sorry if i missed a thread about this but im lazy and its late so rather then search il just ask... what is GRDA and how do i get in?
The GRDA is a grassroots tournament where everyone battles in A Class cars. The 2nd season was cut short due to school but it will be back soon.
When it starts again there will be a sign up thread.


On April 1, 2014 in the Kherson School № 31 held the II Ukrainian charitable campaign "Living out a dream", initiated by the International Charity Foundation "Strong-willed". Pupils were talked about the children with cancer and patients who needed the assistance; those obstacles that they must overcome on the way to the realization of the dream – recovery.
Thanks all for sincere feelings and warmth!


Multi-award-winning company, Zest Mixology has announced it has secured two new lucrative contracts, including supplying premium pop-up cocktail bars, to one of the world's biggest catering companies.
Levy Leisure (owned by Compass Group), which supplies catering at visitor and heritage attractions across the UK, has appointed Leeds-based Zest to supply pop-up cocktail bars, first class cocktail mixologists, and bespoke cocktail services across over 30 of its leisure ventures in the UK.
"We are a passionate team of cocktail professionals that Levy Leisure will utilises as an extension of their team on live event days. The fit for our business is right, the cultural fit with Levy Leisure is strong."
The contract with Levy Leisure lasts for three years and will see Zest provide cocktail services at events such asGlyndebourne, the world-famous opera festival, and visitor attractions including a string of famous museums.
Separately, Zest has also agreed a 3 year supplier contract with the events management company The Live Group.
Zest will supply premium pop-up cocktail bars, first class cocktail mixologists and tailored cocktail services forThe Live Group business events across the UK & Europe which typically have between 250 and 300 guests.
A Zest director, account manager, five logistics staff, three event managers and 48 cocktail mixologists will work on the brief.
Zest Mixology was set up by MacLeod in 2011. Zest initially focused on providing an in-home cocktail servicefor "Come Dine With Me" style dinner parties.
The business also diversified into the music festival sector suppling VIP bars. To date, Zest has delivered over 6000 events to over one million even guests.


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How Saber-tooth Cats Worked
Saber-tooth Cat Summary
Saber-tooth cats, which are commonly yet improperly referred to as saber-tooth tigers, weighed up to 750 pounds and were built like compact lions. There are many different types of saber-tooth cats, and they existed in different time periods. Some saber-tooth cats lived 9 million years ago, while others lived on Earth up to the last ice age, which was 10,000 years ago. The more recent saber-tooth cats became extinct due to a loss of available prey. After the mastodons and other large mammals died out, there wasn't enough food to support the saber-tooth cats because they weren't fast enough to hunt the smaller animals.
Saber-tooth cats had very pronounced canines, which they used for ripping and slicing the throats and abdomens of their prey. Even though their canines were massive and intimidating, their jaws weren't strong enough to bite through bones. So, the cats had to use their canines like knives as opposed to crushing the spines of their prey. Saber-tooth cats had baby teeth, just like humans and other mammals have. After their baby canines fell out, the adult canines grew at a rate of 8 millimeters per month for 18 months. It would seem that having such enormous teeth would make biting and chewing rather difficult, but saber-tooth cats' jaws could open up to 120 degrees wide, enabling them to use the canines more precisely.
There are differing views regarding saber-tooth cats' social behavior, and, because they are now extinct, we may never know the truth. Some paleontologists believe that they were social cats that hunted in packs, while others believed them to be solitary stalkers of prey. Scientists have found saber-tooth cat fossils that displayed serious injuries, though the injuries appeared to have healed over time. Many scientists believe that such fossils could not exist unless healthy saber-tooth cats looked after the injured ones. However, other scientists believe that those fossils came from cats that lived off stored fats and proteins while their injuries healed.
Top 5 Saber-tooth Cat Facts
Saber-tooth cats' canines grew up to 7 inches long.
Learn more about saber-tooth anatomy.
Saber-tooth cats did not have long tails like lions, which means that their balance would have been substantially worse.
Learn more about saber-tooth anatomy.
Saber-tooth cats fed on large, slow, ice-age mammals.
Learn more about how saber-tooth cats worked.
Saber-tooth cats may have been more closely-related to lions than tigers.
Saber-tooth cat fossils are among the most common mammal fossils found in the Rancho La Brea tar pits in California.
Click here to learn about the fossil evidence which indicates that there may have been social saber-tooths.
How Dinosaurs Work
How Fossils Work
La Brea Tar Pits
Natural History Museum: Cats! Wild to Mild
Anyonge, William. "Microwear on Canines and Killing Behavior in Large Carnivores: Saber Function in Smilodon fatalis." Journal of Mammalogy. Vol. 77, no. 4. 11/1996 (1/11/2008) http://links.jstor.org/sici?sici=0022-2372(199611)77%3A4%3C1059%3AMOCAKB%3E2.0.CO%3B2-N
BBC. "Sabre-tooth cat." (1/11/2008) http://www.bbc.co.uk/nature/wildfacts/factfiles/3007.shtml
Cressey, Daniel. "Sabre-toothed cats were weak in the jaw." Nature News. 10/1/2007 (1/11/2008) http://www.nature.com/news/2007/071001/full/news071001-2.html
Feranec, Robert S. "Isotopic evidence of saber-tooth development, growth rate, and diet from the adult canine of Smilodon fatalis from Rancho La Brea." Palaeogeography, Palaeoclimatology, Palaeoecology. Vol. 206. 4/2004 (1/11/2008) http://www.sciencedirect.com/science?_ob=ArticleURL&_udi=B6V6R-4BT1T9H-3&_user=10&_rdoc=1&_fmt=&_orig=search&_sort=d&view=c&_acct=C000050221&_version=1&_urlVersion=0&_userid=10&md5=5ef0ee7b0fe94ce39771a9f3a9d93bcf
Gordon, Cynthia L. and Nicholas J. Czaplewski. "Second Record of the Pleistocene Saber-toothed Cat, Smilodon Fatalis, in Oklahoma." Proceedings of the Oklahoma Academy of Science. Vol. 78, 1988 (1/11/2008) http://digital.library.okstate.edu/oas/oas_htm_files/v78/p133_135nf.html
Hecht, Jeff. "Broken Teeth Tell a Tale of Competing Carnivores." New Scientist. 8/7/1993 (1/11/2008) http://www.newscientist.com/article/mg13918853.500-science-broken-teeth-tell-a-tale-of-competing-carnivores.html
Hecht, Jeff. "Sabre-tooth cat had a surprisingly delicate bite." New Scientist. 10/1/2007 (1/11/2008) http://www.newscientist.com/channel/life/dn12712-sabretooth-cat-had-a-surprisingly-delicate-bite.html
Henry, Colin R. et al. "Supermodeled sabercat, predatory behavior in Smilodon Fatalis revealed by high-resolution 3-D computer simulation." Proceedings of the National Academy of Sciences of North America. Vol. 10. 10/2/2007 (2/11/2008) http://www.pnas.org/cgi/content/abstract/0706086104v1
Illinois State Museum. "Saber-toothed cats." (2/11/2008) http://www.museum.state.il.us/exhibits/larson/smilodon.html
La Brea Tar Pits. "Sabertoothed Cat." (2/11/2008) http://www.tarpits.org/education/guide/flora/sabert.html
McCall, Sherman et all. "Assessing Behavior of Extinct Animals: Was Smilodon Social?" Brain, Behavior and Evolution. Vol. 61. 2003.
McDonald, Dr. Greg. "Taking a Stab at Understanding Hangerman's Sabertooth Cats." National Park Service. 3/1999 (2/11/2007) http://www.nps.gov/archive/hafo/crittercorner/sabertoo.htm
Mestel, Rosie. "Saber-Toothed Tales." Discover. 4/1/1993 (1/11/2008)http://discovermagazine.com/1993/apr/sabertoothedtale202/?searchterm=Saber-toothed%20tales
Natural History Museum. "Cats! Wild to Mild: Saber-toothed Cat." (2/11/2008) http://nhm.org/cats/encyclo/smilodon/index.htm
New Scientist. "Sabre-tooth's growl was worse than its bite." 10/6/2007 (1/11/2008) http://www.newscientist.com/channel/life/mg19626244.300-sabretooths-growl-was-worse-than-its-bite.html
Smillie, Shaun. "Killer Cats Hunted Human Ancestors." National Geographic. 5/20/2002 (1/11/2008) http://news.nationalgeographic.com/news/2002/01/0102_020107maneater.html?fs=www3.nationalgeographic.com&fs=plasma.nationalgeographic.com
Smithsonian Magazine. "Wild Things" 12/2007 (1/11/2008) http://www.smithsonianmag.com/science-nature/wild-things-200712.html
Therrien, Francois. "Feeding behavior and bite force of sabretoothed predators." Zoological Journal of the Linnean Society. 2005.
UCMP Berkley. "What is a Sabertooth?" (2/11/2008) http://www.ucmp.berkeley.edu/mammal/carnivora/sabretooth.html
Van den Hoek Ostende, Lars W., et al. "Fossils Explained 52: Majestic Killers: The Sabre-toothed Cats." Geology Today. Vol. 22, no. 4. July-August 2006.
There's a Rhino-shaped Cave in Washington State
The Rockin' State Fossils Quiz
5 Things You Didn't Know About Paleoart

