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Q: Turn html form code into single lined embed code I have spent hours upon hours searching for a solution to this problem. It's probably simple but oh well.
I am coding my very own html forms using html and CSS with a little bit of java script. Before I used online services like Wufoo and form stack. They offered short little embed codes to add to your website page instead of copying the entire form code that is usually 100's of lines long.
I am wanting to make this possible on my forms in order to keep my webpage code clean, clear, and short as possible. Does anyone have a plugin or any ideas of how I could make this work.
Just to be clear I am NOT wanting someone to just provide me code and be on the way. I want suggestions and ideas that could point me in the right direction. Don't over think my question. Once I find a solution to this problem, I will update my question to include the answer for later viewing and help of future visitors.

A: You can put your forms in separate files for example form.htm and then include the file with PHP require("form.htm").

A: Try to read tutorials on w3schools:
http://www.w3schools.com
http://www.w3schools.com/html/html_forms.asp
then you will need to process the contents of the forms with a server side language such as php or asp.


open to all members of the Party in the State.
The ex-Governor Senator Chimaroke Nnamani from Enugu East Senatorial zone handed over to Barr. Sullivan Chime from Enugu West, who also completed a two tenure of eight years. Chime later handed over to the incumbent Governor, Rt. Hon. Ifeanyi Ugwuanyi from Enugu North Senatorial Zone.
Governor Ugwuanyi is still serving his current tenure, fueling speculations that the APC would present a guber candidate from the same zone.
However, speaking to journalists on Wednesday, Enugu APC chairman, Ben Nwoye said the party's ticket was open to interested aspirants from all parts of the State.
Nwoye, who spoke on a wide range of issues, said the party presented Barr. Okey Ezea from Enugu North as its candidate during the 2015 election as he was the only aspirant.
"In 2015, Barr. Okey Ezea was not our candidate because of zoning; the fact is that he was the only person that had the guts and the money to challenge the PDP in that election.
"So, for the 2019, when the time comes, any interested guber aspirant, whether from Enugu North, Enugu West, or Enugu East, is free to pick the form, and if the person is qualified and goes ahead to win the primary, we shall present same as our candidate.
"I must tell you, we are very calculative and focused in our movement towards 2019. APC has put in place the needed structures to send PDP parking in Enugu State," he boasted.
The Party chairman equally accused the Peoples Democratic Party, PDP, in the State of violating extant provisions of the Electoral Laws ahead of the 2019 general elections.
The PDP had earlier in a statement disowned the campaign posters.
The party had in a statement signed by its State Chairman, Hon. Augustine Nnamani, said it was more pre-occupied in mobilizing the people for voters' registration and not politicking.
According to Nnamani, "The Party appreciates the goodwill and solidarity of the group and other related associations, but wishes to state that what is ultimate in its agenda at the moment is total mobilization of eligible voters in the state to register with the Independent National Electoral Commission (INEC) for the forthcoming general elections.
However, Nwoye said the posters were in violation of the electoral law, calling on the relevant authorities to rise up to their responsibilities.
Also commenting on the former President Olusegun Obasanjo's statement, which passed a non-performance verdict on President Muhammadu Buhari, Nwoye said the ex-President lacked the moral grounds to speak in such manner.
He said, "Obasanjo is an elder statesman but most times, he breaches rules of decorum as a former President. He carries his weight around.
"This is a man that attempted to perpetuate himself in office; he became so intoxicated with power. Nigerians gave him two tenure after which he did ethical and unethical things, including enticing and bribing people to get a third tenure in office.


