive roster of extended-range luxury cars that is electrically powered.
Released as a design concept at an exclusive VIP preview show the evening prior the 2012 New York Auto Show press days start, the Fisker Atlantic prototype is a four-door luxury athletic car with a practical cabin. It is targeted for young families who desire to ride a high-end, impactful car and at the same time giving a good statement regarding responsibilities - both in terms of their promises of practicality and sustainability for daily use.
Atlantic utilizes the brand new 2nd batch EVer (Electric Vehicle with extended range) technology. It will provide all the benefits of electric ride and also cut the "range anxiety" experienced on an all-electric powertrain.
Similar to the Karma car, the Fisker Atlantic is a plug and play series hybrid car that enables drivers to change automatically or manually and choose between gas or electric driving and keep the charge of its batteries when the car is being used for fuel.
Its 4CC gas engine, which serves as a generator and is not mechanically incorporated to the tires, is refined to provide top economy and max torque. This Atlantic EVer powertrain will show an extremely competitive performance for a vehicle in its segment. The basic powertrain will be built for back-wheel drive and an all-wheel drive variant will be available to provide more choices.
The Atlantic architectural prototype's glass ceiling flaunts a ridged 'spider' appearance. This super durable structure also enables the Atlantic to give a good space for the back headroom despite its elegant, coupe-like built.
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Topics: fisker, ceo
Toyota 86 GT British Green Limited is a Japan-only special edition
It has been nearly eight years since Toyota entered a new era of sports cars when it officially unveiled the production version of the Toyota 86 – also known as...
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Facelifted Audi TT RS Coupe and Roadster now available to order
The new Audi TT RS – yes, the top version of the German carmaker's facelifted TT model series – is now officially here. If you could remember, the range-topping TT...
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by Christian A. - January 25, 2019
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German carmaker Volkswagen is now making the latest evolution of the new Volkswagen Golf GTI -- the new Golf GTI TCR. First unveiled as a concept at the annual GTI...
Heavily revised 2020 BMW 7 Series looks more luxuriously dominant
It has been three and a half years since BMW unveiled the sixth generation of the BMW 7 Series. Thus, it is really about to give the 7 Series a...
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Unidentified Ferrari caught testing has caused a furor
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So Where are the Robots? How technology is not advancing as much as we think
By Srinivas Balagopal
CO EDITOR IN CHIEF
As a Star Wars fan, I paused to think: why has only the iPhone, and not a C3PO-like robot, become the poster child of the 21st century? After all, the mild-mannered machine sprang from George Lucas's brain back in the 1970s, a time in which Steve Jobs first began designing the Macintosh that has now revolutionized our world. Shouldn't the robots be walking alongside us right now?
It is easy to say that technology has made our world more fast-paced than ever before. But for all of its effects on our society, the progress of technological inventions in our lives has been slowing down. In the realm of medicine, penicillin was developed in 1928 as the first antibiotic ever to be used by doctors. Today, malaria continues to run rampant and puts 91 countries at risk of transmission, while cancer is the world's second largest fatal disease. In the span of less than 20 years, fueled by international competition, the U.S. sent astronauts into space and eventually to the Moon. Today, launching human missions to Mars has obstinately been stuck in the proposal phase for decades.
According to the Economy Policy Institute, investments in information technology have slowed down drastically since the 1970s. This spells demise for the unborn C3POs in the making and has already shut down production of several consumer robots. For example, companies that specialize in creating home robots, such as Mayfield Robotics and Jibo, shut down due to poor capital investments. In fact, only iRobot's vacuum cleaner, Roomba, has remained a residential success since 2002.
Biotechnology is being hailed as the next frontier in medicine. Microbristle devices are being developed to perform microsurgery; prosthetics have been installed on human bodies to give paralyzed individuals the ability to walk again; CRISPR promises to make edits to our genetic code to cure health problems of any measure. These prototypes are harbingers of the tangible ways technology can help us lead healthy lives. But the problem is that they are only prototypes.
We have only been investing in basic research conducted in the 20th century; in other words, we are only building on what we already have from the past, while funding for innovation technologies of tomorrow has drastically declined. But why?
Commercialization is a major obstacle for these inventions to overcome. The decrease of investments in technology creates a vicious cycle and discourages companies from spending more on products to fully place them on the market. Profit-seeking industries are becoming hesitant to place money in technology that they perceive to have little return on investment.
The movie "Back to the Future" perfectly illustrates this idea. Inspired by Marty McFly, Nike released its own self-tying shoes, Nike Mag, in 2011 and 2016 only for a limited sale. In Jan. 2019, Nike released its most advanced self-tying shoes, Adapt BB, that was wirelessly connected to an app. However, several complaints arose when internet problems created defects in the shoes' self-tying capabilities. Although Nike has attempted to commercialize its futuristic product, setbacks have discouraged both the public and investors from advocating for it.
Let us not forget self-driving cars. Touted by magnates like Elon Musk, the self-driving car has shifted into several gears of automation, relying less and less on human supervision. However, according to experts from Business Insider and MIT, we still have a long way to go. Besides accounting for traffic laws and physical hindrances like potholes, full automation would require a massive cloud network that can communicate with every car on the road: there are not many investors who are willing to cash in to such a
hefty endeavor.
The only way we have progressed as a society is when we have, sometimes literally, reached for the stars. Our drive to maximize convenience and benefit humankind has brought us so far. If we want to commercialize gene editing, voyages to Mars, self-tying shoes, and autonomous cars, investors need to infuse more time and resources to help those technologies come into our lives.
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Q: Django multiple files in one input can't be read by server When I submit to Django a multiple files upload form
<input type="file" name="files" multiple />

