text:
0x1000008E, 0x00000101, Error 0xC1900208 – 1047526904, Error 0x80070003 – 0x20007, 0x8024D006 WU_E_SETUP_TARGET_VERSION_GREATER Windows Update Agent could not be updated because a WUA file on the target system is newer than the corresponding source file., 0x0000006A, 0x00000021, 0x00000093, 0x0000005F, 0x80240009 WU_E_OPERATIONINPROGRESS Another conflicting operation was in progress. Some operations such as installation cannot be performed twice simultaneously., 0x80240024 WU_E_NO_UPDATE There are no updates.
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text:
The group released a trove of 9,000 documents, which, if authentic, show the intelligence agency rivaling the NSA in cyber warfare.
WikiLeaks claimed that a vast trove of CIA documents, hacking tools and code representing "the majority of its hacking arsenal" were leaked within the cyber security community - and that it had received, and released, a part of them.
The archive shows the CIA exploiting weaknesses it discovers in hardware and software systems, including those made by US companies - without letting anyone know about the flaws in question.
Documents show the CIA has produced more than 1,000 malware systems - viruses, trojans, and other software that can infiltrate and take control of personal electronics, WikiLeaks noted.
"We do not comment on the authenticity or content of purported intelligence documents," said spokesman Jonathan Liu in an email to AFP.
"The dark side of this story is that the documents confirm that the CIA holds on to security vulnerabilities in software and devices - including Android phones, iPhones, and Samsung televisions - that millions of people around the world rely on," she said in a statement.
"As these leaks show, we're all made less safe by the CIA's decision to keep - rather than ensure the patching of - vulnerabilities."
WATCH: How Powerful Is WikiLeaks?

industry_corpus2: Technology & Research


text:
Worldwideloop.com is known here after as "Service". The "Service" is completely committed to the protection of your information and privacy when you use our web service or subscribe to our service from our site. This policy statement demonstrates the "Service" commitment to the protection of your online privacy. The following statement reflects how the "Service" may use the limited information that we collect from you as a purchaser or user of our services. Please note that we do not release specific information regarding you to any third parties, unless you request that we do so. We may use this information we collect to create a more personalized service. By using this "Service" site you consent to our collection and limited use of your information as provided when you sign up. Please review this policy statement and be advised that it may be modified from time to time.
We ask that you do your part to protect your privacy online as well. Do not reveal your "Service" Private Admin Login or Password: no employee of the "Service" will ever ask you for your password, but may ask for your Private Login for identification purposes. Always use caution in revealing your email address, telephone number, or address to others. Our website may contain links to other websites. Accordingly the "Service" is not responsible for the privacy practices or content of such websites not within its control. In order to provide its services, the "Service" collects two types of information from its purchasers/users: personally identifiable information and aggregated information.
Personally identifiable information refers to information that lets us know the specifics of who you are. Personal information is requested when you order our service, fill out surveys and send us feedback. This information might include your name, billing address, phone number, email address, credit card or other payment information or other details. With this information, the "Service" can better provide you with personalized service.
Our primary goal in collecting this information is to provide you with a more efficient and properly working internet service. Our collection of personal information is limited to ensuring that you receive a viable product and collateral services. Obviously this information is collected and used internally to allow you to access the "Service" site and purchase the "Service" and maintain purchaser information records. Aggregate information is information that cannot be traced back to any specific individual and as such is completely general in nature. This is information that does not by itself Identify a specific individual. We gather certain information about you. This information is compiled and analyzed on both a personal and an aggregated basis. This information may include the Web Site's uniform Resource Locator ("URL") that you just came from, which URL you next go to, what browser you are using and your Internet Protocol ("IP") address. A URL is the global address of documents and other resources on the World Wide Web. An IP address is an identifier for a computer or device on a Transmission Control Protocol/Internet Protocol ("TCP/IP") network, such as the World Wide Web. Networks like the web use the TCP/IP protocol to route information based on the IP address of the designation. Our primary goal in collecting personal information is to provide "Service" subscribers with a superior customized online experience. We use the customer contact information to send promotional information, to enhance the operation of our site and administration systems.
We may also share your personally identifiable information with third parties who provide services to us and our customers. Those third parties include authorized contractors, temporary employees and consultants and other companies working with us (collectively agents). Where we believe it to be appropriate (in our sole discretion) we will ask our agents not to disclose or use your personal information for purposes other than to provide services to you or the "Service".
Cookies are used to manage your sessions on this website and to properly segregate your sessions and information from other users. If you disable cookies on your computer you may not be able to access certain areas on this website or properly utilize this service. Service user assumes all risk of use of service as to accidental sharing of users service profile and messages. Never include personal information you would not want others to have access to. Service cannot guarantee confidentiality of "created service user Profiles" or content due to the complexities surrounding service access through what is referred to as a "Proxy Server". any personally identifiable information with others, or use it for any other purpose than to help us. Compliance with Service of Process or Law Enforcement: Occasionally the "Service" may be required by law enforcement or judicial authorities to provide Personally Identifiable Information to the appropriate governmental authorities. We will disclose Personally Identifiable Information upon receipt of a court order, subpoena, or to cooperate with Law Enforcement Agencies in identifying those who use our services for illegal activities. We reserve the right to report to law enforcement any activities that we in good faith believe to be unlawful.

industry_corpus2: Computing & Telecommunications


text: Charming home nestled in your own private shy 1 acre, park-like setting. This 3 bedroom 1.75 bath has 1332 sf with a gorgeous view from the 680 sq ft deck! This home is move-in ready with new double pane windows, hot water tank and 50-year roof. Community beach access on East Bay Drive and community park. Electric fireplace in living room conveys.

industry_corpus2: Real Estate & Construction


text:
HOW ACQUIRED: Transferred from Stuttgart and signed Young Designated Player contract on January 23, 2016.
The 23-year-old is a technically skilled holding midfielder who can keep the ball circulating in the middle of the park, but can also dish it out on the defensive side of the ball. He also scored his first two MLS goals in 2018.
OUTSIDE MLS: Gruezo joined Bundesliga side VfB Stuttgart from Ecuadorian outfit Barcelona SC in 2014, signing a four-year contract with the German club. In the fall of 2014, Gruezo scored his first goal for Stuttgart in a 4-1 victory over Freiburg, becoming the first player from Ecuador to score in the Bundesliga.
INTERNATIONAL: Made his debut for Ecuador’s senior national team as a second-half substitute versus the Netherlands on May 17, 2014. A few weeks later, he was named to Ecuador’s 2014 FIFA World Cup squad. He has earned 17 caps for Ecuador.
Report: Brazilian giants in for Gruezo?
Who were the unsung heroes of 2016?

industry_corpus2: Sports


text:
Look sharp - Suede troubadour, Brett Anderson, has announced a few dates for the beginning of 2010. Tickets go on sale now!
The first night has been confirmed for January 22nd at the Shepherd's Bush Empire (£16 plus fee), the second night at Manchester's Academy (£15 plus fee) on February 8th and the final night at Glasgow's infamous King Tut's Wah Wah Hut (Over 18's only £15).
Anderson has quietly carved a plaintive yet epic path since departing the influential (and influenced) Suede - he fronted the band The Tears with Bernard Butler but that was short-lived. He has since released 3 solo albums, the latest of which is "Slow Attack" which was due out today (2nd November) and is alleged to be more orchestral in its approach than on previous releases. There is also an exclusive new iTunes track called "Forest Lullaby" available too as well as a digital release of album track "The Hunted".

