As I was saying, since we've already covered a handful of outstanding up-and-coming anime creators, chances are that people who follow these Anime's Future posts have started noticing patterns in their careers. There's the youngsters who entirely bypass long formative periods (actually quite rare, but the inherent bias of this premise makes them the majority on this series), as well as the ones following more traditional roads and still finding early success through skill and perseverance. No matter which of the two paths they took though, there was a clear trend: most of these artists were freelancers at some point if not for their whole (short) careers, jumping around all over the industry. This is no surprise when most anime creators have no long-term, exclusive attachment to companies, but they contrast with the cases we're about to present today.
After all, when it comes to Kyoto Animation, things don't work the same way. Artists join them while very young (you must be under 25 to even be considered a candidate), usually with no prior experience in the industry at all. If anything, often you'll find that their major exposure to anime tends to come from having studied on the studio's own school, where directors and animators act as instructors. After that, they stay at the company and work solely for them for as long as they want. The studio's complete isolation from the rest of the industry makes them a fascinating case study, and considering how talented their new generation is, they deserve at the very least one of these articles focused on them.
But let's waste no more time. After wraping up her studies, Haruka Fujita joined KyoAni in 2010 as her first venture into animation. She trained for a while drawing in-betweens, but she cleared that stage so fast that she was only ever credited for it in the Nichijou OVA preceding the series. By the time the TV show started she was a regular key animator, and come Hyouka she was starting to get entrusted with promotional illustrations and important scenes. One that stands out, as she herself confirmed she had animated it, was the cast's overreaction to Oreki showing some curiosity in episode 18 of the series; while this role reversal isn't an all-time display of incredible draftsmanship, it shows the acting thoroughness that creators at the studio need. It's important to note that, even though Fujita was first noticed as a director, the staff trust her so much as an animator to this date that she was one of the three KA who worked on the latest Violet Evergarden commercial, alongside the studio's two sakuga aces. The studio explicitly only recruits animators with an aspiration to direct – not because all of them will do it of course, but because the ones who get promoted must have a great understanding of animation when it's their turn to storyboard. Because rather than isolated pretty shots, the backbone of the studio's storyboards ever since Yoshiji Kigami became their mentor has been the articulate, believable character acting. And that can only happen on a consistent basis if the directors themselves guide their animation teams.
With that in mind, it's easy to see how Fujita has quickly become the poster child of KyoAni's new generation. After training under the likes of Taiichi Ogawa and Naoko Yamada, she had a timid storyboarding and directing debut (as it tends to go) on the second season of Chuu2Koi, followed by an episode of Amagi Brilliant Park, where some of her quirks started becoming apparent. And then came Euphonium #8, a masterful work that blew everyone away and quickly gained her many fans. It was quite amusing to see industry members, animation academics, and fansites alike crowning her as the new future queen of the studio overnight, though thankfully for them all it turned out not to be a fluke. It's not as if her skills suddenly skyrocketed, of course. Euphonium as a whole simply provided an excellent framework, and that episode in particular was meant to capture an intimate dream-like moment – all in all, the perfect circumstances for a talented youngster to prove her worth. Admittedly, the result was still outrageously strong considering that was only the third episode she was fully in control of, but her meteoric ascension didn't start out of nowhere as it might have seemed.
You might be wondering what makes Fujita special as an individual, why she's a director worth paying attention to. It sure isn't her love of sharks and plants/flowers, which she makes no effort to hide. And it's not her fondness of a certain charming smile, although that comes closer to her actual directional quirks. Despite not having handled all that many episodes still, she has enough of a distinct approach that telling apart her style has become quite easy. For example, Fujita has a strong tendency to use reflections to politely peek onto people's most passionate feelings, since those often burn so bright that staring at them directly would blind you. On a more conceptual level, I would also highlight her understanding of fiction as something that exists beyond the moments showcased in their work; Taiichi Ogawa mentioned that it was Fujita who naturally gave child Reina a bandaid on her knee, because of course that her adventurous young self had scrapped it. That is obviously never mentioned in the episode itself, it barely makes an appearance and is frankly entirely irrelevant to the events…which is why it exemplifies her attitude so well – much like her major influence Naoko Yamada, Fujita sees characters as people whom she films for limited periods of time, but who also exist beyond that. And when it comes to her guidance for visual departments, her preferences have become clear as well: the colors in particular, since the Fujita Purple accompanies her everywhere. She has also been absorbing Ishihara and Yamada's sense for photography, but as beautiful as the composite in her episodes is, I don't think she's really developed her own voice in that regard.
And truth to be told, I don't think it's those idiosyncrasies that make Fujita so special. The combination of them all and her surprisingly mature directional sense make her work very appealing, but I would argue that she's an even more interesting creator within context. Fujita is the culmination of KyoAni's core philosophies over the last decade, arguably even more so than Yamada herself. Both aesthetically and on her approach to portraying life, she's a fantastic director who could only exist now and there. We'll likely not see her handling her own series anytime soon, since the studio's oversaturation of directional talent has been slowing down the final step of promotions. But no one doubts that it will happen, and that she's already one of the brightest stars at quite the anime powerhouse.
I'd like to end with a very brief entry, returning to someone whom we've already introduced to the readers of this site but that fits the theme of the article. If Fujita is KyoAni's hope on a directional level, then Akiko Takase is in the same spot animation-wise. Thankfully, her career is short and easy to sum up. As an animation student she was blatantly fond of the studio's work, so right after graduating she joined them. And ever since then, she's been smashing their precocity records. To be more precise: she first skipped staying as an inbetweener, got immediately tasked with the gorgeous art of Violet Evergarden's novels, and then was allowed to keep commanding that project even its transition to animation. As a consequence of that, she was also promoted to regular animation direction duties despite her lack of experience. And you'd be forgiven to be skeptical about her work supervising animation, considering that she has the soul of an illustrator and her drawings have so many lines (something older staff have teased her about) that they appear unfit for motion. As it turns out, one episode – her very first – was all it took to disprove that. Euphonium S2 #9 created life through movement, all while maintaining Takase's intricate art. We tend to take stylization as the root of good animation designs, but what's actually most important is having a grasp of how every element acts while in motion, and she seems to have already developed that sense.
This might be hard to comprehend if you don't actively try to dissociate animation from productions as a whole, and obviously if you don't follow studio members themselves, but KyoAni actually took a notable blow around 2014. The departure of Yukiko Horiguchi and Nao Naitou hurt them, as they undoubtedly were two of their greatest animation talents. Their lineup of supervisors was weakened to the point that many youngsters have been promoted over the last years, and if it weren't for the studio's unmatched stability and planning prowess, the quality of their work would have taken a nosedive. Thankfully for them, that facilitated the appearance of new figures like Takase, so now they rest assured once again. It's not as if Takase is a substitute of Horiguchi, since their styles are worlds apart – Horiguchi was a veritable master of cartoony sensibilities, whereas Takase mixes shoujo manga influences to create a very ornate reinvention of the predominant aesthetics at the studio. What does bring them together is the belief that it's animation that gives life to the characters though, and that's something the studio needed. Her first major project Violet Evergarden is quickly approaching, but I already can't wait for whatever is coming next. Takase is one of the most promising designers and animation supervisors of this generation in the industry as a whole, let alone at her studio.
The two of them both made big splashes with their Sound Euphonium episodes. I particularly loved the duo of Ishidate and Takase on S2 Episode 9 considering how utterly gorgeous both he shots and the details of the characters were. Violet Evergarden has the potential to be a new benchmark of what TV can be visually if they put their all into it.
Also, yes, Takase has an incredible sense of fashion. Well dressed anime characters is one of my favorite things.
Horiguchi has been providing illustrations for books under pseudonym 白身魚. Recently she's also provided character design for idol group 22/7. She designed one character herself and unified designs of other participants.
Both of them took a long break from animation, and that means leaving the studio. Naitou's returned ( though she barely does any work) in freelance form with ties to A-1, whil Horihori is still away from animation. As YouSay mentioned, she's been acting more and more as an illustrator under the shiromizakana pen name she's had for years. 22/7 might be her return to animation, but nothing's been confirmed.
Does KyoAni actually explicitly say that they only take people younger than 25? Is that sort of age discrimination legal in Japan?
It says so in their guidelines, and I don't recall exceptions in their recruitments. Also I'm not sure why you're even asking that, anime studios act like this all the time. Sometimes they go as far as saying the newcomers must have no experience in animation whatsoever so that they absorb their own way of doing things. The only difference is that they do it as a general rule.
Haruka Fujita and Akiko Takase really are two of the most talented young ladies in the industry.


Houston, USA - The fastest man on earth, Usain Bolt says he is excited to debut his NBA celebrity game Friday. Teammates of the ever famous track star include the likes of singer Ne-Yo, rap artist Common, actor and television host Nick Cannon, comedian Kevin Hart and former NBA sensation Dikembe Mutombo. "It's something big and something fun for me," said Bolt, who gave up basketball at a young age to pursue track and field. Bolt admitted his basketball is a little rusty as he has been further exploring the option of playing football after he retires from track and field. "I'm not a good shooter but, hey, I used to be a good player," "I can't say I'm any good right now, because I've stopped playing basketball and started playing football, so I'm really rusty, but I'm sure I can dunk," said Bolt.


