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'Rest in peace, my beautiful Diesel': Alyssa Milano mourns the death of her pet dog
Feeling sad: Alyssa Milano, pictured last year revealed her pet dog Diesel has died
Last month, she revealed via Twitter that one of her beloved pet dogs was suffering from cancer.
And on Sunday, Alyssa Milano mourned the sad deathof her Australian Shepherd with a poignant tweet.
'Rest in peace, my beautiful Diesel,' she wrote. 'I hope you're playing Frisbee at the dog park in the sky. I love you forever.'
Alyssa became concerned about
her dog's health last month, requesting her Twitter followers 'keep him
in her prayers' after his health deteriorated.
after first thinking he could have been suffering from liver failure,
the actress revealed his condition was worse than she initially thought.
'My Diesel has cancer,' she wrote. 'I'm heartbroken.'
Alyssa owns four other dogs including another Australian Shepherd, two Chihuahuas called Lucy and Gibson and a German Shepherd named Quixie.
She also owns ten horses and juggles looking after her 18-month son Milo.
Rest in peace: Alyssa posted the sad new on her Twitter page on Sunday night
The star once spoke to Animalworldnetwork regarding why she has so many pets. 'I have pets for lots of different reasons actually.
The glaring obvious reason is that I am overly maternal and nurturing, especially for babies, so I like to get lots of baby animals to take care of. The other reasons - companionship, being kind of alone in your own space isn’t as terrifying.'
Meanwhile, since giving birth to Milo by CAA agent David Bugliari, the 39-year-old has made a gradual return to the spotlight and will next appear in drama series Mistresses which will air in the U.S. in May.
Animal lover: Alyssa pictured with one of her Australian Shepherd dogs
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Our nation is facing a crisis of epidemic proportions. In the last two decades, the number of opioid-related overdoses has climbed at an alarming rate, turning a national issue into a public health emergency that impacts all races, genders and socioeconomic groups. According to statistics from the Centers for Disease Control and Prevention(CDC), drug overdose deaths involving opioids rose from 8,048 in 1999 to 47,600 in 2017. Among those overdose deaths in 2017, over 17,000 were the result of a prescription opioid overdose. The state of Michigan set a new record for overdose deaths that year with 1,941.
Even with the crisis deeply rooted in the Midwest region, it still comes to the surprise of many that opioid addiction can be found in their schools, workplaces or even their very own homes. The first wave of the epidemic occurred as a result of the increase in opioid medications to treat pain in the early 1990s.
For thousands of Americans, dependency on these addictive pain medications has led to an increase in heroin and synthetic opioid usage. Local experts working on all sides of the issue say that awareness, prevention and treatment are all key parts of the equation to help save lives.
“Of our time right now, it’s probably the leading health crisis,” said Adam Havey, executive vice president of business operations at Emergent BioSolutions. “I think we all have a responsibility to be behind and help solve (the problem).”
As the developer of the only anthrax vaccine approved by the Food and Drug Administration and Narcan, the brand name of the nasal spray used to deliver the opioid-overdose antidote naloxone, Emergent BioSolutions is no stranger to combating national health crises.
“I think we’ve come into this like we’ve come into many emergency situations in the past, like the anthrax situation back in the early 2000s: with an eye to our mission to protect and enhance lives,” Havey said. “We’ve tried to maintain that focus and make sure as many people as possible have access to Narcan, our nasal formulation of naloxone.”
A year ago, Emergent BioSolutions purchased Adapt Pharma, the company that invented and licensed Narcan nasal spray.
“The Narcan nasal spray and the formulation is the only FDA form of naloxone that is nasally administered,” Havey said. “That is ours and proprietary as an Emergent product.”
Havey said the company sees Narcan as a way to reverse the effects of an opioid overdose and a key medical countermeasure to help protect and save lives.
Emergent BioSolutions hopes to save lives by expanding access to Narcan, with a specific target on the population of Americans considered at risk of accidental overdose by the CDC.
“Of those 33 million Americans that are considered at-risk by the CDC guidelines of accidental overdose, about 21 million are receiving opioids prescribed by a doctor that meet those risk essentials,” Havey said.
Emergent BioSolutions works with all of the major retail centers — including CVS, Walgreens, and Walmart — to distribute Narcan through a standing order or on a prescription basis. In addition, the company is making Narcan available to community entities such as EMS, police and fire departments.
Havey said raising awareness of the company’s effective antidote in state and local communities is one of their key initiatives. Emergent BioSolutions has several programs aimed at schools, libraries and YMCAs designed to get naloxone out into the community. Havey said it is a common misconception that this is an inner-city problem, when in fact it is “an every community problem.”
Havey anticipates Narcan could be as readily available and administered as other similar emergency solutions, such as an EpiPen or automatic emergency defibrillator.
“The key part of this product and problem is you need Narcan nasal spray available at the scene,” he said. “Having it almost as a first-aid kit out there if it is needed is a key component of our mission.”
With 60% of overdoses occurring in front of a witness, friends and family around those who use opioids have the opportunity to intervene in an emergency.
“If a person was having an overdose event, and someone had naloxone and had been trained, that could save a life,” Havey said.
Having the community tuned in to the impacts of this epidemic is crucial, because the negative effects go well beyond addicts themselves. There are many costs associated with the crisis, including the burden on the health care and criminal justice systems.
“From a business perspective, one of the important components is the cost in the community,” Havey said. “Lost jobs, lost wages, lost efficiency, lost productivity-I think all of those costs factor into that.”
In addition to the tangible costs, Havey noted there’s an emotional cost: “We can’t as easily put a price tag on that, but that process is just as real as the hard costs of lost jobs and health care expenses.”
Larry Scott has served as the director of the Office of Recovery Oriented Systems of Care within the Michigan Department of Health and Human Services for two years and has over 30 years of experience in the field. His office provides state policy funding and oversight on substance abuse disorder prevention, treatment and recovery to regional entities that are responsible for providing those services to the community. He said one of the most common misconceptions is that people can be cured of addiction.
“People should understand that addiction is a chronic brain disease, which means that you are going to be in recovery for the rest of your life,” Scott said. “You’ll be in need of counseling and medication-assisted treatment.”
He said that while some might not believe in using medication to get off of a drug, it can be the best option to getting someone on the pathway to recovery.
“If their addiction goes untreated, it could have a devastating effect on their careers and maintaining their families,” Scott said. “Each person has their own needs for treatment and a recovery strategy.”
In addition to using resources to educate physicians and surgeons on proper prescribing, Scott also is involved with community coalitions to do opioid education and Narcan distribution campaigns. He said that this particular crisis is impacting all groups, races and genders, proving that opioid addiction does not discriminate.
Despite the devastating effects of the opioid epidemic, Scott noted that something good has come out of it: A number of community coalitions have sprung up across the state, consisting of family members who have dealt with the crisis.
“One positive out of this particular crisis is that we’ve had many family members that have become really strong advocates for treatment and prevention of opioid addiction and overdose deaths,” Scott said. “Through the grief process, through the education process, through the process of resiliency, they have actually become very effective advocates and tremendous peer support coaches.”
One of those coaches is Phil Pavona, founder and vice president of Families Against Narcotics in Ingham County. Pavona and his wife Pat lost their son, Eric, at age 25 to a heroin overdose in 2011. In the years after their son’s death, Pavona has been committed to helping families in similar situations by providing the type of support and resources that weren’t available when it happened to his family.
“When you have an addict in your home, once the disease of addiction hits, it’s terrible,” Pavona said. “These are good kids from good families, but they’re doing horrible things. They’ll say, ‘We never could imagine it could happen to us.’”
Many of the people Pavona works with were legitimately put on prescription medications before it got out of control. He said that people often delay seeking help because of the stigma attached to addiction, as well as the belief they can get through it alone.
“So often, they’ve had such success in their life that they have this misconception that they can get themselves clean,” he said. “I’ve never met a heroin addict who can do this on their own.”
Pavona said most of the families he works with involve young people in their mid- to late 20s or 30s – “You name a profession, I have one of their kids. Doctors, pastors, therapists, plumbers” – and come from suburban or rural backgrounds. Over 90% of the heroin addicts he works with began their addiction through prolonged prescription drug abuse, transitioning from expensive pills to what was cheaper and more readily available.
“When you have that in your own home, it’s so much chaos,” Pavona said. “There’s nothing worse. It’s the first thing you worry about when you wake up and when you go to bed.”
His son’s addiction took a financial and emotional toll, and the couple quickly realized the lack of resources available to families coping with addiction. Pavona founded the Ingham County chapter of Families Against Narcotics, providing local families like his with information and support.
The organization’s primary goals are raising awareness of the prescription opiate drug abuse epidemic, changing the face and stigma of addiction and having an impact on the community. The chapter was instrumental in making sure every police car within 25 miles of Ingham County is equipped with Narcan, something that wasn’t the case when Pavona’s son overdosed. Families Against Narcotics has peer recovery coaches in jails to help addicts who have been arrested. Through its Hope, Not Handcuffs program, nearly 2,800 people have been helped to get into treatment in the last two years.
“We’re helping the community access a whole bunch of things that were almost impossible to access before,” Pavona said.
It will take the awareness and support of everyone in our communities to address the opioid crisis head-on. Prevention, education, treatment, and life-saving Narcan are all key pieces to solving this complicated puzzle. By taking the first step of admitting our society has a problem, there can be hope for recovery.

