Fiji triumphed over Team GB in the Olympics sevens final to win their country’s first-ever Olympics medal Silver – New ZealandBronze – CanadaMen’s SevensGold – FijiSilver – Great Britain Team spirit: Fiji celebrate after winning Olympic gold in Rio. Photo: Getty Images TAGS: FijiHighlight Bronze – South AfricaFor the latest Rugby World subscription offers, click here. Fiji won their first-ever Olympic medal in Brazil, comfortably beating Team GB 43-7 in the final to take gold in the rugby sevens. Fiji prime minister Frank Bainimarama was in Rio to watch the team make history and has announced a public holiday to celebrate their achievement.It was a phenomenal display of skill, pace and power, much like Australia’s win over New Zealand in the final of the women’s competition.Overall, it’s fair to say rugby sevens has been a huge success on its Olympic debut, bringing a new audience to the sport and hopefully inspiring people around the world to pick up an oval ball. And that’s exactly what World Rugby aimed to achieve when campaigning for the sport’s entry into the Games.Rugby sevens is guaranteed to be part of the Tokyo 2020 Olympics – Japan will be looking to go one step further at home than they did in Rio and win a medal – but the vote on the sport’s involvement beyond then will be taken by the IOC next May. Judging by the overwhelmingly positive reaction on social media, though, rugby sevens looks to have secured its place in the Games for a long time to come.In Rugby World‘s latest Clubhouse Podcast, we analyse the impact of the Olympics on rugby – listen here.And here’s a reminder of the medal winners from Rio:Women’s SevensGold – Australia LATEST RUGBY WORLD MAGAZINE SUBSCRIPTION DEALS
“COPY” The Great Wall of WA / Luigi Rosselli Project Architects:Kristina Sahlestrom, Edward Birch, David MitchellInterior Designer:Sarah FolettaCountry:AustraliaMore SpecsLess SpecsSave this picture!© Edward BirchRecommended ProductsWoodTechnowoodPergola SystemsEnclosures / Double Skin FacadesIsland Exterior FabricatorsCurtain Wall Facade SystemsWoodSculptformTimber Click-on BattensWoodHESS TIMBERTimber – GLT HybridText description provided by the architects. The longest rammed earth wall in Australia and – probably – the southern hemisphere, has been selected as a finalist in the (Australian Institute of Architects) Western Australia architecture awards.Save this picture!© Edward BirchSave this picture!Ground Floor PlanSave this picture!© Edward BirchAt 230 metres long, the rammed earth wall meanders along the edge of a sand dune and encloses twelve earth covered residences, created to provide short-term accommodation for a cattle station during mustering season. With their 450mm thick rammed earth facade and the sand dune to their rear and forming their roofs, the residences have the best thermal mass available, making them naturally cool in the subtropical climate. Save this picture!© Edward BirchThe rammed earth wall (construction) is composed of the iron rich, sandy clay that is a dominant feature of the site, gravel obtained from the adjacent river and (bonded with) water from the local bore (hole). Save this picture!© Edward BirchSave this picture!Site PlanSave this picture!© Edward BirchThe design of the accommodation represents a new approach to remote North Western Australia architecture, moving away from the sun baked, thin corrugated metal shelters to naturally cooled architectural earth formations. Save this picture!© Edward BirchOriginally published on August 16, 2015. Project gallerySee allShow lessObservation House / I/O architectsSelected ProjectsFour Seasons House / Joris Verhoeven ArchitectuurSelected ProjectsProject locationAddress:Western Australia, AustraliaLocation to be used only as a reference. It could indicate city/country but not exact address. Share Photographs: Edward Birch Architects: Luigi Rosselli Area Area of this architecture project Pritchard Francis Landscape Architecture The Great Wall of WA / Luigi RosselliSave this projectSaveThe Great Wall of WA / Luigi Rosselli Projects CopyLandscape Architecture, Housing•Australia Area: 230 m² Photographs Australia Environmental Consultant: ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/771780/the-great-wall-of-wa-luigi-rosselli Clipboard ShareFacebookTwitterPinterestWhatsappMailOrhttps://www.archdaily.com/771780/the-great-wall-of-wa-luigi-rosselli Clipboard Save this picture!© Edward Birch+ 18Curated by Fernanda Castro Share Jaxon Construction ArchDaily Builder: Structural Consultant: Floyd Energy “COPY” CopyAbout this officeLuigi RosselliOfficeFollowProductsWoodConcreteBrick#TagsProjectsBuilt ProjectsSelected ProjectsLandscape ArchitectureResidential ArchitectureHousingIcebergOn InstagramAustraliaPublished on October 31, 2020Cite: “The Great Wall of WA / Luigi Rosselli” 31 Oct 2020. ArchDaily. Accessed 10 Jun 2021.