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Californian Scum
The Dark and Dreamy World of Japanese Breakfast [Artist Spotlight]
By Lauren Foliart
Michelle Zauner is making an unforgettable name for herself under the alias Japanese Breakfast. Her sound ranges from lo-fi punk rock to experimental pop, situating her somewhere between the likes of Sleater Kinney and Metric. But ethereal soundscapes and inescapable lyrics give J.Brekkie (as fans fondly call her) an offbeat identity from the rest. As indie rock enters a renaissance era, Zauner is proof of what will come. She is as motivated as she is talented -- a female musician who continues to take "steps" despite an oppressive music industry (see: Neil Portnow's outrageous post-GRAMMY comment towards women artists). And among other things, she turned her life story into a masterpiece of work; that alone is worth a listen.
Zauner's career started most notably as the frontwoman of the Philadelphian emo group Little Big League. Misunderstood by critics as being nothing more than a "basement band," they did garner attention locally, upholding the small remnants of a Philadelphia punk scene. In 2014, Zauner left the East Coast and her band behind, returning home to Eugene, Oregon upon news of her mom being diagnosed with cancer. These events, and the death of her mother shortly after, ultimately led to her solo career as Japanese Breakfast.
Her debut album, Psychopomp, she wrote only two months after her mom passed away. Over the course of nine short tracks, Zauner carries listeners across a spectrum of her emotions, touching on everything from unapologetic sex to the existential crisis of losing a loved one. The album is deeply personal -- a tribute to Zauner's mother (who appears on the cover with her hand extended as if it could almost be touched) and a somber portrait of the daughter who lost her mother.
Soft Sounds From Another Planet, Zauner's second studio album, continues the story that Psychopomp started. If nothing else, it upholds the honest character we have come to know lying beneath Japanese Breakfast. But the album delivers even more. Her arrangements bring a much bigger sound, emboldening Zauner's lyrics as if she wants them heard from space. The first single, "Machinist," is the largest step in this direction, beautifully showcasing her intention to push herself as an artist and solidify her career as a musician.
"This was the first song I wrote for the record. It's about a woman who falls in love with a robot. It started with the synth line, and I had this idea for the spoken word, and sort of like a hip-hop skit in the middle. I got really shy about it at first, but Craig Hendrix, who co-produced the album with me, really encouraged me to keep going... He had the brilliant idea to incorporate the vocoder harmonies. I forget who came up with the idea to do the auto-tune... I had done a cover of Cher's "Believe" around this time, so that may have been its beginning." - Michelle Zauner, NPR Interview
This year, Zauner will embark on a massive U.S. tour with Oakland-based artist Jay Som. Together, they help prove that women can break barriers in the music industry despite the biases of the people who run it. Both of Asian American descent (Zauner, by the way, is part Korean and Jewish; she just liked the name Japanese Breakfast), their talent also aids to close an even wider gap in an undeniably prejudicial profession.
Japanese Breakfast & Jay Som will be playing San Francisco's Noise Pop Festival, Feb 22 @ Gray Area; and Feb 21 @ The Ritz in San Jose.
HBD Florence Welsh: Our Top 10 Favorite Flo Songs
Florence Welch is many things; a captivating siren, tormented artist, self-proclaimed 'ferocious' drunk, passionate songstress and above all, one of the most outstanding and prolific female vocalist of this century. And yesterday she turned 31!
For two scumbags only a year behind her in age, it felt like a post was necessary for her honor. We dove headfirst into Florence + the Machine's discography and ranked each of our own top 5 songs for a collective ten. Neither of us found it easy, hence the delay. But for a woman who means the world to us, our finished list is now one of the most rewarding articles we have to share.
1. "Mother"/How Big, How Blue, How Beautiful
"Mother" is the final track on Florence's most recent album and the one song that represents everything I love about her. It's lyrically poetic using classic imageries of nature and religion to illustrate the desperations of survival--a gospel in its own right. Feminine and fierce, the song serves as a conclusion to the journey of self-discovery we take with her on How Big, How Blue, How Beautiful. Most of all, this is Flo's strongest homage to her influence Grace Slick. Her vocal sirens on the track speak so true to the late rock goddess it leaves you feeling like Flo has exercised Slick's soul by the end of the song.
[Lauren Foliart]
2. "Cosmic Love"/Lungs
Written during a "hangover to end them all," "Cosmic Love" is a tale of galactic passion and unrequited love hums on a frequency so ubiquitous, I dare you not to think of your ex while listening. Fueled by harps and an uncharacteristically ghostly sounding Florence, "Cosmic Love" is a perfect snapshot of her early work; ethereal melodies backing up an almost mythological voice. Of course, we now know all about Flo's gritty humanity and flaws as we've come to know her, but from her debut album, she very much flitted amongst the stars on this track.
[Emilio Arias]
3. "What The Water Gave Me"/Ceremonials
To be honest, I was not a fan of this song when it first came out. It dropped as the first single off Ceremonials over a month before "Shake It Out." The recording felt abstract and avant-garde for Florence, and it terrified me that she might turn into an artist I didn't want her to be. But it soon grew on me after Ceremonials' full release. What felt disingenuine in fact became a point of integrity listed amongst the 11 other soulful tracks. Fun fact: The song's theme tells of Virginia Woolf's death and the title comes from a Frida Kahlo painting of the same name.
[Lauren Foliart]
4. "Dog Days Are Over"/Lungs
The song that vaulted Florence into stardom and onto indie rock stations in the summer of 2009, "Dog Days" is as much a sweeping summer anthem as it is a coy cautionary tale. Warning listeners that "the dog days are over" and to leave their love behind "if they want to survive," the track is truly all the best parts of Florence packed into a crisp 4:13'. Paired with a whimsical, colorful and frenetic art-house music video, the song highlights all the lighter elements of Flo, while alluding to the inner demons that will come to mark her later music.
5. "Delilah"/How Big, How Blue, How Beautiful
This song, while lyrically desperate and damaging, empowers me out of a purgatory I often find myself in. Lost and only, Florence dances her way through one of her more uptempo singles off of How Big, How Blue, How Beautiful. The gospel refrains that so proudly define her previous album Ceremonials makes me love this track even more. We can all harmonize to waiting around for someone's call.
6. "Shake It Out"/Ceremonials
Evoking the same desperate yet hopeful imagery as "Dog Days," the second track off of Flo's sophomore classic, "Shake It Out" is a daring depiction of triumph over one's demons. Visualizing twisted and dark imagery of ghouls, monsters and one's personal hell, Florence's journey through the wrenching song is both universally familiar and hauntingly dark. For anyone (i.e., everyone) who's ever felt crushed beneath the weight of their own devils, "Shake it Out" is the perfect exorcism.
7. "I'm Not Calling You A Liar"/Lungs
Recalling my first time seeing Flo perform live in 2009, the image of a towering six-foot harp that stood beside her on stage represent is first to note. The beautiful and unusual instrument symbolized her breakthrough into the music industry for many years. She used it frequently throughout Lungs, as is heard on this track, and it set her apart from all other artists at the time. With every strum of the harp, it's like I remember the night Flo and I formally met.
8. "Third Eye"/How Big, How Blue, How Beautiful
Epitomizing Flo's evolution from staid vocalist to Stevie Nicks-esque nymph, "Third Eye" is a harmonized meditation on grief and pain, but from the unique perspective of the outside observer. Identifying the listener's pain by claiming she can see the "hole where your heart lies with her third eye," Florence is stepping outside of her usual role as an inner monologist and instead gifting us with her ability to see right through all of us, making "Third Eye" her most personal and intimate song to date.
9. "Hospital Beds"/A Lot of Love, a Lot of Blood EP
One of the first songs I ever heard of hers, "Hospital Beds" was included on A Lot of Love, a Lot of Blood, the EP she released months before her first album Lungs. It is a cover of a Cold War Kids recording by the same name and a complete departure from anything Florence was trying to be at the time. It remains one of my favorite tracks to this day because of how strangely it fits in her music portfolio. When I listen to it, I can see her walking into an open mic night at a grungy bar where no one knows her, taking the stage and rocking everyone's world with this song.
10. "Stand By Me"/Songs From Final Fantasy XV
Flo has never been shy about her covers, bringing her unique theatricality and raw, powerful vocal emotion to Johnny Cash's "Jackson," a laconic edge to Robert Palmer's "Addicted to Love," and even venturing into pure pop waters with Drake's "Take Care." But nothing quite hits home like Flo's grandiose version of Ben E. King's soul classic, "Stand by Me." Packing an emotional wallop amidst soaring strings and warbling notes, Flo finds the balance that so many covers fail to do; paying ample respect and homage to the spirit of the song, while going full boss herself and making it completely her own. Nobody can upstage the diva, and Florence reminds us beyond a doubt that she is indeed the queen of the stage.

redpajama_set_name: RedPajamaCommonCrawl


text:
class ToolSerializer < ApplicationSerializer
  attributes :name, :status

  def status
    # The attribute `tool_slot_id` is added via a special SQL query.
    # SEE: ToolsController::INDEX_QUERY
    object[:tool_slot_id] ? "active" : "inactive"
  end
end

redpajama_set_name: RedPajamaGithub


text:
Q: What is the difference between split() and explode()? The PHP manual for split() says

This function has been DEPRECATED as
  of PHP 5.3.0. Relying on this feature
  is highly discouraged...Use explode()
  instead.

But I can't find a difference between split() and explode(). join() hasn't been deprecated, so what gives?

A: split uses regex, while explode uses a fixed string.  If you do need regex, use preg_split, which uses PCRE (the regex package now preferred across the PHP standard library).

A: It's been deprecated because

*

*explode() is substantially faster because it doesn't split based on a regular expression, so the string doesn't have to be analyzed by the regex parser

*preg_split() is faster and uses PCRE regular expressions for regex splits

join() and implode() are aliases of each other and therefore don't have any differences.

