Egypt is a vibrant, fascinating country with some of the finest and most accessible historical sites anywhere in the world. Modern Egypt is cornucopia of people and places, with the Red Sea resorts offering a relaxing alternative to the Nile Valley.
A wide choice of short tours from Cyprus to Egypt, from 1 or 2 night short breaks to Cairo to longer Leisurely Cruises, a variety of Nile Cruise boats are available sailing leisurely on the river Nile. Nile cruises sailing on the the Nile vary from 3, 4 & 7 nights sailing and cruises are also available from Aswan to Abu Simbel sailing on Lake Nasser.
Nile cruises sailing on the Nile commence from Aswan and sail to Luxor or vice versa, stops are made along the Nile with visits to the Historical sights with an English Speaking Egyptologist guide. Package and tours from Cyprus to Egypt are mainly on private basis with your own private driver and private guide which run on regular weekly basis.
Visit the mysteries of the Pyramids, the enigmatic Sphinx and the lavish colour of the Tombs of the Kings are a window into the distant past of Egypt. But it's more than just the past: towering minarets and modern mosques soar over lively markets and rural scenes of beauty, linked by the life-giving blue waters of the Nile. Not forgetting the gorgeous beaches and crystal clear seas of the Red sea, oriental restaurants, shisha bars and the truly warm welcome offered by the Egyptians themselves.
Visit Cairo home of the Great Pyramids of Giza, the last surviving wonder of the ancient world. Visit the Egyptian museum, a vast treasure trove containing the world's largest collection of antiquities and marvel at the treasures of the Pharoah's tombs.
See the highlights of Egypt with 2 nights in Cairo and 4 night cruise sailing from Luxor to Aswan taking in all the sights along the River Nile in 5 star luxury. Weekly departures.
Enjoy a leisurely cruise on the River Nile for 7 nights. Sail from Luxor and taking in all the sights on the way. Optional visit to Abu Simbel from Aswan is possible.
A brief visit to Egypt for a sailing on the River Nile. Arrive in Aswan for overnight then sailing for 3 nights from Aswan to Luxor to see the highlights of ancient Egypt along the Nile. Weekly departures.
This private tour includes 2 nights in Cairo and 2 nights in Luxor including domestic flights and private guided tours with your own Egyptologist guide. Daily departures.
Visit the amazing sites of Egypt on this wonderful journey sailing from Luxor to Aswan on the River Nile and continue sailing South of the River from Aswan to Lake Nasser to visit more sights including one of the greatest temples of Abu Simbel.
Enjoy a diving experience in the crystal clear waters of the Red Sea. For beginners or advanced divers with PADI certified instructors.
Enjoy the warm sunshine relaxing on a sandy beach of Sharm el Sheikh, all year round sunny destination with optional pre-bookable tours and an opportunity to dive in the crystal clear waters of the Red Sea.


Home and apartment furniture patio decorating ideas Cabinet Glaze Kit in garden patio with patio canopy ideas and cheap patio flooring ideas high resolution for free. This images was added in Saturday, November 17, 2018 and 75 users has viewed and downloaded this image patio ideas design. Cabinet Glaze Kit have Tags: buy kitchen cabinet glaze, cabinet glaze kit, cabinet glaze techniques, cabinet glazes, cabinet glazes and stains, cabinet glazes black, chestnut glaze kitchen cabinet, diy kitchen cabinet glaze, how to glaze kitchen cabinet doors, kitchen cabinet glaze, kitchen cabinet glaze colors, kitchen cabinet glaze finish, kitchen cabinet glaze finishes, kitchen cabinet glaze paint, kitchen cabinet glaze white, kitchen cabinet paint and glaze colors, kitchen cabinet refinishing glaze, rustoleum kitchen cabinet glaze, white kitchen cabinet glaze and approximately 20 KB bandwith was consumed. If you like it, all you need to do is help us grow by sharing this wallpaper Cabinet Glaze Kit.


Uncle Mafufo considers learning these rhythms essential to the playing of the Middle Eastern drum. Besides the basics there is material here for expanding a player's knowledge by adding to their repertoire of rhythms and variations. Armando has written the modes in Dun,Tec, and Ca syllables and they are printed inside the insert for easy reference.


What's The Future For Impact Investing?
If the world is to solve its huge environmental and social problems, it's going to take more than government spending and private philanthropy. These sources can bring in billions of dollars, but what's really needed is trillions—the sort of money only business and the markets can provide.
The idea of impact investing–a term originally coined by the Rockefeller Foundation in 2007–is to get at this untapped money. It's a way of deploying capital both for profit and social purpose, as Co.Exist has covered a few times here, here, and here.


Welcome Home! This stunning split bedroom ranch home in North Appleton has been meticulously maintained and cared for. You will fall in love with the beautiful landscape and back patio, vaulted ceilings, spacious master suite with enormous walk in closet, and the open kitchen and dining area with it's own walk in pantry. This home is ready to be yours!


The U7 Instructional Program is designed to introduce K through 1st grade boys to the sport of lacrosse. They will learn basic lacrosse concepts and skills through a series of drills and activities taught in a small group setting. Protective equipment (i.e., helmets, pads) is used in the U7 program. The instruction and activity level is age appropriate and prepares young players for the U9 program.
Helmet, shoulder pads, arm pads, gloves and mouth guard.
If the player was a Spring or Summer 2018 CFLA player and wishes to play on their same team then the cost is $60. If the player chooses to switch teams/uniforms they must turn in the uniform from Spring or Summer 2018 or pay another uniform fee of $15 to get a new team uniform.
All new FALL 2018 CFLA players must pay $75 which includes uniform fee.
Includes reversible jersey, coaches, refs, league supplies and administration.
U-14 teams play 10 vs 10 games on a full field.