Keller Williams is preparing to release his twenty-third album, KWahtro, adding even more facets to his diverse catalog. Over the course of his career, there has only been one unchanging, undeniable element that unifies his genre hopping sonic gymnastics: a near-blinding inner joy. You can actually hear the beaming smile he wore in the studio as he has explored the far reaches of his sound alone and with some of the finest collaborators.No matter what instrument he touches, Williams’ plays with a sense of timing, tempo and force that indicates uncountable hours honing his skills, while never losing the palpable sense of glee that informs his every note. In the first of our two-part interview with Keller Williams, we look back with an album by album discussion of thoughts, memories and wishes of the catalog of a sonic chameleon.Our own Rex Thomson shares a silly and serious walk down memory lane with Keller in this first entry, while in the soon-to-be-released second part, we’ll look more in depth at Williams’ present and future. Enjoy!L4LM: Before we get to the history proper, after going over your 22 going on 23 releases, I did have one quick question…What is with the single word titles? Some kind of marketing trick or are you just anti-verbosity?Keller Williams: Well, it started in the early nineties with the first record which we called Freek. The idea was to describe the entire record…the vibe of it with one syllable. Trying to follow the “Less Is More” philosophy. A “Say more with less” type scenario. That was the idea behind the first one, and I just went from there. In hindsight it would have been interesting to have some sort of end goal…like a phrase…with verbs and nouns and…pronouns. And adjectives! Those are important. Sentence structure. I wasn’t really thinking that far back then. But to the general idea is to describe the compilation of songs with one syllable.L4LM: Let’s start at the beginning, because I run an orderly ship. Your current Wikipedia liner notes of your first album, Freek, list “Freky Aziz Reffelruz” listed as “Background Dancer.” Ummmm…what? Is that real or is someone having fun with you?KW: That’s the thing about Wikipedia…you could go in right now, if you want, while you are talking to me and write your name in, and make yourself the background dancer. They’re not that reliable.L4LM: Actually I went in and renamed one of your albums after me already. For your second album, Buzz, you made a dramatic move away from you one-man-band setting and had many collaborators, including your first collaborations with Larry Keel and Gibb Droll. Why the direction shift?KW: You can do more with other people than you can do alone. That was the mentality. The solo thing had started as more of a necessity. I was in couple bands in the late eighties early nineties and we were playing small places and fraternity parties. Once the bands broke up I was working the same places and they were paying me by myself the same money they were paying the full bands.I realized “Hmmmm… this could be a real job.” From that came the looping, and once that started, all this started happening for me and I always say “If it ain’t broke don’t fix it.” But the idea, from my teenage years on, was to be part of a band. To share that onstage camaraderie, that musical telepathy. That was the original idea. So even though I was having some success solo, I always wanted to surround myself with other musicians. L4LM: On Spun you go into great detail about falling in love in line for a Port-a-potty… those are dangerous mental wires to be crossing. I can’t think of a fetish I’d be more scared to develop.KW: Definitely not! The “Hot hippie girl gotta pee” dance is something I witnessed when I first started going to Grateful Dead shows in ’87. It’s a bit of a fictional tale, but definitely not a fetish. With so many festivals these days this is a more normal situation.L4LM: On Breathe you drafted your friends from The String Cheese Incident into becoming your backing band. That worked out pretty well. If you magically front any band from the last 150 years, who would you pick and why?KW: Oh wow. If I could magically front any band…WOW. That’s a tough one. The Denver Symphony! That would be a big pressure thing. I would love to do something like that.L4LM: “The Symphonic Music Of Keller.”KW: Exactly. That would be a big pressure thing. It starts with the song. You would really need to study the song choices to make sure they worked. There was an offer about ten years ago from the Jacksonville Orchestra when they were reviving their concert series. It didn’t work out, but I have always kept that in mind. Warren Haynes does it really great with playing Jerry’s music, with playing the Dead’s music with a symphony. He’s even actually playing Jerry’s guitar. So that’s a real special thing. L4LM: For your fifth album, Loop, you went live. It’s amazing to hear what you do in the studio, but when you’re up there all alone live building songs that sound like five people are up there with you I always wonder the same thing…is it just that you’re cheap?KW: Once the looping took off people just didn’t want me with a band. Loop was a very infantile part of my looping. It’s an interesting documentation on where my looping started. Very minimal…but I was younger and hungrier and less jaded.L4LM: Yeah, I usually don’t get a “Jaded” vibe from you.KW; I’m not. It was just a late night last night. I would say I am the opposite of cheap. After a couple years went