Personal nutrition & lifestyle consultations, to assist you with overcoming your current health hurdles as well as achieving your future health goals, and bringing you ever closer to your true personal potential.
Personalised Biochemical Testing can assist with obtaining powerful insights into how your body is functioning, in order to tailor specific diet, supplement and lifestyle recommendations to your specific needs.
Health Seminars and Training Workshops allow for in-depth topic focus and discussion. If you would like to discuss any speaking events in the field of health, nutrition and maximising personal potential, please make contact below.
Do you have complex and persistent health challenges?
Do you want some biochemical testing to find out what's going on inside you and what you might need?
Or do you just want to chat with a qualified nutritionist about what diet & lifestyle might work best for you?
Allergies, Balanced Immunity, Weight Management, Detoxification and Hormone Balance.
First, a detailed personal assessment and background history, sometimes certain functional tests are suggested to determine individual needs and gather further details of body function and causes indicated in the course of private clinical consultation. Personalised diet, supplement and lifestyle recommendations are then offered on the basis of these investigations and an ongoing maintenance/assessment plan is put in place to achieve any goals identified in a time frame suitable to the circumstances.
First appointments: Usually take around 1.5 hours to get established with a thorough case history and commencement of some prescriptive advice.
Functional Testing: can take at least a couple of weeks for results to arrive back.
Standard appointments: Usually last around an hour – to review your case and provide further progression.
Please make contact to discuss your personal needs and applicable charges.
(to allow proper evaluation and establishment of your personal case).
(for all continued review and development of your case).
3. A 30min 'Check-in' can be arranged when only a few brief queries/adjustments need to be made.
Please specify your requirements when enquiring.
Warren advocates an 'ancestral' or 'evolutionary' approach to health and diet that some might refer to as 'Paleo'. However, it is important to note that due to its media success in recent years, there are now many opinions surrounding what constitutes a 'Paleo' lifestyle. Yet it has always been indiviudalised diet and lifestyle assessments that have revealed more personal needs, and has therefore always illustrated the need for personal customisation to any diet and lifestyle guidance, if it is to honor one's own best needs and get effective results, rather than simply adhering to whatever version of advice is currently heralded as the next panacea for all.
For this reason Warren does not subscribe to any single health ideology, and will borrow elements from many dietary principles (such as Paleo, GAPS/SCD, FODMAPS, Failsafe, Feingold, Body Ecology, Zone etc.) in the process of acknowledging any one person's needs (according to their age, gender, activity level, goals, genetics, history, immune balance, digestive function, personal circumstances, test results etc.). This is the inescapable first principle of personalised nutrition.
Click here to learn more about Personalised Nutrition.
Warren specialises in Functional Pathology Testing, and considers it an essential part of taking a truly holistic, individualised and evidence-based approach to healthcare.
Click here to learn more about Functional Testing.
Warren conducts informational seminars and training workshops on various topics surrounding the optimisation of health and wellness.


April is home to our absolute fave holiday - National Tea Day! Yep, you heard it right, a whole nationwide day dedicated to good ol' tea.
We're confident when we say that tea makes everything better; it brings people together, it calms us down, it peps us up, it makes a crisis less of a crisis and it's the perfect accompaniment to a nice pack of chocolate hobnobs. Given that it's now the second most drunk beverage in the world after water, we reckon a few of you might just feel the same.
We love the fact that tea is drunk in all sorts of ways across the globe, so much so, we even wrote a book about it! So, with a little help from the book of tea, we thought we'd share 10 tea drinking traditions from around the world - be sure to read each one, as this has got pub quiz material written ALL over it.
We're a nation of tea drinkers and get through 160 million cups a day (not too shabby…). A little history for you; in the mid-18th century, tea replaced gin to claim the title of Britain's favourite drink. But we say, why not enjoy the best of both worlds and add a little tipple to your tea? Tea and booze might seem like a questionable combo, but when it's done right, it can be a healthier alternative to a sugary cocktails. Super fruit and gin is our go to pairing! Summer's nearly here, after all. For more tea with a twist inspiration, check out our blog here.
Did you know that New York was the birthplace of the teabag? Way back in 1908, a tea merchant inadvertently invented it when he wrapped up his tea samples in silk bags to help keep them safe in transit.
Mint tea is a staple of Moroccan hospitality. If you're jetting off there on your summer holiday then be sure to accept if you're lucky enough to be offered a cup by a local – refusing it is seen as very rude. So take a 5 minutes to sit back, relax and enjoy the sweet, minty goodness.
When in Iran, do as the locals do and pop a sugar cube in your mouth before taking a sip of hot tea – definitely one for anyone with a sweet tooth to try.
Pantyhose milk! "What's that?" we hear you ask! Hong Kong offers this amazingly nicknamed beverage – a mixture of black tea and condensed milk that has been passed through a sackcloth bag, which just so happens to resemble ladies' hosiery.
Tea in Russia is traditionally made in a samovar – a type of urn used to boil water that has a teapot filled with tea concentrate on the top. They can be huge, elaborately designed and pretty impressive.
In Tibet, butter tea is the drink of choice. Tea churned with yak's butter and salt may not be to everyone's taste, but it gives just the right amount of energy to cope with life in the Himalayas.
The locals here have an entirely different way to enjoy tea – they pickle it to create lahpet. Interesting stuff!
Siberia used solid blocks of tea as currency until the 19th century. Not sure how that would go down in your local supermarket today!
Two words: bubble tea. Thank you Taiwan, we are forever grateful!
And there we have it – let's raise a mug (or cup, glass, saucer… whichever you prefer) to the humble little tea leaf; we can't (and refuse to) imagine a world without it.
How do you like to drink your tea? Let us know below, or tweet us @teapigs.


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Rare Footage of Bruce Lee Lightsaber Fighting
Carrie Fisher Sunbathing With Her Stunt Double During 'Return of the Jedi'
The Secret Origins Of Star Wars Lightsabers
Why Does Everyone Hate Visual Effects?
Metaflix Has Found the New Wilhelm Scream – It's the WALL-E Scream
Neither Jedi nor Sith, Bruce Lee is The Force itself.
Randall Stephens
With Bruce Lee's cameo in "Once Upon a Time in Hollywood" apparently STILL being litigated in the press by his daughter and Disney recently announcing on Investor Day that there are approximately 26 more Star Wars projects being developed, I feel it's finally time to let everyone in on a very well-kept secret: the force was strong with Bruce Lee.
Many, many midi-chlorians.
Lee was an eighth degree Jedi master specializing in the martial art of Jeet Kune Solo. Sure, he could chop people into meat pulp with his Fists of Fury, but have you ever seen a dude go ballistic with a set of lightsaber nunchucks? Wonder no more, fam.
In this very rare archival footage, Lee goes all mad Porkins on a bunch of Federation baddies. Be sure to stay tuned for at least 25 seconds until he busts out the double-bladed bo like a futuristic Donatello, then a minute in to see him go all Michelangelo on some asses with the nunchucks.
Bruce Lee's Hellacious High Kick On the Set of 'Enter the Dragon'
Related Topics:Bruce Lee, Featured, Once Upon a Time In Hollywood, Star Wars, Teenage Mutant Ninja Turtles
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Watch This Mesmerizing Collage of the New York City Subway in Movies
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redpajama_set_name: RedPajamaCommonCrawl