A: Both the functions are used to Split a string.
However, Split is used to split a string using a regular expression.
On the other hand, Explode is used to split a string using another string.
E.g explode (" this", "this is a string"); will return "Is a string"
E.g Split (" + ", "This+ is a string");

A: In split() you can use regular expressions to split a string. Whereas explode() splits a string with a string.
preg_split is a much faster alternative, should you need regular expressions.

A: Both are used to split a string into an array, but the difference is that split() uses pattern for splitting whereas explode() uses string. explode() is faster than split() because it doesn't match string based on regular expression.

A: The split() function splits the string into an array using a regular expression and returns an array.
The explode() function splits the string by string.
E.g:
<?php
    $split_array=split(':','I:P:S');
    $explode_array=explode('and','I and P and S');
    print_r($split_array);
    print_r($explode_array);
?>

The result will be
Array ( [0] => I [1] => P [2] => S )
Array ( [0] => I [1] => P [2] => S )

Note:The function split() was DEPRECATED in PHP 5.3.0, and REMOVED in PHP 7.0.0

redpajama_set_name: RedPajamaStackExchange


text:
Work to start on Bicester road safety features
Bicester,
Work on a package of road safety measures is due to start in Bicester next week.
Contractors working for Oxfordshire County Council will start work on Monday 18 June on a toucan crossing on Middleton Stoney Road, just to the west of Newton Close, a shared footway/cycleway on the western side of Oxford Road along with walking and cycling improvements along Queens Avenue.
County Councillor Yvonne Constance, Cabinet member for Environment, said: "I know that there has been a lot of interest locally in seeing these improvements happen and I think those who campaigned for them will be pleased to see work begin."
The works, all of which are developer funded, include:
Middleton Stoney Road toucan crossing – this will connect to the internal footway and cycleway network on Kingsmere. Residents of Kingsmere and from older parts of the town to the north of Middleton Stoney campaigned for a safe crossing, particularly for school children attending the St Edburg's primary school which moved onto Kingsmere in 2016.
Shared footway/cycleway on the western side of Oxford Road – this will pick up from where provision stops short opposite Pingle Drive, and run round on the southern side of Middleton Stoney Road to Newton Close and the new toucan crossing. This is to remedy a missing gap in the network, which was raised by local councillors and there is clear evidence of cyclists using the grass verge at the moment.
Walking and cycling improvements along Queens Avenue – widening of two sections of shared footway/cycleway on the western side of Queens Avenue to a width of 3m: from Kingsclere Road to the access to The Bicester School and leisure centre, and from the zebra crossing near to the police station up to Bucknell Road. Providing an improved off-carriageway facility for users of all ages, particularly for those accessing schools and the leisure facilities as raised by local councillors.
The civil engineering works will start on Middleton Stoney Road first and lead round to Oxford Road, and the Queens Avenue works will follow that. The electrical work will be done by Siemens for when the schools return in September.
RSS feed - Also in the news (opens in new window) View all headlines - Also in the news
Major transport improvements in Didcot Garden Town: £218m Housing Infrastructure Fund bid
| 13:19 Europe/London
Oxfordshire County Council has submitted a Housing Infrastructure Fund (HIF) business case to the Ministry of Housing Communities & Local Government (MHCLG) associated with expected growth in the Didcot Garden Town area. It sets out how we want to …
Transport in Oxford city centre: Advisory study published
An independent advisory report which recommends that the High St and St Aldate's should be made one-way for all motor vehicles to make space for segregated two-way cycle tracks and wider pavements has been published today. (Oxford City Centre …
Woodstock Road, Oxford, repair and resurfacing update
Traffic management Work is continuing to progress well on the current phase on Woodstock Road with three-way temporary signals controling traffic on Woodstock Road and Elizabeth Jennings Way. Oakthorpe Road and Thorncliffe Road will be closed …


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2019 Findings: Countries moving up
Top 20 countries with improved visa openness scores
Ethiopia joined the top 20 countries moving up 32 places
2019 Index ranking: no.18 (up from no.50 in 2018, no.49 in 2017, and no.46 in 2016).
2019 Liberal access (visa-free or visa on arrival to Africans): 96% (up from 6% in 2018, 6% in 2017, and 6% in 2016).
Ethiopia moved into the top 20 countries, rising a record 32 places since the 2018 edition of the Africa Visa Openness Index, and multiplying its score by 14 with 96% liberal access.
The country, which is home to one of the continent's political hubs, aims to further boost the regional integration agenda through the introduction of a visa- on-arrival policy for all African Union member states. This follows Ethiopia's ratification of the African Continental Free Trade Area in April 2019, and signing of the Single African Air Transport Market.
"Consistent with PM Abiy Ahmed's vision of a closer and full regional integration in #Africa— where minds are open to ideas and markets are open to trade, Ethiopia will start on arrival visa to all Africans starting from November 9, 2018. #Ethiopia @AfricanUnion"
Fitsum Aregaa - Chief of Staff to the Prime Minister, Ethiopia
These moves come on the back of Prime Minister Ahmed's widely welcomed decision in June 2018 to allow all global visitors to apply for visas to the country online through a modernized eVisa system.
The eVisa website is clearly signposted helping travellers to access information, and the government posts social media updates on its visa reforms. Ethiopia ranks in the top 20 least restrictive 28 destinations in Africa according to the UNWTO.
Another driver for the country's policy to relax its visa regime has been to promote fresh economic opportunities linked to the travel and tourism industry, including in the hospitality and conference sectors. This is being supported by the high volumes of transit traffic passing through Bole International Airport on premier national carrier Ethiopian Airlines, which was identified as a leading Africa-to- Africa investment business champion by the AfDB.
"Ethiopia has officially launched Visa-On-Arrival service for tourists from all African Union member states. Nationals of Africa Union member states can pay the visa fee in cash at Bole International Airport to get tourist visa."
https://www.evisa.gov.et/#/visa-on-arrival
As a result, in the last year, the country's travel and tourism economy witnessed the largest growth of any country worldwide according to the World Travel & Tourism Council. Growing by a record 48.6% in 2018, the sector makes up 9.4% of Ethiopia's total economy.
The country's dynamic economic growth has been mirrored in a rise in its score and rank in the World Bank Group's Doing Business Index, including through national reforms to make it easier to start a business, to deal with construction permits and to enforce contracts.
Senegal moved into the top 10 countries in the Index
2019 Index ranking: no.3 (up from no.13 in 2018, no.15 in 2017, and no.24 in 2016).
2019 Liberal access (visa-free or visa on arrival to Africans): 100% (up from 81% in 2018, 78% in 2017, and 37% in 2016).
Senegal continued to move up the Africa Visa Openness Index, rising into the top 10 countries in 2019. The move has been a result of Senegal's recent policy of introducing visas on arrival for a number of African countries and removing visas required before travel.
The relaxation of the visa regime is in line with the country's priority to grow the tourism sector, bringing greater economic advantages and more jobs for people nationwide, following President Macky Sall's 30-year Plan Sénégal Emergent introduced five years ago.
"In total, the tourism sectors supports 150,000 people in Senegal, and I hope that this figure can be multiplied four-fold. That represents 10% of GDP. We must aim to reach between 12 and 15% in five years' time."
Alioune Sarr - Minister for Tourism and Air Transport, Senegal
The travel and tourism sector rose by 2.7% in 2018, according to the World Travel & Tourism Council.33 Jobs supported by the industry increased, with visitor exports making up 9.6% of total exports. The number of international arrivals is expected to top 1.5 million in 2019. Moving ahead, the government is looking to attract investors across 10 key tourism sites, as well as running communication campaigns to showcase the tourism activities on offer.
Thanks to a more open visa policy in operation at global level, as well as at continental level, Senegal ranks in the top 20 least restrictive destinations in Africa, having improved visa procedures for 100 countries between 2008–2018, according to the UNWTO.
Ghana moved up the top 10 countries in the Index
2019 Index ranking: no.5 (up from no.7 in 2018, no.6 in 2017, and no.22 in 2016).
2019 Liberal access (visa-free or visa on arrival to Africans): 98% (also 98% in 2018 and 2017, and 39% in 2016).
Ghana rose back into the top five countries in the Africa Visa Openness Index in 2019.
Following the government's publicized commitment to allow Africans liberal access to the country in 2016, Ghana continues to champion regional integration efforts. In May 2018, the country ratified the African Continental Free Trade Area (AfCFTA), having also signed up to the Single African Air Transport Market and the Free Movement of Persons Protocol. Ghana was also selected to host the Secretariat for the African Continental Free Trade Area in 2019.
"We have, today, taken very important steps towards working with a common voice and a common purpose to exploit the abundant wealth and resources of our great continent for the benefit of all our peoples. Indeed, the 'Africa We Want' is achievable."
Nana Addo Dankwa Akufo-Addo - President of Ghana, 12th AU Extraordinary Summit
Together with its liberal visa policy, Ghana is taking steps to promote trade, investment and tourism, making improvements to visa procedures for 176 countries between 2008-2018, according to the UNWTO. At the same time, in line with the developments of the AfCFTA, the country's World Bank Group's Doing Business Index score rose in 2019, with reforms making it easier to trade across borders, as well as dealing with construction permits.
2019 Index ranking: no.34 (no.42 in 2018, no.52 in 2017 and no.49 in 2016).
Angola moved up the Africa Visa Openness Index 15 places since 2016, multiplying its score by eight by offering greater liberal access to more Africans.
In 2018, the government announced a decision to allow 61 countries to be granted visas on arrival, including 13 African countries.
Alongside the introduction of eVisas, accessed at www.smevisa.gov.ao/, the visa process is being simplified with the removal of an invitation letter as part of the documents required. The move is part of wider government plans to boost economic development and drive the tourism sector, with the aim of creating one million jobs nationwide in the sector by 2020.
Tunisia increased its ranking by nine places on the Africa Visa Openness Index since 2016, thanks to the removal of visas for a number of African countries.
Following government efforts to revitalize the high- value tourism sector through a number of reforms, Tunisia is modernizing the visa process to improve access with a new eVisa platform at www.visatunisia.com/. The country is also ranked as one of the least restrictive destinations in Africa for international visitors, according to the UNWTO. At the same time, due to national efforts to boost economic growth and development, Tunisia moved up in the World Bank Group's Doing Business Index.


text:
Die Slovak International 2010 im Badminton fanden vom 23. September bis zum 26. September 2010 in Prešov, Slowakei, statt. Das BWF-Level war 4C (ohne Preisgeld).