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Mardles
About Mardles
Morris On!
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Dance Bands
Events & Venue contacts
Folk Tutors
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Me and my recorder
by Val Haines
There's a meme going around social media: just when you think parenting can't get any harder your kid comes home with a recorder. Us recorder players still have a lot of convincing to do.
Flashback to 1969. I'm at primary school and we are told to line up and take a recorder out of a large box. I'm at the back of the queue, as always, as my name is at the back of the Early daysalphabet. When I get to the box there is one left, a dark brown one, Bakelite I learned much later. Everybody else has a pale wooden recorder with a white top. Appearance is not the only difference I realise as we all begin to blow. Everybody else's sound like asthmatic mice – mine sounds like a bird. Nothing I can do can make my recorder wheeze like theirs and this beautiful sound encouraged me on.
Unlike the current meme my parents never objected to my recorder. We were told don't take the recorder home. I took it home. We were told don't tell your parents you have to buy one. I told my parents we had to buy one, after all once a week playing wasn't enough, but I had to wait until my eleventh birthday. The night before I could hear my dad blowing it and my mum saying shhh, she'll hear you. I was too excited to sleep.
I found early on that I could play lots of tunes from memory which meant that if I had to read music it slowed me down. There seemed to be an automatic connection from ears to brain to fingers. When I heard Sparky's Magic Piano on the radio, I thought yes, that's how it works. My teacher liked my playing and asked me to play in assembly. I refused to play alone and asked a friend to join me. We played together but I didn't enjoy it at all. She was too loud and blew all wrong and didn't think about how it could sound nice. I was too shy to play on my own in public so continued to march around the house playing instead: TV adverts, hymns, pop songs, anything. Then it was time to go to secondary school and I got my trumpet, flugel horn and cornet. Recorders became a bit childish, but at least you could hide them in your bag.
Read more: Me and my recorder
Big box, Little box
by Sally Hall
My big accordionI long to play music in a way which feels fun and soulful… to feel joy from music, without shame or inhibitions. I dream of feeling relaxed at trad sessions and not wishing that the ground would swallow me up. I imagine how it would feel to play confidently, without the nervous shakes that come when I feel I'm getting it wrong. I long to feel a part of the lively jigs and reels at sessions, and the soft waltzes and airs.
I have been trying to do this for so long but it has always felt like an uphill struggle. In the last few months however, I'd say that I've had a breakthrough, which has come in the form of a new, little box.
I have always had accordions in my life. As a small child, I sat cross-legged, mesmerised by my grandma's huge piano accordion. "Again, again!" I used to say, "Ragamuffin!" (my favourite jazzy ragtime tune).
Read more: Big box, Little box
Folk Songs for Today
from Les Ray
When I wrote my last column, I was eagerly looking forward to one of my highlights of the summer: Cambridge Folk Festival. Well, summer and its festivals have come and gone, so now we're battening down the hatches in preparation for autumn (and the B-word) and becoming more contemplative.
One highlight of this year's CFF for me was getting to interview the great Ralph McTell on my radio show broadcast live from the festival site. In the interview, Ralph - first name terms now of course! - told me about the amazing reaction when he performed 'Streets of London' at CFF for the first time back in 1969, 50 years ago this year. As he described it: "I'm often asked about which are the memorable days in your career and I have to say the first Cambridge was for me because, before mobile phones and social media and all that stuff, you didn't know that people had picked up on your songs or anything, but when I announced 'Streets of London', which had just come out on my second album, called 'Spiral Staircase', the entire audience sang it all the way through with me and it was a bit emotional for me, I nearly didn't get through it, and I was quite overwhelmed by the fact, so that's a landmark for me".
Fifty years on, it comes as no surprise that the whole audience sang along back then - as they did this year too - because 'Streets of London' was a folk song for its time, in other words, a song that connected with and carried forward the folk tradition, telling of events and circumstances affecting ordinary people's lives.
I'm in the process of putting together a list of songs written in recent years that in my view are - or will become - folk songs for their time. A couple that immediately spring to mind are 'Hollow Point' by Chris Wood, which tells of the killing of Jean Charles de Menezes in July 2005, and 'On Morecambe Bay' by Kevin Littlewood, about the tragic deaths of the Chinese cockle pickers there in February 2004.
If Mardles readers can you think of other songs that would fit the bill, send email to This email address is being protected from spambots. You need JavaScript enabled to view it.
Les Ray
Sometimes there is a piece of music that really lifts the spirits. This is one such piece. I realise most of you have heard this many times but there is something magical about this particular clip. I particularly like the slow and gentle lead in before the waltz time takes over and then there is nothing to stop you waltzing round wherever you are with whatever or whoever you have in your hand.
I'll add more clips to this as the mood takes me but if anyone has a particular clip that has something special about it, please send to This email address is being protected from spambots. You need JavaScript enabled to view it. Probably better to keep it folk related
New Youth - how oldie musicians are doing it for themselves
Article by Les Ray
My colleague at Cambridge 105 Radio Julian Clover and I were chatting to Neil King of Fatea at Cambridge Folk Festival back in the summer. Neil was saying that Fatea aims to promote up-and-coming folk artists, particularly those who are not at the young end of the scale but are now at the age when they have the time and opportunity to pursue their music, plus they have a wealth of experience to bring to the songs they write; he mentioned Marina Florance in particular.
The truth is, Marina is just one very fine example of older performers from our region making headway on the local and national folk scene. Marina is slightly different in that she didn't start performing in public until she was in her late forties. A more common phenomenon is that of musicians who played in bands in their youth but gave it all up to focus on family and career. Now that the children have flown the nest and they are close to retirement age, if indeed that exists, they have the time and maybe a bit more disposable income to devote to that passion that has never left them - music. I'm thinking perhaps of the Boxwood Chessmen, Thursday's Band, Kelly & Woolley, Cambridge Walker, Two Coats Colder, or even my own band, Red Velvet. And that's just the start of a very long list of performers that I'm calling the "New Youth" movement, since these are musicians enjoying a new youth in music.
Read more: New Youth - how oldie musicians are doing it for themselves
How best to learn a traditional tune
The lady in the third row…
What's the time?
Suffolk Morris Norfolk Cambridgeshire Essex Bands Advert Ceilidh Clubs Earache
Not Morris but ...
Cam French 15 Feb
Pastime with the Pastons
Weybourne Folk Weekend 2020
Winter Wilson 1st Feb 2020 Beccles
21st Century Morris?
From Melodeon to Button Accordion
Morris Clubs; Morris and Molly Teams in East Anglia
Scottish CD Reviews
EATMT Autumn Concert Party
Suffolk Folk
About SF
Norfolk Folk Association

redpajama_set_name: RedPajamaCommonCrawl


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Book Blog: The Dig by John Preston
This was another novel I read after watching a filmed dramatisation on Netflix. (See The Queen's Gambit previously.) It's an historical novel set on the eve of World War Two. The action takes place at the site of the famous archaeological dig at Sutton Hoo. The author, John Preston, is a journalist who discovered that he was distantly related to one of the archaeologists. Although his connection with the renowned dig is tenuous it was enough to inspire him to write this intriguing novel.
Sutton Hoo, near Woodbridge in Suffolk, is the site of two Anglo Saxon cemeteries dating from the sixth to seventh centuries. When excavated, a burial ship and a mass of artefacts were discovered. Mainly now housed in the British Museum, the land and the ownership of the treasure belonged to Mrs Edith Pretty. Mrs Pretty employed a local, amateur archaeologist, Basil Brown, to lead the excavation. But when it became apparent that the site was of immense significance the professional and academic establishment rushed to take charge.
On the author's own admission, the novel is only loosely based on the true story of the dig. Even the chronology of the dig is adapted for dramatic license. The main characters really existed in real life but their stories as depicted in the novel are largely invented by the writer.
The novel is divided into sections and each new section is a recount of the story from the point of view of a different character. Consequently, the reader gets different versions of what's going on, the action and the relationships between individuals. This makes a fairly straightforward story much more interesting and the hidden aspects of the characterisation parallels the hidden secrets of the dig itself.
It's interesting to consider the Netflix adaptation where the screen writers have taken a story which is largely fabricated and re-worked it and fabricated even more so that the final result bears little resemblance to the reality of the original dig. But having said that, it's a really good film. The newly invented story works really well and the whole is beautifully filmed. The acting is superb particularly Ralph Fiennes speaking in a strong rural Suffolk accent without a hint of parody.
Yes, an interesting story makes a good novel which in turn leads to an excellent film.
Thanks for reading my blog today. Hope your day is going well. If you're stocking up your Kindle for the holiday season visit our website for details of some books you might have missed.
Image credit: British Museum, CC BY-SA 2.5 https://creativecommons.org/licenses/by-sa/2.5, via Wikimedia Commons
Published 16 Mar 2021 By Catherine Murray
Categorized as Book Blog Tagged archaeology, fiction, film, Netflix, novel, Sutton Hoo, The Dig
Bridlington, November 2008
5 lovely music quotes to make your day.


I wish people would stop bumping this thread with comments. Yes, we know it's funny.
I think that's SHF. :laugh: Good idea though.
Never ceases to amaze me how many wusses there are in this world. The dog was not harmed in the taking of this picture.
Can we avoid the friggin' conversations in this thread? People bump it talking about racism, sigs, etc. And yes, I realize the irony of my post being a contributing factor. But something has to be said. Discussions about nothing make the greatest thread in the world useless. Please stop. Thank you.


