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The makeup industry is secretly one of the most corrupt industries in the world, whether you believe it or not. The chemicals women are putting on their faces today are toxic; if you don’t believe me see for yourself.
The makeup industry uses some of the most profound carcinogenic chemicals ever known. Lots of lipsticks contain toxic heavy metals in them. Always check the ingredients labels before you purchase your next lipstick. The CEO’s of these makeup companies are making billions per year at the expense of your health. Of course, they’re not the only ones doing this. Many corporations that control our food and water do the very same thing. It’s no wonder cancer is on such a rapid rise.
Were you aware of the fact that the US has little health regulations and no required health testing before their products hit the shelves? This is an open window for the greedy CEO’s to save millions of dollars; at the price of your health. They particularly use harmful chemicals in deodorants, foundations, powders, lipsticks, and shampoos. The Environmental Defense Group tested 49 makeup items for their levels of toxic metals. What they found was stunning. In fact, almost all of the most popular makeup brands tested for highly toxic metals. They tested the following.
- 5 foundations,
- 4 powders,
- 4 concealers,
- 8 lipsticks or glosses,
- 5 blushes or bronzers,
- 7 mascaras,
- 2 eyeliners, and
- 14 eye shadows.
Around 96% of the makeup products tested contained lead-based ingredients. 90% contained beryllium based ingredients, and 61% contained thallium based ingredients. That’s not all either; 51% had cadmium and 20% contained arsenic. It’s clear to see that these are not chemicals that belong in makeup products, or anything else that comes in contact with people for that matter.
List of carcinogenic lipstick:
1 (#103c), Stargazer Lipstick
2 (#1005 Red Lizard), NARS Semi-Matte
3 (#410 Volcanic), L’Oreal Colour Riche
4 (#125 Pink Petal), Maybelline Color Sensational
5 (#165 Tickled Pink), L’Oreal Colour Riche
6 (#580 Ruby Remix), CoverGirl Queen Collection Vibrant Hues
7 (#27 Mauvey), Sonia Kashuk Luxury Lip Color
8 (#748 Heroic), L’Oreal Intensely Moisturizing Lipcolor
9 (#025 Warm Brick), CoverGirl Continuous Color
10 (#475 Mauve Me), Maybelline Color Sensation
11 (#009 Fabulous Fig), Revlon Matte
12 (#1009 Funny Face), NARS Semi-Matte
13 (#375 Ripened Red), Revlon ColorStay
14 (#558 Mad for Mauve), Avon Beyond Color
15 (#530 Mauve Amour), L’Oreal Endless
16 (#631 Luminous Pink), Revlon Super Lustrous Peal
17 (Toffee), Burt’s Bees Lip Shimmer
18 (#643 Satin Plum), Revlon Super Lustrous Peal


After Samsung, its LG’s turn to show off what it has in store later this month. The company’s upcoming Android flagship, the LG V30, is expected to be unveiled on August 31. Going by past leaks and official teasers of the handset, the LG V30 is shaping up to be formidable challenger for the likes of Samsung and Apple.
And just a few days prior to its expected release, LG has posted a new teaser video about the upcoming handset on YouTube. The video titled ‘The next V: Immersive sound”, is a 20-second teaser that does not happen to reveal anything substantial.
Though as the title of the video suggests, the latest teaser brags about the upcoming flagship’s audio capabilities. The video shows people of different cultures engaged in dancing and listening to music, which only suggests that the upcoming LG V30 is likely to feature some serious audio firepower.
Earlier this month, LG officially confirmed that its upcoming flagship would be the first smartphone to feature an f/1.6 lens aperture, which allows 25 percent more light compared to flagships from Samsung and Apple. Elsewhere, the also stated that the LG V30’s camera will feature a glass lens, which is said to offer much improved sharpness and color accuracy.
As per earlier leaks, the LG V30 is expected to sport a 6-inch OLED display with an aspect ratio of 18:9. Under the hood, the handset is rumored to run Qualcomm’s latest Snapdragon 835 processor bundled with 4GB of RAM and 64GB of built-in storage. The handset is also said to offer support for Google’s Daydream VR headset so that users can enjoy VR content on the device right out-of-the-box.
In terms of design, leaked renders suggest a full screen display like the one found on last year’s LG G6. That being said, the size of both top and bottom bezels has been shaved off even further, as the latest leaked render seemingly shows an edge to edge, bezel free display on the upcoming LG V30.


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Maternal mortality in Amsterdam, 1856-1904
Teaching in Leiden academic year 2022-2023: courses on Digital History, Epidemics etc.
Preparing several articles for scientific journals: Religion and Epidemics, The empowerment of midwives, A history of health and death in Leiden.
Oral history project with 40 centenarians (100+) about perceived health/smoking behavior and/or sexuality/contraception (with Yvonne Witter / VuMC)
SHIP+-network: Studying the history of Health in Port cities (with A. Janssens).
Working on book on Brabant Baby's, published by Prometheus Amsterdam
Organization of XXIII ICHS/ICHD conference, Poznán, August 2022
The Amsterdam Health & Disease Database 1854-1940
This project concerns the construction of a truly exceptional dataset: a database on individual causes of death for the entire population of Amsterdam for the period 1854-1940. This database includes the causes of death of all individuals who died within the city of Amsterdam in the span of almost 100 years. Just imagine that we can reconstruct the health and disease patterns for all 700.000 individuals who lived and died in this period! It will become possible to map and reconstruct the entire spatio-temporal history of death, disease, but also of medical practice in the Dutch capital as it evolved over those 100 years.
This project is carried out as a crowdsourcing project through the Velehanden.nl website. See: www.velehanden.nl. Do you want to be part of this exciting enterprise? Join us on Velehanden.nl!
The dataset is now complete! Check us on Facebook
List needs to be completed