Sieger und Platzierte

Finalresultate

Weblinks
 https://www.bedminton.sk/

2010
BE Circuit 2010/11
Badmintonwettbewerb in Prešov
Badminton 2010

redpajama_set_name: RedPajamaWikipedia


Mohsen Makhmalbaf is one of Iran's most important film directors. He has received prestigious awards all around the world for his unflinching films. His is also the founder and instructor at the Makhmalbaf Film House, which teaches various aspects of the cinema to a small number of hand-picked pupils.
Mohsen Makhmalbaf formed an Islamic militia group when he was 15, which resulted in his arrest at 17 for attempting to disarm a policeman. During his incarceration, he studied intently, and decided to distance himself from politics, instead seeking an Iranian renaissance through the arts, particularly film. He was released from prison unexpectedly after the revolution in 1979, and went on to become a great director and writer.
Mohsen Makhmalbaf's movies include Two Blind Eyes, Fleeing from Evil to God, The Peddler, Marriage of the Blessed, and Time of Love. Toben Nasuh is a film about a man who is mistaken for dead by his family and almost buried. When he regains consciousness, his relationships with his family never fully recover from this event which he cannot help be experience as a betrayal.
Fleeing from Evil to God is an allegorical film in which Evil is personified and chases five men on an island. Ultimately four of the men destroy themselves or one of the others, but the fifth escapes, symbolizing redemption. If you are interested in finding out more about the films of Mohsen Makhmalbaf, you can view clips or purchase them on the Internet today.


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Working On My Redneck ™
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NASCAR / NXS / NXS press release / NXS recap
Blake Koch Logs A Top 20 Finish In The Hisense 4K TV 300
May 27, 2017 - by Leon Hammack - Leave a Comment
Kaulig Racing driver Blake Koch tied his career-best start of 18th at Charlotte Motor Speedway (CMS) on Saturday before racing his No. 11 LeafFilter Gutter Protection NASCAR Salutes Chevrolet to a 19th-place finish in the NASCAR XFINITY Series (NXS) Hisense 4K TV 300.
"We were really fast on the long run while we were running the top, but the end of the race came down to short runs, which didn't really help us gain position," said Koch. "I look forward to getting to Dover next week since it's one of my favorite tracks and plan to get back to running where we know we can."
The team used two practice sessions on Thursday to dial in the No. 11 LeafFilter Gutter Protection Chevy, finishing 12th in first practice and 14th in final practice. This particular chassis was run in a test earlier this month at CMS, but received a makeover in honor of NASCAR's Salutes initiative, honoring America's military. Koch's red, silver and blue LeafFilter Gutter Protection Chevrolet carried the name of fallen U.S. Air Force Captain Nathan Nylander on the passenger-side door.
Racing in honor of Captain Nylander, Koch fired off from the 18th position when the green flag flew on the first 45-lap stage. After just one lap, the field fell under caution as Koch ran 14th. After a couple of quick yellow-flag laps, the field returned to green on Lap 7 with Koch in the 11th position.
By Lap 16, the caution flew again while Koch ran 15th. He reported to crew chief Chris Rice that the car was a bit free. The field restarted on Lap 20, but the caution flew before a lap was completed. After the impending restart on Lap 25, Koch ran 17th and would eventually end Stage 1 in the 23rd position. At that time, he told Rice he needed an adjustment to make the car tighter.
The team brought Koch down pit road on Lap 48 for four tires, fuel, track bar and wedge adjustments. Koch restarted 28th on Lap 52 and raced his way up to 22nd with 15 laps to go in Stage 2. Koch ended the stage 21st after continuing to fight free conditions on the race track.
Rice brought Koch down pit road under caution for fresh tires, fuel and a track bar adjustment under the caution. He restarted 16th on Lap 97, the beginning of Stage 3.
The fourth caution of the race flew on Lap 103 while Koch ran 17th. He reported to the team that the last adjustment really helped his entry into the corner. He restarted 17th on Lap 108 and reported a few laps later that the car's handling had swung to the tight-side at the beginning of a run. By the fifth caution on Lap 114, Koch reported that the car felt better. He restarted 24th on Lap 129.
By the next caution on Lap 158, Koch had raced his way up to 18th. The team made a fast pit stop under caution for fresh tires, putting Koch 12th on the restart with 37 laps remaining.
The field saw four cautions in the remaining laps of the event. Koch narrowly missed one of the incidents, maneuvering through the smoke without receiving damage. Despite having a better-handling car on the long-runs, Koch persevered to cross the finish line 19th at CMS.
Koch is scored 10th in the NXS Championship standings after Saturday's race at Charlotte Motor Speedway. Koch and the No. 11 LeafFilter Gutter Protection team will be back on track Saturday, June 3rd at Dover International Speedway.
TIL NEXT TIME, I AM STILL WORKING ON MY REDNECK!
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Another new bouquet, this time for Wedding Time Bridal Salon in Dorchester.
Dusky pink roses and hydrangea, vintage cream roses, dainty white flowers and eucalyptus leaves. All bound together with matching dusky pink velvet ribbon. Velvet is one of the bridal trends for this year - so sumptuous!
New bouquet for brides to hold while they try on beautiful dresses at Eleanor Florence bridal shop in Yeovil.
Pale blues of delphiniums, nigella, astrantia and lavender with beautiful pinks of roses, lisianthus and sweetpeas make a delicate silk bridal bouquet just right for a summer wedding.
Spring silk bouquet, vase arrangement and buttonhole for Not Just Brides window display.
The silk bouquet contains yellow and white daffodils, blue Forget-me-nots, white blossom and bright fern leaves. The vase arrangement also contains daffodils, with Forsythia and Maidenhair fern. The matching buttonhole is pinned to one of Not Just Brides handsome waistcoats.
All my bouquet designs are unique, but I always try to make them look as realistic as possible. Choosing flowers that are their natural colour plays a large part but also putting flowers together that would naturally be available at the same time of year also helps.
This lovely blue and white silk bridal bouquet is full of summer flowers like Lavender, Cosmos and Love-in-a-mist recently picked from the garden!
Beautiful silk bridal bouquet of mixed flowers, including the all important red roses especially for Valentine's Day.
This bouquet would be ideal for a Valentine bride who didn't want just red flowers in her bouquet, but fancied a richer colour palette with purples and pinks to lift the red.
Hydrangea flowers are so large and opulent the bouquet has to be large too! This beautiful silk bouquet contains 3 large hydrangea heads and 5 smaller ones. Fresh Hydrangea flowers wilt very quickly so these stunning artificial ones are a real winner! Also includes a variety of white silk roses and hand cut dusky blue ribbons.
Beautiful hand tied faux bouquet of large garden style pale peach roses and smaller ivory roses, all bound together with ribbed ivory ribbon and hand cut sheer fabric ribbon in a complementary peach pink colour. With matching smaller bridesmaid's bouquet and groom's rose buttonhole.
shades of pink, and sparkles!
Mauve, pink, blush and white artificial wedding bouquet of roses, peonies, Hydrangea and wax flowers, with a few diamanté sparkles, and organza and satin ribbon.
Thank you to all my lovely clients last year! Their great reviews have earned me a Silver award from Bridebook - UK's #1 Wedding Planning App & Wedding Venue Finder.
Jenny's white rose bouquet also contained a few red roses and berries, and lots of foliage - beautiful! The stems were bound with antique gold organza ribbon which matched their chair sashes, and Chris wore a white rose and berry buttonhole.
A new year and a new Pantone colour - 'Living Coral'. I really like this colour, so bright and happy, just right for a summer wedding.
I actually made this silk bouquet a couple of years ago when my wholesalers brought out these wonderful new spiky Chrysanthemum and Clematis flowers, and now they are colour of the year!
I get many requests for replica bouquets from husbands to give to their wives on their anniversaries or birthdays, but none have been so heartfelt as the email I received from Michael.
Michael wished to give his wife Laura a replica of her wedding bouquet as a birthday present because she meant the world to him. He also ordered a smaller version that will be placed on Laura's late mother's grave; Laura's fresh flower bouquet died before she got the chance to take it to her grave.
The photo on the left is the original bouquet, in the centre is the fun size replica and on the right both replicas together. Unfortunately silk Gerbera flowers are larger than fresh ones so the replica bouquet has a few less flowers to make it the same size.
Thank you Laura and I hope you enjoy your replica bouquet for many years to come, and the smaller one lasts well on your mother's grave.
Helen contacted me, with very little time left before her parents 50th wedding anniversary, wishing to order a replica bouquet for her mother.
With just a week to source the flowers, make the bouquet and send it to Helen, it wasn't ideal but I like a challenge!
Unfortunately peach roses are a bit limited and with the short notice I wasn't able to source ones of a similar shape and size.
Nathan wished to give his wife a replica of her wedding bouquet for their 1st anniversary, so he sent me some photos and work began!
Included in the beautiful fresh flower bouquet (photo on the left) were small heart pins in some of the roses. Nathan's wife had tried drying the bouquet but it hadn't been a great success and it had ended up in the shed! But this did allow Nathan to remove the pins and send them to me undetected and I was able to add them to the silk roses (centre photo).
I then made some paper heart pins to add to the other roses, a nod towards their paper anniversary (pictured right).
New autumn bouquet made especially for the wedding show this coming Sunday organised by the lovely Lottie from Lily and Lottie Wedding Shows, held at Corfe Hills School, Bournemouth.
silk wedding flowers for delivery a year before the wedding!
A very belated congratulations to Megan and Martin!
Megan contacted me 18 months before their wedding day. They were getting married at the end of July the following year but as they are both teachers were trying to get as much of the wedding planned as early as possible because the summer term is a very busy time for them.
They also wanted the flowers in plenty of time so they could use them as a colour pallet for the rest of the wedding as they started to get everything organised.
Thank you for all your lovely comments Megan and I look forward to seeing your photos in due course.
Samantha and Christopher ordered a replica bouquet for their 4th wedding anniversary.
The left hand image shows Samantha's beautiful fresh flower bouquet (photo courtesy of Shoot Photography and Film) and the middle and right hand photos are of the silk replica.
On receiving the bouquet they said - "Our bouquet is absolutely stunning, thank you, and it has brought smiles to our faces! We had a wonderful anniversary, thank you :-)"
Thank you to you both and I hope you will enjoy the bouquet for many years to come.
Congratulations to Lizzie and Richie who enjoyed a beautiful wedding in Sorrento, Italy last month.
Lizzie chose plum, dusky purple and pink flowers to match her bridesmaid's dresses and lots of trailing ivy to complement the lush surroundings of their wedding venue.
Richie and his gentlemen wore plum anemone buttonholes and their mothers had white anemone corsages.
Silk flower bouquets are ideal if you are getting married abroad; no worries about ordering expensive flowers through your venue and then the uncertainty of what they will look like, and of course you can't bring your fresh flower bouquet home with you. But a silk bouquet will look beautiful on the day - even if it's really hot - and be a lovely keepsake of your wonderful wedding, forever!
Another thoughtful husband! Ian commissioned a replica of his wife's wedding bouquet as a present for their silk wedding anniversary.
The photo on the left is the original fresh flower bouquet, in the centre the silk flower replica and on the right the replica back showing the bow detail.
The bouquet contains pink cymbidium orchids, calla lilies and roses, with sprigs of trailing leaves and curled grasses.
Thank you so much Louise and I hope you enjoy the bouquet for years to come.
Congratulations to Melissa and Chris!
Melissa's beautiful bouquet contains small pink roses, pale pink roses, peonies and Physostegia, ivory Hydrangea, and Eucalyptus leaves.
It was decided as Melissa's adult bridesmaid's dress was pink her bouquet should just contain the paler pink roses and ivory Hydrangea. But as Melissa's flower girl's dress was ivory her bouquet should include the small pink roses.
The gentlemen's buttonholes were single roses and Eucalyptus leaves, with Chris' having an extra rose bud. Their mothers had matching corsages containing all the flowers from the bouquets.
The roses, Hydrangea and Eucalyptus in the bouquets were chosen to match the table centres Melissa had selected for their wedding reception.