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Real Talk March 4, 2020 / Comments
Britney Spears' Son Jayden Slams Grandfather, Says Mom 'May Quit' Music
Britney Spears' 13-year-old son, Jayden Federline, went on an expletive-filled rant against his grandfather Jamie.
On Tuesday, the "...Baby One More Time" singer's youngest child filmed an Instagram Live from father Kevin Federline's residence.
When a follower reportedly wrote, "kill your grandfather," the teenager responded, "Bro, I was thinking the same thing."
When a different commenter asked Sean Federline's brother, "Is your grandpa a jerk?," he responded, "Yeah, he's a pretty big ----. He's pretty ------- gay as ----. He can go die."
Last August, Jamie and one of his grandsons got into an alleged altercation in Ventura County.
Per a TMZ source in September 2019, Jamie, now 67, allegedly broke down a door to get to his grandson and grabbed him once he was in the room.
Because of the alleged incident, both Sean and Jayden were granted a restraining order against their grandfather in September, barring Jamie from contacting the two boys.
Ultimately, no criminal charges were filed against Jamie.
In his social media video, Jayden also revealed he is spending more time with his father, but plans to visit his mom soon.
"I'm gonna visit her in, like, a couple weeks 'cause I'm with my dad right now. I'm doing pretty good," he said in the clip.
Jayden also confirmed that Britney may actually quit the entertainment industry.
"Actually, I haven't seen her doing a lot of music at all. I remember one time I asked her, 'Mom, what happened to your music?' And she was like, 'I dunno, honey. I think I might just quit it,'" he revealed. "And I was like, 'What? What are you saying? You know how much bank you make off that stuff?'"
Last May, Britney's longtime manager, Larry Rudolph, told TMZ that his client is neither in the best mental nor physical shape to do another Las Vegas residency after her second one, "Britney: Domination," was canceled earlier in January.
"As the person who guides her career — based on the information I and all of the professionals who work with her are being told on a need-to-know basis — from what I have gathered it's clear to me she should not be going back to do this Vegas residency, not in the near future and possibly never again," Rudolph told the publication.
#BritneySpears


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William Martin Boucher (né le  à Ottawa au Canada — mort le ) est un joueur professionnel canadien de hockey sur glace qui évoluait au poste d'ailier droit.

Biographie
Frère de Buck Boucher qui est hockeyeur professionnel depuis 1915 ainsi que de Robert, Bill signe un contrat en tant qu'agent libre avec les Canadiens de Montréal le , la même année qu'un autre de ses frères, Frank, qui signe quant à lui avec les Sénateurs d'Ottawa.

Avec les Canadiens, il remporte la Coupe Stanley en 1924. Il prend sa retraite en 1932.

Le 10 novembre 1958, il meurt le jour de ses 59 ans. Il est enterré à Ottawa.

Statistiques
Pour les significations des abréviations, voir statistiques du hockey sur glace.

| 1915-1916|| Creighton (Ottawa)|| High-ON|| || || || || || || || || ||
|-
| 1916-1917|| Munitions d'Ottawa || OCJHL|| 10|| 1|| 0|| 1|| 6|| || || || ||
|-
| 1917-1918|| Munitions d'Ottawa|| OCHL|| 6|| 5|| 0|| 5|| 24|| 1|| 1|| 0|| 1|| 0
|-
| 1918-1919|| Munitions d'Ottawa|| OCHL|| 8|| 6|| 3|| 9|| 18|| || || || ||
|-
| 1919-1920|| Munitions d'Ottawa|| OCHL|| 8|| 4|| 0|| 4|| || 5|| 11|| 4|| 15||
|-
| 1920-1921|| Papermakers d'Iroquois Falls || NOHA|| 5|| 5|| 0|| 5|| || || || || ||
|-
| 1921-1922|| Canadiens de Montréal|| LNH|| 24|| 17|| 5|| 22|| 18|| || || || ||
|-
| 1922-1923|| Canadiens de Montréal|| LNH|| 24|| 24|| 7|| 31|| 55|| 2|| 1|| 0|| 1|| 2
|-
| 1923-1924|| Canadiens de Montréal|| LNH|| 23|| 16|| 6|| 22|| 48|| 2|| 1|| 0|| 1|| 9
|-
|1923-1924|| Canadiens de Montréal || Coupe Stanley || || || || || || 4|| 5|| 1|| 6|| 6
|-
|1924-1925|| Canadiens de Montréal|| LNH|| 30|| 17|| 13|| 30|| 92|| 2|| 1|| 0|| 1|| 4
|-
|1924-1925|| Canadiens de Montréal || Coupe Stanley || || || || || || 4|| 1|| 1|| 2|| 13
|-
| 1925-1926|| Canadiens de Montréal|| LNH|| 34|| 8|| 5|| 13|| 112|| || || || ||
|-
|1926-1927|| Canadiens de Montréal|| LNH|| 21|| 4|| 0|| 4|| 14|| || || || ||
|-
|1926-1927|| Bruins de Boston|| LNH|| 14|| 2|| 0|| 2|| 12|| 8|| 0|| 0|| 0|| 2
|-
| 1927-1928|| Americans de New York|| LNH|| 43|| 5|| 2|| 7|| 58|| || || || ||
|-
| 1928-1929|| Eagles de New Haven|| Can-Am|| 38|| 11|| 1|| 12|| 117|| 2|| 0|| 0|| 0|| 4
|-
| 1929-1930|| Eagles de New Haven|| Can-Am|| 32|| 8|| 7|| 15|| 54|| || || || ||
|-
| 1930-1931|| Eagles de New Haven|| Can-Am|| 38|| 20|| 8|| 28|| 98|| || || || ||
|-
| 1931-1932|| Tigers du Bronx || Can-Am|| 39|| 3|| 4|| 7|| 25|| 1|| 0|| 0|| 0|| 0
|-
| 1932-1933|| Granites de Québec || ECHA||

| 213|| 93|| 38|| 131|| 409|| 14|| 3|| 0|| 3|| 17

Références

Naissance en novembre 1899
Naissance à Ottawa
Joueur canadien de hockey sur glace
Joueur des Canadiens de Montréal
Joueur des Americans de New York
Joueur des Eagles de New Haven
Champion de la Coupe Stanley
Décès en novembre 1958
Décès à Ottawa
Décès à 59 ans
Attaquant de hockey sur glace

redpajama_set_name: RedPajamaWikipedia


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Q: Building Docker image : ''Unable to locate package libxcb-util1'' I am trying to build a Docker image but when I build it, I get the error message : 'E: Unable to locate package libxcb-util1'.
Here is my Dockerfile :
`# $DEL_BEGIN`

FROM python:3.9.7-buster
WORKDIR /prod
COPY design_interface design_interface
COPY requirements.txt requirements.txt
COPY setup.py setup.py
RUN pip install --upgrade pip
RUN apt-get update && apt install --assume-yes apt-utils
RUN apt-get update && pip install .
RUN apt-get update && pip install opencv-python
RUN apt-get update && apt install --assume-yes libxcb-icccm4
RUN apt-get update && apt install --assume-yes libxcb-image0
RUN apt-get update && apt-get install libxcb-util1
CMD ["python3","design_interface/MainWindow.py"]
`# $DEL_END`

The error message is :
Step 11/12 : RUN apt-get update && apt-get install libxcb-util1
 ---> Running in a6000629d968
Hit:1 http://deb.debian.org/debian buster InRelease
Hit:2 http://security.debian.org/debian-security buster/updates InRelease
Hit:3 http://deb.debian.org/debian buster-updates InRelease
Reading package lists...
Reading package lists...
Building dependency tree...
Reading state information...
E: Unable to locate package libxcb-util1
The command '/bin/sh -c apt-get update && apt-get install libxcb-util1' returned a non-zero code: 100

What is more difficult to understand is why the command line 'sudo apt-get update && apt-get install libxcb-util1' works well on my computer but does not work when building the Docker image with the Dockerfile.