industry_corpus2: Film & Entertainment


text:
One of the most important aspects of our unique systems is our hand built custom cables. They are vital if you want perfect aesthetics and ultimate performance. Without excess wiring it means an increase in airflow and cooling. We improve cable quality by increasing the wire gauge, and using higher quality wire, connectors and pins. We sleeve our cables with MDPC-X which is 100% manufactured in Germany. Select your color scheme and we will sleeve the cables to match. Custom cables are one of the aspects that create a truly extreme system.
8pin EPS & 4pin ATX.

industry_corpus2: Manufacturing


text:
DOZPromo is the premier wholesale distributor of fast-selling, unique items at discount prices. One of the nation’s largest direct importers of general merchandise, selling wholesale variety goods and closeouts. It is their mission to have the items customers want, when they want them, at the most competitive prices.
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industry_corpus2: Others


text:
In September 2009, journalist James Ellis took a voluntary redundancy package from his role as deputy features editor and travel editor of Metro, the free morning commuter newspaper in London.
With a generous package in his pocket, he set off to start a new career as a freelance writer and editor and, to keep himself on track, decided to set himself a challenge: to run three miles a day, EVERY day for a year… that’s right, no days off.
With the year over, the challenge was then taken up by Andy Ratcliffe who did a stunning job from September 2010 onwards – effectively becoming co-owner of 1095miles.com.
Since then, others have taken up the challenge and it has now become this running blog where you can find others who have taken up the challenge.

industry_corpus2: Media & Journalism


text:
Tees Credit Union are looking for a highly motivated individual to assist with our day to day operations in our main office.
Support the delivery of a range of financial services to our members.
To receive general and membership enquiries and provide information on the services/benefits of the credit union as required.
To help process new membership applications and introduce new members to the benefits, services and policies of the credit union.
To carry out daily cash handling and other transactions in accordance with authorised procedures.
To assist staff/volunteers to administer the loan procedures including booking loan interviews and credit control processes.
To answer and direct telephone calls.
To help with general office administration including letter correspondence, filing, faxing, photocopying and mail out process when required.
To help create a welcoming, professional and friendly organisation.
If you are interested in becoming an Operational Volunteer please contact 01642 941911, or email: info@teescreditunion.co.uk for more information.
If you would like to know more about what Tees Credit Union does, click here.