April 20, 2019 Rialto Theatre, Tucson AZ DÍA DE LAS LUCHAS Live music performance by The Mission Creeps. Luchadors/Wrestlers scheduled to appear: Rockstar Champion EJ Sparks, Lucha Libre Champion Lord Drako, Estrella Veloz, Red Miracle, Alexander Hammerstone, The Prophet.
The Mission Creeps hail from Tucson. The Mission Creeps spin tales of a different, darker kind of desert, one of lonesome highways and ghost stories.
Inspired by art and film noir and horror movies, The Mission Creeps play dark psychedelia and take their cues from bands following similar inspirations, such as The Cramps, The Black Angels, Screamin Jay Hawkins, Joy Division, and The Sonics.
Rue Morgue Magazine described their sound as awash in surf guitar and noted singer James Arr's ability, much like Nick Cave, to switch between seductive narrative and a raving yelp.
Supported by the throbbing rhythms of bassist Miss Frankie Stein and drummer George Palenzuela, a scary good time can always be had at their shows.
With six releases, they continue to offer up musical tales populated with witches, killer gnomes, and parties for the undead while providing beats that keep the body moving and the demons at bay.
Nine Inch Nails used to be my favorite band but The Mission Creeps creeped past them.
Combine surf rock, punk, and the Doors, topping it off with an eerie dosage of Ennio Morricone-inspired gunfight licks that fit seamlessly into the band's tales of desert-highway depravity.
It's an open door to some orgasmic music, music that was made in the way Tarantino makes movies, millions of ideas put together reminding us of what we love in music.
Rooted in Bauhaus, Smiths and Sisters of Mercy; feels like being in the edgiest record store of 1986, say New York Dolls after a Ritalin-fueled all-nighter locked up with Siouxsie albums.
A throwback to the dangerous edge of The Stooges and the serrated humour of The Cramps, adding theremin and mellotron to their gothic garage for atmosphere to spare.
The Mission Creeps love playing festivals and are always open for more!
Contact the Mission Creeps for Booking and all other Inquiries!


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1998 | 1999 | 2000 | 2001 | 2002 | 2003 | 2004 | 2005 | 2006 | 2007 | 2008 | 2009 | 2010 | 2011 | 2012 | 2013 | 2014 | 2015 | 2016 | 2017 | 2018 | 2019 | 2020
Deadly Blaze at Burmese Mosque an Accident: Official
Authorities attempt to quell suspicions that the fire is linked to ongoing sectarian violence.
Burma Launches Four Private Dailies
Readers snap up copies of the first daily newspapers to operate independent of the government.
Meikhtila Satellite Images Show Hundreds of Homes Razed
Human Rights Watch documents destruction from communal violence in central Burma.
Ieng Sary Did Not Stash Funds Overseas: Son
The son denies reports the Khmer Rouge leader hid millions of dollars.