A: The only solution that I found was to download the file online, and then put it manually in the project repository : design_interface/libxcb-util1_0.4.0-0ubuntu3_amd64.deb.
Then I added in the dockerfile the line : RUN dpkg -i design_interface/libxcb-util1_0.4.0-0ubuntu3_amd64.deb.
It worked. :)

A: According to https://packages.debian.org/search?keywords=libxcb-util1, the package libxcb-util1 exists in bullseye, bookworm, and sid. You are apparently using buster. Buster only has libxcb-util0: https://packages.debian.org/search?keywords=libxcb-util0

redpajama_set_name: RedPajamaStackExchange


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I may have mentioned once or twice or pretty much every week how quick this NRC season is. It leaves absolutely no margin for error nor for teams trying to work their way into the tournament, as Brisbane City found out.
So here we sit, on Semi-Final eve once again. And it's a little déjà vu – or at least déjà vu-adjacent. Last year we had the Vikings hosting the Perth Spirit (ie the Western Force) while Queensland Country hosted the Drua. Twelve months (ish) down the track and those same four teams have finished atop the ladder albeit with a little bit of shuffling.
In season 2017 it was the Vikings who finished on top of the log with QLD Country nuzzling at their neck. Meanwhile the Drua came in third while the team from the west broke into fourth spot on the back of a last round win over QLD Country. This year the Drua have claimed their first Minor Premiership creating a challenging away trip for whomever wants to win the title.
The Vikings secured their finals' position with a tough win over Brisbane City and will now travel to the islands to try to become the first team to beat the Drua at home this season. Meanwhile the Force will head east to the Gold Coast to take on QLD Country whom they have never lost to. All in all it promises to be a fascinating couple of matches.
Drua – getting the ball out wide is their thing!
Just a couple of rounds ago, when these two teams last met at this very same venue, it looked like the Drua were going to do a return serve on the Vikings in revenge for their 2017 encounter. You see back last year, the Vikings clinically routed the visiting Fijians in a 60 point drubbing in Canberra. After about 30 minutes of their Round 6 encounter this season, the Drua were cruising along at about a point a minute and roles were most definitely reversed. Except the Vikings don't roll over and ended up leading with 20 minutes to go. In the end Fiji did what Fiji do and ran the length of the field to score the winning try. But was it enough to give the Vikings a wiff of confidence, a similarly a dose of doubt for the Drua, as they enter Saturday's clash?
The Force were most effective last week when they shut down the Drua's possession and that is what the Vikings must do this weekend. Naturally that needs to be a whole of team focus, but when it comes down to it the generals must stand up. Joe Powell and Wharenui Hawera must be the conductors in the orchestra as they run their teammates through the game. Hawera was wonderful in wet conditions last week and guided his team to victory despite the Quade Cooper skills opposing him. Powell, fresh from his Wallaby snubbing, must marshal his pack to counter any Drua punch and patiently control the pill before snaffling any pointscoring opportunity that arises.
Drua captain Mosese Voka has taken the mantle last year's skipper, John Stewart, in his lead from the front play this season. I'd suggest he has been marginally less effective since moving from openside to blindside a few rounds ago, as his running game seems to have been nullified somewhat. It has, however, opened a spot up for the brilliant Jone Navori in the 7 jersey. Putting aside his impact as a player, it will be Voka's calm leadership that will be most needed should the pressure of finals play impacts his team. They've proven they can come back from big margins as long as they stick to their game plan. That needs to be Voka's message throughout Saturday's semi.
Brynard Stander has been almost revelatory for the Force in 2018. While his quality has been clear for a number of years, his importance to the Force performances have never been more obvious. He carried the load when Chris Alcock missed weeks through injury and has maintained his standards since his return. No one in the Force pack poses the attacking thread that Stander does and while their halves are more distributors than dangers, the physical number 8 is central to the Force's impact up front. If Country can stem his effectiveness, it will go a long way to securing victory.
Queensland Country skipper Duncan Paia'aua needs to fire on Sunday to get his team into the Grand Final the following week. Last year Paia'aua was simply sensational through the NRC and earnt a Wallaby call-up because of it. This year we've only seen glimpses of this class, and it remains a joy to watch, but we haven't seen as much. The playmaker has disappeared too often from matches leaving the playmaking up to the inexperience inside and outside of him. His defensive frailties have also hurt his side and he sits on top of the tournament missed tackles list. Captains need to step up in big games so it will be interesting to see how Paia'aua does as much on Sunday.
Tip: I get the sense that Country are just cruising through without the killer instinct of last year. I expect the Force to be too clinical for them this Sunday. Force by 2.
Cheers for the wrap up, and the coverage all season. The NRC has been a shining light distracting from the abysmal Wallabies, and your coverage has greatly improved it from this fan's perspective, Reg.
thanks mate, very kind words.
I genuinely enjoy the NRC probably more than any other comp in Australia at the moment. It's the one I go out of my way to watch every game of.
I second DB's words Reg. Your passion for the game follows you everywhere. Even tho you're a Queenslander you're coverage is always clear eyed and unbiased and I always enjoy it.
Is Stander eligible for the Wallabies?
In terms of time playing in Aus, he is. And I'm pretty sure he hasn't played for another country at a level that would exclude him. His handicap, of course, is that he plays for Perth. Despite the pronouncements of RA, I don't see any Perth players rising to the Wallabies unless they move interstate to play Super Rugby.
Where's @Bakkies when you need him? I'm pretty sure his (Stander's) folks post on here from time to time as well.
"Stundaah" is better than some of the incumbents. Whether he's eligible is one thing (and, even if he was, whether he'd be considered for selection is another).
Thank you Reg, it has been an excellent season for NRC and you have done it proud along the way. It is your baby, and we are all the better for it.
Not sure how a write up about the Drua could miss out naming Lomani and Veitekani though. Nearly everything the Drua do revolves around them, and they are quite sensational. Keeping them quiet is a must for the Vikings, but in saying that there is plenty of attacking flair right throughout the Drua team. Hard to see the Vikings bringing home the bacon.
The Country v Force game should be a beauty too where the result could go either way. I like your acknowledgement of Brynard Stander's play throughout the tournament. He has been in outstanding form. But like the Drua, the Force mainly attack through their 9/10/12 combination. I think Iona has been instrumental in a lot of their success and that probably is due to the excellent work by Deegan and Prior inside him. Iona is a genuine second play maker but is very adept at also breaking the defensive line himself.
The Force should also gain ascendancy in the scrum and mauls. They have a particularly strong scrum and their mauling has been the best constructed in the competition imo.
For the record, I will be supporting the Vikings and Country. I expect I won't get both of them right.