industry_corpus2: Finance & Economics


text:
"The Farmboys" in Austin Musical Theatre's Gypsy.
The group of young men dash onto the tape-lined section of linoleum that denotes the "stage" in this cafetorium serving as a theatre rehearsal space and immediately start singing and dancing their hearts out. To the insistent tunes pounded out on the nearby upright piano, they move into and out of straight lines and diagonals, arms waving, legs kicking, performing what, in the world of the musical Gypsy, passes for an old vaudeville number. And they're into it: Their fresh faces beam, full of enthusiasm, and they execute the choreography with nonchalance. They look so at ease that they might have been doing this all their young lives.
Ah, but that's to an outsider's eyes. The show's director is not quite so impressed. In fact, given the expression on his face, he might be more readily described as distressed. His mouth is drawn tight, his jaw is rigid, and his brows are lowered, shadowing his eyes, which peer at the chorus with the intensity of a laboratory laser. Suddenly, he leaves his place standing beside the rehearsal piano and crosses briskly in front of the dancers, eyeing them clinically as he moves. The glower, the clipped gate, the piercing stare, they recall a drill sergeant reviewing his platoon. Like a veteran D.I., the director is trained to take in every detail of a scene and to zero in on any part of it, however minute, that is not as it should be. Here, he scans for lines that aren't absolutely straight, arms and legs that don't move in exact syncopation; he listens for voices that have fallen off perfect pitch. And he is concerned with not only physical attributes but a sense of spirit, too: Energy must be at its peak and one's entire being must radiate nothing short of exuberance. Anything less is not good enough.
He suddenly barks out two of the dancers' names. "Smile!" he shouts to them, shifting his face to a sunny grin by way of demonstration. He doesn't stop the scene -- though if this were any rehearsal besides the first full run-through, you can bet money he would -- still, it's clear that the number falls short of his standard. He'll have to keep polishing it until he gets it to shine -- no, shine isn't intense enough for him; he'll have to keep polishing it until it will dazzle.
Dazzle. That pretty much sums up what this director, Scott Thompson, his partner Richard Byron, and their company Austin Musical Theatre (AMT) deliver with their productions. While the company isn't yet three years old and hasn't even a half-dozen shows to its credit, AMT's work has been so singular in character and consistent in execution that it's already firmly established its identity as an arts institution. In its work to date -- Peter Pan, West Side Story, Annie, and Gypsy, which it opened last week -- AMT has served up traditional musical fare on a scale and with a skill almost unequaled in local theatre productions. The shows that Thompson and Byron produce are big, with big casts and big sets and big songs, the kind of theatrical events that fill up a stage with bodies and light and music, and fill up an audience with warmth and dreams and romance. And these men do these old-fashioned musicals the way they were meant to be done, with that sense of the expansive, the spectacular, with so much style and spirit that it takes your breath away even as it swells your heart. They do these shows so they dazzle, as in the show-business tradition of an earlier era, as in razzle-dazzle.
And the shows are sensations. They bring thousands of people into the Paramount Theatre and inspire wild cheering from those in attendance. They're consistently lauded by critics of every stripe and honored with awards for every aspect of production.
That a musical theatre of this kind should be one of the great success stories of the late-Nineties Austin arts scene, this bustling era dominated by the city's increasingly prosperous high-culture institutions on the one hand and its burgeoning pack of scruffy, daring, shoestring arts companies on the other, may seem unlikely. Is there a place for chorus lines and show tunes among the majestic mountings of Verdi and Wagner, and all those edgy, experimental world premieres? Of course, if for no other reason than we need to see the masterpieces of this theatrical form that American artists gave to the world. But Austin Musical Theatre deserves its place at the local cultural table for much more than its role in preserving our sense of the worth of musicals. AMT is a model for persistence and excellence, discipline and drive. Moreover, it's a model for a most old-fashioned and patently theatrical virtue: pinning your heart on a distant star and following it 'til you find your dream.
"Scott Thompson's here to see you." When the Chronicle receptionist buzzed me with that message back in January of 1996, my stomach sank with dread. Not dread of Scott Thompson himself -- at that time, I didn't know the man -- but dread of what I knew he wanted to talk to me about: starting a new theatre company in Austin. It is a topic I've discussed with too many people through the years, in conversations that all have a certain sameness about them. Invariably, these conversations are fueled by great idealism and a conviction that this new company will bring to Austin a kind of theatre a) the likes of which this city has never seen; and b) that will connect with modern audiences and be unusually popular. The artists sharing these dreams may or may not know how many stage companies come and go in a given season, but they always insist theirs won't make the same mistakes that other theatre companies have; theirs will be around for the long haul. Of course, they do end up making the same mistakes and they aren't around for more than a few seasons, much less the long haul. Of all the bold new groups that people have talked to me about, far more have imploded or faded away than found their audience, and knowing that has made listening to these theatrical stargazers describe their pie in the sky painful.
So here came Scott Thompson with the latest pitch. But it was apparent from the get-go that this pitch was going to be different. I could tell from the TV in his hand. Thompson was carrying a little 13-inch television with a VCR and a tape. Yes, he had a vision of a new theatre company he wanted to share with me, but he also had some evidence of his past work that would give me some visual sense of what he had in mind -- and serve as proof that he was capable of making good on it.
This was new. None of the theatrical dreamers I had encountered up to that time had given so much thought and attention to the presentation of their dream. So I watched.
And I saw this collage of musical numbers, moments snipped from various productions that Thompson had choreographed and directed through the years, a soft-shoe here, a chorus-line tap routine there, with a brassy, belted-out 11 o'clock number sandwiched in between. Even through the fuzz of video shot from the balconies of darkened theatres, the quality of the work declared itself. The steps were complex yet danced with finesse, with the performers all the while sporting that breezy air that suggests dancing requires no more effort than breathing. Clip after clip after clip, and every one had that same style: that showmanship, that sizzle, that pizazz. This was ... dare I say it? ... good. So what did this guy want in Austin?
The tape finished, and Thompson began to tell me. His dream -- actually, the dream of both him and his longtime partner Richard Byron -- was to found a new company that would bring to Austin a kind of theatre a) the likes of which this city had never before seen; and b) that would connect with audiences here and be unusually popular. At this point, my Dramatic Dream Emergency Broadcast System should have been sounding a full alert in my skull. But there had been that tape ... so I kept listening.
The company that Thompson described to me that day was as grand and ambitious and flat-out ballsy as any I'd ever heard: It would be devoted to the great works of the American musical theatre -- the "traditional Broadway musical" is the term he used -- and it would mount them on their original scale, with large choruses and multiple large sets and the like. And it would mount these productions on the Paramount Theatre stage, employing full professionals to design them and perform in them, some of them flown in from New York and Los Angeles. And its first season -- its first season, mind you -- would consist of three such productions: Peter Pan, The Music Man, and Big River.
The skeptic in me roused himself. This guy was talking about shows employing dozens of actors, at least some of them professional, in an Equity house with a thousand-plus seats ... Did he really have any idea of the scope of what he was proposing?
As a matter of fact, he did. Thompson then handed me a binder, the cover of which crowed, "Scott Thompson and Richard Byron present... Austin Musical Theatre." Inside was a mission statement, statements about the company based on questions they anticipated, bios for himself and Byron, a timeline for the company's first season, including pre-production fundraising efforts, poster art for the company's proposed first year, and -- the capper -- six detailed pages of budget figures, covering every aspect of the company's organization, from incorporation fees and office setup to postage and ad costs; all expenses for the premiere production, Peter Pan; and three separate income projections based on various percentages of ticket sales. Obviously, these were two men with considerable experience in the field who were not just talking through their top hats. They meant business. And they approached it as businessmen.
As Thompson explained, he and Byron had spent most of their careers bouncing from town to town, working on a show then moving on. Now, they were ready to stay in one place for a while, and their own production company was the key to them doing that and continuing their careers. Austin was a place they wanted to live (Byron had family already here), and they saw that the city lacked just the kind of company they wanted to start. Here was the market, with a niche they fit into like a hoofer's foot in taps.
His assessment was sound: Austin was missing the kind of company he described. That's not to say Austin didn't have any musical theatre. Hell, this was a town that had made it a matter of civic pride to go sweat out the hottest nights of the year on a crowded hillside just to see a musical. This was a town that had made a revue of Sixties pop singles into a theatrical phenomenon outstripping even A Christmas Carol. Austin adores musicals, and dozens of the city's theatre companies had been serving up song-and-dance for decades. There was musical theatre, all right.
But not the kind that Thompson and Byron were talking about. They meant musical theatre the old way, the old Broadway way. They were talking about the works that defined the form in all their grandeur and ornamentation and by-god-watch-this show-stopping pleasure. They meant a kind of theatre that wasn't being created anymore -- at least, not in the way it once was -- but a kind that, if you treated it with the care and fullness that its original productions were given, could still thrill audiences of all ages. If their theatrical specialty were anything other than mass appeal spectaculars, pop culture entertainments, Thompson and Byron would probably be considered period artists, staging works in the style and sensibility of their original productions. But musicals have yet to acquire the cultural respect accorded Elizabethan drama or Shavian comedy, so Thompson and Byron were left to peddle their dream with little but their own belief that it made sense and that it belonged here, and their drive to see it through.
There was a lot of drive there. Thompson lugged that TV all over the city that January and for the next couple of months. He estimates giving more than 100 presentations, averaging three a day for 10 weeks straight. If he heard about someone who was willing to listen, he'd go make the pitch: corporate group, nonprofit board, sewing circle ... Thompson was there. He was the trouper of the old show-biz cliché: knowing his routine, playing the house, giving his all no matter what day of the week or how small the crowd.