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HomeNewsHospital chiefs due to discuss options for A&E and orthopaedic care in east Kent
Hospital chiefs due to discuss options for A&E and orthopaedic care in east Kent
November 24, 2017 Kathy Bailes News 0
QEQM hospital
Health commissioners are meeting next week (30 November) to consider potential options for how future hospital services might be organised in east Kent.
This follows extensive discussions with health professionals and the public about how to improve standards for patients and ensure future services, both in and out of hospital, can better meet the needs of a growing and ageing population and be safe, high quality and sustainable into the long-term.
Doctors and other leaders from east Kent's clinical commissioning groups (CCGs), which plan and pay for local health services, will discuss potential options for organising and delivering services to improve urgent, emergency and acute medical care (including A&E departments), specialist care, and planned inpatient orthopaedic care (such as hip and knee operations).
Commissioners are looking at two options for urgent, emergency and acute medical services in east Kent.
Currently the three main hospitals – at Ashford, Canterbury and Margate – each provide different services, with A&E departments at Margate and Ashford and an Urgent Care Centre at Canterbury. A range of specialist services are located at different hospitals. For example, the trauma unit is located at William Harvey Hospital, and inpatient kidney services are at the Kent and Canterbury Hospital.
NHS professions and the East Kent Hospitals University Foundation Trust (EKHUFT) say there is a body of evidence that shows specialist services, such as stroke, trauma, vascular and specialist heart services need to be centralised and located together.
They say this is because doctors, nurses and other professionals treating rare conditions need to see and treat enough patients every year to maintain their skills. They also need to be located together because patients affected by one of these conditions are more likely to need other specialist interventions and support services.
Guidance indicates a hospital with specialist services should serve a population of at least one million people, so in east Kent that would mean one hospital with specialist services.
OPTION 1: Organising services at our three main hospitals in different ways
QEQM A&E
This potential option is to have two emergency hospitals with 24/7 A&E departments, of which one would have the full range of specialist services. In addition, the third hospital would have a 24/7 GP-led urgent care centre, treating urgent illnesses and injuries that do not need to be seen by A&E doctors.
Based on the number of people in east Kent and the staff available to treat them, national guidance shows that there could be two full A&E departments in east Kent.
One of the two emergency hospitals would also be the centre for highly specialist services in east Kent (such as trauma, vascular and specialist heart services).
This potential option is the result of looking at all the possible ways that services could be organised across the three main hospital sites in east Kent. By applying a set of criteria, developed by clinicians and tested with the public, and taking into account national guidance, the NHS has arrived at one viable option for organising urgent, emergency and acute medical services. This is:
William Harvey Hospital, Ashford, as a major emergency centre with 24/7 A&E department and the centre for specialist services in east Kent;
Queen Elizabeth the Queen Mother Hospital (QEQM), Margate, as the second emergency hospital, with 24/7 A&E;
Kent and Canterbury Hospital as the 24/7 GP-led Urgent Treatment Centre.
OPTION 2: New development at the Kent and Canterbury Hospital
This potential option is a new build connected to the current Kent and Canterbury Hospital, which would be a single major emergency centre for all of east Kent, with one 24/7 A&E and all specialist services at the same hospital (such as trauma, vascular and specialist heart services).
This option would mean that acute services (such as A&E, acute medicine and all specialist services) would move to this site from the QEQM Hospital and the William Harvey Hospital. Instead these sites would have 24/7 GP-led urgent treatment centres, as well as diagnostics (such as X-ray and CT scans), day surgery, outpatient services and rehabilitation.
It has been possible to consider and include this potential option because developer Quinn Estates has offered to donate to the NHS land and the shell of a new hospital which it would build adjacent to the Kent and Canterbury Hospital, as part of a development to build 2,000 new homes.
Subject to planning permission and capital funding, this provides the opportunity to fit out new hospital buildings and still use parts of the existing Kent and Canterbury Hospital. This would be less than half the cost of building a new single site hospital on green belt land, which was ruled out as a possible option because there is not enough national funding to pay for it and it would take too long to build.
This is an additional potential option which has been included now in the NHS process. It could not have been included at the beginning of the process because it has only emerged as an offer recently.
Other hospital services
Restructuring plans include more care for people closer to home, delivered by local teams of health and social care professionals, working in GP surgeries, health centres and local communities, so that for day-to-day care and treatment, some people won't have to go to hospital as they sometimes do now.
When people do need hospital treatment, the NHS wants to make sure it is safe, people are seen quickly and care is high quality and that people only stay in hospital for as long as they need to.
Six potential options for planned inpatient orthopaedic care services for further analysis
More patients than ever need this type of treatment. The waiting list for planned orthopaedic operations has risen by 75 per cent in four years. In the last three years, there has also been a fourfold increase in the number of operations cancelled on the day they were due to take place because the bed was needed for an emergency patient. Providing this service differently will cut waiting times and improve outcomes for patients.
There are six potential options for where the service could be located in the future at:
only the Kent and Canterbury Hospital
only QEQM Hospital
only William Harvey Hospital
both the Kent and Canterbury Hospital and William Harvey Hospital
both the Kent and Canterbury Hospital and QEQM Hospital
both the William Harvey Hospital and QEQM Hospital
Why is change needed?
East Kent Hospitals' Medical Director, Dr Paul Stevens, said: "There have been huge medical advances over the last 30 years. We treat patients very differently now, with specialist teams looking after people with specific conditions such as kidney disease and heart conditions. This has led to much more effective treatment and people are living longer, with a better quality of life.
"But the NHS in east Kent is still set up to work the way it did 30 years ago. We know we can care for patients better by doing things differently."
The aim is to provide hospital services where specialist teams have the equipment and staffing they need to provide excellent patient care; where people can get specialist intensive rehabilitation and outstanding planned inpatient orthopaedic care, and where you can get fast access to hospital treatment because people who no longer need hospital care are receiving appropriate treatment closer to home instead, freeing up beds for other patients.
Hospital doctors, GPs, other health professionals, NHS leaders and patient and public representatives will evaluate the advantages and disadvantages of each of these potential options, to reach a shortlist using detailed 'evaluation criteria' developed by clinicians and tested with the public.
The evaluation criteria include detailed questions to determine which option(s) would deliver the greatest improvements in patient care, are the most accessible for the greatest number of patients, can be best staffed, are affordable within the funds available, deliverable within the timeframe needed and best support research and education.
No final decisions will be taken until after commissioners have had the opportunity to consider feedback from the formal public consultation alongside all other evidence later next year.
The strategy is part of a draft plan aimed at saving health services in Kent and Medway some £292million.
The Health and Social Care Sustainability and Transformation Plan (STP), created by Kent and Medway health trusts, the NHS, Kent County Council and Medway Council, sets out proposals to reduce 'the estate' – meaning the sale of assets and property – and "invest in housing and community facilities."
For more information, please visit http://kentandmedway.nhs.uk/
Read here: Councillor claims health staff fear A&E 'near misses' at QEQM will end in 'critical incident'
Broadstairs hair salon boss Malcolm Cox receives Responsible Business Champion award
Experience life during both world wars at the Royal Harbour History Festival


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Decorated architecture as a material culture: a preliminary look at the vernacular architecture of the Msinga area
Whelan, Deborah (2003) Decorated architecture as a material culture: a preliminary look at the vernacular architecture of the Msinga area. Southern African Humanities, 15 . pp. 129-141. ISSN 1681-5564
Full content URL: http://reference.sabinet.co.za/webx/access/journal...
Southern African Humanities 2003.pdf
Licensed under Creative Commons: Attribution-Noncommercial 3.0
Southern African Humanities 2003.pdf - Whole Document
Available under License Creative Commons Attribution Non-commercial.
It is well documented that indigenous vernacular and traditional architectures are a product of climatic and geographical influences. In addition, people often surround themselves with material evidence of their metaphysical environments and cultural belief system, evident in art, craft and clothing production. Vernacular architectures or the indigenous built environments were often studied in isolation, and have only recently been acknowledged as a reflection of the material cultural patterns of the people that built them. The decorated architecture of the Mthembu and Mchunu clans of the Msinga district in KwaZulu-Natal reflects a synergy of the material cultures of the area, where buildings display not only the physical pattern systems seen in the material culture, but also the cognitive patterning of the culture of the people that build them. The architecture is unique in the regional context as it is decorated, a feature unusual for Zulu buildings. It shows that the decorated buildings are as much a part of the material culture as the distinctive local beadwork and earplugs. In addition, the temporal development of the wall decoration styles appears to have been a process that has evolved as a result of dynamic religious, cultural, and aesthetic systems. It is important to include the indigenous vernacular architecture as part of a broader scheme of decorative traditions and not to read it in architectural isolation. This paper seeks to offer interpretations suggested by informants of the decorated building tradition, to identify the different styles of wall painting, and to realise their contribution in the greater decorative culture of Zulu speaking people.
The final published version of this article is available from https://journals.co.za/
decorated buildings, msinga, Zulu, vernacular architecture
K Architecture, Building and Planning > K190 Architecture not elsewhere classified
L Social studies > L610 Social and Cultural Anthropology
College of Arts > School of Architecture & Design > School of Architecture & Design (Architecture)


text:
VIDEO: This Marcus Mariota Highlight Proves He Deserves a Chance to Compete With Derek Carr
By Steven Kubitza | Jun 9, 2020, 11:48 AM EDT
Marcus Mariota has a highlight that proves he should be competing with Derek Carr in Las Vegas.
Offseason rumblings that the Las Vegas Raiders may be looking to move on from Derek Carr only increased when the team signed Marcus Mariota to a two-year deal worth over $17 million, before incentives. The former Tennessee Titans No. 2 overall pick was replaced by Ryan Tannehill, and is now looking for a fresh start. One dynamic part of Mariota's game is his ability to run, and a 2015 highlight shows why he should be competing for the job in Las Vegas.
Derek Carr could neverpic.twitter.com/Y0ElwxHDqc
— Ian Hartitz (@Ihartitz) June 9, 2020
Truly, no matter what you think of Carr, he simply does not possess this skill.
3 Teams That Should Sign Colin Kaepernick Right Now
VIDEO: It Was Only a Matter of Time Before a Saints Fan Burned Drew Brees' Jersey
Cowboys' Latest Move All but Rules Out Surprise Return for Fan Favorite Travis Frederick
Saints Reportedly Had the Ultimate Backup Plan if Drew Brees Had Retired
This 87-yard run against the Jacksonville Jaguars came in Mariota's rookie season and helped lead the Titans to a 42-39 victory late in the campaign. He showed off his special abilities routinely that year, and the excitement surrounding him was high.
Unfortunately, injuries have dampened his outlook -- unless he can find someone like Jon Gruden to give him a chance prior to seeking out a rookie, franchise-type QB.
?NO-LOOK PASS ALERT? Marcus Mariota manipulates the defense with a no-look pass to Delanie Walker for the touchdown. Thing of beauty #TENvsNE pic.twitter.com/2lmJc6TQ9L
— Titans Film Room (@titansfilmroom) August 17, 2019
He is still only 26 years old, and limited action in 2019 should have the young quarterback fully healthy in 2020. Mariota deserves a shot at the job, and he could end up doing to Carr what Tannehill did to him in Tennessee.
At the very least, Mariota's legs deserve a spot in the offense.