text:
The perils of worrying about the future
20 September 2019by Industry Expert
Investors, advisers and their clients should be wary of worrying too much about the future when it comes to their investment strategies.
After all, does worrying about such things make them better investors? I'd argue no. Having some defensive strategies in place in case of a downturn is one thing but continually anticipating the worst is quite another.
IS A CRASH INEVITABLE?
Human nature is our worst enemy when investing
Advising clients from or in New Zealand
At the moment, it seems talk of a recession or stockmarket crash never goes away. This reflects human nature – we focus more on what might go wrong rather than what might go right.
For example, predictions of a market crash are far more prevalent than those of a boom, yet usually you cannot have one without the other. Type 'market crash' and 'market boom' into Google Trends and you'll see the number of searches of the former far outweighs the latter.
Similarly, bad things from the past stick in the mind far more than good. Relevantly for investors, studies into the psychology of 'loss aversion' show we feel losses twice as much as we do gains.
The global financial crisis (GFC) in particular seems to have left us with deep psychological scars that are yet to fully heal.
You can see this in the elevated levels of investors' risk aversion. By and large, since the GFC, investors have mostly targeted low-risk and low-volatility investments. The most obvious example of this is their preference for bonds and real estate. And when it comes to equities, investors have sought out the safety of defensives, yield and the momentum of whatever has most recently been working. More recently, real estate investment trusts (REITs), gold stocks and "expensive defensives" such as Woolworths have outperformed, even though they are not necessarily justified by the fundamentals.
Only in very recent times have fears of a repeat of the GFC calmed down. Predicting a repeat, however, is to imply it is a naturally recurring event. If so, what was the precedent for predicting the last GFC? Or the dot-com boom and bust? Or, for that matter, the 1987 stockmarket crash?
HISTORY DOESN'T ALWAYS REPEAT
We have a tendency to fight the last war over again, making it unlikely something like the GFC repeats soon thereafter. Central banks have literally done 'whatever it takes' to avoid a relapse, to take the words of Mario Draghi, president of the European Central Bank during the euro crises in 2011. Likewise, regulators have lifted banks' prudential capital, liquidity and lending standards worldwide. In Australia, banks' capital positions are now about twice as strong as they were in 2007.
Market pundits are fond of quoting Mark Twain, that "history doesn't repeat, but it does rhyme". But depression rhymes with recession, and there is a big difference between the two. Each event is different in how we got there, and this means each is unique in how it unfolds.
BAD VS GOOD NEWS
What's been interesting since the GFC is that bad economic news has often been taken as good news for markets. Any worrisome economic data point came with a greater probability that central banks would come to the rescue with further monetary stimulus. Thus, signs of a weakening economy have actually been good for both bonds and equities. So then why should we have feared what didn't bring us harm? Indeed, research shows there is little correlation between economic growth – specifically GDP – and equity market returns. And to the extent there is any correlation at all, it is actually slightly negative.
Today, fears of another GFC seem to have given way to other fears, all while the scars of the GFC remain. These new fears reflect the unprecedented times in which we now live: disinflation and stunted wage growth; overbearing central banks and low/negative interest rates; de-globalisation and nerve-rattling trade wars; class wars and social inequality and disunity; populism and challenges to democracy itself. Of course, all these fears come with some sort of analogy to help us more easily consume the narrative, whether it's Japan's secular stagnation, Thucydides Trap, or otherwise.
But investors should remember the future has never been clear cut. It is always the case that the circumstances of the day are somewhat unique, and unprecedented times are the norm.
Since Federation in 1900, Australia has seen two world wars, recessions, mortgage rates as high as 20%, the sacking of Prime Ministers – the list goes on. Over that time, however, Australian equities have returned over 10% per annum (to quote the Reserve Bank of Australia's paper The Long View on Australian Equities). It has actually been less in the quarter century since 1993 – slightly less than 9% – which was a period without war or recession, and with an economic and credit boom.
Yes, these higher returns from equities come at a cost. This cost is higher volatility, which is really just a euphemism for price falls every now and again. However, while volatility presents risk of loss in the short term, the risk reduces the further one looks out, and becomes almost irrelevant over the long term, as any long-term performance chart will attest.
In contrast to the negative news, the positive news has all but been taken for granted.
Few can remember the five-year bull market that delivered us to the GFC. Over those five years, the market tripled investors' money, adding far more wealth than was subsequently taken away by the GFC itself.
The market has doubled in the 10 or so years since the bottom of the GFC, reached in March 2009. And someone unlucky enough to have invested the day before the top of the last market high, in November 2007, has received a return of about 65% when dividends are included. Amidst all the doom and gloom, we've actually had it pretty good.
RISK DU JOUR
The copious flow of media, expert commentary and other 'information' is unhelpful in all this.
For a start, it focuses our attention on the risk du jour. Over the years, this has included taper tantrums, Brexit and North Korean nuclear tensions, to name just a few. These got us all excited and speculating on imminent chaos.
But just as importantly, most of the media and expert commentary tends to focus on the negatives. For the media, it sells more newspapers. And for the experts, it looks considered and prudent.
As Steven Pinker, a professor in psychology at Harvard University, points out, the psychology of moralisation is such that people compete for moral authority, and critics are seen as more morally engaged than those who are apathetic. Those perceived as the most analytical and concerned about the risks are also perceived as the smartest.
However, being overly focused on the risks can mean you miss out on the opportunity.
Capitalism works its magic over time. People will be encouraged to work hard, to improve the way things are done, and to have more and seek a better life. This 'invisible hand' of capitalism is a positive driver that is difficult to see. And in part, this is why it doesn't fill up newspapers. Meanwhile, the businesses that stand behind equities will earn, invest and grow for the future benefit of shareholders.
We cannot know for sure what the future holds. What we can do, however, is understand the present.
ORDERLY MARKETS
In contrast to what one might think by reading the media, markets are actually quite orderly and reasonable most of the time.
This is not to say they won't have their ups and downs, as unpredictable as they are. Indeed, the Australian market has had a number of 'corrections' over the time it has doubled investors' money since the bottom of the GFC. These included falls of 21 %(April – September 2011), 20% (March 2015 – January 2016) and 14% (August – December 2018).
It is to say, however, that stocks will recover from such falls and chart back up with the market's natural long-term march higher.
In rare instances markets can stretch to their extremes, when excessive euphoria or despair takes hold. Unfortunately, most of us will have been too caught up in the boom or doom to be aware at the time.
In a boom, it is generally when the conversation at BBQs or with Uber drivers always comes back to stocks; our friends' big win triggers too much envy not to partake; we are investing on margin; and ultimately, valuations detach from fundamentals. In the end, booms and busts require a group effort. Thus, literally only a handful of unique individuals depicted in The Big Short movie truly saw and positioned for the GFC.
In our view, the Australian market is at its normal orderly self. The best evidence of this is that we continue to climb a wall of worry. Investors are talking about recessions, corrections and the like, and this sentiment invariably makes its way into share prices.
Ironically, where there seems to be the most risk is where it is perceived to be the least. The rush into safety – bond proxies like REITs and 'expensive defensives' like Woolworths – might not prove so defensive given their popularity and stretched valuations.
At the very least, the current uncertainty in markets – and there is a lot – is good reason for investors to ensure they are genuinely diversified. Right now, bonds, property and term deposits are offering returns – whether interest rates, cap rates or deposit rates – that are far beyond historic norms. In contrast, Australian equities trade not far above historical averages.
So why worry about the future, and the apparent inevitability of a recession and market crash?
As veteran Fidelity manager Peter Lynch once said: "Far more money has been lost by investors preparing for corrections, or trying to anticipate corrections, than has been lost in corrections themselves".
As the old adage goes, it is time in the market rather than timing the market that works.
Julian Beaumont is investment director at Bennelong Australian Equity Partners.
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text:
RCMP commissioner to review watchdog report on Colten Boushie case on weekend of Dec. 4
| North America
The RCMP's response to a watchdog report about the Colten Boushie case will be on commissioner Brenda Lucki's desk on Friday, Dec. 4, Lucki says.
Lucki will read it over that weekend before signing off on it, she said.
"I am committed to get the report on Dec. 4, work through the weekend on it and make sure that I'm prepared to release it this year, shortly after that," Lucki told a member of parliament Wednesday, when asked about the status of the report put together by the federal Civilian Review and Complaints Commission (CRCC).
Boushie, a 22-year-old member of the Red Pheasant Cree Nation in Saskatchewan, was shot and killed in Gerald Stanley's farmyard in August 2016. Stanley was charged with murder and manslaughter, but was acquitted of both by a jury.
The CRCC probed the conduct of RCMP officers who investigated the death. Among the issues was the RCMP informing Boushie's mother of his death during a tactical search of her home.
The CRCC report and the RCMP's response were due to be made public in the summer, but the Globe and Mail reported that nothing had been released.
Three weeks ago, Prime Minister Justin Trudeau said he was frustrated by the delays and asked Public Safety Minister Bill Blair to look into the status of the review.