domain: history


text:
Molarity = moles of solute/Liters of solution
Get moles NaCl.
58.44 grams NaCl (1 mole NaCl/58.44 grams)
= 1 mole NaCl
Molarity = 1 mole NaCl/1 liter
= 1 M NaCl
The molar solution of NaCl has 58.44 g in 1 L water.
The mass of a mole of NaCl is 57,958 622 382.
1 mole NaCl = 58.44g 0.1601mol NaCl x 58.44g NaCl/mol NaCl = 9.35g NaCl
If by "salt" one is referring to sodium chloride (NaCl), then the following applies:molar mass NaCl = 58.4 g/mole ... 50 g x 1 mol/58.4 g = 0.856 moles NaCl0.856 moles/0.2 L = 4.28 M ... this would be the concentration
You need to know the molar mass of NaCl. Then 10g/molar mass = moles.
Get moles NaCl and change 245 ml to 0.245 Liters. 3.8 grams NaCl (1 mole NaCl/58.54 grams) = 0.0650 moles NaCl Molarity = moles of solute/Liters of solution Molarity = 0.0650 moles NaCl/0.245 Liters = 0.27 M NaCl ----------------------
145 grams NaCl (1 mole NaCl/58.44 grams)(1 mole Na +/1 mole NaCl)(6.022 X 1023/1 mole Na +) = 1.49 X 1024 ions of sodium =====================
mass of one mole of ;Nacl' is =23+35=58. aslike this mass of 3 mole of Nacl is=174
The number of ions in a 6,58 mole sample of NaCl is 79,25137367812.10e23.
Mole percent is the mole fraction (X) for a component of a mixture times 100.If you have a solution of 5.0g NaCl and 25.0g H2O, you can find the mole fraction and mole percent for each. The sum of all percents of all of the components of a mixture equals 100.Determine the moles (n) of NaCl and H2O.5.0g NaCl x 1mol NaCl/58.44g NaCl = 0.086mol NaCl25.0g H2O x 1mol H2O/18.016g H2O = 1.39mol H2ODetermine mole fractions (X) of NaCl and H2O.The sum of all mole fractions in a solution = 1.XNaCl = nNaCl/(nNaCl + nH2O) = 0.086mol NaCl/(0.086mol NaCl + 1.39mol H2O) = 0.58mol NaClXH2O = 1 - 0.58mol = 0.42mol H2ODetermine the mole percent of NaCl and H2O.Mole percent of NaCl = XNaCl x 100 = 0.58 x 100 = 58%Mole percent of H2O = XH2O x 100 = 0.42 x 100 = 42%
The answer is 0,274 mole.
Mole = Mass/RMM Ar for Na=23 & Ar for Cl = 35.5 Therefore 1mole = Mass / (35.5+23) 1 mole of NaCl is 58.5g Mole = Mass/RMM Ar for Na=23 & Ar for Cl = 35.5 Therefore 1mole = Mass / (35.5+23) 1 mole of NaCl is 58.5g But that can be misleading. NaCl does not form into molecules (and salts in general do not). If you dissolve 58.5g of NaCl into water, it will dissociate into ions, and there will be 2 moles of particles in solution: 1 mole of Na+ ions, and 1 mole of Cl- ions. Knowing that will be important for calculating various things, such as how many degrees the freezing point will be depressed, when you dissolve so much salt in so much water.
1 mole NaCl = 58.44g NaCl0.48mol NaCl x 58.44g NaCl/1mol NaCl = 28g NaCl
1 mole of NaCl contain 6,022 141 29(27)Ã—1023 molecules.
First You have to express the 200 g NaCl as moles of NaCl. The molar mass of NaCl is 58.5 g/mole. Consequently you need 200/58.5 g/(g/mole) = 3.42 moles of NaCl.Having a 2.10 M NaCl solution You need 3.42/2.10 mole/(mole/l) = 1.63 l of the given solution.
In the same volume of water, one mole of MgCl2 will give rise to a greater boiling point elevation. This is explained by the fact that boiling point elevation is a colligative property, that is, the relative amounts of the constituents are important and not their identity. We can determine by inspection that, upon dissociation, more ions will be produced by MgCl2 than NaCl since there are more atoms in the MgCl2 molecule. So, for one mole of MgCl2, we will produce one mole of magnesium and two of chlorine (three total). For one mole of NaCl, we produce one mole each of potassium and chlorine. By employing the principle stated above, we can come to the correct conclusion.
1 mole NaCl = 58.443g NaCl 234g NaCl x 1mol NaCl/58.443g NaCl = 4.00 moles NaCl
Molar concentration is the number of moles of a substance per litre. One litre of pure water is 1kg, or 1,000 grams. The molecular mass of water is approximately 18 grams per mole. Therefore, there are 1,000/18 = 55.56 mole of water in a litre of water, giving a concentration of 55.56 M.
1.5g NaCl x (1 mole / 58.5 g NaCl) x (1000 ml / 0.42 mole) = 61.05 ml
1 mole NaCl = 6.022 x 1023 formula units NaCl 2.9 x 1021 formula units NaCl x 1mol NaCl/6.022 x 1023 formula units NaCl = 0.0048 mole NaCl
Remember that 1 mole NaCl is 58,44 g. 1 mole------------------58,44 g x mole------------------y g (a known value) x (mole)=y (grams)/58,44
The molar mass of sodium chloride (NaCl) is 58,44 g.
1 mole NaCl = 58.442g NaCl (the atomic weight of Na and Cl in grams) 13g NaCl x (1mol NaCl/58.442g NaCl) = 0.22mol NaCl
One mole of NaCl = 6,02214129(27) × 1023 mol−1 (molecules ) - this is number (constant) of Avogadro.
25 grams NaCl * 1 mole NaCl per = .43 moles NaCl 58.44 grams NaCl (molecular mass)
Asked By Wiki User
Asked By Wiki User
Asked By Wiki User

domain: chemistry


text:
Sir Stamford has been going through a refit. The issue is their refit had failed to upgrade the sound proofing in the rooms above their function room. When all hell was breaking loose at a reception half a dozen complaints were to no avail to quell the din until after 11pm. It's a case of dollars ruling. A function returns many. A room rental less. Regardless I and my family paid for quiet stay. We got an unholy racket for hours and a similarly unpleasant night's sleep due to the stress induced.
- Also Known As:
- Sir Stamford
- Official Description (provided by the hotel):
- Sir Stamford at Circular Quay offers 105 generously sized, well appointed hotel guest rooms, including 15 hotel suites, the majority of deluxe rooms and suites feature French doors opening onto Juliet Balconies, which overlook the Sydney Harbour, Circular Quay, Sydney Conservatorium of Music or the Royal Botanic Gardens. Significant fine art collection featuring 18th Century Louis XV and Georgian antique furniture, Staffordshire ceramics, French marble urns, Persian rugs and hundreds of hand cut chandeliers. The hotel itself partly resides in a stunning 1897 historic Health Department Building. Open fireplaces in winter and the pleasure of a roof top swimming pool in the summer. A fully equipped gym complete with a sauna. Famous for High Teas, Sir Stamford at Circular Quay has excellent one bedroom suites and one of Sydney's largest Presidential suites complete with a Steinway baby grand piano. ... more less
- Reservation Options:
- TripAdvisor is proud to partner with Orbitz, Booking.com, Travelocity, Agoda, Priceline, Tingo, HotelTravel.com, Otel, TripOnline SA, Expedia, Hotels.com and Venere so you can book your Sir Stamford at Circular Quay Hotel Sydney reservations with confidence. We help millions of travelers each month to find the perfect hotel for both vacation and business trips, always with the best discounts and special offers.