This was held in June 2003 at St. Marys Hall Hotel, St. Marys, Isles of Scilly. Special thanks to the late Mary Nicholls and her husband, John, who had just completed a spectacular renovation of St. Marys Hall Hotel in 2003 for hosting this first Exhibition. Stephen exhibited sixteen paintings, three quarters of which were sold on the preview afternoon, and the rest later in the summer. Four of the paintings 'Seaways Echiums', 'Porthcressa Palms', "Steps to Chimneys' and 'Mesembryanthemum Walls' were the first to be produced as high quality lithograph prints, to be joined by 'Garrison Elms on a September Morning' which Stephen had given to his wife, Lois.
May 2009 saw Stephen's first mainland UK exhibition - a month long solo show comprising thirty one original watercolour paintings in his home city of Birmingham. Twenty nine works featured Scilly in seasonal mood - spring, summer, autumn and winter - while two featured the same view of the Birmingham cityscape painted from the brow of a hill in Moseley, very close to his mother's house, one painted on a cold early spring day and one late in the early spring evening. High quality giclee prints are available of all the paintings in the Exhibition and six were selected for his third set of blank greetings cards.
November 2011 saw Stephen's second mainland UK exhibition - another month long solo show in his home city of Birmingham. He was invited back to show his work by the Gallery manager following the success of his first Exhibition there. Entitled 'Islands of Sun and Ice', the main body of the Exhibition showed a range of paintings of Scilly including three very large works, quite unusual in the field of watercolour. Also on show was a selection of acrylic ink works which Stephen did when we were on holiday in Iceland for a month the previous autumn. High quality giclee prints are available of all the paintings in the Exhibition but not of the ink sketches which are originals only.
Stephen was also invited to submit five original artworks for the Spring Exhibition at Gallery Tresco which opened on March 30th 2013. All but one of the five paintings have now been sold. A pdf brochure of the Exhibition can be downloaded from the page link above.


On Saturday, February 13, 2009 the Italian American Writers Association (IAWA) celebrates its 19th Anniversary at Cornelia St. Cafe (212-989-9319); with Marisa Frasca whose work often appears in both Sicilian and English and Paul D'Agostino, a polymath when it comes to the spoken word.
On Saturday, February 13, 2009 the Italian American Writers Association (IAWA) celebrates its 19th Anniversary with Marisa Frasca whose work often appears in both Sicilian and English and Paul D'Agostino, a polymath when it comes to the spoken word.
Marisa Frasca recently retired her professional briefcase to dedicate her time to poetry, and to reviving old Sicilian folk songs. Her Sicilian poems, and her translations into English, have appeared in VIA: Voices Italian Americana, Arba Sicula, Journal of Sicilian Folklore and Literature, and Feile Festa. Her work has also appeared, or is forthcoming, in More Sweet Lemons, Creations Magazine, Pyramid, Long Island Sounds and is Poetry Editor for 12thstreet.
Paul D'Agostino holds a Ph.D. in Italian literature and is somewhat employed as an adjunct professor of Italian at CUNY Brooklyn College, where he also works as a writing advisor in the Art Department. He spends most of his time writing, translating, making artwork and curating group art exhibits at Centotto: galleria [simposio] salotto, an essentially pro bono gallery he runs in the living room of his Bushwick loft.
He is Assistant Editor of The Journal of Italian Translation and has just completed a seven-part series of saga-style travelogues for The L Magazine where he is a contributing writer.
His fiction and poetry have appeared in Slice Magazine, Birdsong, Il Farfisa and Juncture. His first novel, Petey in the Details, sits uselessly in a drawer. Either because of that or despite it, he is working on a second one, Shifting Skylines and the Visual Sociolect. When he's not engaged with those pursuits, he is usually skateboarding or cutting someone's hair for grocery money.
The evening starts with Open Mic readings of five minutes each. IAWA is a 501(3)©not-for-profit corporation. Since 1991, the organization has given voice to writers through its Open Reading series at Cornelia St. Café every month.
All people deserve wealthy life time and credit loans or just term loan will make it much better. Because freedom bases on money state.


Facebook Lite is a light-weight version of the official Facebook app that allows you to enjoy the social network while consuming as less data as possible. It is small in size and works really well on slow Internet connections. So, if you are having issues with your Internet connection, then you can download Facebook Lite for PC using the emulator software and be online even on unstable connection. The installation process is pretty simple and since the size of the app is extremely small, it won't take long to download and install it.
With Facebook Lite app installed on your computer, you will be able to enjoy the mobile version of the app on a bigger screen. With this, you will be able to post status updates, upload photos and videos, like or comment on your friends updates that appear on your timeline and do everything that you can do with the official web version or the official mobile app. The only thing that makes this app so awesome is that it consumes very less data making it possible for you to use the app even when you don't have a lot of data left. You can download Facebook Lite for PC using BlueStacks app player and start using it right away.
The application is quite awesome and has become popular in places where the Internet connection is not stable or not fast enough. With more than 100 million downloads, the app has become one of the most downloaded applications on Google Play Store.
You will need an Internet connection to use it so make sure you are connected to WiFi or have a data pack active, otherwise data charges may apply.
It is extremely small in size making it easy to download and install and it uses less space.
Everything in the app loads quickly allowing you to view the updates your friends have posted easily.
The app is the lite version of the Facebook and uses way less data compared to the official app. This means that even if you are connected to an unstable network or a slow network like 2G, you will be able to use it without any issues at all.
It works on almost all the Android phones, new as well as old.
With the app, you can do everything – message your friends or have a group conversation, post updates or photos or videos, get notifications when someone likes your posts, see what your friends are posting and like or comment on it and more.
These are some of the features of the application and although it is small in size and consumes less data, it still is an awesome application and you should consider installing it on your computer to use when you have a slow Internet connection.
If you own an Android or iOS device, then you can download it from Google Play Store or iOS app store directly on your smartphone. However, there is no official desktop app for the lite version of the social networking application.
You might be wondering why is there a need to download the Facebook Lite app on your computer when you can simply visit the website. The reason is that when you are unable to connect to Internet or you are not getting fast speed, you can resort to the app to stay online. The only way to do that is by using an Android emulator. In this article, we will be using BlueStacks app player to download and install Facebook Lite for computer.
When you click on the above link, you will be redirected another article from where you will be able to download the offline installer version of the emulator. Once the setup is downloaded, go ahead and install it on your computer and then follow the below steps.
Launch BlueStacks app player on your computer.
If you are using it for the first time, then you will have to use your Gmail credentials to login to Google Play Store and authenticate your BlueStacks account. Then, enable the App Sync and complete the setup process of the emulator.
Now, you will see the dashboard of the emulator with various popular apps.
Type "Facebook Lite" in the search box and hit the search button.
A new tab will open in the emulator that will display various apps and games related to your query in Google Play Store.
Click on the first link as that will be of the Facebook Lite app.
The emulator will now redirect you to the official Google Play Store page of the application.
A pop-up box will appear on your screen asking for various permissions required to install and run the app smoothly.
If you follow the above steps properly, then you will see that the download process for the app has begun. Once all the required files are saved, which won't take long, Facebook Lite for PC will be installed successfully.
You can now launch the application, signup or sign in using your credentials and start using the app. To open it, you need to go to BlueStacks and click on the "All Apps" tab where you will find all the apps and games installed on your computer. Click on the Facebook Lite app icon and it will open on your computer screen.
This is how you can download Facebook Lite for PC using BlueStacks in some simple steps! If you liked the article, then you can use the below buttons to share the article with your friends as well.


