The Rur, not to be confused with the Ruhr, is a river, which flows through Belgium, Germany and the Netherlands. About 80 per cent of the river is located in Germany.
The name Eifel-Rur refers to this geographical region and is sometimes used to distinguish the river from the Ruhr, which is spelled with an 'h'. On older maps, the Rur was also spelled Ruhr, i.e. with an 'h'. The 'h' was removed from the name around 1900 to differentiate the two. Remainders of the old spelling can still be found in place names such as Erkensruhr and Einruhr. The river's name is Roer in Dutch and French (but pronounced as in German); in Belgium (Wallonia) it is also known as Rour or Roule.
The Rur has its source in the "Hohes Venn" nature reserve near Sourbrodt in Belgium at 660 m above sea level. 15 km downstream, it reaches the German border south of Monschau and crosses the Eifel National Park. 39 kilometres from its source, the Rur reaches the Rurstausee (a man-made lake) and then continues on through the region of Aachen and the districts of Düren and Heinsberg in North Rhine-Westphalia.
The Rur crosses into the Netherlands near Vlodrop (NL). After another 21.5 km and a total length of approximately 170 km, the Rur, now consisting of two branches, merges with the Meuse at Roermond (which literally means "Rur mouth" or "Rur opening").


Find out how Muslim women everywhere are using the Internet to share Islam with each other and with the world.
Laila, a recent convert to Islam, is a single American woman in her fifties. The small town where she lives has few Muslims and the nearest mosque is several miles away. Laila wears full Islamic dress and also covers her face in public. The stares and comments she gets do not bother her (Laila considers these moments ideal for educating others about Islam), but it has been lonely at times living so far away from other Muslims.
This lonely feeling has lessened within the past few months since a visit to her daughter's home introduced Laila to the Internet and an on-line community of Muslims which she never knew existed. As part of the generation which did not grow up during the computer revolution, Laila had always been intimidated by computers and did not imagine that the Internet had any relevance to her life. One look at the Islamic Courtyard (an on-line index of Islamic resources on the Web), however, changed her mind forever as she realized what a powerful catalyst the Internet is in the exchange of information and ideas. With the recent purchase of her own computer, Laila has been able to communicate with Muslims from all over the world and expand her understanding of Islam - all from the comfort of her living room. Though she once considered moving to a larger city in order to find friends with common interests, Laila now thinks she will stay put for the time being. "It is not an easy thing to move at my age," she explains.
Laila has discovered what so many others are also discovering - that access to the Internet makes you an instant member of the global community regardless of your real-life situation. Muslims have benefitted nicely from the fruits of the Internet as it has become possible to provide and receive Islamic education with ease, reducing the need to search for and purchase books and magazines (which are often expensive) for Islamic advice and information.
Muslim women in particular are coming together on the Internet and creating a cyber-sisterhood unimaginable just five years ago. Some women, like Laila, live in isolated areas and do not often get the opportunity to socialize with their sisters in deen (religion). Many of them are new to Islam and need a neutral place to go for support and basic information. Sisters everywhere from the US to Japan are networking to provide one another with encouragement and resources in areas as diverse as infertility, wearing the niqab (face veil) with confidence and finding the best Islamic websites for children. They are studying together, discussing together, and generally using the Internet to make their voices heard in a society which has often been too quick to judge what it means to be a Muslim woman.
Indeed, one of the major benefits of the Internet for Muslim women is the opportunity to share their views of Islam and explain why they are proud to be Muslims! Many women have made their own websites and thus opened up a world of information to curious non-Muslims who may have not have previously had a glimpse into the Islamic lifestyle from the "inside." As Islam continues to be the fastest growing religion in the West and in the US in particular, the Internet is certain to play an ever-expanding role in peoples' decisions to convert. At the minimum, many wrong ideas about Islam have been refuted on the Internet, and people are beginning to realize that Islam does not reject the use of modern technology such as the computer.
Though Muslim women are not required to support themselves (their husbands or fathers must provide for their food, clothing and shelter), Muslim women who do work consider the Internet indispensable in that it allows them to work from home in a variety of fields, something which is also gaining popularity in the larger society. In addition, women who enjoy shopping from home are especially happy to see hard-to-find Islamic clothing and other products for sale on-line.
Clearly, the Internet is a very powerful tool with unlimited potential in so many vital areas. As the whole of society continues to explore this unique resource, Muslim women are sure to do the same in order to fortify their presence on the Web and create an even stronger voice for themselves in the process.


Everything you want and more. Whimsical, classical and romantically styled. These plates are so pretty you wont want to eat them but so delicious you won't be able to resist! Ditch the boring grocery store platters and wow your guests (and yourself) with this beautiful grazing piece instead. Each platter is different, it's own piece of edible art.
Includes; 3 artisanal cheeses, 3 meats, antipasti, olives, jams or jellies, fruits, veggies, dips, spreads, crackers and chips and a few sweet treats. Vegan Platter includes 3 vegan cheeses & only vegan ingredients.
Provides an appetizer serving for 8 - 10, meal serving for 4 - 5.
16" Round Platters are made to order. We request 48 hours for creation and delivery. For greatest freshness we recommend that this platter be enjoyed within 12 hours of delivery/pickup.
Short for time or want something special added? Let us know and we'll do our very best to make it happen.
Call us! 403.874.7006 or email us! katie@brieandbanquet.com.
Each platter is hand-crafted, hand-styled and uniquely curated. Selections are seasonal and unique to each plate.
With Brie & Banquet, no two plates or boxes are ever the same – your item will differ from the photos - we like it that way and hope that you can appreciate your piece to be totally unique and thoughtfully hand-styled too.
We support local, small businesses, and include only the freshest, mindfully grown and mindfully produced ingredients when possible.