past and the looping stuff was getting successful, I started to bring in humans. I personally want to pay everyone way more than the budget will allow. No matter what we could pay because of things like expenses…it never seemed enough. I always wanted to pay more. And the folks who I wanted to play with…no they need more. They’ve earned more. But that’s the difference between recording and touring. It’s a big country. Some places it’s hot, some places it’s not. It’s tricky to take a band.With so many different projects I have to pick and choose where and when to do something. But sometimes it’s fun to get back to basics and do the solo stuff. So it’s not like I play alone because I’m cheap, it’s because it’s the most comfortable to me. When Loop was recorded there was a slowly building buzz around my solo shows, and that was the documentation of where I was at that point in my career.L4LM: Laugh included a slew of your most beloved songs from this era, including “Freaker,” “One Hit Wonder,” and “Kidney In A Cooler.” Songwriting wise, were you just in a groove at that point in your life?KW: 100% yes. That was pre-babies. I have two kids now, and eight year old boy and an eleven year old girl. In that time frame it was a songwriting boom for me. I was doing three weeks on the road, doing six nights a week like two or three hundred miles between shows for around two hundred shows a year. That would be two or three weeks on, two weeks off…something like that. Sometimes we would do a whole loop around the country. Go across the country down through the southern route, up the west coast and then back down the east coast. That would take like six weeks.The beauty of it was when we would get back the first week was decompression, where you get your rest and refresh in. But then the boredom would start to sit in during the second week and that’s when the creative juices would start flowing. A lot of songs that have remained in the rotation that came from that era. When the kids started to come I adapted my touring schedule. I made it a weekend thing so that I leave Thursday and be home Sunday night, Monday so I could do drop offs and pick ups… y’know, do my dad/husband thing. There’s really not a lot of down time other than when the kids are at school or after they go to bed. Songs definitely come in that time frame, but not like they did before the kids came. It’s interesting progression with the songwriting. When your lifestyle changes, it naturally affects the songwriting. I’m happy when the songs do come, and I think they’re getting deeper. I think it’s a good trade.L4LM: You busted out a remix album called Dance next. With all the beats and loops you do have you ever considered going full DJ? Giant podium and dancing girls? Perhaps some sort of mask?KW: Yes I do! I have an entire concept in my mind. To pull off correctly it will take a million dollars. But there’s no way to do it. I have been a fascinated lover of EDM for a long long time. The Thievery Corporation thing, the whole chill downbeat style of electronica. That progressed into a house jungle area, leading into trap and more. I did have a DJ program and I worked with a buddy to set up a loop based show controlled by the laptop. We did a show and I recorded all these instruments live that I control through foot pedals. My shtick was comedian one liners. I was working in Steve Martin, Richard Pryor, Steven Wright, Kat Williams, Bill Murray. There was a lot of Eddie Murphy in there too. We could lay them in there and Lou, my sound engineer, I would play around with it after shows were done as like an after-show thing. But there’s no way I could do a whole show live like that, and make it be what I wanted. I’m just not really that much of a computer program. I guess I like being on the other side of the tables. But I could see doing a whole record like that. L4LM: Home was spiritually dedicated to your childhood home of Fredricksburg, Virginia. Can you describe what it is about the area and growing up there that makes it so special to you?KW: I think it’s more special living here as an adult. It’s a historic town. It’s got the history of the Civil War. That history is at the core of the town. There was a small music scene, not a whole lot of venues and that made it small town-ish. I’m not sure what effect it had on my personality, but it was and is really nice here.It’s nice now to be here. To feel really close to where I grew up. There’s a lot of transplants here because we’re we so close to DC. But it’s definitely a community. Sometimes you recognize a face of someone you went to kindergarten with. It’s a trip.My parents live here. My wife’s parents live here. My wife’s 96 year old grandmother lives down the street from us, her brother has a farm right next to us. It’s just a really special community to come home to.L4LM: On Stage, your second live album, you show off your uncanny ability to make cover songs your own. With your versatility, there really aren’t many songs outside of your range. Do you have a tune you have always wanted to try and cover but haven’t figured out a way yet?KW: There’s a lot of Grateful Dead songs that I refuse to do. Once I start doing Dead songs, and they get into my repertoire and they stop sounding like Dead songs to me. I think any song written is usually better done as a bluegrass song. So the answer is no, I don’t think there’s any song I can’t cover. That was the question right?L4LM: Close enough for me. Grass is your first full