redpajama_set_name: RedPajamaCommonCrawl


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114 Farley Hall University of Mississippi, Oxford, MS 38677-1848
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Students gain broadcast journalism experience working at Rebel Radio
By jacknewsomblog on March 13, 2017 • ( Leave a comment )
Aaron Isom. Photo by Jack Newsom.
Jack Newsom
jsnewso2@go.olemiss.edu
Rebel Radio is a student-run organization that broadcasts throughout much of North Mississippi and enables students to gain broadcasting experience by becoming volunteer interns.
Just like any other radio station, anyone can tune in and listen to sports, music, local or world events and news.
Hernando native Aaron Isom, a University of Mississippi junior majoring in broadcast journalism, is also a former Oxford Stories reporter. He is from Hernando and attended Northwest Community College two years before transferring to UM.
Isom became interested in broadcasting when he was young. "I always thought broadcasters had a cool job, even when I was little," he said.
In high school, he was a part of the student news team. "The show came on every morning, and it proved to me that broadcasting was something I was very interested in," he said.
Isom continued his journalism career at Northwest Community College, where he worked at the local newspaper distributed throughout Tate County while attending Northwest.
He became involved in Rebel Radio because of a family connection. "My brother's girlfriend knew the manager, so she told him about my interest in radio," he said. "I love to talk, so radio has just kind of seemed like a good fit for my personality."
On Mondays at 5 p.m., Isom is on the air for an hour. On Thursdays at 8 p.m., he works for two hours.
"I do enjoy working at Rebel Radio, especially on Mondays, because that is when I get to talk," he said. "During Thursday's broadcast, I pretty much just play music. I mostly play a wide variety of hiphop on Thursdays."
Isom said he's not sure a lot of people realize how far-reaching Rebel Radio is. The station even airs in the Memphis metro area.
Although one cannot see Isom's face when he is on air, he believes working at Rebel Radio will lead to bigger broadcasting opportunities. Isom said he wants to become a broadcaster at a big sports network.
Jackson Maddox, 21, is originally from Houston, Texas. He worked at Rebel Radio last semester and switched his major to broadcast journalism before the beginning of the fall semester of 2016. Maddox discovered Rebel Radio last summer.
Jackson Maddox. Photo by Jack Newsom.
"I am glad that I worked at Rebel Radio last semester," he said. "It was a great experience, and I would definitely be open to being involved with Rebel Radio again."
Maddox had two segments each week at Rebel Radio on Tuesdays and Fridays.
"On Tuesdays, I had a co-host, and we would talk about current events and pop culture," he said. "I really wasn't too knowledgeable about pop culture, and I don't think she was that interested in current events, so sometimes it made for an awkward combination."
On Thursdays, Maddox played his own music. "I really loved picking music for people to listen to," he said.
Maddox said he didn't have time to work at Rebel Radio this semester. "My schedule is kind of hectic this semester," he said, "so I just didn't want to commit to anything and then have to back out later. Even last semester, it could be hard to come to work, but that was because I worked both days at two in the afternoon, so it was sort of in the middle of the day."
Maddox said he job was fun, and he would encourage any student to become involved.
Categories: BUSINESS, EDUCATION, ENTERTAINMENT, FEATURES, MUSIC, RECREATION, TECHNOLOGY
Tagged as: Aaron Isom, broadcast journalism, featured, journalism, marketing, Meek School of Journalism and New Media, Northwest Community College, ole miss, Oxford, public relations, radio, Rebel Radio, social media, University of Mississippi
Uber Part 1: Student workers earn big bucks as Uber drivers
Oxford's Saint Leo restaurant nominated for James Beard Award; finalists announced March 15


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Uncomfortably Serious and Disarmingly Fun: The Irreplaceable Matt Marks
All images courtesy Tina Tallon/SALT Arts Documentation
By Will Robin
[Ed note: On May 11, 2018, the composer, performer, and new music organizer Matt Marks, 38, died unexpectedly in St. Louis. Testimonials from friends and colleagues sharing reflections on his humor, candor, and inspiring work as a music maker have poured in across social media where Matt was a vibrant, pull-no-punches presence. Perhaps illustrating the far reach of his impact, many of these messages were prefaced with variations of "I only met him IRL once, but our friendship here meant so much to me." Online and off, Matt Marks was a point of community connection, and the absence of his voice—especially in the days leading up to the annual New Music Gathering he helped to found—has been difficult for many. Reflecting on this vital role he played in the field, Will Robin offered to share this interview he conducted with Marks in 2015. Spending a bit more time in the company of Matt's conversation seemed a perfect way to celebrate him. Acknowledgments to Ted Hearne for the title inspiration.—MS]
As a historian of the recent past, I am in the incredibly fortunate position of being able to speak with the musicians whom I study. Most of the composers and performers I interviewed for my dissertation on the so-called "indie classical" scene were in their late twenties to early forties; I never thought to worry that a subject might pass away before we could talk. That one of them died last week is an unfathomable tragedy, from which the world of new music is still reeling. Matt Marks seemed like the kind of composer who would simply exist forever, whose presence would always be palpable. From his work as a founding member of Alarm Will Sound, to his heartfelt and hilarious compositions, to his organizational efforts with New Music Gathering, to his sardonically prolific Twitter account, it was impossible to overlook Matt or his essential role in the new music community.
In September 2015, I spoke with Matt in the sunny Brooklyn apartment that he shared with Mary Kouyoumdjian, a fellow composer who would become his fiancée, and their menagerie of adorable pets. I was primarily interested in his role in the scene around New Amsterdam Records, the label that released his first album, which was a main subject of my dissertation. The condensed interview transcript that you read below thus focuses primarily on Matt's life, and less on his music; I hope that the many tributes that we will surely be reading in the coming weeks equally emphasize his compelling artistry. But what I think it does address, importantly, is that community doesn't just "happen": it requires the tireless labor of people like Matt to make it happen.
For me, despite—or perhaps because of—the incisive humor and postmodern irony that swirled through his music and writing, at the core of Matt's work was a willingness to be publicly vulnerable, and to provide his listeners and readers with a sense of his entire self. This is maybe why it's so hard to feel his absence, especially for those of us who primarily knew him virtually. His sometimes-insightful, sometimes-stupid, always-entertaining tweets are all still there; his music is so insistently written in his own voice, with his own voice. All you have to do is check your timeline and cue up his Soundcloud, and there he is again. On our screens, in our ears, in our presence.
Here is our conversation.
Will Robin: Could you tell me a little bit about your musical background, up until college?
Matt Marks: I don't come from a musical background. My dad owned an auto place and my mom worked with him. It was very much a car family: my brother was into cars, worked with them, my dad raced cars, all of that. I'm from Downey, California, so like L.A. I started taking piano lessons in second grade and got pretty into that but was never really a pianist-pianist, just played and had a good facility for it. And then in sixth grade I started French horn. When I got into high school I started getting more serious with horn, and actually the first big thing I did was—kind of out of the blue—auditioned for the LA Philharmonic High School Honor Orchestra, the first year they did that. I won first chair French horn. That kind of gave me a big ego boost, to "Oh, maybe this is something serious." I joined more orchestras around there and did a bunch of playing: it was very much horn, horn, horn, classical music, Mahler, everything like that. In high school, I had my Stravinsky thing; I listened to The Rite of Spring and had my mind blown. That was a big thing for me, hearing The Rite of Spring. At this point, I was still pretty ignorant of new music or new music groups, or whether that could be a thing.
I went to Eastman. I did my undergrad there in horn. Like a lot of classical musicians, I started off trying to be really good at my instrument, and not necessary being like, "I'm going to win a job," but just like, "I guess that's what I'm supposed to do." Practicing horn a lot, playing horn a lot, and trying to win auditions and placements at Eastman, stuff like that. My sophomore or junior year, I played the Ligeti Piano Concerto and that kind of blew my mind, and that was this thing for me of like, "Holy shit, this is a new type of music that I don't even understand yet." I did a rare thing for me, which was I took the score to the library and was like, "I'm going to sit down and listen to this because it looks really hard." And then I got lost on the first page. I was like, "What the fuck is going on?" Which is funny, now, because I listen to it and I'm like, "This is such an easy piece," [hums and snaps the rhythms] but for some reason there was so much going on in the 12/8 and 4/4 stuff that I couldn't follow it. I practiced it and learned it: in the horn part there are a lot of microtonal partials and stuff like that, which is something I eventually got kind of into. Within two to three years, I went from "Holy shit. What the fuck is Ligeti? How do I do this?" to then soloing on the Ligeti horn concerto at Miller Theatre for the New York premiere of that, and that was one of Alarm Will Sound's first gigs. That was my senior year, so that would have been 2002.
WR: What was your involvement at the beginning of Alarm Will Sound, which developed out of Ossia, the student new music ensemble at Eastman?
MM: We came to New York, did that [Miller Theatre concert], and it was a success. I think we got a good review. So that was the first kind of like, "Oh, man, maybe we can actually be a thing." At that point, there was Kronos Quartet, there was Eighth Blackbird, there was California Ear Unit, and a bunch of string quartets. And from my perspective, all the other chamber groups were people who tried to play CMA [Chamber Music America], and tried to just be a chamber group and play colleges, and play hard music or whatever, or French wind quintets or whatever, or brass quintets—I was very plugged into brass quintets, and that was pretty bro-y. What's your instrument?
WR: Saxophone.
MM: Oh yeah, sax quartets, you know, all that shit. And there's something really beautiful, but also kinda bro-y about traditional chamber groups—I don't know, whatever, there's probably something bro-y about new music groups. When we started, Alan [Pierson] and Gavin [Chuck] were like, "We want to make this a real thing, an actual group with members." And I was like, "Sure!" But I also had no idea whether that would stick or what. I graduated and then went to London to study at the Royal Academy of Music for a year, so I was like, "Sure, if you want to fly me down to play some gigs, okay," and they did. And that was our first year where we had somewhat of a season, and it was weird because I was in London the whole time so I would just periodically fly back. I left and moved back to the states, first to New Haven and then to New York. I moved to New York in 2004, and from then on it was kind of like, "Okay, now I'm here" and it was actually a pretty interesting time to be in New York for new music groups and shit like that.
You know, I'm your typical composer narcissist so I can just keep talking about myself: feel free to stop me.
I wasn't really particularly interested in playing random orchestral gigs, and eventually working my way up to getting a Broadway show and playing Mama Mia or whatever.
WR: What was it like starting out in New York?
MM: It was pretty shitty for a few years. I knew just a few people in the city, and I was like, "I guess what I'm supposed to do is try to hound gigs, just make friends with horn players and brass players and bro out, and try to get gigs." And I did that to a certain extent, but it was never really my thing. I wasn't really particularly interested in playing random orchestral gigs, and eventually working my way up to getting a Broadway show and playing Mama Mia or whatever. So I pretty soon off decided that wasn't the track for me, or at least I tried for a while and was like "I don't have the heart for this. This is not my thing." It took me a couple years, but I started meeting more people who were involved in new music. I eventually went to Stony Brook for a master's in horn. At that time, I was starting to write music more—mainly electronic music and weird noise music on my sampler, and building my confidence for like, "Maybe eventually this will be something that's not just on my headphones."
At that point, there were maybe about seven Alarm Will Sounders living in the city. We started playing together and doing our own things. I started playing with Caleb [Burhans] and stuff. [Soprano Mellissa Hughes] was like, "Oh, you're making music. You should keep doing that, and I'll sing on some of it." So we started working together. And after a few years, we had A Little Death, Vol. 1, my weird pop opera. That just came out of my weird sample pieces and pop pieces, and having an actual good singer to sing on it. I had that and recorded it and didn't really know what I was going to do with all that material. Around that that time I started writing more for instruments—Mellissa, myself, and James Moore started this weird chamber group called Ensemble de Sade. It was basically this S&M-themed chamber ensemble, but it was also kind of satirical and making fun of itself. This was at that time when – I guess we're still in that time – when classical music was all about tearing down the borders between audience and performers. Performers were trying to dress more casually, inviting people from the audience to join them. And we were generally into the idea, but we had this idea of being this satirical ensemble that was the opposite of that, like "Fuck that, there should be more distance! The audience is beneath us and we're the top, and they're lucky to be here!" So we put on a couple performances where we all dressed in tuxes and we were all super slick looking. We came out and we would be mean looking, play shit and finish and just leave, and not even acknowledge the audience. We had this dominatrix who would instruct the audience when to clap, and they weren't allowed to clap unless she told them. We had all these restrictions on them—they had assigned seating, they couldn't sit near their friends, they were really far from each other. I had been reading a bunch of Marquis de Sade at the time, and so this idea came from 120 Days of Sodom. The audience was seated, and they were super restricted and couldn't talk, and if they did she would yell at them—she had a switch and shit. And then we had this separate section that was a VIP section with friends of ours. We let them sit there and we let them talk, and gave them food and wine. Some of the people who came were pissed about it, but some were like, "OK, I'm in a theatrical thing." We did a few of those and that was pretty fun, and through that, basically, Ensemble de Sade and Newspeak, the two of us formed the New Music Bake Sale.
Marks on stage with Mary Kouyoumdjian (left) and Lainie Fefferman
Photo by Tina Tallon
WR: What appealed to you about New Amsterdam Records—which released The Little Death, Vol 1.—and its scene?
I am interested in this idea of classical music that is appealing to people who weren't bred to appreciate it.
MM: It's less of a scene as in like, everybody's going to the same concerts all the time and hanging out, and bro-ing out. It's more that they tapped into something interesting that was happening in the mid/late 2000s that seemed pretty cool. And it's funny, because we talk about it in the past tense because maybe it's not as much of a thing anymore? But I am interested in this idea of classical music that is appealing to people who weren't bred to appreciate it. I like this idea of classical music, or pop music written by classical musicians, that is a little bit more immediately appealing to people who aren't trained to understand how classical music works. That doesn't mean I think that that's the only music there should be or anything like that, but I think that the people involved in New Amsterdam are all people who are very interested in pop and involve it in their work in some way. Some people more explicitly than others, I think. Some people take ideas from pop music and involve them in music that's clearly written in a modernist tradition, or in a classical tradition. And some people like me are more explicit with it, where it's like, "We're going to make music that's pretty much like pop, but with influences from outside of pop." I think that's interesting, and it was a unique movement or scene or whatever for a while. I think it got pigeonholed by a lot of people outside of New York and also in New York as being like, "Oh, we're going to make classical music more fun – or more accessible." I think a lot of people think that it was really focused on accessibility, or trying to be hip.
WR: What were the early New Amsterdam shows you performed in like?
MM: The vibe at that time at a lot of these things was playing for people or going to their shows to support them, but also, "Oh, this will be genuinely good so I'm going to go check this out." With Little Death, when we did it and I had the small choir, I think I paid them $100 or something like that. I don't know if that'd be possible now. That was 2010, and those people are now touring all over the world and shit, or teaching at USC. There was something kind of special about that. We got like a hundred bucks for it, but it was a day's work and it was fine. I do feel a little bit like it's gotten a bit spread out though: there's not the same feeling of everybody's going to come to everybody's show and everybody's going to play on everybody's show.
WR: How has the new music scene changed since you've been active in it?
MM: I've been in New York eleven years as of September. It's funny. I feel like I've gotten a bit disconnected from it, mainly because I've become more involved in my own things, and I'm also kind of a horrible homebody. It's hard to get me to go out. In the event I have children of my own, I'm a little worried, because I won't go to any shows. I always find a reason to miss shows. What are the scenes right now that I think are cool? I really dig the vibe of Hotel Elefant, Mary [Kouyoumdjian]'s scene.It's a good mix. They tend to be younger—late 20s, early 30s. I guess I like that vibe a lot because, similarly to how I was maybe five years ago or whatever, people are just willing to try shit out and do things, and they aren't necessarily worried about like, "Okay, this many rehearsals means I need to get paid this much and blah blah blah." There's a lot of vitality with younger people, because even though they have less economic freedom, they're just down to do weird shit.
WR: What are the most interesting things you're seeing these days?
MM: I think San Francisco will be seeing more cool stuff. The fact that we did New Music Gathering there was really interesting. There's a ton of stuff happening in San Francisco, and when we were there, a lot of it came on our radar and we were like, "Oh wow, this is great." We'll see what happens in Baltimore, but I know that there's a lot happening there. Part of what we're trying to do with New Music Gathering is to be like, "Hey, there are all these really great scenes. Let's go to these places." Rather than just be like, "Let's do it in New York where we live." Let's go to these places that have these interesting scenes and shine the light on them and let them show the world what they've got, and also have other people there too.
WR: What do you think is the significance of the entrepreneurship rhetoric that's become a significant part of the discussion in classical and new music?
MM: It's a tricky thing, because I do think that it's really important to think creatively about how you're going to run the business that is either yourself or your ensemble or your label or whatever it is, and I think people are getting better at doing that. And I think that's something that sadly hasn't been really taught at schools at a practical level. Schools have their entrepreneurship program or arts leadership program which, if you're a horn player and you're there to play the horn, you just don't engage with. I would have gladly foregone taking the mandatory humanities class that I didn't care about at all to take a class on how to put on a show, how to program a concert, how to schedule rehearsals. That could be a fucking semester class, just scheduling rehearsals. The most stress in my life is about scheduling rehearsals, promoting things. That's terrifying, and I just learned it from being in New York and doing it the wrong way for ten years. That said, I don't think you can think too capitalistically with it. Classical music, I don't know how well it would ever survive as something that is purely capitalistic, purely something people just spend money on.
WR: Those are all my questions. Is there anything else you wanted to add?
MM: Who do you want me to talk shit about?
The New Music Gathering Co-Founders: Matt Marks, Mary Kouyoumdjian, Daniel Felsenfeld, Lainie Fefferman, and Jascha Narveson
Eleanor Cory: What I Really Want To Do
by Frank J. Oteri
What the Stage Means to Me
by Louis Levitt
Arto Lindsay: Space, Parades, and Confrontational Aesthetics
by Sam Hillmer
► ▼One thought on "Uncomfortably Serious and Disarmingly Fun: The Irreplaceable Matt Marks"
Gavin Chuck May 16, 2018 at 2:46 pm
I can hear every inflection of his voice in this. That last line–so Matt!!!
Thanks for writing his and our history.


