SOFTBALL: Tahli Moore has capped off a dream Aussie Spirit debut, scoring the winning run in an eight inning thriller over New Zealand in the 2019 Asia Pacific Cup.
The hometown team recorded their first win of the tournament in their first game against the rivals from across the ditch in what was a tight affair.
Verity Long-Droppert put the Australians on the board in the bottom of the 2nd inning converting a brilliant triple over left field.
New Zealand drew level in the top of the 6th following a booming home-run from Lara Andrews, setting up a tense 7th inning.
Scores remained level after the 7th and with Kaia Parnaby keeping New Zealand off the scoreboard following the top of the 8th, the speedy Moore took her place on second base to attempt to break the deadlock.
After reaching third off a Rachel Lack bunt, Moore raced home from a wayward pitch to seal the result for the Travelodge Aussie Spirit 2-1.
"That was the coolest thing, I didn't expect to start the game either so to be out there starting the game and have my family up here, I'm pretty sure they were loudest here, it was really exciting.
After her first taste of international softball at the elite level, Moore said she was excited rather than daunted by her milestone.
"I've never played New Zealand in the seniors before so it was really exciting to see the level, we've just come out of our national championship so I've seen that type of pitching before and that made me pretty comfortable," added Moore, who was part of the undefeated New South Wales Firestars Gilley's Shield team earlier this year.
Her debut at the Asia Pacific Cup acted as an important foundation for Moore, with the Asia Oceania 2020 Olympic softball Qualifier coming up in September at Shanghai.
"To play in the qualifier would be amazing, everyone is going to be fighting, it's do or die, only one team goes through and the winner takes it all," she said.
"All our dreams are to go to the Olympics, so this is the pinnacle."
The Travelodge Aussie Spirit took on Italy for their second game and were able to wrap up a convincing 8-0 win in five innings.
Parnaby kept the Italians in check allowing just two hits amongst her seven strikeouts for the game.
Leah Parry crossed home plate twice with Stacey Porter, Clare Warwick, Jess Torpey, Shannon Keevers and Long-Droppert adding to the total.
On diamond two, the Australia A side went down to Chinese Taipei 8-1, Jade Wall the sole run scorer for the Aussies.
Day two of the Asia Pacific Cup gets underway at 11:00am when Australia A take on Japan.


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Q: how to store only time in sql server when object data type is DateTime in c# my objects WDst,WDet,SATst,SATet are DATETIME class objects which contains value of time from the text boxes.
all the start time and end time parameters in my SP are of dATA type Time(7)
how can i use DateTime Object
i use following code to insert a schedule in my data base:
public void AddSchedule()
{
 connect = DAL.Con;
    SqlCommand com = new SqlCommand();
    com.Connection = connect;
    com.CommandType = CommandType.StoredProcedure;
    com.CommandText = "AddSchedule";
    SqlParameter parameters = new SqlParameter();
    com.Parameters.Add(new SqlParameter("SchedName",SqlDbType.VarChar)).Value=Schedulename;
    com.Parameters.Add(new SqlParameter("startTime",SqlDbType.Time)).Value=WDst;
    com.Parameters.Add(new SqlParameter("endTime",SqlDbType.Time)).Value=WDet;
    com.Parameters.Add(new SqlParameter("SatStartTime", SqlDbType.Time)).Value=SATst;
    com.Parameters.Add(new SqlParameter("SatEndTime", SqlDbType.Time)).Value=SATet;
    connect.Open();
    com.ExecuteNonQuery();
    connect.Close();
}

Error occurs at Com.ExecuteNonQuery ... Nothing is wrong with my stored procedure.
How can i save Only Time from my Date Time Objects that haS saved time values as follows:
protected void SaveSched_Click(object sender, EventArgs e)
{
    Schedule obj = new Schedule();
    obj.Schedulename = SchedName.Text;
    obj.WDst = Convert.ToDateTime(StartTime.Text);
    obj.WDet = Convert.ToDateTime(EndTime.Text);
    obj.SATst = Convert.ToDateTime(SatSt.Text);
    obj.SATet = Convert.ToDateTime(SatEt.Text);
    obj.AddSchedule();
}

A: My best bet is you have to use the ToString() method with a custom format for your DateTime objects. And pass it as a string instead of a DateTime object to the database.
See this URL for custom formatting for a DateTime object: http://msdn.microsoft.com/en-us/library/8kb3ddd4.aspx
For example:
DateTime now = DateTime.Now;
now.ToString("yyyy-MM-dd HH:mm:ss"); //Outputs 2012-10-13 20:40:35
now.ToString("HH:mm:ss"); //Will then output 20:40:35

A: Try
com.Parameters.Add(
           new SqlParameter("startTime",SqlDbType.Time)).Value =
                               WDet.ToString("HH:mm:ss");

redpajama_set_name: RedPajamaStackExchange


The Beach Huts Are Coming!
Our first 6 beach huts will be arriving shortly and will be available for rent for the season from April to September. They will be located near the new sea defence wall on the harbour esplanade. We are hoping to offer them to worthwhile activities and sports participation etc.
If you would like to apply for a beach hut please email chairman@nbharbour.org.uk stating your organisation, purpose and intended use of the hut.


text:
@echo off

:: uninstall Python 2.7 64bit
MsiExec.exe /X {16E52445-1392-469F-9ADB-FC03AF00CD62} /QN

:: wipe the Python directory
::  DOS hack first create dir because Windows cannot test not existing without error message
md c:\Python27  1>nul 2>nul
rd /s /q c:\Python27 || echo Failure: c:\Python27 still exists, please find out why and repeat.

redpajama_set_name: RedPajamaGithub


I'm new to DH but have my site running for 1 year from another host, some basic experience I hope In the last few days, I was trying to move my site here but got a problem in showing graphics. First I thought it was the (blog) software problem, but when I tried even with WordPress, no graphic is shown (external graphic link is OK).
Since I've got no answer from support so far, I would like to call for help here, in the forum. Thanks.
Actually the images are stored elsewhere, you can check them here.
Btw, I install version 1.5 of WP. I know this is unstable version but it has nothing related to this graphics problem. Another way is that you can always right click somewhere in that index page, choose "show background image", then the image magically appears. Then after a while, refresh the page it will disappear.
oh, I can see those images on your site…I am assuming you are talking about the background image? It may be a memory issue though (I can't be positive here though.) That happens to me periodically, and if I quit the browser, then reopen, it usually stops… But, the graphic is Definitaly there.
that folder wp-images is empty, and the icon_wink.gif is really missing.
I've just found where things went wrong. I forgot to change my .htacess file, so it prevented hot (image) links to itself. What a mistake!


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Young Designers Secondary School Winner
In the middle of June, during a period when we were being inundated with amazingly creative entries for the Young Designer competition, we were sent a presentation that completely stopped us in our tracks. St Ives school, one of the highest achieving schools in Cornwall with over 700 children, had seen an advert for the Young Designers competition and thought it would be the perfect opportunity to revamp Mr Fox's art room.
While the learners of St Ives were already producing some amazing artwork, they had identified that their art department didn't reflect the creativity or passion of their output - with the building being 75 years old and parts of it not being redecorated for 20 years! So they set out on a mission to create the best possible space for art - one that would turn a cluttered, stuffy space into an environment where people not only loved to work in but gave them the opportunity to express their creativity every day.
The team consisted of Harri, Kieran, Danielle, Harry and Hannah, alongside their teacher Mrs Rashidi. Even before we met them, it was clear that the team had put an amazing amount of time and effort into the project, seeing it as a way for them to make a positive contribution to the school.
While this effort clearly paid off, there were three very specific reasons why this team helped their school to win the competition.
Firstly, a collaborative approach. At every available opportunity, the St Ives team wanted to not only engage but include the thoughts and suggestions of the whole school. After all, the benefit of the transformation would impact everyone who used the space. Firstly, a survey to 100 other members of the school - 'what specific area needs to change', 'what difference would it make', 'what would the most cost effective options be' etc.
Through this process, they encouraged teachers and learners to think critically not just about how they would like it to look, but how it could be delivered within the constraints of elements such as budget. After taking the initial ideas, working them up during lesson time and after school, the team presented a design solution to the school that not only met the teaching and learning needs of the room, but clearly showcased how the suggestions of those who had been surveyed had been included. Everyone felt they had a part.
Secondly, creativity. Through the competition, we saw some amazingly creative design suggestions, from aquarium tables to rotating planets on the ceiling. However, the suggestions from the team at St Ives not only took ideas that were fun and creative, but served a very specific practical need. Firstly, Harry had done hours of research into the different flooring material, weighing up cost vs durability to establish which best matched their needs and budget. However, one suggestion stood out in particular for its practical genius.
Mr Fox's art room had a lot of storage that wasn't necessarily being used to best effect. Alongside this, paint bottles were left around the room, with the odd one tipping over and spilling paint everywhere. The team had a better way of doing it. Rather than store paint in pots that can be knocked over, why not use the cupboards to keep them tidy. However, instead of just keeping the bottles up above, they wanted to use this opportunity to create a fun feature for the room, so devised a dispensing system for the paint, similar to optics that are used in a bar. This way, the paint was stored away and safe from being knocked over - functional objective achieved - and the cupboards became a colourful asset to the room. Genius.
Finally, alongside the two attributes above, consistently throughout their submission, the team never wavered on their focus to impact the school and its community through the change. This was affirmed when we went to visit in October, where Kieran told us that he believed that the transformation would encourage people to take art because it had become a fun and conducive environment to work in. As an experience, it had galvanised the school together behind an amazing yet deliverable idea, all thanks to the efforts of the team.
We are currently working alongside school to implement the design and look forward to working closely with St Ives to observe the impact that it has over the coming years.

redpajama_set_name: RedPajamaCommonCrawl


The Mansfield Building Society has launched a new holiday buy-to-let product specifically for borrowers seeking to purchase or remortgage a holiday let property.
The three-year discounted product is offered to 70% LTV at a current rate of 3.65% (2.10% below SVR).
Properties must have a minimum value of £150,000 and qualify as a 'Furnished Let' under HMRC rules.
The Mansfield also allows owners to reside in the holiday let for up to 60 days a year, providing an opportunity for those who wish to buy an investment property to use it as a holiday home too.
Affordability is calculated by taking into account the average of low, mid and high season takings, plus any surplus earned income and/or personal wealth.
The new holiday let product is part of the society's wider specialist buy-to-let range which includes business, consumer, expat and 'family' buy-to-let products.
This product is not available for those seeking mortgages on holiday parks or complexes, B&Bs, AirBnB and properties subject to title, local or occupancy restrictions.
Paul Lewis, national development manager at The Mansfield, said: "We've seen a noticeable increase in interest for our 'specialist' buy-to-let products, especially the new holiday let. The added benefit of landlords being able to use the property themselves for up to 60 days per year seems to have added to the appeal.
As you'd expect from The Mansfield, we're fully committed to our flexible underwriting approach. With holiday lets we're able to assess affordability based on seasonal income whilst allowing borrowers to supplement shortfalls with surplus income and other accumulated wealth.