domain: travel


“We picture facts to ourselves….A picture is a model of reality….A picture is a fact.”
It is striking that business people have only since the early 2000s acquired a language with which to picture their business to themselves. It is all the more astounding that business schools still do not teach these first principles; as if they were teaching physics without the notions of force, mass or velocity. This newly-emerging language is business architecture, and it promises to enable the systematic description and design of a enterprise, just as other forms of architecture have done for microprocessors, software systems and networks.
In architecture proper — the discipline of designing physical structures — the architect uses basic elements like line, surface, color, material, shape, space, texture and value to describe or design a building or a bridge. These elements have systematic relationships to one another that are often governed by physical properties, such as the tensile, flexural, sheer and compressive strength. Thus, the architect can declare the possible length of a beam, knowing it will be a function of its shape and material.
Correlatively, in business architecture, the basic elements of description are value, capability, information and organization. These fundamental and relatively stable ontological units are systematically related to one another such that, when a change occurs in one, its impacts on others can be predicted and described. When these core concepts of business architecture are augmented with related notions like strategy, policy, initiative, product and stakeholder, it is possible to render a complete, coherent, and quantifiable picture of the business.
Why is this important? It is important because, for the first time, we are able to model a business as a system and in so doing, engage in the kinds of activities that were limited to physical and symbolic systems. Just as with software architecture, business architecture enables activities like:
- Describing, Documenting and Dialoging. All involved disciplines’ stakeholders, from HR to Marketing to IT, can confidently point to and mean the same thing, literally picturing to themselves a shared reality. To the degree that inefficiency and even conflict are a consequence of ambiguity and ambivalence, a shared business architecture can provide the common ground necessary for effective communication.
- Assessing, Diagnosing and Debugging: A well done business architecture enables management to inspect the functioning of a value stream, and to determine where observed failures or obstructions in the delivery of value occur. This assessment is partly a subjective consensus and can, in part, be quantified by identifying parameters with which to measure specific parts of the system (for example, the output per unit time of a specific capability for producing widgets, or error rates for specific types of data flowing through the system).
- Augmenting, Re-designing and Predicting. When a schematic blueprint of the business exists, it is possible to think about how it might be incrementally modified or altogether transformed. These modifications and transformations typically occur by means of changes to organizational structure, or by the introduction of new technologies representing improvements to or substitutions of business capabilities. In some cases, an examination of the blueprint will reveal abilities to substantially modify the business model the firm has adopted. Elsewhere, I argue that business architecture is the way that “digital transformation” — understood as business transformation — can be deliberately enacted. Finally, a business architecture will often enable a business to fully understand and predict the implications of technological and organizational change; when a business unit is understood as embodying an instance of a capability, it is possible to assess what a change in that capability might portend for the organization and its stakeholders.
Just as the “discovery” of perspective revolutionized art in the 15th Century, the discovery that a business can be represented as a set of basic concepts having systematic interrelationships may at last bring the kind of rationality to business that architecture has brought to so many other areas of endeavor.


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Today’s post is going to be how to cartoon your photo with picsart, a lot keep asking me to post a tutorial on how to draw a cartoon using picsart and here i come.
A lot of cartoonists aren’t aware that they can design a good and cartoon using picsart, although there are many other tools you can use to draw cartoon but i prefer picsart because its very easy to use and you can create a charming cartoon using pics art.
So if you are looking for a tutorial on how to draw cartoon using picsart then you just arrived at the right place.
Being a cartonist is now another online business which can generate you a lot of income, you can make a lot of money as a cartonist but before that you must improve and perfect your skill very well.
A lot of people are using it to pay their bills and even take care if their selves and their family, this is to tell you how much you can make as a cartonist. So if you are inspiring to start cartooning as a career kindly know that it’s a good decision.
The only thing that is expected from you is to cool down and learn before thinking of making money, although alot of people are into cartooning for fun, they will only cartoon their pictures and that’s all
How To Draw Cartoon With PicsArt
Step 1: Prep Your Workspace
Create a red grid like the one below. This will serve as a guide for keeping your characters proportions correct from different perspectives. Reduce the opacity.
Step 2: Rough Outline
Outline you cartoon character in a new layer, using the two vertical lines to draw your character facing forward, and then from a sideways view. The cross sections of the horizontal lines are reference points for things like eye-level, chin, etc.
Step 3: Final Outline
Reduce the opacity and in a new layer, trace a more precise version of your character.
Step 4: Action Pose
Create a new layer, and off center to the bottom-left, draw your character turned halfway to the side, but this time give him/her an animated expression. Reduce the opacity and trace this outline more precisely to sharpen it up.
Step 5: How to Color
Use PicsAr’s color icon and various brushes to color in the most recent animated outline of your cartoon character. Add shading in a higher layer by using a dark grey brush with reduced opacity.
Step 6: Add Lighting and Background
Use a white thin spray brush to add accents of light to areas of your drawing closest to your light source. Add a new layer at the bottom and color it grey for a simple background.
Step 7: Finishing Touches
Add extra details and colors to give your photo a polish. Add a shadow in your background to finish your drawing.
Now you’ve learned how to cartoon your photo with picsart, if you encounter any problem feel free tto ask me.

domain: artistic


text:
In a bid to feel like i’m eating slightly healthily I made a salad. Well I say made, I put some leaves in a bowl.
To make my green bowl of leaves more appetising however I made some dressing and croutons to go on top, thus negating the health level of the salad.
- Handful of salad leaves
- Leftover foccacia or baguette about 100g
- Large pinch ofPaprika
- Garlic powder
- 25ml kikkoman soy sauce
- 25ml white wine vinegar
- Glug of extra virgin olive oil
Start off making the croutons. Cut the bread into chunks and then in some oil fry until golden brown. Once done out into a bowl or plastic bag and coat with the paprika and season well.
For the dressing in a jar, add the soy, garlic, vinegar and oil. Put the lid on ghe jar and give it a good shake.
Finally, put the croutons on the salad and pour over the dressing and you’ve got your salad.

domain: food


The first question the media asked when the Occupy Wall St. Movement started budding at the end of September was the racial demographic of the protesters. As if the litmus test for the legitimacy of an issue is the amount of minorities involved. This has become a real problem especially with so called liberal circles because we have been taught for so long to compartmentalize our compassion in a way that only the most deserving receive our empathy.
Nothing gets my goat more than someone who will chastise racists and in the same stroke use the word “white trash.” It is perfectly acceptable to be a raging classist in our culture as long as one avoids blatantly making it about race. Furthermore, classists oftentimes overcompensate themselves as anti-racists to create a smoke screen for the fact that poor people make them uncomfortable.
The classism that I see the most comes from the lower middle class trying to differentiate themselves from this accepted “other” (the poor). Think back to the child that was the most picked on where you went to school. He had bad hygiene. Bad manners. As children we think in qualifiers so it is easy to just think of that child as the “stinky kid.” Most likely, if you helped tease this kid you engaged in classism.
In Stephen J. Goulde’s book The Mismeasurement of Man he gives examples of how the science of the preceding generations ran with pseudoscience to address the issue of inequality. They failed at empirical logic in most instances. The approach was flawed and in the U.S. in some instances it lead to forced sterilization of lower income mothers. The conclusions that the APA (American Psychological Association) and other liberal organizations came to was that poor people are stupid and that is why they are poor. This was very popular science of the day because it would mean that the average person had nothing to feel guilty about. It was just nature routing out the weak. Words like idiot, cretin, and moron have their lineage as referential to the poor. While it is not fashionable to use this kind of logic racially it survives when we speak of the poor. They deserve their station in life because they’re genetically predisposed to it. It is perfectly acceptable to use classist slurs like “white trash” while racial slurs are taboo.
Recently, the state of North Carolina is paying out checks for damages to the surviving recipients of the forced sterilization program that in some places ran until 1979. A 1927 Supreme Court decision that upheld the practice made the following statement: “It is better for all the world if, instead of waiting to execute degenerate offspring for crime or to let them starve for their imbecility, society can prevent those who are manifestly unfit from continuing their kind.” Oliver Wendell
It is estimated that 6.000 people were sterilized in this country through the course of a century. I have yet to see a single journalist use this as a rebuttal when we talk about the Chinese human right infringement limiting how many children can be in one family. Take heed and read Goulde’s book because the eugenics movement is so often portrayed in racial terms. Goulde’s analysis of eugenics paints the scientific as having a base in socioeconomic agenda. Goulde clearly defines that eugenics is rooted in the observance of the poor. This pseudoscience had a myriad of lasting affects on legislation and immigration reform. Immigration quotas are a direct result of shoddy intelligence testing that was being done at Ellis Island. The non-anglo test subjects were asked questions in English regardless if they spoke it or not and they inevitably were classified as having sub par intelligence. Later, the same kind of shoddy intelligence testing was applied to African-American military personnel.
For many of us who served the issue of class was a divisor between enlisted and commissioned officers.The justification for this imposed class systems has many tones and tenors but at the end of the day is its segregated class. The ranks of commissioned officers are primarily male and white. The upper echelons of the brass are even more exclusive.
One night while standing a bridge watch the mini judge (the assistant judge) went on a tirade for at least 20 minutes about the winners and losers in the game of life. The next day I witnessed that officer being escorted off the ship. As it turns out his affair with an 18 year old airmen had ended in pregnancy.
These class barriers between enlisted and commissioned officers are static. As the mini-judge so aptly showed the barrier could be breached but only from the side that wears khakis (commissioned). Officers weren’t bad people but part of identity of an officer requires that something be lower.
We have been indoctrinated into a class of entertainment that pokes fun at the disenfranchised. Shows like Jerry Springer and Cops targeted the poor specifically as lessor members of our society. And we were all entertained without questioning its ethos. One of the ways that we can prevent a violent class war is to question our preconceptions.
We insist on equality on racial bounds. If one looks at the demographic of a state school and a private school across race we have reached a semblance of equality but look at the same demographic across the socioeconomic divide and the disparity is staggering.
Having attended both a state college and an elite private university I can tell you that I worked much harder to achieve the cheaper education. While attending a private school I witnessed affluent and upper middle class youth skating through with minimal effort and golden parachutes. On the public school front it seemed sometimes that the professors had no regard for attrition and were out to fail anyone who fell behind. In private university the professor sometimes asked the student input into deadlines and bell curves.