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Writer and Performer
Post-Explodem: I Blew Up the Palace of Holyroodhouse
Politics, Rambles, Theatre, Video
For the past year I've been researching and performing ideas about terrorism, art, civil liberties, free speech and rage under the banner I Want to Blow Up the Palace of Holyroodhouse. On November 1st 2014, at the SPILL Festival of Performance, it all came to a climax: I built a large model of the palace from cardboard and glitter, and then exploded it for a live audience. Sort of. In the event, as Lyn Gardner wrote, it "went with less of a bang than a genteel pop" and needed the help of a mob of angry hands and feet to finish it off. The possible failure of the bang (and its definite futility) were part of the project from the start, after all. You can watch a short video of the speech and explosion below; this post is a write-up of the year's work, a post-explodem of the project, with words about what will happen next.
(video: a brief speech about the explosion, and the explosion, and the destruction of the cardboard city)
I've told the story so many times I've started to stop believing it, but it is still true: I cycle past the Palace of Holyroodhouse most days, and it makes me furious. It's a symbol of the UK's still-living feudalism, it's a vast private estate in the centre of the city in close proximity to poverty, and it's a centre of authoritarian power. But my anger is completely out of proportion to its status: something that's built over time, that's personal, that's absurd, and that sometimes feels impossible to deal with. I started having fantasies about destroying the building — the most recurring one involving hiring a bulldozer, driving into the walls and seeing how far I'd get — and inevitably those began to involve the iconic idea of blowing it up.
But my anger is out of proportion, and it's not worth dying or going to prison for, and maybe it would be better just to convert the palace into social housing, and I'm an artist, so: instead of becoming a terrorist, I decided to build a model of the palace and blow that up instead, in the name of art. This turned out to be harder than I thought. My first discovery was that it's illegal to actually talk about blowing up the palace: under counter-terrorism legislation, it is illegal in the UK to make any statements which encourage or glorify terrorism, and also to recklessly make any statements which might indirectly encourage or glorify terrorism. Worse, it is illegal to access and possess information which could be used to commit acts of terrorism, unless you can prove that you have it for purposes other than terrorism. That means that not only could I not talk about actually blowing up the palace, but that I couldn't gather information for blowing up a model palace unless I could prove that I was using it for artistic model purposes only.
So I decided to do all my research in public places, afterwards logging every site I visited and what my conclusions were. This was simultaneously a self-protection measure (honest, guv, I've nothing to hide!) and a way of absurdly satirising the surveillance state, especially in the age of social media: we are all surveilling each other, and we are all constantly under the eye of authoritarian surveillance. I wanted to taunt that state, to walk as close to its lines as I could without getting in too much trouble. In this, as with the blowing up itself, I am an incurably adolescent artist: I love thumbing my nose. But this was also just a good excuse for Doing Art in public: I like having public conversations, I like putting difficult ideas in public spaces and making them accessible.
The project hit its first major hurdle when the police actually came to visit. I've had enough interactions with the police that I wasn't horrible spooked, but it was unpleasant and invasive nonetheless. And while previously I had been thumbing my nose at an imagined eye in the sky, now I knew I was actually being watched, and that I had to be properly careful. I'd also, after three public-research-performances, got a little weary of the idea: having done it three times (and always unpaid), did I still have a new point to make? Didn't I just want to get on with making a bang? So the result of the police coming to visit is that I finished the research phase of the project in private. They may still have been watching (it's not paranoia when they tell you they're doing it), but I was no longer writing semi-ironic posts about explosives google searches. Instead, I teamed up with a retired fireworks engineer named Nigel Marsh to figure out how to blow up a big cardboard box in a suitably dramatic way. Doing it with someone more experienced made it far more likely to succeed, and doing it in private meant that I was much less likely to have someone turn up and tell me I wasn't allowed to do it any more.
In retrospect, I'm sad that I didn't push the public research component even further — it would have been interestingly risky and exciting to extensively document Nigel's and my experiments, and it would have made an even bigger point if we got stopped — but on the other hand, bringing someone else into it required different considerations, and I'm glad we were able to make some bangs. I'm especially glad, because in September, very suddenly, Nigel had passed away after his cancer returned. I was shocked and saddened — he was an extraordinary man — and deeply sorry that he wouldn't be there to witness the final explosion. This performance is dedicated to him.
(video: nigel and me figuring out how to make the right size of bang)
For the record, here's the method Nigel figured out with me: a much more stable and lower explosive variation on the bin bag bomb. We filled a three foot diameter latex balloon with household propane and oxygen in a 1:3.5 ratio, and detonated it with a long black powder fuse rigged to be more dramatically slow-burning. I absolutely genuinely do not recommend in any way trying this at home. Please don't. And don't take my recipe as accurate. Get a professional. Nigel had been blowing things up most of his life and knew what he was doing, and also we were way out in the countryside and just scared some cows and birds. And for the record, DC C_____ and DS C_____, it is completely impossible to blow up the actual Palace of Holyroodhouse by inflating an enormous balloon with propane and oxygen and detonating it, so I won't be publishing any calculations on how to do that. And I'm not encouraging anyone to take even a small explosive balloon inside to damage one of those lovely rooms. And, as always, I neither condone nor encourage the actual blowing up of actual public buildings, and will not be sharing my research with anyone who does in an encouraging way.
I have to say that last bit to stay on the right side of the law. This is a little frustrating, because I would like to have conversations with people about the history of propaganda by the deed, about why some political organisations blow up buildings, about how that's what Nelson Mandela was in part imprisoned for, about why some people might think it's a valid and useful tactic in some campaigns, but that it's also been historically used by far-right groups, and that it scares me, and that I don't know how to talk about it properly, and that I can't talk about it properly because it's against the law to talk about it in a direct and personal way. "I want to blow up buildings" is something I've said and I think is just on the right side of the law, but if I were to say "I think we should blow up buildings" that would definitely be illegal (so I am categorically not saying it).
I want to have these conversations, but as well as it being hard to have them, I'm not sure I have the right to have them. I grew up somewhere where there was no political violence (or rather, where all the political violence is perpetrated by the state on people who don't look like me and who are mostly far away). "Blowing things up" means something different to me than to my friends from Northern Ireland and the Republic of Ireland, for a start; it means something different to all sorts of people from all sorts of places, and I wouldn't be surprised if me talking so flippantly about it rubbed some of them up the wrong way. It probably ought to. My ability to do this comes from a place of privilege. I wanted to have a public conversation about rage and political violence , and for me one of the ways into that — one of the ways of making it more palatable to more people — was to dress it up in humour and cardboard and glitter.
But by the very act of making it accessible, I also risked not taking it seriously. All this was in my mind as I tried to find a home for the actual explosion. I was determined to do it at an official, funded performance festival — in part because I'm a working artist and need to get paid sometimes, but mainly because I wanted that official approval. This project was in part about art and the futility of art, and for those themes to be in depth I needed it to happen somewhere where it officially looked like art. All my fears about the police and seriousness and practicality were compounded when the project got rejection after rejection — more rejections than I've had for any other project, I think. I'm sure many of the festivals just didn't like it (which is totally fine) but more than once the language of "this isn't quite for us" indicated that it was just hard to find someone who would let me do an actual explosion (which is also reasonable). I was pretty despairing about the project, worrying that I'd spent six months barking up a ludicrous tree, when SPILL finally got back to me and said yes. I was delighted. I needed the context artistically, but sometimes a leg-up just feels good.
I couldn't have hoped for a better producer or for better support than SPILL. They were extraordinary in general, but two things were particularly delightful: they got Ipswich Borough Council to approve my explosives plan, and they secured a decommissioned police station for me to do it in. My gas canisters were kept in a former police dog kennel, and I built my cardboard model in a former interview and search room. Thanks to this, the project gained whole new layers of meaning: it had the official art context, but it also had municipal approval, and it also got to rudely repurpose a former hive of cops. The project was naughty enough to get police attention and to seem hilarious to perform in a police station, but nice enough to get the council and festival green light: exactly the line I was trying to walk.
Derrick Jensen wrote "Every morning when I awake I ask myself whether I should write or blow up a dam. I tell myself I should keep writing, though I'm not sure that's right", and that's been a guiding quotation for this project. Why do I make art about blowing things up rather than actually blowing things up? (Of course, "I don't condone or encourage actually blowing things up.") More broadly: Why do I make political art more often than I engage in political action? More personally: Why can't I find the motivation to do direct action as much as I used to, and am I always going to feel guilty about doing art instead? More abstractly: Why does art feel like such a cheap substitute for politics sometimes, and such a brilliant form of politics at other times? All of this is compounded by doing officially-sanctioned political art: I want to make risky performance, but if it's approved by a Borough Council, can it truly be that risky? Does the fact of doing something which can get public funding mean that it's not actually worth doing, politically? Is I Want to Blow Up the Palace of Holyroodhouse actually a form of radical politics, or is it just the image of radical politics projected onto a cardboard model? I'm happy to have been able to ask these questions, and asking them makes me feel less worried about them. (Which may in itself be a problem.)
As well as building my palace at SPILL, I spent three days inviting people to make cardboard models of buildings that made them angry — models that were also scheduled for demolition in the climactic event. I encouraged everyone to cover the things they hate in glitter, and asked them pointed questions about what it all meant. "Why are you angry at this building?" and "How will it feel to destroy it?" were good starters, but the best question was always "So, do you actually want to blow up the building this building, or just the symbol of it?" The question caught most people off guard, as if they hadn't realised that blowing up actual buildings was an option. And they had to think about this question more than any of the others. Again the question of accessibility-vs-seriousness arose: I created a space where we got to have fun and have difficult conversations, but it was very hard to balance both. I think I erred too far on the side of fun throughout, and should have pushed people for more conversation as we played with crepe paper and glue. Finding ways to structure those conversations is important for me to figure out.
And then there was the bang, or the pop. I spent an hour setting up the building, the cardboard city around it, and rigging the explosion. People started to gather. It was a completely new sort of performance for me, and I hadn't realised I was going to do it: normally I'm a host, a talker, an extroverted performer, but here was an audience primed to watch people do strange thing in silence, and I was rigging a pink balloon explosion in a glitter city. I had ear protectors round my neck and goggles on my forehead; it was great fun. I gave a speech, setting the context, and I lit the fuse.
I don't know exactly what went wrong. It was supposed to go more bang than it did, and I repeated the method I'd practiced with. I suspect that at one stage too much propane leaked out of the balloon, or that otherwise the propane:oxygen ratio went out of whack. The walls of the palace shook, but remained standing. As planned, to finish the job, the audience rushed in to tear everything to pieces instead. I can't say I'm not a little disappointed. To see my beautiful horrible palace ripped to shreds by an explosion would have been extraordinarily cathartic. But that it took our hands to destroy it is still hugely in keeping with the ideas of the project: I refuse to call it a failure or apologise for it, or rather, the kind of failure we performed was itself a riotous success. Because the actual Palace of Holyroodhouse is still standing, and it hasn't been converted into social housing, and one symbolic performance can't change that. Unless, somehow, it can. Thinking about this, but talking about another project, I wrote this to a friend:
I'm not interested in all types of political failure, and I don't want to fetishise failure in a world of suffering. But I do want to talk about our failures, our losses, and how we keep going in the face of them, and I think that's vital and important.
Because I do want revolution, but I don't want apocalypse. By which I mean, I don't want a lifting of the veil: I don't believe that there will be a revolution and that after that all oppression will be gone and everything will be fine. I believe that there will always be oppression, and that we will always need revolution to fight it, and that revolution will always be ongoing, BUT ALSO that things can get a hell of a lot better. So I don't think there's a "there" to get to that we're failing to get to, but I do think there is a journey. I'm worried that if I did enough reading I'd stop believing in any time's arrow of history, but I do for now.
There are two codas to the Palace of Holyroodhouse. The whole project was bought and sponsored by Florian Feigl through Auction Achtung!, an excellent experiment in what it means to sell live art. Florian bought "the right to be credited in all communication materials about the performance as the owner of the explosion; the explosion; moral responsibility for the explosion; and all physical and emotional remnants of the explosion". This post-explodem is thus dedicated to him as his emotional remnants, while this beautiful presentation box of cardboard scraps is on its way to Berlin to be part of his physical artistic collection:
As part of selling the performance, I agreed that I "will not reperform this explosion", reserving "the right to commit other aesthetically distinct acts of non-terrorism in the future". I Want to Blow Up the Palace of Holyroodhouse is now over. However, it has given birth to a new project, scratched at Arches LIVE and incorporated into the performance at SPILL, called SMASHY SMASHY. In SMASHY SMASHY, participants build and destroy a city of cardboard and glitter; it grew from I Want to Blow Up… but it's about more things, and it's not about my rage: it's about your rage. It will be coming back. It hopes to see you soon.
All photos (c) Guido Mencari, SPILL Festival of Performance 2014
Both videos by Harry Giles, licensed under a Creative Commons Attribution-NonCommercial-ShareAlike 3.0 Unported License.
1 January, 2015 3 January, 2015 Harry Josephine Giles Leave a comment
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redpajama_set_name: RedPajamaCommonCrawl


Shiro Majo Gakuen ("White Witch Academy") is a secret garden that accepts girls who have been emotionally injured. Moga becomes a white witch after receiving training and leaves Shiro Majo Gakuen to save the world, but a white witch, Rina, appears in front of her. Also, black witches, who are hostile to the white witches and are attempting to create a new world with a spell, appear in front of her. Later, Moga sneaks into Kuro Majo Gakuen ("Black Witch Academy") to save Rina after she was kidnapped. There, Moga sees a girl who once stayed with her at Shiro Majo Gakuen.
Moga Mogami,	Nemu Yumemi, Mirin Furukawa, Eimi Naruse, Ayane Fujisaki & Risa Aizawa are members of idol group "Dempagumi.inc".
Cez Sep 28 2015 1:03 am What is the title of the song sung by akua? And who is the artist? Thanks!


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Posts Tagged 'fell by 1700'
Australia doing well on jobs – Rudd
Posted in Jobs and careers, tagged '' Mr Rudd said., 200000 more Australians, 5.7 per cent, advanced economies, affecting, Australia, Australia's, Australian, australian economy, Australian economy and Australian jobs, Australian Industry, Australian jobs, building, continuing, delegates, despite, direct impact, economies, economy, except, fairly steady, falling by, far worse, fell by 1700, figures, financial crisis, global, global recession, government's stimulus packages., Group lunch, increase, indicative, Industry, Japan, job, jobless, jobs data, jump in, kevin rudd, lower, major, March, May, nation building plans, nation., official, out of work, people in work, per cent, plans, Prime Minister, recession, remained, remains lower, returning, risen, showed, stimulus packages, Sydney, this year., today, total number, Uncategorized, unemployment, unemployment figures, unemployment rate, unemployment rise on June 11, 2009| Leave a Comment »
AUSTRALIA is still doing better than other major economies despite a jump in jobless figures, Prime Minister Kevin Rudd says.
The unemployment rate has risen to 5.7 per cent, after the total number of people in work fell by 1700, official May jobs data showed today.
"Today we have seen an increase in unemployment to 5.7 per cent, returning to where it was in March this year, although employment remained fairly steady falling by 1700," he told delegates at an Australian Industry Group lunch in Sydney.
He said the unemployment figures were indicative of how the financial crisis was affecting Australia.
"The global recession is continuing to have a direct impact on the Australian economy and Australian jobs," Mr Rudd said.
"No one likes to see unemployment rise because of the global recession … (but) Australia's unemployment rate remains lower than all other major advanced economies except Japan."
He said the figures would have been far worse had it not been for the government's stimulus packages.
"`Without our nation building plans, over 200,000 more Australians would be out of work," he said.