Theme: Records of the kings of Judah from Solomon through the captivity.
Note: (I) = Israel. (J) = Judah. (S) = Syria. (A) = Assyria. (B) = Babylon. (E) = Egypt. (s) = son of. (d) = daughter of.
Warning of Huldah, the prophetess. (34:22-28) Reform (29-33).
Josiah killed fighting Pharaoh (35:19-27).
JEHOAHAZ(J). Deposed by Pharaoh and carried to Egypt. (36:1-3).
JEHOIAKIM(J). Carried to Babylon by Nebuchadnezzar (36:6-8; cf. Jer. 52:27-30).
JHEHOIACHIN(J). Rebelled and carried to Babylon (36:10).
ZEDEKIAH(J) (MATTANIAH), JEHOIACHIN'S uncle (36:11-23).


text:
Festival of open-air water polo comes to Nantwich
Some of the young guns of English water polo dived into Nantwich Outdoor Pool in Cheshire, England, on Saturday for the MANUP! Junior Edition festival of open-air water polo.
The festival was the first in a series of three unique open-air events being run by MANUP! Water Polo this year. Packaworld is sponsoring the series by providing portable Water Polo Packagoals for all matches.
MANUP! Water Polo Co-founder Craig Stowell said the Nantwich event attracted 10 teams from across England with players aged 15 and under. Liverpool-based Bridgefield Water Polo Club finished in first place, beating City of Sheffield Water Polo Club in a hard-fought final.
"It was a great day out and a real showcase of the talented young players that are emerging in England," he said.
"It was our first festival event aimed at junior players and it was fantastic to see so many in the pool giving it their all."
The portable Water Polo Packagoals were chosen because of their portability and professional quality. They made set up easy and performed well throughout the tournament, Mr Stowell said.
Among those watching the 18 May event was Packaworld Chief Executive Peter Roberts. He said he was impressed with the quality of play and the professionalism of the organisers.
"The team at MANUP! are doing a brilliant job of raising awareness of water polo and taking the game to new locations. The young players had a fantastic time and the open-air venue made for a wonderful event."
MANUP! Water Polo is an event series bringing the sport of water polo from the confines of indoor swimming pools out into open air locations.
Other MANUP! Water Polo events scheduled to take place this year include open water events at Liverpool's historic Albert Dock on 22 June and a return to the location of last year's inaugural MANUP! event at Dock 9 Media City, Salford Quays, Manchester, on 3 August.
VIDEO: Packaworld at the MANUP! Junior Edition in England
For more information about Water Polo Packagoals visit our water polo product pages >>


text:
Q: Bokeh Slider Stacked Bar Chart I want to be able to only show the initial top 3 bars and then show more or less bars using the slider. I don't know if this is possible using the slider widget of bokeh or if there is a better method.
from bokeh.models.widgets import Slider
from bokeh.layouts import widgetbox, column
from bokeh.models import CustomJS, Slider

fruits = ['Apples', 'Pears', 'Nectarines', 'Plums', 'Grapes', 'Strawberries']
years = ["2015", "2016", "2017"]
colors = ["#c9d9d3", "#718dbf", "#e84d60"]

data = {'fruits' : fruits,
        '2015'   : [2, 1, 4, 3, 2, 4],
        '2016'   : [5, 3, 4, 2, 4, 6],
        '2017'   : [3, 2, 4, 4, 5, 3]}

source = ColumnDataSource(data=data)

p = figure(x_range=fruits, plot_height=350, title="Fruit Counts by Year",
           toolbar_location=None, tools="")

p.vbar_stack(years, x='fruits', width=0.9, color=colors, source=source,
                         legend=[value(x) for x in years], name=years)

callback = CustomJS(args=dict(source = source), code="""
var data = source.data;
var start = slider.value;
var x = data['OOC_EQP'];
x_range.setv({"start":start, "end":start+10});
""")

p.y_range.start = 0
p.x_range.range_padding = 0.1
p.xgrid.grid_line_color = None
p.axis.minor_tick_line_color = None
p.outline_line_color = None
p.legend.location = "top_left"
p.legend.orientation = "horizontal"

slider = Slider(start=1, end=6, value=3, step=1, title="Range")
callback.args["slider"] = slider

layout = column(p, widgetbox(slider))

show(layout)