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domain: game


text:
Roger Federer returns to the ATP Tour for the first time in over 12 months next week at the Qatar Open, and has learned his projected draw in Doha, with a potential showdown with Dominic Thiem on the line in the final if he can return in strong form.
Federer has not played since the semi-finals of the 2020 Australian Open and had two knee surgeries last year that forced him to sit out the rest of the season after that.
And the 103-time ATP Tour titlist has learned that he will take on either Frenchman Jeremy Chardy or British No 1 Dan Evans on his long-awaited return to the court.
The 39-year-old has been given a bye into the second round and will not learn who he faces of the duo until they go head-to-head in round one.
Should he get past either world No 64 Chardy or No 28-ranked Evans, he is expected to take on Croatian Borna Coric.
Denis Shapovalov, the world No 11, is then the potential semi-final opponent with Federer having only played the Canadian once before.
If Federer, who is ranked fifth in the world, makes the final in Doha then he is likely to face off with Thiem, the man one place ahead of him in the rankings.
The Austrian world No 4, winner of the US Open last year, boasts a 5-2 career record against Federer, who is 26-3 in Doha.
Speaking after arriving in Qatar on Friday night, the Swiss icon said: “It’s been a year since my last travel to any event and I’m very excited.
“This is the moment where I could maybe thank all the people involved who made this possible. It’s been a long and hard road.
“I know I’m not at the finish line yet, but it’s good. I feel like I’m in a good place, I’ve been practising very well.
“Hope you guys also are going to tune in to watch it and I hope I see you again very soon. Take care everybody.”
Federer is a three-time Qatar Open winner but has not been victorious since 2011, with Andrey Rublev the reigning champion of the ATP 250 event.
Others who will play at the Khalifa International Tennis and Squash Complex include Roberto Bautista Agut, who won the tournament in 2019, and Stan Wawrinka.
Roger Federer’s projected Doha draw
Round One – Bye
Round Two – Dan Evans/Jeremy Chardy
Quarter-final – Borna Coric
Semi-final – Denis Shapovalov
Final – Dominic Thiem

domain: sports


Increasing efficiency and productivity of commercially available Mechanical Harvesters (MH) can reduce harvesting costs and hasten their adoption. Several design features are being examined as to how they can improve efficiency of mass harvesters (TSC, CCSC) to help them become more productive, require less hand labor and to help reduce tree injuries. Better forward speed synchronization of two harvesting machines will improve to the catch frame efficiency and increase the fruit recovery rate. In addition, the development of a yield monitoring system will enable grove managers to monitor yields within a block and allow them to manage production inputs more effectively. Better understanding the physics of fruit removal by continuous canopy shakers (CCSC and TDCS) could lead to improve the technology of shaking mechanisms and to reduce tree injuries and damage of the shaking tines.


text:
For trent, (the original thread wanders all over the place - so I wandered here)
Further to the 'smooth' flying comments. Everything is relative and I suspect 'smooth' as used in these comments by VX squadron Hornet pilots when testing new IFLOLS (and comparing it to the old FLOLS system) these are their comments in a summary (about new accuracy of IFLOLS etc.) about 'how to fly' IFLOLS (with many extra smaller cells showing glideslope):
• Meatball / Line-up / AOA scan hasn’t changed
– Ball deviations will seem to be larger and happen faster
• Smoother corrections to highs work best to ‘stairstep’
the ball down to center
• Don’t lead a low ball; expect to move it up past
the datums, then work it down
• Never re-center a high ball in close
• With the ball stabilized at the top of the lens, the
aircraft should still trap (like FLOLS)"
That last comment would apply to being in relation to second last comment. I'm hoping it is clear that the pilots speak about detail they see, probably detail we have no hope of seeing in FSX, yet we strive to do the best at all times, given the limitations discussed in the other thread.