There are countless positive aspects to long-term caregiving, but those who've done it know that there are also negative effects, many lifelong. While some effects have been well studied during this last decade, there are changes that occur within most caregiver's lives that are hard to measure. Some are nearly universal to caregivers, some perhaps more unique to the individual. Below is a short list from my personal experience when it comes to negative effects of caregiving. You, the reader, may have additions and subtractions if you were to make your own list.
Thank you for your comment, Michael! Yes, planning is essential for a smoother transition when we are caregivers. Plans change but it's good to lay out some idea of what will likely happen.
Nice Blog! well-written and well said. I specially liked the 3rd point. Talking about Long term caregiving, Rosewell Home and Residential Care LLC is one of the nice assisted living facility taking care of elders in a nice and professional mannner.


How Can You Stay Clear Of Ignoring Locations During Your Home Cleaning?
Posted byadmin	 April 10, 2019 Leave a comment on How Can You Stay Clear Of Ignoring Locations During Your Home Cleaning?
hidden locations that many cleaner will certainly miss out on.
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It will not take too much time for your house keeper to clean these areas. For the ceiling fans, your residence keeper may utilize a dustcloth with a cleansing product and clean thoroughly for the very first time.
Various other areas that your home keeper might also fail to remember to clean lag the toilet bowl and the mirrors in your shower room. You wish to make sure that these areas are well cleaned up and sanitized to avoid the spread of bacteria! It is very important that you connect with your home cleaning lady that you want these locations clean. It can be useful to have a cleaning lady that is fluent in English to stay clear of miscommunication.
These locations accumulate not just dirt yet grease. The cleansing here ought to be done deeply!
It is just an issue of paying attention throughout the cleansing. Again, just a tidy dustcloth will certainly do the work for the picture frameworks. A great idea for preventing missed out on spots while functioning with a vacuum it is to do the edges as well as behind the doors first, leaving the open locations for last.
If you are intending on talking to a cleaning lady or a cleansing company to take great care of your home, you need to request references as well as additionally examine if they are bound as well as guaranteed.
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Our guarantee to you is that we'll never leave your location without checking the areas discussed above.
The можете да опитате тук following are locations which you ought to check with your cleansing staff before they leave your home, or also before they start cleaning up, are: Blinds, windowsills, and also ceiling fans. These areas are commonly ignored by a lot of home cleaners. It will not take as well much time for your home оправи ми деня caretaker to cleanse these locations. Other locations that your residence caretaker may additionally fail to remember to tidy are behind the toilet bowl as well as the mirrors in your restroom. It is vital that you посетете следната публикация interact with your home cleaning girl that you want these areas tidy.


"an angel of the highest order," late 12c., from Old French archangel (12c.) or directly from Late Latin archangelus, from New Testament Greek arkhangelos "chief angel," from arkh- "chief, first" (see archon) + angelos (see angel). Replaced Old English heah encgel.


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Story Review
Past Authors
Past Staff
Student Driven | Nationally Recognized
A magazine of literary arts, faith and culture.
The climate of literary journals has long been dominated by the white male gaze, and Belmont Story Review is committed to publishing stories, poetry, and essays that are inclusive of a diversity of opinions and represent typically underrepresented populations.
Through our editorial discernment, we seek to accept work from typically under-represented groups, whether this is BIPOC, LGTBQIA, ELL or other writers, dreamers, and thinkers.
Established in 2016, the magazine aims to surprise and delight readers through an eclectic mix of storytelling which includes fiction, personal essay, and poetry at the intersection of faith and culture.
In addition to bringing engaging narratives to a wide audience, we seek to exemplify the mission of Belmont University by venturing into the wider culture-shaping arena of literary arts, extending and honing our skills as readers, writers, editors, artists, entrepreneurs, and citizens within a Christian community of learning and service.Located in Nashville, Tennessee, Belmont University is renowned for its College of Entertainment and Music Business and Social Entrepreneurship programs. Belmont Story Review is produced through the university's Publishing Program, which is one of the nation's only undergraduate majors in Publishing. The magazine was founded by former Program Director Richard Sowienski, a 30-year publishing veteran, which included a five-year stint as managing editor of The Missouri Review. It is now edited by the current Director, Sara Wigal.
VOLUME VII
Meghan Beaudry
That girl who loved to run, who was good at it? The correcaminas? I may see traces of her when I look in the mirror: the curve of her cheek, her dark hair and thick eyebrows. But she's gone, and I don't know if she'll ever come back.
SINCE YOU'VE BEEN AWAY
Renee Emerson
I moved your crib, broke it down
like a ribcage. A desk there now,
a laptop, papers, all good sleepers,
through the night more often than me.
VOLUME VI
Joel Kabot
Walter Adamkiewicz knelt in front of the sunflowers that grew along the brick wall of the meat market next door, using an ancient metal can to water the dry earth that surrounded the thick, green stalks. It had rained that morning, so there had been no need for the usual 6 a.m. watering, but the July heat had been strong all day, and the plants needed their evening session...
FAT FIDL
Marc Morgenstern
The Talmud says a miracle doesn't happen every day. Sixty-three books containing the wisdom of the ages, but I, Mikha Grinblat, say the Talmud is wrong in this case. On any one particular day—sunny or cloudy, but especially cloudy—a miracle can occur...
Jade Hidle
Punctuate and hold the wind still.
Hear the dip and the snap of Khmer in donut shops
And Thai in sushi joints sucking fish sauce, garlic, and chili from my fingers,
On the streets of Long Beach,
Homesick at home...
VOLUME V
UMBRELLAS ON A SUNNY DAY
Yurina Yoshikawa
I get my Japanese news from my mother. Having left Tokyo at 18 for college and staying in the U.S. ever since, she's my one portal to my home country and everything that happens in it. The news is usually light...
Belmont Story Review is a proud recipient of a Tennessee Arts Commission Grant
© 2021 by Belmont Story Review.
Belmont Story Review is produced through the Publishing Program of Belmont University.
Design by Anna Kaelin and Casie Peterson. Managed by current Belmont Story Review staff and students.