I really enjoy my lunch with Lawrence. He seem to be very passionate with his current project and very down to earth.
Lawrence is a really fun guy to lunch with. He is light hearted and well versed in the startup/tech world. We had a great time discussing his current venture, and finding ways to push it further. Can't wait to come to the next Grub Crawl and see him again.
Pleasure to meet Lawrence. Smart budding entrepreneur with a solid drive. Great chat over lunch, I look forward to seeing how things develop with GrubCrawl.


Scott Metzger explains how he used spherical HDRs and texture mapping in MARI on the feature film Beautiful Creatures at Siggraph Geekfest 2012.
CAN'T BELIVE IT!! It's the future! I want to learn more about this!! I want!!! DAnm!


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Help EJC replace rising equality with Justice at Work and Shared Prosperity
Dear Friends of the Equal Justice Center:
For the justice advocates of the Equal Justice Center, this is a perplexing era. Here at the EJC we're making extraordinary progress using legal action to bring employment justice to more and more low-wage working people on an ever-larger scale. Yet in our larger society there are so many clear indicators that economic and social justice are in retreat; that inequality is on the rise; that paralysis has taken hold in many of the political and social institutions we count on to ensure basic fairness.
As 2013 comes to a close, the Equal Justice Center asks you to reflect with us on these competing dynamics – and on how you can help the EJC sustain and accelerate forward movement toward that vision of justice and community we all share.
We hope you'll draw inspiration from some of the magnificent successes we are generating at the EJC:
In 2013 alone the EJC has recovered over $1.7 million in unpaid wage claims by low-wage working men and women. That's a new single-year landmark never before achieved by the EJC or any other non-profit advocacy group in Texas! It lifts EJC's history of wage recovery close to $7 million for low-wage working people -regardless of immigration status.
In the last year EJC launched a new initiative to help undocumented young people who came to the U.S. as children and have grown up in our communities. We've already helped more than 100 such immigrant young people gain new legal authorization to live, work, and participate in our communities through the Obama Administration's program of Deferred Action for Childhood Arrivals. This year we're excited to be expanding this work to reach unserved immigrant youth in 110 counties of Central, North, and Northwest Texas.
EJC continues to be one of the leading advocates in Texas for fair immigration reform in the courts, the Legislature, and the Congress – especially reforms that will better protect the rights of both immigrant and U.S.-born workers.
During 2013, EJC mentored another thirty young law students in actual, hands-on, public interest law practice through our Transnational Worker Rights Clinic, which the EJC operates in partnership with the University of Texas Law School. These men and women are the future lawyers who will serve as the pillars of public justice, both in private practice and in public service.
All of this is still very much an uphill struggle to meet an overwhelming need. And, yes, it is hard not to get discouraged by all those economic, social, and political forces that are pulling our society in the wrong direction. But the proven, effective solution is for all of us to continue pushing forward in the right direction.
"It is through free, creative, participatory and mutually supportive labour that human beings express and enhance the dignity of their lives. A just wage enables them to have adequate access to all the other goods which are destined for our common use." – Pope Francis
"To be hopeful in bad times is not just foolishly romantic. It is based on the fact that human history is a history not only of cruelty, but also of compassion, sacrifice, courage, kindness….If we remember those times and places-and there are so many-where people have behaved magnificently, this gives us the energy to act, and at least the possibility of sending this spinning top of a world in a different direction. And if we do act, in however small a way, we don't have to wait for some grand utopian future. The future is an infinite succession of presents, and to live now as we think human beings should live, in defiance of all that is bad around us, is itself a marvelous victory."
– Howard Zinn
Your support for the Equal Justice Center enables us, and you, and the working people we serve – to continue achieving that marvelous victory of moving the world in the right direction.
Please use this link to donate now online or by mail.
Executive Director, Equal Justice Center


