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I read the thread title and thought "oh great, another thread about Rocna anchors..".
I'm building a junk too and am a member of the 2nd link.
I am converting my 30 foot sloop to a junk in the fall of 2013 and have been doing a lot of research. One thing I have come across is a general recommendation to use double sheeting on the forward sail. Double sheeting is a pair of sheets to each batten, with one set leading to port, one to starboard. See Hasler/MacCleod for details. Fitting the two pairs of sheets allows the leech of the forward sail to be fitted closer to the mast of the after sail. This can give you increased sail area by shrinking the void area between the masts - whether ketch or schooner. In a multi-mast rig, you generally want all the sail area you can squeeze in.
Good luck, and post some pics when you're done!
Everything is a compromise and double sheeting has its own. Is an extra line on the boat too. I'm sticking with single sheeting and relying on parrels to keep the battens stacking correctly when reefed so as to not foul the sheets (which I know isnt an issue with double sheeting).
But I've still managed to fit an excess of sail area on our boat (easy to reef so its a common thing to do), there's more area in trapezoid shapes than triangles..
Good choice you made going junk, it is the closest thing to an automatic sailing rig there is.


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FanSided NHL Sites
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Mid-Season Review for the Chicago Blackhawks
By Kyle Graden
Colorado Avalanche v Chicago Blackhawks / Michael Reaves/GettyImages
After Saturday night's loss to the Seattle Kraken, the Chicago Blackhawks are now at the half way point of the season. At the 41 game mark, the Hawks have the worst record in both points and point percentage. This was the plan, right?
Of course it was, we all saw the roster that Kyle Davidson gave new head coach Luke Richardson after all. So does a 11-26-4 (26pts) record show us everything that has happened so far this season? Not exactly.
There have been bright spots. Jake McCabe has rebounded from years of inconsistent play due to injuries. He has been my MVP this year so far. A plus 4 and on pace to set a career high in points, McCabe has played hard all year thusly making him a prime candidate to be traded. With 2.5 years remaining at a 4 million aav I expect alot of contenders to be on the phone with the Hawks over the next month.
Lukas Reichel had a 3 pt night. This one was big as you could see great improvement in his decision making and timing. Unfortunately, he was sent down to Rockford for the all-star game and playoffs. This is a decision I strongly disagree with. He looks ready, therefore play him and it's as simple as that to me. It would also benefit Philipp Kurashev to play with a potential linemate as well.
The bad (there are many) aspects to the year:
1. Losing is a trait that I don't want the young players to get used to.
2. Not a great way for Patrick Kane and Jonathan Toews to potentially leave us.
3. Our scoring being down can only hurt our assets' trade value.
Currently on a 52 point pace, the truth is that the next 2 seasons after this one will likely be similar. Our roster will be devoid of the championship hold overs, the solid free agent pick ups may be traded, and the young 1st rounders will not yet be ready.
Do not worry though, as the next 2 drafts are shaping up to be equally as exciting from my point of view.
I loved writing that article as a prospect analyst as I know not alot of fans are aware (yet) of the Misa and Hagens of the 2025 class. Yes, the present is bleak Hawks' fans, however with at least 5 first round picks in the next 3 drafts and a load of talent on the horizon available there is hope coming.
What will the second half of the season look like? For me, I'm squarely focusing in on the development of Isaak Phillips as well as the callups as veterans start to be traded. Will McCabe or Murphy be traded, what are the futures of Kane and Toews, will Kyle Davidson somehow acquire a 3rd first round pick? Only time will tell.

redpajama_set_name: RedPajamaCommonCrawl


What are Beard Oils Along With Their Benefits? Trimming your beard is not the only way to give it proper care. A lot of men are able to keep long beards and look great at the same time. Yet, you still need to nourish and care for your beard when you don't want to shave, in which case, you'll find beard oils very supportive to your cause. This article takes a look at what beard oils are and the benefits they offer to men. A beard oil is a remedy that's commonly used in beard care, and it be applied to help separate a beard that's been well-maintained and great looking from an unshaved one alluding to the possibility several months of negligence by its owner. If you love the look of a well-trimmed lawn, you'll love the appearance of your beard after you've committed some time, effort, and patience to maintain it. And beard oil is the cosmetic solution that you can keep using every day to promote the health, fullness, and manageability of your beard. Applying the remedy on your beard has the effect of adding important nutrients to the skin beneath it, getting the beard to develop and glow to its best. Beard oils are concocted to produce the same effect as the natural oils produced by the skin. The products are typically concoctions of one or several natural ingredients, for example grape seed, coconut, or jojoba oil. Masculine scents are also desired attributes of beard oil products. Some brands are not scented, though. The most effective time to use your beard oil is just after your morning shower.
An additional use of beard oil is the moisturizing of beard hair follicles plus the skin underneath. Any man who has lived in an area that's cold or impacted by regular winds may already know it's easy for a beard to turn dry and brittle. These dry and fragile beards can be managed with regular moisturizing using appropriate beard oil remedies.
You may also obtain a neat result when you use beard oil to resolve the matter of "beardruff." Your beard can have beardruff just like dandruff of the head, creating the same unpleasant look. The main cause of such flakes on your beard is the lack supplying the underlying skin with the nutrients it needs. Of course, you're not going for a flaky beard, and you may not have it if you keep using beard oil regularly. A well-maintained long beard can produce a superior, classic look that's hard to come by. But it's almost impossible to give your beard the care it needs to look healthy and stunning without regular use of beard oil.


(Honolulu) – On Friday, four officers with the DLNR Division of Conservation and Resources Enforcement (DOCARE) were recognized for their efforts to revive an unconscious, lifeless man at Keehi Small Boat Harbor on O'ahu in July.
Acting DOCARE Enforcement Chief Jason Redulla presented the four officers with certificates during ceremonies at the conclusion of the first graduation for officers who'd trained at the new DOCARE Law Enforcement Academy.
Redulla said life-saving is the highest of traditions in the law enforcement profession and it exemplifies protecting the public. The officers honored were Jason Lee, Woodley Harrington, Patrick Chong-Tim and Vance Lime.