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Cheats & Guides
Colin McRae Rally 2005 Review
Colin McRae makes his second Xbox appearance in 2004, and while the core game hasn't changed much, there are enough extras to keep most racers happy.
By on October 4, 2004 at 6:00PM PDT
Without the Colin McRae Rally series, rally racing would be virtually unknown in the United States. Well, technically, this extreme version of motorsport is simply ignored by the vast majority of American racing fans. Nonetheless, the Colin McRae series has managed to find a niche in the American gaming market with a consistent string of quality games that satisfy off-road racing fans and gearhead tweakers alike. Colin McRae Rally 4, released a scant seven months ago here in North America, was notable for its improved graphics, nominal online features, and, possibly best of all, budget price. Colin McRae Rally 2005 ups the ante--if only a bit--with improved online play, an interesting career mode, and the same solid driving model fans of the series have come to love.
Racing a VW Bug over a frozen-over stream in Sweden can mean only one thing: another Colin McRae game.
Before we get to the new features, let's take a look at what hasn't changed. Most importantly, the driving model that fans of the series have come to depend on is still rock-solid in CMR2005. It chooses to err on the side of driving simulation, as the series has always done, which means the game is not a simple pick-up-and-play experience for those new to the series. If it's your first time in a rally car, you might be surprised at how demanding the cars can be to drive. Expect to spend large amounts of time offtrack in muddy embankments and playing kissy-face with the numerous trees that line the courses. This is rally racing, after all, where no road surface is taboo: Smooth asphalt, muddy gravel, and even frozen ice are all fair game, sometimes all within the same race. The experienced driver knows how to tackle each surface to get the most out of his or her car.
The vehicles in CMR2005, of which there are more than 30, have a tangible sense of weight that is especially noticeable when making jumps. There are no floaty physics here, as the cars require a tremendous amount of speed to get airborne and quite literally slam to the ground when they land--the sense of suspension trauma is noticeable and thrilling, especially when using the cockpit view. Once you gain some proficiency with the cars, you'll find your fingers constantly flicking across the Xbox controller, making minor adjustments subconsciously in an effort to keep your car moving forward as quickly as possible. Car control in CMR2005 is a delicate dance between steering corrections with the left thumbstick, throttle and brake adjustments with either the two shoulder buttons or the right thumbstick (the former being preferred over the latter for optimal car control), and subtle, timely gear shifts with the X and A buttons to keep your revs as high as possible. If you don't like the default controller configuration, the game lets you customize each button on the controller.
Though the best-known rally cars are the highly tuned 4WD models--the Subaru Impreza WRX, the Lancer Evolution VIII, the Peugeot 206, and the Ford Focus, among others--CMR2005 has a great number of classic and lesser-known rally cars, including 2WD models such as the VW Polo, the Citroën Saxo, and the VW Golf GTi; classic models such as the Ford Escort Cosworth and the Toyota Celica GT-Four; and oddities such as the Mini Cooper S and even a Nissan pickup based on the model McRae himself drove in the 2004 Paris-Dakar Rally. Notably missing from the game's car list is the Toyota Corolla, a model that found a good deal of real-life rallying success in the late 1990s.
As you might expect, cars from disparate classes feel quite different from one another, as there is a great deal of performance difference between an Audi A3 and a Mini Cooper S. What's interesting in CMR2005 is the diversity in handling between cars of the same performance class. The 2WD VW Polo, for instance, seems to have slower acceleration off the line than the MG ZR, also a 2WD. Though both cars have the same horsepower, their difference in weight (the MG ZR being about 220 pounds lighter) seems to account for the difference in acceleration. However, these differences blur when driving the top-class 4WD cars, as they are practically identical in terms of horsepower, weight, and engine displacement. Most of the cars in the game can be unlocked by winning rallies in the career mode.
Diverse car selection means little without a lot of different tracks to drive all the cars on. Here CMR2005 delivers in spades, with nine rally events available: UK, Sweden, Finland, Australia, Spain, Japan, Greece, USA, and the newly introduced German course. Each event includes eight drivable courses, though certain stages must be unlocked. While the majority of the stages are the type of traditional point-to-point circuits so familiar to rally fans, certain events include a Super Special course, which is essentially a complicated enclosed course in which two rally drivers compete head-to-head for supremacy. These SS courses can play an integral role in the outcome of a rally, as they give you an opportunity to take on your closest rival "in person" in an effort to pull out a win.
A full garage full of road-ready rally cars. Which one to choose?
While the individual stages change from one version of CMR to the next, the characteristics of each rally event have remained true-to-life throughout the series. As in previous versions, the Finland rally event in CMR2005 is blindingly quick, full of harrowing hairpin turns in dense forest, full-throttle gravel straights, and some of the most dramatic jumps in the world. Greece, on the other hand, is a test of endurance both for the driver and the car. Heavy gravel, narrow roads with precipitous drop-offs, tire-eating stones half-hidden in the roadway, and absolutely atrocious road conditions, all hallmarks of the real Rally of Greece, are represented with dramatic flair in CMR2005. Rally driving in Sweden means running on combinations of mud and ice, dealing with snow embankments that can easily swallow your car (and add seconds to your time), and negotiating the slick surface of an iced-over stream, all while peering through your windshield during a driving snowstorm.
The feel of these different track surfaces and conditions is of paramount importance to the driving experience. Colin McRae Rally 2005 pulls off these tactile differences to great effect. Despite a disappointing lack of vibration support for the Xbox controller, there's enough visual feedback in the handling of the car on the track to realistically portray each surface and condition. Perhaps most notable in this regard is the bumpiness of some of the tracks, particularly those in Greece, where the number of undulations in the road is second only to the number of free-standing stones intent on ripping up your tires. Most noticeable in one of the three first-person camera perspectives, these bumps throw your car all over the course, especially at higher speeds. Those new to the series might find it difficult simply to keep the car in a relatively straight line on these types of difficult surfaces. On the other hand, even smooth asphalt or loose gravel can be intimidating in CMR2005, especially when they're found in narrow forest courses or accompanied by the seemingly ubiquitous rainstorms.
Heavy rain can wreak havoc on your car's handling.
Weather plays a role in how you attack each course. This isn't the NASCAR series, after all, and there's no running for the pit lanes the second a few raindrops hit the track. Indeed, "monster rainstorm" seems to be a constant subplot in Colin McRae's championship mode, as several stages in most rally events are beset by pouring rain. This is accurate for areas with relatively high average rainfall numbers, such as Japan or Germany, but the driving rains in the Rally of Greece seem a bit out of place, as that event has traditionally been dry. Racing only individual stages or rallies lets you choose the time of day (though there is no option to race at night, as in earlier versions of the game), as well as the weather conditions you'll face.
While based on real locales, the courses in CMR2005 seem to be designed with the idea of keeping the driver as busy as possible at all times. As such, don't expect many breaks during the three- to four-minute excursions into breakneck adventure. Some courses have relatively long straights during which you can catch a breath, but they are few and far between. When you're in the driver's seat, expect to maintain ultimate concentration for as long as possible, especially in the advanced difficulty mode, if you hope to have a chance at a podium finish.
All in all, the courses in CMR2005 are varied and exciting, employing a wide spectrum of surface types and weather effects to provide you with a huge test to your video game driving skills. Some course features, such as the snowbanks on the sides of the Swedish stages and the lip at the edges of particular Greek courses, are a bit too forgiving, allowing you to effectively "bump" off them to take tight turns without scrubbing off too much speed. There probably should be more damage done to your car when executing these types of questionable driving techniques, but for the most part, CMR2005 turns a blind eye to them, sacrificing some realism for a good deal more fun. Conversely, odd roadside obstacles such as hay bales and street signs, and even amazingly dense bushes, can bring your car to a standstill quickly (and pile on the damage in the process). While certainly not realistic from a physics standpoint, this at least teaches you to keep an eye open for roadside obstacles, and do everything you can to avoid them, no matter how innocuous they might seem. The only major complaint with the tracks is the short distance of each rally stage. As mentioned, most stages take anywhere between three and four minutes to complete, some shorter, some a bit longer. This is in stark contrast to some of the behemoth tracks real rally drivers face in competition, which generally average nine miles in length and are sometimes much longer. A few tracks of this type would be a welcome addition to the CMR series, if only because it would require that much more skill, concentration, and preparation for success.
Most races are won in the pits, so goes the old motorsports axiom. While this is not entirely true, it nonetheless applies to CMR2005. Because conditions vary so widely from event to event (and indeed, from stage to stage), correct car setups are critical to your success as a rally driver. Like previous installments in the series, CMR2005 lets you adjust a number of different aspects of your car before hitting the road, including tires (the choices of which change depending on the event), ride height, springs (suspension), antiroll bar, brake bias, steering, and gearbox. As you might expect, each adjustment you make can have a dramatic effect on how your car performs once you're on the road. As such, it's important to make the right modification for the right situation. Fail to give your gearbox a push in the top end and you'll be puttering down the straights in Sweden far too slowly. If you don't soften your suspension enough, the harsh course conditions in Greece or the US will eat your shock absorbers alive.
The stage-preview screens give you information about the upcoming courses you'll be attacking.
Here is where CMR2005 falls a bit flat, however. While the game gives you preview information on the next two upcoming stages, the information presented is fairly threadbare, consisting mainly of length, weather conditions, time of day, the types of surfaces you will encounter on the road, and a zoomable map that outlines each sector of the stages. While this seems like a lot, more information is often needed to make intelligent setup choices--specifically, more detail on the weather conditions. In many cases, heavy rain in the first stage becomes a light drizzle in the next, and with no information on either extreme, you often find yourself erring on one side or the other in terms of tire choice, when perhaps an intermediate tire (appropriate for damp conditions) would have been a better option. Similarly, elevation changes (which often call for lower gearbox settings) are not noted at all. As a driver, you are left to either memorize what the stage is like, or try to guess at the conditions based on what you know about the event locale in general.
While running the two stages (which are always run back-to-back in both championship and career mode), you can expect to see your car absorb some damage. A damage indicator, located in the lower left corner of your screen, gives you color-coded damage information for every major portion of your car. Slam into a wall with the side of your car and the indicator will blink, indicating damage to your car's bodywork and, depending on your speed, your suspension. Hit a tree head-on and you can expect to dent your hood severely and perhaps even sustain engine damage. There are two damage modes in CMR2005, normal and advanced. Normal allows you to take plenty of chances with the car and still be able to make it through a stage relatively unscathed. Advanced damage, however, is pretty unforgiving, even in light accidents. Drive too recklessly and you'll find yourself limping to the finish line. Damage to a car's axles or suspension is especially noticeable, causing your car to seriously favor one side or the other. That said, despite our best efforts, we were unable to completely kill a car once and for all, even after repeatedly slamming into trees with advanced damage turned on. Even running off a cliff, or completely flipping a car onto its roof after an ill-timed jump, results in a mere reset onto the course, with little damage to show for it. While damage can definitely affect your placement in a race, the game seems to want to always make sure that you at least make it to the checkered flag.
Mmm...soft focus. Looks just like a Thomas Kinkadepainting.
Colin McRae Rally 2005 includes several gameplay modes to choose from: a challenge mode, in which you can race individual stages or full multiple-stage rallies; a championship mode; and an all-new career mode and online racing mode for Xbox Live. Championship mode allows you to take on the persona of the Flying Scot himself, Colin McRae, as you fight for the right to call yourself world champion. There are two difficulty levels, normal and advanced. On your way to the championship trophy, you'll visit all the different rally locales on the schedule, looking for podium positions and the attendant points. At the end of the season, the driver with the most points earns the title.
During the championship season, you'll also get the opportunity to test new parts for your ride, such as advanced dampers for your suspension or an improved gearbox. These tests are essentially minigames and are generally the same as those found in Colin McRae Rally 4. The improved ceramic braking system test, for example, requires you to run a course in Spain within a predetermined span of time and stop in a designated area. Complete this exercise three times, each successive try a bit longer than the previous, and the new brakes are yours. Another test features a maddening engine-rev/gear-shifting assessment in which you are required to maintain a certain rev level in a particular gear for a few seconds, and then shift up or down to an appointed gear and maintain revs for another preset amount of time. The real difficulty comes when skipping from high revs in fifth gear to very low revs in first gear, all while on the clock. Expect to attempt this insanity-inducing test several times before passing.
The career mode is essentially a beefed-up version of the championship mode, with a few twists thrown in for good measure. You're still competing on rally courses, but, instead of running four German rally stages in a row, you might start in Germany, go to Australia, head to Finland, stop in Sweden, hit Germany again, and then return to Finland to finish off the event. In between each stage, you'll repair your ride as usual in preparation for the next stage. In this sense, it's just like a regular rally, except that the stages come from several different rally locales. Your choice of cars is limited in career mode, depending on the event you are running. You start your rally career with only a few cars in your garage, including a 4WD Impreza and a 2WD VW Polo. Using these cars as a starting point, you race in class-restricted events in which you can unlock more cars and earn driver points to unlock more-difficult racing classes, on your way to the ultimate career goal, the 4WD Diamond Series. As you move up the career ladder, the rally events become longer and are more locale-specific (an entire Spanish rally, followed by an entire Finland rally, for example).
Certainly the dedicated CMR fan will enjoy unlocking the many available cars in CMR2005's career mode. Everyone else may feel this mode is lacking in flow and narrative depth. When compared with another Codemasters title, TOCA Race Driver 2, a game whose entire premise revolved around the career of an up-and-coming driver, CMR2005's career mode doesn't really stack up. It's a bit too similar in function to the regular championship mode, in which you're simply running event after event with no payoff other than the occasional unlockable car. A rivalry with another driver, a chase for sponsorship money, or some other kind of drama would have been a big improvement to CMR2005's career mode.
Setups are crucial to your success as a rally driver.
For a while now, hard-core rally fans have wondered just how a console rallying game would handle online play. After all, even though real rally races find many drivers competing against one another, the actual driving in a rally stage is a solitary event, with each driving team going out alone on the course and trying to best the times turned in by their competitors. Translating this style of play directly makes little sense for an online mode, as it would lead to loads of downtime for the drivers not currently participating in a drive and would likely end up making the mode an extremely boring affair. At the same time, simply driving a course and posting your verified times to a central server removes that much-needed interactivity that makes online gaming so immersive.
Colin McRae Rally 2005's answer to this question is unique, achieving head-to-head competition with the arcade racing convention of multiple cars on the same rally course. You can race against up to eight other Xbox Live players, but the twist is that you are racing only against brightly colored ghost cars. As you negotiate a course, you will overtake, or be overtaken by, your opponents, who may pass directly through you as you race. Surprisingly, despite the bright color palette, the ghost cars aren't really that distracting, because they fade in brightness the closer they are to you. Even when racing a car neck and neck through a series of tight turns, you'll be only vaguely aware of its presence, and it's rarely distracting enough to mess up your drive. What is distracting, however, is the lack of a codriver by default in the online mode. It's a disconcerting choice, as you're so used to hearing the codriver's voice in the offline game and counting on his instruction in order to drive at the limit. Thankfully, there is a menu option to return your trusty pace-notes reader to his seat.
If you fail to listen to your codriver's pace notes, your car ends up like this.
There is virtually no slowdown when playing online, even with a full complement of eight racers. With a full field, you might notice your competitors lag-hopping around the course, but performance issues with your online race should be few and far between. This is the good news. The bad news is that a lot of the features found in the offline game are no-shows on Xbox Live. Things like car setups, service-area repairs between stages (even when running full rallies), and between-stage leaderboards are all missing. No matter how recklessly you drive in a single stage, your car will be good as new at the start of the next stage. This design decision kills the rally ethic of "drive fast but save the car," which is crucial to the single-player game. Lack of car setups is another curious choice. Arguably, car setups mean more in a rally game than in any other form of racing game. No matter how fast you drive, without the proper setup--even something as basic as a tire choice--you will lose time. In addition, the stock setups they stick you with in the online stages seem to heavily favor understeer on stages that could use a bit more nimbleness in tight corners. The choice to toggle setup and repair options is sorely lacking in CMR2005's online component.
You have the choice of racing single stages or full rallies when online. As mentioned above, when racing full rallies over multiple stages, there is no between-stage leaderboard, so there's no way of knowing how much time you need to make up to take the lead. Instead, you are awarded or penalized ranking points after each stage. This ranking system is similar to the system used in Codemasters' TOCA Race Driver 2, in which the number of points you earn is based on the skill of the people you race. Beat someone who is ranked higher than you and you can expect to win a lot of points. Lose to someone of lower rank and your status will take a big hit. While CMR2005's online racing mode is enjoyable and will certainly add some life to the game, its lack of options might turn off fans of the more realistic single-player game.
Graphically, the Colin McRae series keeps making strides. This year, one of the most dramatic graphical touches is a blurred-vision effect used when sustaining heavy crashes. The more dramatic the crash, the longer and more drastic the blurred-vision effect. Slam your ride into a tree head-on at top speed and you'll not only be dealing with a severely damaged car, but you might even have trouble locating the road to get back on your way. The roadside obstacles, such as trees, rocks and huge divots, are diverse, and some even react when you hit them. Bump a tree, for example, and you'll see leaves gently falling around your car. The water effects, on the other hand, leave a lot to be desired--especially the rain effects, which, while varied in appearance (from a light drizzle to an absolutely torrential downpour), don't seem to have a sense of depth to them.
There are some seams in the textures, but you have to be at a full stop to notice most of them. Cool effects, such as sparks flying off the car when scraping against a metal bridge railing, are especially dramatic in the game's excellent replay mode, which captures the intensity of each drive well. Ranging from long views above the car to handheld-style side-of-the-road shots, the multiple camera angles mean you'll find yourself enjoying the view after particularly daring drives. Lack of camera control and no way to save your replays is disappointing, however. The color palette in CMR2005 is gorgeous, depicting dramatic lighting differences in morning and afternoon races. The lighting effects, particularly the sunlight, may be the best ever seen in the series. On one stage in particular, you are running uphill at high speeds with the sunlight glaring directly into your windshield. Unable to see much of anything, you're more dependent than ever on your codriver's pace notes.
A leisurely Sunday drive in the English countryside. At 90mph.
Speaking of the codriver, Nicky Grist is back in his familiar seat as the pace-notes reader in CMR2005, replacing Derek Ringer (the man who replaced him in Colin McRae Rally 4). Grist's pace notes are more accurate than ever in CMR2005, indicating road features like camber and the degree of cut to take when "cheating" across grass or gravel. Specific notes such as "Big cut inside sign" or "Turn right after blue sign" can really assist your drive. Pay close attention to the notes and learn to trust Grist's tempo and your times will only improve.
Don't expect to hear any in-race music in CMR2005, beyond the dulcet tones of Grist's pace notes. In fact, the game's only music is played in the menu system. As such, there is no support for custom soundtracks. The other aural elements in the game are solid, including a wide variety of authentic engine sounds for the various cars in the game and a good degree of variety in road-surface sounds. As you might expect, these environmental sounds are different depending on your preferred camera option--engine sounds in the cockpit view, for example, sound much different from those in either of the chase cams.
In the end, Colin McRae Rally 2005 upholds the fine tradition the series has established. A solid driving model is bolstered by a good career mode and online racing that provides a glimpse at where the franchise may be heading in the future. For those new to the series, Colin McRae 2005 offers a lot to keep you busy, and it's certainly worth its relatively low price. Those who already own Colin McRae Rally 4, however, may find 2005's online mode too sparse to justify a new purchase.
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Abbotsford flood damage: Nov. 16, 2021 (Photos by Sophie Middleton)
295 millimetres of rain: Abbotsford, Hope set precipitation records
In a span of two days, Hope saw just as much rain as Penticton would in one year
On Sunday evening, Abbotsford had already set its own daily record for the most rainfall seen on Nov. 14 — what would follow the next day though in parts of the Fraser Valley would set provincial records.
Both Hope and Abbotsford totalled precipitation amounts early in the week that several cities within B.C. don't see in an entire year.
And in a two-day period, Hope saw almost as much rain as Penticton would see in one year, on average, according to Environment Canada.
"It puts everything in perspective but of course in the Southern Okanagan, it's generally a much dryer and completely different climate from the Fraser Valley," said Bobby Sekhon, a Vancouver-based meteorologist.
Hope saw 295 millimetres of rain on Sunday and Monday combined, while Penticton usually sees around 299 millimetres of rain throughout an entire year.
READ MORE: Flood warning in effect in Hope as heavy rainfall continues
"Hope, generally in the month of November, sees about 310 millimetres of precipitation, so it's not entirely uncommon for them to have heavy rain," he said. "But this was definitely significant for a two-day period."
Meanwhile, in Merritt, the entire population has been forced to evacuate the city, amid the record-breaking floods seen in the area on Monday.
READ MORE: Merritt residents fleeing floods evacuate to Kelowna
"There are a few different things contributing to the flooding in Merritt," added Sekhon. "From what I understand, the cold water river flows from the Coquihalla where we saw over 250 millimetres of rain.
"Plus the possibility of some water running down in that area too."
Evacuees from Merritt have been forced to make their way to Kelowna, where volunteers at the city's Parkinson Recreation Centre will provide the ones affected with food and shelter.
One hour south of Merritt, Princeton remains under a state of emergency as the town continues its efforts to prevent more flooding.
abbotsfordBC FloodBritish ColumbiaHopeMerritt
Gas tankers getting escort over Malahat to Greater Victoria
Petition responds to Saanich's new on-leash dog rule for Cadboro-Gyro Park