Let the good times roll ! We the #stones_family presents "BLUE FIRE" in Rolling Stones Rock Bar from 8:00 Pm onward.🤘 Lets make it louder and louder and louder, come and join with us ! Cheers !! See ya around Rockers !


text:
"Michelle" é uma canção dos Beatles, lançada no álbum Rubber Soul, em 1965. É composta e cantada por Paul McCartney. Possui algumas partes da letra em francês. Paul tinha a melodia da estrofe desde os tempos de colégio. Nas festas produzidas pela Faculdade de Artes que John cursava, McCartney costumava participar. Nela, havia uma brincadeira de cantar uma música imitando o sotaque francês, na qual Paul participava para ver se obtinha mais sucesso entre as garotas. Na época das gravações de Rubber Soul, John lembrou da canção e sugeriu a Paul a fazer a letra.

No Ivor Novello Awards de 1967, "Michelle" venceu na categoria "obra mais executada" de 1966, à frente de "Yesterday". "Michelle" venceu o Grammy Award para Canção do Ano em 1967, tendo como concorrentes "Born Free", "The Impossible Dream", "Somewhere My Love" e "Strangers in the Night". Em 1999, a Broadcast Music Incorporated nomeou "Michelle" como a 42° canção mais executada do século XX.

Créditos
 John Lennon – violão de nylon e vocal de apoio
 Paul McCartney – baixo, violão,  e vocais principais
 George Harrison – violão, guitarra e vocal de apoio
 Ringo Starr – bateria

Ver também
 Lista de singles número um da década de 1960 no Reino Unido

Bibliografia

Canções gravadas por The Beatles
Canções compostas por Lennon/McCartney
Canções de Nikka Costa
Canções multilíngue
Canções de 1965
Grammy Award para canção do ano
Canções produzidas por George Martin