Now, imagine another show-biz cliché, this one from the movies: the calendar on the wall from which page after page flies away to convey a sense of time passing. A year has passed since Thompson's visit to the Chronicle. In the intervening months, Thompson and Byron have won their first big show of public support through Austin Musical Theatre's first gala fundraiser, featuring Broadway star Patti Lupone performing her solo concert show at the Paramount; they've attracted a big-deal producer, Charles Duggan of the Greater Tuna theatrical corporation and gravy train (who informed Thompson of the arrangement in a casual aside at the B. Iden Payne Awards, seconds before announcing it publicly); scheduled a one-week run of Peter Pan; lured two New York performers, Broadway vets Kristi Lynes and Jonathan Freeman, down to Austin to play Peter and Captain Hook, respectively; cast the rest of the company locally, including a passel of teens and pre-teens; and rehearsed them like most of them have never been rehearsed before. Now, it's down to the wire, the final days before the big debut, that period when every moment is caught up in either the manic giggles of anticipation or the clammy flop sweats of terror, and suddenly ... everything ... freezes. Literally.
Thompson and Byron have the grave misfortune of slogging their way through tech week -- a week that can be unmitigated hell under the best of circumstances, but which is complicated here by the fact that Thompson and Byron are working in a theatre they have never worked in before, with technical support personnel they have never worked with before -- during the city's worst ice storm in years. Streets are completely frozen. People are sternly discouraged from driving by every cop, highway patrolman, and weathercaster within the city limits. The city shuts down. Thompson and Byron have no choice but to cancel not one dress rehearsal but two. And during the days when the production is stalled, sales stall, too. The situation is bleak. But then, as if on cue, as if dictated by a hoary old script for some sappy old musical, the sun comes out. The city thaws. The phones begin to ring. Tickets sell like ... well, what else do tickets sell like but hotcakes? The show opens. Crowds leap to their feet. The response is so enthusiastic that the money men -- played here by Duggan and Paramount general manager Paul Beutel -- huddle with Thompson to discuss ... extending. The first show, with everything -- even Mother Nature -- thrown at it to keep it from succeeding, and nothing stops it. It's a smash, such a smash that it's held over. If you saw it on a stage, you wouldn't buy it. Or maybe you would -- which is just what Thompson and Byron are banking on.
As tantalizing as the show-behind-the-show turned out to be, AMT's Peter Pan was more than a show-biz fable come to life. It was validation that Thompson and Byron knew what they were doing and that their vision, grand and ballsy as it may have been, was one they could realize. It also set a high bar for the company to match. The quality of the performances and the dancing in particular were unusually impressive, especially for a town in which hoofers of distinction are about as rare as humble directors. AMT would have to work as hard or harder to assure Austin that it could work its magic on an ongoing basis.
As it turned out, Thompson and Byron won an opportunity to prove themselves again without having to mount another AMT production. That spring, they were hired to stage Grease for the Mary Moody Northen Theatre at St. Edward's University. They didn't have the luxury of casting outside Austin, but that didn't stop this team from inspiring its student cast to new heights of performance. The energy and discipline evident in that production exceeded almost any I've experienced at that school. And, as with Pan, the show was a box office sensation. The public streamed in, and when the run was over, the theatre scheduled a follow-up run in June.
Following Grease, the big question about AMT -- "Can they do it again?" -- pretty much faded away. In its place rose up a sense of anticipation for the next project, the next bit of razzle-dazzle. Anyone hoping it would be one of the two other musicals that Thompson and Byron had selected for their debut season would be disappointed. The two decided that The Music Man -- while a favorite of Scott's -- wasn't a realistic choice for AMT at that point in time, and while they felt that Big River would work as part of a full season, it didn't seem to stand on its own. So they searched for another musical that was well-known and had a broad appeal and was different enough from Peter Pan to expand their audience and the public perception of what AMT could do. They chose West Side Story.
As musicals go, it's certainly popular and it's 180 degrees from Pan in mood and sensibility. But it's also an enormous challenge, with much greater dramatic demands than most musicals, bold, complex music from Leonard Bernstein, and, if you opt to follow Jerome Robbins' original choreography, a lot of athletic dancing. None of that deterred Thompson and Byron. They found their company and put together as big and daring a production as they could.
I was fortunate enough to be part of the company for that production and so was able to observe their work from the inside. Much of what I saw was craftsmanship, a steady, insistent pursuit of excellence. Rehearsals were tightly scheduled; scenes were drilled and drilled and drilled. Getting to a level of proficiency was key; you had to reach that point where you can execute the moves without thinking about them. Then, you could focus on the feeling, being in the scene, making whatever you were doing look natural and effortless. Oh, there was temperament, as there is in every theatre project. There were demands, there was shouting, but less than you might think. Mostly, there was work, the relentless push, push, push toward perfection.
AMT's West Side Story may not have reached that point of perfection, but it went after it with all the urgency and vigor of a high school athlete racing for the end zone. The show's striking look -- the outstanding work of Christopher McCollum -- and energetic dances gave Austin audiences something truly dynamic. And the craft of the piece was so strong as to confirm in all but the most resistent camps that AMT was the real deal.
With West Side Story, AMT made good on the Austin in its name; it was truly part of the city now. That was evident in the way people came to the show, talked about it, criticized it. There was acceptance there. Perhaps the strongest measure of the company's place in the community came through some parody numbers aimed at AMT by Naughty Austin, a local cabaret company in the vein of Forbidden Broadway. It isn't every theatre group that in its first year is already enough of a fixture on the scene to warrant being satirized.
The follow-up to West Side Story was a shift back to the family-friendly musical. Thompson and Byron were savvy enough to know that at least part of their bread would be buttered by teaching young would-be Bernadette Peterses and Tommy Tunes how to sell that solo and then shuffle off to Buffalo. Early on, they established an AMT school for kids wanting to learn singing and dancing, with the added appeal of it being the first step toward getting cast in one of the company's shows. Pan had had all those lost boys and Indians, and Thompson and Byron had filled the parts with local kids. West Side was not a kids' show, so the third production would be. Thompson and Byron's choice: Annie.
You could almost hear a collective groan from the local theatre community when the decision was made. Not Annie. To most actors, it's a maple syrup show -- pure sap -- painful to watch, painful to perform, and, as if that weren't bad enough, it has the two things you never want to share a stage with: kids and a dog. Of course, most of these folks could forgive AMT for doing Annie. They understood that it would bring in the families, which would bring in the green, which would make the company's financial position even more secure, and that was good. They just didn't think the show would be. Good, that is.
In a way, it didn't need to be. Expectations are high for the first show, and everyone is watching the second show for that sophomore slump. You ace those two, and people won't look as closely at the third. They'll give it to you. This was the one where they could coast. But they didn't.
AMT's Annie opened, and it was like a spring breeze blowing in from the south on a March day. It was fun, it had heart, and it was as imaginative and sharp and full of spectacle as either of the company's first two shows. It didn't look down at the material; it treated it as fresh.
And so it was. A song as stale as "Tomorrow," that anthem to optimism that has become synonomous with saccharine and is treated with contempt by anyone over the age of 13, came across as fresh. Though you knew it was coming -- it's Annie, how could you not know it's coming? -- when it arrived it seemed not some calculated showstopper, some drippy, schmaltzy Broadway number, but a song born of the moment, from a dramatic character named Annie, a plucky kid who was determined to hang onto hope, no matter what. When you think of it that way, it makes sense, but most of us haven't thought of it like that. It took a company -- a company that has a lot in common with a certain red-headed orphan -- to show us.
So now, it's November and AMT is working on its fourth show, Gypsy. And while every show that this company has done to date has revealed something about it and the men who founded it, this is the one that will tell you the most about why Scott Thompson and Richard Byron are in the business they're in and why they have come to Austin, Texas, and tried to start this enormous enterprise of staging musicals in an old vaudeville house. It's show biz. Call it another cliché of the stage, but it's in the blood of some people. They have to sing, they have to dance. And if they can't do it themselves, they make it so other people can. It's just what they do. The light out on the stage is magic.
Gypsy is a story about such people, from the idealistic young dancers to the haggard old strippers to the stage mothers who push, push, push their kids to that point of perfection. It's about people who live in that life of the stage, that dream life, however they can, however poorly. I look at the room in which AMT is rehearsing, and it seems so ill-suited to shaping that magic of a performance: Powder-blue walls and scarred beige linoleum and fluorescents raining hard light on everything. And yet as the rehearsal proceeds, despite this place, despite the street clothes on the performers, the story pulls me in. I watch, and I am moved by the struggles of these girls on a stage and their relentless dreamer of a mother. And I understand how material like this -- the great musicals of Broadway -- has been able to enchant thousands upon thousands of American kids whose only exposure to them has been in the humble circumstances of community theatre productions. These are great stories, and the form in which they are created is a great form. Give it just a little, and it moves us.
So people are captivated by it, and they give over their lives to it, facing whatever comes, never stopping until they're through. Austin Musical Theatre is a company founded by those people. Looking at Thompson and Byron during the rehearsal, they are almost perfect opposites: Thompson standing, intense, voice pitched high, gulping in all the activity and frantically scribbling notes on a legal pad with his red pen; Byron squatting peacefully, face relaxed, soaking it all in, voice soft and low, never making a note. But you see in their eyes, in the way they watch, that show-biz passion.
There's really nothing else that's needed to prove that these men are the characters in Gypsy, that what they're giving us in Austin Musical Theatre is the exquisite dream and drive of show biz, but then life comes along and gives it to you anyway, in the most sublime way. Onstage, the scene is an audition, with Dainty June singing and her mama, Rose, off in the stage right wings. In the scene, Mama Rose is staring at her girl, mentally willing her to do well, and the actress playing her here, Pamela Myers, is leaning forward and mouthing the words that June is singing. I take my eyes off the scene long enough to look at Scott Thompson, and he is standing on the opposite side of the stage beside the rehearsal piano, and he is leaning forward and mouthing the words that June is singing.
And that, as they say, is show biz.