The property company Kungsleden AB (publ) has, in separate transactions, sold properties for an amount of MSEK 166 with a profit of MSEK 12. The yield based on the sales price amounts to approximately 5,4 percent.
The company also changes its forecast for the year 2004 from profit before taxes at least MSEK 500 to a profit before taxes of MSEK 530.
"The transactions is another step in lowering the risk in the property portfolio" says Jens Engwall, CEO of Kungsleden, commenting the transaction.


Can the Murad Oil-Control Mattifier SPF 15 Keep Oily Skin Shine-Free?
Many women think they are cursed with an oily T-zone, where oil glands work overtime at the forehead, nose and chin areas. Well, if they saw how soaked my blotting sheet is after a blotting session, they'd feel blessed that oiliness is concentrated only at their T-zone instead of the WHOLE FACE like mine.
I try as many methods and products possible (within reasonable budget and common sense, of course) to keep my face as shine-free as possible, at least for a good half of the day.
Mineral makeup worked up the oils on my skin within 2 hours and accentuated my pores, makeup face primers like the Stila Hydrating Primer turned me into an oil slick, liquid foundations that claim to give the 'glowy finish' usually give me the 'greasy finish' and sometimes even setting it with loose powder barely works.
Sigh, these are just fragments of an oily girl's woes.
When I chanced upon a review on Youtube about the Murad Oil Control Mattifier SPF 15 being a great product that helps to keep shine away, I was immediately interested! Anything that controls oil!
Sephora Singapore sells it but I asked a friend who was coming back from the US to get it for me. Everything Sephora Singapore sells is much more expensive than in the US. Actually, basically everything is just more expensive here. Times 2 and then plus about SGD10-20 and you can guess how much it retails for at a Singapore cosmetics counter. Some people say Amazon or ebay sells it for cheaper.
Some people claim that they use the Murad Oil-Control Mattifier in replacement of their regular moisturizer since it does the job of oil control, SPF and hydration. Yup, it is considered a multi-tasking solution to many!
I still use The Body Shop Seaweed Mattifying Day Cream after applying toner because it really helps to mattify my skin. After allowing the TBS Day Cream to be absorbed into the skin, follow up with the Murad Oil Control Mattifier. I've tried using the Murad Mattifier alone, without the TBS Day Cream, and don't find it creates more or less oil than with the TBS Day Cream.
I actually had this product chucked away for at least a good half year before finding it again while reorganizing and relocating my makeup stash. I remember not liking it very much before because I felt it didn't keep my face as shine-free as advertised.
The funny thing is that I actually quite like it now.
I can only guess that it's the products I used atop the layer of the Murad Oil Mattifier that made the combination and finish less desirable.
I was using the not very oil-free Makeup Up For Ever HD Microperfecting Primer and that could be the reason makeup was sliding off my face in the first place. I've used the Murad Oil Control Mattifier as a primer and it works alright.
I was also using Revlon Colorstay Foundation in Sand Beige and it could be that I was so overwhelmed with my dislike for how Sand Beige looked grotesquely orange on my face that I blamed everything I was using in conjunction with it. I was also using MAC Studio Fix Foundation in NC25 on some days.
At the time of writing, I alternate between Revlon Colorstay Foundation in Buff, Make Up For Ever Mat Velvet + in Porcelain 30, Stage Cosmetics Photo Pro Foundation 02 Take 1 + 03 Take 2, and Lancome Maqui Blanc Miracle in BO-01.
I am NC20-25, by the way.
The other I went for Salsa dancing class with the Murad Oil Control Mattifier and Lancome Maqui Blanc Miracle in BO-01 with a little dusting of NARS Loose Powder. My face makeup was still in contact after 5 hours of dancing!
Makeup Tip from Bun Bun: It is important to allow the previous layer of product to settle first before applying the next. This is most essential for the steps from moisturizer to primer to foundation.
Not only is the Murad Oil-Control Mattifier SPF 15 a moisturizer, sunscreen, skin mattifier, it also claims to act as an acne treatment plan.
I don't know how effective the acne treatment part is, my acne-prone and blemished skin condition hasn't improved, but the Murad acne treatment product hasn't caused any negative reaction.
It is a known fact that the Murad Oil-Control Mattifier smells like craft glue and even looks like it when squeezed out of its boring-looking white and blue tube.
I imagine this is how I'd start my glue sniffing addiction, except I don't like the smell at all and don't find myself feeling high from sniffing it.
The formula is very thick and creamy (just like craft glue!) and can be a little hard to spread if you don't do it fast enough. But you'll get used to it after a few times.
All in all, I think this is a good product because it contains SPF and keeps the skin mattified for quite a few hours (but not 8 hours as claimed!). The only thing that might keep me from repurchasing is its price tag, especially if I buy it in Singapore!
How do you keep skin oiliness under control in summer months, or if you're in Southeast Asia, EVERYDAY? Haha!
Any cheap alternatives to the Murad one?