A: I don't see a need to use javascript callback here. A native python on_change function can be used here. The function will change the x-axis range without changing any back-end data, and will be really fast -
from bokeh.models.widgets import Slider
from bokeh.layouts import widgetbox, column
from bokeh.models import Slider, ColumnDataSource
from bokeh.plotting import figure, curdoc
from bokeh.core.properties import value
from bokeh.models.ranges import FactorRange

fruits = ['Apples', 'Pears', 'Nectarines', 'Plums', 'Grapes', 'Strawberries']
years = ["2015", "2016", "2017"]
colors = ["#c9d9d3", "#718dbf", "#e84d60"]

data = {'fruits' : fruits,
        '2015'   : [2, 1, 4, 3, 2, 4],
        '2016'   : [5, 3, 4, 2, 4, 6],
        '2017'   : [3, 2, 4, 4, 5, 3]}

source = ColumnDataSource(data=data)

## Note [0:3] for first 3 fruits only in default graph
p = figure(x_range=fruits[0:3], plot_height=350, title="Fruit Counts by Year",
           toolbar_location=None, tools="")

renderers= p.vbar_stack(years, x='fruits', width=0.9, color=colors, source=source, \
                         legend=[value(x) for x in years], name=years)

p.y_range.start = 0
p.x_range.range_padding = 0.1
p.xgrid.grid_line_color = None
p.axis.minor_tick_line_color = None
p.outline_line_color = None
p.legend.location = "top_left"
p.legend.orientation = "horizontal"

slider = Slider(start=1, end=6, value=3, step=1, title="Range")

#function to update axis range
def update_axis(attrname, old, new):
    a=slider.value
    p.x_range.factors=fruits[0:a]

#Adding fucntion to on_change
slider.on_change('value', update_axis)
layout = column(p, widgetbox(slider))

#use curdoc to be used with bokeh server - use 'bokeh serve --show <filename>.py'
curdoc().add_root(layout)

Call this using Bokeh serve, as it need python backend to run the function
In case you want to use Javascript only, and not the bokeh server, even in that case, I will suggest to change only x_range, and not the data. See code below -
from bokeh.models.widgets import Slider
from bokeh.layouts import widgetbox, column
from bokeh.models import Slider, ColumnDataSource, CustomJS
from bokeh.plotting import figure, curdoc
from bokeh.core.properties import value
from bokeh.models.ranges import FactorRange
from bokeh.plotting import figure, output_file, show, ColumnDataSource

fruits = ['Apples', 'Pears', 'Nectarines', 'Plums', 'Grapes', 'Strawberries']
years = ["2015", "2016", "2017"]
colors = ["#c9d9d3", "#718dbf", "#e84d60"]

data = {'fruits' : fruits,
        '2015'   : [2, 1, 4, 3, 2, 4],
        '2016'   : [5, 3, 4, 2, 4, 6],
        '2017'   : [3, 2, 4, 4, 5, 3]}

source = ColumnDataSource(data=data)

## Note [0:3] for first 3 fruits only in default graph
p = figure(x_range=fruits[0:3], plot_height=350, title="Fruit Counts by Year",
           toolbar_location=None, tools="")

renderers= p.vbar_stack(years, x='fruits', width=0.9, color=colors, source=source, \
                         legend=[value(x) for x in years], name=years)

p.y_range.start = 0
p.x_range.range_padding = 0.1
p.xgrid.grid_line_color = None
p.axis.minor_tick_line_color = None
p.outline_line_color = None
p.legend.location = "top_left"
p.legend.orientation = "horizontal"

print(renderers[0].data_source.data['fruits'])

callback = CustomJS(args=dict(fig=p, xr=renderers[0].data_source.data['fruits']), code="""
    var A = slider.value;
    fig.x_range.factors = [];
    for (i = 0; i < A; i++) {
      fig.x_range.factors.push(xr[i])
    }
""")

p.x_range.js_on_change('factors', callback)
slider = Slider(start=1, end=6, value=3, step=1, title="Range", callback=callback)
callback.args["slider"] = slider
layout = column(p, widgetbox(slider))

output_file("ChangenumCat.html")

show(layout)

redpajama_set_name: RedPajamaStackExchange


text:
Arts & Entertainment, Writing
Lesson time 8:28 min
For Malcolm, a title is the ultimate attention-grabber. Learn how to write powerful titles that will speak to your reader's emotions.
Topics include: Grab the Reader • Add Tension to Your Titles • Think of Your Title as an Ad
Teaches Writing
In 24 lessons, the author of Blink and The Tipping Point teaches you how to find, research, and write stories that capture big ideas.
2. Structuring Narrative: The Imperfect Puzzle
3. Holding Readers: Tools for Engagement
4. Holding Readers: Controlling Information
6. Selecting the Story
7. Developing the Story
8. Developing the Story: Analogous Worlds
9. Interviewing
10. Characters: Descriptions
11. Characters: World Building
12. Character Case Study: "The Pitchman"
13. Structuring Language
14. Jargon
15. Tone and Voice
16. Humor and Melancholy
17. Case Study: Language and Emotion in "Something Borrowed"
18. Titles
19. Drafts and Revisions
20. When Your Story Enters the World
21. Working as a Writer
22. How to Read
23. Who to Read
24. Conclusion: A Theory of Other Minds
I'm fascinated by that notion of capturing someone's attention. And that's what a title is. Right? A title is an even more edited attention grabber. So I think I spend enormous amounts of time thinking about the titles to my books-- "Tipping Point," "Blink," "Outliers." And no one-- for each of those titles-- well, for "Blink" and "Outliers," there were people who thought-- they tried to talk me out of those titles. And I will not-- I cannot be talked out of my titles. That is the one thing-- I can-- I will open-- I am open to criticism on every level, and I-- but not about titles, because that's the thing that I feel most strongly about. You know, my podcast, "Revisionist History" was-- no one wanted that title. I was like, nope, that's what we're going to call it. Because these are-- this is something that I've-- that I have-- that I kind of prioritize, that notion of-- because the title fr-- the title or a phrase frames something quickly in someone's mind. And that fr-- once you own the frame, you have a huge advantage in capturing their attention. Like, the title of my podcast, "Revisionist History," that's it. That's everything I want to do. Right? I want to go over the thing that you think you know, and I want to twist it. "Outliers," the-- it's one of those beautiful words that the definition of the word is in the word. I don't know if-- is there-- is there a word for that? There must be. It-- someone who lies outside of the mainstream. That's what I wanted to describe. How do you get outside? "Outliers" is this great, fantastic, one-word description. And "Blink" was about-- That's what it was about. Right? That moment. What happens in the moment? You don't need any other words if you've got that word. And so I think those-- very often in writing we leave the titles to someone else, which is, in my-- you know, a mistake. You should spend as much time, I think, thinking about titles as you do about content. In fact-- I sometimes do this. And I think I mentioned it once. I have on more than one occasion come up with the title first and realized, oh, that's a great-- that's a great story to write. I don't know what the story is, but the title's fantastic. Right? Titles and conceptual names and whatever are always more powerful when there-- there's an emotional connotation attached to them. It's like-- on the theory of titles, I once made a list of what I thought were the 20 or 25 greatest book titles of all time. And there's a very, very consistent pattern in great book titles, which is that they-- there is a-- if there are two words, the two words in the title are in tension. They are contradictions. Ralph Nader famously wrote a book about how unsafe cars were. It was about the Corvair. It was called "Unsafe at Any Speed." The title has a contradiction, right? Speed is about-- is a continuum with safety on one end and unsafety on the other. He's saying, unsafe at any speed. Meaning, the continuum doesn't w...
Ketchup. Crime. Quarterbacks. Thanks to Malcolm Gladwell's books, these ordinary subjects have helped millions of readers grasp complex ideas like behavioral economics and performance prediction. Now, the renowned storyteller and best-selling author of Blink and The Tipping Point is teaching his first online writing class. Craft stories that captivate by learning how Malcolm researches topics, crafts characters, and distills big ideas into simple, powerful narratives.


text:
Q: check Return result from function My function 'GetResultById' returns true or false. How can I check the return result from the function in JQuery? I am trying to hide and show RadComboBox depending on the result.
 Here is my code. Also I would like to hide RadComboBox when the page loaded. I put combo.hideDropDown() in Init function but it doesn't seem to be working. Please let me know.
        $.ajax({
            url: applicationPath + "/test/Test.svc/GetResultById",
            type: "POST",
            dataType: "json",
            data: '{"sId":' + sender.get_value() + '}',
            contentType: "application/json; charset=utf-8",
            success: function(result)
             {
                  if(result == true)
                  {
                     combo.hideDropdown();
                  }
             }

A: I am not sure, but I think the result will not be delivered as a boolian but as a string. therefore you have to check for result == "true"...

A: If you use any ajax function in asynchronous mode, you will not return a value that calls the function depending of the result of the consultation as the call is asynchronous.
to display and hide something you can use jQuery.ajax events:
beforeSend
complete (or "error" and "success")
Documentation of jQuery.ajax

A: The best is to debug with Firebug. It could very well be that your JSON serialization framework you use on the server, doesn't output the boolean directly, but as a field of an object instead.

A: When using a service in ASP and an AJAX call, I believe the results are always passed back in the "d" property. That is to say your callback on an AJAX success will have the "actual" result in result.d property, not just result.
e.g.
success: function(result){
  alert(result.d); // actual return result
}

(Or it may be ".d", I honestly forget right now, but either way "result" alone (I don't believe) has the result)
Update
it appears I was right about the logic, not the property. result.d will have your return result.


Development digest: 112 changesets, 24 bugs reported, 6 bugs fixed, 2 enhancements suggested, 1 enhancement closed, 7 documentation defects reported, and 37 documentation edits.
sfDoctrineRevisitedGeneratorPlugin: adds an extra theme to sfDoctrineGenerator, which adds the capability of the show action.
dcSwishPlugin: allows you to index files on the filesystem of the server and search by keywords. This can be done using a module provided by the plugin.
sfWidgetFormjQueryDatePickerPlugin: small plugin to use jQuery's date picker in symfony. It is based on sfWidgetFormJQueryDate.
rcParallelTaskPlugin: allows to create task that can fork for parallel processing. It provides an easy way to create as many child as you want and a simple queue and lock system.
sfUserOnlinePlugin: allows you to manage user status by changing user class in your factories.yml to sfUserOnline. This class extends sfUser class and you don't drop any user logic.
vjCommentPlugin: it provides a comment behavior. Now, everything is commentable!
sfPropelCachePlugin: use a Propel connection for symfony caching.
fzDoctrinePagedRoutePlugin: provides route and route collection classes which makes it easy to create routes for paged lists and their elements.
sfImageTransformExtraPlugin: provides all means to configure any set of thumbnail formats with all possible transformations in a YAML file. All these configured settings can be applied to any kind of source image using a nice URL schema.
constraints are now emitted as a list rather than attempting to force English grammar and a comma-separated list with "and."
Plancake: (English) free online todo list and tasks manager. It is open source, free, simple-to-use and feature rich.
LimeSurvey with load balancers, fixing the user sessions.
rcParallelTask Plugin : Un plugin pour exécuter des taches Symfony en parallèle.