I get a sensible result in request.FILES:
(MultiValueDict: {u'files': [(InMemoryUploadedFile: 0202.jpg (image/jpeg)), (InMemoryUploadedFile: 0203.jpg (image/jpeg))]})

But then my confusion starts. I thought request.FILES['files'] would contain a couple of files (appears to be a list), but it shows only
0203.jpg

No InMemoryUploadedFile part and more importantly: only the last file!
Looping through request.FILES with .iteritems() only goes over that one file too, request.FILES['files'] is distinctly uniterable; the below code actually froze up the console and made it beep endlessly:
for v in request.FILES['files']:
    print v
    print type(v)

So... Is any of this this normal? What am I doing wrong?
As I'm starting to think this may be a bug: I'm using Django 1.4.2 with Python 2.7 on Windows 7.

A: It turns out the answer was on Stack Overflow after all, on a slightly different (client side, at least) problem here: multiple files upload using same input name in django
Turns out that request.FILES['files'] was wrong and should have been request.FILES.getlist('file').
Why this is the case is a complete mystery to me. If anyone can answer with an explanation, I'll gladly switch the accepted answer.

redpajama_set_name: RedPajamaStackExchange


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Home Homepage Spotlight VI: Small Presses | British Book Awards Special 2020
TLM Featured
Spotlight VI: Small Presses | British Book Awards Special 2020
Jack Solloway
Jacaranda's Twenty in 2020 at the London Library
The London Magazine has long been a champion of emerging writers and independent publishers, stretching back to the 1950s and 60s, when young writers like Sylvia Plath and Ted Hughes found a home in the pages of the then newly re-launched volumes of the magazine.
This is a tradition we seek to continue in our aim to promote the best of innovative contemporary writing across the UK and beyond.
With publishers big and small struggling through the current crisis, it is important for us to shine a spotlight on small presses, the work that they do and the books and authors that they publish. Recently recognised among the nine regional and country winners in the Small Press of the Year Award at the 2020 British Book Awards, today we spotlight four of the best small presses currently publishing in the UK and Ireland: Jacaranda Books, Sandstone Press, Comma Press and The Lilliput Press, looking at what makes them different, and how you can support them.
Jacaranda Books
London winner Jacaranda Books is an award-winning publisher of adult fiction, non-fiction and YA. Founded by Valerie Brandes in 2012, with the aim of publishing a broad list of underrepresented voices from many different cultural backgrounds, Jacaranda Books has quickly gone on to become one of the most exciting new UK publishers in the last decade.
What do they publish, and why are they different?
Jacaranda's push to publish underrepresented voices is undoubtedly one of the things that makes their existence so important in the contemporary publishing landscape. After raising £25,000 last year, Jacaranda Books launched their #Twentyin2020 campaign to publish 20 books by Black British writers in the current calendar year. Since then, Jacaranda has also partnered with writing charity Spread The Word to launch the #InclusiveIndies campaign along with fellow independent Knights Of, in which they seek to raise £100,000 together with a percentage of additional funds being shared across independent publishers in the UK. More on that here.
Like many other publishers, Jacaranda Books has had all of their events and festival plans cancelled and are looking into digital replacements for the summer.
Irenosen Okojie's 2015 novel Butterfly Fish received a Betty Trask Award, and Tram 83 by Fiston Mwanza Mujila, a brilliant critique of neo-colonialism that was nominated for the 2016 International Man Booker. For non-fiction, War to Windrush by Stephen Bourne, a history of the Windrush generation through the eyes of Black British women. Of their most recent books (from their Twenty in 2020 campaign), the novel LOTE by Shola Von Reinhold, an experimental literary novel that follows present-day narrator Mathilda's fixation with Hermia Druitt, a forgotten black Scottish modernist poet.
Find out more at Jacaranda Books, and follow them on Twitter: @JacarandaBooks.
Comma Press
Manchester-based Comma Press (North of England winners in the 2020 Small Press of the Year Award) is a not-for-profit publisher specialising in short story collections and fiction in translation. Something of a trailblazer among UK indies, Comma Press has been at the forefront of radical literary publishing in the UK since they were founded by Ra Page in 2003. For more from Ra, read our interview with him here on the culture of British protest.
Comma Press are unique for their unapologetically international outlook, as well as their (well ahead of the curve) championing of the short story form over the last two decades. Comma Press are also unique for having published a truly remarkable number of books during that time – with over 70 short story collections alone. While in recent years short story collections have made a comeback, featuring in shortlists and even winning major awards, it's not to be forgotten that as a form it was, along with literature in translation, an incredibly overlooked form in this country for many years; and as such, Comma's commitment to both is extremely commendable. In short, it is difficult to imagine the landscape of UK independents without Comma.
As with all other publishers, Comma Press has had their plans for this year deeply affected by the current crisis. They moved their writing courses online, are offering discounts on all eBooks, and are currently looking at the different ways of sharing their authors and books with readers digitally, over the summer and beyond. Follow @CommaPress and visit their website for latest news and many great books.
From their back catalogue, the exceptional The Iraqi Christ by Hassan Blasim, winner of the 2014 Independent Foreign Fiction Prize, and the 2017 anthology Protest: Stories of Resistance. Last year's Resist: Stories of Uprising brilliantly mixes fiction based on historical moments with accompanying essays from some of the best fiction writers and commentators of the moment, and of their latest collections, Europa 28 (a timely collection of 28 female writers on the theme of Europe) and The Book of Shanghai (new translations of some of Shanghai's greatest contemporary writers) are not to be missed.
