Toblino Castle, on the shores of Lake Toblino, is one of the region's most picturesque castles.
Look to Italy's far northeast corner, tucked into the shadow of the jagged limestone peaks of the famed Dolomites. To the west, Lombardy; Veneto to the east; Austria bordering the north. Best known to daring-do skiers for winter sport resorts like Canazei and San Martino di Castrozza, Trentino remains relatively untouched by the tourists of summer.
Trentino is tailor-made for those who enjoy traveling on their own. One can hike around a secluded alpine lake in the morning; sample wine at a family-owned winery at noon; stroll along the palm-lined promenade of a spa in the afternoon; dine at a Michelin-starred restaurant; and slip into bed in a medieval castle at the end of the day.
Measuring about 2,400 square miles (6,200 km²), Trentino is only as big as Utah's Great Salt Lake when filled to capacity. But tucked in one small corner here are glaciers, alpine lakes and waterfalls. Castles top almost every promontory — some in rocky ruin, many partly restored, with others seeing service as museums and inns.
Lush hillsides and valleys supply high-quality grapes for renowned Italian wines, and fill the country's market basket with an array of fruits and vegetables, cheeses and specialty meats.
Charming and tidy alpine villages enchant in a tumble of bright geraniums and petunias. Trentino's thermal waters have been visited since ancient times. Here is one of the largest and most famous spa towns in the Italian Alps, Merano.
The town of Trento, population 55,000, beautifully situated in a wide glacial valley with a backdrop of awe-inspiring peaks, is the capital of this autonomous region. Off the beaten path of mass tourism, Trento is well worth a visit, with its unique architectural mix of restored late-Medieval and Renaissance buildings and Germanic influences.
Traveling north to south through Trentino, in about 62 miles (100 km) the vegetation changes from alpine to Mediterranean, complete with lemons, olives and oleanders. At its southern end is Lake Garda, shaped like an elongated, upside-down watery version of Italy itself. Italy's largest lake is especially popular with Northern European tourists, who come to sail, windsurf and water ski. The historic town of Riva del Garda, with its trade mark Torre Apponale, a tower built in 1220, is particularly popular.
Travelers with children in tow will find Trentino a veritable Disneyland of family activities. In addition to Lake Garda's treasure trove of water sports, there are hundreds of marked hiking trails, designated for their levels of difficulty. Families could board a cable lift, step off and begin their walks on the top of the world.
In many valleys, treks are organized in the high alpine meadows where dairymen take their herds for summer grazing.
Cows' noses can be petted and cheese-making observed, followed by a simple lunch laid out on a wooden board to be eaten at a table outside the dairyman's hut. Bicycle paths thread the region, and treks via horseback take riders to within touching distance of the Dolomites.
More accurately, this pleasure-packed region should be referred to as Trentino–Alto Adige, as it actually consists of two different provinces. Trentino (known as Welschtirol in German), historically a part of Italy except for a period during the 19th and early 20th centuries when it was ruled by Austria, feels more Italian.
North of Trentino, Alto Adige, also known as South Tyrol (Südtirol in German), covers an area of 2,860 square miles (7,400 km²). This region was under Habsburg rule for more than five centuries. It first became an Italian domain in 1918 when the Austro-Hungarian empire was carved up and European borders were redrawn.
Alto Adige's ties to the north go back as far as the 3rd century B.C., when Germanic tribes trudged down through the mountain passes or navigated the Adige River, (Italy's second-longest), which bisects the region. Through the centuries the northerners brought their culture, customs and cuisine with them.
Lush hillsides and alpine villages characterize Trentino.
So Alto Adige layers its "Italian-ness" with more than a light coating of oompah. In the Alto Adige, nearly every sign is written in both German and Italian, with about 70 percent of the residents speaking a local German dialect.
A tourist tabloid, Discover the Flavours, makes exploring the nooks and crannies of the region easy, with eight detailed itineraries, complete with maps, descriptions and suggested stops.
While indicating where agricultural products and wines can be sampled along the way, the itineraries also include extensive listings of where to eat, shop and sleep, along with cultural stops considered too good to miss.
That could well be said of the entirety of this pleasure-packed corner of Italy. Trentino — too good to miss.
Request the brochure Discover the Flavours from the Trentino Territorial Marketing Company (info@trentino.to) or pick it up when visiting Trentino information offices.


The horseshoe is presented encircling one of the blossoms from the Kentucky Derby winner's blanket of roses. Hair strands cut from Orb's tail are tied with the winning colors of co-owner Stuart Janney's silks. Skip Dickstein's photo of the Derby finish is mounted on a raised mat and below the photo is a brass plate with "ORB Kentucky Derby 2013."


In a bid to support the Hollywood blockbuster movie (Black Panther) a pastor decided to storm into the church with his Black panther costume instead of his Sunday's suit.
The pastor who are worshippers at the Trinity United Church in the US, set the social media on fire as the online users reacted to the costume and decided to come to the church. Abeg ooooo shey me will not go to the church ni?