album with the king of flat picking, Larry Keel and his bass playing wife Jenny. You and Larry were picking buddies before your respective careers started rising, did you ever envision yourself sharing stages and albums with him when you were jamming back in the day?KW: When we met, I was like twenty one or twenty two and he was a bit older. I was running an open mic in Fredericksburg on a Monday and he came in with his band Fizzawah. He was always a bluegrass guy, but this was a side project that did more psychedelic stuff but with bluegrass instruments. So we hit it off and I started jamming with him from time to time.Larry had a band called McGraw Gap that I started opening for, and that’s who I had backing me on Buzz on the track “Inhale To The Chief.” Wow. I forgot about that song. I’ve always wanted to be a mandolin player but I could never fit my fingers on frets like I needed to, and I would have to relearn all the scales. So I would take all these smaller instruments and try and form them into a mandolin sound. While I was hanging with those guys they were looking for a mandolin player and for a bit I was playing with this bluegrass band. We did a bunch of gigs. And so doing that record, Grass, was real easy. It took just a couple days.I did the singing, and in the studio were were separated by glass for sonic purposes, but it was just so easy, man. A really comfortable fit. Hell, we just played together Sunday! It was great! I love playing with Larry and Jenny.L4LM: On Dream you decided that “more is more” and brought in an army of collaborators, including Béla Fleck, Bob Weir, the String Cheese guys, Martin Sexton, Charlie Hunter, Michael Franti and more. Did you ever think of just packing the studio with players and then sneaking out the back door and letting them make an album for you?KW: No. That would be impossible! Between everyone’s schedules and the cost that would be impossible. The Dream record took three years from when the Keels record, Grass, came out. While Dream was being made I put out Grass and a performance DVD.It was just such a long process getting everything recorded and getting people to do their tracks. Like Béla says…”Never say no.” I was like “You can say no… I’ll just stop asking.” He really wanted to do it, but it took a year and a half to get him in the studio. All these different players, all these different locations around the country. Recording in places like Bob Weir‘s house to do a track with him there and New York City to do a track with Charlie Hunter. We had Steve Kimock and John Molo come here to Fredericksburg. A lot of the rest of it was passed from musician to musician around the country. I would work on something then send it to Jeff Sipe. A couple months later he would send it to Victor Wooten and on and on. I’m really proud of that Dream record. It was an era of my life I wanted to document and go back and listen to when I’m old.L4LM: You named your twelfth album 12, and it was a mostly greatest hits package with one song from each of your previous albums. Are you a fan of anthology or greatest hits packages in general?KW: That was actually a hitless greatest hits record. I have a good buddy in the radio industry. He thought that the song “Breathe” could do well. The concept the album was to span the twelve years with my twelfth album. And of course, twelve is the last number that is only one syllable. So when you put all that together… This was all back in the day when stores carried things called “CDs.” These were things called “compact discs” that were like physical copies of music. Compilations like these would be mixed in with other physical copies of records. If you were looking at an artist’s “Discs” in a store, and you weren’t sure what to get, something like 12 could help them learn about a band. That was the idea.L4LM: You first digital download only disc was called Rex. I’m flattered, but don’t you think you should have asked my permission first? Lawsuits are expensive my friend.KW: It was an homage to you so I just didn’t think I needed your permission. The Rex record is what we call Grateful Grass, Jeff Austin and Keith Moseley doing bluegrass versions of Grateful Dead tunes. All proceeds went to the Rex Foundation, which is a non-profit started by the Grateful Dead in the eighties.L4LM: For Odd you tried something different, releasing tracks one by one before dropping the whole package. What was your reasoning behind that?KW: That was an experiment using the computer technology and downloading. I was trying this thing we were calling “Once A Week Freek.” We would release a live track, an old studio track, whatever once a week The record grew from that, just me seeing how the new ways to distribute the songs would work for me.L4LM: You re-teamed with Larry & Jenny Keel for Thief, a collection of re-purposed songs done in a bluegrass-y style. How hard was it picking songs to do?KW: Some of them were tunes the Keels and I had been doing live, like “Sex & Candy.” That one was actually an afterthought in the studio. The Kris Kristofferson stuff, those are songs from my childhood. My dad had the Willie Nelson Sings Kris Kristofferson album on 8 track. “Cuss That Fiddle” and “2003,” which book-ended the record, those were songs from my childhood.The Raconteurs thing was interesting. It’s like this western, psychedelic rattlesnake venom thing. It’s a dark, interesting song. “Rehab,” the Amy Winehouse track. Like the first record with them, it only took a couple