Read Julia Bell's short story 'Fear In Your Water', extracted from Resist: Stories of Uprising and available in full at The London Magazine online.
Sandstone Press
Sandstone Press are a prolific small press based in Inverness, Scotland, founded in 2002 and led by founding directors Robert Davidson and Moira Forsyth. Publishers of a wide range of literature from literary fiction and crime fiction to non-fiction and memoir, Sandstone Press was the Scottish winner for Small Press of the Year in both 2019 and 2020, they were also awarded Saltire Society Scottish Publisher of the Year 2019.
Sandstone Press are notable for their internationalism, the diverse range of genres that they publish, and the beautiful design and production of their books. This internationalism, in particular, has garnered Sandstone Press a reputation for uncovering writers and books that other publishers might have missed, like the hugely successful Celestial Bodies, by Jokha Alharthi, translated by Marilyn Booth, which won the 2019 International Man Booker.
Much like Comma Press, Sandstone has become a mainstay in the Small Press of the Year Awards in recent years, and this is surely down to the consistent quality of their ever-expanding list. In recent years, their books have been nominated for the Man Booker International, Man Booker, Commonwealth, Arthur C Clarke, Creative Scotland, Green Carnation, Saltire Society, Petrona, Sunday Times Barry Ronge Fiction Prize (SA), Bill Rollinson Prize for Landscape and Tradition, Boardman Tasker, Walter Scott Prize for Historical Fiction, Betty Trask Award, Not the Booker, and Desmond Elliott awards. This consistency develops a trust with readers, as with all good small presses, so that when you see the Sandstone logo, chances are it's going to be a very good read.
For more on Sandstone Press, including latest news, competitions, the Sandstone shop and content from their authors, visit sandstonepress.com and follow them on Twitter @SandstonePress.
R ecommended books
International Man Booker winner Celestial Bodies by Jokha Alharthi is a great starting point, as is German thriller writer Volker Kutscher, whose books, set in Weimar era Germany, have been adapted into the TV series Babylon Berlin. Also notable is Norwegian crime writer Jorn Lier Horst, as well as exciting homegrown Scottish talent such as Daniel Shand.
Of current books, just published this month is Blasted Things by Lesley Glaister, which is set around a tragic relationship that occurs in the aftermath of World War 1, and has already received critical acclaim from Hilary Mantel and the Sunday Times among others. Coming next is Negative Capability by Michèle Roberts, an intimate and wry account of rejection, loss, friendships and literature.
The Lilliput Press
Irish winners The Lilliput Press – named after the fictional island in Jonathan Swift's Gulliver's Travels – are one of the veterans of the Small Press of the Year Award, having celebrated an incredible 35 years of publishing last year. Based in Dublin, the press was founded in 1984 by Antony Farrell, and since its formation has published over 600 titles encompassing art, music, memoir, literary criticism, philosophy, drama and poetry, from authors including James Joyce, J P Donleavy, Rob Doyle and Elske Rahill.
The Lilliput Press has long been at the heart of Ireland's literary scene, with a strong reputation for unearthing new writers, such as Booker Prize longlistee Donal Ryan, as well as Rob Doyle and Elske Rahill More generally, alongside being one of the leading publishers of fiction in Ireland, The Lilliput Press specialise in biography, historical non-fiction and memoir, as well as having a knack for recovering and republishing titles which were groundbreaking at the time of their first publication, most recently the powerful Fathers Come First by Rosita Sweetman. Whether fiction or non-fiction, titles published by The Lilliput Press tend to carry links to Ireland; and as such, the press continues to maintain its strong sense of identity.
Like many presses, The Lilliput Press's plans have been drastically altered by the events of this year, but they are regularly updating their blog with news, extracts and more. Follow @LilliputPress to find out more.
One of the great things about the longevity of Lilliput is the remarkable back catalogue that they have, and we heartily recommend browsing their extensive bookshop for more. For those in search of a place to start, you would be hard pressed to find a better place than some of their bestsellers, including excellent books from Donal Ryan, Else Rakhill and John Moriarty, as well as the historical study Terror in Ireland 1916-1923 from the Trinity History Workshop. From recent lists, we recommend Oona by Alice Lyons, a literary novel about adolescence and alienation set in suburban New Jersey.
2020 Small Press of the Year Award – Full list
Comma Press, North England winner
Firefly Press, Wales winner
Jacaranda Books, London co-winner
The Lilliput Press, Ireland's winner
Otter-Barry Books, Midlands winner
Really Decent Books, South-West England winner
Sandstone Press, Scotland winner
September Publishing, East and South-east England winner
Tiny Owl, London co-winner
The overall winner of the 2020 Small Press of the Year Award will be announced at the British Book Awards on June 29th 2020.
For more information on the British Book Awards, visit The Bookseller, and for any media enquiries, please contact robertg@fmcm.co.uk.
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Stay up-to-date with the latest news from the Abbotsford Youth Commission.
Join us for our Spring series of Girls, Guys and Youth Nights and get active!
Don't be bored over spring break! We've got plenty for you to do!
Learn how youth are giving back to their community!
Here is a list of the latest events. Click on the event for more information.
Talk about issues facing youth in Abbotsford, develop your leadership and team building skills, and have a say in what activities happen at the youth centre.
Youth Night is a registered program. You must be registered to attend this program.
We are going Bowling this week at Galaxy Bowl. Don't forget to wear socks!