domain: news


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ECO 346 - International Finance
Description: Mechanisms of international payments and evaluation of the international monetary system. Topics include exchange rates, balance of payments, international monetary cooperation, and connections between the domestic and international economy.
Credit Hours: 3
Prerequisites: ECO 241 or 245
This course has no upcoming offerings. Please contact the department if you have questions about when this will be offered.

domain: economics


text:
Over the last years, impactmania has interviewed 300+ impact makers from 30+ countries. We are revisiting some projects to demonstrate the stamina one must have — keep pursuing what you believe in — to drive change.
We caught up with Emily Callahan and Amber Jackson, Founders of Blue Latitudes.
The original interview is published here.
What has happened with the Rigs-to-Reef (RtR) Program since we last spoke in 2017?
Since our last conversation the Rigs-to-Reefs program has grown to be a reality in new areas of the world including Malaysia. Areas around the world are now also considering the reefing potential of other offshore structures such as offshore wind turbines. Amber and I also started a nonprofit organization, the Blue Latitudes Foundation (BLF) 501(c)3 in 2018. Our mission is to elevate the traditional concept of ocean stewardship by uniting government, industry, and the community to work together to conserve our oceans! In doing so, this foundation strives to explore innovative solutions to traditional marine conservation challenges. Our nonprofit seeks out areas of our oceans where industry and the environment intersect and yet have resulted in a positive benefit to the environment. The Rigs-to-Reefs program is a great example of this.
How many rigs are decommissioned? How many have become reefs?
In the Gulf of Mexico somewhere between 500 and 600 platforms have been reefed, in the Gulf of Thailand 7 have been reefed, there are several in Brunei and there may soon be several platform reefs in Malaysia as well.
What happened to Holly, the platform off the coast of my home, Santa Barbara, CA?
Platform Holly is still undergoing the decommissioning process. The wells associated with Platform Holly are still being plugged and abandoned and the California State Lands Commission (CSLC) will soon be conducting a feasibility study to determine whether complete removal or reefing the platform will provide the most economic and environmental benefit. Stay up to date on the CSLC website.
What are some of your general learnings from your work converting oil platforms into artificial reefs?
Rigs-to-Reefs provides an alternative to complete rig removal in which an oil company chooses to modify a platform so that it can continue to support marine life as an artificial reef. Not all platforms are suitable as reefing candidates, and in order for any platform to be considered for reefing, it must first undergo extensive ecological evaluations to assess any potential value it might add to the local ecosystem. Completely removing an offshore platform is costly and environmentally taxing, especially considering the ecosystems colonizing these structures. Beneath many oil platforms thrives a unique and robust marine ecosystem, with the average structure providing a home for thousands of fish and up to 6 acres of habitat.
RtR provides an alternative to complete platform removal, enabling oil companies to modify their platform structures so that they might continue to support marine life as an artificial reef. Through this decommissioning process, the oil well is capped, and the upper 85 feet of the platform structure is towed to another location, toppled in place, or removed. Repurposing oil platforms as artificial reefs through the RtR program not only provides an environmental benefit by reducing waste and preserving habitat, but also provides opportunities for new industry, such as offshore aquaculture, by upcycling the platform.
We spoke a bit about the complex situation of permit, consequences, and ownership of platforms in the North Sea. Has there been any movement and progress?
Any further development on encouraging the most optimal placement of wind farm turbines off-shore?
Blue Latitudes’ most recent development in understanding the impacts of future wind farm installation is being funded through a National Science Foundation (NSF) grant. Blue Latitudes was awarded a year-long $750,000 NSF grant for our project entitled ‘Advancing Innovative Convergence between Fisheries and Offshore Energy to Drive Adaptive Stewardship of Fisheries Habitat in a Dynamic Blue Economy’, as part of NSF’s Networked Blue Economy research tract within its Convergence Accelerator. This project aims to quantify how fisheries use the highly productive artificial reef ecosystems found on offshore oil and gas platforms and produce tools to better understand the impacts of future offshore development (e.g., wind installations) on fishers. Additionally, the Bureau of Ocean Energy Management (BOEM) has initiated an Environmental Assessment for Offshore Wind in the Gulf of Mexico. You can learn more about this opportunity and other federal programs to investigate the development of offshore wind here.
How are you and Amber? Still co-founders? What was a challenge you had to solve together? I recall there was a wedding?
Amber and I are both doing well and yes, both married now and starting families of our own! I recently moved back to the East Coast to Maine to open up our first bi-coastal office to help position us to tackle projects in the offshore wind space. Along with being co-presidents of the BLF we are also still co-founders of Blue Latitudes LLC which has grown quite significantly in the past four years since our interview with you! Most recently we received our first National Science Foundation (NSF) grant for our proposal titled “Advancing innovative convergence between fisheries and offshore energy to drive adaptive stewardship of fisheries habitat in a dynamic blue economy“, as part of NSF’s Networked Blue Economy (Track E) solicitation. Blue Latitudes will serve as Principal Investigators along with Louisiana State University, LGL Ecological Research Associates and Global Fishing Watch to accomplish the goals set forth by this two-year, $5 million dollar project.
The objective of our project is to accelerate convergence across two distinct ocean-related sectors, fisheries and offshore energy, resulting in improvements to sustainable fishery resources, the understanding of artificial reef ecology and its role in fisheries support, and economic cost-sharing benefits for energy industries and fisheries stakeholders. Our goal will be to quantify how fisheries use the highly productive artificial reef ecosystems found on offshore oil and gas platforms in the Gulf of Mexico by defining the value of these offshore structures as a fisheries resource and extrapolate this valuation process as a model for current and future offshore development (e.g., wind installations).