days. Just turn the lights down and do it.L4LM: Your style is perfect for a project like Kids. Any thoughts to doing another all ages album in the future?KW: Well my daughter is all over that Kids record and I wanted to do the same for my son, but he doesn’t really like the confines of the studio. My daughter was more like a sponge; when she heard the songs playing as we drove around, she just learned them. When we went into the studio, she was ready to just do it and sang along with me no problem. We ended up using a bunch of that.I think out of all the records, that one will last the longest. Parents can turn their kids on with it, and those kids can grow up and share it with their kids. There’s always going to be kids so we will always need music for them. As far as live kids performances I think I am done with that. and like I said, my son doesn’t seem too interested in it.L4LM: Your multi-dimensional playing got super funky on Bass. You make the switch back and forth look so easy live, but is it that simple for you to go back and forth between the low and high end instruments?KW: Yeah. My guitar style has always revolved around the bass line anyway. My style focuses on that bass line. The treble side is what happens when I am not focusing on the bass line. It’s more of a percussive thing, It’s never really more of a strumming thing for me. So playing bass is really comfortable for me.But it is in my style though. I play with a pick. So it’s not really “Bass Player Worthy.”L4LM: Speaking of, your next album was called Pick, but I am thinking you had a more bluegrass connotation in mind. Being a good old Virginia Boy, how does it feel to play bluegrass alongside such highly pedigreed musicians like the Travelin’ McCourys. I know you’ve also shared the stage with their legendary father. How does it feel to play with literal bluegrass royalty?KW: It’s surreal. You’re right, to me they are bluegrass royalty. It’s amazing how open minded they are and how much they accepted me into their world. I played a lot more shows with them then I thought they would allow. I think there are going to be a handful more in the future too. They are the real deal.L4LM: As usual, you completely changed direction and turn yourself into a lounge crooner for piano versions of Grateful Dead classics on Keys. Is this something you were already doing to make extra cash on the road, pop up piano bar shifts?KW: Piano was my first instrument. I can write on it, but I never really had the chops. I have an alter ego named Bernie Ballad that sometimes shows up in hotel lobbies with pianos and no security guards. Between two and three AM, I’ll do fifteen minutes sets or however long it takes for someone to come and ask me to stop. In 2006 we moved into the new house there was a piano and every time I sat down I was playing Jerry ballads. It gave me an excuse to do something completely different. Keys is just me and a piano, and again all proceeds from that record as well go to the Rex Foundation. A lot of people don’t know about this record. It was a bit self indulgent, but I like how it came out.L4LM: You finally get down and dirty on Funk. Coming from the the hills and mountains of Virginia, I can understand the bluegrass elements in your style easily enough, but where did your funk love come from?KW: Go-go music came out of DC and I’m pretty close to DC. In public school, go-go music was huge. In eighth grade I played trombone in a marching band and we had a big go-go section with rototoms, cow bells and two big kick drums. We had these big armed guys who would just rock it.There was a beat that was instilled in me then. Always just loved the funk, the dirty low down grooves. So I put a funk band together for a run of holiday sessions, just for the novelty of doing it. We recorded that record and released it, and we have just been doing a handful of shows every year since then. It’s a really fun project to jump in and out of.L4LM: Speaking of jumping back into projects, you recently went back into the Grateful Grass world for a second helping called Dos. The energy between you and Jeff Austin is always amazing, but how hard is it to keep the two of you on target?KW: Jeff approaches this project as my backup. With the Jeff Austin Band he’s in charge, he’s on point. This project I think is really fun for him because he gets to not be in charge. I’m not speaking for him, but he really does seem to enjoy it. We have a weekend with him after Thanksgiving where we’re playing with him, but I can’t talk about that yet.L4LM: Can you tell me if it’s on the left hand side of the country or the right hand side of the country?KW: It’s on the left. NO! Wait. It’s on the right hand side of the country! I was facing Mexico! L4LM: Never face Mexico! On Vape you actually got a sponsorship from a vaporizer company for the ensuing tour. How did that work out for you? KW: They paid for a tour bus for The Motet and I through the medical states, California, Oregon and Nevada. And on that bus was a thirty foot vape pen and our names. It was great. A super fun tour.L4LM: How do you even hit a thirty foot vape pen? Or pack it. I’m confused.KW: Sigh. It was a picture. They were never that lenient with the inside stuff. But the legalization of medicine is a good thing, and it is worth celebrating.That’s it for part one of our chat with Keller Williams. After covering his past, next up we’ll look at his latest releases and the future of this amazingly diverse artist. See you soon!