This article is about aspect ratio of still images, films, and digital imagery. For another article on this subject, see display aspect ratio.
Square. Used in some social networks, and in few devices.
For example, in a group of images that all have an aspect ratio of 16:9, one image might be 16 inches wide and 9 inches high, another 16 centimeters wide and 9 centimeters high, and a third might be 8 yards wide and 4.5 yards high. Thus, aspect ratio concerns the relationship of the width to the height, not an image's actual size.
The most common aspect ratios used today in the presentation of films in cinemas are 1.85:1 and 2.39:1. Two common videographic aspect ratios are 4:3 (1.3:1),[a] the universal video format of the 20th century, and 16:9 (1.7:1), universal for high-definition television and European digital television. Other cinema and video aspect ratios exist, but are used infrequently.
In still camera photography, the most common aspect ratios are 4:3, 3:2, and more recently found in consumer cameras, 16:9. Other aspect ratios, such as 5:3, 5:4, and 1:1 (square format), are used in photography as well, particularly in medium format and large format.
With television, DVD and Blu-ray Disc, converting formats of unequal ratios is achieved by enlarging the original image to fill the receiving format's display area and cutting off any excess picture information (zooming and cropping), by adding horizontal mattes (letterboxing) or vertical mattes (pillarboxing) to retain the original format's aspect ratio, by stretching (hence distorting) the image to fill the receiving format's ratio, or by scaling by different factors in both directions, possibly scaling by a different factor in the center and at the edges (as in Wide Zoom mode).
In motion picture formats, the physical size of the film area between the sprocket perforations determines the image's size. The universal standard (established by William Dickson and Thomas Edison in 1892) is a frame that is four perforations high. The film itself is 35 mm wide (1.38 in), but the area between the perforations is 24.89 mm × 18.67 mm (0.980 in × 0.735 in), leaving the de facto ratio of 4:3, or 1.3:1.
The motion picture industry convention assigns a value of 1.0 to the image's height; an anamorphic frame (since 1970, 2.39:1) is often incorrectly described (rounded) as 2.40:1 or 2.40 ("two-four-oh"). After 1952, a number of aspect ratios were experimented with for anamorphic productions, including 2.66:1 and 2.55:1. A SMPTE specification for anamorphic projection from 1957 (PH22.106-1957) finally standardized the aperture to 2.35:1. An update in 1970 (PH22.106-1971) changed the aspect ratio to 2.39:1 in order to make splices less noticeable. This aspect ratio of 2.39:1 was confirmed by the most recent revision from August 1993 (SMPTE 195-1993).
In American cinemas, the common projection ratios are 1.85:1 and 2.39:1. Some European countries have 1.6:1 as the wide screen standard. The "Academy ratio" of 1.375:1 was used for all cinema films in the sound era until 1953 (with the release of George Stevens' Shane in 1.6:1). During that time, television, which had a similar aspect ratio of 1.3:1, became a perceived threat to movie studios. Hollywood responded by creating a large number of wide-screen formats: CinemaScope (up to 2.6:1), Todd-AO (2.20:1), and VistaVision (initially 1.50:1, now 1.6:1 to 2.00:1) to name just a few. The "flat" 1.85:1 aspect ratio was introduced in May 1953, and became one of the most common cinema projection standards in the U.S. and elsewhere.
The goal of these various lenses and aspect ratios was to capture as much of the frame as possible, onto as large an area of the film as possible, in order to fully utilize the film being used. Some of the aspect ratios were chosen to utilize smaller film sizes in order to save film costs while other aspect ratios were chosen to use larger film sizes in order to produce a wider higher resolution image. In either case the image was squeezed horizontally to fit the film's frame size and avoid any unused film area.
Super 16 mm film was frequently used for television production due to its lower cost, lack of need for soundtrack space on the film itself (as it is not projected but rather transferred to video), and aspect ratio similar to 16:9 (the native ratio of Super 16 mm is 15:9). It also can be blown up to 35 mm for theatrical release and therefore is sometimes used for feature films.
Square displays are rarely used in devices and monitors. Nonetheless, video consumption on social apps has grown rapidly and led to the emergence of new video formats more suited to mobile devices that can be held in horizontal and vertical orientations. In that sense, square video was popularized by mobile apps such as Instagram and has since been supported by other major social platforms including Facebook and Twitter. It can fill nearly twice as much screen space compared to 16:9 format (when the device is held differently while viewing from how video was recorded).
4:3 (1.3:1) (generally read as "Four-Three", "Four-by-Three", or "Four-to-Three") for standard television has been in use since the invention of moving picture cameras and many computer monitors used to employ the same aspect ratio. 4:3 was the aspect ratio used for 35 mm films in the silent era. It is also very close to the 1.375:1 Academy ratio, defined by the Academy of Motion Picture Arts and Sciences as a standard after the advent of optical sound-on-film. By having TV match this aspect ratio, movies originally photographed on 35 mm film could be satisfactorily viewed on TV in the early days of the medium (i.e. the 1940s and the 1950s). Since the start of the 21st century broadcasters worldwide are phasing out the 4:3 standard entirely, as manufacturers started to favor the 16:9 aspect ratio of all modern high-definition television sets and broadcast cameras.
16:9 (1.7:1) (generally named as "Sixteen-by-Nine", "Sixteen-Nine", and "Sixteen-to-Nine") is the international standard format of HDTV, non-HD digital television and analog widescreen television PALplus. Japan's Hi-Vision originally started with a 5:3 (= 15:9) ratio but converted when the international standards group introduced a wider ratio of 5⅓ to 3 (= 16:9). Many digital video cameras have the capability to record in 16:9 (= 42:32), and 16:9 is the only widescreen aspect ratio natively supported by the DVD standard. DVD producers can also choose to show even wider ratios such as 1.85:1 and 2.39:1 within the 16:9 DVD frame by hard matting or adding black bars within the image itself. However, it was used often in British TVs in the United Kingdom in the 1990s.
When cinema attendance dropped, Hollywood created widescreen aspect ratios in order to differentiate the film industry from TV, with one of the most common being the 1.85:1 ratio.
The 2:1 aspect ratio was first used in the 1950s for the RKO Superscope format.
Since 1998, cinematographer Vittorio Storaro has advocated for a format named "Univisium" that uses a 2:1 format. It is designed to be a compromise between the cinema 2.39:1 aspect ratio and the HD-TV broadcast 16:9 ratio. Univisium has gained little traction in the theatrical film market, but has recently been used by Netflix and Amazon Video for productions such as House of Cards and Transparent, respectively. This aspect ratio is standard on the acquisition formats mandated by these content platforms and is not necessarily a creative choice.
Moreover, some mobile devices, such as the LG G6, LG V30, Huawei Mate 10 Pro, Google Pixel 2 XL, OnePlus 5T and Sony Xperia XZ3, are embracing the 2:1 format (advertised as 18:9), as well as the Samsung Galaxy S8, Samsung Galaxy Note 8, Samsung Galaxy S9 and Samsung Galaxy Note 9 with a slightly similar 18.5:9 format. The Apple iPhone X also has a similar screen ratio of 19.5:9 (2.16:1).
Anamorphic format is the cinematography technique of shooting a widescreen picture on standard 35 mm film or other visual recording media with a non-widescreen native aspect ratio. When projected, image have an approximated 2.35:1, 2.39:1 or 2.4:1 aspect ratio. "21:9 aspect ratio" is actually 64:27 (= 43:33), and is a near cinematic movie ratio.
Mobile devices are now starting to use the 21:9 format, such as the Sony Xperia 1.
Another trend arising from the massive use of smartphones is Vertical video (9:16), that is intended for viewing in portrait mode. It was popularized by Snapchat and is also now being adopted by Twitter and Facebook.
Often, screen specifications are given by their diagonal length. The following formulae can be used to find the height (h), width (w) and area (A), where r stands for ratio, written as a fraction, and d for diagonal length.
For example, a 640 × 480 VGA image has a SAR of 640/480 = 4:3, and if displayed on a 4:3 display (DAR = 4:3), has square pixels, hence a PAR of 1:1. By contrast, a 720 × 576 D-1 PAL image has a SAR of 720/576 = 5:4, but is displayed on a 4:3 display (DAR = 4:3), so by this formula it would have a PAR of (4:3)/(5:4) = 16:15.
However, because standard definition digital video was originally based on digitally sampling analog television, the 720 horizontal pixels actually capture a slightly wider image to avoid loss of the original analog picture. In actual images, these extra pixels are often partly or entirely black, as only the center 704 horizontal pixels carry actual 4:3 or 16:9 image. Hence, the actual pixel aspect ratio for PAL video is a little different from that given by the formula, specifically 12:11 for PAL and 10:11 for NTSC. For consistency, the same effective pixel aspect ratios are used even for standard definition digital video originated in digital form rather than converted from analog. For more details refer to the main article.
In analog images such as film there is no notion of pixel, nor notion of SAR or PAR, and "aspect ratio" refers unambiguously to DAR. Actual displays do not generally have non-square pixels, though digital sensors might; they are rather a mathematical abstraction used in resampling images to convert between resolutions.
Non-square pixels arise often in early digital TV standards, related to digitalization of analog TV signals – whose horizontal and vertical resolutions differ and are thus best described by non-square pixels – and also in some digital videocameras and computer display modes, such as Color Graphics Adapter (CGA). Today they arise particularly in transcoding between resolutions with different SARs.
DAR is also known as image aspect ratio and picture aspect ratio, though the latter can be confused with pixel aspect ratio.
Comparing two different aspect ratios poses some subtleties – when comparing two aspect ratios, one may compare images with equal height, equal width, equal diagonal, or equal area. More amorphous questions include whether particular subject matter has a natural aspect ratio (panoramas being wide, full-length images of people being tall), or whether a particular ratio is more or less aesthetically pleasing, for example the golden ratio (~1.618).
Televisions and other displays typically list their size by their diagonal. Given the same diagonal, a 4:3 screen has more area compared to 16:9. For CRT-based technology, an aspect ratio that is closer to square is cheaper to manufacture. The same is true for projectors, and other optical devices such as cameras, camcorders, etc. For LCD and plasma displays, however, the cost is more related to the area. Producing wider and shorter screens can yield the same advertised diagonal, but with less area.
The following compares crops of an image at 4:3 and 16:9 ratios, with different dimensions set equal. Note that either image (or both) can be cropped; one aspect doesn't necessarily show more detail than the other.
See list of common resolutions for a listing of computer resolutions and aspect ratios.
See list of film formats for a full listing of film formats, including their aspect ratios.
Comparison of several film aspect ratios with the heights forced to be equal.
1.19:1 (19:16): Sometimes referred to as the Movietone ratio, this ratio was used briefly during the transitional period when the film industry was converting to sound, from 1926 to 1932 approx. It is produced by superimposing an optical soundtrack over a full-gate 1.3 aperture in printing, resulting in an almost square image. Films shot in this ratio are often projected or transferred to video incorrectly using a 1.37 mask or squashed to 1.37. Examples of films shot in the Movietone ratio include Sunrise, M and Hallelujah!.
1.25:1 (5:4): Once-popular aspect for larger format computer monitors, especially in the guise of mass-produced 17" and 19" LCD panels or 19" and 21" CRTs, using 1280×1024 (SXGA) or similar resolutions. Notably one of the few popular display aspect ratios narrower than 4:3, and one popularised by business (CAD, DTP) rather than entertainment use, as it is well-suited to full-page layout editing. Historically, 5:4 was also the original aspect ratio of early 405-line television broadcasts, which progressed to a wider 4:3 as the idea of broadcasting cinema films gained traction.
1.3:1 (4:3): 35 mm original silent film ratio, today commonly known in TV and video as 4:3. Also standard ratio for MPEG-2 video compression. This format is still used in many personal video cameras today and has influenced the selection or design of other aspect ratios. It is the standard Super 35mm ratio.
1.37:1: 16 mm standard ratio.
1.375:1 (11:8): 35 mm full-screen sound film image, nearly universal in movies between 1932 and 1953. Officially adopted as the Academy ratio in 1932 by AMPAS. Rarely used in theatrical context nowadays, but occasionally used for other context.
1.43:1: IMAX format. IMAX productions use 70 mm wide film (the same as used for 70 mm feature films), but the film runs through the camera and projector horizontally. This allows for a physically larger area for each image.
1.5:1 (3:2): The aspect ratio of 35 mm film used for still photography when 8 perforations are exposed. Also the native aspect ratio of VistaVision, for which the film runs horizontally. Used on the Chrome OS-based Chromebook Pixel Notebook PC, the Game Boy Advance portable game console, the Surface Pro 3 laplet and Surface Studio.
1.5:1 (14:9): Widescreen aspect ratio sometimes used in shooting commercials etc. as a compromise format between 4:3 and 16:9. When converted to a 16:9 frame, there is slight pillarboxing, while conversion to 4:3 creates slight letterboxing. All widescreen content on ABC Family's SD feed until January 2016 were presented in this ratio.
1.6:1 (16:10 = 8:5): Widescreen computer monitor ratio (for instance 1920×1200 resolution).
1.6:1 (5:3): 35 mm widescreen ratio, originally invented by Paramount Pictures, now a standard among several European countries.[which?] It is also the native Super 16 mm frame ratio. Sometimes this ratio is rounded up to 1.6:1. From the late 1980s to the early 2000s, Walt Disney Feature Animation's CAPS program animated their features in the 1.6:1 ratio (a compromise between the 1.85:1 theatrical ratio and the 1.3:1 ratio used for home video), this format is also used on the Nintendo 3DS's top screen as well.
1.75:1 (7:4): Early 35 mm widescreen ratio, primarily used by MGM and Warner Bros. between 1953 and 1955, and since abandoned, though Disney has cropped some of its post-50's Full Screen films to this ratio for DVD, including The Jungle Book.
1.7:1 (16:9 = 42:32): Video widescreen standard, used in high-definition television, one of three ratios specified for MPEG-2 video compression. Also used increasingly in personal video cameras. Sometimes this ratio is rounded up to 1.78:1.
1.85:1 (37:20): 35 mm US and UK widescreen standard for theatrical film. Introduced by Universal Pictures in May, 1953. Projects approximately 3 perforations ("perfs") of image space per 4 perf frame; films can be shot in 3-perf to save cost of film stock. Also the ratio of Ultra 16 mm.
1.896:1 (256:135): DCI / SMPTE digital cinema basic resolution container aspect ratio.
2:1: Recently popularized by the Red Digital Cinema Camera Company. Original SuperScope ratio, also used in Univisium. Used as a flat ratio for some American studios in the 1950s and abandoned in the 1960s. Also used in recent mobile phones such as the LG G6, Google Pixel 2 XL, HTC U11+, Xiaomi MIX 2S and Huawei Mate 10 Pro, while the Samsung Galaxy S8, Note 8, and S9 use the similar 18.5:9 ratio.
2.2:1 (11:5): 70 mm standard. Originally developed for Todd-AO in the 1950s. Specified in MPEG-2 as 2.21:1, but hardly used.
2.35:1 (~47:20): 35 mm anamorphic prior to 1970, used by CinemaScope ("'Scope") and early Panavision. The anamorphic standard has subtly changed so that modern anamorphic productions are actually 2.39, but often referred to as 2.35 anyway, due to old convention. (Note that anamorphic refers to the compression of the image on film to maximize an area slightly taller than standard 4-perf Academy aperture, but presents the widest of aspect ratios.) All Indian Bollywood films released after 1972 are shot in this standard for theatrical exhibition.
2.37:1 (64:27 = 43:33): TVs were produced with this aspect ratio between 2009 and 2012 and marketed as "21:9 cinema displays". But this aspect ratio is still seen on higher end monitors, and are sometimes called UltraWide monitors.
2.39:1 (~43:18): 35 mm anamorphic from 1970 onwards. Aspect ratio of current anamorphic widescreen theatrical viewings. Often commercially branded as Panavision format or 'Scope'.
2.4:1 (12:5): Specified as 2.40:1 for Blu-ray Disc film releases (1920×800 resolution).
2.55:1 (~23:9): Original aspect ratio of CinemaScope before optical sound was added to the film in 1954. This was also the aspect ratio of CinemaScope 55.
2.59:1 (~13:5): Cinerama at full height (three specially captured 35 mm images projected side-by-side into one composite widescreen image).
2.6:1 (8:3): Full frame output from Super 16 mm negative when an anamorphic lens system has been used. Effectively, an image that is of the ratio 24:9 is squashed onto the native 15:9 aspect ratio of a Super 16 mm negative.
2.76:1 (~11:4): Ultra Panavision 70/MGM Camera 65 (65 mm with 1.25× anamorphic squeeze). Used only on a handful of films between 1957 and 1966 and two films in the 2010s, for some sequences of How the West Was Won (1962) with a slight crop when converted to three strip Cinerama, and films such as It's a Mad, Mad, Mad, Mad World (1963) and Ben-Hur (1959). Quentin Tarantino used it for The Hateful Eight (2015), Gareth Edwards for Rogue One (2016), Kirill Serebrennikov for Summer (2018).
3.5:1 (32:9): In 2017, Samsung and Phillips announced 'Super UltraWide displays', with aspect ratio of 32:9.
3.6:1 (18:5): In 2016, IMAX announced the release of films in 'Ultra-WideScreen 3.6' format, with an aspect ratio of 36:10. Ultra-WideScreen 3.6 video format didn't spread, as cinemas in an even wider ScreenX 270° format were released.
4:1: Rare use of Polyvision, three 35 mm 1.3:1 images projected side by side. First used in 1927 on Abel Gance's Napoléon.
12:1: Circle-Vision 360° developed by the Walt Disney Company in 1955 for use in Disneyland. Uses nine 4:3 35 mm projectors to show an image that completely surrounds the viewer. Used in subsequent Disney theme parks and other past applications.
Original Aspect Ratio (OAR) is a home cinema term for the aspect ratio or dimensions in which a film or visual production was produced – as envisioned by the people involved in the creation of the work. As an example, the film Gladiator was released to theaters in the 2.39:1 aspect ratio. It was filmed in Super 35 and, in addition to being presented in cinemas and television in the Original Aspect Ratio of 2.39:1, it was also broadcast without the matte, altering the aspect ratio to the television standard of 1.3:1. Because of the varied ways in which films are shot, IAR (Intended Aspect Ratio) is a more appropriate term, but is rarely used.
Modified Aspect Ratio is a home cinema term for the aspect ratio or dimensions in which a film was modified to fit a specific type of screen, as opposed to original aspect ratio. Modified aspect ratios are usually either 1.3:1 (historically), or (with the advent of widescreen television sets) 1.7:1 aspect ratio. 1.3:1 is the modified aspect ratio used historically in VHS format. A modified aspect ratio transfer is achieved by means of pan and scan or open matte, the latter meaning removing the cinematic matte from a 1.85:1 film to open up the full 1.3:1 frame. Another name for it is "prescaled" aspect ratio".
Multiple aspect ratios create additional burdens on directors and the public, and confusion among TV broadcasters. It is common for a widescreen film to be presented in an altered format (cropped, letterboxed or expanded beyond the original aspect ratio). It is also not uncommon for windowboxing to occur (when letterbox and pillarbox happen simultaneously). For instance, a 16:9 broadcast could embed a 4:3 commercial within the 16:9 image area. A viewer watching on a standard 4:3 (non-widescreen) television would see a 4:3 image of the commercial with 2 sets of black stripes, vertical and horizontal (windowboxing or the postage stamp effect). A similar scenario may also occur for a widescreen set owner when viewing 16:9 material embedded in a 4:3 frame, and then watching that in 16:9. Active Format Description is a mechanism used in digital broadcasting to avoid this problem. It is also common that a 4:3 image is stretched horizontally to fit a 16:9 screen to avoid pillar boxing but distorts the image so subjects appear short and fat.
Both PAL and NTSC have provision for some data pulses contained within the video signal used to signal the aspect ratio (See ITU-R BT.1119-1 – Widescreen signaling for broadcasting). These pulses are detected by television sets that have widescreen displays and cause the television to automatically switch to 16:9 display mode. When 4:3 material is included (such as the aforementioned commercial), the television switches to a 4:3 display mode to correctly display the material. Where a video signal is transmitted via a European SCART connection, one of the status lines is used to signal 16:9 material as well.
Many digital still cameras offer user options for selecting multiple image aspect ratios. Some achieve this through the use of multi-aspect sensors (notably Panasonic), while others simply crop their native image format to have the output match the desired image aspect ratio.
Is the classic Kodak image, and is available as a choice in some digital still cameras, and hearkens back to the days of film cameras when the square image was popular with photographers using twin lens reflex cameras. These medium format cameras used 120 film rolled onto spools. The 6 × 6 cm image size was the classic 1:1 format in the recent past. 120 film can still be found and used today. Many Polaroid instant films were designed as square formats. Furthermore, up until August 2015, photo-sharing site Instagram only allowed users to upload images in 1:1 format. In 2017, Fujifilm added the 1:1 Instax Square format to their lineup of instant film cameras.
Common in large and medium format photography, and still in common use for prints from digital cameras in the 8"×10" size.
Is used by most digital point-and-shoot cameras, Four Thirds system, Micro Four Thirds system cameras and medium format 645 cameras. The 4:3 digital format popularity was developed to match the then prevailing digital displays of the time, 4:3 computer monitors.
The next several formats have their roots in classic film photography image sizes, both the classic 35 mm film camera, and the multiple format Advanced Photo System (APS) film camera. The APS camera was capable of selecting any of three image formats, APS-H ("High Definition" mode), APS-C ("Classic" mode) and APS-P ("Panoramic" mode).
is used by classic 35 mm film cameras using a 24 mm × 36 mm image size, and their digital derivatives represented by DSLRs. Typical DSLRs come in two flavors, the so-called professional "full frame" (24 mm × 36 mm) sensors and variations of smaller, so called "APS-C" sensors. The term "APS" is derived from another film format known as the APS and the "-C" refers to "Classic" mode, which exposed images over a smaller area (25.1 mm × 16.7 mm) but retaining the same "classic" 3:2 proportions as full frame 35 mm film cameras.
When discussing DSLR's and their non-SLR derivatives, the term APS-C has become an almost generic term. The two major camera manufacturers Canon and Nikon each developed and established sensor standards for their own versions of APS-C sized and proportioned sensors. Canon actually developed two standards, APS-C and a slightly larger area APS-H (not to be confused with the APS-H film format), while Nikon developed its own APS-C standard, which it calls DX. Regardless of the different flavors of sensors, and their varying sizes, they are close enough to the original APS-C image size, and maintain the classic 3:2 image proportions that these sensors are generally known as an "APS-C" sized sensor.
The reason for DSLR's image sensors being the flatter 3:2 versus the taller point-and-shoot 4:3 is that DSLRs were designed to match the legacy 35 mm SLR film, whereas the majority of digital cameras were designed to match the predominant computer displays of the time, with VGA, SVGA, XGA and UXGA all being 4:3. Widescreen computer monitors did not become popular until the advent of HDTV, which uses a 16:9 image aspect ratio.
16:9 is another format that has its roots in the APS film camera. Known as APS-H (30.2 mm × 16.7 mm), with the "-H" denoting "High Definition", the 16:9 format is also the standard image aspect ratio for HDTV. 16:9 is gaining popularity as a format in all classes of consumer still cameras which also shoot High Definition (HD) video. When still cameras have an HD video capability, some can also record stills in the 16:9 format, ideal for display on HD televisions and widescreen computer displays.
is another format that can find its roots in the APS film camera. Known as APS-P (30.2 × 9.5 mm), with the -P" denoting "Panorama", the 3:1 format was used for panorama photography. The APS-P panorama standard is the least adhered to any APS standard, and panoramic implementation varies with by manufacturer on different cameras, with the only commonality being that the image is much longer than it is tall, in the classic "panorama" style.
Common print sizes in the U.S. (in inches) include 4×6 (1.5), 5×7 (1.4), 4×5 and 8×10 (1.25), and 11×14 (1.27); large format cameras typically use one of these aspect ratios. Medium-format cameras typically have format designated by nominal sizes in centimeters (6×6, 6×7, 6×9, 6×4.5), but these numbers should not be interpreted as exact in computing aspect ratios. For example, the usable height of 120-format roll film is 56mm, so a width of 70mm (as in 6×7) yields an aspect ratio of 4:5 — ideal for enlarging to make an 8×10" portrait. Print sizes are usually defined by their portrait dimensions (tall) while equipment aspect ratios are defined by their landscape dimensions (wide, flipped sideways). A good example of this a 4×6 print (6 inch wide by 4 inch tall landscape) perfectly matches the 3:2 aspect ratio of a DSLR/35 mm, since 6/2=3 and 4/2=2.
For analog projection of photographic slides, projector and screen use a 1:1 aspect ratio, supporting horizontal and vertical orientation equally well. In contrast, digital projection technology typically supports vertically oriented images only at a fraction of the resolution of landscape-oriented images. For example, projecting a digital still image having a 3:2 aspect ratio on a 16:9 projector employs 84.3% of available resolution in horizontal orientation, but only 37.5% in vertical orientation.
^ "BBC Academy - Academy - Beyond HD". web.archive.org. 27 June 2017.
^ a b c The 2.39:1 ratio is commonly labeled 2.40:1, e.g., in the American Society of Cinematographers' American Cinematographer Manual (Many widescreen films before the 1970 SMPTE revision used 2.35:1).
^ "Panasonic Introduces 2 New Cameras". India: Tech Tree. Archived from the original on 2009-01-23.
^ Burum, Stephen (2004). American Cinematographer Manual (9th ed.). ASC Press. ISBN 0-935578-24-2.
^ a b c d "ALEXA Anamorphic De-squeeze". Arri. 2011-07-07. Retrieved 2014-06-21.
^ "Anamorphic Now" (PDF). Film and Digital Times (53): 24–31. April 2013. Retrieved 2014-06-21.
^ "BlackBerry Passport – Full phone specifications". www.gsmarena.com. Retrieved 2018-11-29.
^ "Sony SmartWatch 3 SWR50 – Full phone specifications". www.gsmarena.com. Retrieved 2019-01-24.
^ "Eizo's 27-inch 3K display is perfectly square - Geek.com". Geek.com. 2014-11-20. Retrieved 2018-11-29.
^ Berger, John L. (2019). "Aspect Ratios and Camera Formats". www.widescreen.org. Retrieved 2018-10-30.
^ "Widescreen Museum – CinemaScope Derivatives – Superscope 1". www.widescreenmuseum.com. Retrieved 2018-11-02.
^ "The Aspect Ratio of 2.00 : 1 is Everywhere | VashiVisuals". vashivisuals.com. Retrieved 2018-11-02.
^ Eelvee (4 March 2007). ". . : : VITTORIO STORARO : : . .: What is UNIVISIUM?".
^ O'Falt, Chris (2017-04-04). "What Amazon and Netflix's Demand for 4K Means for Documentaries". IndieWire. Retrieved 2018-05-10.
^ Petrov, Daniel. "So, what is this 2:1 Univisium display ratio on the LG G6 and likely the S8?". Phone Arena.
^ The official Honor website displays that it has an 18:9 ratio (visit the gaming tab).
^ Scott Eyman, The Speed of Sound: Hollywood and the Talkie Revolution, 1926–1930, New York, Simon & Schuster (1997), p. 222.
^ Arne Nowak (October 2010). "Digital Cinema Technologies from the Archive's Perspective" (PDF). p. 4. Retrieved May 16, 2016.
^ Goddard, Louis. Philips discontinuing super-wide Cinema 21:9 TVs due to lack of demand. The Verge. 2012-08-28. Retrieved 2013-03-18.
^ "Voyage of Time: The IMAX® Experience in Ultra-Widescreen". IMAX.com. Dec 7, 2016. Retrieved April 27, 2018.
^ Kristopher Tapley (Dec 5, 2016). "'Ultra Widescreen' Version of Terrence Malick's 'Voyage of Time' Set for Release". variety.com. Retrieved April 27, 2018.
^ Aftab, Kaleem. "Introducing Screen X, Cinema in 270 Degrees | Filmmaker Magazine". Filmmaker Magazine. Retrieved 2018-10-12.
Wikimedia Commons has media related to Aspect ratio.
"NEC Monitor Technology Guide". Archived from the original on 2006-05-21. Retrieved 2006-07-24.