domain: geography


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Excuse me. Have you got a light? No? Well, maybe you should have visited this year's edition of Euroluce, the international lighting fair that rides pillion with the Milan Salone Internazionale del Mobile. But not to worry. Architonic has made a selection of some of the show's luminaries for you, so sit back and light up.
Among the larger, louder objects currently on display at London's Design Museum is the rather modest overall winner of this year's Brit Insurance Design Awards: a light bulb. Leaving aside the institution's somewhat hyperbolic description of the plaudits as 'the Oscars of the design world' for a moment, young British designer Sam Wilkinson's formally intriguing, low-energy 'Plumen 001' bulb – which marries expressive aesthetics with a sound eco-awareness – serves, among other things, to demonstrate that our love affair with artificial light is still going strong.
'Beth' by Carlo Colombo for Italian manufacturer Oluce
'Beth' by Carlo Colombo for Italian manufacturer Oluce×
After last year's Milan Salone del Mobile, that behemoth of a design fair, the New York Times' design critic Alice Rawsthorn asked 'Does the world need another chair?' Rawsthorn is not alone in believing that the answer is 'no', unless the chair in question, as she puts it, is 'gobstoppingly innovative, beautiful, sustainable, expressive, useful or whatever'. But the same surely goes for lighting, perhaps even more so given the fact that here are a collection of object types that rely on a continuous supply of energy to give them purpose – in terms of utilitarian function, at least.
Le Corbusier's 'Lampe de Marseille' from 1954, reissued by Nemo, Cassina's lighting brand
Le Corbusier's 'Lampe de Marseille' from 1954, reissued by Nemo, Cassina's lighting brand×
A tour of the recent Euroluce lighting biennale, which rides pillion with the Salone, will undoubtedly have left many a visitor agreeing with Rawsthorn's take on design excess. Over 40,000 square metres of Milanese exhibition hall were the setting for an exhaustive display of lighting products by a raft of international manufacturers, each attempting, naturally, to present their work as somehow different. The fact of the matter, sadly, is that such product proliferation brings with it a degree of uninspired and unnecessary reiteration. A greater emphasis, in general, on a more considered use of energy – aided to a large extent by developments in LED technology – hasn't necessarily been attended by innovation in formal or material terms, it would seem.
That said, there was a good deal on show that did switch us on. Below are just some of the exhibition's luminaries.
For a complete photo tour of Euroluce 2011 on Architonic's Facebook page, follow the links at the end of this article.
'Fold' by Ernesto Gismondi for Italian brand Artemide
'Fold' by Ernesto Gismondi for Italian brand Artemide×
Among respected Italian manufacturer Artemide's new products on show at this year's Euroluce was their 'Fold' task light, designed by Ernesto Gismondi, which, with its ultra-rational form and emphatically architectural relation to space, was particularly striking. No prizes for guessing, given its name, that the lamp's key feature is its adaptability: three hinged arms, fabricated from extruded aluminium, the last of which houses a row of LEDs, allow the piece to be fully extended, shortened for more compact work environments, or folded away entirely.
Architect Jean Nouvel's 'Micro Telescopic' lights at the Pallucco stand
Architect Jean Nouvel's 'Micro Telescopic' lights at the Pallucco stand×
Grand master of architecture Jean Nouvel left his mark on this year's Euroluce, not least in terms of the entrance (with retinue) he made at the Pallucco stand when meeting the press. (See the link at the end of this article for Architonic's interview with the celebrated French architect.) Nouvel's new, decidedly sculptural 'Micro Telescopic' lights for the Italian brand certainly created a strong impression, demonstrating how the creative still thinks like an architect when designing objects. The design of these LED-powered floor and pendant lamps invites the user to create a dialogue with the space in which they are placed by determining their length. 'I like elementarity,' Nouvel tells Architonic. 'The lamp is just one line where you can't see the light source itself.'
Ramón Esteve's 'Link' modular lighting system for Spanish label Vibia
Ramón Esteve's 'Link' modular lighting system for Spanish label Vibia×
In contrast to such concerted rationalism, Ramón Esteve's 'Link' lighting system for Spanish label Vibia takes a more maximalist approach. It applies the recent trend for non-uniform modularity in furniture to ceiling-mounted lighting, allowing the creation of a range of dramatic, architecturally inspired geometric schemes, which play with volume, depth and contrast. Reminiscent of a urban skyline, only inverted, the system, when installed, requires only one electrical connection, and the light can be dimmed according to the user's wish.
A number of lighting designs shown at this year's edition of Euroluce had a strong graphic presence, displaying an emphasis either on line or a certain flatness. Among them was Milan-based designer Valerio Cometti's 'Rise' wall light for Italian brand ITRE, whose flat, circular form at once conceals the light source that lies behind it, while revealing in a highly controlled manner an auratic glow around it. A slit in the middle of the piece heightens the sense of considered restraint, as it permits a small degree of illumination through it. Ambience guaranteed.
'Rise' by Valerio Cometti for Italian brand ITRE
'Rise' by Valerio Cometti for Italian brand ITRE×
Meanwhile, Luxit have produced a family of lamps by Alberto Basaglia and Natalia Rota Nodati that unite strong, super-thin lines often associated with task lighting with a bold, primary-colour-based decorative palette. Both the table and floor versions can be repositioned easily (just two fingers are all you need, claims the manufacturer), allowing its powerful LEDs to get to work. The dimmable floor lamp also houses a speaker that serves its integrated, remote-controlled radio and comes with Bluetooth connectivity.
Alberto Basaglia and Natalia Rota Nodati's 'Top Four Table' lights for Italian label Luxit
Alberto Basaglia and Natalia Rota Nodati's 'Top Four Table' lights for Italian label Luxit×
Celebrated, Milan-trained designer Carlo Colombo has created a pared-down, strongly silhouetted lamp called 'Beth' for Oluce, producer of such classics as Vico Magistretti's 'Atollo' table lamp and Joe Colombo's '281' acrylic light, which features in MoMA's permanent collection. Carlo's design, which sits somewhere between floor and table lamp in terms of size, formally references 1970s lighting design, yet, technically speaking, it's right up to date. A special satined, anti-glare lens sits within a glossy aluminium housing, creating an indirect, diffused lighting effect.
'Ovalo' table lamp by architect Seppo Koho for Finnish label Secto Design
'Ovalo' table lamp by architect Seppo Koho for Finnish label Secto Design×
More organic in terms of its use of material, but just as graphically oriented, are Finnish label Secto Design's wooden lamps, which combine the warmth of natural or lacquered birch (what else?) with the creation of volume through the repetition of line. Designed by architect Seppo Koho, these simple yet compelling forms are hand-made in Finland, and the collection, which was launched in 1999 with the 'Secto 4200' pendant light, is augmented this year by a trio of new designs: the 'Ovalo' floor, table and wall lamps.
Eschewing the graphic for the expressive and/or the sculptural, a certain number of new lighting designs were attracting second looks in Milan. Young British designer Benjamin Hubert's die-cast-aluminium 'Frame' wall light for Italian manufacturer Kundalini was one of these. (For Architonic's pre-Milan interview with Hubert, follow the link at the end of this article.) Hubert has created a design that speaks at once of presence and absence. The expressive, solid form fascinates precisely because of the lack of material at its centre. But this isn't just a case of a hole for hole's sake. The void allows light to reflect around its inner surface, while framing the illuminated wall itself.
'Frame' by Benjamin Hubert for Italian manufacturer Kundalini
'Frame' by Benjamin Hubert for Italian manufacturer Kundalini×
Italian lighting brand Foscarini exhibited this year both at Euroluce and outside the fair at Superstudio Piu in Milan's Zona Tortona. Among their new products on show was a striking piece by German designer Werner Aisslinger called 'Behive', whose generous, round form is brought into relief by its contrasting narrow base. What's particularly interesting about Aisslinger's design, however, are its concentric rings, whose shape and tilt mean that the light source contained within the lamp isn't visible from any angle. Furthermore, the object isn't a dead one, so to speak, when you switch it off. The play of light and shadow that the rings perform continues, albeit in reverse.
Werner Aisslinger's 'Behive' table light for Italian brand Foscarini
Werner Aisslinger's 'Behive' table light for Italian brand Foscarini×
Venice-based designer Luca Nichetto is always keen to push technical and material boundaries, and his new light for Established & Sons (which was shown as part of the British label's show at the Versace Theatre in town, rather than at the fairgrounds) is no exception. Called 'Dame', it diffuses light through its decorated inner thermo-formed shade, whose component parts can be configured in different ways to create illumination appropriate to the space in which it operates. Technology transfer is the name of the game here, with the manufacturer stating that the 'innovative layering of materials is borrowed from automotive manufacturing and has never been used in the production of light fixtures before'.
Luca Nichetto's 'Dame' pendant light for British design brand Established & Sons
Luca Nichetto's 'Dame' pendant light for British design brand Established & Sons×
Fellow British design brand Innermost, also exhibiting beyond the fair – this time as part the UK design platform Design Junction – showed among their new products a family of lights by New York-based design trio Rich Brilliant Willing. An evolution of the interdisciplinary design studio's 2009 'Clinker' coffee table, the series of pendant lamps, also called 'Clinker' (why change a good thing?), tips its hat to traditional boat-building techniques, with its overlapping wooden slats of varying lengths. Available in different finishes, the result is an intriguing kind of controlled disorder.
'Clinker' by Rich Brilliant Willing for UK label Innermost
'Clinker' by Rich Brilliant Willing for UK label Innermost×
Nothing disorderly, however, about established French designer matali crasset's highly logical, cascading 'Rhizome' pendant light for Spanish producer Arturo Alvarez. Part mobile, the metal-plate structure takes a cue from a different design discipline – the graphic – turning the way a rhizomatic diagram functions in two dimensions into a 3-D piece. With the light source largely concealed at the product's core, light is reflected and diffused by its myriad branches.
matali crasset's 'Rhizome' pendant light for Spanish brand Arturo Alvarez
matali crasset's 'Rhizome' pendant light for Spanish brand Arturo Alvarez×
More metaphor can be found at work in lighting-design grandee Ingo Maurer's new, highly sculptural steel-and-aluminium 'Radarrr' floor lamp. Drawing on the language of aviation and military technology, this piece replaces detection with illumination, its screen reflecting and dispersing light. A ball-joint makes it possible to turn and angle the lamp's head, which sits atop a tripod that's just shy of two metres in height.
German lighting designer Ingo Maurer's 'Radarrr' floor lamp for Ingo Maurer
German lighting designer Ingo Maurer's 'Radarrr' floor lamp for Ingo Maurer×
It's often said that a sign of a true design classic is its ability to avoid visual obsolescence. This was certainly true of a number of products at Euroluce, among them Danish architect Jørn Utzon's 'U336' pendant lamp by established Finnish brand Artek, first launched in 1957 and back in production this year. With finishes available in painted white, chrome and brass, the design's use of contrasting curves is still highly contemporary. And we can't be the only ones to see echoes of Utzon's masterpiece Sydney Opera House in the design.
Jørn Utzon's 'U336' pendant lamp, first launched in 1957 and reissued by Finnish brand Artek
Jørn Utzon's 'U336' pendant lamp, first launched in 1957 and reissued by Finnish brand Artek×
From one Dane to another. Verner Panton's iconic and aptly named 'Onion' pendant and table light from 1977 has been given a new lease of life by Verpan, who have issued the piece for the first time in copper and silver. The lamp's various layered 'skins' serve to conceal the light source while creating a pleasingly diffused type of illumination. But you wouldn't expect anything less from a 20th-century design legend, would you?
Verner Panton's 1977 'Onion' pendant light, produced for the first time in a copper colour by Verpan
Verner Panton's 1977 'Onion' pendant light, produced for the first time in a copper colour by Verpan×
Two further greats of design history – Le Corbusier and Charlotte Perriand – were present at Euroluce in the form of their lighting designs, both produced by Cassina's lighting brand, Nemo. Corbu's idiosyncratic yet highly functional 'Lampe de Marseille' from 1954 takes a cue from the industrial lighting of its time, while Perriand's reissued 1962 'Applique à volet pivotant' wall lamp is also a pragmatically oriented piece, featuring a pivoting screen that directs the light according to the user's need.
'Applique à volet pivotant' by Charlotte Perriand, first produced in 1962 and now in production again by Cassina's lighting brand, Nemo
'Applique à volet pivotant' by Charlotte Perriand, first produced in 1962 and now in production again by Cassina's lighting brand, Nemo×
Swedish-born Greta Grossman's name might have faded with the years, but during the 1940s and 50s she was at the height of her profession, working in America on commissions from professional clients with a taste for the contemporary. Participating in the trend for reissuing classic designs in new colours, Danish design brand Gubi exhibited Grossman's iconic 'Grasshopper' floor lamp in a range of new, senstively considered colours, including blue-grey and vintage red.
Greta Grossman's 1947 'Grasshopper' floor lamp, reissued by Danish brand Gubi in a number of new colours
Greta Grossman's 1947 'Grasshopper' floor lamp, reissued by Danish brand Gubi in a number of new colours×
In contrast to the many lighting products that attempt to hide the source of their illumination and diffuse and reflect light through various formal elements, there's a certain truth, if you will, in lamps that almost design themselves out of the picture by making it all about the light itself and not much else. A number of such products were on display at Euroluce, but chief among them were those by Austrian manufacturer Zumtobel and by Finnish brand Artek.
'Light Fields' lighting, produced by Austrian lighting manufacturer Zumtobel
'Light Fields' lighting, produced by Austrian lighting manufacturer Zumtobel×
Zumtobel's LED-powered 'Light Fields' range of lighting provides efficient, brilliant illumination, which, thanks to its transparent, thermoplastic (PMMA) diffuser, eliminates glare. The lights can be surface-mounted, recessed, or installed as pendant lamps, and their highly reduced aluminium frame make them suitable for offices, among other environments.
Ville Kokkonen's 'White Lights' lighting family for Finnish brand Artek
Ville Kokkonen's 'White Lights' lighting family for Finnish brand Artek×
Meanwhile, Artek, better known for its highly expressive designs when it comes to lighting (see Jørn Utzon's 'U336' pendant lamp above), has performed a rather curious, yet successful, departure from this in the form of its design director Ville Kokkonen's new 'White Lights', which privilege the light source while dramatically reducing the material presence of the products themselves. Kokkonen's no-nonsense, ultra-utilitarian table, wall/ceiling and pendant lamps provide a much needed dose of pure light in those long, dark winter months. Very Scandinavian.