domain: hobby


text:
Jamie is a painter who was struggling with bringing attention to her art. She did many of the things a lot of artists do – posting her art to social media, doing the local art shows, and opening up her studio for visits.
Jamie was making sales, but not at the level that she would have liked to make. Sales were coming inconsistently. She might have a big month with several original sales and a handful of prints, followed by a slow month with just a print sale or two.
One day Jamie lucked into getting a story in her local paper. She met a reporter at a party and the reporter did a short story on her work. It brought her attention, website traffic, and a handful of sales. Jamie decided to see if she could leverage that media opportunity into bigger opportunities.
But getting more attention and website traffic was a little more complicated than Jamie realized. The difference between a blog and a magazine can be confusing. There are so many blogs that have millions of followers, how do you pick one? Why is the art media so focused on New York City and the major metros, to the exclusion of the brilliant artists working all over the world? Why does social media work so well for some artists, and so poorly for so many others?
The Problem with Getting More Attention for Your Art
Perhaps you’re in the same situation.
You’ve got a completely unpredictable art business – and you’re sick and tired of inconsistent sales.
You have long, agonizing dry spells, where you don’t sell anything at all...
Then you have periods when you’re hustling and filling tons of orders and you're exhausted.
You get noticed and get some attention, but within a month or two that publicity dies down, and you’re back where you started, wondering where your next sale will come from.
You know your art is great, and receive regular praise from your peers and from collectors – but you’re not sure how to translate that excitement and praise into a steady, consistent art business.
Maybe you’re trying to market yourself using social media, but you’re not getting sales from it. You’re liking, commenting, following and sharing, but you’re not bringing in traffic to your website, and no one is buying. You don’t understand how other artists are attracting thousands of followers, and why their followers are turning into sales.
You might have a small mailing list of subscribers who have signed up with you over the years, but you feel like your list is just too small to make a difference.
You feel like you could tell a great story and get lots of sales if only you could get in front of the right audience. Maybe you’ve got a day job that you’d love to quit, but your sales aren’t consistent enough for you to make the leap...or if you are already running your art business full time, you feel like you’re spinning your wheels when it comes to marketing.
All this results in stress, overwhelm, fatigue, and money problems. You’ve got a business that is stressful, impossible to predict, and nerve-wracking – and you’re wondering where the JOY in your art business has gone.
Don’t Give Up! There Is a Solution.
Trying to sell your art can be frustrating – but there is hope.
Imagine what it would feel like if you could:
- Bring in consistent sales so you know when sales will happen
- Generate regular press coverage for your business instead of being subject to the boom and bust cycle
- Consistently attract more collectors instead of focusing on social media followers or email list size
- Develop a process for building relationships with influencers who write and talk about you generating attention and new opportunities
- Put an outreach program in place, so you touch base with your new fans on a regular basis and turn them into buyers (and then repeat collectors!)
As it turns out, there is a way to escape the boom and bust cycle of your art business, and start bringing in consistent, steady income you can count on – year after year.
Why You Can Trust Me to Help You Sell Your Art Online
I’m Cory Huff, and I’m a business coach for artists. I’ve been helping artists sell art online since 2009, and I’ve helped hundreds of artists just like you figure out how to navigate the hidden path of the fine art career.
I literally wrote the book on selling art online. Harper Collins published my book, How to Sell Art Online: Live a Creative Life on Your Own Terms. I’ve done guest lectures on marketing at schools like Southern Methodist University, Pacific Northwest College of Art, and the Fashion Institute of Technology.
My mission is not only to teach talented artists to sell their art online, but to dispel the “starving artist myth” forever. It is possible to make the art you want to create, live the creative life you want to lead, and make good money doing it.
There is no reason artists need to take a vow of poverty in order to create their art – it is possible to be an artist who makes regular, consistent sales by using the Web to sell directly to your fans.
Want to know how big you can go with this approach? Just to give you a little taste:
- Some of my artist clients have sold their work online for more than $20,000 per piece
- I've helped artists with over a million followers, who weren't making any money, turn that audience into a real business
- I help artists build businesses that enable them to keep making art for the rest of their lives
The Real Secret to Generating Attention and Traffic
Many artists think that they have simply have to hustle harder in order to get more attention, or that they need to spend a ton of time and money advertising on Instagram, commenting and sharing individual social media posts with their followers.
The truth is, neither of those things are strictly required to grow an audience and generate sales.
So how do you start attracting consistent interest in your art business?
The key is creating a regular process for reaching out to influencers: bloggers, journalists, famous people in your art niche, and other people who can help you. You can learn to develop your own Public Relations (PR) strategy.
The most important function of your PR strategy is to identify your target media outlets, understand their content calendars, and help them create interesting stories for their audience.
Here are the basics of a PR strategy:
- When you have your PR running, you’ve got a systematic way to bring in consistent, repeatable media attention
- Leveraging other people’s people is super effective at bringing new fans and collectors into your world. It's much higher leverage than trying to meet people one at a time
- Media attention keeps working day and night, getting shared on social media, broadcasting to new audiences, and bringing you new sales
If you’re selling one on one (like at an art show), you probably do this intuitively.
When you’re showing your work at an art show, gallery, or café, someone will walk in the door and look at your art. She gives you a compliment or starts talking to her friend about your work.
You start a conversation with her, and tell her about your technique, or what was happening to you as you were making the art. Her eyes light up with curiosity as she leans in and start asking you questions.
She asks you how you made it, how long you’ve been studying, and what your art is about. It becomes a natural conversation and an interesting story.
See the way that process flows naturally? Art is magical, and non-artists are almost always fascinated by an individual artist’s story.
That’s exactly what you do with PR. You’re just doing it with people who have a bigger audience than you: influencers, journalists, and others who will then share your story with their much larger audiences. Get one person interested, and you’ll potentially get thousands more.
You connect with a new fan who finds you on social media. Because they’re interested in what you do and they’d like to learn more, they follow through to your website and make a purchase.
You develop the relationship using your existing sales process, often by email marketing, by sending your subscriber regular stories about your work, photos of your creation process, and other interesting content.
Your email list explodes in size, helping you gain confidence in your sales process by enabling you to test and tweak your marketing in a virtuous cycle.
You get more sales via your website.
You turn that new customer into a repeat buyer by continuing to build your relationship via email and social media, getting them excited about your events, and transforming them into a super fan.
PR is simply developing a system to make all of this happen regularly.
You complete the building of a sales system that is automated, scalable, and runs 24 hours a day, 7 days a week – even if you’re an introverted artist, and even if you consider yourself someone who is “bad at selling.”
By putting yourself out there in small ways with a small group of journalists, and you can turn that into connecting with thousands.
The Four Biggest Myths About Social Media and PR
Let’s sort out some of the biggest myths about PR and social media.
Myth #1: It’s hard to get media coverage.
Fact: Artists get media coverage every day. Quite often it's actually really easy. There are thousands of small media outlets like local newspapers, blogs, and other organizations that need new stories to tell their readers.
If you make it easy for them, you can land small media placements quickly, often in just a few days or weeks. This placement then allows you to leverage it into bigger media placements with larger organizations that reach millions and have a lead time of months.
Myth #2: You're supposed to grow a massive social media fan base
Fact: Most artists who have a huge fan base got there by building a PR campaign. If you see an artist with 100,000 followers, it's almost certain that they are famous in some other way and people found them on social media after they became famous.
We will show you how to use large platforms to grow your own audience of people who love you.
Myth #3: I have to be in a major art city to get media coverage.
Fact: While you might not end up in the New York Times or Hyperallergic, you can still land effective press coverage in nationwide magazines, regional magazines and blogs, and niche publications that can rapidly increase your sales.
There are literally thousands of media outlets. By focusing on the small and mid-size media outlets, you can bring lots of attention to your art without competing against the big galleries and auction houses that are sucking up all of the attention from the big media companies.
Myth #4: You have to be a great writer or have a remarkable story to get media attention.
Fact: While it certainly helps to have great writing chops and a remarkable story to tell, it's not required. In fact, most news isn’t that remarkable. It’s all about how you tell the story. Story structure can be learned.
The truth is that most artists have an interesting story at the root of their art. They just need to learn how to express it. If you can formulate a basic, mildly interesting story, you can get published by many media outlets.
Feedback From Students
The first press release ended up bringing in features in five different regional papers, features in newsletters and put me in touch with tons of regional organizations which took an interest in the project. Maybe most importantly, that networked me into a bunch of contacts that I can still draw from today. I can probably attribute at least 1000 email signups which all came from the project and the press releases around it, and doing the press releases were absolutely a direct influence from TAA.Eric Jackson, Fiber Artist
Introducing Media & PR for Artists
Here’s how it works:
As soon as you join the course, you’ll get access to a series of video lessons, transcripts, a workbook, and other resources to help you grow your audience and make more sales.
You ALSO get access to our group calls with Cory Huff, the founder of TAA, and business coach for artists. Cory has been helping artists sell art online since 2009. He has helped hundreds of artists just like you figure out how to navigate the hidden path of the fine art career.
The calls are scheduled for:
Monday, May 8 Orientation session, then Mondays May 15, 22, 29 and June 5 at 2 PM Pacific / 5 PM Eastern.
All calls are recorded, and you can ask questions in advance and watch a replay, in case you can’t make the live call.
Media & PR for Artists is a multimedia online training, designed to take about 10 hours over 4 weeks, that teaches you to break down the media’s garden walls and go around the gatekeepers, so you can bring your art the attention it deserves.
By the end of this training, you’ll know how to:
- Design a press kit so you know exactly what to pitch to your media contacts
- Make friends with journalists, bloggers, and influencers and leverage those contacts into media attention
- Pitch stories in a meaningful way and then follow through to make sure they happen
When you join the course, you’ll get a series of video lessons, transcripts, a workbook, and other resources to help you create automated, scalable systems for your art business, so you can make more money and have more fun talking to people about your art.