redpajama_set_name: RedPajamaWikipedia


text:
What is Portfolio performance management?
Understanding the importance of performance metrics in portfolio performance management
What are the processes of portfolio performance management?
Develop a Portfolio performance management plan
Manage supply and demand
How to balance supply and demand in portfolio performance management
Supply and demand monitoring
Manage portfolio value
What affects value in portfolio performance management?
Portfolio success through effective portfolio performance management
Portfolio success criteria and factors in portfolio performance management
Although components in a portfolio don't have to be interdependent or share similar objectives, they should have at least common characteristics, so they can work towards the same goal, and allow efficient and centralized management. This requires careful selection to arrive at an optical mix of proposed projects, programs and operations. This activity is called portfolio management, and is vital to organizations to reach their strategic objectives. But once the right mix and sequencing of proposed projects and programs are established, portfolio performance management follows.
Failure to monitor portfolio performance can have direct consequences. They could end up using resources ineffectively, or fail to meet organizational objectives, because monitoring, analysis and evaluation are lacking. Suffice to say that an organization can't afford not to have a portfolio performance management plan.
Portfolio performance management plans, measures and monitors the organizational value of a portfolio in a systematic manner, based on the achievements against strategic goals. Part of the process of portfolio performance management is to manage how key resources, such as human resources, finances and assets are sourced to obtain optimal results.
Portfolio performance management must be linked to organizational strategy as well, which is expressed through its vision and mission, taking into account an organization's orientation to market, environmental factors and competition. Through an effective organizational strategy, an entity will be able to define directions for development and growth, and performance metrics for success.
Organizational strategy needs portfolio performance management to ensure fulfillment of the strategies used, and to facilitate the alignment of portfolio components by strengthening structural, technological, cultural, human resource practices, and other organizational enablers.
For an organization to clearly justify why a particular resource has to be invested in a specific project, it must first identify its organizational value areas where components are most likely to impact. A project can have two or three value areas, such as increased revenue from existing customers, or the potential to bring in new customers. There are also instances where a project is not valuable, and this is something an organization must recognize when making decisions.
In order for an organization to gauge the performance of a portfolio, it needs to identify key performance indicators, which are mechanisms used to evaluate if the mix of portfolio components can lead to success or the opposite. In portfolio performance management, performance metrics must be quantitative, qualitative, tangible and intangible.
Quantitative measures include the increase in revenue, the decrease in cost, the change in Net Present Value, the return on investment, the internal rate of return…
Qualitative and intangible measures include portfolio strategic alignment, legal and regulatory compliance, sustainability and corporate responsibility, and portfolio risk management.
Apart from performance metrics typical attributes of a portfolio are also collected and analyzed, as part of the portfolio performance management process. These include:
Consumption of scarce resources, whether human, financial or material
Total expected cost
Expected timeline magnitude and timing of benefits that must be realized
Relationship or interdependence of portfolio components
Schedule of investment
Using these KPIs, organizations can easily monitor the performance of a project or portfolio, which is essential to portfolio performance management. There are several ways to track and monitor KPIs, but the most popular is using dashboards, which quickly communicates to sponsors and stakeholders the status of a portfolio against expectations.
A portfolio dashboard displays multiple KPIs in one platform or sheet, which makes it easy, even to a casual observer, to read various data points. It can be showcased in many ways, such as tiled, stack, pie chart or a graph.
For easy portfolio performance management, best practices for dashboards should be followed:
A singular dashboard should not contain too many KPIs. Break them down into separate dashboards based on common performance metrics.
Present a dashboard in a clutter-free and organized manner. When using chart tiles, for example, keep tile sizes uniformed.
Highlight specific data point that need to stand out.
Take advantage of all the tools you can integrate with a dashboard, such as drill down, tool tip, zoom, filter and color adjustment.
For what seems to be a long-winded process, with plenty of factors to consider, portfolio performance management only involves 3 major steps: to develop a portfolio performance management plan, manage supply and demand, and manage portfolio value.
A portfolio performance management plan is either a branch or a component of the portfolio management plan, which explains a portfolio's value is defined. In portfolio performance management, a portfolio's value only becomes evident when its components are utilized by the stakeholders, customers, portfolio beneficiaries, the organization and the community. Thus the need for a plan to put everything in perspective.
Developing a portfolio performance management plan starts with a review of the vital factors that influence project success:
Goals specified in the portfolio strategy plan
The objectives necessary to reach those goals
A portfolio performance management plan also details how portfolio components are allocated for human, financial, and equipment or material resources. This is where portfolio resource management planning comes into play, because of the need to determine how resource capacity can be managed for effective utilization, and to adapt to the changing demands that will ensure a mix of portfolio component will generate maximum value.
The same plan is also used to define parameters for optimal resource capacity utilization, and to set acceptable ranges should deviations and other changes arise. It also documents how an organization measures, monitors, controls and reports resource management, portfolio performance and portfolio value.
Portfolio performance management plan involves two aspects : Portfolio Value and Portfolio Reporting. The former refers to the realization of benefits associated with the components of a portfolio that have been tracked and optimized to achieve maximum organizational value. The latter, on the other hand, is where performance metrics of a portfolio are determined and provided to stakeholders in the governing body. Through portfolio reporting, sponsors will be able to understand how expected benefits can be achieved based on the performance of a portfolio, which is crucial to portfolio performance management.
In portfolio performance management, supply refers to the resources capacity and other aspect shared among portfolio components. Demand, on the other hand, refers to the resource requirement of the components in a portfolio. It is identified based on each initiative's business plan or case.
Once the inventory of resources and capabilities are aggregated at the proper level of detail, it is then mapped to existing organizational resources or supply, such as funds, tangible and intangible assets, and human resources. To ensure equal distribution of portfolio resources, there must be a master schedule of resource allocation.
In Portfolio performance management, the goal in supply and demand management is to ensure that resource capacity is allocated against resource requirements optimally, and organizational priorities and potential value must be considered. This requires achieving balance between supply and demand.
The process will depend if an organization have unlimited resources (projectized organizations), or mainly rely on resources procured through various channels based on demand (resource constrained). Between the two, the latter is more challenging to balance, since labor resources are used in both operational and project work. If there are fluctuations in operational workload, for example, resources allocated for the project will be affected, which will also have an impact on the portfolio. This is why a balance of supply and demand is vital in portfolio performance management.
The success of a portfolio relies on many things, but continuous and ongoing monitoring of supply and demand is critical. After all, demand would not be met when resources are constrained. This is why resources must be allocated in a way that it is matched to the demands of a project. There must be continuous analysis of changing resource requirements, and the resource needs for planned and approved portfolio components against resources available.
In portfolio performance management, a portfolio value is defined as the aggregate value resulting from the components of a portfolio, with the goal to deliver the possible maximum value that is aligned with organization's strategic objectives and an acceptable level of risk.
The value of a portfolio can be measured based on its impact on revenue growth, operating margins, customer/employee satisfaction, branding, community and the environmental resources. These dictates how well a portfolio performance management is.
How value is defined varies from one organization to another, but it is best to have a value measurement framework that will serve as a guide to:
Organize value that needs to be created
Create a plan for measuring value
Recognize possible types of value
The value measurement framework also supports portfolio decision-making with regards to authorizing components based on its expected maximum net value. It operates on the premise that the net value is a result of the expected gross benefits against the time and resources that need to be invested.
Any changes in the portfolio component will affect the expected portfolio value. These include changes in the schedule, cost, actual scope and performance. How these changes come about, however, may be due to external factors, such as competitor action, laws and regulations, market conditions, risks realized, and factors that affect products, services or asset delivery.
Throughout the entire portfolio performance management process, there is a cycle of monitoring and adjustment to ensure that the intended benefits are gained and portfolio value is realized. So for every time components are completed and the consequential benefits and value are realized, measures are taken to drive the correct work into the portfolio.
For portfolio performance management to be successful, sponsors, stakeholders and portfolio managers should well-versed on what portfolio management entails. The focus is to achieve organizational strategies and objectives, but the problem is that implementation could take months or years, and usually spans across the entire organization. So measuring and achieving portfolio success is often complex, time-consuming and labor-intensive.
But there are ways to measure success.
According to the Project Management Institute (PMI), the success of a portfolio is measured in terms of the performance of aggregate investment, and the benefits resulting from a portfolio. This means measurement happens over an extended period, depending on the lifespan of a portfolio. Benefits, on the other hand, refer to those that arise from a portfolio's associated business case that promise benefits. Most of the time, they are realized after a project or program is closed.
What better way to measure a portfolio's success than to use a set of criteria? In a seminal paper written in 1952, Harry Markowitz laid down the foundation for the Modern Portfolio Theory (MPT) that helps determine the specific mix of investments that will generate the highest return, given an acceptable level of risk.
The four criteria are:
Financial value of a portfolio
Strategic success
Selecting and Balancing
Together they create a portfolio performance management plan that is designed to maximize a portfolio's financial value, link its success to organizational strategy, create a balance between the projects within a portfolio and an organization's capacity, and to achieve as much as the average single project success.
While a success criterion matters in portfolio performance management, nothing is more critical than a portfolio's success factor that, according to Bolles & Hubbard (2007), influences a portfolio's successful implementation within an organization. If all success factors are addressed and followed, portfolio success is guaranteed.
Portfolio success factors include, but not limited to:
Total support and commitment from top executives, particularly in decision-making approach.
Effective and clear communication of strategic objectives, so everyone across the organization is well-aware of the decision-making process and organizational goals.
Strategic alignment of the investment selected with the framework to be used.
An institutionalized management process to facilitate constant evaluation.
Align decision-making with governance framework.
Create an integrated discipline of program/project management
Risk and performance measurement at a consistent and continuous level
Review portfolios in support of realigning investment priorities
Balance investments effectively
Turn strategy into operational excellence
Components prioritization is also a key success factor in the Portfolio performance management process. There is a positive relation among portfolio selection, strategy success and project portfolio performance.