domain: design


|by MAC | April 11, 2010|
This conclusion should come to no surprise to anyone who is familiar with ASUS' Republic of Gamers product line, since they keep on getting better and better. The Maximus III Extreme is no exception since it is easily the most well designed motherboard to have ever come through our labs. Not only does it feature SATA 6Gb/s, USB 3.0, and Bluetooth, but it looks downright awesome. The layout is effectively perfect as well, packing 5 PCI-E x16 slots onto a regular ATX form factor without making any compromises as to the accessibility of the various ports, buttons, headers, voltage readouts, etc.
We spent quite a few weeks with the MIIIE, looking for any and all issues, and frankly it's operational record was spotless. The numerous included applications and features all functioned perfectly from day one which quite often is not the case with new boards. We weren't able to try some of the cool new functions like ROG Connect Bluetooth, which can be used to monitor and manipulate system settings and info from a smartphone, but that's because we didn't have an Android, Symbian or Windows Mobile phone on hand.
The USB BIOS Flashback feature is unprecedented though. It allows users to update the motherboard's BIOS from a USB thumb drive without even booting the system. All you have to do is plug the drive into the ROG Connect port, push the ROG Connect button for 2 seconds, and BIOS is automatically updated, without having to enter the BIOS or boot to OS. Why is this important? Well imagine if your motherboard won't boot because it doesn't recognize your CPU. Well instead of having to find a compatible CPU and then flashing the motherboard, you can now just update the BIOS right away with the push of a button.
The very attractive cooling system proved quite adept at handling the motherboard's heat output, even with the usually hot-running NVIDIA NF200 chipset onboard. We didn't give the board any active cooling whatsoever, even during our crushing overclocking tests yet it never faltered. Speaking of overclocking, this motherboard absolutely shined, despite again being 'limited' by a pre-production BIOS. We achieved 3 new best results out of our 5 overclocking categories, which is very impressive by any measure. Keep in mind that we stuck to air-cooling, so those with extreme cooling methods will see even greater gains, especially if they make use of the all new circuitry and features that have been specifically added for sub-zero overclocking. We certainly can't think of a better motherboard to accommodate the rumored multiplier-unlocked Core i5-655K and Core i7-875K processors.
Despite the fact that we were using a beta BIOS, the overall performance was very strong, generally neck-and-neck with the more mature Maximus III Formula. Surprisingly, the dual SLI performance was not quite were we with though it would be, since we would have assumed that the MIIIE's proper x16/x16 configuration would outperform the MIIIF's x8/x8, but that was not really the case. We can lay some of the blame for that on the NVIDIA NF200 chipset, which does cause a latency hit. However, we are hoping that a final retail BIOS closes the gap a little bit.
At $350, this definitely an expensive motherboard for the LGA1156 platform, but it targets a very specific enthusiast segment and it will only be available in limited quantities. If you want one, they should hit the retail channel on April 26th.
- Solid performance.
- Republic of Gamers theme looks good.
- Excellent layout.
- Nice spacing between the PCI-E slots.
- 3-Way SLI capability, 4-Way CrossFireX capability, 5-Way GPU support.
- Best overclocking P55 motherboard yet.
- Good failed OC recovery.
- Excellent voltage regulation & output.
- SATA 6GB/s, USB 3.0, Bluetooth connectivity.
- Eight 4-pin PWM fan headers.
- Three thermal sensor headers & cables.
- Superb, user-friendly BIOS.
- Comprehensive software suite.
- ROG Connect is like nothing we have seen before.
- Two socketed BIOS chips.
- Might be priced out of the range for the LGA1156 market.
- Voltage read points are too simplistic, need a way to attach voltmeter leads directly to the motherboard.
- Large CPU coolers + tall memory heatspreaders can cause installation annoyances.
- No IDE or Floppy connectors (should be a non-issue nowadays).
- No SupremeFX X-Fi audio card.
Our thanks to ASUS for making this review possible!
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text:
Funded Project Details - FY2021
|Title:|| BLRD Research Career Scientist Award Application|
|Congressional District Code:
||Biomedical Laboratory R&D
|| April 2020 -
|FY 2021 Funding Amount:
|Total Award Amount
View full abstract and other project information on NIH RePORTER
Go To NIH RePORTER
Summary Our Veteran population has higher prevalence of diabetes mellitus and increased risk for developing cardiovascular diseases (CVD) as compared to general population. Since diabetes is generally associated with hypercholesterolemia, aggressive lowering of plasma LDL-cholesterol (<100mg/dL) is recommended for diabetic patients. Achieving these stringent goals and reaching the targeted low LDL cholesterol levels in high risk patients remains challenging. Thus, novel and superior therapeutic...
Questions about the R&D website? Email the Web Team
Any health information on this website is strictly for informational purposes and is not intended as medical advice. It should not be used to diagnose or treat any condition.