For the third time in as many weeks, the Wisconsin men’s soccer team will take to the road this weekend for a pair of tough games.After splitting their series the last two weekends, the Badgers will be tested at the Husky Fever Classic in Seattle, Wash. Wisconsin will take on the University of Washington Friday night and Portland Sunday afternoon.The Badgers are coming off a 1-0 shutout of Butler last Sunday, accomplishing two of head coach Jeff Rohrman’s goals for the year: garner more shutouts — the Badgers had just one all last season — and win more one-goal contests.Making the win against Butler that much more impressive was the fact that freshman Victor Diaz was saddled with a red card early in the second half. With the game still scoreless, Rohrman’s squad had to battle to victory down one player.The past two Fridays, the Badgers have fallen in one-goal games to high-caliber opponents, but battled back to win Sunday’s contests.”We just have to stay focused,” Badger captain Aaron Hohlbein said. “It’s our last road weekend for awhile so hopefully we can go in there Friday night, battle it out, and then hopefully get another win on Sunday.”The Huskies are similar to the Badgers with their variety of players who score goals. However, Rohrman knows that, with a large number of veteran players, they will be tough to beat.”The only thing I’d say is that Washington certainly has more seniors than we do,” Rohrman said. “They’re going to have a little bit more experience in a few areas and there are a couple of guys on the attack that are capable of doing some very good things.”Complicating matters will be the absence of Diaz, who is serving a one-game suspension due to last weekend’s red card.”I think we’re a better team with Victor in the lineup, but at the same time I feel we have some players who are fully capable of stepping in,” Rohrman said. “It’s just unfortunate that we’re not going to have Victor in the lineup because at any given time he can pull a rabbit out of his hat and make something out of nothing.”Diaz has quickly become a target to opposing teams when it comes to fouls and tackles. The talented midfielder will have to become accustomed to aggressive play coming his way.”Teams are going to know who he is,” Rohrman said. “He’s got to learn to deal with that a little bit better. I think he has. I know he felt extremely bad about his part in getting the red card.”Portland, although their 1-2-1 record doesn’t reflect it, is a talented team which has made the NCAA tournament’s second round in each of the last two years.The Pilots are coming off losses to No. 10 UC-Santa Barbara and UNLV — a team Wisconsin beat in the opening weekend of the season — last weekend in Las Vegas.While the Badgers have little information on the Huskies, Rohrman said he and the Badgers would take advantage of being able to see Portland play Friday night and then prepare for the Pilots heading into Sunday.In order to have a successful weekend, Wisconsin will need to continue getting solid play from goalkeeper Jake Settle. The junior has made 28 saves and allowed just seven goals in the first six games this season.”Jake has been playing really well,” Hohlbein said. “He’s made some huge saves to keep us in games. He’s been in the right place at the right time and is doing the right things.”After winning the battle for the starting job heading into the season, Settle has been very consistent in goal and posted his first career shutout last Sunday.””He’s really stepped up. He earned his spot in the preseason and hasn’t disappointed us since then,” Rohrman said.A shutout may be tough to accomplish against perennial successes Washington and Portland, but Settle will need to continue keeping the Badgers in the game and giving them a chance to win.”The teams this weekend have a great tradition of soccer,” Rohrman said. “They’ve both achieved some great things in the last 10 to 15 years and this year is no different. They’re going to be two teams that, at the end of the year, are going to be competing in the NCAA tournament.”
Elsewhere, Scotland coach Vern Cotter is anticipating a difficult few days in getting his players ready for their second match at the rugby union World Cup.After a 45-10 win over Japan in their opener yesterday, they’ve now got a quick turnaround ahead of facing the USA on Sunday.Cotter says the Americans have had plenty of time to get ready for the game in Leeds. The side are preparing for Sunday’s Pool D battle against a Romanian side that produced a battling performance during their 38-11 defeat to France last night in London.The Irish management are due to deliver an injury bulletin this afternoon, where an update is expected on the fitness of Johnny Sexton, Robbie Henshaw, Iain Henderson and Peter O’Mahony.The action tonight is in Pool C, where tournament favourites New Zealand will be expected to thrash Namiba at the Olympic Stadium, where kick-off is at 8 o’clock.