text:
Thomas Fearnley
Thomas Fearnley Fisherman at Derwentwater 2 August 1837
Nationality Norwegian
Fearnley was born in Norway (until 1814 part of the Kingdom of Denmark and Norway), the grandson of an emigrated Yorkshireman. After training in Copenhagen and Stockholm, he moved to Dresden in 1828 and became the pupil of his fellow countryman Johan Christian Dahl. There, Fearnley also met the great German Romantic painter Caspar David Friedrich. Both, Dahl and Friedrich, remained an inspiration throughout Fearnley's career. He travelled widely, in Germany, Italy, Switzerland and France, and returned to his home country only three times thereafter. Fearnley's work consists of oil sketches, often prepared out of doors and completed in the studio, and larger, more finished compositions, mainly for exhibitions. In 1836-38 he visited England, spending time in London, where he exhibited at the Royal Academy, and in the Lake District. He died in Munich from typhus, aged 39.
Thomas Fearnley (27 December 1802 -16 January 1842) was a Norwegian romantic painter, a pupil of Johan Christian Dahl and a leading representative of Norwegian romantic nationalism in painting. His son Thomas Fearnley (1841–1927) founded the Fearnley dynasty of shipping magnates.
Information from Wikipedia, made available under the Creative Commons Attribution-ShareAlike License
See full Wikipedia entry
Getty ULAN
Comment on works: etcher
Information from Getty's Union List of Artist Names ® (ULAN), made available under the ODC Attribution License
See full Getty ULAN entry


text:
<?php
/**
 * @package Moar\Metrics
 */

namespace Moar\Metrics;

/**
 * @package Moar\Metrics
 * @copyright 2013 Bryan Davis and contributors. All Rights Reserved.
 */
class TrackTest extends \PHPUnit_Framework_TestCase {

  public function test_basic_operations () {
    Track::start('test.elapsed');
    Track::inc('foo.samples');
    Track::inc('bar.samples');
    Track::count('foo.samples', 1);
    Track::dec('foo.samples');
    $r = Track::report();

    $this->assertArrayHasKey('foo.samples', $r);
    $this->assertEquals('1|c', $r['foo.samples']);

    $this->assertArrayHasKey('bar.samples', $r);
    $this->assertEquals('1|c', $r['bar.samples']);

    $this->assertArrayHasKey('test.elapsed', $r);
    $this->assertRegExp('/\d+\|ms/', $r['test.elapsed']);
  }

} //end TrackTest

redpajama_set_name: RedPajamaGithub