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'It began with a burial site': Nadia Davids on her new work, What Remains, a play about slavery and the haunted city
July 3, 2017 November 2, 2017 Nadia Davids1 Comment on 'It began with a burial site': Nadia Davids on her new work, What Remains, a play about slavery and the haunted city
All that is buried is not dead.
—Olive Schreiner, The Story of an African Farm
Ant swarming City
City full of dreams
Where in broad day the spectre tugs your sleeve
On a still, cool day in the east of a city by the sea, three sounds only: a bulldozer's engine, a forgotten song, a canon that tells the time.
Behind the bulldozer, a sign: Luxury Mall Coming Soon …
—What Remains, Part 1
What Remains is a play about slavery and the haunted city, about ghosts and property developers, about archives and madness, about history, memory and magic, about paintings, protests and the now.
For the last few years I've been reading and thinking about slavery at the Cape. Neither the reading nor the thinking has been easy; it is a history full of unimaginable violence and unresolved sorrow. And unresolved histories have a way of making themselves known—'the spectre tugs at your sleeve', wrote Baudelaire, 'in broad day'.
Cape Town's dark beginning has cast a long and chilling shadow on its present: the morphing of slavery into colonialism and later apartheid has made it a city where, famously, natural beauty exists in stark contrast to deep and abiding disparity. And it's a disparity that not only narrates a terrible history but also allows for a certain kind of protected 'unknowingness': it is possible to be of and from this place and not have to negotiate its past, not have to recognise its present. It is possible to do that until the past erupts and demands to be listened to.
The play is about an instance of rupture and reckoning and, though it grew to become about the moment we find ourselves in in South Africa now, it did not begin with a new generation of protests and protesters. It began, instead, with a generation long since passed. It began with a burial site.
I first began writing it at the end of 2014. At the time I thought I was working on a novella, a text about Cape slavery, loosely based on the uncovering of the graveyard at Prestwich Place in Cape Town where, in 2003, a corporate real estate development famously, unexpectedly, struck an eighteenth century burial ground—one of the largest ever to be unearthed in the Southern Hemisphere. Nearly 3000 bodies were accounted for, from babies who were a just few weeks old—the children of slave washerwomen—to men in their late sixties. It was, by any estimation, an astonishing turn of events.
The response in Cape Town was immediate and polarised: the property developers wanted to continue building, heritage managers and archaeologists prioritised a scientific examination of the remains (important data could be drawn from the bones, the material traces held answers, frustrating gaps in archival research could be closed) while an alliance of community activists claiming descendancy from those buried insisted on the immediate re-interment of the bones. They felt (understandably) that to examine the bones, to pick them over, would be to commit violence afresh on bodies that had in life been subjected to unforgivable cruelty. 'Stop robbing the graves!' cried someone at one of the first community meetings¹, and another, 'I went to school at Prestwich Street Primary School. We grew up with haunted places; we lived on haunted ground. We knew there were burial grounds there. My question to the City is, how did this happen?'²
I was in Cape Town when the bones were discovered but I didn't pay it as much attention as I might have. I'm not sure why, because it was an extraordinary drama in which battle-lines between competing values were drawn and insisted upon; lines between memory and history, the material and the immaterial, spirituality and science, the living and the dead. Over a decade later, I understand that moment as telling us not only about the faultlines of a post-apartheid city but also as a prophecy, a warning of just how deep our difficulties lie.
By 2014 I'd been living, for a decade, outside of South Africa. Each trip home (I returned frequently, sometimes several times a year, for work and family) was always made up in equal parts of nostalgia, longing, astonishment, love, anger and worry. Distance from home can be a strange thing: it intensifies the differences, the specificities of a place, it invites constant comparison, but it also blunts a deep, quick understanding of what is happening. I'm not sure anymore if anyone living outside of a place can ever really take its temperature; I missed certain things, certain developments, I noticed others … In a country like South Africa, where the national political life lurches with disorientating speed, it's hard to keep track. When I left in 2004 I'd been working on and off at the District Six Museum for three years. It's difficult to imagine now, but back then the conversation around land redistribution or compensation was not a matter of 'if' but 'when' and 'how'. It wasn't a radical conversation, it was a centrist one; it was understood as a reasonable series of steps that should be taken to rectify past criminality and ensure an equitable and functional future for the country. The dialogue between government and activists and NGOs around the issue may have been at times thorny, enmeshed in bureaucracy, and the distance between action and execution may have been frustratingly slow, but there appeared a broad moral and political agreement on what should happen. The gentrification of Woodstock and the Bo-Kaap had already begun, of course, but it wasn't moving at the dizzying speed it is today: there was a sense then that a course correction was still possible; that an unravelling of the mess of past iniquity was within reach. There were instances of residents being driven from their homes, but those were unusual stories recited with horror, not resignation. There were no Temporary Relocation Areas like Blikkiesdorp, no reanimation of the old story of Forced Removals: You may have lived here for generations but this is not your home, leave now, here is a letter, we will move you to another place, far from here and what you know.
At some point that centrist conversation was moved irrevocably to the margins of the far left. I'm not a political analyst, I'm still not sure how this happened, but what I did know was that the city had re-choreographed an old dance and that we all knew the steps. A friend described that early noughties decade as containing all the foggy disassociation that comes after a night of euphoric celebration; 'We were hazy,' he said, 'sleepwalking … no wonder these kids talk about wanting to wake us.'
As a writer, I wanted to circle in close to the city of my birth, write about its brokenness, its survival, but also I wanted to close one eye, obscure the location and create an unspecified landscape where each character's voice borrowed from different times and places. It was to be both of and not-of Cape Town. The characters, The Healer, The Archaeologist, The Chairman (now Chairwoman), The Student and others came quickly, easily, but there was something about the form of the text that wasn't quite working. I began to understand that it needed something else, required something else, and that something was live performance.
I've worked for a long time with the idea that performance and memory are intertwined, that they are each other's echo and that no other art form is as uniquely placed to evoke memory, to represent it, to bring it into a conversation with the present. This is partly driven by the liveness of performance, by its capacity to disappear, but also because its very immateriality, its lack of durability, allows for a profound psychic interface between itself and memory. Both performance and memory are forms of storytelling that lend themselves to the communal. A play is not only collaborative in its making but in its viewing; the communal experience of watching a play is an important, ancient activity that binds us, that creates a fleeting community, that invites us all to bear witness at what is unfolding before us. In the staging of this work, Jay Pather places the audience in two rows, facing each other: in his director's notes he explains the staging; 'Looking across the room at a row of spectators watching like you, histories playing out, you may identify a perpetrator of catastrophe […] (or) on the opposite bank of spectators the possibility of an ally.'
This kind of precise thoughtfulness is of the (many) reasons I've always admired Jay Pather's work. That and the seamless yet provocative way he forges connections and relationships between landscapes, the body, place and agency, the way he uses beauty to disrupt and challenge comfort. I approached him with the text, hoping that he would be interested in creating a performance piece from it. To my delight, he was. We decided early in our conversations that in addition to actors, the piece needed a dancer, a figure able to evoke the mysterious, the ghostly, a body that could hold history and tell its stories, narrate the unsaid, speak the unspeakable, that there were some histories—and slavery is one of them—where text is insufficient. It is only the body that knows, remembers, can tell.
During our initial workshops, I reworked the beginnings of the novella, dividing it into twelve-part performance text. (The twelve parts a nod both to the division of time in a year and day and to John Berger's Economies of the Dead.) As the process unfolded, Pather transformed The Narrator, the figure who watches, observes, notices, tells, into The Student, creating a performative link with 2015's student protests, one that suggested an intergenerational conversation and brought the play sharply into conversation with the now.
In watching this play being made, I was reminded of the collaborative nature of the theatre and how that collaboration shifts the primacy of a text and makes it just one of many components. The rest, the direction, the scenography, the choreography, the videography, the performers, each art form and artist brings their creativity, the weight of their experience, their own history of work, of life, to bear on what we are making, together. For a writer, this is thrilling, this is daunting: what was once on the page will spring, suddenly, into a different life. This is especially true when the cast takes up the text and the directorial vision and infuses it with new meanings: Denise Newman, Faniswa Yisa, Shaun Oelf, Buhle Ngaba move lightly, furiously, precisely, wildly, among the bones and the books of this story. They stand on burial grounds and talk on stoeps, they hear old songs and dance new steps, they argue about history and memory, they see the dead, they chastise the living even as they try to protect them, they speak, they reason until reason itself gives way, they enact archetypes even as they dig deep into the intensely personal dimensions of each character. It has been an immense privilege to watch them and Pather work together.
In early email correspondence, Pather wrote that the play is, at its core, 'about "disruption": the play understands disruption to be historic and deeply lodged in memory and in bone. When the bones are found, when they are disrupted, it is a topographic and geological disruption of earth that in turn becomes a metaphor for the necessity of breaking ground, of opening surfaces to allow truth to emerge. This energy of slippage and seepage connects with the student disruption and the taut, episodic structure—the twelve parts—as it tries to contain these impending disruptive moments until it too gives way.' I would add that slavery itself is about extreme disruption; it is about rupture from place, it is about being snatched from one way of being and dragged into another. It is a radical remaking of time; the breaking of continuity and the construction of a terrible and eternal boundary between then, the life before, and now, the life after.
Towards the end of the piece, a group gather to lay claim to the bones, to rescue them from where they have been stored; they come with fire and dance and anger and chanting, and The Archaeologist says to The Healer 'This cannot be the answer'. She replies, 'It's not an answer. It's an old, old scream.'
There are no answers in this piece, only questions, only expressions about the relationship between then and now.
As I write this, we are just a day away from leaving for the National Arts Festival in Grahamstown. It is Eid morning and I am sitting in my parents' house while the smell of everything that is good in the world is floating up from the kitchen. It is the first Eid I have been home for in twelve years and it occurs to me this very Cape morning, as the rhythms of the day play out—a holiday celebrated on these shores for close to 400 years, that came here through slavery—that I cannot imagine What Remains holding quite the same meaning in any other city. I cannot imagine that strange mesh of feelings—sorrow, relief, rage, biting humour, disbelief, terror, wonder—present in the room as I watched the cast rehearse, manifesting in quite the same way anywhere else. I say this not because I want to speak of a people of one place laying possessive claim to the stories of that place (ownership between people and stories exist, but not the way we think: most of the time it is we who are in the grip of a story, not the other way around) but because there is something important about knowing the story that, from its first telling and at every retelling, has shaped the city you call home. There is something important about understanding what kind of place you come from, about being yanked from protected unknowingness, from the safety of sleep into being alive to the stories of your dead. It is, is in some sense, the least the living can do.
What Remains played at the weekend at the National Arts Festival in Grahamstown, and will play in Cape Town from 6 to 12 July; find more information on Facebook
Nadia Davids is an award-winning writer who works across a range of forms: plays, articles, short stories and screenplays. Her theatre works, including the well-known At Her Feet and Cissie, have been staged in South Africa and abroad and her writing has appeared in various newspapers and anthologies. Her debut novel, An Imperfect Blessing, was published in 2015.
1. Nick Shepherd, 'Archaeology dreaming Post-apartheid urban imaginaries and the bones of the Prestwich Street dead', Journal of Social Archaeology, 2007, p. 8.
2. Antonia Malan, 2003, p. 5 in Ibid.
Henri, Yazir and Heidi Grunebaum, 'Re-historicising Trauma: Reflections on Violence and Memory in Current-day Cape Town', paper presented at the Direct Action Centre for Peace and Memory, Cape Town, South Africa, 2005. Available from: www.medico.de/download/report26/ps_henrigrunebaum_en.pdf (accessed 27 November 2011).
Jonker, Julian David, 'Excavating the Legal Subject: The Unnamed Dead of Prestwich Place, Cape Town', Griffith Law Review 14, 2, 2005, pp. 187–211.
Shepherd, Nick, 'Archaeology dreaming Post-apartheid urban imaginaries and the bones of the Prestwich Street dead', Journal of Social Archaeology, 2007.
Images: Courtesy What Remains production/Author image: Yazeed Kamaldien
Africa / Drama / South AfricaCape Town Colonialism Drama Grahamstown Jay Pather Nadia Davids National Arts Festival Prestwich Place Slavery What Remains
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November 4, 2019 1 Comment
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This route is on the far right end of Reservoir Wall. It is way down past Left, Right, and Middle Cracks until you are around the corner and facing Scarface Wall.
Continue walking the cliff line past a large dirty depression/scoop of loose tiny rock chips (much like a talus cone) and back up onto boulders again. Perhaps 100 meters or so later, you will reach a fabulous looking, left-facing corner with an outward facing crack in it. It is just as good as it looks.
David Bloom writes in his book that this climb would be as popular as Incredible Hand Crack if it was not such a long approach, and having done it, I agree. It is just as good and not crowded, nor "used up."
A run of cams from 2"-3" Heavy on the 2.5"
Anchor at the top (Sept 2018).
In my opinion, this definitely deserves to be on the Best of the Creek list. As it was for me, this is a great route for those who are trying to break into leading sustained Indian Creek 5.10s, but don't necessraily want to do it in front of the masses at Supercrack/Donnely. I believe there is also a decent short 9+/10- route about 60 feet to the right.
Way long approach for the Creek, but not too bad compared to most crags. South-facing (unlike most at this wall), so best to do this as a "warm-up" (buh-dah tss!) in the morning, then shady routes in the mid-afternoon.
Fanatic route! Straight-forward splitter, very similar to incredible hand crack in style (left-facing dihedral with a bit of a roof in the middle and a couple rests throughout), but possibly a little easier due to a less-severe roof. Just as good, not sure how you could get two more-similar routes.