domain: medical


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Each year BOFA brings international and local actors, directors and producers to educate and entertain. So, look who’s coming to BOFA 2019!
This year we are delighted to welcome great names of the Australian film industry, new talent from the Tasmanian and Australian film industry and, for the first time, film-makers from Indonesia. They bring their extensive film knowledge, expertise and experiences to the audience, with remarkable stories of their craft. This also provides Tasmanian filmmakers with the opportunity to learn from these luminaries of the industry. This is a rare opportunity for all of us to meet, chat and celebrate with faces and names we normally only see on screen or in print at BOFA 2019.
MEET THE GREATS OF MY BRILLIANT CAREER
We are excited to announce the late breaking news that iconic New Zealand actor, Sam Neill, will be our guest to celebrate the 40th Anniversary of My Brilliant Career. His role as Harry, the romantic male lead, led on to acclaimed roles in Jurassic Park, The Piano and Tasmania based The Hunter (BOFA 2011). He has also featured in well-loved film like Robbery Under Arms, Plenty, opposite Meryl Streep, Dead Calm, Death In Brunswick, Hunt for Red October, The Dish, The Daughter and Sweet Country. Born in Northern Ireland, and now living in Australia and NZ he is a Silver Logie winner (Jessica), AACTA Award for Best Actor (Evil Angels) and Best Supporting Actor (The Hunt for the Wilder People).
In 1979 Gillian, only in her 20’s, directed the multi-award-winning film My Brilliant Career. She received two AFI Awards and at the film’s release, she was the first woman to direct a feature-length movie in Australia in almost 50 years. Her feature films and documentaries include Star Struck, The Last Days Of Chez Nous, Little Women, Oscar And Lucinda, Charlotte Gray, Unfolding Florence: The Many Lives Of Florence Broadhurst, and Love Lust And Lies. Gillian’s most recent feature documentary, Women He’s Undressed, premiered at the 2015 Sydney Film Festival. She has been the Chair of Judges at the Cannes Film Festival and the first President of the Australian Director’s Guild.
Meet and hear Sam & Gillian talk about their careers in film at our Saturday Red Carpet Cocktail Party in Launceston on Saturday 18 May
Hear Gillian’s views on women in film and life today at Brilliant Careers, Strong Women in Launceston at 2pm, Sunday, May 19, TasTAFE Drysdale Campus, 93 Paterson St. Free.
CHECK OUT THIS OZZIE TALENT
Four years in the making, Defend, Conserve, Protect, had its world premiere last month AND won Best International Feature Documentary at the American Documentary (AmDocs) Film Festival. With its Australian premiere at BOFA 2019 in Launceston and Hobart it will release theatrically in Australia mid-year recounting the Sea Shepherd’s fight to save the Minke whales from the Japanese slaughter of this endangered species. Stephen has also directed films such as The BBQ with Shane Jacobson.
Stephen, plus a panel of experts, will discuss the film’s production and the current whaling issues post Japan’s exit from the World Whaling Commission on Saturday, May 11 from 4:00pm to 5:30pm at the Duke Hotel, Hobart after the screening at 2pm. Free event.
Hobart born and Sydney-based Ted’s first feature film, Under the Cover of Cloud, is set in (umm..) Hobart, of course. Hailed by Broadsheet as “ .. a miracle of a film, both strangely familiar and quite unlike any Australian movie I’ve seen.” Under the Cover of Cloud was a breakthrough success at the Melbourne International Film Festival and has screened at the Screenwave International Film Festival in Coffs Harbour.
Ted will be in Hobart for the Red-Carpet opening night screening of his film on Friday, 10 May at 7:30pm. Join him and members of the cast (his family) and crew for the after party at the Duke Hotel to celebrate bringing his film home. Who knows, you might even see Boonie there. Cost is $50 under-the-cover-of-cloud-after-party.eventbrite.com.au
Trish, who has been Artistic Director of BOFA since 2012, has produced 18 feature films and documentaries. Her films include: Gettin’ Square, Subdivision, Frackman, Early Winter, Wik vs Queensland. Her latest production, The Eulogy, premiered at the Melbourne International Film Festival, winning the $50,000 bi-annual David and Joan Williams Documentary Fellowship. It will have its Tasmanian Premiere at BOFA Hobart and Launceston.
Trish will conduct a Q & A on issues raised by The Eulogy in Launceston, Friday, 17 May at 2:00pm. She will also interview Gillian and Sam at the My Brilliant Career cocktail party
Heath’s feature film, Book Week, has screened at the Melbourne International Film Festival and has just won Best Film and Best Actress (Susan Prior) at the Ozzie Indie Film Awards. Heath also directed the feature film Broke, which won Best Screenplay in 2016, has an upcoming release, Locusts, and has plans for another film he describes as “The Big Lebowski set in western Sydney”.
Book Week is the opening night film in Launceston, 16 May at 7:30pm . Join Heath at the Plough Inn at 1:30pm to 2:30pm on Friday, 17 May as he shares insights into making this Australian comedy and his multiple roles as director, writer and producer. Free event.
INDONESIAN FILMMAKING MEETS SOCIAL ACTIVISM
Nani Zulminarni, Founder and Director of PEKKA, a women’s empowerment CSO that works with over 50,000 female heads of household across 20 provinces in Indonesia, is the guest of BOFA 2019 along with Ms Vivian Idris, director of Ola Sita Ina Wae (the title is a NTT language proverb that roughly translates as Women Walk Forever While Making Their Way). The film was made with a 1/4 professional crew and 3/4 PEKKA members, trained by Indonesia’s leading film and performing arts school.
Ms Vivian Idris will talk about the power of film for activism at TasTAFE Launceston Saturday 18 May Launceston,4:00 – 5:00pm. Nani Zulminarni will speak on PEKKA’s work at the Indonesian Stories Red Carpet cocktail party on Friday 17 May, Launceston indonesian-stories-cocktailparty.eventbrite.com.au
Don’t miss the opportunity to learn, laugh and linger with these talented BOFA guests, up close and personal, and all keen to tell their stories. For the first time in Hobart (May 10-12) and Launceston (May 16-19). BOFA 2019, the place to be for an unmissable film festival.
Full program and details available NOW.
When booking multiple tickets the best and cheapest method is to buy from the box office in person. Online bookings incur a booking fee and are only able to be done one film at a time. If you can’t get to the box office to buy multiples let us know at firstname.lastname@example.org and we will arrange to buy on your behalf and have the tickets for pick up.