text: The contact information for Allinwood US is found below. If this is incorrect please click the "SEND" button to let us know. To write a review for Allinwood US in Baltimore please click on the "Review this Merchant" button on the right of this page. You may wish to reach Allinwood US at (410) 869-0707. Or you can also visit them at Catonsville in Baltimore. To view a larger map and get driving directions to Allinwood US found at Catonsville in Baltimore please scroll down and click the link below. You may wish to view other businesses in our Home or Furniture categories. To do so click the links above.


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We provide general and family dentistry to our patients because we want them to always be the healthiest and happiest versions of themselves. Visiting your dentist regularly will help you avoid more serious oral health issues including toothaches, tooth loss, gum disease, and bad breath. Bring yourself and your family into Quality Dental Care in Omaha so that we can create a comfortable and healthy life for you.
Getting your teeth cleaned at least twice a year will keep your teeth and gums working well and looking great. We will remove the dental plaque and tartar, which contains harmful bacteria, from your teeth. Brushing and flossing at home definitely helps keep your teeth healthy, but only a dental professional can remove all of the bacteria from your teeth. Don’t worry about your children or other family members who may be nervous about visiting the dentist. Here at Quality Dental Care, we prioritize creating a safe and relaxing environment and providing gentle and cautious care.
It is important to allow your dentist to examine your teeth and gums regularly so that you can detect any dental issues that need to be resolved early. The longer you go without detecting present tooth decay or gum disease, the more uncomfortable symptoms you’ll experience. The worse your condition becomes, the more dental work you’ll need and the more money you’ll need to spend. To keep your life simple and pain-free, see your dentist frequently for exams. The dentists of Quality Dental Care strive to provide their patients with thorough yet gentle dental examinations.
Of course, we also provide wisdom teeth extractions, root canal therapy, tooth-colored fillings, and other general dentistry services to all of our patients. We have all of the services, technology, knowledge, and experience to give you a high quality dental experience. Give us a call in Omaha today to set up an appointment.

industry_corpus2: Health & Medicine


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“Gratitude unlocks the fullness of life. It turns what we have into enough, and more. It turns denial into acceptance, chaos to order, confusion to clarity. It can turn a meal into a feast, a house into a home, a stranger into a friend. Gratitude makes sense of our past, brings peace for today and creates a vision for tomorrow” (Melody Beattie).
Do you practice gratitude? Being grateful is a skill that requires practice to turn it into a daily habit that sticks. The concept of gratitude has existed for centuries, but it was only in 2007 that Robert Emmons (the world’s leading scientific expert on gratitude) scientifically demonstrated the associations that exist between gratitude and enhanced mental, physical and relational well-being. Moreover, Dr. Randy Kamen explains that gratitude is an emotion that relates to our ability to feel and express thankfulness and appreciation, and she argues that it is a skill strongly linked to energy, optimism, decreased anxiety, stress and depression, and greater resilience.
The quote above shows that gratitude is about appreciating what we have right at this moment and accepting all that is. No matter how difficult our life may be there is always something to be grateful for. Gratitude gives our lives more meaning and purpose.
How can you develop the skill of gratitude?
Every cloud has a silver lining: it’s cliché but true.
Avoid fuelling the Blood Sugar Roller Coaster at work Are your goals ‘positive’?


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A luxury, comfortable and are best suited for a group seven to eight people.
Rs 650 / Day 100 Km / Day.
The costs are exclusive of all the Applicable Taxes, Fuel, Toll Parking & Driver Allowance.

industry_corpus2: Hospitality & Catering


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With the high rise in motor vehicles accidents, everyone is left with no option but have his/her insured. The rate of advancement in technology, development in countries and population growth, it leaves no doubt that there will be a rapid rise in the number of vehicles and other transport modes. Any damages to a car bring a negative effect to the owner for cars are usually great investments to their owners. This increase in accidents has made the claim for policy covers for auto insurance to increase to cover up for vehicles which are involved in the accidents.
The rising demand for the policy covers has in turn led to a large number of people investing in the vast growing insurance industries to provide affordability an ease of access to the drivers, owners and cars auto insurance and take away from the hustles involved if the autos are involved in an accident in the absence of an insurance cover.
Some agencies providing these covers can be easily accessed via internet .They have very user friendly interfaces platforms that enable client’s access all offered services and get registered by particular companies from anywhere and at any time according to their convenience. Even with all the convenience these online agencies bring to the clients, they should be aware with the internet crimes involved. Some of these agencies are not legit and are only there to rip off unsuspecting client. The client should keenly check for only the legit useful agencies and avoid falling to the cons hands in the vague agencies.
Although there are many auto insurance agencies/companies, there are all different based on the following factors?
With all the information the client gathers regarding the different available insurance companies and the terms and conditions of each, one should now be able to choose on the one which suits him /her based on the set budget. Cheap is always expensive so one should be very cautious and should note that several of these cheap insurance policies might not be friendly to the client and so he/she consider them carefully. The premiums differ based on the type of vehicle covered, the car’s lifespan and the company providing the cover.
These are introduced by the insurance companies to gain the customers’ loyalty and also to attract more new clients. These additives may be installation of certain security measure in the car, anti-theft devices, mostly for older drivers, restrain systems and car trackers.
Some of these insurance cover agencies provide extra services to their clients who include free customer guide and consultations to help them decide which auto cover they will apply for. These help the customer make sound decision avoiding regrets and failures later.
Policies are also requirement by the government preventing confiscation of your car. Insurance stickers just like the tax disc number should be displayed on the windshield. The future is never predictable and so to be on the safe side it is wise to safeguard our future with an auto insurance.


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In this post, you will find all there is to know about the Software updates for Tangledeep on Nintendo Switch (originally released on January 31st 2019 in Europe, Japan, and North America).
Wild Child’s mastery bonus now gives them the added benefit of seeing monster rarity (for corral pets) when fighting with or examining that monster.
How to download updates for Tangledeep for the Nintendo Switch?

industry_corpus2: Gaming


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Yahagia, Toshiyuki and Kar, Malobi (2009) The process of international business model transfer in the Seven-Eleven group: US - Japan - China. Asia Pacific Business Review, 15 (1). pp. 41-58.
This study takes a broader view of internationalization in retailing within the context of the cross-border transfer of business models based on the case of Seven-Eleven Japan Co. Ltd. The authors acknowledge that it is imperative to take a broader process based view of internationalization in a continually consumer driven global economy, with increasing convergence of information and communication technologies which enable effective management of large networked retail firms. Such a process based view of internationalization has implications through all the stages in the core value chain of the retailer, from sourcing through to logistics, store operations, property management to customer relationships. The research demonstrates how the internationalization of Seven-Eleven Japan Co. Ltd entailed across-the-board continuous adaptation covering all three systems of retail store formats and operating systems, product development and procurement, and supply chains. Accordingly, the study makes a contribution to the standardization versus localization debate in internationalization literature by applying the concept of ‘continuous creative adaptation’ to the case study.