redpajama_set_name: RedPajamaCommonCrawl


Much like our players are influenced by what we say and do as their mentors, coaches are influenced for better or worse by the coaches they come in contact with. I've been lucky that for most of my career, I've been around some amazing coaches to learn what to do, and have spent very little time around the kind of guys you learn the "don'ts" from.
Professionalism- John Flath (Southeastern University, FL). I worked under John Flath as a young college kid just trying to find somewhere to fit in. I wanted to get into coaching and coach allowed me the opportunity. I served just about every role you possibly could while with John at University HS from 2003-2006. I was: his substitute teacher, the team meal guy, a freshman coach, the list goes on. What John taught me was professionalism. He ran a program, not a team. Urgency, hard work, dedication, and preparation I owe to Coach Flath.
X's and O's- Hugh Dehnert (Newsome HS, FL). Hugh has been an influence on me since I was a high school junior. Coach taught me the scheme and philosophy of the 4-4 G defense. I learned more than I could handle by charting and talking football with Coach Dehnert on Friday nights. He taught me how to chart which helped me build my knowledge base for situational play calling, as well as how to breakdown film and understand what I was seeing. Coach was also there for me as a mentor in high school and college.
Coaching Relationships- Mike Gregory (Tampa Catholic, FL). Mike came onto our freshman staff in 2006 and worked his way in with a trio of coaches (myself and two others) who had been together for 3+ years prior to that fall. Right away we hit it off and I could tell he was going to be a true pro. Mike and I talk shop every season and have gone through the growing pains together. He's taught me that guys in this business need to stand by each other and stick together.
Player Relationships- Pat Williamson (retired). Pat and I worked together at UHS and Orlando Lutheran. Pat taught me how to walk the line between being a hard assed coach but also someone who could look after a kid and be their mentor when times got tough. Pat was always very upfront and honest with his players and I've used that in my career since. Kids will always buy-in if they see 100% transparency and know their limitations and expectations.
Work/Life Balance- Dan Oswald (Granger, Utah). Dan and I met in summer teaching classes at BCC in Melbourne, FL. After a week or so, we hit it off and began talking ball on a daily basis. He knew I was looking for a coaching gig and brought me in to see the head coach at Melbourne HS, Todd Wilson. Todd's a tough guy to read and an even tougher guy to get to like you, but Dan must've convinced him this long, shaggy haired kid with a beard might not look the part, but he loves the game. Dan and I have kept in touch the past four years, but Dan taught me that it's more important to have a good home and family life than to only worry about football.
This entry was posted in Media and Misc. and tagged #fbcoach, coaching, football by ironmanfootball. Bookmark the permalink.


How to build a DIY chunky X media console - we need this upstairs to replace the existing dresser!
Adger Media TV Stand for TVs up to 65"
A TV stand with two large shelves.
Oxfordshire TV Stand for TVs up to 70"
An X style console table in a living room.
Hutsonville TV Stand for TVs up to 50"
Broom TV Stand for TVs up to 70"
Cypert TV Stand for TVs up to 70"


NYU Libraries, in collaboration with NYU Journalism, invites experienced web design agencies to submit a confidential written proposal to redesign an academic site that will present a collection of materials on undercover journalism, and to migrate content from the previous version of the site. The design, content, and functionality for the new website must be completed, tested, and ready to go live by the planned launch date of November 7, 2018.
Undercover Reporting was original published in 2009 as a collaboration between NYU Libraries and the Department of Journalism, and can be viewed at http://undercoverreporting.org/. The site is an accompaniment to the book, Undercover Reporting: The Truth About Deception, written by Brooke Kroeger, Professor of Journalism and Director of NYU Journalism's Global and Joint Program Studies. Over time, the site has become a comprehensive and acclaimed database of materials in this area.
The existing site is built in Drupal 6, and needs an upgrade to a more contemporary content management system that allows for easier maintenance by non-programmers. New content is added on a semi-regular basis, thus, a user-friendly interface for adding and editing content is essential. The interface should allow for multiple users with different levels of site permissions to add and modify content. The new site must be hosted on NYU's Web Hosting service, which is an instance of Reclaim Hosting Domain of One's Own shared hosting service that includes FTP and SSH access (but no sudo/admin privileges). The incumbent team will be required to design and build a new site and to develop to implement a streamlined migration plan to bring content from the existing site to the new site.
The primary goals of this project are to maintain the existing site's functionality while migrating to a more user-friendly platform, and to update and modernize the overall site design.
Omeka S for the foreseeable future, we prefer the site be built in Omeka S (rather than Classic). We recognize that Omeka S is a relatively new platform and it is unlikely that firms will have a robust portfolio of Omeka S sites, so previous sites built using Omeka Classic are an acceptable substitute.
With that said, our team is open to proposals using other platforms, such as WordPress, that have an easy to use interface and maintain the site's existing functionality.
Deliver a weekly status report to Customer indicating work completed, work planned for the upcoming week, and any questions or anticipated change in the schedule.
Site must be compatible with the latest versions of all modern browsers.
MWW PR has digital and website capabilities.