text:
| BEND, OR
Art in Bend Partner Website
July 21, 2020 March 22, 2020 by Eric Stumpner
Uncover Your Sensibilities
As Bend, Oregon, grows and matures, its art scene has grown with it to become a celebrated part of the community. Rooted in the city's core culture, the High Desert Museum, the Mockingbird Gallery, and newcomer, the Copeland Gallery, are on the pulse of Bend's art world, exhibiting notable artists and works that contribute to making Bend's high desert locale an exciting place to live. The High Desert Museum will present exciting new exhibitions this season including Infinite Moment: Burning Man on the Horizon, on display through October 4, 2020, as well as its annual Art in the West juried exhibition and fundraiser. Celebrating a 30-year milestone as a Bend gallery, the Mockingbird Gallery will also present several exhibitions this spring and summer as well as through the fall, which will include its 30th Anniversary Celebration with a Purchase-By-Draw group exhibition and sale featuring over 50 artists. A catalog will be printed for this special occasion. At the Copeland Gallery, enjoy Chad Copeland's photography and his uncanny ability to capture infinite beauty through his journeys and adventures around the globe. As a master of the lens, Chad Copeland shares his images, which explore untouched nature and extreme locations that very few people ever see for themselves. Peruse the following pages and discover Bend's art community and the artists who bring their visions to you.
Mockingbird Gallery
Behold a Celebration of Western Art
When a community is booming, fine art and artists can benefit, which, at the moment, happens to be the case in Bend. In the heart of downtown at Wall Street and Minnesota is Mockingbird Gallery, which not only has its finger on the pulse of Western fine art in the Pacific Northwest, but is also a nationally revered fine art gallery with a rich legacy for artists and collectors, especially those in Central Oregon and Portland.
"Exposure creates opportunity for artists," says Jim Peterson, owner of Mockingbird Gallery with his wife, Nathalie. "Right now, Bend is a thriving marketplace. It's great to be here as a fine art gallery and be part of a community that is growing in a positive direction. It's exciting."
Jim Peterson began his foray into the art world at 20 years of age while living in Arizona, when he went to work for the May Gallery, a prominent Scottsdale gallery. He learned the ropes of a successful art gallery, and was also surrounded by highly collectible and notable Western art. "It was part of the territory, especially if you were learning the art business and happened to be located in Scottsdale," says Jim. "I was exposed to wonderful examples of Western art, and it certainly has become part of my DNA. As a gallery, in Bend, Oregon, we're proud to offer a wide variety of diverse and nationally celebrated as well as highly recognized artists."
In 2007, after 20 years in Scottsdale, Jim and Nathalie moved on to Bend to raise a family and were able to buy the Mockingbird Gallery from its original owner. With their hard-work mentality and commitment to excellence, the Mockingbird represents a blend of diverse artists for art collectors, art aficionados, and art lovers. Today, Mockingbird represents 48 unique and accomplished artists. "In order to do that and do that right, you have to push hard in order to fulfill your obligations to these artists. We work for the artists," says Jim. "We have to earn the trust and respect of artists and build a solid, working relationship with them—we're all partners."
Jim's passion for art and his undeniable desire to seek out artists who fit the Mockingbird's vision is an important part of the gallery's appeal and success. There are times when established artists seek out representation at Mockingbird, which Jim values even more. "We're a traditional and representational gallery. Some of our representational artists are close to being abstract and contemporary artists and some are crisp realists," he says. "Something magical happens when you walk through the doors of Mockingbird Gallery. There is a trend right now for modern and contemporary art, but when curious art folks walk into a representational and traditional art gallery like ours, they stop and look around and tell us how much they like everything, especially people coming from Portland who come to enjoy themselves in Bend."
Mockingbird Gallery is pleased to feature new work for June 2020 by sculptor Dan Chen from Eugene, Oregon, and Hamilton, Montana's palette knife painter Troy Collins. "Dan Chen is celebrated for his wildlife and animal subject creations in a variety of mediums, but we're probably best known for the handling of his bronze sculpture works," says Jim. "Troy's landscapes are full of color and texture. It's a treat to bring them together for an exhibition."
"Right now, Bend is a thriving marketplace. It's great to be here as a fine art gallery and be part of a community that is growing in a positive direction. It's exciting."
—Jim Peterson
For July 2020, the Mockingbird Gallery will celebrate its existence of 30 years. A 30th anniversary show will include a printed catalog and a purchase-by-draw group exhibition with all 48 artists creating original works of art for the show. In addition, the gallery has invited five guest artists to participate. "This is an important show," says Jim. "We want to honor all the artists who make us so special and also honor the collectors who have supported us along the way." A big celebration will ensue with gallery artists, collectors, and others for a catered event to celebrate this milestone."
In August 2020, Mockingbird will feature some of the gallery's best Western art with four artists including G. Russell Case, Grant Redden, Eric Bowman, and Eric Jacobsen. For September, the gallery will exhibit works by pastel painter Dawn Emerson and Hib Sabin, a renowned sculptor, who will be present for a book signing on his newly released book about his life and work. Mockingbird Gallery takes a great deal of pride in representing some of the West's most recognized and acclaimed artists who are part of their gallery. "It's wonderful when you can build relationships with artists," says Jim. "It's a symbiotic relationship with the brick and mortar gallery and the artists who are represented. We depend on each other and learn to trust the process. We know as a gallery that we would be nowhere without the talented artists we represent. It gives us great pride to provide our artists and our collectors with the best fine art experience possible."
The High Desert Museum
Understanding the Attraction of Ed Anderson
In a world that is seemingly moving at light speed, we can all take a pause and enjoy the connection to life offered at the High Desert Museum, located just south of the city of Bend. In a day at the Museum, visitors can learn about the High Desert through playful otters, live characters at a 1904 ranch, stories of the Indigenous people of the region, and daily programs. They can also connect to a vibrant arts scene, as the Museum regularly features dynamic exhibitions weaving in historical and contemporary art.
"The Museum tells the story of life in the High Desert through art, culture, science, and history," says Director of Communications Heidi Hagemeier. "We take all these threads and weave them together to tell a textured, rich story about this dynamic place."
The High Desert Museum, which opened in 1982, sits on 135 wooded acres with more than 100,000 square feet of exhibition space. Through indoor and outdoor exhibits, native wildlife in natural habitats and living history, the Museum provides patrons with the ability to discover and appreciate the diverse region of the Intermountain West's High Desert, which covers eastern Washington to southwest Idaho and into Nevada and Utah.
"There's always something new to see and experience at the Museum. Our rotating exhibitions connect to the museum's mission to tell important stories about the high desert."
—Heidi Hagemeier
"Our living wildlife collection includes raptors, otters, and desert dwellers such as tortoises and pond turtles. There's quite an array," says Heidi. "In the summer we present an educational flight program, Raptors of the Desert Sky, in which raptors such as owls and turkey vultures swoop in and out of a natural amphitheater."
"There are a number of exhibitions that are permanent and nine rotating exhibitions through three spaces," says Heidi. "There's always something new to see and experience at the Museum. Our rotating exhibitions connect to the museum's mission to tell important stories about the High Desert, which is always an overarching theme."
A current temporary exhibition, Natural Wanderment: Stewardship. Sovereignty. Sacredness., March 20–July 12, 2020, shares the imagery of current Indigenous people. Photographer Matika Wilbur has been traveling the nation to photograph Indigenous people from all 566 federally recognized tribes as part of Project 562. The results are stunning images that celebrate the cultural traditions of Native people while also showing that they are part of the modern-day world. Matika Wilbur's portraits are accompanied by personal stories of the individuals photographed.
Another current, original Museum exhibition is Infinite Moment: Burning Man on the Horizon, on display through October 4, 2020. Infinite Moment explores the ways that the High Desert enables and empowers the art and community of Burning Man.
Since 1990, the annual event, which takes place on the Black Rock Desert in northwest Nevada, also known as the playa, transforms an otherwise empty, isolated, and harsh desert landscape into a temporary city of 80,000 people for eight days at the end of the summer. Hundreds of art installations are created and erected. Some are colossal works of art, leading to the reference of Black Rock City as a "crucible of creativity." A focal point of the event is the central Man structure, which is burned at the culmination of Burning Man, and has at times reached over 100 feet.
"The culture, community, and self-expression that exists at Burning Man is truly unique," tells Heidi. "Some of the art is multi-stories-high, meant to be climbed on or played with, and figured out. Then, at the end it all vanishes without a trace."
"There are some art pieces that do have a life after Burning Man. An exhibit has traveled to a number of museums. For the High Desert Museum, this exhibit illuminates the culture going beyond the stereotypes and brings understanding to it. It also shares some of the joy and exploration that is a celebrated part of the Burning Man experience through artwork and hands-on exhibit elements."
The Museum sent three of its staff to experience this past year's Burning Man, including Senior Curator of Western History Laura Ferguson, Ph.D. "We were able to witness firsthand why the experience is so meaningful to those who take part," says Laura. "It was amazing to see the playa transformed and to explore art in new ways."
Heidi explains that outside of the exhibition there's text about the history and the ten principles behind Burning Man: Radical Inclusion, Gifting, Decommodification, Radical Self-reliance, Radical Self-expression, Communal Effort, Civic Responsibility, Leaving No Trace, Participation, and Immediacy. These principles are core to the Burning Man experience and the Museum exhibit. The harsh environment of the desert playa, known for dust storms that lead many "Burners" to keep goggles and masks at the ready, challenges humans at the same time that it creates a space for the community. The vastness of the Black Rock Desert provides a unique backdrop for art, allowing for large-scale pieces that take shape and transform according to the elements and position of the sun. After sunset, the structures glow with vibrant lights and the desert is filled with a cacophony of sound.
Celebrating artists is also an annual fundraising event for the Museum. Art in the West, July 18-August 29, 2020, is a juried art exhibition. The artworks are for sale, with proceeds benefiting the Museum. Last year, more than 75 works, including sculptures and paintings ranging from oil to acrylic to mixed media, and photography, express invited artists' responses to the landscapes, history, cultures, and wildlife of the High Desert.
"Art in the West exhibits two- and three-dimensional, original artworks," says Heidi. "It is a juried show illuminating the American West."
Offering an experience of wonder for knowledge, learning, and interests for members, guests, and Bend residents, the High Desert Museum's tranquil setting and variety of engaging exhibitions allow a visitor to enjoy the Museum on several cultural and immersive levels.
highdesertmuseum.org
Copeland Gallery
Indulge your Sense of Adventure & Beauty
As a young boy from the small town of Pocatello, Idaho, Chad Copeland stumbled upon an object sitting on his family's 1970s-era coffee table that would change his life. It was a Polaroid camera that became a magical device through which the award-winning National Geographic photographer and filmmaker would learn to see the world.
There wasn't a line item in the Copeland family budget for film or budding photographers. But you know that proverb about mothers and necessity and invention. "My mom encouraged me to imagine the pictures I could capture," says Chad. And so he did. She also might have said something like, "go play outside," not realizing that he would someday create a stunning body of photographic work documenting his time in wild places.
"I've always felt at home in the wild," Chad shares. His hunger for adventure travel most likely started as a result of his excursions through a beloved forest surrounding the family cabin on the snaking Sun River in Montana. "I learned how to blend into my surroundings as a hunter would," he explains. "The surprise and exhilaration of my first wildlife encounters," including a Cinnamon Grizzly at the age of 10, "filled me with a desire to become like a gentle gust of wind—barely noticed."
Chad's first career as a pilot with the Air Force was a strong influence on his photography. But it was flying above the 49th state that brought his passion for wilderness, aerial perspectives, and photography together. Captivated by the possibility of capturing the beauty he saw from his unique vantage point, he worked vigorously to create a "camera in the sky." Before long, he recorded video and captured stills from cameras that he mounted to radio-controlled aircraft, which today is more commonly known as a drone.
In 2015, Chad got the lucky break that would lead to his full-time vocation. Shortly after he met Keith Ladzinski, his now friend and colleague, Keith told National Geographic about Chad's experiments with unmanned aircraft affixed with cameras. "They invited me to join Carsten Peter in China's remote Stone Forests," he says, clearly still awed by the opportunity. His first professional assignment was an epic six-week adventure filming and photographing professional climbers Emily Harrington, Matt Segal, and Cedar Wright. "I flew 40 missions using a 10-pound carbon fiber (FreeFly Systems) Cinestar Octocopter drone," he says. He's been doing what it takes to get the shot—his way—ever since.
"My work is often created in solitude. When you give yourself to the wild, nature always gives back. I want to share moments with people and invite them to become a part of a bigger story as collectors."
—Chad Copeland
Recently settled in Bend, Chad and his wife and business partner, Brooke Copeland, are tag-teaming to make a big impression on the region. Their latest projects include Copeland Gallery, a fine art photography gallery and a 7-Episode film series, Adventure Calls, that captures what Chad calls, "The Adventure Culture" and lifestyle of Central Oregon.
Brooke takes the lead in managing the newly opened Copeland Gallery from the iconic Village at Sunriver, just south of Bend. "It was time for more people to experience the beauty of Chad's work and the way he sees the world," says Brooke. "His body of work includes a collection of abstract, landscape, and wildlife subjects that can completely change the mood of a space," she continues. Brooke, a native Oregonian, enjoys establishing Chad's work with collectors, interior designers, and homeowners looking to enhance the style and character of any environment. She has plans to expand into commercial spaces in 2020.
"I love connecting people to art. I'm very passionate about meeting people and creating a personalized experience that fosters a connection with Chad's work," she says. "Chad's work is very intentional, and viewers often describe feeling the emotions that Chad felt when he captured an image."
As fine art, Chad's photography creates an aesthetic that transforms. A visit to the gallery is a quick reminder that there is a distinctive difference between the phone camera images that fill the feeds of visually-based social media platforms like Instagram and the trained eye of an artist.
Chad's larger photographs, printed on Fuji Crystal Archival Paper with acrylic glass framing, create a three-dimensional sensibility. "I want people to teleport into a moment," Chad says. "My work is often created in solitude. When you give yourself to the wild, nature always gives back. I want to share moments with people and invite them to become a part of a bigger story as collectors."
Copeland Gallery presents several types of prints: Open Series, Master Series, Collectors, and Legacy Series. The Legacy image is called "PUEO." It is named for the endangered Pueo owl on the island of O'ahu, the owl is a short-eared, rare, and rarely-seen raptor. It is considered an ancestral guardian and a spirit animal for many, the Aumåkua in Hawaiian mythology. Chad describes the good fortune of being present to capture a moment that tops his list of photographic achievements. He describes the experience: "Standing 3,000 feet above the Nå Pali Coastline watching clouds roll over the ridgeline illuminated by the light of the golden hour. I'll never forget those big yellow eyes looking back at me."
"Chad's work is very intentional, and viewers often describe feeling the emotions that Chad felt the moment he captured an image."
—Brooke Copeland
In addition to wildlife, landscapes, and images of natural history, Chad captures iconic landscapes in an abstract manner, inviting viewers to see familiar scenes through a fresh perspective. These images, in particular, create a sense of mystery and provide rich texture, and an organic, often geometric aesthetic that modern buyers are looking for.
As a contributing photographer and director to National Geographic, BBC's Planet Earth series, Men's Journal, and numerous other publications, Chad's adventure-sense abilities and expert photography continue to present stories that few are able to experience. He has also produced and directed feature content for the 2016 NBC Olympics, NETFLIX Original Series, Top Golf, ESPN, TESLA, the Seattle Space Needle, and a wide array of other global clients, which has contributed, amongst a great deal of his other work, to his many international awards and recognition.
Collecting Photography is an Art in Itself.
Private and commercial collectors can choose from several categories of prints that will fit a range of budgets. Art consultations are available to advise property owners, hotels, and corporate buyers.
Masters Series art pieces are limited edition prints carefully curated from millions of images captured by Chad.
Collectors art pieces are rare captures by Chad that can not be replicated. They are moments in time captured by Chad that represent an extraordinary connection with nature and wildlife.
Legacy Series are "Pueo" images and rare, one-of-a-kind images taken at the right time and place. These are Limited Print runs of 100, which are numbered and authenticated by Chad and complimented by a commemorative book. There are also 5 very limited Artist Proofs with prices increasing as fewer works are available. | copelandgallery.com
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This study of dental caries comes from the University of Pittsburgh's Center for Craniofacial and Dental Genetics and focuses on childhood caries. This study is part of the Gene Environment Association Studies initiative (GENEVA), which was developed through the trans-NIH Genes, Environment, and Health Initiative (GEI). Information on how to obtain individual level data is available on dbGaP. Genotyping and quality control details are available on dbGaP and are briefly described in Shaffer et al. [Genome-wide Association Scan for Childhood Caries Implicates Novel Genes, J Dent Res 90(12):1457-1462, 2011].
Dental caries is one of the most common diseases worldwide. In the US, the prevalence in adults is approximately 90% (Beltran-Aguilar et al., 2005), and in some high-risk populations, the prevalence is even higher. Treatment of dental caries consumes significant resources each year, and untreated caries lesions can lead to pain, tooth loss, and oral infection, or other co-morbidities. Cariogenesis is affected my numerous environmental, behavioral, and genetic factors, including dietary behaviors, bacterial flora, fluoride exposure, salivary factors, tooth morphology, etc. (Hunter, 1988; Anderson, 2002). This study includes analyses stratified by fluoride exposure, to address the role of genes and gene-by-fluoride interactions in the etiology of this disease.
Participants were drawn from three studies: the Center for Oral Health Research in Appalachia (COHRA) [Polk et al., 2008], the Iowa Fluoride Study (IFS) [Levy et al., 2003], and the Iowa Head Start Study (IHS).
Primary dentition affection status (i.e., yes/no for dft score ≥ 1) was assessed by intra-oral examination and included white-spot lesions, which are the earliest clinically detectable caries lesions. Fluoride levels were obtained from samples of non-municipal and filtered home water sources or from the Iowa Department of Public Health (for unfiltered municipal water). For purposes of stratification, fluoride exposure was dichotomized as low (< 0.7 mg/L) or sufficient (≥ 0.7 mg/L). Association between caries scores and each SNP was tested using logistic regression in the full dataset or stratified by fluoride levels. All analyses were limited to self-reported whites with genetically verified European ancestry.
The samples for this study come from participants the Center for Oral Health Research in Appalachia study, the Iowa Fluoride Study, and the Iowa Head Start Study. A traditional dft index was dichotomized into a binary trait for analysis. The dataset was also stratified by fluoride levels in home water sources. The results of this study can be explored as the full dataset or restricted to individuals with low fluoride or sufficient fluoride levels. All coordinates are mapped to the Imputed hg19 genome build.
Please select one option from each of the categories. You must select one option from each available category to be able to submit the request.
PMID: 21940522 "Genome-wide association scan for childhood caries implicates novel genes."
PMID: 24810274 "Genetic Association of MPPED2 and ACTN2 with Dental Caries."
PMID: 24556642 "Genome-wide association study of primary dentition pit-and-fissure and smooth surface caries."