text:
int muggle_socket_ctx_init(
	muggle_socket_context_t *ctx,
	muggle_socket_t fd,
	void *data, int sock_type)
{
	memset(ctx, 0, sizeof(*ctx));
	int ret = muggle_ev_ctx_init((muggle_event_context_t*)ctx, fd, data);
	if (ret != 0)
	{
		return ret;
	}

	ctx->sock_type = sock_type;
	return ret;
}

void muggle_socket_ctx_set_fd(muggle_socket_context_t *ctx, muggle_socket_t fd)
{
	ctx->base.fd = fd;
}

void muggle_socket_ctx_set_data(muggle_socket_context_t *ctx, void *data)
{
	ctx->base.data = data;
}

int muggle_socket_ctx_type(muggle_socket_context_t *ctx)
{
	muggle_socket_context_t *sock_ev_ctx = (muggle_socket_context_t*)ctx;
	return sock_ev_ctx->sock_type;
}

int muggle_socket_ctx_recv(muggle_socket_context_t *ctx, void *buf, size_t len, int flags)
{
	return muggle_socket_ctx_recvfrom(ctx, buf, len, flags, NULL, NULL);
}

int muggle_socket_ctx_send(muggle_socket_context_t *ctx, void *buf, size_t len, int flags)
{
	return muggle_socket_ctx_sendto(ctx, buf, len, flags, NULL, 0);
}

int muggle_socket_ctx_recvfrom(
	muggle_socket_context_t *ctx, void *buf, size_t len, int flags,
	struct sockaddr *addr, muggle_socklen_t *addrlen)
{
	int n = 0;
	while (1)
	{
		n = muggle_socket_recvfrom(ctx->base.fd, buf, len, flags, addr, addrlen);
		if (n > 0)
		{
			break;
		}
		else
		{
			if (n < 0)
			{
				if (MUGGLE_EVENT_LAST_ERRNO == MUGGLE_SYS_ERRNO_WOULDBLOCK)
				{
					break;
				}
				else if (MUGGLE_EVENT_LAST_ERRNO == MUGGLE_SYS_ERRNO_INTR)
				{
					continue;
				}
#if MUGGLE_ENABLE_TRACE
				else
				{
					MUGGLE_LOG_SYS_ERR(MUGGLE_LOG_LEVEL_TRACE, "failed socket recv");
				}
#endif
			}