Most people have probably been wondering what I've been up to at Easy Art House, and as of this week I can finally show you what our team and I has been up to for the better part of a year. We've been creating artwork for the Gamehouse Casino on facebook, we've been making a lot of the artwork for there Casino games that range from Slots, poker and bingo.
I've posted two tiles sets I had the pleasure of working on from concept to finish done entirely in flash. The framed tiles mean they're tiles that possess animation. So if you play the game you'll also see the animations (if you're lucky enough to get 3 in a row). Our goal with the tiles is to make artwork that could appear to be done in photoshop and work with the backgrounds, but in actuality be done in flash. I think the end result has been pretty successful and with each new set the results seem to be getting better. We have more in the works and a few more that are pending release which I'm quite excited to share.
If you enjoy casino games or just want to see what we've done you can play and see more of our work using this link.
If you'd like to see more work we've done at Easy Art House feel free to visit our site.
really love the tiki guys!
Great stuff Eric! Love the colours!!!
Nice stuff you shared thanks for sharing.


Going back on what we know as the DJ9BV Nylon Rivet style of mounting elements which he learned from DL6WU, who had it from DJ6NS, this method of mounting elements this method of mounintg elements is as well known as proven.
Mounting thin elements this way results in very effective lightweight Yagi-Uda antennas for the UHF bands. With a ratio of weight and wind load to antenna gain and -G/T that is hard to beat.
The Nylon Rivets are difficult to purchase and any furniture plugs must be drilled through one by one. But this methode offers unique RF properties. Hence I decided to have an injection mold being made.
This insulator is made from a UV stabilised plastic.
Elements have tight fit, hence a tolerance in element diameter is not tolerable.
Be sure your elements have a 4.00 mm fit. Boom bore holes shall be of diameter 6.0 mm sharp. I do not wish to disappoint you when these insulators cannot be pushed over or have no grip on non suitable elements!
A push rod of approximatly 8x1 mm is needed to hammer these into place and boom.
Fits element diameter 6 mm ... 12 mm, for mounting elements on a 25 x 25 mm boom.
Just like the 4 x 6 mm plugs these insulators are being made to my specification and drawings.
This is the well known and measured type of insulator sold by various companies.
Fits element Ø 8 mm. Reinforces the element just were it needs to.
Which is at the fastening point were there is a 3 mm bore through it while all the stress comes down to focus on that very point. Elements made from tube material break just there in case of any mishappening.


Episode 05 - Danger Zone!
With the end of January fast approaching Bethesda has released some more information on what they're calling Survival Mode. Plus, Two Shot Exploding Legendaries are getting the nerf.


13 TOOL STARTER SET The perfect set for shallow relief, small to medium sized sculpture & for expanding your tool selection for a low cost. Mastercarver® brand Hand-Forged tools are used and recommended by leading professional wood carvers and teachers. These are fine quality tools at the lowest cost of any major brand. Hand forged from high carbon tool steel, (Rc 58-62). Durable birch wood handles are tough enough for the heaviest mallet use, yet comfortable for hand pushing. Most tools are fishtail style for better maneuverability. Sets contain the following 13-tools: #2-16mm skew, #3-3mm gouge, #3-10mm gouge, #4-16mm , #5-20mm, #6-12mm, #7-16mm, #8-6mm, #9-12mm, #10-8mm, #11-3mm, #26-10mm (spoonbit), #41-10mm 60° V-tool and heavy duty canvas cloth tool roll. Pre-sharpened. Features durable, socket style birch wood handles. Pre-sharpened (ready to carve). Length 9".


text:
package org.ratson.pentagrid;

@SuppressWarnings("serial")
public class RuleSyntaxException extends Exception {
	public RuleSyntaxException( String msg ) {
		super(msg);
	}
}

redpajama_set_name: RedPajamaGithub


text:
package tamaized.voidcraft.client.entity.boss.render;

import net.minecraft.client.model.ModelBase;
import net.minecraft.client.renderer.entity.RenderLiving;
import net.minecraft.client.renderer.entity.RenderManager;
import net.minecraft.entity.EntityLiving;
import net.minecraft.util.ResourceLocation;
import net.minecraftforge.fml.relauncher.Side;
import net.minecraftforge.fml.relauncher.SideOnly;
import tamaized.voidcraft.VoidCraft;
import tamaized.voidcraft.client.entity.boss.bossbar.RenderBossHeathBar;
import tamaized.voidcraft.common.entity.boss.EntityBossCorruptedPawn;

@SideOnly(Side.CLIENT)
public class RenderCorruptedPawn<T extends EntityLiving> extends RenderLiving<T> {

	private static final ResourceLocation TEXTURE = new ResourceLocation(VoidCraft.modid, "textures/entity/corruptedpawn.png");

	public RenderCorruptedPawn(RenderManager manager, ModelBase par1ModelBase, float par2) {
		super(manager, par1ModelBase, par2);
	}

	@Override
	public void doRender(T entity, double x, double y, double z, float yaw, float ticks) {
		super.doRender(entity, x, y, z, yaw, ticks);
		this.renderLabel(entity, x, y, z);
		RenderBossHeathBar.setCurrentBoss((EntityBossCorruptedPawn) entity);
	}

	private void renderLabel(T yourentityLiving, double par2, double par4, double par6) {
		int distanceToEntity = 32;
		this.renderLivingLabel(yourentityLiving, yourentityLiving.getDisplayName().getFormattedText(), par2, par4, par6, distanceToEntity);
	}

	@Override
	protected ResourceLocation getEntityTexture(T entity) {
		return TEXTURE;
	}
}