A key new feature is the ability to view all angles of the welded seam during the welding process; a critical part of the new machine. Available in 20mm and 40mm Overlap.
Designed with the aim of increased productivity when manufacturing items such as lorry side curtains and tarpaulins, marquees and other PVC coated materials, the Variant T1 will weld at up to 18m/min, almost twice the speed of the previous tarpaulin machine.
A key new feature is the ability to view all angles of the welded seam during the welding process; a critical part of the new machine. This ensures that the operator has full control over the final result of the item being manufactured, ensuring maximum quality of the finished product. The Leister Variant T1 boasts an impressive welding speed of up to 18 metres per minute, combined with a slim, sturdy and compact design.
Available in 20mm (141.892) and 40mm (141.891) Overlap.
This machine is also available for Hire with an option to purchase the machine after the hire period. It can be hired with a small deposit and weekly payments. Please contact our sales team or fill out our Hire Form by clicking on the button above for more details. UK Delivery and Collection service available, price on request. Minimum Term is 2 weeks.


text:
Q: How to access css file with Tomcat 6 and Spring 3.0.4 I try to access css file by:
<link rel="stylesheet" href="META-INF/resources/css/style.css" />

Structure:
springhibernate
 -META-INF
   -recources
       -css
           -style.css
       -img
 -WEB-INF
    -classes
    -jsp
    web.xml
    application-context.xml

web.xml part:
  <servlet>
        <servlet-name>test</servlet-name>
        <servlet-class>org.springframework.web.servlet.DispatcherServlet</servlet-class>
        <load-on-startup>1</load-on-startup>
    </servlet>

    <servlet-mapping>
        <servlet-name>test</servlet-name>
        <url-pattern>/</url-pattern>
    </servlet-mapping>

How can I refer to a css file?

A: The META-INF directory is not accessible using an URL according to the specification. It's purpose is to hold information useful to Java archive tools, xml descriptors, etc.
Create separate top-level directory in your .war file to serve CSS, Javascript, HTML, etc. files.
Note: you can access everything in META-INF in your Java code, using ServletContext's getResource and getResourceAsStream calls. The limititation is that it cannot be referenced with a URL.


The "Kitchen Party" is a chance for neighbors, family and friends to gather and enjoy good food, good music, and each other's company. The Acadia New Music Festival, Shattering the Silence, delved into this intimate musical setting unique to Eastern Canada. Over the course of three hours on a snowy Sunday afternoon, in February 2013, composers, performers, and audience bumped elbows, shared food, and enjoyed some terrific music. The Kitchen Party CD captures the magic of that evening. Flutist Derek Charke and percussionist Mark Adam present seven new works by CMC Associate composers: Bob Bauer, Derek Charke, Anthony Genge, Jeff Hennessy, Steven Naylor, Jim O'Leary, and John Plant. A single strand of DNA links all seven works. A live improvisation on this musical strand is included on the CD.
The Kitchen Party CD was launched on Wednesday, February 5, 2014 at the Shattering the Silence Festival at, appropriately enough, another Kitchen Party!
For more information, visit: http://www.shatteringthesilence.ca.


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HTC First: The Hardware Side to Facebook Home
April 4, 2013 at 10:41 am PT
While Facebook isn't building its own phone exactly, it is creating all the tools a hardware maker needs to create such a device.
In addition to making Facebook Home available as a software download, CEO Mark Zuckerberg said the company has crafted a set of tools for phone makers to include Home from the outset.
The company has a list of hardware makers and carriers already interested in doing such devices, including Samsung, Sony, Huawei and Alcatel One Touch.
As we reported more than a year ago, the first partner will be HTC, which is creating a phone to be sold with AT&T. HTC chief Peter Chou appeared onstage on Thursday to show off the aptly named HTC First, which will be the first device to carry Facebook Home as its default interface.
The phone, which will sell for $99.99 and go on sale April 12, will come in red, white, light blue and black. Preorders start today.
AT&T Mobility chief Ralph de la Vega said the HTC First is a canvas on which to show off what Facebook has done.
"It's simple and it's elegant," de la Vega said.
Ten Minutes With Adam Mosseri, the Guy in Charge of Facebook Home
If Facebook Made a Real Facebook Home (Comic)
The Buffy Story: Facebook's Long Road Home to an Android Phone
Facebook's Phone Also Coming to France Telecom-Orange, but First to AT&T
Content, Content Everywhere In Facebook's Ideal Mobile World
Can Facebook Build an Android-Style Home on the iPhone? Probably Not.
How to Turn Your Handset Into a Facebook Phone
Buffy Has Landed: Facebook Launches Home, Its Android Phone Project
Tagged with: Android, AT&T, Buffy, Facebook, HTC, Peter Chou, Qualcomm, Ralph de la Vega
The problem with the Billionaire Savior phase of the newspaper collapse has always been that billionaires don't tend to like the kind of authority-questioning journalism that upsets the status quo.
— Ryan Chittum, writing in the Columbia Journalism Review about the promise of Pierre Omidyar's new media venture with Glenn Greenwald


WASHINGTON – United States President Donald Trump said on Friday that the trade negotiation with Mexico "is going very well" and described President-elect Andres Manuel Lopez Obrador as a "true gentleman." "Deal with Mexico is coming along nicely. "Canada must wait. Their Tariffs and Trade Barriers are far too high. "Autoworkers and farmers must be taken care of or there will be no deal", the tweet said.
Trump late on Friday tweeted that a "deal with Mexico is coming along nicely". Obrador, Mexico's first left-wing president in recent times, won't take office until December 1, and he's believed to be keen for the transitional government to clinch a deal with the U.S. before then so his party can maintain some distance from a revamped agreement. In fact, the USA government decided in June to end the exemption from steel and aluminum tariffs from the EU, Canada and Mexico.
President Trump had harsher words for Canada though, stating that "Canada must wait".
Canada's foreign minister recently said the country is ready to resume NAFTA talks "as quickly and intensively as possible".
Adam Austen, a spokesman for Canada's foreign minister, added: "We're glad Mexico and the USA continue to work out their bilateral issues". But keep one thing in mind - The U.S. has not given any concessions to Mexico - Instead, the U.S.is looking for even further concessions from Mexico as the August deadline for the talks approaches.
Mexican Economy Minister Ildefonso Guajardo said that Mexico and the USA have "been making a lot of advancements" in their talks. It's now been over two months since Trump levelled steel and aluminum tariffs on Canada, and over a month since the federal government retaliated with counter-tariffs on American-made steel, aluminum, and other goods.
"But as I said before: nothing is closed until everything is closed".
Industry officials also said the US team had barely moved from its demands last May of a 75-percent overall regional content threshold with 40-45 percent content from high-wage zones - effectively the United States and Canada - with the only substantial change a slightly longer phase-in time. Guajardo said that once bilateral U.S. Trump has made this threat on several occasions and those in the industry have expressed concern about the impact that could have throughout North America.