Security experts at Fox-IT have developed a method for detecting NSA Quantum Insert attacks and have published an interesting post on the hacking practice.
Security researchers at Fox-IT have developed a method for detecting NSA hacking activity operated through the Quantum Insert-style hacks.
The team of experts has published free open-source tools to detect duplicate sequence numbers of HTTP packets, with different data sizes, that are associated with the presence of Quantum Insert attack.
"Detection is possible by looking for duplicate TCP packets but with different payloads, and other anomalies in TCP streams," explained Fox-IT.
The Quantum Insert attack run by every entity that is able to eavesdrop victim's traffic and manipulate it, Snowden has revealed that the technique is also adopted by other intelligence agencies such as the British GCHQ.
A recent post published by CitizenLab revealed also the existence of a similar hacking platform, dubbed the Great Cannon, used by the Chinese Government.
It is important to note that experts Fox-IT have explained that the application might be circumvented.
The Quantum Insert is a signals intelligence hacking technique described in several documents leaked by the whistleblower Edward Snowden, the typical attack scenario consists in an "HTML redirection" attack that was carried out by injecting malicious content into victim's traffic. The attacker injects malicious code in a victim's TCP session that is chosen based on various factors, such as persistent tracking cookie that allow the attackers to identifies a specific user to monitor. Once identified the session of interest related to a specific user, the shooter component injects the malicious code in the stream of data.
"QUANTUMINSERT is described as a 'HTML Redirection' attack by injecting malicious content into a specific TCP session. A session is selected for injection based on 'selectors', such as a persistent tracking cookie that identifies a user for a longer period of time.
The injection is done by observing HTTP requests by means of eavesdropping on network traffic. When an interesting target is observed, another device, the shooter, is tipped to send a spoofed TCP packet. In order to craft and spoof this packet into the existing session, information about this session has to be known by the shooter." is reported in the blog post published by Fox-IT.
The QUANTUM INSERT attack can be successful only if the packets injected will arrive at the target before the 'legitimate' webserver response, in this way the attacker can impersonate the web server and hack into the target.
Experts at Fox-IT created a number of packet captures (pcaps) that could be used to detect ongoing Quantum Insert attacks, they are available on the GitHub repository.
Enjoy the analysis on the Quantum Insert attack proposed by Fox-IT.