			// event fd closed(n == 0) or
			// error(n == -1 && errno != MUGGLE_SYS_ERRNO_WOULDBLOCK or MUGGLE_SYS_ERRNO_INTR)
			muggle_socket_ctx_set_flag(ctx, MUGGLE_EV_CTX_FLAG_CLOSED);
			break;
		}
	}

	return n;
}

int muggle_socket_ctx_sendto(
	muggle_socket_context_t *ctx, void *buf, size_t len, int flags,
	const struct sockaddr *dest_addr, socklen_t addrlen)
{
	int n = muggle_socket_sendto(ctx->base.fd, buf, len, flags, dest_addr, addrlen);
#if MUGGLE_ENABLE_TRACE
	if (n != (int)len)
	{
		if (n == MUGGLE_EVENT_ERROR)
		{
			MUGGLE_LOG_SYS_ERR(MUGGLE_LOG_LEVEL_TRACE, "failed socket send");
		}
		else
		{
			MUGGLE_LOG_TRACE("send buffer full");
		}
	}
#endif

	return n;
}

redpajama_set_name: RedPajamaGithub


text:
London Borough of Bromley
Payments to suppliers with a value over £500 from the London ...
Payments to suppliers with a value over £500 from the London Borough of Bromley
This page lists reports of individual payments to suppliers with a value over £500 made within the month. Publication of these lists forms part of the Council's commitment to be open and transparent with its residents.
All datasets from London Borough of Bromley
Payments to suppliers with a value over £500 from London Borough of Westminster
Payments to suppliers with a value over £500 from the London Borough of Merton
Payments to suppliers with a value over £500 from the London Borough of Sutton
July 2010 report Download datafile 'July 2010 report', Format: CSV, Dataset: Payments to suppliers with a value over £500 from the London Borough of Bromley CSV 26 August 2010 Preview
June 2010 report Download datafile 'June 2010 report', Format: CSV, Dataset: Payments to suppliers with a value over £500 from the London Borough of Bromley CSV 26 August 2010 Preview
http://www.whatdotheyknow.com/body/bromley_borough_council


text:
Karl E. Huggins is an American decompression researcher and author of a set of air decompression tables for reduced risk and multi-level repetitive diving based on the US Navy tables modified to avoid Doppler ultrasound detectable vascular bubble production. He developed the algorithm used by the first commercially successful microprocessor-based decompression computer, the Orca Edge, based on the US Navy decompression algorithm derived by Robert D. Workman, but taking all six tissue compartments (not just the 120 minute compartment) into account when calculating residual nitrogen for multi-level and repetitive dives.

Education
Huggins enrolled in Biological Oceanography at the University of Michigan, Ann Arbor, MI, with courses in aquatic leadership. During this period he took a course in scuba diving under Lee Somers in 1976, followed by further training in underwater technology and chamber operations. While on the underwater technology course he became interested in decompression theory and the mathematical modelling used in the calculation of decompression tables. Using research papers by Bruce Bassett, the US Navy medical officers' handbook, and a borrowed programmable calculator, he wrote programs to calculate the decompression status of a diver, which were later run on a HP55 programmable calculator. He graduated with B.S. Atmospheric & Oceanic Science in 1979.

He also achieved an M.S. in Bioengineering from the University of Michigan in 1986.

Work on multi-level diving calculations

In 1979 on a diving trip to the Bahamas, he was introduced to the concept of multi-level diving and the technique of s, which was in use by commercial divers as a way to make more effective use of the Navy tables for multi-level diving, though there were some theoretical uncertainties with the system, as the Navy tables of the time used six tissue compartments, but only considered the 120 minute compartment for repetitive groups, an approximation which relied on a minimum surface interval of about 10 minutes between dives, which he addressed by using all the tissue compartments gas loadings to calculate the repetitive group between multi-level depth changes within a dive. These calculations showed that in some cases the use of the navy tables for repet-ups violated allowable gas concentrations, and exposed the diver to higher risk. Using Merrill Spencer's Doppler bubble detection work, Huggins modified the tables to avoid these violations. This new set of tables was named the University of Michigan Sea Grant Tables, colloquially known as the HUGI tables.

Orca
During a year off from studies, Huggins trained as a diving instructor, and later assisted on an instructor training program with Dan Orr and Lee Somers at Wright State University, during which he gave a lecture on decompression models and early dive computers, and met Craig Barshinger, who had recently stated a company named Orca to develop and market microprocessor based dive computers. Barshinger approached Huggins to discuss the possibilities.

Barshinger moved to Pennsylvania and started raising capital for Orca. In 1982 he persuaded Huggins to relocate to Pennsylvania and work on the project full-time with him and partner Jim Fulton.

Huggins left Orca in late 1983 to return to graduate studies, but continued to do consulting work for the company occasionally.

Career

In 1992 Huggins was invited to apply for the post of director of the USC Catalina Hyperbaric Chamber when the former incumbent was about to leave, and has been the director and Diving Control Board Member since then.
Assistant in Research (1980–1983), Associate Researcher (1984–1985), Research Associate (1985–1992), and Diving Control Board Member (1987–1992), University of Michigan;
Sport Diving Decompression Table Advisory Board (1988–1992), Diver's Alert Network;
Vice President for Research and Development (1982–1983), ORCA Industries, Inc.;
Diving and Decompression Consultant (1981–1994).

Awards
1990 Leonard Greenstone Diving Safety Award,
1993 DAN/Rolex Diver of the Year,
2004 Conrad Limbaugh Memorial Award for Scientific Diving Leadership,
2008 California Scuba Service Award,

Publications

References

American diving coaches
University of Michigan alumni
Living people
Year of birth missing (living people)

redpajama_set_name: RedPajamaWikipedia


text:
Il National Board of Review Award al miglior documentario (National Board of Review Award for Best Documentary Film) è un premio assegnato annualmente dai membri del National Board of Review of Motion Pictures al miglior documentario distribuito negli Stati Uniti nel corso dell'anno.

Istituito nel 1940, è stato assegnato solo fino al 1944, poi vi è stata una pausa di decenni, prima che venisse assegnato di nuovo, a partire dal 1988.
In realtà, negli anni in cui non è esistita una categoria distinta dedicata ai documentari, questi non sono stati ignorati, ma presi in considerazione e talvolta inseriti nella lista dei migliori dieci film e in alcune occasioni sono stati anche premiati come miglior film in assoluto (The True Glory di Carol Reed nel 1945, The Eleanor Roosevelt Story di Richard Kaplan nel 1965) o miglior film straniero (A Queen is Crowned nel 1953, Il mondo del silenzio nel 1956).