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ACC Approves New Rates, Energy Efficiency Programs for TEP Customers
June 2013 April 2016 | Press Releases
Jun 11 2013 12:00:00:000AM
News Media Contacts: Joseph Barrios, (520) 884-3725, jbarrios@tep.com
Financial Analyst Contact: Chris Norman, (520) 884-3649, cnorman@uns.com
Tucson, Ariz. — The Arizona Corporation Commission (ACC) has approved new rates for Tucson Electric Power (TEP) customers that will take effect on July 1.
The new rates include TEP's first base rate increase since 2008. Early this year, TEP and ACC staff entered into a settlement agreement that was endorsed by more than a dozen groups including representatives of customers, low-income residents, organized labor, homebuilders, advocates of energy efficiency and renewable energy and other interests. The new rates will allow TEP to recover costs of investments that have resulted in greater system reliability and improved safety performance.
"Nearly 20 parties were involved in settlement discussions and the majority of them signed on with their support," said Paul Bonavia, Chairman and Chief Executive Officer of TEP and its parent company, UNS Energy Corporation (NYSE: UNS). "The settlement process was open, transparent and inclusive, satisfying many diverse interests."
The average monthly bill of a residential customer with average usage of about 800 kilowatt hours (kWh) is expected to increase by less than $4.
"This modest increase will allow us to continue improving reliability and investing in our infrastructure, which delivers value, comfort and convenience to our customers every day," Bonavia said. "Our new, simplified rate structure will help to reduce confusion and allow our customers to more easily choose the best rate options for their lifestyles."
TEP's new rate structure includes simplified time-of-use rates that allow customers to pay less for power at certain times of the day. Customers on some time-of-use rates and other rates will be automatically enrolled in new rate plans. Customers can level out their monthly bills by participating in TEP's Budget Billing program.
Customers can partially offset monthly bill increases associated with higher base rates by participating in one or more of the company's energy efficiency programs. The ACC will hold a proceeding at a later date to discuss issues related to energy efficiency.
As part of today's approval, TEP's Purchased Power and Fuel Adjustment charge will initially appear as a credit on customers' bills. Low income customers will benefit from increased bill payment assistance support from TEP.
Two new surcharges, both of which may only be adjusted by a limited amount each year, will help smooth out future bill impacts by giving customers the opportunity to adapt to modest changes in their monthly bill. The new Environmental Compliance Adjustor, which will allow TEP to recover the costs of complying with environmental standards required by federal or other governmental agencies at TEP's generating plants, will not take effect until May 2014. The Lost Fixed Cost Recovery mechanism, which allows TEP to recover certain non-fuel costs, will not take effect until July 2014.
TEP filed a request for new rates in July 2012. The new rates represent only the third base rate increase in the last 20 years. TEP's previous rate structure was based on costs incurred by the company in 2006. Since then, the company has invested more than $1 billion to strengthen its distribution system, upgrade its power plants and make other improvements to serve customers' needs.
During that time, employee safety indicators have improved, average customer outage times have fallen and power plant availability has increased. In 2012, TEP's Occupational Health and Safety Administration (OSHA) rate of recordable injuries and illnesses was just 1.27 per 1,000 employees. The company's average customer outage time decreased by more than 20 percent while company-owned power plants were available to produce power for customers nearly 90 percent of the time, a three-point increase over 2011.
Tucson Electric Power provides safe, reliable electric service to more than 406,000 customers in southern Arizona. To learn more, visit tep.com. For more information about TEP's parent company, UNS Energy (NYSE: UNS), visit uns.com.
TEP Green Waste Recycling Program a 'National Treasure'
On a plot of land next to Tucson Electric Power's H. Wilson Sundt Generating Station, green-waste compost from tree trimmings forms neat dark-brown rows. The mulch – carefully chipped and composted with bacteria – is destined for the 70-acre Civano Nursery farm in Sahuarita, where it will grow trees, shrubs and perennials that will be
What is the Environmental Compliance Adjustor (ECA)? The ECA is a charge that allows TEP to recover a portion of the expenses for improvements made at TEP's power plants. These improvements are necessary to comply with environmental standards required by federal or other governmental agencies. How will this affect my bill? Typically, the Arizona Corporation
Lost Fixed Cost Recovery (LFCR) Charge
Q: What is the Lost Fixed Cost Recovery (LFCR) charge ? The Lost Fixed Cost Recovery (LFCR) charge, approved in 2013 by the Arizona Corporation Commission (ACC), will partly offset the revenue TEP loses when customers reduce their bills through our conservation and renewable energy programs. Without the charge, TEP would be unable to recover
Under terms of Fortis' August 2014 acquisition of UNS Energy Corporation, customers of TEP and sister company UniSource Energy Services (UES) will receive bill credits totaling $30 million over five years. Savings totaling $10 million will be applied in year one, and $5 million will be applied annually over the next four years. TEP will
What is the Demand Side Management (DSM) charge? The DSM charge is a monthly, usage-based charge established by the Arizona Corporation Commission (ACC) to pay for cost-effective energy efficiency programs. These ACC-approved programs can help residential and commercial customers use less energy and save on their monthly electric bills. Energy efficiency benefits all TEP customers
Advanced Electric Meters
Frequently Asked Questions What kind of meters are being installed? TEP is installing Automatic Meter Reading (AMR) meters manufactured by Itron. Although AMR meters lack many features associated with more advanced "smart meters," they can transmit usage data through a wireless radio frequency (RF) signal. These signals are received through fixed network equipment or remote


Things are still in motion for the There's Been A Murder team. This week, we had several large deliverables due, and, despite several of our team members being focused on other projects this week due to a Drexel competition, we're making great progress towards our goal.
Art is being created and bugs are being fixed.
We built a Work In Progress for our midterm presentation.
Oh, and we did a fun little update that features all of the bugs we've encountered thus far.
Up next for the team is continued programmatic polish, LOTS of art asset generation and scene population, and sound and PR – we have lots to do, but are confident we can handle it!


(This story fleshes out Leon�s proposal event, with some bonus appearances, especially Doug and Dylas [with maybe some shipment implied there, with or without Frey] as our Rune Factory 4 friends learn about each other and try to overcome some misunderstandings�... However, Rune: Facrtory 2: A Fantasy Harvest Moon adds some much-needed new elements to the Harvest Moon formula, despite being eerily similar to last year's Rune Factory. The story in Rune Factory 2 follows a young man who seems to have lost his memory.
5/12/2008�� In Rune Factory 2, when your wife becomes pregnant shortly after your marriage, you will have the opportunity to choose the gender of your Child. You can choose to have a boy or a girl or leave the choice to 'destiny' (50% chance either way obviously).
Mist's Heart Events. Difficulty level: Medium When Mist's Lp is at 10 and you have completed the storyline, talk to Mist in the church district.
This page contains Rune Factory: Tides of Destiny cheats list for Playstation 3 version. Now we have 3 cheats in our list, which includes 1 cheats code, 2 unlockables.
Trophy How to unlock Behind the Mask (Gold) See the true face of the man in the mask. Earth Temple Cleared (Bronze) With the help of Lili, lift the curse of stone from the Earth Temple.