Play Princess Puzzle online for free! Do you like Disney Princess? Let's play the puzzle game about them! There are 6 pictures for you to choose, Choose your favorite one to complete. Just drag the pieces in their right position. Of course, If you want, you can complete all of them. Have fun with Princess Puzzle! Play Free Online Version in your browser.


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American Airlines Raises Guidance Despite 737 MAX Hit
July 10, 2019, 09:20:00 PM EDT By Adam Levine-Weinberg, Motley Fool
Last week, Delta Air Lines boosted its second-quarter guidance , assisted by the grounding of the Boeing (NYSE: BA) 737 MAX. 737 MAX operators like American Airlines (NASDAQ: AAL) and Southwest Airlines (NYSE: LUV) have been forced to cancel more than 100 flights a day due to having dozens of aircraft out of service. That's leading to packed planes and higher fares for air travel, particularly in the domestic market.
The Boeing 737 MAX grounding and the resulting capacity constraints may even be helping some 737 MAX customers. On Wednesday morning, American Airlines lifted its guidance for the second quarter, notwithstanding the impact of the 737 MAX grounding.
American Airlines boosted its second-quarter RASM forecast this week. Image source: American Airlines.
Unit revenue growth firms up
In late April, American Airlines projected that revenue per available seat mile (RASM) would increase 1% to 3% in the second quarter. That would have represented a solid acceleration in its unit revenue momentum after RASM inched up just 0.5% year over year in Q1.
At the time, management warned that the carrier's flight cancellations wouldn't necessarily boost RASM . While slower capacity growth is usually positive for unit revenue, American Airlines executives stated that the last-minute nature of some of the flight cancellations meant that the airline would have fewer seats available for lucrative close-in bookings.
However, it looks like management exaggerated the impact of this issue. American Airlines now expects to report a 3% to 4% RASM gain for the second quarter, exceeding the high end of its initial guidance range. The carrier raised its unit revenue outlook despite cancelling even more flights than expected -- due in part to rising labor tensions involving its mechanics -- and falling short of its target for cargo revenue by $35 million.
American Airlines avoids a big unit cost spike
Southwest Airlines, which has the largest 737 MAX fleet in the world (and thus had to cancel the most flights over the past few months), is on track to report an even bigger Q2 unit revenue increase. Last month, the low-fare carrier estimated that RASM would rise 6.5% to 7.5% for the quarter. However, Southwest also expects nonfuel unit costs to surge 11.5% to 12.5% year over year, due in large part to the volume of flight cancellations. This will severely constrain Southwest Airlines' profitability for the second quarter.
By contrast, American Airlines did a pretty good job of managing its costs last quarter despite the wave of flight cancellations. Nonfuel unit costs are on track to rise 4.5% to 5.5% year over year.
On the flip side, American reduced its fuel cost guidance by $0.02 per gallon in its investor update this week. It now expects to report fuel costs between $2.12 per gallon and $2.17 per gallon for the second quarter, down from $2.24 per gallon a year ago.
The net result is that American Airlines was able to raise its adjusted pre-tax margin forecast from a range of 7% to 9% previously to a new range of 8.5% to 9.5%. Its adjusted pre-tax margin in the prior-year period was 8.6%. Based on the midpoint of this new guidance range, American's EPS will come in around $1.83 for Q2, up from $1.63 a year ago and well ahead of the average analyst estimate of $1.69.
A good sign for the third quarter
The Boeing 737 MAX grounding is likely to continue well into the fall , causing capacity to decline again at American Airlines and Southwest Airlines during the third quarter. However, American's solid Q2 results show that this isn't a very big problem for the carrier.
After all, American Airlines is poised to report a double-digit increase in EPS for the second quarter, despite an estimated $185 million pre-tax profit headwind related to the grounding. In reality, the unit revenue benefit of restraining capacity may be offsetting the costs of the 737 MAX grounding. Moreover, the carrier may receive compensation from Boeing at some point down the line, most likely through discounts on future aircraft purchases.
For the third quarter, American adjusted its flight schedule further in advance, giving it more of an opportunity to optimize its revenue management and cost structure. This could lead to even greater margin expansion -- and another earnings beat -- in the quarter ahead. With American Airlines stock trading at a very modest valuation, that could send the shares soaring in the coming months.
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This article appears in: Personal Finance , Stocks
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Ideas for a Good Place to Eat for Valentines Day?
I want to take my girlfriend out for a meal on me and I would love to find a really cute, relaxing romantic place to eat. Can anyone recommend any chain restaurants that are nice?
I doubt chain restaurants would be intimate enough for Valentine's Day. Why not buy one of the supermarket meal deals and dress your home up with candles, flowers and soft music. If you still live with your parents I'm sure they could go to the cinema for a couple of hours.
It might be Tesco offering a half bottle of champagne as part of their deal.
I'm close to Bella Italia, Pizza Hut (My girlfriend love's Pizza Hut, I know it's not romantic) and quite a few Italian chain restaurants. I just don't know where to go, it's so hard to choose.
The popular restaurant chain is celebrating the season of amore with a delicious Valentine's menu, providing couples across the UK with three courses and coffee for just £21.95.
We recommend the indulgent Chocolate Etna dessert, which comes with a choice of salted caramel, vanilla, strawberry, or pistachio gelato, as a perfect way to round off the meal.
Hot toffee sauce is poured over a dark chocolate cup at your table, revealing a hidden scoop of ice cream on top of a heavenly hot chocolate fondant. Heavenly!
Chain restaurants aren't romantic places, nor is waiting ages to get a table or be served your meal on Valentine's day. Why not make something at home on the 14th and go out for a meal on the 13th or 15th when it's quieter.
you can go their but get a really very beautiful pretty gift romantic gift.