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Reimagine the future: What we learned at Appian World 2020
Appian, Business Transformation, Events, General
The business world that we have left will not be the same one that we go back to.
That was the overriding message from Appian World this year, hosted digitally for the first time due to the coronavirus pandemic.
"We're going to come back to a slightly changed and different business environment than we left," said Matt Calkins, CEO of Appian. "And it will be different in a number of ways, but one important way is that we will have come to a new understanding as to the importance of change."
Covid-19 has been and continues to be a devastating global crisis, forcing businesses, governments and individuals everywhere to rapidly adapt to extreme change. With it, we have seen supply chains buckle, livelihoods wiped out, and a huge increase in demand for digital services and platforms – including remote working. As Darin Cline, EVP of Bank of the West said in his keynote, "We never left work, we just left the building."
How the COVID-19 will continue to affect us
The short term impact of COVID-19 has been devastating. Overall demand for products and services has declined, travel bans have wrought havoc on logistics and distribution and equipment shortages have caused delays in a number of key industries. Due to the nature of technology, the tech industry has been better suited to adapt and to help others do the same. The demand for both hardware and software, including automation tools, that can help businesses operate remotely have seen strong growth. In short, covid-19 has forced many businesses into partial or complete digital transformations that will irrevocably alter the way they operate in the future.
The short-term outlay for these transformations can seem steep, but the benefits will be tenfold as we begin to recover. In the mid to long-term we can expect far more demand for cloud platforms, digital supply chains, agile working environments and increased adoption of process automation. The end result will be a happier, healthier, more robust and productive workforce than has ever existed before.
A need for a combination of humans and machines in the workforce
The pandemic has forced us to enter a 'new normal', and with that comes extraordinary growing pains. The need for automation technology has been steadily increasing but now, with customer service and agility more important than ever, robotic process automation tools are going to be a priority for many businesses. In the keynote led by Accenture, Managing Director David Steuer said that tomorrow's leaders will need to evolve their systems to be "boundaryless, adaptable and radically human." We need to build and implement intelligent systems that will learn, improve and scale by themselves, removing friction and liberating human workers to be creative and make decisions faster. When we bring together humans and machines in this way – integrating the agility of the cloud with the pioneering attitude of passionate people doing excellent work – we can reshape the future.
We must act now
As the saying goes, "The best time to start was yesterday. The second best time is now." In the short to medium term businesses need to analyse the impact of the pandemic, rebuild and re-engineer vulnerable supply chains and prioritise business continuity. This means supporting staff, doubling down on customer service and implementing automation tools that will provide digital assistance to overburdened employees. Once we have achieved this, we can then look forwards, building on what worked well during the crisis and evolving our long-term strategy to fit our vision of a reimagined future.
For more information on RPA and process automation and how they could benefit your business, talk to one of our digital experts today – info@procensol.co.uk


Her step seems lighter. Those who know her well marvel, those who don't know her probably can't tell. She walks by, smiles at the elderly lady with the umbrella, and nods a polite hello at the man on the corner whose eyes have met hers. The air feels crisp and has the scent that only the rain falling during a summer storm can bring. She knows to the day, how long it has been. Every one of those 232 days she has thought of her, for at least half of those days she has cried for her. Even now, a tear comes to her eye, those flowers, would she have liked them?
She walks by, head held high and confidence in her step. She appears determined, purposeful and unaware of admiring glances. Something about her catches their eyes; people are drawn to her, to her easy nature, to her atmosphere of courage, and self belief.
They don't know her past, her great loss, or her fight to find her new normal. Some of those who knew her back then don't recognise her now.
Her children are grown, and have moved into their own homes. Her grandchildren are starting their own families. She reclines on the deck, holds her tea close and admires the beauty in the world around her. Her granddaughter, a baby of 21 sits silently beside her.
"How?" The one word question holds so much hurt. She has been waiting for this conversation, the fresh tears still cling to her granddaughter's eyelashes, her innocence has been stripped away.
She is angry, she is hurting. She wants to know how she survived the greatest pain, the loss of her infant daughter all those years ago. The answer is simple yet intricate.


text:
The Witness Coming To Xbox One
Update: Jonathan Blow has commented on the ESRB rating to Polygon, stating that it was only a formality to save time if and when they decide to do an Xbox One version. "We only put XB1 on there because it doesn't cost anything, and if we were to want to do an XB1 version later, we don't have to go through ratings again," said Blow. "But it is totally provisional, we have no plans for an XB1 version right now."
Sorry to get your hopes up, folks...
Original Story: The Witness, a new puzzle game set to release for the PlayStation 4 and PC on January 26, has been rated by the ESRB for the Xbox One as E for Everyone.
In The Witness, you'll explore a vast, colorful and ridiculously pretty island filled with brain melting puzzles which need to be solved in order to progress. Check out the latest trailer below.
The Witness Release Date Trailer
The Witness is heavily inspired by games like Myst with subtle visual and audio cues placed to give players hints. A pipe creaking or a chime blowing in the wind may lead to a possible puzzle solution. Every environment will need close attention paid to it in order to solve the islands mysteries. Audio logs will also be scattered around the island to find and listen to. Jonathan Blow, designer of The Witness, states that the audio logs here are integrated "in a highly non-traditional way" though. What that means remains to be seen.
See extended shots of the stunning environments of The Witness in these "long screenshot" videos released by Jonathan Blow and the team at Thekla Inc.
The Witness Long Screenshot #1
The Witness releases January 26, 2016 for PlayStation 4 and PC and "other platforms" a little after that, according to the official website. Kidzworld will update the article when we get a firm release date for other platforms.
Are you interested in playing The Witness? Do you like exploration and puzzle games? Let us know in the comments!
Pokkén Tournament Coming To Wii U In March
The Best Disney Video Games
Kidzworld Live: Let's Play Ark: Survival E...
Puzzle Video Games
Do you like solving puzzles in video games?
They're okay...
I do but I always get stuck!
Nah, let me blow stuff up instead!


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XRAY FM Presents Kendra Morris, Julia Haltigan
$15 advance ● $15 cash at the door
Kendra Morris - (Set time: 10:00 PM)
Kendra Morris - Foolin Around (Official Music Video) Kendra Morris "Concrete Waves"
New York noir soul artist Kendra Morris recalls singers who straddled soul and rock during the early '70s, such as Ruth Copeland and Chaka Khan. Her taste was developed through her parents' record collection, a library heavy on late-60s and early-70s soul and funk as well as a love for the cinema scores of the same period. After touring with legendary Motown Funk Brother Dennis Coffey and releasing a series of singles that she did with longtime collaborator Jeremy Page including "Concrete Waves," with b-side remixed by DJ Premier, Morris released the album Banshee (2012) on Wax Poetics Records. In 2013, Morris returned with a covers album 'Mockingbird'.
Both Banshee and Mockingbird received much acclaim, a cult following and several film + tv placements. The title track "Banshee" was used prominently in the Showtime hit series Ray Donovan while her cover of Pink Floyd's "Shine On You Crazy Diamond" was featured in the trailer for major motion picture Dead Man Down starring Noomi Rapace and Colin Farrell.
2013 Morris worked on a side project band with friends Scarlett Johansson, Julia Haltigan and Holly Miranda. With Este Haim joining on drums and TV On The Radios' Dave Sitek producing the project, they released the track "Candy" and a cover of "Bizarre Love Triangle" for AMFARs The Time Is Now compilation record.
Returning with her EP 'Babble' in 2016 to positive reviews and more licensing placements she continued working on music with Jeremy Page as well as began focusing her love of creating multimedia arts and finding ways to connect it to her own sonic universe. Having been collaging and doing stop motion animation a handful of years for her own album art and videos she wound up in the directors chair and animating the 2018 music video "Bomb Thrown" for the hip hop supergroup Czarface and MF DOOM record Czarface Meets Metal Face. Popular online magazine Mass Appeal cited the video as one of the best of 2018.
Early 2018 Morris released a string of singles; "Nothing", "Playing Games" with Greg Nice of Nice & Smooth featured on the remix as well as a cover of Madonnas 'Like A Virgin' featuring DâM-FunK. She was recently featured on both last years Czarface Meets Metalface and this years Czarface Meets Ghostface albums and her song "If You Didn't Go' was sampled on the Rapsody and J Cole song 'SoJourner' produced by 9th Wonder.
Just releasing her first new song of 2019 called 'Foolin' Around' she has a full plate for 2019 that includes a string of small tours, releasing more new music as well as animating and directing a handful of visual projects for both herself and others.
Julia Haltigan - (Set time: 9:00 PM)
"There's a singular, sexy sound emanating from the concert halls of New York's East Village and Lower East Side. The sultry, seductive music comes from Julia Haltigan, a gorgeous singer-songwriter whose combination of country, jazz and blues into catchy, romantic ballads has put her at the top of my make out playlist."
-Glamour Magazine
Acclaimed bombshell songstress Julia Haltigan came up on the Lower East Side of New York City when it oozed a heady mix of danger, possibility and art. Julia emerged from it all a sensitive badass who rides vintage Triumph motorcycles and sings primal rock n' roll with smoldering expressivity. Her signature artistry evokes Marianne Faithfull, Debbie Harry, and Lou Reed.
Her latest EP, Hot Tears, is a masterful collection, teeming with themes of heartache, images of broken bones, car chases, and nostalgia. Stunners in this set include the gritty swagger of the T. Rex-like "Money," the 1960s James Bond ballad-esque "Burning Bridges & Breaking Hearts," and the sleek and smoky "How To Make A Broken Heart," co-written with songwriting legend Mike Scott of The Waterboys.
Outside of her solo career, she moonlights as the slinky Jessica Rabbit inspired jazz crooner 'Vivian Fairchild' in the off-Broadway hit "Sleep No More." She also sings in the fizzy pop band Sugar For Sugar, alongside her buddies Scarlett Johansson, Kendra Morris, Holly Miranda and producer Dave Sitek. When not onstage or in the studio, Julia's straddling a 1970 Triumph Bonneville.