Here's a complete breakdown of what you'll learn in each module...
What’s Inside Media & PR for Artists
Module 1: Promotion Principles
Does the process of reaching out to journalists and bloggers mystify you, leaving you with no idea what to say? In this module, we will show you what to promote that gets media attention and how to build your promotion list.
Module 2: Materials That Get Attention
We will teach you how to put together a press kit, a handy tool that you can refer to over and over again when you are asked for contact info, images, and other press materials.
Includes real example press kits, press releases, and pitches from successful artists, including several who have completed this course in the past.
Module 3: How to Identify and Leverage Influencers
Beyond journalists and bloggers, the world is full of influencers, celebrities, social media mavens, and other people who have massive influence with your ideal collector audience. We will show you how to research, identify, and reach out to your influencers to get them to share your art with their audiences so you can keep leveraging other people’s people.
You will begin reaching out to journalists, bloggers, and other media organizations to pitch your stories. We will teach you how to understand media editorial calendars, submission processes, and the difference between pitching magazines, blogs, tv shows, and other media.
Module 4: Social Media & Coordination
In this module, we will walk you through how to ask for social media shares, how to turn your website into a social media sharing machine using viral marketing tools, and how to make your images more shareable so you can turn your fan base into an evangelizing army bringing you more website traffic and sales.
We will also show you how to coordinate your campaigns to bring the maximum effect all at once. The best PR efforts make sure that all of your marketing works together in a coordinated fashion.
"I just had my best month ever in November making almost $12,000 in gross sales. I quit my job. The class, and the help of the Facebook group was one of the best investments I have ever made."Adam Hall
One of my collectors was a patron for New York Botanical Gardens. I sent her [my media kit] and asked if she could put me in touch with staff that would be interested in my images. She did and I had an arrangement for them to have limited copyright for 8 images in greeting cards for one year.Maud Guilfoyle
When You Enroll Today, You’ll Also Get…
When You Enroll Today, You’ll Also Get These Bonuses…
Access to a Coaching Call With Cory
These calls are designed to help you with any specific questions you might have as you work through the course material. Got a question like, “I do lots of different kinds of art. How should I focus my marketing message?” Submit your questions as they arise, and I will address them live on the call. If you’re stuck on a particular homework assignment, this is the perfect place to get unstuck – ask questions about any of the content or assignments from the course, or any overall art marketing question you may be wrestling with.
If you can’t attend the coaching call live, that’s no problem! All the calls are recorded and you have lifetime access.
Private Online Artist Community on Facebook
Launching (and growing) an online art business can be really lonely, and I often hear from my clients that they feel really alone when they’re trying to build their online audience and connect with potential buyers. When you’re on your own, you’ve got no one to turn to for support and advice if you get stuck or need advice on what your next step should be. That’s why I’ve put together our online community, where you can connect with a vibrant and active community of like-minded artists. In this group, you’ll be able to talk with other artists, ask questions, get ideas for areas where you’re stuck, build friendships with your classmates, and celebrate your successes. Note: you don’t have to have a Facebook account to access the course materials or participate in the course, but you may miss some of the conversations between students.
Once You Finish the Four Core Modules, Here’s How to Take Your Business Further…
After you’ve completed the four main training modules, you can also dig into these valuable bonuses:
Pitch templates for Media Outreach
Get this one-of-a-kind set of pre-written emails for marketing your art. These templates will help you quickly and easily write and send emails, without ever having to face the dreaded blank page.
Just pop your own information into the appropriate spots, and click “send!”
Successful Artist Interviews
Get over 10 hours of recorded video and audio interviews with successful artists, writers, and other creatives who are making a living from selling their work online.
This interview series includes conversations with Chris Guillebeau, Owen Garratt, Kelly Rae Roberts, and more – they’ll talk about their work, their online strategies, and how they make a living from their work.
The Great Clutterbust
Discover how to fall in love with your studio (or other art creation space) and fire up your creative joy with Melissa Dinwiddie’s Great Clutterbust course.
Melissa is an artist, Happiness Catalyst and Creativity Instigator who helps people turn their creative taps to “on.” She will walk you through the step-by-step process of decluttering your space, creating order out of chaos, and making room for creating your art.
The Abundant Artist’s Art Marketing Checklist
This step-by-step, printable marketing checklist gives you the exact steps you can follow to market your art online and make more sales. You can use this checklist as you create each new piece of art, to document your creation process and tell your story online.
"I’ve made sales of originals I almost painted over because they’d sat around for sooo long. I love seeing many bucks flowing into my bank account! I’d say close to 10K from painting and sculpture sales."Angela Treat Lyon
"Yes! I sent a newsletter with a call to action advertising an Open House for my new studio and classes (limited to 8 students) and had a great turn out. I sold prints, filled my classes, increased my email list and had a few prospective buyers. I also sold a painting online with the shopping cart which totally surprised me! Very pleased - this would not have happened without your help turning the social media switch on - thank you."Anne Kindl
"The biggest thing I took away from the class and I guess the most useful was the research methods and tools for figuring out where to look to promote my art."Aron Johnston
My first ever art calendar print run has sold out. We got it together and printed whilst I was doing the Content Marketing course. We made a few hundred euros! Think doing the course gave me a bit of a boost to get it out there.Gill
In 2015 my sales increased by about 50% versus 2014. 2016 sales are on their way to double 2015.Frederic Lecut
"I sold $100 worth of art before the class was over. I really enjoyed the step by step instruction on how to actually DO the THINGS! Plus we had the added benefit of getting help from the group which was awesome. I learned so much! I'm still working through the course, it's just packed with information. I will recommend this to others, it's awesome.”Anne Marie Talon
$77.72 has been transferred to your account. I know it is a little bit, but it was a little bit that required NO effort on my part. THANKS Cory and class for the kick in the pants. I am expecting this trickle to be the beginning as I tighten up my website and supporting social media.Gwen
Join Media & PR for Artists Today and Get:
All of these bonuses are included when you sign up for Media & PR for Artists!
The full Media & PR for Artists course
including 4 information-packed modules
Short, focused videos and lessons you can watch on any device
so you can go through the lessons a little bit at a time
Lifetime access to the entire course
so you can re-watch the videos or refer back to the worksheets, tools, and resources at any time
Easy, actionable steps you can use to create immediate changes
start bringing attention to your work right away and build momentum
Access to Coaching Calls
with me and other artists taking the course
Access to a student community
where you can connect with other artists, ask questions, and network
All the additional learning bonuses, including the Email Templates, the Artist Interviews, the Great Clutterbust program, the Abundant Artist’s Art Marketing Checklist, and more!
My Guarantee: Double Your Website Traffic
I’m confident the Media & PR for Artists course will help you reach your art marketing goals. If you’re not happy with the course, or you’re not making real progress toward making consistent art sales, I will personally get on the phone with you and help you figure out your next steps.
If you’ve done the work from the course and you’re not satisfied with the program after that call, just let me know, and I’ll happily refund your full purchase price.
Frequently Asked Questions
I’ve been a getting a lot of questions about Media & PR for Artists, so I thought I’d take a minute to answer the most common ones right now.
Question #1: “What is the difference between this course and How to Sell Your Art Online 101 or 201?”
HTSYAO 101 is primarily a course for people who hadn’t made their first online art sale. It was designed for the artists who wanted to learn how to effectively tell their stories to their potential buyers.
How to Sell Your Art Online 201 is primarily for artists who are already making sales, but want to create systems to start getting steady income from their art businesses.
You don’t need to have completed HTSYAO 101 or 201 to sign up for this course – if you feel like you’re ready to do media outreach and grow your website traffic, we’ll welcome you with open arms!
Question #2: “Will this course work for my style of art?”
We've had artists from many different styles and mediums succeed with this class. Digital art, sculpture, jewelry, fiber art, encaustic and of course oils, watercolors and other styles of painting.
Styles have also ranged the gamut from realism to abstract to tribal.
There are a few things that tend to not work well for this class. If you make the kind of art that requires huge sums of public funding, or art that is overtly political around a specific contemporary event, then this course may not be a good fit. Otherwise, this class will definitely work for your style of art.
Question #3: “What do I need, in terms of my website and online presence, to take this course?”
You will need a website or other online presence. It's possible to grow an audience with just a social media profile, but it will be harder. Marketplace services where you have a single page on someone else’s website, like Etsy or Fine Art America, will not work for this course.
Question #4: “What do I need to have in place before taking this course?”
You should have a good idea of who your target collector audience might be, and track record of at least a few sales. Ideally, your website will also be set up to capture emails via an opt-in form, and you also have ecommerce set up on your website. If you don't have ecommerce, you should have some other way of selling your art.
You should also feel comfortable with telling a basic story about yourself, your art, and have some basic sales pitch skills. If you have never sold a piece of art before, we would recommend checking out How to Sell Your Art Online 101.
Question #5: “How long is the course going to take?”
The whole course takes about 10 hours of work, or about one hour a day for two weeks. If you have a day job, we totally get it – the course is completely self-paced, so you can break it down into tiny chunks and do the work a little bit at a time.
You get lifetime access to all the materials, so you can go through the materials at any time, and learn at your own pace. If you can devote at least 10 hours of work to this course, we can help you set up a basic sales funnel that start bringing in consistent sales from buyers who love your work.
Question #6: “Why did you rename the course?”
Two reasons: we're moving away from focusing only on Internet sales. After the pandemic, the art world has leaped forward in terms of comfort with ecommerce and selling online. We're moving toward a world where there the difference between online and offline marketing is becoming smaller.
The second reason is a little more practical: 301 implies that the student has taken other courses or is progressing through a series of courses. Many of our artists come to us now with training from other programs and we want to emphasize that you don't have to do our other courses in order to do this one.
Access to our members-only student community
Lifetime access to Media & PR for Artists, and 30 days access to other TAA courses when this one ends
Artist Websites That Sell Course
Access to our members-only student community
Lifetime access to Media & PR for Artists, and 30 days access to other TAA courses when this one ends
Artist Websites That Sell Course