We developed a test methodology and evaluation criteria in six main areas, including results reporting, product controls and manageability, scan results, vulnerability workflow features, interoperability, and updates and protocol support.
We started by installing each product in our test lab in Tucson, Arizona. For products that offered both on-site and off-site scanners (QualysGuard VM and FusionVM), we elected to install at least one on-site scanner for inside-the-firewall scans and used their outside scanner for outside-the-firewall scans.
We worked with three production networks at three companies, including a manufacturing organization with several hundred mostlyWindows servers, a mid-sized business network with a mix of about 100 Windows and Unix servers and embedded devices, and an Internet-facing DMZ of a software development firm, entirely Unix-based.
We also put together a special test network with non-production systems that we could use to control the deployment of patches and updates. The test network had four specific systems that we chose as typical examples of enterprise servers and clients, including two Windows systems (Windows 2003 and 2008), a Mac, and a Linux system.
Over a three-month period from January to March 2011, we launched the scanners repeatedly against the different networks, trying to use them as a normal enterprise security manager might. As results came in, we saved them and took notes on the different test criteria.
Towards the end of the test, we finally allowed our test systems to patch themselves using built-in operating system tools (such as Microsoft Update) and then re-ran the scans on those systems. Our goal in this area was to evaluate both "delta" scanning (comparing the results of two scans), as well as false positive and false negative results from the scanners by very closely inspecting the results.
We were careful to evaluate the products in this test as vulnerability analyzers and not just vulnerability scanners. For example, SAINT Corporation, one of our participants, has a separate product, SAINTexploit, which not only detects vulnerabilities but also actively exploits them to prove their existence. That's an incredibly cool product, but not part of this test.


Amazon has the Jaybird X3 Sports Bluetooth Headphones for just $79, that's good for $50 off of its regular price, and also matches its all-time lowest price. Making this a great time to pick up a pair.
The Jaybird X3 are a pair of Bluetooth headphones that have repeatedly gotten great reviews and high ratings, due to how lightweight it is, as well as how great the battery life is. You're looking at about 8 hours of battery life here, as well as having fast charging which gives you an hour of playtime from a 15-minute charge. These are also sweat-proof, making them great for taking to the gym or on a run. With the Jaybird My Sound app, you are able to also adjust the EQ for the headphones and get the best sounding audio possible here.


text:
fw_depends databases

fw_installed postgresql && return 0

# delete any old required files that do not belong to us as
# scp will fail otherwise
ssh $DBHOST 'bash' <<EOF
  sudo rm -rf create-postgres-database.sql
  sudo rm -rf create-postgres.sql
EOF

# send over the required files
scp $FWROOT/toolset/setup/linux/databases/postgresql/postgresql.conf $DBHOST:~/
scp $FWROOT/toolset/setup/linux/databases/postgresql/pg_hba.conf $DBHOST:~/
scp $FWROOT/toolset/setup/linux/databases/postgresql/60-postgresql-shm.conf $DBHOST:~/
scp $FWROOT/toolset/setup/linux/databases/postgresql/create-postgres-database.sql $DBHOST:~/
scp $FWROOT/toolset/setup/linux/databases/postgresql/create-postgres.sql $DBHOST:~/

ssh $DBHOST 'bash' <<EOF
# install postgresql on database machine
sudo apt-get -y update
sudo apt-get -y install -o Dpkg::Options::="--force-confdef" -o Dpkg::Options::="--force-confold" postgresql

# This will support all 9.* versions depending on the machine
service postgresql status &> /dev/null && sudo service postgresql stop
# Because postgresql...
sudo killall -9 -u postgres

# Make sure all the configuration files in main belong to postgres
PG_VERSION=`pg_config --version | grep -oP '\d\.\d'`
sudo mv postgresql.conf /etc/postgresql/\${PG_VERSION}/main/postgresql.conf
sudo mv pg_hba.conf /etc/postgresql/\${PG_VERSION}/main/pg_hba.conf

sudo chown -Rf postgres:postgres /etc/postgresql/\${PG_VERSION}/main

sudo rm -rf /ssd/postgresql
sudo cp -R -p /var/lib/postgresql/\${PG_VERSION}/main /ssd/postgresql
sudo mv 60-postgresql-shm.conf /etc/sysctl.d/60-postgresql-shm.conf

sudo chown postgres:postgres /etc/sysctl.d/60-postgresql-shm.conf
sudo chown postgres:postgres create-postgres*

service postgresql status &> /dev/null || sudo service postgresql start
EOF

echo -e "ssh \$DBHOST <<EOF" > $IROOT/postgresql.installed
echo "sudo -u postgres psql -q template1 < create-postgres-database.sql" >> $IROOT/postgresql.installed
echo "sudo -u postgres psql -q hello_world < create-postgres.sql" >> $IROOT/postgresql.installed
echo "EOF" >> $IROOT/postgresql.installed

source $IROOT/postgresql.installed

redpajama_set_name: RedPajamaGithub


text:
13 Horror Movies to Watch on Netflix This Halloween Season
By Matt Wood published 18 October 18
It's Halloween, which only means one thing: Candy! Well, and costumes, of course. And mischief. Oh, and awkward office parties. Okay, Halloween means a lot of things, but chief among them -- and most relevant to us -- is scary movies. Nothing says October like a good scary movie, and there are hundreds of horror films for all kinds to watch. Thanks to the emergence of streaming, it's never been easier to find your favorite scary movie in time for the holiday, and as far as Netflix is concerned, there are a lot of good ones on there.
Netflix has a large library to comb through, so it's impossible to include every single horror movie on one list. This list features what we think is a solid mix of timeless classics, new favorites, and maybe even some stuff you haven't checked out yet. The point is to watch good movies that give the chills before Halloween, so sit back and check out these 13 spooky flicks that are all available on Netflix.
Let's start off with the double whammy of a Kubrick classic AND a Stephen King adaptation. The Shining is an iconic horror movie with some of the most memorable moments in cinema. Who can forget Red Rum, the freaky twins in the hallway, the river of blood, or Jack Nicholson poking his head from the door and shouting "Here's Johnny!"? It's a must-watch for any horror fan, and Nicholson gives an unhinged and excellent performance. Fun fact: Stephen King hates this movie. He did not agree with the direction Stanley Kubrick took the story. Whose side do you take?
One of the more recent horror movies on this list, The Witch (or The VVitch, if ya nasty) was released in 2015 to rave reviews. The indie flick told the story of a 17th-century New England family that becomes plagued by witchcraft. The movie slowly builds up the terror and tension as each minute grows more unsettling. The Witch is thoughtful and takes care in everything from lighting to set design, and it doesn't rely on jump scares to get the job done. You get hooked on the fact that something terrible is happening and director Robert Eggers creates a film that excels in every category.
Hush is easily a film that could have been labeled as a gimmick and then sunk into obscurity. However, it has grown in popularity over the years because it uses that "gimmick" as an authentic storytelling device to heighten the suspense to Chew-Your-Fingernails-Off levels. The film follows a deaf woman living in an isolated house who becomes the target of a killer. Obviously, she can't hear him outside or inside of her home, and once the action ramps up, it becomes a game of cat and mouse as the audience is left likewise left in the dark. Hush didn't gain a ton of attention when it first premiered on Netflix, but it's been climbing up the list of best modern horror movies.
Part of what's great about the horror genre is that the films are reflections of broader issues. For example, The Wolfman symbolizes the animal nature hidden in men, while Get Out is about racism (which is oversimplifying it, but still valid). It Follows is unsubtly about sex, but it examines it in a thoughtful and visually interesting way. The movie follows a girl who becomes the target of a supernatural entity that gets passed on through sex with the previous holder of the curse. Basically, it's an STD, but It Follows is often insightful, earnest, and scary -- all without being preachy. Plus, the monster is extremely creepy.
James Wan created a massively successful franchise of horror films, and it all began with The Conjuring. Made with a $20 million budget, the movie earned $319 million worldwide, ultimately cementing The Conjuring's place as one of the most successful modern horror franchise. The film follows Patrick Wilson and Vera Farmiga as ghost hunters who investigate a family that has become the target of a malevolent spirit. Not only did the film satisfy audiences and critics, but it helped to establish the success of modern horror filmmaking: a smaller budget with limited digital effects, but creating tension through creepy scares. The Conjuring should be seen at least once by any fan of the genre.
The horror genre has moved away somewhat from building franchises around movie monsters, but sometimes you just can't beat a good monster. Enter The Babadook, another indie darling that earned highly positive reviews for its filmmaking techniques and genuine horror. The story followed a widow trying to protect her some from a mysterious beast known as the Babadook. The movie was praised as on of the best films of 2014 and it that it was incredibly scary. Interestingly enough, The Babadook has become popular in LGBT circles after an internet meme about the Babadook being openly gay went viral.
This Netflix horror film boasts one of the coolest looking movie monsters in the past decade. The film follows a group of friends who go on a backpacking trip through the wilderness of Sweden to spread their friend's ashes. They venture off the recommended path (always a mistake) and soon find that they have become the target of a horrendous monster as a part of a twisted ritual. It's a very suspenseful film that plays mind games with the viewer as things rapidly begin to unravel for these four friends. Again, the creature is the star of the show and it has one of the most original designs in the genre.
M. Night Shyamalan's first, and arguably most successful film, The Sixth Sense is an extremely well-known horror movie. There's a very good chance that you already knew the big twist before even seeing the movie, and while that twist is a huge part of it, it's not the sole reason the movie is good. It's a slow but well-paced supernatural horror that stars Bruce Willis as a child psychologist helping a young boy who claims to see dead people. Sometimes dead people aren't so nice and the movie builds to one of the most iconic climaxes in cinematic history. Not only was this one of the most financially successful horror films, but it was nominated for six Academy Awards, including Best Picture.
It wouldn't be much of a horror list without at least one zombie movie. Train to Busan isn't scary, but it's pure entertainment. The 2016 South Korean film tells the story of a group of passengers trapped on a train to Busan as the zombie apocalypse breaks loose. The film takes a while to get started, but once the zombies get on the train, it's a non-stop thrill ride as these random passengers come together to battle the undead. Not only does the movie have great physical acting for the zombies but it features an incredibly entertaining sequence where three of the best characters have battle their way to the front of the train through zombie-infested cars. Plus, it almost captures the feeling of what commuting is like.
While it wasn't as hotly received as a lot of other movies on this list, Oculus is an underrated flick that more people should check out. Directed by Mike Flanagan, the plot follows a family through two different time periods. In the past, a family buys an antique mirror that drives the parents insane, and then in the future, the now adult children must find a way to destroy. The two storylines are told in parallel, and the flashbacks slowly reveal the twisted game at work. Oculus has solid performances all around with a decent plot and some good scares to keep you clutching your chair am.
The Children of the Corn
While not the best adaptation of Stephen King's work, Children of the Corn is nevertheless a classic. Based on King's short story of the same name, a bickering couple finds themselves stranded in the town of Gatln, Nebraska, home to a cult of devout children who don't take kindly to adults. Things go from bad to worse, but they never get as bleak as King had intended in his story. The movie likely angers King diehards, but if creepy kids are your horror bread and better, then this film is not to be missed.
Easily the youngest film on this list, Apostle came out just this month on October 12. Starring Dan Stevens, the plot follows a former missionary named Thomas who sneaks onto an island of cultists in order to rescue his kidnapped sister. It's not a spoiler to say that things don't go smoothly for Thomas and things get pretty grizzly on that island. Apostle has gotten some good reviews out of the gate, with critics praising its visuals, cinematography, performances, and unique blend of horror genres.
The dinner party from hell subgenre usually make for solid horror movies where the cast is trapped in a bottle ready to crack at any moment and the same is true for The Invitation. Without giving too much of the plot away, the film features a seemingly straightforward premise of friends and ex-lovers reuniting for a dinner party and then all hell breaks loose. The Invitation can be a tense thriller and slowly unravels itself to reveal the darkness that's growing at this dinner party. Some might say that it's too slow, but if you stick with it until the end you might not be disappointed.
Matt Wood
Matt has lived in New Jersey his entire life, but commutes every day to New York City. He graduated from Rowan University and loves Marvel, Nintendo, and going on long hikes and then greatly wishing he was back indoors. Matt has been covering the entertainment industry for over two years and will fight to his dying breath that Hulk and Black Widow make a good couple.
Catwoman: Hunted Writer Explains Why The DC Movie Uses Batwoman Instead Of Batman
Teyonah Parris Shares Throwback WandaVision Dance Video On One Year Anniversary Of The Show
Leonardo DiCaprio Weighs In On Netflix's Wild Don't Look Up Ending, And Why It Needed To Play Out The Way It Did