Billie JD Porter has already carved out an enviable media career across multiple platforms.
The writer and filmmaker has amassed an extensive body of critically acclaimed works' since exploding on to the scene as a young teenager.
At just sixteen, Billie's passion for music saw her contributing to titles such as NME, i-D and Vice, captivating readers with her wry interview style and immersive approach often turning up for a 10 minute Q+A with a band, then ending up spending weeks on the road.
She's since written on a wide number of subjects for countless publications, including Elle, Wonderland, Grazia and Jalouse.
Her talents don't lie merely in the written word though – Billie JD Porter has proven herself to be a gifted broadcast journalist, being as at home interviewing politicians for Channel 4 News, as she is chatting to huge stars for late night music shows.
Having fronted two three-part Current Affairs series (Secrets of South America & Secrets of China) for the BBC in recent years, she has displayed a fearless dedication to the stories she follows, taking her work to the slums of Rio and military boot camps in China.
A regular face in fashion magazines, Billie has been featured in Vogue, The Sunday Times, Tatler and many other titles for her unique style.
As a model she has posed for the likes of Levis and Louis Vuitton, and DJ'd internationally for some of the biggest brand names in the industry.
Her eclectic career portfolio has seen her host a number of workshops for young people in the UK, Singapore and Bangladesh, for the likes of The Guardian and The British Council.