text:
Q: The value obtained from the database is not applied to the variable I have a function to get a value from a sqlite database. How do I set this value to a variable?
Get value from DB
  getPref(Setting setting) async {
    var dbClient = await db;
    try {
      dbClient.query('settings',
          where: 'name = ?',
          whereArgs: [setting.name],
          columns: ['value']).then((data) {

        List<Map<String, dynamic>> s = data;
        List<String> list = [];
        for (var x in s) {
          x.forEach((k, v) => list.add(v));
        }
        print("NAME: ${setting.name} VALUE: ${list[0]}");
        return list[0];
      });
    } on Exception catch (ex) {
      print(ex.toString());
    }
  }

Result:
 NAME: mainPage VALUE: all
But when I put this value it doesn't apply, it throws null.
  String page = "";
  getPage() {
    DBHelper database = DBHelper();
    database.getPref(Setting(name: 'mainPage')).then((val) {
      setState(() {
        print("VAL " + val.toString());
        page = val;
      });
    });
  }

Unhandled Exception: type 'Null' is not a subtype of type 'String'

A: Try replacing:
getPref(Setting setting) async {
var dbClient = await db;
try {
  dbClient.query('settings',
      where: 'name = ?',
      whereArgs: [setting.name],
      columns: ['value']).then((data) {

    List<Map<String, dynamic>> s = data;
    List<String> list = [];
    for (var x in s) {
      x.forEach((k, v) => list.add(v));
    }
    print("NAME: ${setting.name} VALUE: ${list[0]}");
    return list[0];
  });
}

with:
getPref(Setting setting) async {
var dbClient = await db;
try {
  var data = await dbClient.query('settings',
      where: 'name = ?',
      whereArgs: [setting.name],
      columns: ['value']);
 List<Map<String, dynamic>> s = data;
    List<String> list = [];
    for (var x in s) {
      x.forEach((k, v) => list.add(v));
    }
    print("NAME: ${setting.name} VALUE: ${list[0]}");
    return list[0];
}

What's wrong?
When querying your db you are not waiting to complete the query before returning the list[0]. In other words, you are returning your list[] before getting the data from the database as .then doesn't block the execution onwards and prematurely executes return list[0] which you don't want.