text:
Q: jquery getting trigger function to fire with certain mouse coords on jquery ui slider I wont bother with the background of the project but I am having issues getting a jquery ui slider to register a click using the trigger function.
Basically design dictates that a label (or any dom element) sits on top of the slider. This has to be donw by tweaking that elements z-index in css. However, you then obviosuly cant click the slider as this element is on top of, and thus in the way, and nothing registers.
I have set up a fiddle here which helps detail the issue. Basiucally I wont both sliders to act the same functionally (with or without the label).
http://jsfiddle.net/adrianjacob/5StND/
js for ref:
$("ul > li").each(function () {

    $(this).children('span').slider({
        value: 100,
        min: 0,
        max: 500,
        step: 25
    });

    $(this).on('click', 'label', function (e) {
        var evt = {
            'type': 'click',
            'pageX': e.pageX,
            'pageY': e.pageY
        };
        $(this).siblings('span.ui-slider').trigger(evt);
    });

});

Cheers,
Adi.

A: Here's a solution that inserts the span element within the handle, so it stays 'attached' to the handle.
$(this).children('span')
    .slider({
        value: 100,
        min: 0,
        max: 500,
        step: 25
    })
    .siblings("label")
        .appendTo($(this).find(".ui-slider-handle"))
;

Here's a link to jsfiddle


Cisco Systems, Inc. is dedicated to serving its shareholders. On this page, you can learn about the Computershare Investment Plan, a Direct Stock Purchase and Dividend Reinvestment Plan for Cisco Systems, Inc. Common Stock, as well as other Cisco Systems, Inc. investment options.
Cisco's transfer agent, Computershare, sponsors and administers the Computershare Investment Plan for Cisco Systems, Inc. Common Stock. This plan offers direct stock purchase and dividend reinvestment options and is available to current Cisco Systems, Inc. stockholders as well as new investors. For more information, you may contact Computershare, the plan administrator.
You can invest in the common stock of Cisco Systems, Inc. through many financial institutions such as full-service brokers, discount brokers and online brokers. Minimums, fees and other terms may vary. Consult your local listings or financial advisor for more information.
You are a Beneficial Shareholder if you hold your Cisco Systems shares in a brokerage account.
You are a Registered Shareholder if you have your Cisco Systems stock certificate in your possession.
Foreign Investors: If you do not have a US/Canadian Social Security Number or Tax ID associated with your account, click here.


Load capacity and usable volume of cargo compartments.
Following standard conditions are applied for all cargo unless specifically required for several stations.
List of goods for which the legal regulations of the Russian Federation define prohibitions and restrictions when they move across customs border of the Russian Federation.
To be used in order to identify the goods as per List of prohibited or restricted goods Federal Customs Service letter No.: 1-11/28567.


Oglesby ISD is a school district in Oglesby, TX. As of the 2017-2018 school year, it had 178 students. The school received an accountability rating of Met standard. 49.4% of students were considered at risk of dropping out of school. 6.2% of students were enrolled in bilingual and English language learning programs.
An average teacher's salary was $40,459, which is $12,875 less than the state average. On average, teachers had 11.4 years of experience. In the Class of 2017, 100% of students received their high school diplomas on time or earlier. The dropout rate was 1.7%.
Students in Oglesby ISD are part of the Texas Education Agency's Region 12. Students who started eighth grade in 2006 in this region had a college graduation rate of 22.1 percent. View a more comprehensive breakdown of the higher ed outcomes in Region 12.


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Michael Bublé Announced As Brit Awards 2017 Host
He's succeeding previous presenters Ant and Dec.
07/10/2016 08:38am BST | Updated October 7, 2016
Michael Bublé has been announced as the host of the 2017 Brit Awards.
The Canadian crooner will front of proceedings at next year's ceremony, which takes place on 22 February.
Michael, who has been nominated for three Brits in his career but is yet to win one, is succeeding previous hosts Ant and Dec in the role. The pair presented the awards show for the past two years.
Michael Bublé will host next year's Brit Awards
David Jensen/PA Wire
Speaking of landing the coveted job, Michael said: "It's a huge honour for me to host such a big night in music. Even though I didn't grow up as a Brit I've always been well aware of The Brit Awards and their impact globally.
"As a fan of music this is the perfect gig. I'm very much looking forward to February and celebrating the success stories of a great year in music."
It is only the second time in the Brits' 40-year history there's been a non-British presenter.
The last person who claimed that title was RuPaul, who co-hosted the 1994 show with Elton John.
Ant and Dec have hosted the show for the past two years
Dave J Hogan via Getty Images
Brits boss Jason Iley added: "This is a huge coup for The Brit Awards and we are delighted to announce Michael as our host for 2017. He is an extremely talented and charismatic world-class entertainer much loved by the British public. Michael will add an exciting element to our show in 2017."
Other previous hosts of the Brits include Russell Brand, James Corden, Cat Deeley, Davina McCall, Chris Evans, Peter Kay, and of course, who could forget blundering duo Sam Fox and Mick Fleetwood's ill-fated stint in 1989.
In another change for the Brits, the full nominations for 2017 will be announced live on a primetime weekend TV, featuring special performances on Saturday 14 January on ITV.
14 Surprising Brit Awards Winners
uktv uk celebrity uk musicant and decBRIT awards


Welcome to the highly desirable Hampton Village! Arguably the best floorpan within the complex. Lives like a single family home without the exterior upkeep. Open floor plan, spacious kitchen with tons of counter space, cabinets, and pantry closet. Stainless steel appliances. Cozy fireplace with mantel. Attached 2 car garage with driveway. Private courtyard patio. Upstairs laundry and tons of storage space throughout. Excellent location!!