text:
if(Designer biopolymers) » Refine Search
1 - 30 of 4219 displayed. Next >
Hydroxyproline-O-glycosylation in Monocot Plants and Its Application in Cell Wall Engineering
by Verma, Neha, M.S.A. Arkansas State University. 2019: 68 pages; 13805627.
Proteins and natural biopolymers as templates for inorganic nanomaterial synthesis
by Padalkar, Sonal S., Ph.D. Purdue University. 2010: 137 pages; 3413833.
Electrochemical sensors based on enzymes, biopolymers and nanoparticles
by Wooten, Marilyn Dehasse, Ph.D. The University of Texas at San Antonio. 2010: 125 pages; 3403012.
Drug Target Discovery Using Designer Drug Sensitive Yeast
by Goldgof, Gregory Mark, Ph.D. University of California, San Diego. 2017: 183 pages; 10234614.
The Modern Sound Designer in a Theatrical Team
by Glenn, Matthew Robert, M.F.A. University of California, Irvine. 2014: 55 pages; 1562350.
Moderating Relationships: Online Learners' Cognitive Presence and Non-designer Instructor's Teaching Presence
by Silva, Laura Ann, Ph.D. Grand Canyon University. 2018: 260 pages; 10786197.
The designer-by-assignment in practice: Instructional design thinking of subject matter experts
by Pesce, Sandra V., Ph.D. Capella University. 2012: 251 pages; 3495156.
Conflicts and communication: Instructional designer and subject matter experts developing interdisciplinary online healthcare content
by Castro-Figueroa, Anadel, Ph.D. Capella University. 2009: 131 pages; 3380482.
From mechanic to designer: Evolving perceptions of elementary students over three years of engineering instruction
by Rynearson, Anastasia M., Ph.D. Purdue University. 2016: 385 pages; 10179099.
Incorporation of Decision and Game Theories in Early-Stage Complex Product Design to Model End-Use
by Mesmer, Bryan L., Ph.D. State University of New York at Buffalo. 2012: 270 pages; 3541141.
Fashion and Art Collaborations: The Benefits for Both Brands in a Designer x Artist Brand Alliance
by Walsh, Kyley, M.A. Sotheby's Institute of Art - New York. 2016: 90 pages; 10187679.
Glorifying the American Bride: Designer Herman Patrick Tappe and the Fantasy Wedding in America, 1910–1952
by Benson, Hannah Nicole, M.A. Fashion Institute of Technology, State University of New York. 2020: 132 pages; 27834917.
Simplifying algorithm learning using serious games
by Shabanah, Sahar Siraj, Ph.D. George Mason University. 2010: 240 pages; 3407063.
Using communities of practice for the professional development of workplace learning and performance professionals
by Fitzsimmons, Theodora J., Ph.D. Capella University. 2007: 354 pages; 3288858.
Plastics Without Petroleum History and Politics of 'Green' Plastics in the United States
by Ferguson, Sean Michael, Ph.D. Rensselaer Polytechnic Institute. 2012: 268 pages; 3557924.
The Structural Hierarchy and Mechanical Properties of Fibrin Described with a Multi-scale Model
by Hudson, Nathan E., Ph.D. The University of North Carolina at Chapel Hill. 2011: 254 pages; 3477557.
Costume Designs for "Urinetown: The Musical"
by Albawardy, Reema, M.F.A. The George Washington University. 2015: 112 pages; 1599645.
Self-Organization in Active Cytoskeletal Mixtures: Cilia-like Beating of Microtubule Bundles and Spontaneous Bulk Mixing
by Sanchez, Tim, Ph.D. Brandeis University. 2012: 117 pages; 3509017.
Mechanical, structural and biological properties of biopolymer-based hydrogels
by Hyland, Laura Lynn, Ph.D. University of Maryland, College Park. 2012: 146 pages; 3553349.
Costume Design for The Comedy of Errors
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Mechanizing exploratory game design
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A Case of Specifying and Using Networked Computers in the Sound Design for THE CHERRY ORCHARD
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Designing structural and functional features of self-assembling peptide amphiphile nanofibres
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by Kamboj, Sachin, Ph.D. University of Delaware. 2009: 236 pages; 3397070.
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by Takor, Gaius A., Ph.D. State University of New York at Albany. 2016: 112 pages; 10103515.
1 - 30 of 4219 displayed.


PASSIONATELY INSANE - What Is your Passion?
WHAT IS YOUR PASSION? HMMMMMM?
Well mine is LOVE, music, purple flowers, laughter, kisses, dreams, LOVE and LOVE! ha.....What about you? I was thinking about LOVE today. What else is new? People close to me know how very passionate I am and they know how intense I can really get!! I mean LOVE is like a whole lifetime experience! It must be savored and devoured at all times!!!!
So, I think a strong foundation is "key" when it comes to LOVE. Friendship and love in a real world and not just during the "honeymoon period" is what makes LOVE last. This I believe is the answer.
Ok, maybe I did not shoot for National Geographic but it did inspire me to become a photographer. I shot for plenty of other magazines in the late 90's and also took photo's of a lot of interesting people. Some of my subjects were famous and some were not but I enjoyed every single moment of it! LOVE shooting really interesting faces! If anything my photography inspires me in everything I do even if I'm not actually shooting with my camera. When I write a song I imagine a whole scenario as if I was shooting it. Or if I am writing or working on a project I can visualize the whole thing! I see it as if it is a scene in a movie.....SO I am still living and experiencing one of my passions.
Sounds GREAT Alastar!!! How about peach cobbler too with a big old fashioned chunk of vanilla ice cream!!!! Oh....Man....LOVE peaches!!!! Waterfalls......ahhhhh LOVELY!
Oh man G, had a fine comment for you, hit the wrong key or something and it got wiped out. But we won't let that spoil this up-beat Hub. So, here it goes again: Writers Block is hereby declared over for Ms.GPage! Read All About It! Ah, oh well. Loved this positive write G. Your beautiful soul and zest for life shines through almost every sentence. Used to read Nat Geo too, liked the animal pics best. So, how about we go eat some peaches by a waterfall sometime, or better yet, under the Peachoid!..LOL!
I'm visual as well. I think it stems from having a visual artist for a father.
This hub about passion is excellent. You may have had writer's block for a time but you really wrote an outstanding hub with this one.
I'm glad you wrote this. It's the most interesting hub I've hopped tonight. I can tell you wrote it with passion and a large dose of reality.
Thanx Sylvia! You are too sweet.....YES we have a lot in common! But your line this morning inspired me to write this.....Well atleast it got me started!!! ha ha .....That is all I needed!!!! Thank you for sharing my hub.....Deeply appreciate it.....Will take the love in any way I can get it!!!
Do you think of yourself as a visual thinker? Or more verbal?
I too have been having writers block, and it took my daughters uninformed friend's remark about digital art not being art, to send me on a frenzy to write again. Like you, i am passionate about life, love, art, music...insanely! I'm glad to trigger something in you to write again. But i know i can't take all the credit for the inspiration, ehem! LOVE! Love makes us crazy G! Everything you said here about passion is all true. Will share in my fb and twitter.


Welcome to your Friday roundup of what's new on Netflix and it's packed full of new Netflix Originals. We'll also cover some of the titles that have left the streaming service in the US over the past 24 hours too.
It's a quieter Friday than normal but that could be because Netflix put a larger amount of content out for Martin Luther King Day earlier in the week. For an expanded list of new titles that goes back months, take a look at our what's new on Netflix section.
The big movie of the week is also one that's pegged to become and ongoing franchise for Netflix. Polar stars Mads Mikkelsen and Vanessa Hudgens who star in this dark adaptation of the comic book.
It's gruesome and features an epic soundtrack by Joel Zimmerman who's known for his stage name as Deadmau5.
This latest pick up from the BBC show's how the British network is still at the top of its game. In this limited one-off series, they tackle the Rwandan genocide and how one girl who was rescued from the crisis pursues a career in law.
The series features John Goodman, Michaela Coel, and Noma Dumezweni and scored well with critics when it first released in the UK late last year.
We've been anxiously awaiting this series for quite some time. Netflix has been without its own big zombie show instead of relying on places like AMC and Syfy. This year, Netflix has two big zombie shows and the first and the most anticipated is Kingdom.
This series originates from Korea but is dubbed in most other languages too. A visual triumph and a truly heart-pounding series.