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SIZE 8.75 UNISEX FRANKLIN MINT STERLING SILVER 14K GOLD CZ RING ALFRED DURANTE. SIGNED -FM -925 -14K GOLD TOP -585 -87. SIZE -8.75 -FACE IS 12mm TALL.
NOTICE THE LARGE AMOUNT OF SOLID 14K GOLD -NOT GOLD FILLED -ESTIMATE THERE TO BE 2 GRAMS OF SOLID 14K GOLD. I WILL PROVIDE MEASUREMENTS, OR ASSIST IN PACKAGE DEALS. MANY ONE OF KIND PIECES, TAKE SOME TIME AND LOOK AT MY OTHER AUCTIONS. I will be happy to talk to you about any concern or details I have failed to mention prior to auctions completion. I also stay up to date on feedback for my customers.
Take a look at my other auctions. I try to offer items that are few and far between. The item "SIZE 8.75 UNISEX FRANKLIN MINT STERLING SILVER 14K GOLD CZ RING ALFRED DURANTE" is in sale since Tuesday, April 10, 2018.
This item is in the category "Jewelry & Watches\Men's Jewelry\Rings". The seller is "heirloom_heritage" and is located in CHICAGO. This item can be shipped to United States, Canada, United Kingdom, Denmark, Romania, Slovakia, Bulgaria, Czech republic, Finland, Hungary, Latvia, Lithuania, Malta, Estonia, Australia, Greece, Portugal, Cyprus, Slovenia, Japan, China, Sweden, South Korea, Indonesia, Taiwan, Thailand, Belgium, France, Hong Kong, Ireland, Netherlands, Poland, Spain, Italy, Germany, Austria, Israel, Mexico, New Zealand, Philippines, Singapore, Norway, Saudi arabia, United arab emirates, Qatar, Kuwait, Bahrain, Croatia, Malaysia, Chile, Colombia, Costa rica.


Sweetener Free Paleo Apple, Quince and Strawberry Crumble Recipe.
Paleo crumbles are probably the easiest and most delicious sweet treats to make during the cooler months. We've already got this paleo crumble recipe and this recipe so we highly recommend you get cooking (good looking)! But this Paleo Apple, Quince and Strawberry Crumble recipe is 100% our new fave healthy paleo crumble recipe!
Never tried quince before? Neither had we! Guess what… quince is totally all kinds of delicious amazing! It's a weird fruit… but only because we didn't grow up with it in our fruit bowls and it was never in Woolworths… right? Time to get a bit adventurous and try quince! There's a little more preparation required as it needs longer to cook but it's definitely worth it.
Let us know what you think about this super healthy Paleo Apple, Quince and Strawberry recipe! And don't forget to share your creations on social media and tag #themerrymakersisters!
In a large saucepan add water, lemon and quince. Cover and bring to boil, turn down to simmer for 1 hour.
Once the quince is cooked, drain the water and discard lemon (you could even pre cook the quince the day before).
Place the apple slices, strawberries and cooked quince in a baking dish, slightly overlapping each other and covering the entire base.
In a bowl combine the coconut, macadamias, pumpkin seeds, vanilla and salt.
Add the melted coconut oil to the dry ingredients and mix until crumbly.
Place in to the oven for 15 minutes. Cover with foil and cook for another 20 minutes or until the apples are soft.
Enjoy immediately or save for later!
Not keen on quince? Just swap to more apples and strawberries!


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10 ByKolles unlikely to race in WEC in 2021
Lotus boss Eric Boullier says F1 costs must come down
By Sam Tremayne,	Jonathan Noble
Published on Thursday August 8th 2013
Archive image
This is a low-resolution image from one of our older stories.
Lotus boss Eric Boullier says the costs of competing in Formula 1 must be brought down in order to safeguard the future of the current grid.
Boullier believes that 80 per cent of teams are in favour of negotiating ways to reduce expenditure, but that a select few teams are preventing a consensus and creating an effective impasse.
That means smaller teams - including Lotus - face a financial deficit that they cannot plug indefinitely.
Lotus owner Genii Capital is in advanced talks to sell a 35 per cent stake in the team to Infinity Racing, while Sauber announced a major partnership with a trio of Russian investors in July following rumours it was on the verge of bankruptcy.
"The problem is that some teams - like Red Bull, Ferrari and Mercedes - can still afford the old way and can spend a lot on the car; we can't," Boullier told AUTOSPORT.
"To keep teams competitive, we need to keep a minimum budget with our resources, but this limit is above the revenue stream so we need our shareholders to bridge the gap.
"Don't forget that in the beginning of the 90s, a top team was spending maybe £40 million; by 2008, a top team was spending £100 million.
"We have to put that cost down.
"The problem today is 80 per cent of the teams are in favour of this but 20 per cent are not.
"I don't think it's fair if only three teams can afford F1, so we should find a way to bring the cost down."
Boullier said the fact there are ongoing discussions with the FIA regarding cost controls, coupled with his team's tie-up with Infinity, mean he is optimistic about his own team's long-term health.
"I am happy that some discussions have been moving forward in F1, [with] the FIA, speaking that we want this [lowering costs] done and we want it done by the regulations," Boullier explained.
"We announced a new partner a few weeks ago, [which is] not completed yet but is on its way.
"Once this is done it will be a new era for Enstone because financially we will be secure for many years at another level.
"We still can't spend the same money as Ferrari and Mercedes but as a team we can secure the level for where we now compete."