domain: artistic


Along with red dot sights and mounts, spare magazines are great additions to your 6.5 Creedmoor. They can drastically affect the length of time in which you can be in the field or on the firing range and allow you to take on more than one target at the same time.
Spare magazines can provide greater peace of mind and will let you remain mobile and effective, no matter what the tactical situation is at the time. They're flat benefits to your tactical kit with hardly any drawbacks besides their minimal extra carry weight.
Comparison of the Best 6.5 Creedmoor Magazines
Forster - 6.5 Creedmoor Ultra Micrometer Seater Die
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Redding - 6.5 Creedmoor Premium Deluxe Die Set
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Redding - 6.5mm Creedmoor Competition Bushing Neck Die Set
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Lee Preciesion, Ultimate 4 Die Set, 6.5mm Creedmoor
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Redding - 6.5 Creedmoor Master Hunter Die Set
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Rcbs Fl Die Set, 6.5 Creedmoor
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Hornady Die Set 2 6.5
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Forster - 6.5 Creedmoor Bench Rest Full Length Die Set
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Why Do I Need Spare Magazines?
Carrying a spare magazine or two is a good idea for a number of reasons. Let’s go over some of the primary benefits that you can get by carrying extra magazines.
The worst thing that can happen in the middle of a tense situation or firefight is for you to run out of ammo. If you have a spare magazine, you can immediately replace a jammed or malfunctioning magazine and get right back into the fight.
Having more rounds is never a bad idea. This is especially important if you have to take on more than one opponent at once. If you’re on the firing range, extra magazines allow you to prolong your accuracy training.
If you ever have to take on two targets at once, or even more than two, having spare magazines dramatically increases your ability to successfully defend yourself.
What Makes These Magazines Stand Out?
We’ve established that having spare magazines is a really good idea. But what makes these particular magazines worth your time and money? Let’s go over the primary aspects that you should focus on when looking for a good spare magazine for your 6.5 Creedmoor.
Many great magazines are finished with black nitride or some other coating that can reduce both friction and lifetime corrosion. Magazines that have a good finish will last longer and operate more smoothly than magazines that are just manufactured from their base metal.
Good magazines will obviously have plenty of space to store rounds, and magazines that are able to store the maximum amount of ammunition without compromising their ability to feed rounds into the rifle are your best bet. Beware of magazines that have an outlandishly high ammunition capacity, as this might be indicative of poor craftsmanship or crowded space that doesn’t allow for easy round feeding.
Try to invest in magazines that are tough and weatherproof, even if they're more expensive up front, because you'll save money in the long run when you don't have to buy more magazines just because they were dropped on the ground.
Above all, make sure that the magazines you purchase can feed rounds into the rifle very smoothly and without jamming. Since this directly affects the primary purpose of a spare magazine, it’s the most important thing to consider.
Review of the Best 6.5 Creedmoor Magazines
Now that you know what to look for, let’s go over our favorite 6.5 Creedmoor spare magazines. We’ll explain what makes each one worthwhile.
Check-mate M1A 10rd Magazine 308 Winchester
This is one of the best spare magazines we've ever seen. Right off the bat, you get a lot of personal choice depending on how many rounds you want your magazine: you can select 5 rounds, 15 rounds, or 20 rounds, depending on your preference. This allows virtually anyone to have use for this particular style of magazine.
These magazines have also been coated with a Parkerized finish, preventing corrosion and minimizing friction. Having this kind of coating adds a lot of value to the purchase. That’s not all it has; the magazines each come with a precision spring that makes loading rounds into your rifle very smooth and virtually jam-free.
You can remove the floorplate during any cleaning or maintenance, which is a great design choice that we hope to see repeated with magazines in the future, both from this manufacturer and others. The magazines are designed to be mil-spec, so if you’re going for military aesthetic with your own rifle or tactical kit, you’ll love this design choice.
These magazines are very tight, so you might have to put a little more effort into their removal, as they’re not free drop. This is a minor flaw in a very excellent magazine.
These magazines come with three different capacities depending on your needs and are all finished with a special coating that can reduce friction and corrosion. The magazines excel at smoothly loading ammunition into your rifle and have a removable floorplate for easy cleaning.
This magazine can carry 10 rounds in total and looks extremely sturdy and durable right from the get-go. It’s very easy to grip from the bottom, as it is designed with a flared base that makes it easy to rub your fingers all the way around. The magazine is made of a hardened polymer but it nonetheless lacks a coating finish to reduce friction and corrosion.
Aside from that, this magazine is a really great pick. It’s extremely durable despite the lack of a coating and can feed rounds into your rifle with extreme reliability. This is because of the great spring placement and good overall size, which is pretty great for 6.5 Creedmoor rounds.
It’s also a pretty affordable magazine, which is nice since 10 round magazines can sometimes escalate in price drastically. It’s a really solid, general option if you need a 10-round magazine that looks and feels fairly sturdy without breaking the bank.
This magazine can hold 10 rounds and is easy to grip and insert into your rifle. It lacks a coating finish, but the easy loading and rough aesthetic elevate it beyond this small flaw.
Best for the Money:
Modular - Short Action Metal Magazines
This is another versatile magazine choice where the ultimate decision about how many rounds the magazine can hold is up to you. You can choose between 5, 10, or 12 rounds depending on your preference. Each magazine is totally made of steel regardless of how many rounds you specify. This gives all the magazines a great lifespan and excellent durability even under heavy use.
Guiding the magazines into your rifle is very fluid and you’ll find that the spring mechanism works very well no matter which size of magazine you purchase. There isn’t a coating or finish beyond the general black layer of paint, but the steel itself is durable enough that we didn’t think anyone would have much trouble when it comes to the lifespan of these magazines.
There is a small nitpick in that certain sizes of rounds might need to be shaped down or otherwise modified to fit into the magazine. This is because of the overall shape and design of the magazine, which is somewhat limited and narrow. If your rounds will fit into this magazine, it’s a great buy based on the value you get per dollar.
This magazine can hold three different ammo capacities depending on your needs, and each type is made of durable steel. Its interior is somewhat narrow, so larger rounds may need to be sized down or modified to make them fit perfectly.
Best ACIS Magazine:
Magpul - AR .308 25rd Pmag Magazine 308 Winchester
Now we’re getting into the higher capacity magazines. This magazine can hold up to 25 rounds, which makes it an excellent choice if you tend to spray a lot of lead or if you don’t want to run the risk of ever running out. It’s not built for fully automatic action, though, so avoid using this magazine in tandem with full auto weapons.
There’s a handy window integrated into the side of the magazine that can allow you to see the current capacity if you lost track of how many rounds you fired. It’s not an exact number by any means, but it’s better than totally guessing and can give you a general picture of how long you have before you need to reload.
The magazine is made of a durable polymer that’s built to last for quite a long time and has ribs along the side to allow you to easily grip it for insertion or removal. It does lack a coating finish to preserve it over time and reduce corrosion, but it’s so affordable that we think that its pros vastly outweigh its cons. It’s a great choice if you’re looking for a general high-capacity spare magazine for your 6.5 Creedmoor.
This magazine can hold 25 rounds but isn't rated for full auto. It is rather intended for semiauto action and meant to support a great deal of shooting. There's a window installed in its side that can let you see how many rounds you have left. It's made of a durable polymer that is easy to remove and insert.
Best from Magpul:
Magpul - 5rd Pmag AC Magazine 308 Winchester
On the flipside, here we have a magazine with a much lower capacity, five rounds to be exact. While this might be perfect for some shooters, this low capacity is definitely going to be a downside for others, considering that most people get a spare magazine to increase their bullet count by a significant margin.
Aside from the low capacity, it’s a very well-made magazine. It’s made from a durable polymer that’s extremely easy to grab ahold of because of the flared base; inserting or removing the magazine is easy even though it’s relatively small. Because the magazine is so small, you’ll also be able to carry more of them on your person at one time, although you could similarly just use a higher capacity magazine to achieve the same effect.
Modifying the magazine for higher capacity is actually quite easy. But although it’s very well-made and it feeds ammunition into a rifle with smooth regularity, the price isn’t low enough to justify the time and financial cost needed to increase its capacity in any meaningful way. This is limited to being the best pick if you’re going for small magazines in particular.
This low capacity magazine is perfect if you only want a few extra rounds for your 6.5 Creedmoor, and is made with a high-quality polymer. The magazine can be modified to take more bullets, but you might be better off simply buying a higher capacity magazine.
Best From Savage:
Savage Arms 10fc/11fc 4rd Magazine 6.5 Creedmoor
In a similar vein, this magazine can carry four rounds in total and is extremely lightweight, despite its steel construction. Because of its light weight, you can definitely carry many more of these magazines than you might be able to carry normally.
This magazine is made of extremely strong steel and shaped such that stacking them or bundling them into containers or pockets is convenient and achievable. The interior is also shaped such that you can fit several different kinds of cartridges right out of the box.
This kind of functionality might be advantageous if you’re trying to use the same magazines for a few different types of ammunition, or if you fire different weapons depending on the hunt. In that case, the round versatility offered by the magazine is definitely an aspect in its favor.
This low capacity magazine is shaped very well and can carry several different types of rounds without any modifications on your part. Each magazine is lightweight but made of sturdy steel that isn't liable to falter under duress. You can carry many of these magazines more easily than you could larger magazines.
Best From Ruger American:
Ruger™ Scout Rifle™ 10 Rd Mag Black .308
Now we can head back into magazines with a more conventional capacity. This magazine can hold 10 rounds in total and is made from steel coated with black oxide. This coating provides the magazine's steel construction with the ability to resist corrosion and friction beyond that of its natural properties. Lower friction is a great quality to look for spare magazines, as it directly impacts how easy it is to remove and insert a magazine in the heat of the moment.
This magazine, therefore, has an extremely smooth drop and even feels smooth to the touch. There are some folks who really prioritize magazines that feel fluid and that they can practice quick reloading with regularly. If you’re trying to look for magazines that allow you to drop empties and load fresh magazines very quickly, this is a great place to start.
This magazine is a little pricey, but given the exceptional construction, we think it's a good pick if you're looking for quality more than a budget choice. There's no doubt that you'll get your money's worth with this kind of superior magazine.
This magazine is made from steel that has been coated with black oxide, which allows it to resist corrosion more than normal and remain extremely fluid and smooth as it is dropped and inserted.
It's a great magazine for hyper-fast reloads or if you plan to switch magazines very quickly in a tense moment. It does cost a little more than its competitors for the benefits granted by the oxide finish and smooth construction.
Best 10-round Magazine:
Howa - 1500 Long Action Magazine 10 Round
This is another 10 round magazine that’s made from polymer and has a relatively unique aesthetic design, which you’ll see right out of the box. This magazine does lack any kind of coating or finish, but it’s tough enough that we think most people won’t have any issue in spite of this.
This magazine is easy to grip and pull thanks to the lines that are raised on all sides of the magazine. This gives it a rough, tactical feel that some folks will really like because it can fit with a lot of modern pseudo-military aesthetics.
The magazine is also really easy to load into a rifle, despite the shape of its top. Rounds are fed very smoothly into the rifle, although we again recommend that you be careful with certain nonstandard round sizes, as the interior of the magazine is very narrow and strict. Some modifications may be necessary if you plan to introduce nonstandard rounds into the magazine.
This magazine is made from a durable polymer and lacks a coating finish. However, it’s a reasonably priced alternative to some mil-spec magazines and loads very smoothly upon insertion. You may need to be careful with nonstandard ammunition types because of the shape of its top and interior.
Best 20-round Magazine:
Magpul - AR .308 20rd Pmag 308 Winchester
Now we will go up in capacity once again. This is a 20-round magazine that’s made from a thick, matte polymer that looks as tough as it feels. Because of the high-capacity, it’s a little heavier and larger than other standard spare magazines. It’s also not rated for full auto firing, so restrict your usage of this magazine to semiautomatic shooting.
Loading this larger magazine is actually quite easy, thanks in part to its good shape design and well-made loader spring. You’ll be able to use standard size rounds with no difficulty to its full capacity so long as you load each round carefully.
The length of the magazine is ribbed and is therefore easy to grip for dropping or inserting. Since it does lack finish, it’s not as lubricated or fluid as some of the other magazines we’ve reviewed, so it’s not ideal for reloading as quickly as possible.
This magazine is a high-capacity model made from a sturdy polymer and which possesses an efficient load spring and a great grip that makes inserting or removing the magazine very manageable, even under high-stress situations. The magazine is a little larger and heavier than you may be used to, especially in comparison to standard size magazines.
Best 30-round Magazine:
ProMag AR-10 .308/7.62x51mm 30-Round Magazine
Finally, let’s take a look at this ultra high-capacity magazine, which can carry a grand total of 30 rounds. This is one of the highest capacity 6.5 Creedmoor magazines we’ve seen. It’s made from a lightweight, glass reinforced polymer that keeps its overall weight lighter than a lot of high-capacity magazines while retaining an upstream to compete with total steel magazines.
The magazine is also built with chrome silicon springs, which are extremely adept at loading ammunition into your rifle with amazing speed and fluidity. This makes it a great pick if you are going to be shooting a lot of lead downrange or are particularly averse to the possibility of a jam.
In fact, we really like that each new round is fed so fluidly into the rifle because it lets you take advantage of the higher capacity to its full extent. You'll almost feel like you never run out of ammo when the rifle really gets going since it can seem like it takes forever to finally run dry.
There's no getting around the fact that this magazine is a little bulkier than a lot of the other products on this list, meaning that if you're considering this magazine, you need to consider the trade-off. You can either carry a few larger capacity magazines, or more standard capacity magazines. The choice is yours.
The magazine is very high-capacity and can hold 30 rounds total. It's also built with a chrome silicon springs system that makes loading each new round into your rifle a very smooth process. Because it is larger than usual, you may be able to carry fewer magazines than you expect that one time. Despite its size, it is lightweight for the amount of ammunition that you get per magazine.
How to Care for Magazines
Now that you have some great spare magazines for your 6.5 Creedmoor, let’s go over a few quick tips that will help you keep them in working order at all times.
Magazines need to be cleaned just as guns do. When they’re empty, you should use a cleaning oil and a dry cloth to get rid of dirt and debris. You can also use compressed air to make sure that no grit interacts with the magazine spring or the mechanisms responsible for feeding rounds into your rifle. A dirty magazine runs the risk of jamming at the worst moment.
Inspect Before Using
Always check out your magazines before you load them with ammunition to make sure that they’re in working order and appear to be clean. Jammed magazines that aren’t inspected can break, potentially ruining both your rifle and the magazine.
Make sure that when you load ammunition into your magazines that you do so carefully and precisely. Take your time if necessary, as the magazines are designed to speed up your firing rate in the field, not before any shooting.
Store in a Dry Space
When they’re not loaded or not in use, it’s a good idea to store your spare magazines in a dry space that doesn’t run the risk of corrosion. You should keep them in a container where dust can’t float into their interior as well.
Altogether, spare magazines are one of the best purchases you can make to enhance the performance of both your 6.5 Creedmoor and your overall tactical kit. They provide many benefits and if you have the right magazines, they can last for many years and provide consistent, quality performance. Thanks for reading!