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Never mind the politicians...here's some great campaigning journalism to be proud of
Just after the General Election, I attended the British Journalism Awards organised by Press Gazette. The brilliant campaigning and investigative journalism on show was the perfect antidote to some of the dreadful election coverage and moaning about the press from the politicians who won and lost. I have written an article about the awards for the current issue of InPublishing magazine which you can read here.
Posted by Jon Slattery at 11:38 am No comments:
Media Quotes of the Week: From Coronavirus crisis could kill papers when they are most needed to an astonishing double byline in The Times
Jane Martinson in the Guardian: "For many of the least secure newspaper titles, especially local papers in the US and UK, the virus could sound the death knell after years of struggle. The question is whether the pandemic will lead to the death of print itself? That this is even being contemplated at a time when the need and demand for news and information is at an all-time high is the great, somewhat heartbreaking, paradox of an industry that should provide a public as well as private good."
HoldTheFrontPage reports: "Newsquest has announced it is placing a "significant number" of employees on leave through the government's Coronavirus job retention scheme, which will see those affected receive 80pc of their basic salary, while it will also implement a 15pc wage cut for other staff earning more than £18k from 1 April."
Chris Morley, Newsquest NUJ national coordinator in a statement: "Clearly there are massive changes around us brought on by the crisis enveloping the world as a result of Covid-19. But Newsquest's harsh and knee-jerk response came without warning to staff struggling with their important work in incredibly difficult circumstances."
Press Gazette reports: "JPI Media has suspended 12 local print titles amid a "substantial reduction" in advertising and concerns over home deliveries under extreme measures imposed to slow the spread of the Coronavirus. Seven paid-for newspapers, one magazine title and four free newspapers will stop printing from Monday, 30 March. Areas affected include Bedfordshire, Sussex and the North East. "
The Impartial Reporter deputy editor Rodney Edwards on Twitter: "I would respectfully suggest that @niexecutive steps in to help NI newspapers struggling at this time. A drop in advertising revenue and sales means only one thing — newspapers here will die. Once they are gone, they are gone. Never has trusted news been more important than now."
HoldTheFrontPage reports: "The regional press industry has sent a united message of solidarity to the nation with more than 60 titles publishing identical front pages headlined: "When you're on your own, we are there with you." Archant, Reach plc, JPIMedia, Newsquest and Iliffe Media have joined forces to launch the #ThereWithYou campaign reassuring readers that their local title is there to support them in challenging times."
Dan Hodges on Twitter: "Journalists get a lot of stick. Justifiably in some cases. But you can't produce an entire paper remotely. And there are a lot of hacks, editors, subs, support staff, etc working away today making sure a free press doesn't become the latest victim of this virus. Spare a thought."
President Trump at a White House briefing on Coronavirus, as reported by CNN: "We were very prepared. The only thing we weren't prepared for was the -- the media. The media has not treated it fairly."
Trump replying to NBC reporter Peter Alexander, who asked what his message would be to Americans who are frightened by the coronavirus pandemic: "I say that you are a terrible reporter. That's what I say. That's a really nasty question and I think that's a very bad signal that you're putting out to the American people. That's really bad reporting. And you ought to get back to reporting instead of sensationalism."
The International Federation of Journalists in a statement: "The control over information by the Chinese authorities at this time is highly concerning. The IFJ reaffirms that the access to public information is critical, particularly during the public health crisis we are currently facing. The IFJ urges the Chinese authorities to consider its country's place in the global community and the need for free flow of vital information at this unprecedented time."
EU report, leaked to the Guardian: "Pro-Kremlin media outlets have been prominent in spreading disinformation about the Coronavirus, with the aim to aggravate the public health crisis in western countries, specifically by undermining public trust in national healthcare systems,"
Former Guardian editor Alan Rusbridger on Twitter after sharing a joint byline with Jonathan Aitken: "Miracles do happen. The most unlikely double byline in history? @ChtyCommission (from today's Times)."
Jonathan Aitken's failed libel action against the Guardian in 1997 led to him being jailed for perjury and perverting the course of justice. When Aitken launched his libel action he claimed to be fighting "the cancer of bent and twisted journalism in our country with the simple sword of truth." The case collapsed when the Guardian proved Aitken had lied.
Posted by Jon Slattery at 8:17 am 1 comment:
Labels: Alan Rusbridger, China, Chris Morley, Dan Hodges, David Higgerson, IFJ, Jane Martinson, Jonathan Aitken, Michelle Goldberg, Newsquest, Peter Alexander, Rodney Edwards, Trump
Media Quotes of the Week: Coronavirus crisis prompts readers to flock to mainstream media to newspapers are lasting longer than predicted because they bring in more revenue than digital
Amol Rajan on BBC News: "Perhaps the biggest hoax within the fake news panic, however, is that this shows you can't trust the media. On the contrary this crisis has proved exactly how much you can trust the media. There is a clear dichotomy, between authoritative, very widely trusted sources such as the BBC and CNN, and crackpot conspiracy theory sites like InfoWars. In times of crisis, audiences are in fact flocking to what has been disparagingly called the 'mainstream media'. Traffic to the BBC News website is surging to extraordinary levels. Over the past month, 12 February to 11 March, there have been over 575m page views globally to stories about Coronavirus."
Impartial Reporter deputy editor Rodney Edwards on Twitter: "Stop attacking journalists for reporting #covid19 facts, particularly those of us who live and work in small communities."
Edwards added in a Facebook post: "So far today we have been accused of being 'irresponsible', of 'fear-mongering', of 'trying to cause panic'. This is wrong and frankly offensive to our small team of reporters who are trying their best to do the right thing...Call us names, criticise our profession, do whatever makes you feel good. But remember that behind every headline on coronavirus in Fermanagh is a writer who is deeply concerned about his or her family and community. Thank you to all those who continue to support our journalism. It is time as a community that we all supported each other."
Ian Carter on Twitter: "So...we've made all our newspapers available for free online, we've launched new websites within a day to connect our communities and our reporters are showing amazing dedication. And still we get snarky tweets about minor typos."
Robert Peston on Twitter: "My job, which I have been doing for 35 years, is to try and find out what is going on and tell you about it. Slightly weirdly some of you seem to be attacking me for communicating what I find out...what I write is the product of questioning many relevant sources, NOT being spoon fed (as some of you seem to think). And I speak to as many scientists and doctors, as I do officials and politicians. It is my job. I am not saying this defensively but to explain."
Sarah Knapton on Twitter: "'Is there ever an urgent need to go to the pub?' asks Robert Peston, who has clearly never done a 14 hour shift at at national daily newspaper."
Donald Trump replying to PBS White House correspondent Yamiche Alcindor who asked "You said you don't take responsibility for slow response to Coronavirus but your administration disbanded the White House office on pandemics?": "That's a nasty question...When you say me, I didn't do it. We have a group of people [in the administration]."
Stephen Jones in The Sunday Times [£] on the joys of covering a low profile rugby match after Wales vs Scotland was called off because of Coronavirus: "A Maidenhead XV versus Clifton was not exactly the first port of call. It was not in the top eight. But it was lovely anyway. It did not require the usual three separate tickets to get in. It actually has a car park — the most recent time a rugby media car was allowed to park in some professional grounds, it was a Ford Capri. You could even talk to the players. My god. There was no media prevention officer to drag you away in case you asked a leading question, such as: 'How are you?'."
Lord Heseltine interviewed by Tim Walker in The New European: "You look back at people like Conrad Black - who used to own the Telegraph when its readership was substantially greater than it is now - and Rupert Murdoch and you see their papers have been dripping poison on the European project for years and years. I think there's a very powerful argument to say that people who are non-doms - not domiciled here for tax purposes - should not be permitted to own our major media operations and to set our national agenda in the way that they do. Other countries do not allow people to do that and we need to consider this question very carefully."
Roy Greenslade in the Guardian: "For months, there have been a series of high court hearings about the extraordinary behaviour of editors, journalists and managers who once worked for Mirror Group Newspapers (MGN). Yet the disturbing revelations, which involve allegations about the wholesale interception of voicemail messages by three MGN titles, appear to have passed under the mainstream media radar. It's as if phone hacking is yesterday's story and no one cares any longer to know the truth. Neither newspapers nor broadcasters are giving the matter anything like the kind of attention they once devoted to similar intrusions into privacy by the News of the World, which led ultimately to that paper's closure."
Early Day Motion 285: "That this House recognises the importance of quality local journalism; commends those who dedicate their working lives to serving the public by reporting important, timely and accurate information that is in the public interest; notes the importance of media reporting and how it helps to maintain local transparency and accountability and supports the health of democracy at a local level; celebrates that, from reporting on floods or courts, to covering significant community events and issues, the work done by local journalists is essential in sustaining public life; and therefore resolves to support the National Union of Journalists' Local News Matters campaign, and further consider ways in which additional investment, resources and support for local journalism can be encouraged in order to protect the future viability and sustainability of local quality news."
Martin Shipton on the NUJ website: "The papers are lasting longer than many of us believed a few years ago, for the reason that digital advertising revenue hasn't taken off in the way expected. More than 80 per cent of Reach's revenue still comes from print. But newspapers can't carry on forever with declining revenues and the worry is that when they go the digital offering we shall be left with will be a stripped-down model based on "breaking news", sport, food reviews and stories tied into the commercial interests of advertisers - with even fewer journalists in employment."
[£]=paywall
Posted by Jon Slattery at 8:18 am No comments:
Labels: Amol Rajan, Andrew Neil, Early Day Motion, Ian Carter, local news, Lord Heseltine, Martin Shipton, Robert Peston, Rodney Edwards Impartial Reporter, Roy Greenslade, Sarah Knapton, Stephen Jones, Yamiche Alcindor
Media Quotes of the Week: Coronavirus stories are bringing in readers but scaring off advertisers to warning over UK surveillance of journalists
Jim Waterson on Twitter: "Enormous traffic for Coronavirus stories but ad market was already weak, is now been pummelled, and advertisers are placing keyword blocks to stop ads on pandemic stories. This is all very bad for already struggling outlets.*
*This is obviously not the main concern for society."
Nadine Dorris on Twitter: "If you want to know how low a journalist can go, @DailyMailUK on my doorstep in the middle of my trying to deal with everything else. He opened the gate, knocked on the door, rang the bell. I hope he washes his hands. #Coronavirus."
Mirror politics correspondent Mikey Smith on Twitter: "Absolutely nothing wrong with a journalist knocking on a public servant's door."
Ian Murray, executive director of the Society of Editors, welcoming the new Whitehall unit set up to counter Coronavirus-related fake news on social media: "The creation of the cross-Whitehall unit to identify disinformation on social media regarding the Covid-19 virus underscores where the dangers are for the public to be misinformed during this crisis. It is the mainstream media where news and information are edited that factual reports are to be found."
Simon Jenkins in the Guardian on the Coronavirus: "Every medical expert I have heard on the subject is reasonable and calm. Not so politicians and the media. They love playing to the gallery, as they do after every health scare and terrorist incident. Front pages are outrageous. No BBC presenter seems able to avoid the subject. Wash hands to save the nation. The BBC must be sponsored by the soap industry."
Tim Shipman on Twitter: "Given the shortages developing in our great supermarkets, I am tempted to say, Britain, that you should definitely buy a newspaper this weekend. News, enlightenment and potentially dual use in a crisis..."
PPA managing director Owen Meredith welcoming the Budget announcement that from December 1 2020 digital publications, including magazines, journals, books and newspapers will be zero-rated for VAT: "Our tax system has failed to keep up with technology and recognise changing consumers habits in accessing news and information. I'm delighted the Chancellor has listened to our representations and acted to end this tax on reading. This tax cut will be good for consumers and publishers alike, it will promote innovation in paid-content models as well as investment in quality journalism."
Sports commentator Alan Green interviewed in The Times [£] about the BBC not reviewing his contract: "They have shown me very little respect in how that is ending. I feel a mixture of disappointment and anger. I don't think it's justified. I was basically told, 'You don't fit our profile.' I got a fair idea of what they meant by just listening to the output over the last year or so. There isn't an ageist, sexist, racist bone in my body. I only care about 'Can somebody do the job?' There are new people in favour. They match the requirements in terms of 'bants' — banter with presenters."
John Simpson on Twitter: "I've warned for some years now that the concerted attacks on the BBC would end in its destruction. Only a determined few want this to happen. The rest are unthinkingly caught up in the mud-slinging, or feel powerless. If you want the BBC to survive, now's the time to speak up."
International Federation of Journalists general secretary Anthony Bellanger in a statement calling on governments to ratify the International Labor Organization (ILO) Convention 190 on Violence and Harassment to help reduce the level of violence against women journalists: "The level of violence facing women journalists is unacceptable. Once a state ratifies the Convention, it becomes legally binding and we expect women journalists to receive stronger support from their employer when they become a target of harassment and violence. We urge our affiliates to campaign nationally for a ratification of this desperately -needed convention."
According to IFJ statistics, 65% of women journalists have experienced violence at work, either in newsrooms, in relation to their sources, at home, on the way home or online. It can take the form of physical attacks, unwanted touching, sexual comments, online abuse, threats and intimidations in all their forms.
Newsquest's editorial director Toby Granville, speaking at the official launch of HM Courts and Tribunal Service's (HMCTS) updated media guidance at the Old Bailey: "Our reporters on a daily basis challenge court orders and anonymity orders that are often incorrectly used to protect guilty defendants from publicity. Often orders are used incorrectly by lawyers who don't always understand the law around anonymity which is regularly successfully challenged by our professional, qualified journalists. Without this level of expertise and qualified learning we are in a serious and perilous situation. A worse case for open justice is that we're not even there to contest them in the first place and the public are censored from knowing the truth about what is going on in their community."
Granville added that in order to ensure trained journalists are present in court, sustainable investment was urgently needed to enable increased coverage of cases – particularly in the magistrates' courts. This could come from an expansion of a programme similar to the Local Democracy Scheme through the partnership publishers have with the BBC or through digital giants such as Google and Facebook funding such reporters.
Committee to Protect Journalists advocacy director Courtney Radsch in a statement after the U.K. Investigatory Powers Commissioner's Office, which oversees surveillance by government agencies, released a report revealing authorities requested six warrants for surveillance that "would relate to journalistic confidential material" in 2018: "While we welcome the U.K. government's disclosure of some information about its surveillance activities, the material that has been made public is far from sufficient. The Investigatory Powers Commissioner's Office needs to provide much more detailed disclosures to help journalists in the U.K. understand who is investigating them and enable recourse in cases of abuse."
Labels: Alan Green, Alex Massie, Anthony Bellanger, IFJ, Jim Waterson, John Simpson, Nadine Dorris, Owen Meredith, Simon Jenkins, Tim Shipman, Toby Granville
Media Quotes of the Week: Responsible journalists can be part of the Coronavirus solution to slavish backing of Boris makes a mockery of Telegraph
International Federation of Journalists general secretary Anthony Bellanger, in a statement: "The journalist's responsibility towards the public takes precedence over any other responsibility. Media can increase public awareness of the situation regarding the Coronavirus through reporting that educates, warns and informs properly on the problem. That way they can also be part of the solution. It's in this kind of context when we have the opportunity to again demonstrate to citizens the value of quality, ethical journalism."
Society of Editors executive director Ian Murray in a statement on covering the Coronavirus: "It is only the mainstream media that provides edited news and information on this vital subject. This is too important an issue to be left to the vagaries of social media where conjecture, rumour and disinformation run rife. It is in the newsrooms of newspapers both national and regional, broadcast organisations and genuine online news outlets that every step is taken to ensure that the information produced is as accurate and fact-based as possible."
The Times' Steven Swinford on Twitter: "Downing Street has agreed to end boycott of Today programme so ministers can go on air to discuss Coronavirus. Lee Cain, No 10's director of communications, told aides he had agreed with BBC that there was a 'public interest' in having ministers on national broadcaster. Cain said he agreed to end Today boycott after talks with Fran Unsworth, BBC's head of news, and Katy Searle, head of BBC Westminster... At present boycott only lifted so ministers can discuss Cornavirus."
The Reuters Institute: "The BBC is by far the most widely used source of news in the UK both online and offline, and it is one of the most highly trusted sources of news. It is also more widely used as a source of news than many of its peers among other public service media. According to the BBC itself, it also reaches more than 400 million people globally with news every week. The BBC is very widely used across the political spectrum. It is the most popular source of news among both Conservative and Labour voters, and among both Leave and Remain voters."
Iliffe Media editorial director Ian Carter, as quoted by HoldTheFrontPage: "It's ironic that the Be Kind trend is now being used as another stick to beat journalists with. I sat on the Kent Online newsdesk this week and within the space of a couple of hours three people had mentioned Caroline Flack when haranguing our news editors. In each case, it was an attempt to have a court story removed. I received an email the same day claiming that publishing the names and addresses of people in court cases amounted to 'bullying' and again urging us to 'Be Kind'. I find it quite offensive that people are attempting to use the Caroline Flack scenario for their own ends and we are letting them know so."
Society of Editors executive director Ian Murray launching a new campaign for 'real news' against the use of fake newspapers and news sites and the rise of partisan non-media operations: "We are increasingly alarmed by reports of taxpayer-funded money being spent on attempts by public bodies and others to ape the work of mainstream media in acting as their own unbalanced and unchecked publishers. It is not the job of official communications departments to circumvent the media in favour of pushing out their own often one-sided 'news' via fake newspapers and social media channels. The Society strongly believes that political parties, local councils and police press offices should not be in competition with the mainstream media."
Alan Rusbridger on Twitter: "How to spot a lead story."
Roy Greenslade in the Guardian: "The Daily Telegraph is a newspaper with a great past, a pathetic present and an uncertain future. Its ownership is in doubt. Its profits have plummeted. Its editorial slavishness to the prime minister has turned it into such a laughing stock that it is now widely known as the "Daily Boris"...What irony! The Telegraph's slavish support for a comic journalist has helped turn the newspaper into a joke."
Hugo Drayton on Twitter: "Of course, this is viewed through the Guardian's special prism; but as a former MD of the Telegraph group, and a champion of newsbrands, this is terribly sad: 'Slavish support for Boris Johnson has turned the Telegraph into a joke' | Roy Greenslade."
Labels: Alan Rusbridger, Anthony Bellanger, Barclay Brothers, bbc, coronavirus, Daily Telegraph, Ian Carter, Ian Murray, IFJ, Reuters Institute, Roy Greenslade, Steven Swinford, Today
Never mind the politicians...here's some great cam...
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Reprezentacja Bośni i Hercegowiny U-21 w piłce nożnej – młodzieżowa reprezentacja Bośni i Hercegowiny sterowana przez Bośniacki Związek Piłki Nożnej. Na razie bez wielkich sukcesów.