MANILA – The Bangko Sentral ng Pilipinas on Thursday kept borrowing costs unchanged as expected, after inflation eased further from near 10-year highs in 2018.
The overnight borrowing rate stayed at 4.75 percent after the Monetary Board's first policy meeting for the year. It raised the benchmark by 175 basis points last year.
Analysts polled by Reuters and Bloomberg unanimously predicted that monetary authorities would keep the overnight rate steady after inflation in January cooled below forecasts at 4.4 percent.
Monetary policy will be "slight on the brake" as authorities review the impact of past actions, Bangko Sentral ng Pilipinas deputy governor Diwa Guinigundo said last Tuesday after the release of inflation data.
The Monetary Board will be "more strategic," while checking the impact of a recent reduction in banks' reserve requirements, Guinigundo said.
The bigger challenge for the BSP is to stay within its 2 to 4 percent inflation target, said Nomura Asia economist Euben Paracuelles.
The BSP lowered inflation forecast this year to 3.1 percent from 3.2 percent, Guinigundo said.
The BSP is "ripe" for policy easing, including a 25-basis point cut in the overnight rate in the first quarter and a further reduction in banks' reserve ratio requirement, said Philippine National Bank president Wick Veloso.


text:
You Need to Watch This Documentary on Ferguson
We talk to the filmmakers behind 'Whose Streets?' on establishing trust with the community their film focuses on.
by Sam Fragoso
Aug 15 2017, 5:17pm
Photos courtesy of Magnolia Pictures
In the aftermath of Michael Brown's murder, many traveled to Ferguson, Missouri to protest. The streets were lined with picket signs and megaphones—instruments designed to amplify the human voice. The objective was clear: demonstrators wanted to not only be heard, but seen.
First-time directors Sabaah Folayan and Damon Davis made sure the latter came true. As the protesting unfolded, the collaborators could do nothing else but pick a camera. "My initial goal when I went to Ferguson," says Sabaah, "was to try to write articles and in the larger scheme do a public health study showing that people and police facing off were going to have a long-term traumatic effect on this community." She pauses to evaluate the past. "I quickly realized that it wasn't the time or the place to do that."
Instead, Sabaah and Damon entrenched themselves in the unrest. They had to make this film—if not for themselves, then for a community that has felt consistently unheard. Days after the three year anniversary of Brown's death, Whose Streets? makes its way into theaters this weekend, and it's not only essential viewing because of its subject matter, but because of Sabaah and Damon's singular grace and poeticism they bring to the documentary. They sidestep preaching in favour of letting voices exist, uninterrupted.
We sat down with them to talk about their headspace entering Ferguson, how they overcame the various challenges in their debut, and why the project is ultimately a big "eff you" to the Trump administration.
VICE: Going into Ferguson, what were you thinking about as filmmakers and as people?
Sabaah Folayan: Physical safety—but seeing this moment unfolding, it was instinctively clear that this was one of those benchmark moments in American history that was going to set the tone for the next decade and define the era. I felt like if I didn't go, I would regret it for the rest of my life. The next anxiety was, how do we get this done with integrity and maintain our voice and perspective while collaborating with people across different backgrounds—while fundraising and trying to prove to people that this was going to be commercially viable and viable to a white audience? All while living through this really personal and emotional experience.
Damon Davis: The biggest anxiety for me was getting it right: being a member of that community and having to come and show it to people, and knowing how much distrust is built in because of the way the media had portrayed the situation.
Was trust hard to come by in the beginning?
Folayan: Yes, in that everybody was extremely cautious. After a few weeks of the media reporting and misreporting on what was going on, people were really shy about wanting to talk to anybody. But we were so consistent in coming out day after day, and I hope that approaching people as human beings—and not being embedded in media—allowed that trust to develop.
Davis: I didn't meet these people with a camera in my hand—I met them organizing out on the street. That was where the trust factor came in, because they saw me in the mix with them.
What was the most constant challenge you faced while making this?
Folayan: Acting as both a director and a producer—having to raise money, pitch the film, package it in a way that was going to be digestible to people who were thousands of miles away from the situation and frame of mind, and touch down on the ground to be really rooted with people, rather than looking at them as subjects. I try to call them "the people we follow" or "the people in the film" to keep it centered that these are people—not tools or instruments.
Davis: You summed that up great. My thing was, "This is my home." I may have even over-emphasized that to myself, bouncing back and forth and cutting certain parts of my mind on and off at a moment's notice. We had to stand in front of a crowd full of people and pitch for money in places that we were not comfortable being in. Keeping the trust and the integrity that we set out to have with people intact was the biggest hurdle for me as well.
Both of you spent years making this film. Now that it's coming out, how do you two feel?
I personally have a mixed emotional bag of anxiety for what the masses are going to think. We've been doing the film circuit and those are people that like movies. That's a little different from everyday people who are watching something. Also, how St. Louis will receive it has been something for me. I'm also really exhausted and ready to have a little moment of my own time back and look at my life.
Folayan: I feel very small thinking about the film coming out in theaters all across the country—rooms with two hundred or five hundred people coming together to watch this thing that was once just an idea. Having a spotlight on you is not easy, and we're putting the spotlight back on them again. I also feel a tinge of pride and excitement that this film is definitely a huge "eff you" to the administration—to say that we're here and know what's going on. I'm really happy to be putting time and effort into a project like this at a time when I think people really need some kind of beacon to remind them we're still here, and we're still fighting.
Sam Fragoso is the host of Talk Easy, a weekly podcast of conversations with filmmakers, writers, musicians, journalists, and, once, his mother. His work has appeared in NPR, Vanity Fair, and Playboy. He lives in Los Angeles.
whose streets
VICE Canada has a Newsletter.


text:
Catalogue of the papers of the Oxford and Cambridge Musical Club, 1899-1954
A Membership records, 1899-1935
B Financial records, 1933-54
C Programmes, 1900-29
D Photographs, early 20th cent.
Papers of the Oxford and Cambridge Musical Club, 1899-1954
Membership records, financial records and programmes of the Oxford & Cambridge Musical Club, 1899-1954
Shelfmarks: Dep. c. 958-68, e. 487
Extent: 12 shelfmarks
The Oxford and Cambridge Musical Club was founded in 1899, as a residential gentleman's club in London, open to past and present members of Oxford University and Cambridge University. Its original purpose was the performance of chamber music but this has expanded over the years to include solo instrumental music, vocal music and orchestral music. Its first premises were at 47 Leicester Square but from 1914 to 1940 the club was situated at 6 Bedford Square. At present its regular venue for concerts is University College, London. The club is still in existence and is currently run in association with the University College London Chamber Music Club (see the Club's web page at http://www.ocmc.org.uk).
The records comprise a rule book, registers of members, a candidates book, a cash book, programmes and photographs.
Deposited 2002.
Oxford, Bodleian Library [followed by shelfmark and folio or page reference, e.g. Dep. c. 958, fols. 1-2].
Oxford and Cambridge Musical Club
Music -- Societies, etc.
Universities and colleges -- Societies, etc.
Candidates book, 1902-33
Shelfmark: Dep. c. 958
Extent: xxx + 404 pages
Binding: Half brown calf, black cloth boards, marbled endpapers; spine partly detached
Includes (pp. vi-xxx) index of candidates, 1902-8.
Register of members, 1899-1905
Extent: iv + 204 leaves
Binding: Half black calf, black cloth boards, marbled endpapers, printed label inside front cover, 'W. Straker, 49, 51, 53 & 55, Ludgate Hill, London, E.C...'
Register of members, 1906-11
Binding: Half black calf, black cloth boards, marbled endpapers, printed label inside front cover, 'W. Straker, Limited. 49, 51, 53, 55, 61 & 63, Ludgate Hill, London, E.C...'
Extent: ii + 202 leaves
Binding: Half black calf, black cloth boards, marbled endpapers, printed label inside front cover, 'W. Straker...' [as in Dep. c. 960]
Extent: iii + 207 leaves
Register of members, 1924-9
Binding: Half black calf, black cloth boards, marbled endpapers, printed label inside front cover, 'W. Straker...'
Rules, Regulations and List of Members of the Oxford & Cambridge Musical Club (1931), with signature of F.C.W. Hiley on front cover
Shelfmark: Dep. e. 487
Extent: ii + 26 pages
Binding: Grey papered boards
Shelfmarks: Dep. c. 965
Cash book recording income and expenditure, inscribed fol. 2, 'Horace M Abel Hon Treasurer', 1933-54
Extent: ii + 290 pages
Binding: Half red calf, black cloth boards, marbled endpapers, ticket inside front cover, 'To[llit] & Harvey Ltd 40 Gresham St. E.C. Stationers', spine detached
Shelfmarks: Dep. c. 966-7
Album of printed programmes, 1900-12
Binding: Half red calf, red cloth boards, note on fol.1, 'Rebound Nov. 1929.'
Binding: Half red calf, red cloth boards, marbled endpapers
Includes (fol. 11) balance sheet for 1913.
Two black and white photographs of the club's premises in Conway Street or Fitzroy Street, taken from Fitzroy Square, Bloomsbury, London, early 20th cent.