Timo Multamäki aka "Multis" – a game designer with strong convictions and vivid imagination. Created the Arctic Union, a co-operative of Finnish game designers, five years ago. Long history of RPG and LARP, including a few noteworthy items (Dragonbane, Wanderer Saga). Published a few board games (Zanziar, Phantom League + 2 expansions, Black Hat) and a book "The Legacy of Dragonbane". An active member of the BGG community with a known tendency to be blunt to a level that some would consider rude – it's never intentional, but just practical Finnish way of resolving things.
Thomas Klausner from Austria has been playing board games for all his life. A few years ago he started getting active in developing games and editing rules. He co-edited the rulebooks for Phantom League – Mostly Harmless and was main editor and co-designer for Black Hat, as well as for the upcoming Perdition's Mouth: Abyssal Rift. Apart from that, he has developed a web application for organizing tournaments which was used for example in Agricola World Championship and Settlers of Catan European Championship tournaments.
Jere Kasanen AD / Graphic designer / Developer of such games as Serpent's Tongue and Nations + many upcoming titles. He works full ours with all kinds of games and as a hobbie designs them and enjoys greatly playing almost anything with a strong theme! His roots are deep within old pen and paper RPGs. This is the time of my life.
Tanja Ylitalo, illustrator. Tanja mostly draws stuff. Her favorite character in Perdition's Mouth is the Summoner.
Juha Salmijärvi, illustrator. Juha's specialities are gruesome details, such as the wounded victims of the cult and bloodfilled pools. Even though Juha is a Finn, he lives and studies in Scotland.
Matthias Catrein has been working in the scene since 2003, doing everything pre-press related: Illustrations and layout of a complete game. His work culminated in the German "Game of the Year" 2009, Dominion. He has been maintaining Dominion and it's multitude of expansions ever since. The first contact to the Arctic Union was years ago, when Timo presented Zanziar in Essen Spiel 2009. Over the years, both game geeks found that the chemistry is right, which lead working together on Perdition's Mouth: Abyssal Rift.
Jamie Noble is a digital artist and avid board gamer, who works across a range of industries, including creating art for book covers/illustrations, board games, and video games. After over a decade of developing his distinctive style through studying, practising his form, and closely examining the work of his greatest influences – including Frank Frazetta and Ian Miller – he now works as a freelance artist, who specialises in fantasy and sci-fi art.
Dean Ray Johnson is a boardgame editor and enthusiast living in Houston, Texas, who tries not to argue too much about semantics. For Perdition's Mouth Dean is responsible of rulebook and varying other editing tasks.
Chris Gabrish, 3D models. Chris is a 3d artist with extensive background in video game industry and miniature sculpting. Original art by Chris can be seen in many games, furthermore Chris has made licensed sculpts based on paintings of Frank Frazetta.
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Motionographer, renowned online Motion Graphics networking platform, nominated the second Double-Blind Experiment for a 2020 Open Format – Experimental Motion Award. Double Blind No.2 is one of four nominees for this year's Open Format -Experimental Award. The winner will be announced on 10th December at The Motion Awards LIVE Virtual Event. The LIVE event will stream from the Motion Awards website.
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All stations were a go for the Cutting Edge Technical Services [CETS] crew heading up on-site broadcast, post production and ingest services for Screentime Australia and Channel 7's, SAS: Australia production. The Australian franchise of the UK series, SAS: Who Dares Wins is a reality TV show where seventeen celebrities, athletes and stars are challenged to complete SAS selection course training. Special Forces trainers put contestants to the ultimate test of will power, strength of mind and physical endurance.
In just a few short days the team at Cutting Edge turned around a cute animated spot for the Children's Hospital Foundation. The project shines a spotlight on an important cause amid the COVID-19 pandemic. It's a reminder not to forget those most vulnerable during the crisis. Long, tough, scary days just got a whole lot harder for sick kids in hospital because of COVID-19. The Children's Hospital Foundation works wonders by funding life-saving medical research, investing in vital new equipment, and providing support and entertainment for children and their families. "We know that now is an important time to help give voice to causes such as this one", says Creative Director, Zenon Kohler. "The work the Children's Hospital Foundation does is hugely important, perhaps now more important than ever," added Ian Anderson, Animation Director at Cutting Edge. Connor Anderson composed a track for the project, giving the spot the…
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Creative Director, Zenon Kohler, and Animation Director, Ian Anderson, are expert character designers having created beloved characters for Australian brands. We spoke with the guys about how they approach designing a character. As a duo you have designed dozens of successful commercial characters including Wally (Rugby Australia), Steve (Betadine) and Borobi (Commonwealth Games). What's the secret behind your partnership? Ian: I like to think we bring the best out in each other. We challenge each other as we strive for unique and fresh designs. But he's still a dickhead. Zenon: In a nutshell, our skill sets complement each other. We've worked together for nearly 10 years and when you collaborate with anyone for that long, you develop a kind of shorthand, a mutual respect for each others' creative contribution to a project. Plus I say something nice and he calls me a dickhead. What makes for 'good' character…
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We delivered over 300 VFX shots for Director Leigh Whannell's recent hit, 'The Invisible Man'. The film's a haunting take on domestic abuse and shines a spotlight on often unseen violence. It's a theme that sets an unsettling tone. The Invisible man stars Elisabeth Moss, and is full of thrills. The tension, suspense and action are all brought together with the help of great VFX. Cutting Edge was the VFX lead vendor, and Supervisor Jonathan Dearing led the team to create a scary and often unseen tormentor. The Invisible Man is now in cinemas and available through streaming services.
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The Double-Blind Experiments is a creative collective of VFX artists and sound designers who embarked on a quest to explore the depths of their own creativity. When they set off on each experiment they have no idea where they will end up or what they are creating. On their second outing they flipped the project on its head, changing the rules to see what it would mean to the end result. They assembled an expanded team of very talented people and got to work. Annuli is the second experiment and follows the success of Double-Blind No.1. The first experiment was created by five VFX artists, a sound designer and editor from post house, Cutting Edge. Freeing the artists from the constraints of a client brief, they were able to find individual inspiration. Each artist followed their instincts, creating their own shots in isolation of the rest of the team. When…
scUber Gave Us the Ride of a Lifetime
We had the pleasure of assisting Publicis Worldwide with a global campaign designed to drive awareness of the wonder of the Great Barrier Reef and increase visitation. In a collaboration with Tourism and Events Queensland and Uber, lucky riders had the chance to cruise around the Great Barrier Reef in a submarine. The Reef is well known for its beauty and this was an opportunity to experience its rich marine life from the comfort of a ride sharing service. The Cutting Edge team created an on-location post production hub on Heron Island to facilitate the creation of content as events unfolded. Editorial was run around the clock in 24 shifts ensuring we captured and shared the once-in-a-lifetime scUber experience. The campaign was a great idea, executed well, and went on to take out 'Best in Show' at this year's BADC Awards.
Black Antenna: A Ten-Part Sci Fi Film
Related > Design / VFX