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18 Aug Custom Shop Hop
A few members of the Ann Arbor Modern Quilt Guild and I are looking forward to our own customized shop hop on Saturday. Last May, Andrea from Brighton Modern Quilters (and Creative Quilt Kits in Brighton) and I met Sue, the owner of Sew Unique Threads at a quilt show. Sue was a vendor and looked like she had lots of stuff that modern quilters like so we decided to make a mini shop hop of our own.
Sew Unique Threads in Battle Creek will be our first stop and we may also stop at Bernina Sewing Center in Kalamazoo and Quilts at the Marshall House in Marshall. I will be looking for some fabric to go with the Daisy Janie Shades of Grey I cut up the other day. It should be a fun day!

domain: design


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By Delaney Corson, PourMyBeer
What accounted for the staffing crisis?
892,000 workers have chosen to leave the industry amidst the pandemic. At first, it was thought to be due to industry instability, but studies have shown that it goes well beyond that. The Washington Post stated: “The industry has 1.7 million fewer jobs filled than before the pandemic, despite posting almost a million job openings in March, along with hotels, and raising pay 3.6 percent, an average of 58 cents an hour, in the first three months of 2021.” This fact shows that workers are choosing to change industries despite plenty of job openings. Let’s break down the leading causes of workers leaving the industry.

domain: sociology


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O bserve the preserved section of spinal cord. Note the heavy covering of dura mater, which is firmly attached to the cord on each side by a set of ligaments (denticulate ligaments) originating in the pia mater. The intermediate layer of meninges, the arachnoid mater, is devoid of blood vessels, but in a live human being, the space beneath this layer contains cerebrospinal fluid. The pia mater, which is closely attached to the surface of the spinal cord, contains many blood vessels. What are the functions of these layers?_
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This ebook provides an introductory explanation of the workings of the human body, with an effort to draw connections between the body systems and explain their interdependencies. A framework for the book is homeostasis and how the body maintains balance within each system. This is intended as a first introduction to physiology for a college-level course.

domain: health


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(scroll to see the specifications)


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Hindustan Unilever (HUL) informed the exchanges that it has received approval from its board for formation of a wholly-owned subsidiary. The company will be incorporated with an authorized share capital of Rs 2,000 Cr.
The focus of this subsidiary will be on manufacturing activities in the fast-moving consumer goods (FMCG) segment. This shall bring greater agility to HUL in responding to market demand.
As per Business Standard’s article dtd 25th February a wholly-owned subsidiary is being formed in order to capitalize on the reduced 15% corporate tax available to new companies. As per the same article approx. 500-800 Cr. would be set aside for investment in manufacturing by the proposed subsidiary.

domain: finance


Travel troubles for drivers who use Interstate 19 will continue in the upcoming weeks. Next week, the Arizona Department of Transportation will begin replacing the bridge decks on I-19 at Pima Mine Road.
According to an ADOT release, the $4.5 million project, taking place 15 miles south of Tucson, will replace both the north and southbound sides of the bridge deck that goes over Pima Mine Road. Crews will also make improvements to travel lanes by reconstructing roadway and bridge approaches. They will also work on widening the southbound I-19 bridge, replacing guardrail end treatments and pavement markings, as well as other miscellaneous work.
Traffic should not be significantly impacted until mid-April, when the southbound I-19 entrance ramp from Pima Mine Road will be closed until the 13-month project is completed. Next week, construction crews will begin surveying and moving inc onstruction equipment into the project area.
During the ramp closure, traffic will be routed onto local streets to access southbound I-19 using either Sahuarita Road or Old Nogales Highway.
During the project two lanes of travel (one for southbound and one for northbound) will be remain open, as well as Pima Mine Road will remain open as well, with occasional closures for removing the existing decks and setting girders. Traffic will be detoured during this part of the project, and drivers should expect other occasional restrictions, including lane shifts, flagging operations during lane closures, and reduced speed limits. Drivers will still be able to access the nearby Desert Diamond Casino and ASARCO’s Sahuarita mine with only occasional brief delays.
The project is scheduled for completion in April 2018. Until then, drivers should be cautious in the work zone and slow down and watch for construction personnel and equipment.