The only nation born in a day; the only country that appears on mainstream media almost every day; the only country filled with controversies throughout history--this is Israel. Although an array of people possess rather negative attitudes toward this country, israel is still a strong and influential nation.While having territory disputes with Palestine, Israel remains a place where people love to spend their vacations and do their research.
In the book of Deuteronomy, Psalms, Proverbs and lots of verses in the Bible, Israel is always mentioned as the apple of God's eye. These scriptures tell the importance of this country, which is especially true for me after seeing it with my own eyes during my 2-week-stay in Israel.
The only nation born in a day; the only country that appears on mainstream media almost every day; the only country filled with controversies throughout history--this is Israel. Although an array of people possess rather negative attitudes toward this country, israel is still a strong and influential nation.While having territory disputes with Palestine, Israel remains a place where people love to spend their vacations and do their research.
I felt particularly grateful to visit this amazing nation and to get an insight into it during their 50th anniversary of the Six-Day War, one of the most well-known wars in history that Israel won with only a few forces after fighting with Arab troops for only six days. This war signifies a critical moment when Israel took the Gaza strip, the West Bank (incl. East Jerusalem) and the Sinai Peninsula and the Golan Height back into their control.
Ammunition Hill and the Tank Museum are two main sites where I learned more about this crucial war. The Ammunition Hill is the place where Israeli soldiers fought with Jordanians. It is also the venue of one of the fiercest battles due to its narrow trenches. When I was there I stepped down into the trenches to get feel of how narrow they were. Walking along the trenches is like you are trapped in a maze. You are forced to keep going because your fellow soldiers are right behind you. Yet, at the same time, you don't know what is in front of you for the path would suddenly turn left and then right. The death toll for this battle was high.
Before we went to Ammunition Hill, I also visited the Tank Museum to pay my tribute to all the soldiers who sacrificed their lives in the battle. However, we were not the only ones there to cherish the memory. Many local people also revisited the Museum to once again reflect on all that their country has gone through, all the ups and downs, but still standing firmly today. We also sang their national anthem Hatikvah together with their soldiers. Hatikvah literally means "Hope", declaring the hope of the country despite difficult situations.
Looking out the original trenches of the Jordanian army twisting on Ammunition Hill not only reminded me of the hand-to-hand battle won by Israel, but the current Israeli mandatory military service.
In Israel, both males and females are required to serve in the military for two to three years. After they finish the service, they may be recruited at any time whenever the country needs them. The Israelis love their nation and every one of them is so proud of their country, even willing to die for it. In my opinion, this is something very different from Taiwan attitudes.
In addition to the famous Israeli forces, Jewish people are also always labeled as high intelligent. It might be true, as according to the data, over 20% of the Nobel Prize winners are Jews, albeit there are only 0.2% of world's population is comprised by Jewish people.
Speaking of Jerusalem, Israel, one cannot leave out religion. There are four sections in the Old City in Jerusalem, which are the Jewish Quarter, the Armenian Quarter, the Muslim Quarter and the Christian Quarter. I only entered the Jewish Quarter, hence I could not compare and contrast these four divisions. However, from the four sections already shows the complexity of religion from this one small site of Jerusalem.
Jerusalem has been considered to be a holy city in three religions which are Judaism, Christianity and Islam. On the first day of the trip when I was roaming around the Old City, suddenly, the Muslim prayers started broadcasting as it was the time to worship Allah, while the other religious groups who were also in the area singing their praises to God. I feel that even though they were not combined as one, the three different religious groups still try to respect each other and to live harmoniously together in Jerusalem. Speaking precisely, they are all worshipping the same God but in different forms and rites of worship. For me, it is hard to put all the feeling of living in such a multicultural and multireligious country into words. It is extremely fascinating yet complex.
In Psalms 122:3 of the Bible, it says, "Pray for the peace of Jerusalem: they shall prosper that love thee." This verse already shows how controversial this place was, is and will be. People need to pray for peace in Jerusalem. Furthermore God promises whoever loves Jerusalem will prosper. As I walked down the historical sites, the whole Bible suddenly came alive in front of me. From the trip to Israel, I discovered the real Israel, which was not exactly the same images depicted by the medias, but rather a country God even named as the apple of his eye.


2018 Ford Everest USA Review – With this seven-organized, crafty and amazing saw SUV the two types of customer-SUV favorites and guardians will be met. Despite how its cost is perhaps to some degree higher from other comparable models it will not stop to buy the usual Ford drivers to this 2018 Ford Everest.
For the Americans, this model of Ford was not so far-reachable-it could only be bought in countries outside of America such as Asia-Pacific, China, Australia, New Zealand, Africa and India. That will change with this model, as from sharp knowledge, so started with this car Americans can buy Ford's SUV in America, beyond. Segment testifies that the outer look of the 2018 Ford Everest is its most incredible position. It is strongly still beguiling and charming car, by the caution of the wide tires and high ground loose on one side and front looks like slip plate on the other. Chromed radiator grille and accents as thought all things that with slip-plate looking plan will be consolidated Tubby appearance of another level of gigantic size. Regardless, in the event that you use this car from the side, it is more sculpture and adapted.
The fundamental model of the 2018 Ford Everest USA has travel control with speed limiter, lift stop sensors, remote keyless section, single zone coursing air through and cooling, 17-inch dispute showed seven seats. Propensity to demonstrate has to some degree more, auto high wave control, heated effect falling mirrors, rain detecting windshield wiper and versatile voyage engine, while titanium was controlled by HID headlights, LED daytime running lighting, Clearing Sundach, eight-way strengthened seats, fur-organize trim, auto dynamic parallel stop help and 20-inch compound wheels.
Higher travelers with plenty of air as a result of a mounted roof for double comfort. Beyond the question, even three adults cross over can be concluded there with a note that center adventurers must dig feet at the critical reason for the transfer. Moving the second line may have more space for the people in the third line, and you will be exceptional, even you must have the knee-up on the account of another roof mounted air vents, which the conclusion more space for the traveller in the behind the accommodation.
The essential model in Australia has five-chamber machine 3, 2 liter, and six-speed-tweaked transmission. For the trading nations it is accessible 2, 2 liter diesel, and two-wheel drive. There are three types of engines and two gearbox options – 2.0 liters of four chamber EcoBoost advances show 2.2 liters with four-barrel and 3.5-liter barrels of diesel too.
Certainly association's affiliation is uncommon content with this new SUV, allowing you to convey the table it for the North American market. A champion among the most anticipated cars of the best in the class year, the new 2018 Ford Everest USA, will be on the market to go from Ford Motor Company improved. It is dependent on being a more fundamental than before and will be released in the SUV-arrange, which will be after the time of the ranger. This new model from Ford is required to draw in various potential customers who strive. 2018 Ford Everest can be a companion or relative car that will drive a lot of inspirations interest. This particular car will not be ifs and but a car that is not ifs and but unimaginable and besides fascinating. In addition, we believe that this specific car can run with a wonderful engine.
This is an SUV proposed for Australian market. It relies on the last adjustment of the watched Ranger pickup, which returns in like path after US takeover after a basic drawn period of the brake. This SUV was seen mainly in Australia, and the alliance now has to offer in North America as well. As shown in reports, the majority of the framework properties remain unchanged. Until the end of the course, the 2018 Everest will be fundamentally considered an Australian model that has been restored for a year and is still new in terms of styling. It inside and out takes on the availability of the alliance expected kinetic design styling, including the same approaches as models like Kuga and Ford Edge.


Today I have decided that the blog will simply be me describing a session I did this week and my thoughts behind how and why I designed it this way. You are more than welcome to provide any feedback you can for me.
The session was about 1 v 1s specifically getting past your immediate opponent. The training group is from a variety of clubs comprised of players aged 9/10 years old and are quite new to me. This is only their 6th session with me and they are better than average players.
Be positive & take players on.
Beat the defender on both sides.
Create passing options for player on the ball.
We had 3 x (20 x 10m) pitches going at same time playing 2 v 2. The goals (I used portable foldup net goals) were about 1.5m wide and 5m in from the end of the pitch and they faced backwards towards the ends of pitch not the middle.
1 – The ball had to be run past the goals. It couldn't be passed into the area.
2 – Nobody could go past the goals before the ball went past.
The design of this exercise was largely influenced by the fact I expected that this group would be reluctant to attempt to take players on 1 v 1. Both of the conditions are trying to encourage the players to attempt a 1 v 1 and not simply pass past the defender.
This is also the reason why the pitch is only 10m wide so that players didn't have the space to get over the end line without a tackle from a defender.
I felt the players would be quite rigid in how they played with one players being on left and one on the right. I was pleasantly surprised that the players moved around the pitch intelligently and this meant that there were far more 1 v 1 opportunities than I expected right from the start and there was more variety not simply a defender in front. Often both attackers were on the same side of the pitch providing the defenders with real decisions to make.
My first progression was the ball could only remain in scoring area for 3 seconds and then to keep possession the ball would have to be played out and run back in. I was hoping this would encourage further 1 v 1 attempts plus even more variety of 1 v 1 situations but it didn't work. In the end it encouraged the players to shoot at goal as quickly as possible and lead to some poor decisions to go for goal. I let this slide as the topic of session was 1 v 1 s and the players were doing lots of them to my surprise.
My main objective with this exercise was for the players to take each other on so often that defenders would see what the attackers liked to do. I encouraged the players to watch for players doing the same trick or move so they could defend against it.
We had 2 x (30 x20m) pitches going side by side. We played Line Football were to score a goal the players simply have to run the ball over the other team's endline.
1 – There was offside.
2 – If the defender TAGGED you as you went over the endline the goal didn't count.
Again these conditions were included as I thought players would be reluctant to go 1 v 1. Offside was there to stop players simply standing up the pitch and scoring unchallenged. With the TAGGING I introduced it as I have found it encourages the defenders to never give up.
My first progression was that now when you score a goal you moved to the next pitch therefore changing the games to an underload and overload. I did this to constantly change the dynamics on each pitch which then strongly affected the types of 1 v 1s happening. Now we had more of the chaotic feel of a game with 1 v 1s happening with defenders coming in from different angles.
After 4 mins the players had to add up how many goals each player scored from each pitch to see which colour had won.
My next progression was to counter exactly what often happens in these situations i.e. the same players score the majority of the goals. The next progression was to win every player in your colour had to score plus players still had to move to other pitch after scoring.
This worked well but it was a little too quick and the players who didn't score many only got to score one before the game was over. When I reflected on the session I think next time I will say that every player has to score before any player can score their second goal or possibly the opposition has to choose two players who can only assist in scoring a goal cannot score it themselves.
We used the 2 x (30 x 20m) pitches we had been working on and made 1 x (50 x 30m) pitch with goals and goalkeepers. The players then had to choose a partner from the other team who they felt was similar to them physically.
Now the two teams were to play a game were the score was kept but also each pair was to have a personal battle. If you beat (got the ball past your opponent) in a 1 v 1 you got 1 point if they got it off you in a tackle and had possession they got 1 point. At the end of 10 mins you were to meet with your partner to figure out who had won the personal battle then you had to meet with your team to add together the player points and the goals scored to find out which team had won.
Again the idea behind the personal battle was influenced by me thinking the players would be reluctant to go 1 v 1 so needed that incentive of a personal battle.
This was a roaring success and on reflection I think including the point for winning the ball meant players were more prepared to go for a tackle so there was less players endlessly backing off because they didn't want to get done. The players seemed to really enjoy it and were honest with how many points they got but that might have been as they had to meet up with their partner.
My overall impression was that the session was a success. I have no way of really gauging whether the design of the session encouraged the players to go 1 v 1 or I was wrong in my initial evaluation that they would be reluctant. No matter the players go lots of practice at beating a player which was the main objective at this stage.
For my next session with this topic I will include some decision making about when is the right time to go 1 v 1 but like I said at the start my design was influenced by me thinking the players would be reluctant to go 1 v 1.