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“Storytelling is always important. Without storytelling there’s nothing really,” states Oscar- and Bafta-winning director Asif Kapadia who will be delivering the keynote speech on day two at Marketing Week Live.
“I want audiences to go away and think about [what they’ve just seen]. I want them to revisit it and maybe see something else, whether it’s a one-minute film, a TV movie or a feature film. You’ve got to get into their head and under their skin, and that always comes from a story or an idea that’s original.”
It was the strong storytelling element that attracted Kapadia – winner of an Academy Award for 2015 documentary ‘Amy’ about the life of singer Amy Winehouse – to collaborate with luxury retailer Burberry on its Christmas 2016 advert. Shot in the style of a lavish film trailer, ‘The Tale of Thomas Burberry’ proved an instant hit worldwide, clocking up nearly 15 million views since it debuted in November.
The process unfolded like a film production rather than a traditional advert. Kapadia and screenwriter Matt Charman worked directly with the Burberry team, developing a full narrative told across a 10-page script, with scenes crafted for each character.
Inspired by the life of founder Thomas Burberry, played by Domhnall Gleeson, the advert reimagines key events across the brand’s 160-year history, from supplying trench coats to soldiers fighting in World War I to kitting out Ernest Shackleton, played by Dominic West, as he prepares for an expedition to the Antarctic.
Sienna Miller appears as Burberry’s fictional first love, while Lily James plays pilot Betty Dawson, modelled on Betty Kirby Green who was sponsored by Burberry during her record-breaking flight from London to Cape Town in 1937.
Kapadia acknowledges that it takes a really good writer to dig out those details from a brand’s extensive 160-year history and turn them into a scene.
“The idea wasn’t just, let’s create lots of pretty images. Here are characters who have lived a life and did real, extreme things. We’re not making a point of highlighting people’s clothes. They’re in there, but instead people are taken by the cast, story and narrative – which is all true. That was a big part of it. There’s this amazing history to Burberry which most people do not know.”
The team approached the six-day shoot like a film, producing a wealth of footage from which to cut the ‘trailer moment.’ Kapadia describes the interesting meeting of techniques between commercial advertising and film people.
Certain people found it hard to get their head around the idea that we weren’t just shooting one frame.
“Some commercial people were looking at a storyboard saying, ‘we’ve got to shoot this many frames, we’ll never get it done’,” he recalls.
“The film people were saying, ‘we have to shoot loads of scenes in a day sometimes and we get it done, so there’s no reason why we shouldn’t be able to do it’. Certain people found it hard to get their head around the idea that we weren’t just shooting one frame.”
Burberry is not the first brand to enlist the creative talent of a well-known film director. Last year, Ted Baker partnered with Guy Ritchie on a short film called ‘Mission Impeccable’.
Burberry’s awareness of itself as a global brand played into the advert’s international distribution plan, which spanned cinema advertising, digital and social media, as well as print, out-of-home and in-store visual merchandising.
The advert’s lush Hollywood treatment, combined with its stellar cast, inspired fans to take to social media asking when the full-length film would be released – the very reaction the team were hoping for.
“It was a little bit of a game where you wanted people to go, ‘wow, when is this coming out?’,” acknowledges Kapadia. “The advert has had an incredible life online and it was also shown at Piccadilly Circus next to the Coca-Cola sign. It’s been shown in New York and in cinemas around the world.
“You’re trying to make films that are as international as possible and what’s interesting is you have a name pretty much everyone knows in Burberry, but a history they don’t. That in itself is a great thing to sell. This brand has 160 years’ of history, whereas other labels are happy to survive 20 years.”
Going long form
As people are not consuming TV in the same way they used to, Kapadia has seen money being spent in different ways. He believes the crossover between films and TV has long since happened and most creative work is now long form.
“[In movies] a lot of money comes from comic books or certain adaptations, and everyone is looking for a franchise where they can just churn out eight, nine or 10 films. They keep making lots and lots of money, but they’re not necessarily that challenging.
“What’s changed really is television, because of cable, Netflix, HBO and Amazon. And it’s the writing that’s great in television, because you can spend two, three or four series developing characters you just don’t have time for in a movie.”
It is the quality of the writing, Kapadia argues, that has taken directors over to long-form projects, whether that’s on TV or digital. It is now more common than ever to switch from feature films to documentaries, television to commercials and music videos in search of a new directorial challenge.
I have had meetings with other people where you realise in the end they don’t necessarily trust you to do your job.
The decision of which format to work in is down to the material, Kapadia adds, explaining the excitement he felt at the prospect of putting a twist on the advertising with Burberry. The process was made more enjoyable by the trust creative director Christopher Bailey placed on the team.
“It was an incredible experience of people collaborating and trusting one another. There wasn’t any kind of hierarchy, sometimes commercials can get a bit complicated with different levels of people,” says Kapadia.
“I have had meetings with other people where you realise in the end they don’t necessarily trust you to do your job or they take anything you bring to [a project] out or they get worried and try to make you compromise.”
Once a compelling story has been found, the key to creating a great advert is to think holistically about the project, rather than getting caught up in the aesthetics, he advises.
“I’ve been into meetings on commercials where people want to know what it’s going to look like, what lens it’s going to be and how it will be graded. For me that’s the bit on top. The look of it isn’t particularly deep, meaningful or emotional.
“Actually, the challenge is getting people to understand it’s going to look great, but what you’re lacking is an idea that makes it different to the 500 other perfume commercials.”
By contrast, the great experience of working with Burberry has persuaded Kapadia that the Tale of Thomas Burberry could be revisited at a later date, drawing on the brand’s rich history all the way to the 1960s. Regardless of the platform, when considering his next move Kapadia will always look to collaborate on projects he believes in, with rich storytelling at their heart.
“Life’s too short to work with people you don’t get along with, so it’s really important to pick the right people to collaborate with and make work that you’re proud of,” he adds.
“It was interesting to work with a group of people [at Burberry] who wanted to do something different, who stuck by their ideas and who trusted us. The stories are out there, you’ve just got to trust the talent.”