The Westinghouse Bulldogs have dominated City League girls’ basketball for the past 20 or more seasons and even though no one knew what to expect from them this season they once again finished on top of the City during the regular season but fell short in the championship game to an outstanding Perry Commodores team. But much like the previous three girls’ All-City Team selections, the Bulldogs once again dominated with all five starters making the team, but this year they had to share that honor with the Allderdice Dragons who had all five starters make the team as well. Perry placed four. Perry also had the Player of the Year and Coach of the Year. Allderdice should be a powerhouse next season as all five starters are underclassmen. DASHAWNA CAREY, TATAYANNNA COX TAYLOR, LONDON MCCOY Even though Tatayanna Cox Taylor from Westinghouse received votes, Dashawna Carey from Perry was clearly the Player of the Year. Teammate Marritta Gillcrease also received a vote as the best player. Carey headed a very solid veteran team as they marched through a 14-2 regular season and defeated Westinghouse for the City League title in an impressive victory. Carey led all City players with a 19.6 scoring average.Ed Allison did an excellent job at Perry this year getting the most out of his players on both sides of the ball to beat out Phyllis Jones from Westinghouse, who once again led her team to the top of the regular season and a 19-6 overall record and into the championship game, and David Walchesky who led a very young Allderdice team to a 13-3 city and 17-6 overall record. Joining Carey as a unanimous first team selection were Cox-Taylor, and London McCoy from Schenley. Gillcrease was next with Janay Bottoms and Denise Saunders from Allderdice battling for the final slot. The top three teams in the City pretty much dominated the team with Peabody and Oliver not placing any players and Langley only having one. Peabody had to forfeit its entire season, and Oliver, despite an outstanding season last year, returned to mediocrity this season with a 2-14 record.Unlike the boys, Schenley and Brashear girls had decent seasons, finishing fourth and fifth with a 10-6 and 9-7 record, with one player each on the team. Carrick had two and Langley one.We at the Courier congratulate all 19 players who made the team from first team to honorable mention and commend the coaches for the time and effort they put into molding these young women into responsible team players. The players and coaches will be honored at the third annual All-City Awards Banquet to be held at the Westin Convention Center Hotel on Sunday, May 2.The guest speaker will be former Steelers great and Court of Common Pleas Judge Dwayne Woodruff.
The Myron Nichol rink of Castlegar took the longest way possible to capturing the Senior Men’s Kootenay Playdowns Sunday in Kimberley.The team of Nichol, third Bill Van Yzerloo and second Gary Beaudry and lead Barry Marsh, both of Nelson, defeated the Ken McHargue rink twice — in the B final and A-B final — to claim the title. Mallard’s Source for sports would like to add to the celebration by naming the rink Team of the Week.The rink now represents the zone at the BC Senior Men’s Championships February 17-22 in Port Alberni.
ARCADIA, Calif. (March 10, 2017)–Classy Illuminant, idle since May 30, returned to the races with her running shoes on Friday at Santa Anita, as she took the $75,000 Wishing Well Stakes by 1 ¼ lengths under Flavien Prat while covering 6 ½ furlongs down the Camino Real Turf Course in 1:12.27. Trained by Michael McCarthy, she was last seen winning Santa Anita’s Grade I Gamely Stakes at 1 1/8 miles on turf May 30.“Even though she didn’t run that well down the hill the last time she tried it (fourth, beaten one length in the Grade II Monrovia Stakes on Jan. 3, 2016), she did it pretty easily today,” said Prat. “She had trained well and we had a good pace…She galloped out pretty good as well.”A comfortable third behind dueling leaders Kera Kera and Paquita Coqueta (ridden by brothers, Scott and Gary Stevens) a quarter mile out, Illuminant swung three deep at the dirt crossing turning for home and in a flash, the Wishing Well was over as she easily motored to the lead.Off at even money in a field of seven older fillies and mares, Iluminant paid $4.20, $2.60 and $2.40. Owned by Eclipse Thoroughbred Partners, Head of Plains Partners, LLC and SF Racing, LLC, Illuminant, a 5-year-old mare by Quality Road, improved her overall mark to 12-5-2-1. With the winner’s share of $46,260, she increased her earnings to $413,910.“The way it set up, it kinda went the way we had planned,” said McCarthy. “She’s a quality mare. There were some decent fillies in there, but I’m not surprised she got bet down. She’d been training like she was well-meant.”With sizzling splits to run at, Prize Exhibit, who was next to last at the quarter pole, put in her customary burst to finish second, a half length in front of Miss Double d’Oro, who ran on from last. Ridden by Mike Smith, Prize Exhibit was off at 7-2 and paid $2.80 and $2.60.Off at 8-1 with Santiago Gonzalez, Miss Double d’Oro paid $3.20 to show.Fractions on the race were 21.09, 42.94 and 1:06.07.Special early first post time tomorrow, Santa Anita Handicap Day, is at 12 noon. Admission gates open at 10 a.m. For scratches, changes and complete morning line information, please visit santaanita.com.