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Music Industries with a Foundation Year - BA (Hons)
UCAS Code: W39A
Level: Foundation
Study mode: Full Time (4 years)
This degree will put you at the heart of music in the UK, with coursework designed to equip you with the skills, knowledge, and experience, not just to work in, but to shape the music industries.
Music is one of the UK's biggest cultural exports. It's worth an estimated £5.2bn to the UK economy, and sustains almost 191,000 jobs.
The programme is tailor made for anyone seeking to develop a career in music, or with an interest in music as relating to wider creative and cultural industries.
Studying in our industry-standard media centre in the heart of Birmingham, you'll develop skills through a combination of hands-on learning, supported by critical investigation into the creative cultures, fans, and practices that make the UK music industries world-leading. You will have the opportunity to apply these skills and knowledge through work placements with key organisations within the UK music industries.
About foundation courses
After successful completion of your foundation year, you will have the flexibility to switch (should you wish to change direction) onto a number of related undergraduate degree programmes within Birmingham School of Media.
Why study a degree with a foundation year?
Foundation years are a great option if you have the talent, ambition and potential to thrive at Birmingham City University, but do not meet the entry requirements for your preferred course. It's ideal if:
You want the flexibility of a year's study on a more general course to find out the best degree choice for you.
You have changed your mind about your career since you chose your A-levels or BTECs and need to improve your skills in a different subject area.
You would like extra time and support to help you build your knowledge, skills and confidence before starting a full degree.
You will develop and work on real-world music industries projects with clients, enabling you to add professional jobs to your portfolio. Our learning and teaching is informed by the changing demands of a vibrant and dynamic music industries, to make sure that you are industry ready.
If you want to take an in-depth look at promotion, music PR and music media, running a record label or producing music videos and websites, then this is the ideal course for you. It will help you to position yourself at the forefront of creating and developing innovative ideas, and exploring niche markets within the music industry.
While studying with us, you'll have the opportunity to set up a record label, promote artists or organise a music event for a paying audience. You will develop practical business know how, applying your skills to a creative music enterprise project, as well as exploring music entrepreneurship, music online, music promotion and PR, music video, and television and music programming.
In your final year of study you will complete a final major project, drawing together the strands of knowledge, skills, and experience that you gained during your time with us.
Whilst I was studying, I carried out placements in music industry corporations such as Kerrang!, IFPI and BPI. I also set up my own promotions company on the side to gain extra experience before entering into the real world. Work placements and networking is extremely important in this industry and led me to gaining my first full time job in the Content Protection team at BPI right after I finished my studies. I've now worked at BPI for two years.
2015 School of Media graduate
As a BA (Hons) Music Industries student you will benefit from our membership of UK Music's Music Academic Partnership.
You will be taught by staff with extensive experience of both industry and education. You will also have access to a well-established research culture based around music industries and popular music. The Popular Music Studies research group within the School of Media promotes new and innovative approaches to the study of popular music that are relevant to academics and practitioners, as well as anyone interested in popular music.
We provide specialised, sophisticated equipment for every area in our £62 million home, The Parkside Building, including six radio studios, four TV studios, one of the largest free-standing green screens in Europe, editing suites, music production studios, a new media suite, a newsroom and photography studios (including a half and a full infinity cove).
You will have the opportunity to expand your professional network through a range of relevant field trips and industry conferences. In recent years our students have attended We Are Robots in London, Liverpool Sound City, and Off the Record Manchester.
You will have the opportunity to gain real-world experience and develop industry contacts and experience through work placements and collaborative projects with our industry partners in Birmingham's expanding music sector.
Music Industries - BA (Hons)
Media and Communication with Foundation Year - BA (Hons)
Public Relations and Media with Foundation Year- BA (Hons)
Discover the Birmingham School of Media
Where our students go
Our students are shaping the future of the music industries through careers with organisations such as
Warner Music UK
NEC Group (Barclaycard and Genting arenas)
And in jobs such as:
Music Marketing Manager
Music Data Analyst
Music PR, Promotions and Social Media Executive
Many others have gone on to set up their own independent music enterprises and projects, based on the work that they completed in their time at university.
We accept a range of qualifications, the most popular of which are detailed below.
80 UCAS points
LEVEL 2 QUALIFICATIONS
GCSE English Language at grade C/4 or above
Must have been achieved at the point of enrolment
Irish Leaving Certificate (Ordinary Level) See level 3 entry under Irish Leaving Certificate for full details
Scottish National 5
English Language at grade C or above
Minimum overall score of 6.0, with 6.0 in writing and no less than 5.5 in the remaining three skills.
LEVEL 3 (and above) QUALIFICATIONS
A Level and Advanced VCE
CDD / 80 UCAS points
A maximum of 4 subjects are considered. These can be other A/S Levels (as long in a different subject) A-Levels or Level 3 equivalents.
AS and AS VCE Considered with a maximum of 3 other Level 3 qualifications (AS Levels must be in different subject to A-Levels) to obtain 80 pts
Access to HE Diploma
Pass with 60 credits overall. At least 45 credits at Level 3.
Arts, Media and Publishing subjects preferred but other subjects also considered
Pearson BTEC National Extended Diploma (2016 – present)
Pearson BTEC Extended Diploma (QCF) (2010 - 2016)
BTEC Level 3 National Diploma (2002 – 2010)
Foundation Studies (Art and Design, and Art, Design & Media)
Considered with a maximum of 3 other Level 3 qualifications to obtain 80 pts
IBO Certificate in Higher Level
Students who do not complete the IB Diploma will be considered on the basis of their IB Certificates if they obtain a total of 11 points or above from two Higher Level Subjects
For students who do not already hold a GCSE in English Language at Grade C/4 or above Standard Level English Language (not literature) English A - Grade 4 or above or English B - Grade 5 from the IB Diploma will be accepted
Obtain a minimum of 24 points overall
Irish Leaving Certificate (Highers) Pass the Irish Leaving Certificate with a minimum of 80 tariff points, achieved in five Higher level subjects. This must include English Language taken at either Ordinary Level (minimum grade O1-O4 (or A-C/A1-C3)) or Higher level minimum grade H1/H7 (or A-D / A1-D3 up to and including 2016
OCR Cambridge Technical Extended Diploma MMP
Scottish Advanced Higher
Achieve a minimum of 80 tariff points achieved in either three Advanced Highers or from a combination of two Advanced Highers plus two Highers.
Where three Advanced Highers have been taken achieve a minimum of grades DDD
Where a combination of Highers and Advanced Highers have been taken you must achieve (grades of DD in two Advanced Highers plus grades of DD in two Highers).
T-Levels Pass overall (C or above on the core)
UAL Extended Diploma in Art & Design Merit overall
UAL Extended Diploma in Creative Media Production & Technology Merit overall
UAL Extended Diploma in Performing and Production Arts Merit overall
Other qualifications
If you have a qualification that is not listed in the table please refer to our full entry requirements on UCAS.
Further guidance on tariff points can be found on the UCAS website.
Additional information for EU/International students
Please see your country page for further details on the equivalent qualifications we accept.
In addition to the academic entry requirements listed above, international and EU students will also require the qualifications detailed in this table.
EU/Non-EU (International) Qualifications Requirements
If you do not meet the required IELTS score, you may be eligible for one of our pre-sessional English courses. Please note that you must have a Secure English Language Test (SELT) to study on the pre-sessional English course. More information.
Applications from mature students (21+) with alternative qualifications and/or considerable work experience will be considered on their merits.
tariff points needed for this course
Award: BA (Hons)
Apply via UCAS
Guidance for UK students
UK students applying for most undergraduate degree courses in the UK will need to apply through UCAS.
The Universities and Colleges Admissions Service (UCAS) is a UK organisation responsible for managing applications to university and college.
Register with UCAS
Login to UCAS
Write a personal statement
Get a reference
Pay your application fee
Send UCAS your application
You are not required to submit a portfolio for this course.
In order to complete this course a student must successfully complete all the following CORE modules (totalling 120 credits):
Cross-media Production 1
This practical production module explores media production techniques in radio, audio production, online video, virtual reality and television. You will learn industry-level practical skills and develop your own professional practice through a range of production activities and workshops.
You will learn production techniques for broadcast and for online and hear from industry professionals on current and emerging best practice. By the end of this module you will be able to produce and distribute innovative media projects for specific audiences, delivered across a range of online and social networking platforms.
This practical production module explores media production techniques in journalism, public relations, and events management. The module draws together the skills needed for writing and producing content for print and online, and developing communications campaigns that connect with audiences dispersed across digital platforms. You will develop your own professional practice through a range of production activities and workshops.