A subtle exterior facelift hides a more powerful and efficient 217bhp engine. Have the changes improved VW's popular coupe?
This third-generation Scirocco got a mid-life facelift in 2014 to keep it fresh against rivals like the BMW 2 Series and Seat Leon SC.
The changes are subtle and include restyled front and rear bumpers, new headlights, LED rear lights and a revamped range of engines. This 2.0-litre TSI 220 engine replaces the previous TSI 210, with marginally more power but a big increase in torque, as well as significant gains in efficiency.
The new engine – codenamed EA888 – comes straight from the current Golf GTI. It has a new cylinder head with an integrated turbocharger and uses the engine's coolant to lower the induction charge temperature.
This feature, along with engine stop-start technology and brake energy recuperation, helps account for the claimed 19% increase in fuel efficiency. Its claimed average combined fuel economy is 47mpg with CO2 emissions of 139g/km, or 44.1mpg and 148g/km as a DSG.
However, performance is an equally important matter for many coupe buyers and the 220 impresses here, too. Although power is increased by just 10bhp, there's now 51lb ft more torque than before, which is available from 1500rpm. Bearing in mind the claimed efficiency gain, that's quite impressive.
What this means in the real world is a car that sprints to 62mph from rest in 6.5 seconds (0.4sec quicker than the old model). Judging by the sensations you feel whilst trying to match that number, that pace is bona fide.
Sadly, on the morning of our test Mother Nature had decided to lay a carpet of snow over Surrey, and although this did turn to slush as the day wore on, the roads were never in a position to offer much grip.
Handicapped by the absence of any fancy mechanical or electronic differential, the 220 R-Line demonstrated a preference for spinning its wheels from a standing start or when accelerating quickly out of slow corners. However, once grip was restored the R-Line pulled hard, with only a momentary lag before the boost gauge needle shot around to its two-bar maximum.
The engine is smooth, and the gearbox works well in either auto or manual modes, although it could be slightly faster on up-shifts.
Modern electric power steering systems tend to be criticised for their absence of feel, but the Scirocco's set-up performs well for a system of its type. There is a decent amount of feedback to let you know what the front wheels are up to and it's relatively direct with good, progressive weighting.
The ride is decent, too; it's certainly firm, as you would expect it to be, but never uncomfortable.
The exterior changes are quite subtle and it's the same story inside. The cabin is largely as it was, which means it still offers a good driving position well placed controls – with the exception of VW's habit of locating the door mirror control sideways on the door, making it less intuitive to use, especially when the interior door handle is so close.
All models now get a pod containing three dials, including the aforementioned boost gauge, which sits on top of the dashboard. It feels like a bit of an afterthought, but nevertheless, does jazz up the otherwise smart but functional look of the Scirocco's interior. In the back it's got two useable seats, which fold down to extend the 312-litre boot.
R-Line trim gets you electrically operated leather sports front seats, with the R-Line logo embossed in the headrests, faux carbon trim, aluminium pedals and sat-nav with a 5in touchscreen.
Outside the specification includes 19in alloy wheels, front and rear parking sensors, tinted glass, plus unique R-Line bumpers and side skirts.
The Scirocco's looks have always won admirers, and the subtle changes maintain the status quo. If you're after a practical coupe that's inconspicuously handsome and well-equipped but aren't worried about handling finesse, then it's definitely one to consider.
However, in R-Line trim, even without the DSG 'box, it's £28,195. With the DSG, it's £29,695.
That puts it smack-bang into the territory occupied by premium contenders like the BMW 220 M Sport (£27,395) and the new Audi TT (£29,860).
These rivals may not match the Scirocco's spec list, but both are more fun to drive while offering a more premium package. Also, the lighter, more powerful TT is quicker while the slightly slower 2 Series matches it for practicality.
Alternatively, a three-door Seat Leon Cupra offers even more bang for your buck. It's coupe-like rather than the real deal, but it's cheaper and more practical.
I'd like to see the next version of the Scirocco combined in design terms with a new ultra modern Beetle, to produce a four seater coupe that references the Porsche 911.
Is it just me or is this quite a poor facelift - it looks like a cheap aftermarket body kit has been stuck on with those awful plasticy fins on the air intakes.
It was a nice car when it first came out but it's looking dated in and outside now - a shame it hasn't been renewed at the same stages as the golf - the current Golf styling could translate nicely into a handsome, sleek coupe.
I agree, they've not done a great job.
Yeah that's the problem with this car; it's been sorely neglected as every other model in the VW range has already had at least one replacement and facelift since 2008 (when this MK3 Scirocco came out). The Scirocco already had a facelift a few years ago, so getting a second facelift instead of a all-new replacement is rather anticlimatic; yes it's getting the new engines and such to keep up to date, but it's aged as it's still fundamentally based on the MK5 Golf which has long gone now. And we're already supposedly around half-way through the MK7 Golf's lifespan until the MK8 Golf comes out; so the Scirocco desperately needs a replacement MK4 model to come out.
Having owned one of these from new it was one of my most disappointing purchases, very poor from a standstill and the dsg box was not suited to the 2.0 tsi engine - always seemed to be in the wrong gear. This does not seem to have improved in the same way as the golf mk7 has and is too expensive for a very old design. My Mk5 golf GTi was a much better car.
mk7 golf GTi or BMW M135i a much better purchase for similar money (after discounting)Happy with my BM after 2 years so quite a recommendation from a self confessed petrol head.
This engine with this very output sounds awfully familiar. Do the Volkswagen use it in many of their applications? I also wonder why is Volkswagen considering axing Scirocco if it really is "popular".
That's gotta be well specced Golf GTI money? Or to really put it into perspective - Golf R's can be found online for around 26.5k! Why pay more for this! Good car don't get me wrong but their prices on all the facelifted models are far too high when its an older design.


At the Fence: Last Chance for the 4th of July Surprise Box!
Here is the last addition to the 4th of July Surprise Box! Be sure to enter as this ends July 4th! The entry post is HERE.
Pretty plate and stand. The plate says, "FAMILY Where life begins and love never ends."
I hope you have had fun with this giveaway! See you soon, At the Fence!
Be sure to enter HERE!


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Alcoa's Reynobond Aluminum Composite Material: A Sustainable Design Component of Gold LEED Certified Advocate Lutheran General Hospital
NEW YORK--Alcoa (NYSE:AA) announced today that its Reynobond® aluminum composite material (ACM) contributed to the sustainable design of Advocate Lutheran General Hospital, the first hospital in the Midwest to achieve LEED (Leadership in Energy and Environmental Design) Gold certification. One of the largest hospitals in the Chicago area, the newly designed eight-story, 192-single room patient tower represents the hospital's commitment to providing healthier, sustainable surroundings for patients and their families.
Architectural firm OWP/P Cannon Design of Chicago incorporated recycled, locally produced and environmentally sensitive materials such as terrazzo flooring, wood and aluminum composite material throughout the tower.
Alcoa's Reynobond ACM, in a Bright Silver Metallic Colorweld® 300XL finish, was used on the tower's canopy fascias and soffits, wall cladding and exterior and interior column covers. In addition, custom Pewter-colored Reynobond ACM was featured on the building's accent panels.
"The lightweight, formability and strength of our Reynobond ACM products allow architects to achieve designs that are not feasible with other materials. Every element of the structure becomes an element of design, through shaping, color and more," said Sid Peterson, Vice President Sales and Marketing for Alcoa Architectural Products.
Among the hospital's other sustainable design attributes are a green roof, planted with prairie grass seeds and varieties of alpine sedum, a low groundcover plant that is easy to maintain and drought tolerant; low-VOC paints, sealants, adhesives, plastics and carpeting to improve indoor air quality; and a unique rainwater management system that collects rainwater on-site and filters it through rooftop plantings and ultimately connects to the city storm system. In addition, more than 90 percent of the construction waste from the patient tower was recycled. As a result of these characteristics, Advocate Lutheran General Hospital has been recognized with several architectural and healthcare distinction awards for its environmentally responsible design.
About Alcoa Architectural Products
Alcoa Architectural Products offers a complete range of exterior and interior cladding and corporate identity solutions. Architects and specifiers have found greater control over the finished appearance of their projects when working with the Alcoa family of products, which includes the brand's new Reynobond Face Fastened Solution, the new Colorweld® 500 finish with the industry's first 30-year warranty, and innovative materials such as Anodized Reynobond, Reynobond Wood Grain ACM and Reynobond with KEVLAR®, in addition to classic Reynobond ACM, Reynobond Natural Metal and Reynolux® profiled panels and flat sheet. Alcoa Architectural Products is a business unit of Alcoa, the world's leading producer of aluminum products. For more information about Alcoa's complete line of products, please contact the Alcoa Architectural Products manufacturing plant at 1.800.841.7774 or reynobond.com.
Alcoa is the world's leading producer of primary and fabricated aluminum, as well as the world's largest miner of bauxite and refiner of alumina. In addition to inventing the modern-day aluminum industry, Alcoa innovation has been behind major milestones in the aerospace, automotive, packaging, building and construction, commercial transportation, consumer electronics and industrial markets over the past 120 years. Among the solutions Alcoa markets are flat-rolled products, hard alloy extrusions, and forgings, as well as Alcoa® wheels, fastening systems, precision and investment castings, and building systems in addition to its expertise in other light metals such as titanium and nickel-based super alloys. Sustainability is an integral part of Alcoa's operating practices and the product design and engineering it provides to customers. Alcoa has been a member of the Dow Jones Sustainability Index for nine consecutive years and approximately 75 percent of all of the aluminum ever produced since 1888 is still in active use today. Alcoa employs approximately 59,000 people in 31 countries across the world. More information can be found at www.alcoa.com.


At MMIT Business Solutions Group, we work hard to stay current. We've adapted to business and technological changes over the years to give our clients the latest and best in office products.
In that same spirit, we're proud to offer customers a selection of digital whiteboards. We've partnered with manufacturers like Sharp to bring you the full line of Sharp Aquos Board products that let you create, communicate and work with others better.
For more information on our digital whiteboards in Des Moines, contact us.
Your business money is hard-earned, and it's vital that you put it in the right investments to continue your success. The tools you purchase for your company can be the difference between rising above your competition and falling behind, so it's crucial that you do your research before buying.


Just days before the release of his 5th full length album, Nomis gives us one more single before the release of, Rhodes to Rome on June 26th. "Theory of Self" is an inside look into the history of Nomis, and how the lens he views life through along with his artistic direction has evolved over time. The usage of the classic Fender Rhodes Keyboard sets a feel good vibe, and is fully supported by intricate rhyme schemes of introspection. The West Coast MC reflects on the revolving path he's taken and ultimately comes to the realization that the varying aspects of this long road have led him to where he is now. He comes to the conclusion that he no longer feels the need to choose one specific direction, because he is equally all parts of his journey at the same time. This is only realized through the acceptance of his ultimate identity within the Body. "Theory of Self" is a musical trip from adolescence into manhood.
"Theory of Self" also features Rapzilla Freshman, Joe Ayinde who gives us an East Coast perspective on what the "Theory of Self" means to him. From his wayward years in New York to the grown up that found himself in the basic examination of his Namesake.
Pre-order Rhodes to Rome on iTunes.


Medical Coding Software from MD Wizards. Subscribe to our Medical Coding Reference, Evaluatioin and Management wizard or Medical Claim Scrubber.
Reference Wizard is much more than just an electronic version of your coding books. It allows you to search by a code or a medical term, view the short and full code description, cross-reference NCCI, LCD, medical necessity and allowed medical procedures or diagnoses, age, gender and hundreds of other medical edits, mapping to ICD-10 codes, Library with relevant regulation documents for each medical code. Calculate Medicare Fee Schedule and RVUs. Read more.
E/M Wizard will calculate your Evaluation and Management levels assuring correct compliance coding with claims submissions. Instilling confidence that the most appropriate and highest level E/M code is submitted, the E/M Wizard works to avoid up or down-coding leading of the highest possible reimbursement rates and complete confidence in the face of potential audit. Read more.
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With every subscription you get to use our Dashboard which allows you to channel hundreds of sources of Medical Newsletters at one place. Sources include CMS, Medicare, AMA, FDA, AAPC, AHIMA, and hundreds of others. Select what interests you and always stay on top of the news.


Corporate mindfulness is a no-brainer.
In our fast-paced digital world people are distracted and overwhelmed. Stress causes critical oversights, costly mistakes, burnout, and employee absenteeism.
Mindfulness helps people feel less stressed and happier which translates into improved focus and productivity, and better morale in the workplace.
In other words, mindfulness meditation is a no-brainer for improving your bottom line.
Get a regular dose of meditation inspiration and guidance to help you unplug from stress.