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Top Reasons to Go With Managed WordPress Hosting Why Tech Companies Need Simpler Terms of Servic… Tags:#Internet of Things#web Every Thursday evening PT we review Internet of Things developments from the past week. Internet of Things is a term for when everyday objects are connected to the Internet. It’s becoming an increasingly relevant trend for the Web and media, so we want to keep you updated with the latest news. Tune in every Thursday evening for our updates.This week’s stories include a big IoT investment by chip maker Intel, two French cities building smart cities, RunKeeper’s platform for exercise and health data, and more. Also we continue the countdown to the Internet address apocalypse!5 More Days Until the Internet Runs Out of IPv4 AddressesAs we noted last week, it’s getting down to the wire for IPv4 Internet addresses. It’s now down to 5 days, according to the Twitter account @ipv4countdown (data sourced from Hurricane Electric). This time next week, it’ll be Armageddon! Well… not really, the Internet will continue to run and most of us won’t notice any difference. For the technically inclined though, the age of IPv6 will have officially arrived. The adoption of IPv6 is a key technology in the Internet of Things, because every object connected to the Internet requires at least one IP address. There will be huge demand for Internet addresses and IPv6 is more than capable of handling that.Intel invests $25 Million in Internet of Things ResearchIntel announced this week that it will invest NT$750 million (US$25.8 million) in joint research with Taiwan’s top-ranked university, National Taiwan University. The research project, named Intel-NTU Connected Context Computing Center, will focus on Internet of Things. Specifically it will look at smart sensing, “green sensing” and context analysis.Vida Ilderem Burger, vice president and director of Intel’s integrated platforms research, said thatit’s Intel’s first such center and will probably eventually expand to China. This is significant, because as we noted last week China is well ahead of the U.S. on IoT implementation.The Quantified Self: RunKeeper Emphasizes IoT Platform Fitness-tracker RunKeeperannounced this week that its iPhone app will remain free, after formally being a paid app. Instead of making money from its apps directly, RunKeeper is going to focus on building a platform for exercise and health data. Other companies have already built RunKeeper integration into sensors, ranging from heart rate monitors to sleep monitors and bathroom scales. RunKeeper says it will launch a public API (Application Programming Interface) this year. Running coaches are already selling training programs on the RunKeeper site and power-users can pay for the RunKeeper Elite level of service. For more explanation and context, read Marshall Kirkpatrick’s analysis of RunKeeper.French Intelligent CitiesBruce Sterling, who runs the excellent Spime Watch on his Wired blog, pointed us to a report on “smart city” development in France. The telecoms company France Telecom Orange has been running two smart city pilot projects at Cagne-sur-mer, a city with 40,000 residents located near Nice, and in the Grenoble city center. Reports Louise Joselyn from new Electronics:“At Cagne, the pilot project has involved the deployment of sensors to monitor, measure and even control certain aspects of the city environment, including water metering in public buildings, street lighting control and the environment.[…]So far, the Cagne project has worked well, handling 100 or so sensors. The challenge is to support multiservices simultaneously and to scale to tens of thousands of sensors.” QR Codes Track Ancient Artifacts As we reported earlier this week, the Center for the Studies of Archaeological and Prehistoric Heritage (CEPAP) at the Autonomous University of Barcelona is now using QR codes to ID and track ancient artifacts. The CEPAP team has been testing this process for two years, affixing QR tags on everything from sword blades to bone remains. CEPAP has managed to reduce artifact coding errors to 1% with this process.Sao Paulo Cancer Hospital Uses RFID to Respond to Heart AttacksA report in the RFID Journal this week explained how a Brazilian hospital is making use of RFID in medical emergencies. The system “not only alerts responders in the event of a cardiac arrest, but also tracks response times, thereby providing the clinic with information that it can utilize to improve its response processes.”The RFID implementation has been a success so far and the hospital is planning to extend it to “tracking and managing clinical assets, as well as for environmental monitoring of temperature and humidity in patient care areas, and in hospital refrigerators and freezers used to store tissue samples and medications.”That’s a summary of some Internet of Things highlights from the past week. Feel free to share in the comments other interesting Internet of Things developments that you spotted this week. A Web Developer’s New Best Friend is the AI Wai… Related Posts richard macmanus 8 Best WordPress Hosting Solutions on the Market