Albo d'oro

Anni 1940-1949
1940: The Fight for Life, regia di Pare Lorentz
1941:
Target for Tonight
The Forgotten Village, regia di Herbert Kline e Alexander Hammid
Ku Kan
The Land
1942:
Moscow Strikes Back, regia di Ilya Kopalin e Leonid Varlamov
Native Land, regia di Leo Hurwitz e Paul Strand
Word in Action
1943:
Desert Victory
La battaglia di Russia (Battle of Russia), regia di Frank Capra e Anatole Litvak
Preludio alla guerra (Prelude to War), regia di Frank Capra e Anatole Litvak
Saludos Amigos
The Silent Village, regia di Humphrey Jennings
1944:
The Memphis Belle: A Story of a Flying Fortress, regia di William Wyler
Attack! The Battle for New Britain
With the Marines at Tarawa
Battle for the Marianas, regia di Gordon Hollingshead
Tunisian Victory, regia di Frank Capra e Hugh Stewart

Anni 1950-1959
Non assegnato.

Anni 1960-1969
Non assegnato.

Anni 1970-1979
Non assegnato.

Anni 1980-1989

1988: La sottile linea blu (The Thin Blue Line), regia di Errol Morris
1989: Roger e io (Roger & Me), regia di Michael Moore

Anni 1990-1999
1990: non assegnato
1991: Viaggio all'inferno (Hearts of Darkness: A Filmmaker's Apocalypse), regia di George Hickenlooper e Fax Bahr
1992: Brother's Keeper, regia di Joe Berlinger e Bruce Sinofsky
1993: The War Room, regia di Chris Hegedus e D. A. Pennebaker
1994: Hoop Dreams, regia di Steve James
1995: Crumb, regia di Terry Zwigoff
1996: Paradise Lost: The Child Murders at Robin Hood Hills, regia di Joe Berlinger e Bruce Sinofsky
1997: Fast, Cheap, & Out of Control, regia di Errol Morris
1998: Wild Man Blues, regia di Barbara Kopple
1999: Buena Vista Social Club, regia di Wim Wenders

Anni 2000-2009
2000: The Life and Times of Hank Greenberg, regia di Aviva Kempner
2001: The Endurance: Shackleton's Legendary Antarctic Expedition, regia di George Butler
2002: Bowling a Columbine (Bowling for Columbine), regia di Michael Moore
2003: The Fog of War: La guerra secondo Robert McNamara (The Fog of War), regia di Errol Morris
2004: Born into Brothels, regia di Zana Briski e Ross Kauffman
2005: La marcia dei pinguini (La marche de l'empereur), regia di Luc Jacquet
2006: Una scomoda verità (An Inconvenient Truth), regia di Davis Guggenheim
2007: Body of War, regia di Phil Donahue e Ellen Spiro
2008: Man on Wire - Un uomo tra le Torri (Man on Wire), regia di James Marsh
2009: The Cove, regia di Louie Psihoyos

Anni 2010-2019
2010: Waiting for Superman, regia di Davis Guggenheim
2011: Paradise Lost 3: Purgatory, regia di Joe Berlinger e Bruce Sinofsky
2012: Searching for Sugar Man, regia di Malik Bendjelloul
2013: Stories We Tell, regia di Sarah Polley
2014: Life Itself, regia di Steve James
2015: Amy, regia di Asif Kapadia
2016: O.J.: Made in America, regia di Ezra Edelman
2017: Jane, regia di Brett Morgen
2018: RBG, regia di Betsy West e Julie Cohen
2019: Maiden, regia di Alex Holmes

Anni 2020-2029
2020: Time, regia di Garrett Bradley
2021: Summer of Soul, regia di Questlove

Collegamenti esterni

National Board of Review Awards
Premi cinematografici per il miglior documentario


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text:
Brand New AFTAC in Fla. Seeks LEED Certification
Wed November 28, 2012 - Southeast Edition
Brenda Ruggiero
Site preparation for the project began in January 2012, and the beneficial occupancy date is scheduled for January 2014.
A brand-new Air Force Technical Applications Center (AFTAC) is taking shape at Patrick Air Force Base in Florida under the direction of the U.S. Army Corps of Engineers. The design/build construction project was awarded to Hensel Phelps Construction Company in June 2011. The project will be built to achieve LEED Silver certification, and is fully appropriated through the National Defense Authorization Act.
The 17-acre site (plus two-acre wetland development) will include a campus-style building complex, including a headquarters building, process/support area, radiochemistry laboratory/cleanrooms, parking garage, and a central utility plant. Following construction of the new facility, the existing AFTAC headquarters building will be demolished.
"The Air Force Technical Applications Center, located at Patrick AFB in Cocoa Beach, Fla., provides national authorities quality technical measurements to monitor nuclear treaty compliance," said Susan A. Romano, director of public affairs for the AFTAC. "The center develops advanced proliferation monitoring technologies to preserve our nation's security. To accomplish that mission, AFTAC operates and maintains a global network of nuclear event detection sensors called the U.S. Atomic Energy Detection System, or USAEDS (pronounced use-aids). Once the USAEDS senses a disturbance underground, underwater in the atmosphere or in space, the event is analyzed for nuclear identification and the findings are reported to national command authorities through Headquarters Air Force."
Site preparation for the project began in January 2012, and the beneficial occupancy date is scheduled for January 2014. The contract calls for a 276,000 sq. ft. (25,641sq m) headquarters facility, a 38,000 sq. ft. (3,530 sq m) radiochemistry analysis laboratory, a 23,000 sq. ft. (2,136 sq m) central utility plant, and a five-story parking garage. The hardened facility will be able to withstand a Category 3 hurricane.
"Despite some tropical storms that came through Central Florida during the summer months of 2012, the project is currently on schedule," Romano said. "Weather can sometimes be the biggest hindrance in Central Florida, especially during hurricane season, but Hensel Phelps established work-around solutions to make up for lost time due to inclement weather."
Romano noted that, since January 2012, more than 7,000 20-ton dump trucks that imported fill dirt, a total of 140,000 cu. yds. (107,037 cu m), made a one-way, 20-mi. trip through Brevard County without incident and in sync with the federal installation through entry control points. The fill dirt was used to raise the foundation to the proper elevation. In addition, 350 tons (317 t) of steel were delivered to the site.
"They completed all Environmental Compliance requirements and permits with St. Johns River Water Management for the Wetland Mitigation Project prior to start of vertical construction," she said. "Partners worked together to accomplish the construction and environmental monitoring criteria to complete the permit goals."
Romano reported that in Fiscal Year 2011, this project was the largest dollar-value Military Construction (MILCON) project in the U.S. Air Force.
"The radiochemistry lab is unique," she said. "There is no other lab like it in the Department of Defense. The U.S. Government (USG) for its nuclear treaty obligations and the national technical nuclear forensics effort relies on the fusion of information from credible sources to identify radiological or nuclear materials, devices and/or debris. These sources include law enforcement agencies, intelligence information and defense agencies. The Air Force — and AFTAC in particular — offers capabilities that other civilian agencies cannot, such as the WC-135, an airborne platform that collects particulates and gaseous effluents and debris and laboratory management expertise."
Romano noted that the facility meets the U.S. Green Building Council's Leadership in Energy and Environmental Design (LEED) program requirements for achieving an overall "Silver" rating. The major significance of that rating is a reduction of current energy use by nearly 20 percent.
The project is expected to create more than 200 local jobs while generating nearly $140 million to the local economy through subcontracting.
"Hensel Phelps has gone to great lengths to reach out to regional subcontractors to keep the project local to Central Florida," Romano said.
Major subcontractors included Don Luchetti Construction, Melbourne, Fla., for site/civil; MC Dean, Tampa, Fla., for electrical/communications; CCK Corporation, Orlando, Fla., for concrete; Ivey's Construction, Merritt Island, Fla. for steel erection; Critchfield Mechanical Systems, San Jose, Cal., for mechanical systems; Beyel Brothers, Orlando, Fla., for crane services; Affiliated Engineers Incorporated, Madison, Wis., for mechanical systems; Modern Plumbing, Winter Springs, Fla., for plumbing; and Steel Services Corporation, Jackson, Miss., for steel fabrication.
Major equipment used on the project includes a Manitowoc 888 crawler crane, a Manitowoc 999 crawler crane, a Link-Belt 90-ton (81-t) crane, a Link-Belt 65-ton (58-t) crane, a 200-ton (181-t) Kobelco hydraulic crawler crane CK2000-II; 32 M telescopic concrete pumps, 52 M telescopic concrete pumps, forklifts, and JLG high reach boom lifts.