text:
Google Meet Now Free To Anyone With An Email Account
by Laurie Sullivan @lauriesullivan, April 29, 2020
Google Cloud announced Wednesday it will make its video-conferencing platform free. The company also said the Meet data will not be used for advertising and isn't for sale to third parties.
Beginning in early May, anyone with an email address can sign up for Google Meet. The platform supports scheduling and screen sharing, real-time captions, and layouts that adapt to preference.
Earlier this month, Google reported it would add more options and speed up the release of features for Meet. The company also said it would only offer for free to G Suite customers advanced features such as larger meetings, live streaming, and recording through Sep 30, 2020.
Javier Soltero, VP of G Suite, believes the COVID-19 pandemic has created a shift in the way people communicate in the workplace, at school and at home. More are looking for secure video conferencing tools for everyday life.
Since the pandemic, the video conferencing space has received heightened attention from users, as well as developers at leading tech companies. Microsoft Teams and Zoom have seen increased use since the start of COVID-19.
Google disclosed that since January, Meet's daily use rate grew by 30-times. The company surpassed a new milestone at 3 billion minutes of video meetings and adding roughly 3 million new users every day. As of last week, Meet's daily meeting participants surpassed 100 million. Earlier this month the company reported connected 2 million new users on Google Meet daily and, spending more than 2 billion minutes together.
As for privacy, security controls are turned on by default. Google reports using "counter-abuse protection" to keep the content of meetings safe. These include anti-hijacking for web meetings and dial-ins. The technology also makes it difficult to "programmatically brute force meeting IDs," which occurs when a malicious individual attempts to guess the ID of a meeting and make an unauthorized attempt to join it by using codes that are 10 characters long, with 25 characters in the set.
Time is limited to join a meeting 15 minutes in advance, reducing the window in which a brute force attack can even be attempted. External participants cannot join meetings unless they are on the calendar invite or have been invited by in-domain participants. Otherwise, they must request to join the meeting, and their request must be accepted by a member of the host organization.
email, google, search, social media, social networking, video
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text:
Asking questions of art: Higher Education, research and creative practice
Judith Mottram
Practice-led Research, Research-led Practice in the Creative Arts
Hazel Smith, Roger Dean
Author's note: The invitation to contribute a chapter to this book asked that I address the history of creative work in the university sector and the form and quality of PhD theses in the creative arts. Developing on the work undertaken previously for the chapter in the Elkins book, the chapter focuses closely on doctoral work in fine art. Several propositions are explored, including the linkage between the identity of fine artists as creative practitioners, and the meaning-making arising from the generation of valued objects or experiences, and the way this seductive relationship influences thinking about practice in advanced enquiry as conceptual models are generated to accommodate valued activities. The argument is made for reconsideration of the generic intentions of universities as places of learning and custodians of intellectual capital rather than working with Sullivan's question of whether fine art practice could 'be accepted as a form of research' for artists who work in art schools within universities.
The core material is an analysis of fine art PhD abstracts from 1986 to 2005 testing the utility of Frayling's model of research into, through or for practice. Early projects through practice indicate that forms of experiment provided the dominant strategy for investigation. The use of the ADIT database as a research dataset in itself provides a clear model of how the field can generate its own tools to understand the field.
The book has been reviewed in Media International Australia and the Australian edition of the Global Media Journal, is being regularly cited and is appearing on course booklists. One review comments that the editors 'have tapped into the leading thinkers who have taken an early but definitive step towards validating and theorising the use of the creative arts in research practices.'
http://www.euppublishing.com/book/9780748636280
Mottram, J. (2009). Asking questions of art: Higher Education, research and creative practice. In H. Smith, & R. Dean (Eds.), Practice-led Research, Research-led Practice in the Creative Arts (pp. 229-251). Edinburgh University Press. http://www.euppublishing.com/book/9780748636280
Asking questions of art: Higher Education, research and creative practice. / Mottram, Judith.
Practice-led Research, Research-led Practice in the Creative Arts. ed. / Hazel Smith; Roger Dean. Edinburgh, UK : Edinburgh University Press, 2009. p. 229-251.
Mottram, J 2009, Asking questions of art: Higher Education, research and creative practice. in H Smith & R Dean (eds), Practice-led Research, Research-led Practice in the Creative Arts. Edinburgh University Press, Edinburgh, UK, pp. 229-251. <http://www.euppublishing.com/book/9780748636280>
Mottram J. Asking questions of art: Higher Education, research and creative practice. In Smith H, Dean R, editors, Practice-led Research, Research-led Practice in the Creative Arts. Edinburgh, UK: Edinburgh University Press. 2009. p. 229-251
Mottram, Judith. / Asking questions of art: Higher Education, research and creative practice. Practice-led Research, Research-led Practice in the Creative Arts. editor / Hazel Smith ; Roger Dean. Edinburgh, UK : Edinburgh University Press, 2009. pp. 229-251
@inbook{c0dca9864950416abee13ccd5bc9f850,
title = "Asking questions of art: Higher Education, research and creative practice",
author = "Judith Mottram",
note = "Author's note: The invitation to contribute a chapter to this book asked that I address the history of creative work in the university sector and the form and quality of PhD theses in the creative arts. Developing on the work undertaken previously for the chapter in the Elkins book, the chapter focuses closely on doctoral work in fine art. Several propositions are explored, including the linkage between the identity of fine artists as creative practitioners, and the meaning-making arising from the generation of valued objects or experiences, and the way this seductive relationship influences thinking about practice in advanced enquiry as conceptual models are generated to accommodate valued activities. The argument is made for reconsideration of the generic intentions of universities as places of learning and custodians of intellectual capital rather than working with Sullivan{\textquoteright}s question of whether fine art practice could {\textquoteleft}be accepted as a form of research{\textquoteright} for artists who work in art schools within universities. The core material is an analysis of fine art PhD abstracts from 1986 to 2005 testing the utility of Frayling{\textquoteright}s model of research into, through or for practice. Early projects through practice indicate that forms of experiment provided the dominant strategy for investigation. The use of the ADIT database as a research dataset in itself provides a clear model of how the field can generate its own tools to understand the field. The book has been reviewed in Media International Australia and the Australian edition of the Global Media Journal, is being regularly cited and is appearing on course booklists. One review comments that the editors {\textquoteleft}have tapped into the leading thinkers who have taken an early but definitive step towards validating and theorising the use of the creative arts in research practices.{\textquoteright}",
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booktitle = "Practice-led Research, Research-led Practice in the Creative Arts",
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T1 - Asking questions of art: Higher Education, research and creative practice
AU - Mottram, Judith
N1 - Author's note: The invitation to contribute a chapter to this book asked that I address the history of creative work in the university sector and the form and quality of PhD theses in the creative arts. Developing on the work undertaken previously for the chapter in the Elkins book, the chapter focuses closely on doctoral work in fine art. Several propositions are explored, including the linkage between the identity of fine artists as creative practitioners, and the meaning-making arising from the generation of valued objects or experiences, and the way this seductive relationship influences thinking about practice in advanced enquiry as conceptual models are generated to accommodate valued activities. The argument is made for reconsideration of the generic intentions of universities as places of learning and custodians of intellectual capital rather than working with Sullivan's question of whether fine art practice could 'be accepted as a form of research' for artists who work in art schools within universities. The core material is an analysis of fine art PhD abstracts from 1986 to 2005 testing the utility of Frayling's model of research into, through or for practice. Early projects through practice indicate that forms of experiment provided the dominant strategy for investigation. The use of the ADIT database as a research dataset in itself provides a clear model of how the field can generate its own tools to understand the field. The book has been reviewed in Media International Australia and the Australian edition of the Global Media Journal, is being regularly cited and is appearing on course booklists. One review comments that the editors 'have tapped into the leading thinkers who have taken an early but definitive step towards validating and theorising the use of the creative arts in research practices.'
BT - Practice-led Research, Research-led Practice in the Creative Arts
A2 - Smith, Hazel
A2 - Dean, Roger
PB - Edinburgh University Press
CY - Edinburgh, UK


text:
Daily NEWS Blog
Current Iraq NEWS
Iraq: No owners have the right to appoint judges and leaders covered accountability
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Thread: Iraq: No owners have the right to appoint judges and leaders covered accountability
On: Wednesday 09/12/2012 09:50 am
 Baghdad / term
considered the Iraqi List led by Iyad Allawi, on Tuesday, Prime Minister Nuri al-Maliki has no right to appoint members of the judiciary and security leaders covered accountability and justice without parliamentary approval, as pointed out that the decision of appointment is linked to business except from those actions. added Mulla that "the decision of appointment is linked to business except the law," adding that "this is not adhered to by the Prime Minister." Mulla pointed out that "Article 135 / III of the Constitution stipulates that requires nomination for president
The spokesman said the list Haider Mulla during a press conference held yesterday, the parliament building and attended the "long", he was "not entitled to the Prime Minister appoint members of the judiciary or security chiefs covered by the provisions Justice and Accountability Law without obtaining the approval of the Council of Representatives on a resolution exception Before appointment of such person or agency. "
The President and the members of the Council of Ministers and the Chairman and members of the House of Representatives and the Chairman and members of the Federation Council and sites corresponding regions and members of the judiciary, that is not covered by the de-Baathification law. "
The Iraqi List, led by Iyad Allawi disclosed, on September 4, 2012, it submitted a request to the Justice and Accountability Commission to include 25 officers in the Ministry of Defense and the Chairman of the Supreme Judicial Council Medhat al-Mahmoud proceedings, as he emphasized that some of the officers occupy senior positions in the Office of the Adjutant General of the Armed Forces.
He also called for Maliki to speed up the legislation laws on political parties and ban the Baath Party and approve the allocations infrastructure and lift the immunity of MPs wanted to eliminate, while Re Najafi, accusing the Council of Ministers not to implement constitutional requirements that enable Parliament to perform his duties, as he emphasized that 15 bill was withdrawn and the patient Pthariaha.
Observers believe that the political crisis and claims to withdraw confidence from Maliki began Balhlhalh especially after the decline of the Sadrist movement for his position, and the formation of the National Alliance for Reform Commission made paper of 70 items notably resolving the mandate of the three presidencies and security ministries and the balance in the armed forces and independent bodies and state bodies different.
It is noteworthy that the ruling U.S. civil administrator Paul, decided after the entry of U.S. troops in 2003, to resolve the Baath Party, which was led by Saddam, and formed a committee called "de-Baathification committee," and then the name was changed to the accountability and justice, also issued in May of 2003 a decision dissolve the army with its affiliated institutions.
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Today we announced the unveiling of China's first engine with Westport HPDI technology during the China National People's Congress. The introduction of this engine fills an important gap in China's natural gas engine market for heavy-duty trucks, as demand for natural gas increases along with the support of alternative fuels for a variety of uses – including transportation - by the Chinese government. It's encouraging to see China take an interest in natural gas as a cleaner alternative to coal, which has traditionally been the country's main fuel source.
With coal supplying roughly two thirds of the country's energy needs, China's emissions of greenhouse gases are some of the world's highest. As a result, the Chinese Central Government has created an international campaign to develop and explore shale gas as part of China's energy strategy, with a particular focus on natural gas.
As China's energy consumption increases (it's now second only to the United States), the shift to cleaner fuel sources is notable. Preliminary findings (conducted by the United States) show that shale gas resources in China might be 100 trillion cubic meters, the same level as the United States. Although China doesn't yet produce shale gas commercially, the Ministry of Land and Resources announced its shale gas production goal as equal to 8-12 percent of the total annual domestic natural gas output. By incorporating shale gas into the National Energy Strategies Toward 2030 the country aims to triple its use of natural gas by 2020 to 10 percent of energy consumption in an effort to curb pollution. The 2011 International Energy Agency special report, Are We Entering a Golden Age of Gas? predicted that Chinese gas demand would increase by as much as 50 percent by 2035 to match that of the 27-nation European Union. Natural gas will allow China to use its large domestic natural gas reserves, reduce the country's dependency on foreign oil and coal, and improve air quality while reducing greenhouse gas emissions. The economic benefits of using a domestic resource, coupled with the lower price of gas versus oil offer added incentive for the Chinese to focus on this alternative energy.
Given China's clear goal of reducing its greenhouse gas emissions, improving air quality, and shifting to alternative fuels that are abundant domestically, the Chinese transportation sector is experiencing a significant shift. Currently there is an estimated 600,000 natural gas vehicles in China and over 2,100 refuelling stations to support those vehicles. Weichai Westport has seen significant growth in the China markets and Weichai Power's most recent Annual Report showed that Weichai holds approximately 40 percent of the heavy duty truck engine market for trucks over 14 tonnes. According to Weichai's August 2011 Interim Report, they sold over 200,000 heavy-duty engines for the six months ended June 30, 2011. In 2010, heavy duty truck sales in China exceeded one million units, according to the Weichai Power August 2011 Interim Report.
This marks the first use in China of natural gas engine technology that isn't spark-ignited, and a significant advance in heavy-duty and long-haul trucking. What makes HPDI technology stand out is that it allows a diesel engine to run, primarily on natural gas without having to change the main parts of the engine. HDPI works by using a small amount of diesel to ignite the natural gas, a process that would normally require a spark, thus allowing the engine to stay largely unaltered. Since the pistons and engine body remain unchanged, the engine is able to deliver torque at low speeds and deliver increased efficiency at the higher end.