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The latest construction project for Montreal’s upcoming light-rail train system (REM) is creating more traffic headaches for commuters downtown after as work begins for the future McGill station.
The commute was slower than usual on de Maisonneuve Boulevard on Monday morning as drivers and cyclists navigated the new work site.
“Well, it’s a bit of an inconvenience,” said cyclist Michael Gamanos.
“I have to use this path every day to get to work.”
The project marks the second phase for the future REM McGill station. Crews are building a pedestrian tunnel that will connect the city’s Metro system to the new station.
As a result, de Maisonneuve Boulevard between Robert-Bourassa Boulevard and McGill College Avenue is reduced to one lane for vehicles and only one side of the street is accessible to pedestrians
“It’s important work for us so next spring will be one of the most important phases of the building of this new station,” said REM spokesperson Jean-Vincent Lacroix.
As a result, cyclists are supposed to use other streets since the bike path is blocked off — but Gamanos says using options like Doctor Penfield Avenue make it impossible for him to get to work on his bike.
“I might have to look for other options,” he said.
WATCH: Town of Mount Royal demands new REM tunnel
Some Montrealers are still weaving through the traffic on de Maisonneuve on their bikes. Cyclists say that’s because the signs are confusing.
“Yeah they aren’t following the detour signs because they are not very clear right now,” said Mathieu Murphy-Perron. “Once things get clearer and there is a controller on site, things will go a lot better.”
This phase of construction is expected to last until the spring, when the construction of the McGill station is scheduled to start.
“This is one of the more important ones because it’s the excavation of McGill College to work underground to build the future station of the REM,” said Lacroix.
“After that, the work will continue until 2022.”


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OCHA is not nearly as overtly anti-Israel as other UN agencies. Even so, and even as it tries mightily to project an unbiased front, its hatred for Israel is clear in its very mission (which, by definition, is not concerned with any Palestinian Arab violation of Israeli human rights) as well as its reports.
A new slick OCHA report on the situation in the "OPT" in September provides a number of examples of the overarching bias, bordering on hatred, that the UN has against Israel.
Three times the report states:
Israel’s closure of Gaza crossing points continues, with only a slight increase in the number of truckloads allowed entry... The number of truckloads of imported goods allowed into Gaza increased slightly compared to August 2008....imports for the month were slightly up from the August figures.And what does "slightly" mean? It means that the number of truckloads of goods increased from 3565 to 4049, an increase of 13%.
Somehow, I don't think that a 13% monthly increase in, say, inflation or the stock market would be characterized by anyone as "a slight increase." But in its zeal to make Israel look bad, the UN will trivialize Israel's efforts to increase aid while maintaining its own security.
And then the UN chooses specific types of goods that decreased:
There was a noticeable decline in the number of truckloads carrying hygiene and cleaning supplies (82% less than in August), industrial/electrical appliances (33% less) and the non-edible consumables (39% less).If that is true, it must mean that some other goods increased more than the 13%, but the UN doesn't bother to break those down. It is apparent that Israel increased the amount of food, cement, gravel and fuel sent to Gaza significantly, but the UN doesn't mention this fact in its attempts to make Israel look as bad as possible.
Another section of the report praises smuggling tunnels:
In light of the inability of many Gazan businessmen to conduct trade through Gaza official crossings (Karni, Sufa and Kerem Shalom), Rafah tunnels have become a vital lifeline to obtain needed goods over the last year. Media reports estimate the number of tunnels to be in the hundreds, employing up to 6,000 Palestinians. On 25 September, the Hamas authority police introduced new regulations to control trade through the tunnels. A list of conditions were announced, among which was that all tunnel operators must meet certain standards in order for their tunnels to be licensed and allowed to operate. Numerous tents covering tunnel entrances are visible in the Rafah area and the industry is increasingly becoming open and controlled. The extent of the tunnel network is a direct result of the continued restrictions on access.Notice how the UN carefully refuses to mention the possibility of Egypt allowing trade to occur legally through Rafah.
Also note that not a word is mentioned about another major tunnel industry - weapons and explosives. Egyptian forces regularly find caches of dynamite and weapons in the Sinai around Rafah, meant for transport in these same tunnels that the UN considers a "lifeline."
Well, that is true if you don't consider the lives of Israelis who are the ultimate targets of these weapons to be worth anything.
Another indicator of bias, as the UN couches what should be considered good news into expectations of Israeli evil:
While the number of settler-related incidents decreased in September, there are concerns that settler violence will increase during the October olive harvest as has been the case during past harvests.Invariably, if something good happens the UN spins it to make Israel look bad.
Incidentally, the UN's definition of "settler-related incidents" includes unverified reports that the UN encourages Palestinian Arabs and NGOs to submit using a handy form.
On 15 and 16 September, Erez crossing was closed, except for emergency medical and humanitarian cases, in response to the firing of a homemade rocket from Gaza towards Sderot.The adjective "homemade" is purely meant to trivialize the threat of the rockets towards Israel, and the implication is that Israel must not bother to defend itself.
I wonder, if Palestinian Arabs would firebomb UN workers in Gaza, if the UN report would refer to the means of attack as "homemade Molotov cocktails."
And yet another:
Access for more than 60% of the Palestinian population to pray at Al Aqsa Mosque in Jerusalem was denied during the holy month of Ramadan (1-29 September). Palestinians from the Gaza Strip were denied entry, while the access of West Bank ID holders was regulated by a special permit regime, valid only on the four Fridays during the month.The absurdity of counting Gaza residents as part of the "60%" who were denied entry to Al Aqsa is self-evident, but it serves to make Israel once again look evil - for not allowing a large, unrepentantly hostile mass of people to cross though Israeli territory.
But this is the UN, and when UN staffers are tasked to only support one side of a conflict as they are in this case, one can expect that they will be singularly biased.

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In Reading, the Ombudsman also found in favour of an Alzheimer's patient. There Social Services were seeking to reclaim c£50000 by placing a charge' on the patient's house at the Land Registry. When the family filed legal objections, the Land Registrar instructed the Council to seek the authority of the Court of Chancery.
Before the Council could do so, the Ombudsman recommended that the Health Authority should pay.. Therefore, families should not allow themselves to be overawed!
Note. Here and in Croydon in a previous case which I eventually won before reaching the N.H.S. Ombudsman, the Local Authority Ombudsman refused to look at the legality of the Health Trust's action. All challenges should be aimed mainly at the N.H.S., not at Social Services, although there is no harm in complaining at the same time that they unlawfully accepted the patient for 'means testing' contrary to Section 21 of the National Assistance Act, 1948.


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