We have used Charlton Minicoaches a number of times for both long and short journeys. We have always found the staff in the office and the drivers very polite and helpful and their rates are unbelievably low. We wouldn't hesitate to recommend them to someone looking for a coach for any event. Thank you for your service and we will be booking again soon.


Buying tickets for CN Centre events is easy!
TicketsNorth is the proud ticket supplier for the CN Centre, and offers many convenient ways of purchasing Prince George Cougars and all other event tickets.
During July and August, the box office may be closed on Saturdays - please phone ahead.
For Saturday events, the box office will be open from 10:00 am onwards - until the event has begun.
For Sunday or holiday events, the box office will open 2 hours prior to the event or at noon - whichever comes earlier.
The "will call" window at the box office (for those patrons who have pre-purchased tickets), is located at the CN Centre box office. The box office is located inside the main entrance of the CN Centre.
Note: Please arrive at box office early if picking up tickets.
Customers must present the actual credit card used to place the order and photo ID.


text:
Laird Wins Valero, Gets Into Masters; Summerhays Finishes Seventh, Passes $300,000
Daniel Summerhays birdied the last three holes to climb into seventh place, his highest finish of the year, at the San Antonio Open Sunday. He finished at 280, six shots behind the winner Martin Laird. Summerhays shot three rounds of 69 and had a third round 72.Laird's win was huge as it got him into the Masters. He became the 94th player.Some of the top stars took the week off prior to the Masters, but the San Antonio field included Rory McIlroy who finished second at 276, four shots ahead of Summerhays. Jim Furyk was at 277.Summerhays is now 95th on the money list and moved to over $300,000 for the year.It was a stunning reversal for Laird, who admittedly had been having a terrible year."Unbelievable," Laird said. "I've been asked 30 times in the last two weeks, 'Are you going to Augusta?' Everytime I say no, it hurt. It was a major motivation."Laird doesn't have to say no anymore."I finally got the putter going," said Laird, who made nine birdies, including three straight to finish.McIlroy's runner-up finish was the other major development in San Antonio. The No. 2-ranked player in the Official World Golf Rankings flashed superior form down the stretch and produced the kind of golf that had been absent from him.McIlroy said he was most pleased by having eliminated some of the mental mistakes he had been making."Finishing it off with a round like this, it's a great way to go into Augusta," McIlroy said. "I'm really pleased with my game."Laird will be making his third-straight appearance in the Masters. He made the cut in each of the first two years, finishing 20th in 2011 and tying for 57th in 2012.The 30-year-old Scot has won twice on the PGA Tour. He captured the Arnold Palmer Invitational in 2011 to get into the Masters field. In 2009, Laird, a Glasgow native, won the Justin Timberlake Shriners Hospitals for Children Open.His best rounds at Augusta National were back-to-back 69s in 2011 that left him in contention through 54 holes before a final-round 73.Five players have won the week prior to the Masters Tournament and then gone on to win in Augusta – Ralph Guldahl (Greater Greensboro Open) in 1939, Sam Snead (Greater Greensboro Open) in 1949, Art Wall (Azalea Open) in 1959, Sandy Lyle (Greater Greensboro Open) in 1988 and Phil Mickelson (BellSouth Classic) in 2006.The last player to win the tournament the week before the Masters to earn an invitation was Johnson Wagner in 2008 at Houston.Laird joins six other golfers who played their way into this week's Masters by winning in 2013. Brian Gay (Humana Challenge), John Merrick (Northern Trust Open), Kevin Streelman (Tampa Bay Championship) and D.A. Points (Shell Houston Open) are returning to Augusta National. Gay (2009), Streelman (2011) and Points (2011) did not make the cut in their debuts. Merrick played in 2009 and 2010, finishing sixth in his Masters debut.Russell Henley (Sony Open) and Michael Thompson (Honda Classic) are first-time winners who will be making their initial Masters Tournament appearances.


03/07/2017: Once again our three tours out of Hólmavík were very successful. We had humpback whales on all three tours, so we keep our 100% success rate with seeing them here, and we also saw pilot whales on the morning trip.
The morning started very calm and almost sunny! This made the sightings of the pilot whales and humpbacks stunning to photograph.
Three successful tours of the day!


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Nick Raskulinecz
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Nick Raskulinecz (born February 4, 1970) is an American record producer. He's worked with many rock musicians and bands such as Korn, Foo Fighters, Trivium, Deftones and Alice in Chains. He owns a studio called Rock Falcon Studio in Nashville, TN.
He worked with Evanescence in 2011 as the Producer for their third studio album, after the band parted ways with Steve Lillywhite in 2010.[1]
In late 2019 he mixed Evanescence's cover of Fleetwood Mac's The Chain for Xbox's Gears 5 video game.[2]
The band worked with Nick again when they went into the studio to record the first four songs for their fifth album, The Bitter Truth.[3] He was originally going to work on four songs as the band planned to work with different producers, but ended up handling the production of the rest of the album due to the COVID-19 pandemic.[4]
He produced Amy Lee's duet with Lzzy Hale on Halestorm's Break In.[5]
Nick Raskulinecz on Instagram
↑ Goodman, William (April 13, 2011). "Amy Lee Talks Evanescence's Comeback LP". Spin. https://www.spin.com/2011/04/amy-lee-talks-evanescences-comeback-lp/.
↑ "Amy Lee Says New Evanescence Music Out By April Tour". Hidden Jams. February 28, 2020. https://hiddenjams.com/2020/02/28/amy-lee-evanescence-music-april-tour/.
↑ "EVANESCENCE's New Album, 'The Bitter Truth', Will Arrive This Year, Says AMY LEE". Blabbermouth.net. May 8, 2020. https://www.blabbermouth.net/news/evanescences-new-album-the-bitter-truth-will-arrive-this-year-says-amy-lee/.
↑ "Amy Lee on the Future of Evanescence". YouTube. August 25, 2020. https://www.youtube.com/watch?v=p2FAJd6r-ks.
↑ Hale, Lzzy (May 8, 2020). "The studio recorded version of #BreakIn will be unleashed to the world in August!". Instagram. https://www.instagram.com/p/B_8QITMhP_F/.
Jen Majura
Tim McCord
Will Hunt
Troy McLawhorn
David Hodges
Ben Moody
John LeCompt
Rocky Gray
Terry Balsamo
Sound Asleep
Mystary
Anywhere but Home
Synthesis Live
Lost Whispers
Call Me When You're Sober
Sweet Sacrifice
My Heart Is Broken
Promotional singles
Lacrymosa (Synthesis)
Evanescence stuff
Fonts and Logos
Retrieved from "https://evanescencereference.info/wiki/index.php?title=Nick_Raskulinecz&oldid=36864"


Salt in soil comes from the fertilizer we apply but also from irrigation water and dissolving soil minerals. If more salt is applied in the irrigation water than is leached or taken off in harvested plants, the soil becomes more saline and eventually ceases to support agricultural production (see part 1). This week, learn an effective way to measure electrical conductivity (EC) in soil.
Salt in irrigation water reduces its water potential, making it less available to the plant.
As mentioned above, the earliest measurements of solution conductivity were made on soil samples, but it was found to be more reliable to extract the soil solution and make the measurements on it. When values for unsaturated soils are needed, those are calculated based on the saturation numbers and conjecture about how the soil dried to its present state. Obviously a direct measurement of the soil solution conductivity would be better if it could be made reliably.
Two approaches have been made to this measurement. The first uses platinum electrodes embedded in ceramic with a bubbling pressure of 15 bars. Over the plant growth range the ceramic remains saturated, even though the soil is not saturated, allowing a measurement of the solution in the ceramic. As long as there is adequate exchange between the ceramic and the soil solution, this measurement will be the EC of the soil solution, pore water EC.
Salt in soil comes from the fertilizer we apply, irrigation water and dissolving soil minerals.
The other method measures the conductivity of the bulk soil and then uses empirical or theoretical equations to determine the pore water EC. The ECH2O 5TE uses the second method. It requires no exchange of salt between soil and sensor and is therefore more likely to indicate the actual solution electrical conductivity. The following analysis shows one of several methods for determining the electrical conductivity of the saturation extract from measurements of the bulk soil electrical conductivity.
Here σb is the bulk conductivity which is measured by the probe, σs is the bulk surface conductivity, σw is the conductivity of the pore water, θ is the volumetric water content, θs is the saturation water content of the soil and n is an empirical parameter with a suggested value around 0.5. If, for the moment, we ignore surface conductivity, and use eq. 1 to compute the electrical conductivity of a saturated paste (assuming n = 0.5 and θs = 0.5) we obtain σb = 0.35σw. Obviously, if no soil were there, the bulk reading would equal the electrical conductivity of the water. But when soil is there, the bulk conductivity is about a third of the solution conductivity. This happens because soil particles take up some of the space, decreasing the cross section for ion flow and increasing the distance ions must travel (around particles) to move from one electrode of the probe to the other. In unsaturated soil these same concepts apply, but here both soil particles and empty pores interfere with ion transport, so the bulk conductivity becomes an even smaller fraction of pore water conductivity.
When water evaporates at the soil surface, or from leaves, it is pure, containing no salt, so evapotranspiration concentrates the salts in the soil.
Where ρb is the soil bulk density and ρs is the density of the solid particles, which in mineral soils is taken to be around 2.65 Mg/m3 . The surface conductivity is assumed to be zero for coarse-textured soil. Therefore, using the 5TE allows us to quantify pore water EC through the use of the above assumptions. This knowledge has the potential to be a very useful tool in fertilizer scheduling.
where t is the Celsius temperature. This equation is programmed into the 5TE, so temperature corrections are automatic.
Soil salinity has been measured using electrical conductivity for more than 100 years.
The SI unit for electrical conductance is the Siemen, so electrical conductivity has units of S/m. Units used in older literature are mho/cm (mho is reciprocal ohm), which have the same value as S/cm. Soil electrical conductivities were typically reported in mmho/cm so 1 mmho/cm equals 1 mS/cm. Since SI discourages the use of submultiples in the denominator, this unit is changed to deciSiemen per meter (dS/m), which is numerically the same as mmho/cm or mS/cm. Occasionally, EC is reported as mS/m or µS/m. 1 dS/m is 100 mS/m or 105 µS/m.
Richards, L. A. (Ed.) 1954. Diagnosis and Improvement of Saline and Alkali Soils. USDA Agriculture Handbook 60, Washington D. C.
Rhoades, J. D. and J. Loveday. 1990. Salinity in irrigated agriculture. In Irrigation of Agricultural Crops. Agronomy Monograph 30:1089-1142. Americal Society of Agronomy, Madison, WI.