"Zlatni ljiljani" jak do tej pory nie zakwalifikowali się do Mistrzostw Europy U-21. Najbliżej byli w 2007 roku, kiedy to grali baraż z Czechami o awans do młodzieżowych mistrzostw Europy. Na wyjeździe ulegli 1:2, a w Sarajewie padł remis 1:1.

Występy w ME U-21
 1998: Nie zakwalifikowała się
 2000: Nie zakwalifikowała się
 2002: Nie zakwalifikowała się
 2004: Nie zakwalifikowała się
 2006: Nie zakwalifikowała się
 2007: Nie zakwalifikowała się
 2009: Nie zakwalifikowała się

Zobacz też
 Reprezentacja Bośni i Hercegowiny w piłce nożnej
 Mistrzostwa Europy U-21 w piłce nożnej

Bibliografia
 UEFA European U-21 C'ship
 Europe – U-23/U-21 Tournaments

Reprezentacja Bośni i Hercegowiny w piłce nożnej
Bośnia i Hercegowina


Competitive swim teams are on your mind. Your child has always seemed more like a fish to you, and you're sure that she'd enjoy the thrill of victory. But she's still young. And you're not sure where to start. If you're considering helping your child to enter the world of competitive swimming, understanding the how's and why's is one of the first steps in the process.
If your child struggles to learn their school's curriculum, it can be one of the most difficult times in their lives. As a parent, it can be both frightening and discouraging to see your loved one struggle with their homework and school assignments. My family and I experienced the same issues as you and your little one. When my child was 8, they struggled and failed at math. No matter what I did, my loved one continued to receive low grades on their assignments and tests. Finally, I sought child education help. Child education programs provide the tools children need to improve their skills without the pressures of taking difficult tests or meeting stringent requirements. My child's success prompted me to start this blog. I offer parents and their children tips and guidance on how to improve their learning without stress or frustration. Good luck with family's educational needs.