focused on the development of Chile's next high-grade lithium mine.
The Maricunga JV Project is located within the "Lithium Triangle" in northern Chile, home to the largest and highest quality lithium brine deposits.
View Current Presentation, financial results and investor reports.
One of the world's highest-grade pre-production lithium projects.


In this year's 6 Nations, there will be many intelligent and innovative coaches strategising on the big stage. It may be surprising to hear, however, that England's tactics under Eddie Jones break from the norm of their 6 Nations counterparts most of all. England's structure, passing and use of Rugby League style strike moves are a fresh take on how modern Rugby can be played. Here is how England's tactical differences might play out in the tests to come.
The 1-3-3-1 is the hot attacking structure in international Rugby right now. Pods of 3 forwards grouped together are the main characteristic of this system. The backs will play around these pods, using them as a platform to structure their play. England will usually start their phase play with a pod of 3 like the other sides, but then transition to pods of 2. Here is that structure in action.
The first stage is a pod of 3 forwards taking the carry. This is the same as many other international sides and isn't a revolutionary concept. But now Farrell (red circle) is directing runners for stage two. In the next phase, England will transition into a pod of 2 forwards.
We can now see the structure that Farrell was organising a phase earlier. The pod of 2 players on his right are used as decoys to hold the Springboks defence. Stage 3 is all about stretching the opposition. As the ball goes wide we can see two English forwards near each touchline.
This part is distinctly akin to the All Blacks structure, where Dane Coles will often materialise on the wing unexpectedly. With Stage 1 and stage 3 retaining similarities to other international sides, it's stage 2 that is the most different and intriguing. Let's look at another example of the 2 man pods, or prongs, in action.
Using pods of 2 may seem like a far easier way to play Rugby, but there are some unseen intricacies happening behind the scenes to make it work. You can find a detailed article explaining how it all works to create space below, but we will look at the basic structure here.
Here England does a midfield crash and sets up a clear 2 pods of 2 forwards either side of the ruck. We can call these pods prongs, due to their two points of attack. This may seem simple enough, but the players that are really making this system work are the ones circled in red.
The first player of note is Courtney Lawes, who is sitting behind the prongs. He is a roaming forward in this situation. He isn't part of the prongs, but he is tasked with assisting whichever one gets the ball. This is critical against teams with pillaging loose forwards who will target the English rucks. With only one teammate to assist, players would often get isolated if this roaming forward wasn't used.
The other two players of note are in back play. Wilson quickly backs up to the near touchline to spread the defence All Black's style as we mentioned earlier. Sinckler may be on his way to the far side to do the same.
Now let's take a look at some of the moves that can be built around this unique structure.
Now that England has their fundamental system in place, they can start getting creative. Below we see the first two stages of the English attack all in one move. It starts with a pod of 3 forwards being used to hold up the Australian defenders, and then the prongs are used to strike at the hole that is subsequently created. It works beautifully as the big man is sent into a gaping hole.
We can think of this pattern as two lines of attack. In the first line, we have the pod of 3 forwards. In the second line, we have Farrell and the prongs. These lines start becoming more apparent as the moves become more advanced. The prongs are used as the first line in this example.
The second line is lead by Farrell, who is now able to exploit the space created by the first line. This isn't far off a Rugby league attacking pattern, and has a distinctly Australian vibe to it.
Farrell and the second line are now well set up after the second player in the prongs (blue circle) is used as a decoy. A nicely sold pass, and Farrell is through.
England's tactics are also different in defence. You can read about how they used a special tackling method to shut down the All Blacks below.
The 1014 Rugby have previewed the 6 Nations on their YouTube channel. See the following video for more information.
Do you think England's innovative system can help them win the 6 Nations? Let us know your thoughts.
OK – that is very interesting. How does what you are saying here match with what Dan P was saying about the Scotland game England lost last season and why two man prongs could get out manoeuvred? Also the linked article to Eddie Jones attack was from before the last 6Ns where many of England's problems were exposed.
So where are we now? Ford starting appears to have been dumped and more muscle selected in the backs (when fit) The pack is more like "its 2016" in style. Does the whole look like a team likely to move forwards after an awkward 2018?
This is a very fine comment Mike. Thanks for getting it through. The purpose of linking to those other articles has manifested itself in this comment. It shows there are a lot of moving parts in the England setup over the last little while. The tactics changed for the Irish match, what will we see this week and moving forward? Will it be the same tactics for each team… this is very unlikely, but the physicality will be there or thereabouts as it has been proved that that was a major part to the victory. All of these changes over the last 18 months, as you rightly point out, could be to do with Billy V. He is so important to the English gameplan.
Time will tell, however, we do know from speaking to Warren Gatland over the summer down here that teams will definitely be playing different game plans against different teams.
Thanks Steve – it was striking when looking at England last weekend was that the "2016-esque" forwards performance allowed the backs the time to play and for Farrell and others to bring runners into the game. The first SA Test in the summer was like a 20 minute foretaste of the Ireland game, in terms of overwhelming the opposition and scoring early (as England did in 2018, vs Italy, Wales, SA twice in the summer, NZ and Australia in the AIs) but vs SA, England then got matched upfront and it seemed like there was little ability to play some percentages.
I'm hoping that the Ireland game wasn't too much too soon. I guess we'll see if anyone matches England and they have to think more!


This article is about Top 20 men's watches fashion trend of 2019. Which is all far round saying, there will never be been a superior time to be occupied with – or think about purchasing – another watch. Accommodatingly, our chronometer-evaluated consigliere, Simon de Burton, has slashed the goods worth keeping from the waste to convey his last mediation of the main thing in the realm of watch making.
How do I choose a men's watch?
On the off chance that the development in your programmed or mechanical timepiece is worked in-house by a noteworthy Swiss marquee, it'll in all probability be of a superior quality than one which has been mass-created remotely.
Continuously settle on a watch which is – in any event – water impervious to 50 meters. This doesn't mean you can take your watch to a profundity of 50 meters, but instead that you can swim with it typically.
Attempt and select a watch completed with scratch-safe sapphire precious stone glass. Anything less and the smallest slam will leave your watch in an awful manner to be sure.
We are proving top 20 men's watch . You can choose one the best style from our collection.
Alpina as of late propelled a smartwatch (the AlpinerX) through Kick starter, raising more than £1 million in only three weeks. Be that as it may comprehensive structure logic previously utilized by the brand in 1903, when it looked for the contribution of retailers before creating new models.
There are presently 107 minor departure from the Royal Oak – the world's first steel-cased extravagance sports watch propelled in 1972 – which represent most of the brand's 40,000 or so yearly deals.
From the structure psyche of Alexander Shorokhoff, enlivened by the soul and times of a nation that blossomed ahead in the fields of Science, Politics, and the Arts — the CCCP watch accumulation draws its plan motivation from the life and times of a huge piece of the advanced political period of the Soviet Union.
In the same way as other brands, Ball Watch Co never again wants to show at Basel word. The individuals who preordered could have the dial and "lume" in their selection of hues.
Chopard co-president Karl-Friedrich Scheufele is an oenophile who, six years back, gained the noteworthy. Propelled in "plain" shape a year ago, it has now been trailed by another adaptation set with 3.05 carats of jewels.
On the off chance that you've seen the Marvel funnies based motion picture Venom, you may have seen Bremont has failed to the clouded side as the watch picked by Tom Hardy's wannabe Eddie Brock. The cranky, dark DLC instance of Bremont's U-2/51-Jet model was made a decision with regards to the character.
Not to be beaten by Hublot and Richard Mille, Bell and Ross has created a scope of watches with straightforward cases made altogether from sapphire precious stone, including two BR-X 1 Skeletons Tour billon Sapphire watches.
The Italian form house is increase its scope of associated smart watches, which currently reaches out to in excess of 20 unique models and incorporates touch screen computerized and crossover simple models.
Fossil Group started creating smart watch stages with Google three years prior and now it drives the path at the reasonable end of the segment, through colossal offers of Fossil-marked models and those made by the large number of other dial names under its umbrella.
Fossil Group started creating smartwatch stages with Google three years back and now it drives the route at the moderate end of the part, through colossal offers of Fossil-marked models and those made by the huge number of other dial names under its umbrella.
UNO has been intended for immortal tastefulness, and runs with all styles and ages. The 40mm watch is accessible in silver, dark or rose gold and highlights their mark Vegan Strap. With advanced subtle elements, for example, red bolt, connected file and luminescent spot, the #UNO is an incredible expansion to any closet.