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Transsion Manufacturing Plc is established in July 2006 in China, for the purpose of manufacturing mobile phone apparatus, software development, different electronics home appliances and construction. In General it is a high-tech Company specializing in the Research &Development, production, sale and service of mobile & communication products.
The company established its first phase project in Ethiopia on July25, 2011GC around Meskel Flower and begins to assemble mobile phone apparatus. The second phase project has been launching in July17, 2012GC around Gofa Mebrat hail and begins to produce its products through expanding its size and volume of production.
The company is the first in providing dual sim mobile phone apparatus for Africa Market. Currently, the company has full ownership of three famous mobile phone brands TECNO, itel and an Infinix both in Ethiopia and in Africa. In addition to this the company has a full ownership of Afmobi, which works on software development, after-sales service brand Carlcare, and Syinix Electronics.


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This lovely Richardson features four seats, 2 sets of oarlocks, 1 pair of spoon oars, a trailer, and a cradle on casters. The vessel was built by Richardson Aqua Craft, in Lakefield, Ontario, in 1960.
It was purchased in 1988 from YWCA Camp Tawingo in Parry Sound, and restored in 1989. The boat was refinished in 2012. It is perfect for an idyllic Ontario cottage!


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Short Talk : I guess I'll be blogging daily for a while... too many pending posts!
Their drinks there are really super sweet!
Hi! When did you went Kuantan? I went Mersing last month, and Kuantan is very near Mersing. Where are you from?
Nice to meet you. Shall we exchange link too? I have added you here. Hope you can add me as "A Travel Photo Blog too, if you are fine with it.
Hi Eunice. Please look carefully at my post. I've stated right at the top, 9th & 10th of August. Look also at my profile. I'm from KL, MALAYSIA.

industry_corpus2: Travel & Geography


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Ravulo, J. (2018). Connecting and collaborating across Oceania and its diaspora: A shared approach to meaningful development and engagement. Pacific Dynamics, 2 (1), 30-34.
Through this short, critical piece, I, as someone who comes from an Indigenous Pacific heritage, aim to challenge the way in which mainstream society positions societal problems as siloed, isolated from a structural, collective understanding of societal problems generally evident in Indigenous epistemologies. I suggest that by using an anti-oppressive social work practice approach where power imbalances are examined and understood within a wider context, we, as a Pacific community, are better equipped to create strategies and solutions that are inclusive of those traditionally not included in the conversation for change. We need to promote the importance of creating a shared, collaborative stance on the social and welfare needs evident in the Pacific diaspora in Australia and to involve diverse voices including the voices of non-Pacific people genuinely wanting to assist our own cultural capital and growth in Western societies. This can positively influence the people with the power to make social change to share control of change- making processes and to create multiple discourses that reflect the cultural diversity of those working for justice; this will allow us to move beyond the traditional, individualistic rhetoric of 'us and them' to 'we'.


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Instant Tethering feature was on the radar ever since it was first spotted in testing a while ago. The Instant Tethering feature will allow Android phones to share the internet with each other without having to use the native Wi-Fi hotspot functionality. The feature has finally started seeding to select devices including the Nexus lineup and the Pixel phones.
As per the support documentation the Pixel, Pixel XL, Nexus 5X, Nexus 6 and the Nexus 6P will be able to host the tethering connections. All of these devices including the Pixel C will be able to share their internet connections without the need to punch in a password on the other device. However, both the devices need to be signed up on the same Google Account and Play Services 10.2.98 or later will be required. Also, the host device should be running Nougat 7.1.1 or above while the recipient devices must be running Android 6.0 and up.
The instant tethering is something very useful, especially if you are using a tablet with a Wi-fi or as a matter of fact any other Android device that comes sans cellular connectivity feature. In order to toggle on the instant tethering, one needs to navigate to Settings>Google>Instant Tethering. The list of supported devices will be populated and the compatible device will get a notification saying ‘Wi-Fi hotspot available.’ The process needs to be kickstarted by pressing on ‘Connect’ and the host can also access advanced options in the Instant Tethering settings. Also, it’s worth noting that the Tethering may be blocked by some of the carriers, especially if you are on an unlimited plan.
Thankfully the Instant Tethering feature also comes with an auto shutdown function which will automatically switch off the tethering after 10 minutes of inactivity. At this juncture, the feature is available only for the Nexus and the Pixel devices, however, it’s also unclear on whether or not the instant tethering will be rolled out beyond the Google’s devices.