You will learn new skills in multi-platform and mobile journalism and strategic communications, and hear from industry professionals on current and emerging best practice for the media and music industries. By the end of this module you will be able to produce and distribute innovative media projects for specific audiences, delivered across a range of online and social networking platforms.
Media Context and Production
This module will familiarise you with key concepts aligned to studying media and communication. You will draw on your own production work in order to analyse issues relating to the organisation, ownership and regulation of the media industry. You will contextualise the work you have produced in the context of wider media production practices.
By the end of this module you will have undertaken research relevant to the industry sector you are seeking to develop your skills within and understood the value of seeing your own work as that which connects with specific audiences who create meaning from your and others media texts.
This module is an independent study module during which you will produce a media practice project. You will present a proposal for a project, setting yourself a significant creative challenge, and work with a supervisory team to bring your work to fruition. You will draw on the production skills you have developed in earlier modules and use the project as the vehicle through which you showcase your creativity and your ability to work to professional standards.
Professional and Academic Skills
This module will help you develop the academic skills needed to succeed in higher education, and the professional skills required to support your ambitions to be a media worker. You will build an online portfolio that will both evidence your growing skills developed across the course as a whole, and act as a showcase for the work you produce.
You will aim to build a community of interest around you and your work. You will be introduced to the wide range of academic and practical support that the university offers, and support from tutors will ensure you develop academic skills that will help you succeed as a student. You will keep an online learning diary that reflect on your development.
Live Production 1
You will get the chance to take part in multiplatform production days, delivering content for our in-house music media outlet, Eastside Sounds. There will also be a compulsory work placement in this module.
Creating Music Media Content
The music industries are increasingly driven not just by songs, but by content – videos, images, and other texts which frame the music that we love. This module allows you to start to develop practical skills in content creation –including film editing, photography, PR, and a range of other skills – from our expert colleagues in Birmingham School of Media.
Valuing Music
At a moment in time where revenues from traditional areas such as recorded music are falling, this module invites you to think about how the value of music might be reconsidered, and the problems and opportunities that this creates for aspiring music industries professionals.
Global and Community Impact
This module allows you to start collaborating with music industries organisations and communities, exploring issues and challenges they face on a local and global scale.
Music Industries Landscapes
This module will introduce you to the key sectors and revenue streams of the contemporary music industries. You will learn about how money is generated through music, and use this knowledge to learn-by-doing, establishing your own micro-label, events company, or other music-based project.
In order to complete this course a student must successfully complete all the following CORE modules (totalling 80 credits):
You will get the chance to take part in multiplatform production days, delivering content for our in-house music media outlet Eastside Sounds. There will also be a compulsory work placement in this module.
Music Industries Ecologies
This module invites you to think about the relationship between the music industries and a wider system of media production and consumption. You will be required to carry out research into the interrelated nature of music and media, and to consider how your developing media skills can help you to present this information in an engaging and professional manner.
Popular Music Narratives
Building upon the skills, knowledge, and experience from Level 4, this module invites you to examine the current state and changing nature of the field of popular music studies. You will learn about a range of critical perspectives and positions on popular music from the standpoint of both popular music culture and music business/ industries.
In order to complete this course a student must successfully complete at least 40 credits from the following indicative list of OPTIONAL modules.
Faculty optional module
The programme structure allows you to choose an option from modules that are operated on a faculty-wide basis. This option is taken in semester two of year two:
Collaborative Practice – this module allows for collaboration with students from other Schools within the Art, Design and Media faculty.
Work Experience – you may choose to undertake an additional work placement.
Live Project – you will work to a brief on a real-world or simulated project. A series of live project briefs will be set each year, including an option based on an overseas visit.
School of Media optional module
The programme structure allows you to choose an option from modules that are offered within the School of Media across other programmes. Some options are closely aligned with your area of study but you may choose to take an option from any in the following list (note that not all options may be offered each year). This option is taken in semester two of year two:
Creating Compelling Content
Campaigning and Investigative journalism
Lifestyle and Branded Media Content
Bi-Media drama
Music, Media and Digitalisation
Digital Content Distribution
Advanced Visual Communication
Music Industry Promotional Practices
Commercial Production for Radio
Gender, Sexuality and the Body
Comedy in the Media and Popular Culture
Perspectives on Community and Alternative Media
Race, Ethnicity and the Media
Media and Materiality
Fandoms and Subcultures
Communities of Practice: Culture, Heritage and Space
Film Cultures
Media Censorship and Regulation
Celebrity Culture
Core modules are guaranteed to run. Optional modules will vary from year to year and the published list is indicative only.
The purpose of the module is to enable you to undertake a sustained, theoretically and professionally-informed project, exploring an area that is of personal interest to you. This is your chance to align your practice with your specific career aspirations in the music industries. You will have the option to choose between undertaking an extended piece of academic research or an extended professional project.
Professional Media Contexts and Practice
This core Level 6 module is delivered in Semester 1, over 10 taught weeks, and comprises parallel specialist media production workshops.
The workshops will include both practical and theoretical elements, and will build on the technical, editorial and critical skills you learnt earlier in the course, taking them to a more professional level. The approach is practice-led, with theoretical knowledge applied. Depending on the specialism, you may further develop skills in operating particular technical equipment and specialist software, as well as developing your editorial ideas, and ability to develop, plan and organise activities. Each workshop will be situated in its media industry context, both nationally and internationally, and will help improve your employability, as potential creative industry workers. You will identify a target audience for your work, and create a cross-media/multi-media product/s in order to help engage your audience.
Critical Music Futures
This research-intensive module provides a space for you to think critically about key issues and cutting-edge developments in the contemporary music industries. Working collaboratively with the Birmingham Centre for Media and Cultural Studies (BCMCR), BCMCR staff and leading external researchers/academics will present and discuss their current research projects, to help inform your knowledge of issues and debates within the music industries.
Professional Academic Development
This module prepares you for your transition from academia to the professional music industries. Through a series of lectures, workshops and masterclasses you will develop practical employability skills such as CV and professional profile building and interview preparation. You will critically reflect on how the previous three years of skills, knowledge and experience gained on the programme, have developed your professionalism.
This pathway is focused on music enterprise and entrepreneurship, encouraging you to be creative and innovative.
While developing skills to enable you to work in a number of areas of the music industries, the focus on entrepreneurship reflects the current industries landscape where the music industries is looking towards Small to Medium Enterprises (SMEs) to provide niche products and services to the wider music industries.
Across each of the undergraduate degree routes there is an equal emphasis on production, theory and professional studies.
Classroom activities and projects
During your studies you will have opportunities to undertake a range of learning activities that include producing music media content and writing reports and essays that are informed by research. These include such activities as setting up a record label, putting on live music events, developing and delivering a music industries conference. Working collaboratively with local and international industry and academic partners. Conducting academic and industry facing research into the contemporary music industries and their cultures.
Birmingham School of Media also has an established and inclusive research culture that promotes dialogue and collaboration between staff and students. The Birmingham Centre for Media and Cultural Research (BCMCR) in the School of Media welcomes visiting researchers from across the world and holds regular research seminars which mix presentations from staff, PG students and speakers from a range of our collaborative partnerships. BCMCR welcomes all students to research seminars, which are free to attend.
Over the course of your studies you will have the opportunity to attend a range of music industries conferences and events. In recent years music industries students have had the chance to attend Liverpool Sound City – one of the UK's biggest music industries professional conferences – We Are Robots – a conference and festival based in London's Brick Lane which discusses and explores the increasing influence of digital technologies on music, and Off the Record – a multi-venue live music event and conference in Manchester's Northern Quarter.