text:
Understanding Tory Finking on Tax
Guido really likes Danny Finkelstein, he is amusing company, always courteous and a little spiky – in a good way. He is nevertheless the poster boy for all that is wrong with Tory policy ambitions on tax and spending.
Whenever Tim Montgomerie, Fraser Nelson or Guido have had a go at him he responds in kind. Invariably we have failed to understand the subtlety of his argument, overlooked some caveat or research data. Danny usually says he agrees with our end objectives, just not our timing. Fink insists that he is by preference a tax cutter, yet he never seems to advocate tax cuts within a time-frame.
So a few questions for Danny:
This question is about the politics of tax cutting – if, as you argue, voters don't believe specifics about tax and spend, does precision matter less than conveying a sense of direction?
Do you actually believe that, all things being equal, lower tax economies are higher growth economies?
You say "I believe strongly in lower tax. But I want proper tax-cutting, based on real reform of the scope and operation of the state." Presumably you want a smaller state. What then is your broad aspiration for the size of the state expressed as a proportion of nominal GDP? How many years do you think it might take a Conservative government(s) to get us from where we are now, to where you want to be?
Guido thinks it is important to understand Danny's political aspirations and what his underlying thinking is because he is the Cameroon who most publicly makes the case against committing to tax cuts. He gives cover to a somewhat sheepish Tory Treasury team afraid to make the case for growth.
Like a shell-shocked First World War veteran Danny is suffering post-traumatic stress from years in opposition sat in the CRD trench with George Osborne. This is 2010, not 2001 Danny, this time the enemy will be defeated. It is possible to not just advance mere inches towards dividing lines as a result of endless tactical re-positioning, but to drive out your enemy from the territory, establishing and holding a new ideological frontline. The poverty of Tory ambition is palpable, it is not enough to defeat the enemy, capturing their ground only to continue governing in much the the same way. Guido suspects Fraser Nelson's upcoming Keith Joseph Memorial Lecture* will call not just for the capture of the enemy's dividing lines, put to push the enemy back to Kirkcaldy once and for all.
*February 3, Centre for Policy Studies, Fraser Nelson "Winning is not Enough".
mdi-timer January 18 2010 @ 17:37 mdi-share-variant mdi-twitter mdi-facebook mdi-whatsapp mdi-telegram mdi-linkedin mdi-email mdi-printer


This check up was held for 2 days i.e. Thursday 22nd July'10 and Friday 23rd July'10, for 3 classes each day. Our Witty Parent dr. Manish Kothia, parent of Master Sarthak Kothia Jr. Kg D, gave his previous time for the children. He checked them and gave information about Self Hygiene and Cleanliness. Children were given Medical Certificates. We express our sincere thanks to Dr. Manish Kothia.


text:
Kansas Agricultural Experiment Station Research Reports
NPP > JOURNALS > KAESRR > Vol. 0 (1900) > Iss. 10
Comparison of spray-dried blood meal and fish by-products in the phase II starter pig diet
L J. Kats
J L. Laurin
Michael D. Tokach
Jim L. Nelssen
Robert D. Goodband
Swine day, 1992; Kansas Agricultural Experiment Station contribution; no. 93-142-S; Report of progress (Kansas State University. Agricultural Experiment Station and Cooperative Extension Service); 667; Swine; Starter pig; Fish by-products; Blood Meal
A total of 311 weanling pigs (initially 10.9 lb and 17 d of age) was used to compare fish by-products, spray-dried blood meal and combinations of spray-dried blood meal and fish by-products in the phase II (d 7 to 25) diet. Pigs were allotted by weight to one of five experimental treatments with 8 to 11 pigs/pen and seven replications. Pigs were placed on a common phase I diet (d 0 to 7 postweaning) that contained 7.5%spray-dried porcine plasma, 1.75% spray-dried blood meal, and 20% dried whey. The phase I diet was formulated to contain 1.5% lysine, .9% Ca, and .8% P. Pigs were then randomly assigned to one of five dietary treatments. All phase II diets (d 7 to 25 postweaning) contained 10% dried whey and were formulated to contain 1.25% lysine and .36% methionine. The control diet contained 2.5% spray-dried blood meal (SDBM) and 10% dried whey. Select menhaden fish meal (SMFM) and spray-dried fish hydrolysate (SDFH) replaced SDBM on an equal lysine basis at 5% and 4.8%, respectively, and 2.5% SMFM + 1.25% SDBM and 2.0% SDFH + 1.25% SDBM were used in combinations to form the other four dietary treatments. Average daily gain (ADG), average daily feed intake (ADFI), and feed efficiency (F/G) were improved with the addition of SDBM in the fIrst week (d 7 to 14) of phase II. No differences were observed in ADG and ADFI for the overall phase II period. Pigs fed SDBM had poorer FIG (d 7 to 25) compared to pigs fed either SMFM or SDFH. However, SDBM was the most cost effective protein source in this experiment.; Swine Day, Manhattan, KS, November 19, 1992
Kats, L J.; Laurin, J L.; Tokach, Michael D.; Nelssen, Jim L.; and Goodband, Robert D. (1992) "Comparison of spray-dried blood meal and fish by-products in the phase II starter pig diet," Kansas Agricultural Experiment Station Research Reports: Vol. 0: Iss. 10. https://doi.org/10.4148/2378-5977.6721
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On April First 2005 (no fooling), The Whole World Toilet Paper Museum was gifted the collection of the late Hugo G. Rodeck.
Dr. Rodeck had been a Curator and Director at the University of Colorado Museum.
Despite his amazing credentials, there is limited documentation on each piece. It appears that he traveled in his years leading up to his retirement. For the most part, these pieces were collected in the 1960s and 1970s. His usual method of collection was to store the folded sample(s) in the hotel envelope where he stayed.
He preserved these mementos in a "Flings" Shoebox. They were shipped with some "current" issue tp used for packing.


That's the full-page magazine ad that BRP made after Cherrie and I completed last year's journey around the country. This year's trek wasn't quite so ambitious, but still covered 15 States and 3 Canadian Provinces in about 11,000 miles. And to be honest, the Summer isn't over yet and we're not quite finished. About a week from now we will head out to Spyders In The Redwoods in Northern California, but I'll save that for a separate report. Until then, here's just a few snaps from the past six months.
You may have noticed by now that this blog carries virtually no photos of my wife, Cherrie. I think that is unfortunate, but I bow to her wishes. So instead, I offer this photo of my "other" passenger, Natalie. Natalie is an official GOS (Girls On Spyders) Spyder Monkey. We have her positioned in such a way that when the Spyder is moving, her right arm "waves" up-and-down to everyone we pass. Natalies has made a lot of friends over the past three years and 50,000 miles she has been with us, but I'm afraid she may have to retire soon as the ravages of weather threaten to literally dismember her soon.
You may have noticed the title shot at the beginning of this post, which is one of my absolute favorites, taken as this one was on the banks of the Clearwater River in Northern Idaho. If you ever get the chance to follow Highway 12 alongside this river, don't miss it! One of the most scenic rides in America, in my opinion.
Another of my very favorite shots from this Summer: Dawn along the Oregon coast, Highway 101 at Neptune State Park.
The Grand Tetons were, well…. Grand. What an amazingly beautiful ride on our way to Yellowstone. And then it all came apart.
Hours and hours of waiting in line for the opportunity to ride 10 to 20 miles at a stretch on deeply-rutted, muddy roads. Not just once, but on four separate stretches of road. As you can see on this one, we thought we were lucky to be at the front of the pack. Instead, it meant we got to follow right behind the water truck! A long, frustrating, tiring and filthy day.
The before-and-after of our new trailer after passing through Yellowstone. I thought it was bad, but it got even worse. As we exited the park, we encountered 20 miles of fresh, hot tar with pea gravel. I would spend more than three hours on my knees with solvent trying to get it all off the bike and trailer.
As a side note: This was our first big trip with the new Freedom Trailer, and I have to admit that though I originally had misgivings about this unit, mostly due to its smaller size, in the end I was quite pleased. I found that if I simply took more care in how I packed it, it would still hold everything we used to carry in the 622 model, and it actually tows easier, backs up easier, and improved our gas mileage by about 20 miles per tank.
But back to more pleasant thoughts: I enjoy finding odd places and things as I tour, such as the Bank Of Montpelier Idaho, in the top photo. It seems the town's only claim to fame is that Butch Cassidy robbed their bank about 120 years ago, and they try desperately to make the most of it. The museum tour (yes, the lady sitting in the lawn chair gives tours) takes nearly two-and-half minutes around the single room, after which you can buy a replica of Butch's famous bowler hat.
And finally, some tiny town in Canada, just north of Lake Superior, whose name I have forgotten. There were statues of geese, wood carvings of geese, pictures of geese and actual geese all over the place. It was raining and cold (Canada, eh?), but I had to get a picture of at least one of them.
And I almost forgot "The Other Cafe." Having left a rally in Billings, Montana early that morning, by the time we got to Livingston we were starving. The GPS indicated a diner in town so we got off the Interstate and rode there. But it was closed. We found another on the GPS, but it had turned into a bar. We had just resigned ourselves to another hundred miles or so without food when I spotted the sign, "The Other Cafe." But when we went inside, it was completely full and the waitress said it would be about a 30-45 minute wait for a table. As we turned to leave, an elderly couple waved us over and asked if we would like to share their table. Naturally, we said yes, and what ensued was a delightful hour of conversation with two very interesting people, and one of the best breakfasts I've ever eaten! You just never know — and that's the beauty of touring.
From top to bottom: The Tillamook Cheese Factory in Oregon, the Midpoint of Route 66 in Texas, the wheat fields of northern Montana, and finally the coastline of Northern California.
This doesn't cover even a third of our travels with the Spyder this year, but it's a taste of what we've been up to so far.
On our way to SPYDERS IN THE REDWOODS! Hope to see some of you there.
C ya at SITR Fred. Maybe see ya along the way which route are you planning to take?