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Throughout this project I have written a lot of post and have shared a lot about my personal bowling. I have shared a lot about my bowling knowledge and have really enjoyed talking about my personal bowling. I think being able to talk about my bowling and share my insight to bowling is really fun. I feel like I know a lot about the game of bowling and being able to express my opinions and share my knowledge is amazing. I haven’t had the opportunity to bowl in awhile but I will be practicing in the summer a lot to get ready for next year.
Hopefully everyone enjoyed that read my post and maybe you learned a few things as well. Everything I have posted during this semester has opened my mind up to becoming a coach. I really enjoy being in the bowling alley and being around bowling. I haven’t enjoyed bowling for myself for a few years so hopefully this summer will turn things around and make bowling more enjoyable. I hope everyone learned something during my semester long posts and I hope that you all can continue and want to learn more about the sport and help grow this sport.
The new rules that the USBC have came out with have a very interesting feel for the new bowling world in 2020. They are trying to limit the amount of oil that can absorbed into a ball during testing. Normally a bowling ball that is stronger will absorb oil faster to make the ball last a little longer. They haven’t specified the numbers for the public and I don’t think they will publicizes them just because its more for the companies that produce balls and not so much the consumers.
The big change is static weight and weight holes for bowling balls. In bowling you are allowed 1oz of static weight. Anything higher than 1oz is illegal and normally you would and a weight hole to make it legal. A lot of bowling balls nowadays people are adding holes to make the ball hook even more. The USBC is making that illegal because it changes the integrity of the ball too much. Instead of just 1oz they are changing it to 3oz of side weight/ static weight.
The weight hole for me makes the ball hook earlier depending on the location and it can make my ball hook more. The only thing that doesn’t make sense is that the cover of the ball is most of the reaction and changing the core dynamics will change the motion but not as much. Surface of a ball is 95% of the reaction of a bowling ball. You can drill 4 balls the same way with the same everything but the surface of the ball is different and the ball will react different. The changes will make a huge difference in bowling especially for the 2 handed delivery.
2 handed bowlers are taking over the sport and the amount of power and revolutions they create is just insane. The USBC is trying to limit the amount the oil breaks down within a league or tournament. It is sad that they are trying to limit such gifted players to the sport. 2 handed bowling isn’t easy and it takes a lot of athleticism to be good at that style.
The sport is always evolving but it seems like that the USBC is traveling back in time and trying to make the sport harder. The weights will make a difference for a lot of bowlers but they don’t seem to think it will change. My thinking of the changes is that bowlers will use a lot more surface and stronger equipment a lot longer.
Tune into the next post for more bowling information!
The motivation to bowl right now is just non existent at this point in time. The school work is piling up right now and trying to find time to practice is becoming a challenge. Most of the time I have so much homework and projects going on that it is becoming harder and harder to manage all of it. Especially since finals are right around the corner its even harder. Trying to finish papers and projects to find time is starting to stress me out even more.
I probably wont be bowling until I get done with finals so the next couple posts will be more about bowling information and bowling news in the bowling world. I will have a very good topic to talk about the next post about the changes in legal amounts of top weight and weight holes. The USBC has made a lot of rule changes to the bowling industry and most people have a lot of comments about the new rules that are changing in 2020. The changed the legal top weight to be 3oz instead of 1oz and then they changed the weight hole. They are eliminating the weight hole and making it illegal to have on equipment.
tune in next post to hear about my thoughts and a little more information on the other rules as well.
Had another great practice and learned some new things within my game. I decided to take a video over the weekend and sent it to my dad. He saw that my footwork was a little off and I decided to fix that. I am a 5 step approach and my dad noticed in the video that my first 2 steps were on and it was throwing my timing off. I generally have a very smooth slow footwork for a tall person and a lot of college coaches have complimented me on that. Footwork is one of the biggest issues for most people because if your steps are off then when you get to the line the ball can be in so many different positions. My first 2 steps were too big and it made me cramped at the foul line. What I mean by that is when I was done sliding the ball was near my shoulder and I had to pull down to be able to get the ball down the lane. When you pull down on the ball your accuracy immediately goes down. Typically when I am late I get a lot of revolutions(spin) on the ball and I miss my target left.
I decided to move up on the approach for a little to force myself to keep my steps shorter but once I got my steps super short I went back to the old spot I stand. This just makes me feel like my steps are shorter and forces me to be slow and short to the line. Once I got my timing more in sync I was able to throw really good shots and started to hit my target more often. My spare game has increased as well from the last time I shot at spares. I started to make more and hit the pin directly in the middle like I use to. Tune in to this weekend for more bowling information!
you can use just about any style and type of ball on any pattern it just depends on the layout and surface of the ball. More importantly it all matters on when you try to use this type of ball you’re choosing. Generally like I said in a previous post you would really want to start with something solid on most patterns to start because it will be the most consistent for the longest. The thing that matters the most with bowling balls is surface. For me I tend to use a really low grit on a bowling ball like 500 grit on longer patterns because the ball won’t hook as much so putting it at a lower surface will get it to start earlier. For medium patterns I tend to use a 1000 grit pad on a ball and try to control the pattern as much as I can. If I use urethane on short then I will put at least 500 grit on a ball. If I don’t use urethane my surfaces change depending on the strength of the ball.
Knowing what balls work well on each pattern is the key to success and if something just doesn’t look right being able to adjust your release or even your surface if you can will make you a better bowler. Finding the right surfaces for certain balls is all the battle in bowling. A bowling balls reaction is largely based on what surface you have on a ball. Tune in next week to learn something new about bowling.
The last practice I had was with my roommate just before he headed out to nationals. We both started out just throwing the ball and not really trying to work on things but then later that practice something just sparked in my brain. I changed my hand position and I started to have a different feeling at the bottom of the swing. The hand position I changed to normally makes me get around the ball less than I was before, but then when I started to throw it with the weaker position I was still getting the same results. Normally bowlers have different hand positions to create different rotations and when I changed it stayed the same.
It was like a lightbulb went off in my head and I started to throw it so amazing. I still had some physical things to changed that would make my timing better but I am happy that I got my release down because it was really inconsistent. Bowling is a sport about repetition and being consistent. Bowling is one of the hardest sports in the world and most people don’t agree or don’t understand why. Bowling is one of the only sports in the world that you don’t see your opponent. You may say “well you’re bowling against people isn’t that opponent?” well you are right in a way but the oil is the biggest battle. Everyone is bowling on the same pattern but the oil breaks down in a different way on each pair. Getting to know your own game and your versatility and what your misses are is what the sport is all about. Oil is constantly changing and each shot that is thrown down the lane is changing the oil pattern.
My next post I will talk about different oil patterns and what bowling balls would work the best. I will also talk about what balls and styles of balls I would normally use on a specific pattern.
The bottom picture use to be one of the most popular bowling balls on the market before the day of resin bowling balls. The urethane bowling ball is a lot different than resin. They are both needed in today’s day and age because of different oil patterns. Urethane balls are a little softer and tend to hook a lot sooner than resin balls. Resin bowling balls tend to store more energy and hook a lot more.
Urethane balls work really well when the oil pattern is shorter and lighter volume. The reason you would use this kind of ball is because they will start early and they will be really smooth. If you use a reactive resin ball you will tend to get a lot more violent reaction. Very few people can use urethane on all patterns but when they do it is very risky.
Reactive resin will be good on just about everything and they will be longer and more angular than urethane. You can do a lot of different drilling’s on a resin ball and can make it do a lot of different things. The urethane ball is very one dimensional and it is very hard to make the ball do anything different. Urethane balls use to dominate the scene back in the day but nowadays reactive balls are taking over the market and will continue to dominate the game today.
To most people these bowling balls are the same, or will do the same thing. Most people just pick up a house ball and don’t realize that bowling balls are different in many ways. The examples that I have above are 2 different cover stocks on a bowling ball. The Game Breaker 3 is a solid bowling ball and the Verdict Pearl is well a pearl bowling ball. Bowling is a very scientific sport and every little number can make a difference within bowling.
The reason why I wanted to bring this topic up was because people just throw the ball and think that they all do the same and they are all meant to hook. Well that is just not true, solid and pearl bowling balls are very different. Solid bowling balls tend to hook earlier than pearl bowling balls. The reason why you would want this is because when the oil is fresh you want the ball to start sooner that way it gets to the pocket better and more consistent. Pearl bowling balls tend to go longer down the lane and have a sharper turn on the back end. You would want this later in the day when your solid ball is hooking too early. The pearl ball will get down the lane and make it so it doesn’t hook early.
You may ask, well why can’t I throw a solid later in the day or throw pearl on fresh oil? Well solid bowling balls like I said will hook earlier and when people bowl the bowling balls soak up oil and tend to push it farther down the lane. So if there is no oil in the front part of the lane then the ball will hook immediately and in most cases will not strike. The pearl ball needs to see friction to be able to corner down lane and if it doesn’t see that friction then it will not make the right motion down lane. To much oil on the lane can make the ball not react how it’s suppose to. Most bowlers will carry different hook potentials of these 2 types of balls so that way they can throw strong solid stuff at the start and gradually work there way down their arsenal.
High School bowling is always a difficult time for some bowlers and some schools. Then again some people on my team currently have had amazing success in high school. For my team in high school it was very difficult because me and one other bowler were actually really good and we were consistent. We never made it to states as a team but I made states back to back years for singles. Which was never done at my school so it was a rather lack luster bowling school. High school bowling is almost meant to be fun and people don’t take it seriously because it doesn’t get you anywhere really. College bowling on the other hand is a completely different animal.
College bowling is just a whole other animal than high school bowling. When I was in high school I was a big fish in such a small pond and when you go to college you are bowling the best from where ever they are from. Depending on where you go to college the team can be the same as your high school but for me it wasn’t even close. Our lowest guy on our team currently would have been pretty good on my high school team. That just goes to show what the depth is in a college program. We are currently ranked 2nd in the nation and we are beating teams that have such a deep program and have had a deep program for years. The 8 best guys on our team are about to go to nationals and go up against the best schools currently bowling in college.
People don’t understand that bowling is actually competitive and people take it very seriously. To be ranked 2nd in the nation and we are a club sport is just insane. Non of us get money to bowl here and we actually pay to be a member of the team. Not many colleges in the rankings are really high that are clubs. Most colleges offer players money to bowl for them and we pay out of our pocket to bowl. We are a threat to everyone and everyone is now starting to realize that we are a good program with just good bowlers. Like I said in another post before, we don’t have a lot of super well know players that bowl on tour or on jr team usa. Although we do have 1 bowler that is on jr team, some teams are stacked with those kinds of players. The thing that is different from high school to college is that the gel factor plays a big roll in college. In high school you just want the best players always bowling. In college you can be the best bowler in the world but if you aren’t a good teammate then you won’t travel with the best.
everyone has been a big fish in a little pond on our team, but now you are a fish in a pond just like everyone else on our team. We worked really well together and we will continue to be successful in these next few years. Tune into this week where I talk about different types of bowling balls. Whether they are solid or pearl. I will also talk about resin vs urethane in the post after.
The other day I had a rather interesting practice session. I haven’t touched a ball in about a week and I really didn’t find a need to go practice. The need and drive to go practice isn’t there right now and I am just really focused on school currently. To start the practice session was just terrible the first half hour, but once I calmed down and just focused on my fundamentals I started to throw it better. I am not even close to where I want to be but I am at a better spot than I was Thursday when I bowled.
Although I scored really well on Thursday I honestly didn’t throw it that good. My shoulders and my arm swing were so out of tune it was insane. My roll on the ball was so bad and I just got lucky that night. I was lucky that I was in the right part of the lane and throwing it decent enough that I could hit the pocket. I started to throw it better once I calmed down and got some games under my belt. The main thing I need to work on is just my swing and my shoulders within my game.
This weekend I will be talking about some bowling information. I will be talking about the difference between college bowling and high school bowling. I will talk about how big of a change it was for me and how it is a completely different animal. Tune into this weekend to hear my side of the story for how I transitioned from high school to college.