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Atlantic Cod
Gadus morhua
Cod, Codling, Codfish, Ovak, Uugak, Haberdine
Atlantic Cod, which can live as long as 25 years, usually reproduce for the first time at around five or six years old. The number of eggs produced in a given year, however, increases with both the size and the age of females. A one-metre female may lay about three million eggs, for example, while a 1.3-metre female may produce up to nine million eggs in one spawning season. Spawning, which usually happens in the coldest months between January and April, takes place at depths of one to 110 metres. While the females are releasing the eggs, the males swim around competing to fertilize them. Larvae measuring 5mm (0.2 inches) then hatch anywhere between 10 and 40 days after spawning, depending upon the water temperature. Larvae remain free-floating for around 10 weeks, enabling the young Cod to increase their body weight 40-fold. The young cod then move to the seabed and increase in size to 14-18cm (5.5-7.1 in) by the end of their first year. The mortality rate is, however, tremendous. Of the several million eggs each female spawns, only about one egg of each million succeeds in completing the cycle to become a mature cod.
Food Info Atlantic Cod
Colour: Pure white fillets
Texture: Lean, moist meat with a dense, but very flaky texture
Flavour: Mild flavour
Perfect serve: Atlantic cod should be cooked in medium heat. The very flaky texture makes it difficult to grill, poach or prepare using other cooking methods that don't support the entire structure of the fish. That's why this fish is so often incorporated into fish cakes or prepared as a baked dish. Alternatively, you can hold the fillets together by coating them in egg and herbed breadcrumbs, then baking at medium heat in a buttered baking pan until the juicy white meat just flakes off the fork.
Cod with lemon butter
HOW TO CHOOSE A QUALITY ATLANTIC COD
When choosing fresh Atlantic cod, look for the following:
Fillets should be firm, pure white and not very oily.
Fresh fish should have a mild sea breeze aroma, no 'fishy' odour.
Whole fish should have bright, clear and shiny eyes.
Scales should be shiny and cling tightly to the skin.
The flesh should spring back when pressed.
Codling
Ovak
Uugak
Haberdine
An icon of the North Atlantic, cod has been fished for more than 500 years, ever since the discovery of the New World. The fish lives in colder waters on both sides of the Atlantic and has been a traditional staple for Europeans and North Americans.
The colour of cod varies depending on its habitat, ranging from reddish brown to pay grey-green. It can be identified by a small barbell that extends from the chin of the fish to its whiskers. It has three dorsal fins, an almost square, broom-shaped tail and a disproportionately large heard on a streamlined body that allows it to swim at moderate speeds. On average, code weigh 11 to 26 pounds (5 to 12 kg). It has large, tender flakes that make for an incredibly juicy, delicious fish – perhaps the reason it has long been one of the most famous fish species.
Bottom Longline
Fish harvesters use bottom longlines to catch Atlantic Cod. Baited hooks are attached to lines that are anchored to the ocean floor.
Atlantic Cod by Bottom Longline (Iceland)
Bottom Longline with Hooks
This fishery uses a bottom longline that is baited with hooks and anchored to the ocean floor. A longline can be from 1 to 3 miles (1.6 to 5 km) long and have up to 2,000 hooks.
Incidental Catch by Hook & Line
Gill Net - Generic
This fishery uses curtains of netting suspended by a system of floats and weights to catch fish. The fine netting is almost invisible so fish unwittingly get caught in the mesh.
Atlantic Cod by Gillnet
Bottom Trawl
This fishery uses a large cone-shaped net that is dragged along the seafloor to catch fish. As the net is towed at low speed, hydrodynamic forces push two "otter boards" outwards opening the mouth of the net and capturing fish in its path.
Atlantic Cod by Bottom Trawl (USA)


text:
Q: How to reverse a MySQL result I need to reverse my output and I can't do it by switching the ORDER BY clause.
This code is getting the last 12 months, but I need to display them in the opposite order. Right now it has October first, but I need it to come last. If I switched to ORDER BY DATE ASC then I would get the wrong months.
My code is this:
<?php
$result2 = mysqli_query(
    $con,
    "SELECT SUM(DISTRIBUTED_AMOUNT / EXCHANGE_RATE)
        FROM royalties
        GROUP BY DATE
        ORDER BY DATE DESC
        LIMIT 12"
);
while($row2 = mysqli_fetch_array($result2)) {
    echo number_format($row2[0], 2, '.', '') . ', ';
}?>

A: You can just wrap your query in another select and reverse the order by:
SELECT res
FROM (
  SELECT `date`,SUM(DISTRIBUTED_AMOUNT / EXCHANGE_RATE) AS res
  FROM royalties
  GROUP BY `date`
  ORDER BY `date` DESC LIMIT 12
  ) a
ORDER BY `date` ASC

redpajama_set_name: RedPajamaStackExchange


text:
MAPLE MUSIC JUNKET, June 1972
I was among the long-suffering UK music writers invited to Toronto and Montreal for the Maple Music junket in June 1972. For five weary jet-lagged days our party of 30 or so UK media types was shepherded around with unrelenting efficiency like captive prisoners. Early each morning we were roused from our beds and taken hither and thither, to recording studios, to offices, to lunches, to meetings, to press conferences and, finally, to concerts with ten or more acts on the bill which seemed to last forever (like six or seven hours), only for the same thing to occur the next day, and again the next, with a six-hour train ride from Montreal to Toronto in between, until we were all so exhausted that all we wanted to do was sleep, but no, off we were marched on further compulsory activities until, on the penultimate day, I staged a protest and instead of visiting yet another boring studio (and when you've seen one, you've seen them all) I absented myself, hired a limo and took two girls from the party off to the Niagara Falls for an afternoon of leisurely sightseeing.
We has a lovely time but when we returned there was all hell to pay. The hosts were angry. We'd abused their hospitality. I pointed out we'd had no free time for days on end, and that another visit to an airless recording studio was pointless, especially to journalists from a city that boasted Abbey Road and Olympic. The Brits were on my side, and threatened to boycott the evening's concert. Hasty negotiations followed and the next day's daytime plans were cancelled. The organisers gave everyone the day off and even provided a coach to visit the Niagara Falls (which I always suspected was a gesture aimed deliberately at slighting me, the trouble-maker, since in doing so they offered a free trip for something that I had already paid for).
But Canada avenged itself on us miserable ingrates. At the airport on the final day, as we boarded our chartered plane, we were handed huge quantities of unexpected, loose carry-on luggage, boxes of records, press folders, books, bottles, T-shirts and miscellaneous gifts bearing the Maple Leaf emblem, which we struggled to carry, along with our duty-free allowances of fags and booze, and our coats and hats and scarves and god knows what else, and after we'd somehow crammed all this stuff into the overhead lockers and beneath our seats and taken off into the Canadian night, lo and behold, the plane hit a terrifying electric storm and descended 10,000 feet in a matter of seconds, with such force that the overhead lockers fell open and all this stuff crashed down upon our heads, spilling our drinks, landing in our food, and simultaneously we were plunged into pitch darkness as the plane was tossed around helplessly in the unforgiving sky for what seemed like hours but was probably only ten minutes, and many of us vomited from a combination of terror and the lurch of the plane, and I for one was never more frightened in my life... indeed, that was the very worst plane trip I'd ever experienced, and I can still recall it as if it happened yesterday.
I was sat next to David Jacobs, the DJ who had been the host of Juke Box Jury. He was as calm as the proverbial cucumber, as urbane and suave as he was on JBJ, and his reassuring manner is something I remember just as vividly.
Labels: Odds & Sods
Vincent van Engelen 1 April 2016 at 12:10
I was on the same trip with a couple of my colleagues in Dutch radio- and tv broadcasting and I agree with Chris for 100%
caroline boucher 19 July 2017 at 10:24
You didn't pay for the Niagara trip - we split the bill between three of us (the third being my husband). And you were in the plane loo when the turbulence started and came out drenched. How we all laughed.
Chris Charlesworth 12 September 2017 at 09:58
You are probably right Caroline, but I could swear Val Mabbs of RM came with us. I do remember we split the limo bill. I still have pix from the Niagara Falls taken that day but none of us unfortunately. I also remember being in the plane loo. What a memory you have. CC x
Alan 12 September 2017 at 10:06
I was on that trip as photographer. Ritchie Yorke and I became friends and he arranged my immigration with the Ontario government, but I changed course and moved from London to Nashville. I never slept the whole four days, then drank all the way back on that plane. I went straight to the studio when we landed, processed and printed my pictures. The story was published as a feature in the Record Mirror.
Alan Messer www.alanmesser.com
Jason Martin 28 January 2019 at 22:43
Quite a good time of your life.
luton airport valet parking
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CAT STEVENS - 1970 Interview
iPOD TOP 50 - Most Played Songs
THE WHO - A Couple of Book Reviews
JERRY GOFFIN (1939 - 2014)
JOHN'S ARTWORK - Sale Report
CAT STEVENS IN THE JUNGLE
THE iPOD LIST
WEDNESDAY MORNING SHUFFLE
R.E.M. Unplugged, 1991 & 2001 - Album review
YOU AIN'T GOING NOWHERE
TRAFFIC, A Vietnam Vet & How I Riled Chris Blackwe...
DAVID BOWIE, Detroit, March 1976 - Part 3
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THE WHO, New Bingley Hall, Stafford, October 3 & 4...
MY BUSIEST EVER WEEK ON MELODY MAKER, December 197...
PAOLO NUTINI - Caustic Love review
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WATERLOO SUNSET - The Kinks' Greatest Song, A Book...
JOHN, PAUL & KEITH, Santa Monica, 1974
MONDAY MORNING SHUFFLE
SLADE - A few thoughts