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text:
HomeInterviewsNashville Noise Gets to Know Clay Hollis | Interview
InterviewsMusic
Nashville Noise Gets to Know Clay Hollis | Interview
Clay Hollis is a talented country artist who hails from Texas. He has a deep love for the genre and giving back to his community. We recently had a few minutes to get to know the guy behind the music.
Nashville Noise: Reading about your upbringing, it's no surprise you became a country artist specifically. What's your earliest memory of falling in love with the genre?
Clay Hollis: My earliest memory of wanting to play music, or at least loving music, was hearing live music and [going to] the San Antonio Rodeo as a kid. One of the very first country concerts I ever went to was Alan Jackson and Brooks & Dunn. Those are some good artists to help ya fall in love with the genre!
What other artists do you remember inspiring you at a young age?
CH: Artists that have influenced me along the way come from a wide spectrum of genres. I have been inspired by the greats such as George Strait and Waylon Jennings to Tom Petty and other classic rock legends, to even some of my personal circle of friends — guys like Jon Wolfe and Kevin Fowler.
Throwin' it back a few years with @jonwolfecountry! Not much has changed..we'll be tearin' it up this weekend at @HanksTexas. Y'all comin' out!? #tbt
A post shared by Clay Hollis (@clayholliscountry) on Feb 13, 2020 at 7:39am PST
When did you decide you wanted to pursue music professionally?
CH: I remember being a junior in high school and playing a lot around campus. A lot of people encouraged me and told me I should start playing gigs. So, I started playing little bars and grills and small happy hour entertainment shows, which later grew into me forming a band and hitting the road playing music in music venues and honky-tonks.
Since you started, you've developed some strong relationships with fellow musicians — some of them you mentioned. Has anyone given you any advice that's really helped along the way?
CH: I have gained so many friends and mentors along the way in my career and I have to say that everyone I have ever talked to has always given me good advice. It would be a little difficult for me to pinpoint or specifically say one thing because I have learned so much. What I do know is, I think every artist can take advice and learn from other professionals but really you just have to find a niche and do what works best for you.
Well said. Your newest single, "Here I Go Again," is out now. What's the story behind this one?
CH: Believe it or not, my great friend Gabe Garcia recorded "Here I Go Again" first. He had it on his record Missing however he never had the opportunity to promote it to radio. I had always loved the song and actually have been playing it in our live show for years. This past January, when I was in the studio, we really needed a good song to add to the EP and I had the idea of re-cutting it. I asked Gabe if I could have his blessing of recording it and he said, "Go for it!"
I'm extremely happy with how the song came out. [It has] powerful lyrics and a driving tempo that keeps me wanting to listen on repeat with the volume cranked. As for the story the song tells, it speaks for itself. The story of someone missing a past love and wondering what she is doing. I think we have all been there at some point in a relationship.
You also expect to have a new EP out this year. What can you tell us about it?
CH: My new EP is titled HonkyTonk Highway. It's a six-song EP expected to be released in the summer of 2020. I don't want to give away too many spoilers but I can tell you that if you liked my first debut EP, then you are going to love this follow up project. It has six great songs that are going to give it a modern edgy county sound.
We can't wait to hear it. Aside from your music, I also see that you're passionate about helping your community. Why is that important to you?
CH: I have always given back to my community. I have to credit that to the way I was raised… Graduating from a private catholic school and being involved in 4-H and FFA taught me the importance of self-discipline, hard work and giving back.
You're also able to use music to benefit organizations that are important to you. Tell me more about that.
CH: I have been affiliated with a nonprofit group named Trinity Oaks and we specialize in making our veteran hero's and children's hunting and outfitting adventures come true. I specifically bring my music to those events and share my story. With bringing uplifting music and stories, I have seen it first hand how my music connects people together. That's why I do it, that's what makes it rewarding. Supporting our military, first responders, veterans and children is something I will always find time to be apart of.
Although we take our music recommendations very seriously, we may receive compensation through our affiliate links. This is at no cost to you.
Clay Hollis
Here I Go Again
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The first 3D pirate acquitted
A British court passed a verdict of not guilty to a student at Birmingham City University, a certain Ciprian Florea, accused of using a specially made device to perform a pirate shoot of the movie "Gravity" in 3D format.
Cyprian, a 28-year-old cinematography student, got two high-resolution cameras the day before the planned visit to the blockbuster. Having built with them a kind of 3D camera (apparently, it was a box with two holes for the lenses), the young man, hanging his device on his chest, went to the cinema, where he was detained by a security officer who confiscated the "camera" and handed it along with the owner of the police. Thus, Cyprian really did not even have time to start shooting the first "3D-screen."
However, he was charged with the intention of committing fraud by illegally recording a 3D film for distribution, which Kiprian, of course, denied, saying that he only intended to shoot his friends on his "3D camera" and almost accidentally ended up in a movie theater.
"3D pirate" Cyprian Florea
Despite opposition from Federation Against Copyright Theft (FACT), which sided with the prosecution, the court found Mr. Florea not guilty of fraudulent actions, reasoning something like this: a copy of Gravity, even if it's written down and laid out on the Internet, could serve as the basis for a case of violation of copyright, but not fraud. The FACT insisted that the appearance in the cinema with a special device for shooting (even such a specific one) is already a proof of criminal intentions.
Although Cyprian himself is pleased with how everything turned out, it is worth recalling that the piracy allegations do not always end so cloudless: someone Philippe Danks was sentencedto 33 months in prison for illegal recording and further publication of the movie "Fast and the Furious 6" on the torrent tracker.
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