Each year we offer the George Jackson Travel Bursary to an outstanding graduate from across our courses that puts forward an interesting proposal to travel. Past winners include Laura Stubbs, a graduate with a passion for Eastern European puppetry, film-making and animation, who visited the Czech Republic to help gain an understanding of the surroundings that have influenced some of the country's greatest animators.
As a School, we invest significantly in our postgraduate provision as we recognise that more specialist and professional courses are required across the media industry. Our postgraduate courses include:
MA Event and Exhibition Management
MA Media Production
MA Public Relations
MA Multi-Platform and Mobile Journalism
MA Data Journalism
MA Media and Cultural Studies
MA Global Media Management.
See all postgraduate media courses
DHLE data indicates that the average rate for those studying Music Industries in the Birmingham School of Media in employment or further study was 90% between 2011/12 and 2015/16.
Previous students have gone on to a number of roles within the music industry including work with music collection agencies, industry support bodies, live music promoters, record labels, and within music journalism and music media broadcasting.
Organisations include: NEC group, Universal Music Group, Warner Music Group, Sony Music Group, Nuclear Blast Records, Punch Records, Barclaycard Arena, Birmingham Symphony Hall, O2 Arena, Birmingham International Jazz festival, Shambala Festival, Supersonic Festival, Swingamajig, British Phonograph Industry, Sony Music, PPL PRS Ltd, Radio 1, Radio 1 Xtra.
As well as gaining course-specific skills, you could also gain broader tools through our Graduate+ programme, which will help enhance your employment options by helping with careers development, employability activities, volunteering and part-time work experience.
Allied with these course-specific experiences, you will also have access to a range of support staff and services from the University's Careers Service, who can help with:
Reviewing CVs, covering letters and application forms
Career planning and decision making
Preparing for interviews and assessment centres
Developing portfolios
Networking with employers
Advice about self-employment and entrepreneurship
Links to industry
As a BA (Hons) Music Industries student you will benefit from our membership of UK Music's Music Academic Partnership. As one of only 17 institutions nationally, our MAP status is designed to maximise the employability of students; and future-proof the music industry by ensuring new entrants have the right mix of experience and skills most needed. As a MAP member, our curriculum is shaped and informed by the needs and wants of the industry itself, to ensure that you are developing the right skills, knowledge, and experience for a career in music.Through our membership, you will gain access to masterclasses from leading industry professionals, opportunities to get involved in industry research, networking and information events and input and support into your future career.
Birmingham Music Coalition
We play a key role within the Birmingham Music Coalition (BMC), a music industries lobbying group made up of, and linked to, a number of influential local, regional and national music industries organisations. We also have an industry advisory panel whose membership includes international music industries professionals from Warner Music UK and Kobalt Music Group. They advise and inform us of current music industries developments and practices, to ensure our students are developing the skills, knowledge and experiences that are sought by industry employers.
Placements and work-experience are a core part of BA (Hons) Music Industries, and the ethos of the Birmingham School of Media more broadly. As a student on the course you will be required to source and undertake relevant placements (supported and guided by our tutors and professional networks), and to draw upon these experiences in the work that you are producing within your taught modules.
In recent years our students have secured work placements with a range of key music industries organisations including:
Sony Music Group
O2 Academy
Association of Independent Festivals
As well as innovative and exciting local businesses such as:
Punch Records
Supersonic Festival
Birmingham International Jazz
Blues Festival
Birmingham Music Archive
Home of Metal
More about our placement opportunities...
Tanyel Gumushan, graduated in 2018
Live Music Adviser, PPL PRS Ltd and winner of the UK Music Outstanding Graduate of the Year Award 2019
"Since graduating I've continued my freelance writing and have been contributing to Clash and tmrw magazine, where I secured cover interviews/photo shoots with Niall Horan and Little Mix whist working as Music Editor.
I now work at PPL PRS Ltd as a Live Music Adviser, ensuring venues are correctly licensed. This involves collecting royalties for events that they host by conducting research, collecting setlists, and cracking down on secondary ticketing by auditing online. Though I work full-time I still make time to freelance for the PR team at Universal Music and create press releases and biographies for new artists. A recent example is Ramz, whose single topped the Spotify new release charts off the back of the campaign."
Stephanie Evans, graduated in 2019
Marketing Intern at Music For Nations, Sony Music UK
"My role involves working with other departments within the label to keep up-to-date on current signings and releases within music. I also help with compiling digital assets and digital marketing initiatives, and suggesting creative content and ideas for artist campaigns, as well as general administrative tasks. I love getting to be involved with alternative music, which was already my passion, and being part of the creative team that works closely with artists I love. My degree gave me so much experience in how the media industry works and taught me how to approach and interact with media professionals, which was a huge benefit when looking for work post-graduation."
Find out more about Stephanie's role
Our students come from around the world but our media and communication course is most popular with international students from:
When you join Birmingham City University, the first thing you will notice is the high standard of our campuses.
With an investment of £340 million across our buildings and facilities, we are committed to giving you the very best learning environment to help shape your experience.
State-of-the-art facilities
You will learn in our state-of-the-art facilities - including the £62m fully-digital Media Centre - located on the City Centre Campus. You will enjoy access to extensive studio and workshop space including four TV studios, six radio studios and broadcast-standard edit suites, as well as cutting-edge equipment and software.
Facilities include the largest TV floor of any university in the UK, a 'green screen' and the MILO motion control camera - we are one of just two universities in Europe to offer MILO technology.
All staff at the School are established media professionals who bring with them a range of expertise. They provide students with practical and relevant insight with real-life experience of business and industry, and are able to recognise and respond to the rapidly changing demands of the media.
Our staff continue to work with industry consulting for music SMEs, and a number of visiting lecturers come from the industry to share their knowledge and skills with the students. Our research staff also work on a number of music industry related projects helping music businesses develop new ways of thinking and working.
Ellie Tomsett
Lecturer – Course Director for Foundation in School of Media
Ellie is a lecturer in media and course director for the School of Media's Foundation Programme. Before joining BCU Ellie worked in Higher Education for four years. Ellie taught film studies and screenwriting students at Sheffield Hallam University and contextual studies to filmmakers, animators and photographers at Manchester School of Art. Before teaching in HE Ellie worked in the UK film education sector, during this time she delivered training to teachers, youth workers and professional filmmakers across the country and organised filmmaking and theory activities for large organisations such as The BFI, The Industry Trust and Transformation Trust.
Ellie's research is focused on contemporary feminisms and stand-up comedy and she has been Researcher in residence with the UK Women in Comedy festival since 2014. In 2017 she co-founded Mixed Bill a comedy and gender research network which seeks to engage comedy industry professionals, researchers and members of the public in discussions and activities that address the under-representation of minority groups within the comedy industry. She has published on feminist and post-feminist stand-up comedy, self-deprecatory comedy and body positivity as well as more recently exploring comic reactions to the Brexit
Read Ellie's full profile
Robin Kay
Robin is a Lecturer in Media and Communication with a New Media specialism. He has a background within the music industry having worked for several notable record labels and industry organisations including: Ministry of Sound Recordings, Defected Records, Sanctuary Records and PRS. He has extensive experience within education and teaches creative and digital media subjects focused around web authoring, visual communication and immersive media. With an interest in interactive and immersive media, he is currently working on several projects involving emerging and innovative technology within an educational context. Robin is currently working with BCU's STEAMhouse as an Academic Coordinator to support their immersive media provision and is engaged with the Reality Enhanced Augmented Learning Faculty Learning Community (REAL FLC) situated in the Faculty of Health, Education and Life Sciences.
Dave Harte
Deputy Head of School and Associate Professor in Journalism and Media Studies
Dave Harte is Associate Professor in Journalism and Media Studies. He researches the emerging trend of local community 'hyperlocal' news websites and has published widely on the subject. Within the School of Media he leads on teaching and learning initiatives and teaches modules on Journalism Studies, Social Media, and Alternative and Community Media. He supervises PhDs in the areas of journalism and community media.
Read Dave's full profile
Dr Sarah Wood
Head of Birmingham Institute of Media and English
Sarah Wood holds degrees from JMU, the University of Liverpool, and Birmingham City University, where she gained her PhD. Her research interests are in feminism and science fiction.
She has an article on Octavia Butler forthcoming in FEMSPEC and is working on further studies of Butler as well as of Nalo Hopkinson and slave narrative.
Read Sarah's full profile
Ross Hawkes
Ross leads the journalism pathway. He was previously a sports writer, sub-editor, page designer, news reporter, web editor, features writer and editor, before leading Trinity Mirror's digital programme in the Midlands. He also founded and currently runs award-winning hyperlocal website, LichfieldLive, which has been used an example of excellence in the hyperlocal scene.