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Terex MP acquire MDS International
Irish acquisition set to bolster growth, improve product offering and fill gap in product line
TEREX Materials Processing (MP) have acquired MDS International (MDS), manufacturers of heavy-duty and recycling trommels, apron feeders and conveyor systems, based in Co. Monaghan, Ireland.
MDS were founded in 1995 by Liam and Una Murray, with a vision to design and develop engineering solutions for industry. Over the past 25 years, MDS has built a highly skilled workforce along with global distribution partners, and a reputation for innovation, offering bespoke solutions to serve client needs with equipment capable of withstanding the harshest environments.
Terex MP say the acquisition supports their growth strategy to expand their offering in the crushing and screening and environmental industries with products that complement their existing portfolio. Trommels from MDS are heavy-duty units that will allow expansion into areas of the market that Terex MP do not currently serve.
Additionally, Terex MP expect strong commercial synergies from the deal, as several Terex MP distributors already carry the MDS line, while others will be new to Terex, offering the potential to develop new channel partner relationships.
MDS International's 34,000 square-foot facility will be the first Terex location in the Republic of Ireland, which diversifies the company's footprint and provides access to a new labour pool but is within a short driving distance of the Terex Dungannon and Omagh sites, providing ready access to Terex MP's Northern Irish team and allowing close co-ordination with the resources at these facilities.
The MDS facility and team members will be led by Conor Hegarty, general manager and business line director. Previously, Mr Hegarty held the position of international sales director for Terex Ecotec, and his commercial background and product knowledge will be a significant asset as he takes leadership responsibility for MDS.
MDS will remain a standalone brand along with Terex MP's crushing and screening businesses, including Powerscreen, Terex Finlay and EvoQuip, and Terex MP say they will build on the momentum of MDS International's long-standing reputation, continuing to develop the brand, its product portfolio and its distribution channels.
Commenting on the acquisition, Pat Brian, vice-president of mobile crushing and screening at Terex MP, said: 'The addition of MDS to our portfolio of businesses will bolster our growth and improve our product offering. The business has been well managed, is on a terrific growth trajectory, and its heavy-duty trommels address a gap in our own product lines while also having a lot of synergy with what we already manufacture and distribute.'
Liam Murray, co-founder of MDS International, said: 'I am so proud of how MDS has grown over the past 25 years — to have a multinational company like Terex interested in our business is a testament to what we have achieved.
'MDS will now have the global resources of Terex to develop and grow to new levels; I feel this is the right move for our business and team. This sale will also bring new levels of support to customers and dealers worldwide.'
Mr Murray will remain with MDS for a period, to support a smooth transition to Terex ownership.
More on Terex Materials Processing
Terex MP acquire ZenRobotics
Terex MP acquire Canada-based ProAll
Further expansion plans for Terex Ballymoney
More on MDS International
MDS dealership for Blue Scotland
MDS International announce rebrand
MDS appoint new UK distributors
More on Trommel screens
Terex Ecotec machine duo go Down Under
EDGE Innovate appoint RK6 as new dealer
EDGE Innovate excited to be back at Hillhead
MDS - A Terex Brand
Metso Outotec


Why do Japanese people use the words enishi and arigatou or arigatai and so closely associate them with the idea of miracles? To put it simply, Japanese people believe that life is led by "something great." Some people believe it is Hotoke (Buddha), while others believe it is Kami (God). Yet, in the greater scheme of things, Japanese people don't care what that "something great" really is. The most important thing for them is the overall feeling that our lives are led by "something great," whatever that may be.
Basically, Japanese people try to derive some kind of meaning from a difficulty shortly after it occurs. Because Japanese people believe "something great" is always watching over us and trying to help us grow, Japanese people believe that the various trials in our lives tend to happen at the best time even if it may not seem like it at first.
This thought process is not unique to the people of Japan. Many countries with a strong religious background also have this ideology. The next time you are given more than you can handle, remember the idea of enishi — you'll already have won half the battle and you'll be equipped with wisdom that will stay with you for the rest of your life.


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Murphy And Robertson To Meet In Wuxi
Thursday 26 Jun 2014 10:49PM
Neil Robertson and Shaun Murphy will do battle in the quarter-finals of the Wuxi Classic after both scored wins in the last 16.
Murphy ended the run of 17-year-old rising star Zhao Xintong, winning 5-2 despite a top break of just 45. Defending champion Robertson made a 130 in a 5-1 defeat of Michael Holt.
Another of Friday's quarter-finals will see Hong Kong's Marco Fu take on Barry Hawkins. Fu was involved in a high quality tussle with Stuart Bingham and edged home 5-4. Bingham made breaks of 57, 54 and 59 while Fu made 53, 79, 105 and 128 before taking the decider 78-34.
"I played OK, I was scoring well but overall I wasn't consistent enough," said Fu. "There were some unexpected mistakes. I controlled my emotions and made two century breaks. There were also misses in the deciding frame – I gave him a free ball and it was very dangerous. I was lucky that he didn't take that chance.
"It's always going to be tough in quarter finals of ranking tournaments. I know Barry's game and he's a very consistent player, and he doesn't make many mistakes. To win the next match I have to avoid these misses too."
Hawkins impressed in a 5-2 win over Alan McManus, knocking in runs of 55, 66, 138, 89 and 91.
Murphy Continues Strong Start
Murphy Hopeful For Stronger Season
The Magician's Diary – Part Three