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The Kansas City Royals are a Major League Baseball (MLB) team based in Kansas City, Missouri. The Royals are a member of the Central Division of Major League Baseball's American League. From 1973 to the present, the Royals have played in Kauffman Stadium and we congratulate the KC Royals on their 2015 World Series victory!
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Davina Langdale studied Zoology at Bristol University, and worked with 93 chimpanzees and a hippo in Northern Zambia. She returned to the UK to take a postgraduate diploma in journalism at the London College of Printing, and after a brief stint in that field she realised that fiction was her true love.
The Brittle Star is her first novel and is set in the Californian wilderness of the 1850s and 60s. When teenager John Evert's mother's ranch is attacked, John Evert sets out, against advice, to find the perpetrators. It is the start of what will become an epic quest that takes him to Los Angeles, Texas, Missouri and back, and to the front lines of the American Civil War on a journey that is as much inwards as external. A stunningly assured first novel, it transcends genre boundaries in the same way as Patrick deWitt's The Sisters Brothers or even Cormac McCarthy.
Exlusively for Foyles, we talked to Davina about being inspired by Cormac McCarthy, how the real life John Evert became the ultimate imaginary friend and lifesaver and why she loves the London Library.
You chose an unusual and challenging setting for your first novel: the Southern Californian wilderness of the 1860s. What fascinated you about that time and place?
When I first read the work of Cormac McCarthy, I felt as though someone was putting into words precisely what I feel about the natural world and man's place in it. As someone who spent their entire childhood plotting ways to run away to the wilderness to live with animals, his stories felt strangely familiar to me. While I have never attempted to emulate his writing, his subject matter inspired me. Cormac McCarthy's work is not set in the 1860s like The Brittle Star but his mood and tone pointed me towards America.
In 2012 I had retreated from London to the countryside, to Dorset, to think about what sort of book I wanted to write. Whatever the question, I find that spending time in nature always provides the answer. It was while in Dorset that I watched a film adaptation of Thomas Eidson's book, The Last Ride, called The Missing. It was my lightbulb moment: I realised that this was the time and place I was meant to write about. To this day, I do not know how or why I knew this, but sometimes I think it's important not to ask too many questions: better to take an idea and run with it. I returned to London, secluded myself in the London Library in St James's, where I do most of my writing, and began to research the American West.
Strangely, perhaps, it never felt challenging to me to write in this period. 'Deluded' might be the most appropriate word to describe my lack of consideration of the difficulties I might face writing historical fiction! I may have a tendency to charge into things, but when it comes to writing, I think this can be an advantage. If I had considered all the things that I did not know and all the things that I would need to learn to write convincingly of in this period, then perhaps I would never have been bold enough to begin at all. It was fascinating to learn about the fledgling city of Los Angeles and the American Civil War, both of which I knew little of prior to starting The Brittle Star. I love to learn and thus to research. It must be why I am so happy in the library.
Hector Featherstone says to John Evert, 'We lead an exaggerated life. Some men make their fortune, others lose everything they have…' Are you yourself drawn to the appeals of an exaggerated life?
Absolutely. It's one of the reasons I studied Zoology at university. Since childhood, adventure and excitement have, to me, meant the wilderness, wild animals and physical danger. I was an avid reader and devoted to the work of Gerald Durrell and Willard Price. Aged 10, I watched the film Gorillas in The Mist and decided that I would be the next Dian Fossey and live with apes. Upon leaving school, I went to Indonesia to spend time in the jungle and see orangutans in the wild. Later, I went to work with chimpanzees in Northern Zambia. I remember a family friend's horror at the fact that I was heading to the Congolese border as an unaccompanied young woman of 23.
I may have done some reckless things in the name of experience. On being challenged to kayak down the Zambezi rapids, I immediately accepted, despite the fact that I had never even been in a kayak. I still remember very clearly how I nearly drowned – but I don't regret that decision for a moment. I use this experience in The Brittle Star when John Evert and Kusox are swept away in the river.
Writing this book may, subconsciously, have been some form of antidote to metropolitan, London life. It does feel as though the wild is calling once more. If life were suddenly to provide the means for me to get on a real horse and ride in the direction of the horizon, any horizon, I would be there like a shot.
You studied zoology and then journalism. What made you decide to turn to fiction and what steps did you take to make the dream become a reality?
The nights in Zambia were very long and, although I read a great deal, I found myself itching to do something creative, to make something of my own. I had always been very comfortable with words and my school English teacher – an outstanding teacher who was cross that I chose to read Zoology rather than English – had said to me on the last day of school, 'you'll come back to English in the end'. And I did, in Zambia, by the light of a paraffin lamp, when I discovered that writing stories is my first love.
My intention in taking a post-grad diploma in journalism upon my return from Africa was that I would write about the natural world, but I soon learnt that I did not have the makings of a good journalist. Reportage is not my form: I have never been able to find the elusive 'hook' that editors demand. I became side-tracked by London life and suddenly found that I was a City PR consultant. I was very bad at it and I felt strongly that something was missing from my life, so I returned to those notes that I had made in Zambia.
One day, I realised I had written 60,000 words, and it became glaringly obvious what I really wanted to do. I quit my job and for the next few years (The Brittle Star was bought by Hodder in the spring of 2015) worked part-time as, variously, a PA, a waitress and, most happily, as a private tutor in English and the Sciences. I still work as a tutor, which I really enjoy, and which provides a good balance to the solitary nature of writing.
The characters in your novel are superbly drawn, especially John Evert himself, but also Bill, Kusox, Hector and Robinson, amongst others. How did you set about creating them?
While I was researching the American West in the London Library, I happened to be in the biography stacks when I noticed the gold lettering on a green leather spine: Reminiscences of a Ranger by Major Horace Bell. It turned out to be the first-hand account of a Los Angeles ranger of the 1850s and 1860s. It was written in a highly exaggerated style – almost every sentence ended with an exclamation mark – but there I found the seeds for many of my characters and establishments, such as the Bella Union and the Star newspaper. Reminiscences of a Ranger was an absolute gift. Without it, The Brittle Star would never have turned out as it did. Bill came from that book: he was a real man who lived in LA at that time, although of course his story was much embellished. His background and some of his exploits were detailed in Bell's book but, in terms of his character, I wonder whether he may have grown in part out of my appreciation of Charles Portis's Rooster Cogburn in True Grit.