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Q: why form filed (type = file) value missing in field after validation failure in Spring mvc i have a browse button and a text box.when we browse  a file and give some value in the text box then its alright. but when we left either browsing a file or filling up the text box then it will ask validation as saying that a file must be uploaded or text box must be filled respectively. but here my problem is when i upload a file and left the text box then if i go for validation then it will as for text box to be filled up with some values but as well file path which uploaded in browse button also missing after validation fails like this.
here is my code:
<form:form id="command" method="POST" enctype="multipart/form-data"
                commandName="project" modelAttribute="project"
                action="onsubmit.htm">
<c:forEach var="ivrsFile" items="${project.ivrsFiles}"
                            varStatus="status">

                                <c:if test="${fn:length(ivrsFile.fileName) > 0}">
                                    File <c:out
                                                value="${status.index+1}"></c:out>:
                                     <form:hidden path="ivrsFiles[${status.index}].fileID" />  <input
                                            style="display: none" type="file"
                                            name="ivrsFiles[${status.index}].file" />  <form:input
                                                    path="ivrsFiles[${status.index}].fileName" readonly="true" />

                                    Description: <form:input
                                            path="ivrsFiles[${status.index}].fileDescription" />

                                    Delete
                                            file

                                </c:if>

can any one tell me how to retain my value in the browse text box even when the validation fails for the text box beside that.
thanks in advance

A: You can't set a value for an upload (i.e. <input type="file" />). This is a (security) feature by design of HTML. If you want to keep that uploaded file you have to store it in the session and redesign your controller to use a previously stored file from the session.

redpajama_set_name: RedPajamaStackExchange


The dream of playoff hockey is alive and well in Washington and that's for one reason: The Southeast Division. For the past four years the Caps haven't had to fret over number crunching and out-of-town scoreboard watching to determine their post-season destiny, but this season they've filed a missing persons report on marquee player Alex Ovechkin, fired their head coach and are on pace for the fewest points in recent history. Nevertheless, the Caps still have a good shot at landing in third place in the Eastern conference thanks to their exceptionally weak division.
The Southeast Division was created in 1998 to accommodate the expansion of the since-skipped-town Atlanta Thrashers. Since then, the Caps have won six division titles, as many as the other four teams have won combined. Additionally, the Southeast Division has never fostered more than two playoff teams per season. In division history, a Southeast team has lead the conference in points only three time – the Capitals twice, plus the 2004 Stanley Cup-winning Tampa Bay Lightning. If I haven`t done so already, I`d like to make it obvious – the Southeast is the least of the East.
Point disparity between conferences has long been a sore spot for Western Conference teams whose bar to make it into the post-season is typically much higher than in the East. The Southeast division has become the weakest division in part because it lacks a dynasty leader that dominates the points race year-after-year. In recent seasons it looked like the Caps might fill this gap, but in 2011-12 that's not as promising, and it's not likely to be fixed anytime soon. This season, the division-leading Panthers are on pace for 92 points, which would barely edge them into the playoffs in any other division. But can the NHL make it fair – and should they?
The Thrashers-now-Jets are poised to shake up the NHL divisions (and possibly conferences) once again in the next couple years. The separation in team points from one division/conference to another is something that would only be amplified under this year's proposed realignment, which has since been shut down by the player's union. The league proposed splitting the 30 teams into four conferences, two with eight teams another two with only seven. Playoffs would be determined by the top four teams in each conference, who would then play down in typical elimination style. Aside from the basic math issues, the proposed conferences were poised to be unbalanced competitively as well, with obvious forerunners bunched into the same groups, including one featuring the Penguins, Rangers, Devils, Flyers, and Capitals. The realignment would have likely creating even more of a slant, and certainly wouldn't have helped the Caps. We're sure to see this point be raised by GMs over the summer as realignment goes back into a blueprint stage, though where this priority ranks among concerns about travel time and maintaining rivalries is unclear. Nevertheless, the Caps are in a precarious playoff position, and they can't count on their dismal division fellows forever.