text:
Home / Human health / Summary first quarter of 2020 of eKuore
Summary first quarter of 2020 of eKuore
The year 2020 began with big plans for eKuore, new distributors and integrators anf a funding round that was carried out in record time
The year 2020 began with big plans for eKuore, new distributors and integrators that will allow reaching more places and countries, thus expanding the distribution network. On the other hand, the funding round was carried out in record time, during the instability created by COVID-19
eKuore launched a funding round in March through the Capital Cell platform for a total of € 500,000 to complete investment of 1.5 million euros, which already had the support of the Banco Santander Smart Fund with the million euros remaining in loan mode.
eKuore's proposal is based on creating a system that allows the early detection of idiopathic pulmonary fibrosis (IPF) and murmurs in pediatric cardiology, using an auscultation recognition algorithm obtained with the company's digital stethoscope.
Despite the uncertainty and doubts that arose in the situation of economic instability, eKuore managed to close the investment round in record time. In just two weeks it achieved its goal of € 500,000 and, finally, it closed on April 3 with a total of € 596,618.90. All this with a global pandemic, a state of emergency, a stock market crash and national confinement.
Given the pandemic situation generated by COVID-19 and the uncertainty of the instability situation worldwide, the measure was taken to follow the recommendations of the health authorities, anticipating remote work, except for the logistics department, which continues their work in person.
On the other hand, during the first months of 2020 before the state of alarm, eKuore participated in several veterinary fairs, including VMX in Orlando (USA) where relations with eKuore partners in LATAM and USA were consolidated.
During January, eKuore visited the ninth edition of the Leipzig Veterinary Congress in Germany with more than 6,200 attendees and 283 exhibitors from 15 countries. And eKuore was also present at the international veterinary congress Montenegro in Portugal, together with its partner in the country BBraun. On this occasion, BBraun was presenting the veterinary otoscope and endoscope to the Portuguese market.
Finally, in terms of international expansion, during the first four-month period of 2020, two new distributors began to extend veterinary products, Glowackivet in Poland; and Distrivet in Chile. And a new integrator started using the eKuore Pro stethoscope in France, Ubidoc Telemedicine.


Stacey Unck is a Seattle-based singer-songwriter currently promoting her first full-length album Through the Cracks. Her music has an "acoustic, indie folk" sound highlighted by charged vocals, accented by well-placed vocal harmonies, and supported by acoustic guitar and cello lines that range from sparse and melodic to full and aggressive.
Not only can you count on variety from song to song, but you'll most-likely find one or two lines in each song that have slipped "through the cracks", as it were, of her ever-permeable musical filter. She sings what most would leave unsaid.
"In today's modern world of music, where every sound you hear is sugar glazed, Stacey Unck stands apart from the crowd, dripping in molasses. Stacey, along with cohort Stephanie Roche, cellist, express deeply honest indie folk tunes, punctuated by awkward, yet strangely comfortable banter. She has the stage presence of an extrinsically motivated musician, but the introspection and honesty of one who performs for the shear pleasure of making quality music."
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text:
Gun Violence is Caused by Liberal Failures: Done on purpose for the goal of government control over people
Rich Hoffman Rich Hoffman April 3, 2021 April 2, 2021 5 Minutes
Are you seeing the pattern, this past week another very non NRA type of person conducted a mass shooting, this time it was Aminadab Gzxiola Gonzalez, which turned out to be a case of workplace violence in Southern California, specifically Orange County. Four people were killed, and one was injured as the gunman went on a shooting rampage at the office complex of a realtor and as the media was quick to point out, it was the 3rd mass shooting in just two weeks. Oh, but they forgot one, which is the one from Virginia Beach that I addressed in the video above. There was really four, even more than the media wanted to admit. Actually, I'm surprised that this one with Gonzalez they wanted to count, because of the guy's name. Maybe it was because he was older, but he certainly didn't fit the profile they were looking for. But if they can exploit it for gun control, then perhaps they no longer care about the details. After all, the shooting in Virginia Beach didn't result in more than four people being killed. Only one died, but there were eight others who were shot in a gang bang type of affair that would have looked familiar in a movie like John Wick or the video game Grand Theft Auto.
Most of these articles and the members of the media are not NRA members, and they certainly aren't part of the mainstream culture of America. They are hired to report the news by corporate media activists so if they want to keep their jobs, they need to advocate for progressive causes, and as we know, progressives want to get rid of guns in society and they will exploit any action that will help them do it. They don't really care that the mass shootings are happening, they just want to use them to advance their gun control measures. However, they have a problem because the killings are not coming from white Trump supporters who are in the NRA. Instead, and this is the case with all four of these shootings over the last two weeks, they are coming from names of people who don't have Anglo Saxon types of backgrounds. Only the one in Atlanta comes close to the kind of person they want to see causing all this violence which they tried to directly attribute to Donald Trump's blame of coronavirus on Asians, without dealing with the real problem of sex addiction.
In fact, the four mass shootings that occurred all have in common breakdowns in behavioral circumstances which can be looped back to liberal causes. In Atlanta, its sex addiction which progressives and their pornographic society have advocated for, and which the big tech companies make abundantly available as a means of controlling the animal instincts in human beings, which makes them more compliant to government mandates. Then there was the shooting in Boulder Colorado, which came from a known Islamic extremist who specifically targeted white people. An obvious case of racism by a young immigrant kid from the Middle East and was an anti-Trumper. Not an NRA type as the media wanted, but they tried to divert the cause of the shooting away and to exploit the emotion of the killings to provoke gun control measures among politicians. Then of course there was the shootout at Virginia Beach just a week ago from this writing which involved lots of minority types of kids obviously influenced by violent video games and entertainment culture. They were fighting in the streets and in the clubs like they see on those entertainment venues obviously not thinking of the consequences of their actions as if they thought they were all going to respawn after they were shot or killed. Then you have this Gonzalez guy killing these poor people in Orange County. I wouldn't say we don't understand the cause of those killings. Obviously Gonzalez knew all the people he attacked and at this point we could call it some variation of workplace violence, where emotions run wild in a business climate where people are trying to make a living and things get out of hand.
In all the shootings we are looking at serious breakdowns of the expectations that liberalized society has set, that ends up falling apart in these people who then turn to violence to resolve their conflicts. I would then offer that it was the liberal plan all along to break down elements of our society for a good ol' Kotter change state by removing fathers from families, promoting pornography in entertainment, violence in movies without context, and turning to racism every five seconds in our media culture to stir up the emotions of the disenfranchised at every opportunity to enact violence on the culture they seek to conquer, which is traditional American value in this case. People who belong to the NRA, grow up with good fathers who give them Red Ryder BB guns to learn firearm safety, and would maybe even join the Boy Scouts to become better people are not the people doing these mass shootings. It is the products of liberalized society who are failing and turning to guns to resolve their quandaries with existence. They are almost pushed into it by the media culture who of course want to exploit those deaths so to enact the gun control measures which was always the plan.
Now of course those of us who oppose gun control want a civil society. We want law and order and respect for our fellow people. We see guns as a way to maintain a civil society. In all these mass shootings for instance, we didn't see a good guy with a gun there to put down the threat. There was no concealed carry holder around to end the violence before the police arrived. That is actually the reason the violence happened, and it might be very hard for average people to admit to themselves that is why progressives in the form of Democrats and some Republicans are against fully embracing a society of guns and CCW owners roaming around in public to keep violence from happening, because progressives want the mass shootings to happen so they can use them to advocate for the removal of guns from society, and thus, the easy control of government over the people they manage. Ultimately, that is why you hardly heard a peep about the shooting in Virginia Beach because it was a gang bang affair, and that kind of thing isn't relatable to the average person in society. But the grocery store shooting in Boulder and the workplace violence situation in Orange County California does, so that is why those were exploited as opposed to others. But they all are caused by the liberal policies of politics that have gone wrong or gone right if the point of view is to remove guns from society with emotional stories that the public might support as a result of the tragedy. But I see something different in these post Trump years. The Biden administration and the handlers behind him have overplayed their hand. They've especially done it on this gun violence issue trying to exploit every occurrence to full effect. People are catching on, and they are numb to the emotional plot points, and its not working.
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Norfolk County District Attorney William Keating and state Sen. Robert O'Leary spent much of Monday's 10th District congressional forum debating issues such as casino gambling and raising Social Security.
Norfolk County District Attorney William Keating and state Sen. Robert O'Leary spent much of Monday's 10th District congressional forum debating issues such as casino gambling and Social Security.
O'Leary said he would consider raising the retirement age for Social Security, as long as those currently receiving benefits are not impacted.
Keating said the retirement age should not be increased, adding legislators should cut waste from the other parts of the budget instead.
On casino gambling, O'Leary said he does not support expanded gambling while Keating backed limited expansion.
Keating said gambling should be targeted to areas that would boost tourism, cautioning new state revenue should be added to non-essential budget items such as rainy day funds.
"If revenues for this are attached to basic needs, there is a risk that as revenues wane there is pressure to fill that void with (more) gambling," he said.
Both Democrats said they did not support granting amnesty to illegal immigrants, adding that border protection needs to be strengthened.
On the economy, O'Leary cited increasing government funding for infrastructure projects such as roads and schools as an example of good uses for stimulus funding.
"Those are the kinds of investments we need to continue to get this economy going again," O'Leary said.
Keating highlighted the South Weymouth Naval Air Station redevelopment as a way government can help improve the economy.