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Ms. Quilici is a financial and regulatory consultant with nearly three decades of experience advising energy clients throughout North America on a wide range of strategic, financial, transactional, and regulatory matters. Ms. Quilici has advised clients on mergers and acquisitions involving electric, natural gas, thermal, and water utilities in more than 20 states and managed or advised the sale of nuclear, fossil, and hydroelectric generation transactions with an aggregate valuation in excess of $20 billion.
Ms. Quilici has extensive experience supporting her clients’ Boards and senior management on regulatory analysis, policy formation, and resource planning and has run or monitored numerous competitive solicitations. She has provided expert testimony on transaction and regulatory matters on more than a dozen occasions before state regulatory agencies and courts.
After graduation from Purdue University, Ms. Quilici worked in human resources before earning her MBA from Northeastern University. She then joined the Massachusetts Department of Public Utilities where she worked as an economist, lead negotiator in integrated resource management, and assistant director of the rates and revenue requirements division. Ms. Quilici joined REED Consulting group in 1994, becoming one of the youngest officers named in that organization. REED was acquired by Navigant Consulting in 1997, where she served as an executive until leaving Navigant to form Concentric. Ms. Quilici is a member of Concentric’s Board of Directors and acts as its corporate secretary.
We performed an independent evaluation and filed associated expert testimony of the relative economics, risks and benefits of two proposals for new wind resources on behalf of our utility client.
We provided advisory services pertaining to a potential acquisition of a large North American electric transmission company. We assisted the client in understanding the regulatory landscape applicable to the company and related wholesale power market issues arising from its interaction with the governing electric system operator.
We are providing services in support of our client’s proposed acquisition an island electric utility. Our expert is the lead expert presented by the applicants in this proceeding and is the primary witness on all regulatory policy, merger benefits, and merger commitment issues.
We filed testimony in support of a merger of two energy companies before three state regulatory commissions. Our work addressed the respective jurisdictional requirements for a regulated utility merger in each jurisdiction, summarized a comprehensive review of potential synergy savings, and discussed the areas for potential integration savings following the successful completion of the proposed merger.

industry_corpus2: Power & Energy


text: There isn't a baby change in the toilet. Can't really say they are a kids friendly restaurant. But good food, I enjoyed!


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Nandan Nilekani, the architect of Aadhaar, is set to return to Infosys, the company he co-founded 36 years ago at the age of 26, as non-executive chairman in the next few days.
He will come for a predetermined period with the aim of achieving a bunch of predetermined goals, mainly identifying the next CEO and giving him enough air cover to find his bearing in the top job. Restoring investor, customer and employee confidence in the company will be another priority.
On a hectic Wednesday, things started moving quickly once it became public that Murthy had cancelled an investor call scheduled for the evening.Though the reason given was ill health, it's believed it was also to allow all the different pieces that are in motion now to play out.
Twelve domestic mutual funds and insurance companies told the Infosys board on Wednesday morning that they want Nilekani to return in a “suitable capacity“.Talks are ongoing with a few of the large, international investors.
Nilekani's arrival will also mean that the board will have to be reconstituted. According to sources three to four directors are set to resign: chairman R Seshasayee, directors Roopa Kudva and Jeff Lehman.Possibly even co-chairman Ravi Venkatesan.
The directors who seem safe are D N Prahalad, who is a distant relative of Narayana Murthy's and joined the board in October 2016; D Sundaram, the latest to join the Infosys board (June 2017), and Punitha Kumar Sinha. Though Biocon chairman Kiran Mazumdar Shaw is a close friend of both Murthy's and Nilekani's, it isn't clear whether she will stay or go.
Unless a director resigns, a board member can be removed only through an extraordinary general meeting at which the resolution has to be passed by a majority of the shareholders.It's believed nobody wants to go down that path with resignations on the cards.
It will be interesting to see if the company's former chief executive Vishal Sikka, who on Friday last said he would stay till March 31, 2018 as executive vice chairman, will quit with immediate effect or stay . He will probably opt to go.
It appears that on Wednesday Nilekani and Murthy were locked in talks, with sources saying that Nilekani wanted some assurances before committing to return to Infosys. It's speculated that as Nilekani is returning only for a `predeter mined' period, it would be advisable to have a founder on the board. It will be interesting to see if Murthy agrees to join the board under Nilekani's chairmanship.
Nilekani, who has cancelled a long-planned twomonth visit to the US, is the third largest founder shareholder of Infosys with a 2.3% stake. He succeeded Murthy as CEO in 2002 and had a 5-year stint before making way for Kris Gopalakrishnan as per Murthy's desire to give all the founders a shot at the top job. Between demitting the CEO's post and joining UIDAI, he wrote an influential book 'Imagining India,' which was a best seller. So it looks like the self-described “plumber“ to the nation has to return, however reluctantly, to bail out a company he so famously co-founded 36 years ago. Nilekani, who as Aadhaar architect helped roll out government's ambitious identity programme which today underpins much of the government's direct benefits programme and is essential to file IT returns as well as get cooking gas at home, will have to return to the C-suite to get a new identity for Infosys.


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Amazon is leaning into Alexa and betting that voice ordering is the next big retail trend — but declining market share against Google Home and Chinese competitors as well as a rare leak of Alexa numbers suggest it's struggling to make headway.
The bottom line: Fewer than 2% of Amazon Alexa users have used Alexa to buy something in 2018, the Information reports, citing company sources. That number is even lower for repeat users, with just 10% of those purchasers buying something else.
After capturing a whopping 80% of the smart speaker market in 2017, per market research firm CB Insights, Amazon's share slipped to 28% in 2018, as Google and Chinese . This year, Google has overtaken Amazon, and Chinese players Alibaba, Baidu and Xiaomi have also grabbed pieces of the market.
Amazon has sold about 50 million Alexa devices, reports the Information. But people are mostly using their Amazon (and Google) smart speakers to ask questions about the weather, set timers or listen to music. Few are using their devices to spend money..