Hector Featherstone must be partly based upon my father, who is also a barrister, and who introduced me to the theatre of the courtroom, but my father is much more humorous than Hector Featherstone. I am sure Harper Lee's Atticus Finch had more than a little to do with him too, but all my characters seemed to take flight at one point or another and simply became their own people. It was not long before they were saying and doing things that seemed to have nothing to do with me at all.
In that moment, it was as though this boy had walked up next to me, taken off his hat, sat down and began to speak. I do not know where he came from but he certainly seemed to come from outside me, fully formed, and he has been, in so many ways, the ultimate imaginary friend and lifesaver. He really turned everything around for me in terms of my writing career. Writing John Evert and his story has been the most enormous adventure.
Robinson is particularly fascinating. Was she based on anyone? Were you ever tempted to reveal more about her or was keeping her enigmatic more important?
At the beginning, I was concerned that Robinson was not terribly likeable and that readers would misunderstand her. I know her so well. I know why she is the way she is, why she is so defensive and brittle, and I love her for it because she has had such a tough time. My female lead was, originally, a native American – she was the 'brittle star' of the title – but over time that female lead turned into Beth Robinson. I feel protective of all my characters but I feel most protective of her and, for that reason, I find it impossible to reveal any more about her. It is not that I do not know it all – I do – but it would feel strangely disloyal to her if I were to reveal any more. To me, she really does exist, as a living, breathing human being, and so her feelings matter. It would be like revealing things that a friend had told me in strictest confidence.
The days when the words did not come. Perhaps other writers are better at dismissing an unproductive day, but I take it personally and can get morose. I also find that if I am to write at all I have to devote myself to it completely and become a bit of a recluse. I had to say no to all social engagements and bury myself in the countryside or the library because unless I felt that I had the entire day stretching out ahead of me uninterrupted, I would get anxious and not able to get in the right frame of mind to write. I was not unhappy to do that, but it can be isolating and lonely at times. I am certainly making up for this now and for the last few months have said yes to absolutely everything. One of the reasons I need to start a new book as soon as possible – apart from the fact that I am restless to do so – is for the sake of my liver. Writing keeps me on the straight and narrow.
I find writing strangely tiring. I am forever falling asleep when writing and this can be challenging in terms of making the best use of my time. I do not have the luxury of being able to write all day: half my week is spent tutoring and the other half writing, so I do feel the need to make the most of my writing time. I think the frequent nodding off may be related to the way I wrote this book. I did so either completely unconsciously or from the subconscious. I can say with all honesty that I very rarely thought about it. All my character work seemed to go on when I was asleep, so perhaps the overwhelming sensation of the need for a nap was simply my mind telling me to switch off one part of my brain and use another.
Of course, I did think about it actively when working out plot issues, particularly relating to courtroom scenes. I had the most brilliant editor at Hodder, Anne Perry, who spotted all sorts of holes in my plot and came up with invaluable advice as to ways to fix them. It was such a pleasure to work with her and I really enjoyed that moment of collaboration with someone really bright. Her input made a huge difference.
How did you go about doing the research to bring the period so vividly to life?
As mentioned above, this book would never have come into being without The London Library. It is my favourite place in London. John Betjeman once said that, in the event of Armageddon, he would like to be on the premises of Peter Jones since nothing unpleasant could ever happen there. That is exactly how I feel about The London Library. It not only provided the research material for the book but it provided the perfect place for me to write. I find it impossible to work at home but the moment I walk through the library door, I shift into a more productive and creative mind-set.
The army provided a refuge for John and Bill. Was this the case for many other soldiers at the time?
I must admit that I do not know the answer to this. To me, it seemed the obvious place to which Bill would run. He was a military man and would have no trouble disguising himself effectively in the ranks. Also, being the sort of man that he is, he would want to join the fight. Having taken the opposing side to the Order of the Lone Star he would want to fight them, out of sheer bloody-mindedness, if nothing else!
The book has been described as a western. Were you conscious of writing within a particular genre, with all that implied, and if so, did you find that liberating or restricting?
Many people have asked me, 'why a western?' My answer is always, 'why not?' I believe strongly in gut instinct, in doing what feels right, without much pause to ask the reason why. If you ask too many questions, you never go anywhere. I think it's better to leap and ask questions later. This can lead me into trouble in some aspects of life but not, it seems, when it comes to writing. When it comes to writing, this impulsiveness is only a good thing.
I never really thought about it, strange as that may sound. I wrote this book entirely on instinct and I can trace a direct line from Cormac McCarthy's books All the Pretty Horsesand The Crossing to watching that Thomas Eidson movie to finding Reminiscences of a Ranger in the library. I never planned to write a western and, in many ways, this book is not a western at all; for me – so much of it is symbolic. I never felt restricted by the genre; if anything I found it hugely liberating because, at that time and place, anything could happen.
Will your next book be another 'western' or something completely different?
I have two ideas brewing. Both are historical fiction but neither are westerns. One is actually a play rather than a novel – it may be madness to think I can write a play as I don't know anything about writing plays, but then, I didn't know anything about writing novels until I wrote one. I am glad that I never had any formal training in writing. Perhaps if you are not really aware of what the rules are you have less concern about breaking them.
In terms of whether I would write another western, I do have a suspicion that I have found a time and place in which I can move very freely and, in terms of tone, The Brittle Star is written not so much in a 'western' tone as my tone. I seem to express myself in an old-fashioned way. If more than a couple of people wished me to return to this time and place, then I would be delighted to do so. In this world, there is never a dull moment.


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Bjørn Kristensen (ur. 1963) – duński piłkarz
 Bjorn Kristensen (ur. 1993) – maltański piłkarz