Reviver Auto is hard at work on an innovative connected car platform.
Reviver Auto is hard at work on an innovative connected car platform with the potential to connect millions of vehicles to a new class of fully integrated transportation services. Their patent-pending Platform-as-a-Service mobility solution delivers messaging, telematics, and electronic fee collection functionality to all vehicles on one device. The idea for Reviver Auto was hatched in early 2009, when co-founders Mike Jordan and Neville Boston noticed that while many things in the world around them were changing fast, many of the "simple devices" that each of them take for granted in their daily lives were not. The two started Reviver Auto with the idea of taking these "simple devices" and reimagining them as connected platforms. Right now the automotive, retail, home and fitness industries are undergoing radical transformations dominated by the invention of connected, intelligent devices. Reviver Auto is excited to be a part of this revolution with a new connected car platform that will change the way in which vehicles communicate with each other and the world.
Bluenose helps SaaS companies grow and retain their customers.
Lithia Motors, Inc. is an automotive dealership network headquartered in Medford, Oregon.
EquityZen does not have an affiliation with, formal relationship with, or endorsement from Reviver Auto or any companies featured above.


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New Delhi	- IOC chief Thomas Bach insisted Thursday that violent computer games would never be part of the Olympics as he faces growing pressure to allow eSports into the Olympic movement.
Pyeongchang	- Olympics chief Thomas Bach on Monday dismissed concerns that North Korea has tried to "hijack" the Winter Games for political purposes, as officials revealed he will visit the isolated country after the tournament in South Korea.
- International Olympic Committee President Thomas Bach defended his organisation's handling of corruption allegations on Monday, insisting the movement could never make itself immune from scandal.
Rio De Janeiro	- Olympics chief Thomas Bach called for a complete overhaul of the global anti-doping system on Tuesday after revelations of state-backed cheating by Russia rocked preparations for the Rio Games.
Leipzig	- The best-known portrait of German composer Johann Sebastian Bach goes on public display for the first time in centuries Friday in his former home city after an odyssey sparked by the Nazis' rise.
Toronto	- From the peak of his career to his death in 1982, Glenn Gould was a baffling enigma as much as he was a classical-music superstar. As many artistic geniuses were, from Picasso to Salinger, the Toronto pianist could be eccentric and difficult.
Eisenach	- Legend. Visionary. Romantic. Genius. These are certainly the terms to describe Johann Sebastian Bach, an 18th century German composer and musician (harpsichordist, violinist and violist). Today is his 328th birthday; it's time to remember his music.
2Cellos - classical musicians Luka Sulic and Stjepan Hauser - came to the public' attention with their vibrant, cellos-only cover version of Michael Jackson's "Smooth Criminal" in 2011.
Santa Clara	- If advanced extraterrestrial life did exist and they visited Earth, scientists say they would be much more interested in the likes of Johann Sebastian Bach and Vincent Van Gogh rather than Albert Einstein or Isaac Newton.


Arabs need to increase efforts to communicate their views to the American public, said retired US. Gen. Wesley K. Clark Wednesday during an Arab political and business strategy conference. "We need your political and business leaders to come to the United States and give us your perceptions," said Clark, the former NATO commander who ran for the Democratic nomination to be the party's presidential candidate in 2004. "There is a lot of talking about the Middle East in Washington but there is not a lot of listening to the region in Washington." Clark said he was considering another presidential run in 2008.


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Даниэ́ль Ангиа́но Манга́до (; 11 декабря 1882, Аро, Испания — 16 августа 1963, Мехико, Мексика) — испанский политический и профсоюзный деятель. Секретарь ИСРП и ВСТ. Председатель профсоюза железнодорожников и генеральный секретарь профсоюза работников нефтяной промышленности в составе ВСТ. Один из организаторов компартии Испании. Редактор газеты El Socialista.

Биография
Сын железнодорожного рабочего, в раннем возрасте покинул родную деревню и провел детство и юношество в Лас-Кальдас-де-Бесайе (Кантабрия), где выучился на бухгалтера. В 1905 году вступил в Испанскую социалистическую рабочую партию (ИСРП). В 1907 году, работая в Северной железнодорожной компании в Мадриде, вступил во Всеобщий союз трудящихся (ВСТ), а 1 мая 1908 года — в Организацию социалистов Мадрида. В 1909 году организовал профсоюз железнодорожников в составе ВСТ. За участие в антивоенном митинге 23 октября 1910 года в летнем театре Барбьери в Мадриде был арестован и провел три месяца в тюрьме Модело. После железнодорожной забастовки 1912 года был арестован на 17 суток. В 1916 году встречался с Л. Д. Троцким.

За участие во всеобщей забастовке 1917 года был арестован и приговорён к пожизненному заключению. После избрания в кортесы от Валенсии был освобождён из тюрьмы Картахены в мае 1918 года. В октябре-декабре 1920 года Ангиано вместе с Фернандо де лос Риосом побывал в Советской России, встречался с В. И. Лениным и обсуждал вопрос вступления ИСРП в Третий интернационал. О своих впечатлениях от России Ангиано докладывал на внеочередном съезде ИСРП в апреле 1921 года. Голосование по вопросу о присоединении партии к Третьему интернационалу, за которое выступал Ангиано, закончилось не в его пользу и привело к расколу в партии. Терсеристы, сторонники вступления в Третий интернационал, среди которых были Ангиано и Антонио Гарсия Кехидо, образовали 13 апреля 1921 года Испанскую коммунистическую рабочую партию, на учредительном съезде которой Ангиано был избран в исполнительный комитет.

Из-за политических разногласий и полицейского давления к 1923 году Ангиано отходит от коммунистической деятельности. В 1925 году работал на Radio Ibérica. Во время Второй Испанской Республики работал в компании CAMPSA. В 1932 году вступил в Профсоюз работников нефтяной промышленности при ВСТ и, вновь — в Организацию социалистов Мадрида. В 1936 году был избран генеральным секретарем Профсоюза работников нефтяной промышленности. В октябре 1937 года был избран в исполнительный комитет ВСТ с правом решающего голоса, где состоял до 1950 года.

После поражения республиканцев в Гражданской войне Даниэль Ангиано бежал во Францию, затем в Санто-Доминго (Куба), а позднее эмигрировал в Мексику. Некоторое время прожил в Венгрии, но снова вернулся в Мексику, где и скончался 12 августа 1963 года.

Примечания

Литература

Ссылки

Политики Испании
Члены Испанской социалистической рабочей партии
Коммунисты Испании
Политики XX века
Политики-эмигранты
Профсоюзные деятели Испании
Социалисты Испании


RABAT, Morocco- Morocco's BMCE Bank of Africa, signed a partnership agreement with China-Africa Business Council, to support and facilitate the task of Chinese investors in Morocco, and throughout the continent, the Moroccan bank said.
The agreement was inked by Said Adren, managing director of BMCE Bank of Africa Shanghai, and Wang Guidong, vice president of China-Africa Business Council, on the sidelines of the China-Africa summit, held in Beijing on Sept 3-4, and the China-Africa Private Sector Cooperation Summit, held in Hangzhou.
This partnership, which aims to be strategic and sustainable between the two parties, "also aims to streamline and simplify foreign trade operations between China and Africa, by making Chinese operators benefit from the African expertise of BMCE Bank of Africa," the bank pointed out in the statement.
The Moroccan bank has been involved in projects with Chinese institutions and firms in Morocco, including the establishment of a 1-billion-U.S.-dollar industrial park, in northern Morocco, and the building of the tallest skyscraper in Africa, in the capital, Rabat.
The bank inked a Memorandum of Understanding with China Development Bank, in Mar, to enhance bilateral trade and investment.