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Researchers Find a Way to Track iOS and Windows Devices via…
American Express Customers Fall Victims to a Novel Phishing Attack
Edwin van Andel, Zerocopter CEO: If You Want White Hat Hackers, Teach Your Kids Ethics
Gabriela Vatu
For many years, Edwin van Andel has been working to help people and companies improve their online security. It's not an easy battle, that's for sure, as his work at Yafsec, a company he founded, or at Zerocopter, where's he's now CEO, has shown.
Zerocopter, like many other similar platforms, tries to bring hackers to the "good side," where ethics matter and they can help companies improve their products, rather than take advantage of the bugs they found through nefarious ways. The ethical hacking community is growing and that's something we should all be happy about.
We wanted to find out more about ethical hacking, bug bounty programs, and the right way to steer your curious kids on the right path, so we thought who better to ask about this than Edwin van Andel, Zerocopter CEO. Here is our interview!
TechNadu: Tell me about yourself a bit. How did you get into ethical hacking?
Edwin van Andel: When I was about 13, My dad got the first PC from his office. I played Prince of Persia on it, but it crashed a lot. When it crashed it showed me a computer factory test menu but I couldn't play with that because it had crashed. I wanted to get to the working menu, so I went to a library and got a book on how computers worked, and later one about assembly language. I tried to get in the menu by writing simple assembler programs and finally succeeded. I could access the menu at will. From there it grew. I bought a zx81 and broke it. I got a modem (300 baud) and connected to BBS-es and learned a lot.
On the BBS-es I came in contact with other like-minded people, later called hackers. What I later on in life wanted to do is to get all those good hackers I met in the past all in one room. Then bring in a car, a washing machine or a website, and their combined brains will break it. And that's basically what I am building now with Zerocopter.
TechNadu: There are now numerous bug bounty programs, both through the likes of Zerocopter where you're the CEO, but also in-house at big names like Google, as companies are showing more interest in having outside help. How much has the "industry" grown in the past few years?
Edwin van Andel: A lot. But this is mostly contributable to the 'new' development cycles (scrum/agile). In the old days, you would build software, test it via a pentest, and release it. Then a year later, you would do a version 1.1, have that tested and that was it. Now development teams release updates, patches, and new features every week, and some of our clients even do that multiple times per day. You can't do a pentest every week. So you need some form of continuous testing.
In addition, a pentest is usually performed by two or maybe three pentesters, for a limited time (a week mostly) and then they have a week to write the report. With bug bounties, you will get the help of the hacker community. Not just three, but maybe a hundred brilliant hackers will test and look at your product. And when you have a Responsible Disclosure (or Coordinated Vulnerability Disclosure) Policy the whole world can test and take a look at your product. More eyes, more experts, and the result is not just a report, but actual bugs you can fix.
TechNadu: What are the advantages for companies to get involved in such a program? Besides, having someone else dig out issues they hadn't found themselves, of course.
Edwin van Andel: The advantages for companies are that they can leverage the skills of many hackers instead of two or three pentesters. And if you use our platform, all your bugs are in one place. Whether the info is coming from a researcher (as we call the Zerocopter hackers), via Responsible Disclosure or from a scanner, all the reports are in one place. Your team can work immediately with them, but they can also communicate with the reporters to get more detailed info. And as we triage (validate) every finding, all the noise is taken away. You only receive valid reports. We take care of the payments for the reporters, so you will not have to worry about how you can pay a researcher on the other side of the world. You can also easily integrate with your in house ticketing systems like Jira, and you can invite consultants on specific reports, which is very handy if some of your products come from another vendor.
Also, a big plus is the speed at which you can start a program. If you plan a pentest, it can take months before the actual testing starts, whereas a bug bounty program can be started in an hour, and within a couple of hours reports can be coming in. We see our clients appreciating this part of the solution very much.
TechNadu: Is there a downfall to the rise of bug bounty programs? Are companies seeing fake reports?
Edwin van Andel: Well, not with us. As said, we triage every finding, so only legit reports go to our customers. We also check for duplicates, so if a scanner or a researcher submitted something and someone else submits the same bug, it's a duplicate and you don't have to pay for it.
What we do see is that as a company, you have to play with budgets and bounties to keep the programs active. When a company first starts, their programs mostly (depending on scope) run fine, but if you run the same program over and over, researchers will lose their interest, as looking for rewarding bugs takes much more time, while the rewards stay the same. So if you play with that – e.g. up the budget, or increase the bounties and/or scope- you will have a more steady stream of findings coming in.
TechNadu: Kids are now more tech-savvy than ever and many try to flex their muscles in their early teens, way earlier than others before did. What should kids know about this? How should parents guide their children in the right direction?
Edwin van Andel: The most important thing to teach your kids is ethics. Let's say your kid stole some candy at a local shop. The shop owner will talk to them, maybe the local police, the school will steer them and you as parents will also correct them. All this steering is not there when your kid is sitting behind his or her laptop in the attic. No control. So how do you know what they do? You don't. And that's fine, as long as they've learned the ethics: when you find something, report it. Seek help. Don't download too much. Don't sell to criminals. Companies are more than willing to pay for a bug that they've missed so you can use your skills, have fun, and still make money and fame without being drawn to the criminal side of the internet.
TechNadu: What are, in your opinion, the best ways to learn your way through the world of ethical hacking?
Edwin van Andel: Be curious. Try to find out why things are working the way they do, and also how you can make them do different things than intended. Learn. Watch hacking talks on youtube. Try to specialize in something. And try to find people with the same interests as you. Go to a local hackerspace, or visit a hacking event, and just be amazed and learn, try, fail, learn some more, try again, and succeed.
TechNadu: What skills does someone who wants to get involved in ethical hacking have? What is your advice for those who are just starting out in this industry?
Edwin van Andel: Haha, basically the same as above. Skills you develop. And in my opinion, it is better to go for something you really like, than just learn all the hacking skills. I sometimes see companies ask for a 'hacker' that knows all the different skills. It's almost impossible. Some are excellent in Web application hacking, or API hacking, but don't know how to mount a disk in Linux. I have friends who can break almost every access card and lock out there but know nothing about API's. And that's fine. Do what you like and become good at it. And there are tutorials and talks on youtube to last you a lifetime, so start there. But don't download 'hacking tools' and just try without knowing what you are doing. Those will get you in trouble.
TechNadu: We have criminal hackers and ethical ones. How's the balance leaning these days? Are we also seeing hackers changing hats?
Edwin van Andel: Yes, we do. Mostly because they get hired by companies who want a 'well known' hacker working for them. What we also see is that young convicted hackers are offered a coaching track. Where they have to present what they did, get explained what went wrong and work with ethical hackers to show them the right path. In the Netherlands, this is for instance done via the Hack-Right campaign. We as Zerocopter also work actively with the Dutch prosecutors and police to help young hackers find the right path again.
TechNadu: Can someone live off ethical hacking or should this be more of a "side job"?
Edwin van Andel: What we see at the moment is that it's still mostly a side job. Most of the hackers in our platform work in security during the day and hack via our platform at night. But if you are really good, it can be a day job as well. Last year someone made more than a million dollars in Bug bounties, so it is possible. But it takes a lot of dedication, and you have to be on top of your game.
TechNadu: Let's discuss the cybersecurity world a bit. What are the biggest threats you see nowadays?
Edwin van Andel: Time to market. We see a lot of examples where someone has a brilliant idea, gets an investor on board, and just gets some stuff off the shelf, assembles the products and ships it out with a big marketing campaign. Because you have to be the first on the market. And then, when there 2 million devices out there, maybe someone thinks about securing them. But you are too late. How are you gonna update? What can you do to reinstall them better, more secure, remotely? And those devices are easily hacked, taken over, used in attacks or used to attack your own network.
Next to that, people still don't take patching seriously, and still, don't think that they are interesting enough to be hacked. WAKE UP. You have an IP address, you will be hacked. When they have access to your data, that is when criminals decide if you are interesting enough….
TechNadu: IoT is a growing industry and yet the security side is seriously lacking. What is your take on this?
Edwin van Andel: Haha, again I've mostly already answered this one just above here. But it's tricky. IOT has to be fast shipped, cheap, and flashy. Security comes last. And sadly we still see no shift in securing it more. Sure, governments could maybe enforce some rules to get stuff more secure, but I guess what you will then see is that people still tend to buy the cheaper, less secure options. Because they don't care, until it goes wrong…
TechNadu: How about you? As a person who knows the risks of IoT and the general cybersec field, what are some safety steps you take online? Are there devices you'd never bring into your home?
Edwin van Andel: Well, that last one is a difficult one. If I see a device that might not be safe, I want to examine it. Tear it open, find vulnerabilities, and learn. So I do bring them home. But I have a separate network to which I connect them, so I guess I'm a bit safer there than most. And regarding my online presences, I do what I can, but don't go to extremes. 2FA on my email, encrypted drives and yubikeys, but that is about it. We have to be out in the open because I'm on stage a lot. So I do what I can, but I'm sure I can do more, or that I'm sometimes lacking. We can all be hacked. But let's hope it's by ethical hackers, that will then help you to fix your vulnerabilities. For the good. A safer world. Let's go for that.
What about you, readers? What do you do to stay safe? What do you think of ethical hacking? Let us know in the comments section below, and please share the interview online if you have the time. Follow TechNadu on Facebook and Twitter for more interviews, tech news, guides, and reviews.
Researchers Find a Way to Track iOS and Windows Devices via...


As a team of designers and developers, we often spend our time helping clients present their business, their product, or their cause to the world. But we rarely feel that we make an impact as important as a client like Blythe Spirit Counseling.
Blythe Landry – Clinicial Social Work/Therapist, LCSW, MSW, MEd – is healing others through compassion and extensive professional training.
Working with Blythe taught us more than how to create a beautiful website, it gave us perspective into the world of someone who is busy having a direct impact on healing and helping.
Blythe's practice spans the globe. Thanks to modern technology, Blythe can meet with her clients anytime, anywhere, and on a plethora of devices.
Blythe is a published author and her book, "101 Substance Abuse Recovery Tips" is a great starting point for a healing journey. It's also a great way to get a feel for Blythe's process.
She knows that starting the journey is the most difficult step, so she focuses on communication early and often. She responds to requests quickly and determines a plan and schedule that works best for her clients.
We hope that everyone who is looking for help and support can find their way to Blythe. She is an incredibly talented and passionate therapist and it was a pleasure to launch her new website.
Our work on Blythe Spirit Counseling (blythespiritcounseling.com) was a journey for Funnychord as well. We used our ability as designers to communicate a message and feeling of hope.
We used the power of color, communication, and relationships in our design to focus on the outcome of starting a journey with Blythe. Healing takes time – we wanted our work for Blythe to communicate power and passion.
Learn more about Blythe Spirit Counseling and how she may be able to help when you or your loved ones are in need.