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Jonathan Poritsky’s review published on Letterboxd :
This film is total trash. As in trashy. As in it certainly has a place. Mostly it’s just disjointed, never really committing to a central character/narrative. So some of the drama ends up being laughable. The whole theater chuckled through the climax.
All that said, Emily Blunt is incredible. I’m so glad films like this, that let her bring out that performance, exist.

domain: entertainment


text:
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Light Rail Now!
Monorail advocates often make claims about the low installation costs of monorail systems, particularly compared to light rail transit (LRT) and other standard rail transit systems. For example, Seattle's Rise Above it All pro-monorail group claims, "The Monorail is less expensive to build than other transit because it uses public right of ways and no tunneling is necessary – and won't close streets during construction."
Often, these claims are based on "theoretical" estimates and the sales pitches of monorail vendors eager to market their products. But what does real-world experience tell us about the actual costs of monorail systems, and how that compares with the costs of LRT? Comprehensive and reliable cost data are essential for evaluating monorail and any other potential alternative transit modes for US urban areas. Data drawn from actual experience, and, in some cases, from highly reliable projections, are generally judged to be the most accurate for competent analyses.
To a considerable extent, much of the available data in terms of real-world experience with monorail technology comes from Japan. This is logical, since Japan is undoubtedly the world leader in monorail implementation, with more urban revenue systems than any other country.
The following capital and construction cost data in Table 1 have been drawn from such sources. For consistency, all data have been escalated to year 2002 dollars using CPI data from the US Department of Commerce, thus enabling a fair comparison of per-mile costs for systems built in widely different years.
Some caveats are in order with
regard to the monorail system currently being installed by Monorail Malaysia in Kuala Lumpur,
Malaysia (see photo at right). The Kuala Lumpur line will extend 8.6 km (5.3 miles), with 11 elevated
stations, and the project is reported to have a budgeted cost of RM 1.18 billion (about $310.5 million in
year-2002 US dollars), calculating to a cost of about $58.2 million per mile.
While the Kuala Lumpur monorail exhibits substantially lower per-mile costs than most of those cited above in Table 1, those costs should not be considered typical of capital costs which would be experienced in the development of such a system in the United States or other advanced industrialized countries, where the substantially lower, Third World-level construction labor and other lower costs available in Malaysia would not be available. (For example, according to the CIA World Factbook, Malaysia had a per-capita GDP of $9,000 in 2001, about equal to that of Mexico, but only one third of Japan's and 1/4 that of the USA.)
Furthermore, it is questionable whether the Monorail Malaysia system would comply with the strict environmental, safety, and other rules prevalent in the USA. For example, the design does not seem to incorporate a central emergency evacuation walkway between the two guidebeams – to facilitate emergency evacuation if necessary – which would appear to be mandatory in a US elevated system. The photo at left shows an overhead view of the dual-beam monorail guideway under construction in Las Vegas, and illustrates the incorporation of a central emergency catwalk as well as the additional support structure needed for a monorail crossover switch.
Likewise, a drip pan beneath the beamways would be necessary where the monorail would be routed over public roadway and pedestrian areas. (in the photo of the Las Vegas monorail project above, one should note that cable trays have apparently not been installed in this section, nor is there any plan for a drip pan beneath the beamways, which are predominantly not routed over pedestrian or other public traffic areas.) These structural elements would undoubtedly impact visual and aesthetic characteristics of any monorail.
While the Kuala Lumpur monorail is narrower in cross-section
than a comparable US monorail would be, a mandatory
evacuation walkway and cable trays would surely widen the lateral
dimension of any US elevated fixed-guideway structure.
Another limitation of the Kuala Lumpur monorail system would seem to be
constrained capacity. The monorail appears to have significantly
lower capacity than most LRT systems – even surface-routed
LRT, which, with 3-car trains at 3-minute headways, could provide
capacity of about 9,000 passengers per hour per direction
(pphpd). in contrast, the Malaysian project is installing a
light-capacity system with short, 21-meter-long, 2-unit trainsets
and relatively short-platform stations. Even with a 2-minute
headway, the capacity of the Kuala Lumpur system, using
tolerable US loading standards, would be approximately 2,800
pphpd – about 31% of a surface LRT line. This light capacity
undoubtedly also helps explain the seemingly low cost of the
Kuala Lumpur project.
With regard to the current privately financed monorail project of
the Las Vegas Monorail Corporation, an official of the Las Vegas
Regional Transportation Commission reports that slightly over
$600 million in bonds backed by the State of Nevada have been
sold to construct and finance the initial project. For the 3.6-mile
system, that amounts to about $167 million per mile.
Capital costs of recent LRT projects, again, drawn from actual project experiences, are listed in Table 2.
From these tables, some broad conclusions can be drawn. in regard to monorail systems, it can be seen that, with an average capital cost of nearly $140 million per mile, and with some individual systems exceeding $200 million per mile, these examples of monorail systems do not seem to corroborate the low-cost claims of many monorail promoters. Furthermore, these costs hardly bear out assertions that monorails are roughly equivalent in cost to LRT.
Monorail advocates often argue that the ostensibly simpler beam
guideways (beamways) for monorails may, on average, cost less
than the support deck and trackage for an elevated dual-steel-rail
system (which requires the addition of rail structure above the
beamways). However, this cost advantage is probably offset by other
limitations. For example, monorail switches appear to entail more
complicated machinery, and have a significantly higher cost –
about 15 times the cost of an ordinary railway switch, according to
a recent study.
By far the greatest cost liability of monorails relates to their greatest inflexibility – their need to be built entirely grade-separated in some fashion, usually elevated. Even for comparatively small, light-capacity monorails, this means relatively huge, elevated stations, with elevators and, especially for higher-traffic locations, escalators.
As a result of these and other factors, the data in Tables 1 and 2 above clearly suggest that monorail systems tend to average about 5-6 times the cost of predominately surface-routed LRT. Even compared to LRT systems with extensive civil works, like tunnels, subways, elevated structures, and viaducts, monorail costs still seem to average more. For cities selecting a preferred mode for regional rail transit development, this implies that investing in monorail technology means much less system spread, and less ridership, for available resources.
Light Rail Progress wishes to extend particular thanks to Leroy W. Demery, Jr. for some information used in this report.
Light Rail Progress Rev. 2002/11/24