Why choose between chocolate sponge pudding and sticky toffee pudding when you can have both?! this is from Rachel Allen's Food for Living.
Place the dates in a saucepan and bring to the boil with the water. Simmer for 10 mins and leave to cool. Make the cake base in the usual fashion, adding the chocolate and dates last. Scrape in to a lined tin and bake at 160 for 45 mins or so.
Make the sauce by placing everything in to a pan and bringing to the boil. Boil rapidly for 4 mins then serve. Perfect winter fuel.
I adore this. But it's seriously not good for you. Well actually that's not true. There are so many dates in the cake bit that I am sure that should count as one of your 5-a-day. But the sauce, oh my the sauce! Nothing with that much cream, butter and sugar can be good for you can it?!
Begin by placing the dates in a bowl with the bicarb and pouring over the water. Leave to soften for about an hour (longer if you can). After they have soaked, puree with a hand blender.
Meanwhile cream the butter and sugar together then add the eggs, flour and spice. Mix thoroughly. Fold in the date puree and pour into a lined tin. Bake for about 30 mins till springy.
For the sauce place all the ingredients in a pan and heat gently. Cook till a nice golden colour. Slice the cake into portions and place in a bowl. Pour over the sauce and enjoy. This also freezes well.
These contain fruit so they're good for you, right?! They're also deliciously sticky and chewy and moreish. They're a bit like fig rolls but in a good way.
Begin by putting the water and dates into a pan and bringing to the boil. Cook for about 10 minutes and then puree so the mix is very thick and smooth. Blitz the butter and flour till it resembles breadcrumbs and then mix in the bicarb, sugar, salt and oats.
Press half the oat mixture into a lined tin, top with the date puree and then sprinkle over the remaining mixture, pressing down lightly with your fingers.
Bake for about 40 mins till golden brown and set. Allow to cool completely, then turn out of the tin, cut into squares and scoff.


"There's such a beautiful thing that goes on with music when you have good intentions."
Dot Reiser's song writing is steeped in good intentions. In every song there is a life lesson to be shared and inspiration to be gained. Like a hearty beef stew, Dot's songwriting is rich with fresh melodies, harmonies and warm acoustic instrumentation...and it just might be good for you!


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Florida Georgia Line's Tyler Hubbard On Kids: 'They Keep My Spirit Up' -
Florida Georgia Line's Tyler Hubbard On Kids: 'They Keep My Spirit Up'
Nancy Brooks // Country Writer, Beasley Media Group	August 31st, 2020
As Tyler Hubbard and his wife Hayley prepare for the birth of their third child any day now, Tyler is in bed with a broken ankle after a bike crash last week.
The grateful father of two shared his source of happy on Instagram posting a picture of himself with his two kids in bed, writing, "The best post surgery therapy. They keep my spirits up even when I'm down. #familytime."
The best post surgery therapy. They keep my spirits up even when I'm down. #familytime
As we reported last week, Hubbard had to have surgery after his bike spill, he wrote on Instagram at the time, "Doc said his goal was to have me walking in 5 weeks. Hayley and I said 'make it 4 weeks because that's when baby number 3 gets here.' Keep our family in yalls prayers. We are going to need it. Now I'm going to muster up the energy to hobble to the toilet. #badtiming."
Doc said his goal was to have me walking in 5 weeks. Hayley and I said "make it 4 weeks because that's when baby number 3 gets here." Keep our family in yalls prayers. We are going to need it. Now I'm going to muster up the energy to hobble to the toilet. #badtiming
Brittney Kelley. Brian Kelley and Tyler Hubbard of Florida Georgia Line and Hayley Hubbard attend the 66th Annual BMI Country Awards at BMI on November 13, 2018 in Nashville, Tennessee.
Musicians Bebe Rexha (C) performs as a special guest onstage with Brian Kelley (L) and Tyler Hubbard (R) of Florida Georgia Line during The Recording Academy and Clive Davis' 2019 Pre-GRAMMY Gala Show at The Beverly Hilton Hotel on February 09, 2019 in Beverly Hills, California.
Tyler Hubbard of Florida Georgia Line performs onstage during the 54th Academy Of Country Music Awards at MGM Grand Garden Arena on April 07, 2019 in Las Vegas, Nevada.
Brittney Marie Kelley, Brian Kelley of Florida Georgia Line, Tyler Hubbard of Florida Georgia Line and Hayley Hubbard attend the 54th Academy Of Country Music Awards at MGM Grand Garden Arena on April 07, 2019 in Las Vegas, Nevada.
Brett Young, Brian Kelley of Florida Georgia Line, Riley Green, Jimmy Harnen, Matthew Hargis, and Tyler Hubbard of Florida Georgia Line are seen as Big Machine Label Group Celebrates the 54th Annual ACM Awards at Hakkasan Las Vegas Restaurant and Nightclub on April 07, 2019 in Las Vegas, Nevada.
Brian Kelley of Florida Georgia Line, Brittney Marie Cole, Hayley Stommel, and Tyler Hubbard of Florida Georgia Line attend the 2019 Billboard Music Awards at MGM Grand Garden Arena on May 1, 2019 in Las Vegas, Nevada.
Brian Kelley and Tyler Hubbard of Florida Georgia Line pose with the award for Top Country Song for 'Meant to Be' in the press room during the 2019 Billboard Music Awards at MGM Grand Garden Arena on May 01, 2019 in Las Vegas, Nevada.
Brian Kelley and Tyler Hubbard of Florida Georgia Line accept the Top Country Song award for 'Meant to Be' onstage during the 2019 Billboard Music Awards at MGM Grand Garden Arena on May 01, 2019 in Las Vegas, Nevada.
Florida Georgia Line's Brian Kelley and Tyler Hubbard with Singer/Songwriter Jason Aldean backstage during Jason Aldean's Triple #1 Party at Wildhorse Saloon on August 2, 2017 in Nashville, Tennessee.
Tyler Hubbard of Florida Georgia Line performs on stage during day 1 of 2019 CMA Music Festival on June 06, 2019 in Nashville, Tennessee.
Country 102.5
Tyler Hubbard


INDIANAPOLIS – It's time to grab your wallets. Indianapolis has tons of boutiques to explore during the holidays, and data backs up that claim.
The city recently ranked No. 14 on Yelp's Top 40 Cities to Shop Local in 2017 list. The top spot was given to San Francisco.
A survey by Yelp and Harris Poll found 63 percent of Americans will shop local this holiday season, and each person plans to spend an average of $267.
Yelp's list was compiled after they identified the types of businesses that are most popular during the holiday shopping season, which included shopping and food businesses.