VenTel » Ventura Telephone (VenTel), a Service Disabled Veteran Owned Business (SDVOB), is a reseller of telecom equipment, and a repair and EF&I services provider.VenTel » Ventura Telephone (VenTel), a Service Disabled Veteran Owned Business (SDVOB), is a reseller of telecom equipment, and a repair and EF&I services provider.
Ventura Telephone (VenTel), a Service Disabled Veteran Owned Business (SDVOB), is a reseller of telecom equipment, and a repair and EF&I services provider.
With VenTel's NetExchange program, you can literally exchange and trade excess or older networking equipment for products you need today.
VenTel offers engineering, furnishing, and installation (EF&I) services for equipment and infrastructure in wireless and wireline facilities.
We provide component-level repair services for legacy products to ensure that your initial investment is secure from obsolescence.
Ventura Telephone is a certified service-disabled, veteran owned small business (SDVOB/SDVOSB). Awarding contracts to SDVOSB firms remains the VA's highest priority within their Small Business programs. Public Law 106-50 established a contracting goal for Federal agencies to award 3% of prime contracts to SDVOSB's, and large Prime Contractors have SDVOSB subcontracting goals. Companies doing business with the federal government and federal agencies can receive credit for employing VenTel's products and services to meet their requirements. We support a wide variety of contract types.
ISO 9001:2008 is a quality management system (QMS) designed to help organizations ensure that they are meeting their customer's requirements and enhancing customer satisfaction through the effective application of the system. All requirements of ISO 9001:2008 are generic, and can be applied to any organization regardless of type, size or product provided. Ventura Telephone's ISO 9001:2008 QMS demonstrates that we consistently provide product that exceeds our customers' expectations, and includes processes to continually improve customer satisfaction.


Have you noticed how some people in your life seems to go missing when you're going through a difficult time? It's true that you really do find out who your friends are when you're struggling. So it is not a surprise that no matter what you're going through, God stays with you always.
Even when you feel alone, scared or just struggling to face life, God is there with you, and will never leave you alone.
Negativity and negative thoughts can be one of the worst things you ave to cope with, especially when the negativity comes from within you. So if your life is filled with self-doubt, pray. If your life is filled with negative thoughts, pray.
In other words, pray, as prayer is the one thing that can bring you the positivity that only God's presence can bring to your life. God alone can shield you and help fill your mind with all things good. So go on, don't doubt God, instead trust Him.
Aren't these reassuring words? – "Earth has no sorrow that heaven can't heal".
So no matter how much sorrow we have to endure, or how much pain physical or emotional pain we have to go through, God can, and will heal us. But how do we do that?
So even if you feel broken, or you turned away from God many years ago, God still wants you to come to Him because He still loves you. Come to Him now, just as you are, and leave your pain and hurt with Him.
How many people do you know who would accept you just as you are?
How many people do you know who you would accept just as they are?
There is of course one person who accepts each of us, just as we are. In fact He encourages us to come, just as we are. It is of course God.
Jesus encourage everyone to come to him because he could provide the nourishment and help we each need. Who else can do that! Therefore no matter what your need, or what problems you face, come to God, because He can and will help you.
When we call out to someone, you hope they hear you and respond as quickly as they can. When we call out to God, He will respond to us before we even utter a sound, because He knows what we need even before we know we're in trouble.
God's love is fierce. He loves us, and cares about what we do. He doesn't want you to turn away from Him, so he will fight fiercely for us.
God will never let you down, even through the fiercest of storms, so trust Him.
Healing rain! That sounds ridiculous doesn't it, but it is true, there is such a thing as healing rain – It's not physical rain, but a way of describing the pouring out of God's love for each one of us, so that we are soaked in His love.
One of my favourite songs is Michael W Smith's Healing Rain. and it reminds us of God's love raining down on us.
As I said in yesterday's blog, life can sometimes make us feel like we're getting soaked by difficult life events. That's why I think I like this song because even when we're hurting physically or emotionally, it reminds us that if we let God's love pour over us He can heal all our wounds.


AH, an oldie but a goodie… What I love about English Muffin Pizza's is that 3 year olds truly can make these by themselves. I mean, an adult has to pop them in the oven, but the prep work can be done by children and adults of all ages :). This is such a fun and easy lunch or dinner that I often forget about. I also think it would be a really great Birthday Party meal! You can make pizza on an english muffin, bagel, or tortilla, depending on what you have on hand… Just cut up your favorite toppings, add some sauce and cheese, bake in the oven and TADA!!!
Here are some great books to go along with your pizza making!
← Zucchini Zucchini… Zucchini Bread and More!


The Jaguar brand enjoys a longstanding reputation for elegant styling and sporting performance. While the Jaguar is now only British in heritage, and not in ownership, new models like the XF and redesigned XK and XJ feature modern designs that retain a decidedly English charm. At Auto Specialists, we repair all Jaguar models, old and new.
Our mechanics are passionate about car repair and care, for Jaguar vehicles and every type of vehicle we work on here at Auto Specialists. We put our hearts into our work and never give less than our best. One of the ways we make sure to continue providing top quality auto repairs and service is to retain and build on our knowledge, which means we can capably work on older and newer vehicles alike. Our shop also makes sure to have the right tools and equipment to provide your vehicle with the best automotive services Omaha has to offer.
Bring Your Jaguar to Auto Specialists in Omaha, NE!
Let's face it, nobody is ever happy to spend money on auto repairs, but if getting your Jaguar serviced is a pleasant experience then it tends not to be such a big deal. For high quality, value-minded repairs delivered in a timely manner, bring your vehicle to Auto Specialists!


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MLS transfer news and rumors
Reports: D.C. United acquires Julian Gressel from Atlanta United
Another very good midfielder from Atlanta appears to be coming
By Ryan Keefer@reefa_k Jan 21, 2020, 11:43am EST
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John David Mercer-USA TODAY Sports
On the second day of preseason, Steven Goff of the Washington Post reports (and the Atlanta Journal-Constitution corroborates) that D.C. United is making a major move to acquire Julian Gressel from Atlanta United. According to Goff's report, United and Atlanta have been talking for ten days, and Gressel (whose contract paid him a guaranteed $133,000 in 2019) is close to signing a multiyear deal in the neighborhood of $700,000 per season.
Gressel, who turned 26 last month, has registered 15 goals and 35 assists in his first three pro seasons for a loaded Atlanta squad. Upon further review, those numbers are doubly impressive when you consider that since 2011 there are only 13 players who have registered 11 or more direct assists from open play (as opposed to secondary assists, which MLS also counts) in a season. Only three players of that group have done it multiple times: Gressel, Landon Donovan, and Michael Barrios.
Though born in Germany, Gressel received his green card in 2019 and would count as a domestic player for MLS roster purposes.


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Ant-Man and the Wasp Gets a New Honest Trailer
Jake Abbate Saturday, October 20, 2018
Screen Junkies celebrated the Blu-ray and DVD release of Ant-Man and the Wasp (or, as they call it, West Coast Avengers) by giving it the Honest Trailer treatment. And as always (depending on your sense of humor, at least), YouTube's favorite nitpickers did not disappoint.
Referring to the Ant-Man series as "the franchise that everyone likes, but no one really cares about," the clip doesn't hold back. It starts off by advising Marvel Studios to improve the timing of its films. As entertaining as it may have been, even the most die hard Marvel fans should be able to see the absurdity in having a lighthearted action-comedy with Paul Rudd follow the emotional gut-punch that was Avengers: Infinity War. In typical Honest Trailers fashion, there are backhanded compliments aplenty. Case in point: yes, giving Evangeline Lily's Hope Van Dyne/Wasp top billing was a step in the right direction. Unfortunately, however, she fell prey to the trope of female Marvel characters who wind up playing the "straight man" to their goofier male co-stars.
RELATED: Peyton Reed Hints at Cassie Lang's Future in the Ant-Man Films
Other memorable digs at the film include shots at Walton Goggins' noticeably unpowered Sonny Burch, Michael Douglas' lack of awareness on MCU happenings, and how the movie is essentially a two-hour game of "capture the lab." However, one of the more agreeable points they make concerns the film's villain, Ghost (Hannah John-Kamen). Sure, her methods may not have been glamorous, but can she really be blamed for that? We have to remember that she's suffering from chronic pain. And since the titular heroes are trying to stop her, could they be the real villains in this scenario? Of course, folks are likely to take issue with the complaints against Michael Pena's Luis, who many would argue is still a welcome comedic presence in the Marvel universe.
You can check out the Honest Trailer for yourself below. What do make of the epic-voiced narrator's assessment of Ant-Man and the Wasp? Give us your take in the comment section!
Tags: Ant-Man, Ant-Man and The Wasp, Honest Trailers, marvel studios


SC5P-17637WW is located in Davenport. Guests have access to free WiFi. The holiday home includes a kitchenette with an oven and a microwave as well as a coffee machine. A TV is featured. Orlando is 33 km from the holiday home while Kissimmee is 27 km from the property. Orlando International Airport is 36 km away.


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We are offering wooden flooring the best in the business, better quality, high gloss with elegance and attitude that will make your house look better and attractive.
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Our wooden floors offer a wide range of appearances. There are many colors, styles, strains, and species available.
Humayun Interior is located in Karachi. Our scope of work includes provides the provision state of the art carpets, rugs, artificial grass, different types of flooring etc. We cater general public as well as the corporate sector.


Biba is 2-time Yugoslavian champion in singles and mixed doubles, Balkan Champion in Mixed Doubles, and the Mediterranean Doubles Champion. Biba is a phenomenal athlete that has a very aggressive style. More than just a pretty face with a great body, Biba is one of the nicest young women on the tour.
Hahaha. oh my god, why did I know you were going to do this?