Man United loanee labelled a ‘beaut’ for his part in De Bruyne scare

first_imgKevin De Bruyne goes off for City tonight injured after a tussle with Fosu-Mensah and could be out of the Manchester Derby next week. Agent Timbo, still a red.— Ryan. 🔴 (@Vintage_Utd) November 1, 2018 ADVICE Which teams do the best on Boxing Day in the Premier League era? BEST OF De Bruyne has only recently returned from a two-month spell out with a knee problem – it was a different knee this time and afterwards, manager Pep Guardiola said: “He’s being checked with the doctors so I don’t know right now (how he is).“I think today Kevin is back, the Kevin we know. He spent a lot of time injured but made a huge effort in Donetsk against Shakhtar and played a few minutes against Spurs in a difficult situation because of the pitch and the physicality.“Today again he was involved with everything offensively and defensively, so hopefully what happened in the last minutes is not serious.”City play rivals United on 11 November and a few United fans on Twitter were wondering if 20-year-old Fosu-Mensah has inadvertently helped them out. Forbes list reveals how much Mayweather, Ronaldo and Messi earned this decade A new knee injury could keep Kevin De Bruyne out of the Manchester derby.Timothy Fosu-Mensah, on loan at Fulham from rivals Man United, accidentally landed on the Belgian’s knee, which forced the attacker off towards the end of the game.City won 2-0, but the sight of the club’s star man limping off the pitch took the gloss off. Yesss mensah lad— James (@Xire01) November 1, 2018 Most Popular In Football 1 REPLY no dice Top nine Premier League free transfers of the decade MONEY Berahino hits back at b******t Johnson criticism – ‘I was in a dark place at Stoke’ Ronaldo warned Lukaku how hard scoring goals in Serie A would be before Inter move Every time Ally McCoist lost it on air in 2019, including funny XI reactions Fosu-Mensah doing the Lord’s work. He knew De Bruyne needed another two months off.— Pandawan (@JustinJay_OD) November 2, 2018 huge blow REVEALED Where Ancelotti ranks with every Premier League boss for trophies won Premier League Team of the Season so far, including Liverpool and Leicester stars Guardiola was visibly concerned as De Bruyne walked off shining RANKED REVEALED Oxlade-Chamberlain suffers another setback as Klopp confirms serious injury FOSU MENSAH YOU BEAUT 😍— Jardim SZN ⚡ (@itsthetads) November 1, 2018 Son ban confirmed as Tottenham fail with appeal to overturn red card last_img read more

How long can a corn seed hold its breath?

first_imgShare Facebook Twitter Google + LinkedIn Pinterest By Andy Westhoven, AgriGold regional agronomistAt this point in the calendar, undoubtedly, there are many corn fields planted around the area. Just as undoubtedly, planting conditions will be like the story of Goldilocks and the Three Bears — some will be too cold and wet, some too hot and dry, and some just right. The role as an agronomist usually travels down the road of the first two situations in Goldilocks’ tale — less than ideal planting conditions. Somewhere in the eastern Corn Belt, after a corn field has been planted, a torrential rainfall will occur and/or there will be a cold period where a grower might wonder, “What is to become of the corn seed I just planted? How long can it last in the soil before rotting and dying?”Last season almost gave growers a false impression of corn emergence when most fields emerged in about 8 days. This is certainly not the norm. Most growers would average close to 12 to 14 days for corn to emerge year in and year out. It is a general understanding that corn seed treatments can last 3 weeks give or take. This is also the answer to the title question: How long can corn seed hold its breath? The answer is 3 weeks. The best way to improve upon a more rapid and uniform emergence is to plant into a warming trend.Easier said than done, right? From the time of planting the seed until emergence, the best defense a corn seed has is the seed treatment, as it does not have any natural defenses. Typical corn seed treatments consist of fungicide and insecticide protection. The fungicides usually play the larger part during the “hold my breath” moment.With temperatures in the mid to low 60s, field saturation, and cloudy weather are the perfect environment for slow to little corn seed growth and development. When a corn seed is not developing, pathogens — namely Pythium and Fusarium — could potentially attack a vulnerable seed. Once an infection occurs, it still could take up to several weeks to know the consequences. If the corn seed germinates and emerges, the disease could still ultimately kill the plant before it can “outgrow” the pathogen. In this case, the best advice is for warmer and drier weather for a period where the balance of power can be swayed back into the corn seed’s favor for rapid growth. Rapid growth is really the best medicine for a disease-infected corn seed or seedling.In addition to the disease threats, many insects prey on vulnerable seeds. During a prolonged emergence period, insects such as white grubs, wireworms, and seed corn maggot are the most common culprits to feed on corn seeds. While most seed treatments provide excellent protection in this arena, it is not uncommon to find hotspots in a field based on a variety of different reasons.Ironically enough when you consider a seed holding its breath, oxygen in the soil is another factor one must consider about seed viability/longevity in the soil. Any practice that reduces oxygen or pore space in the soil profile can also cause seed germination/emergence issues. Obviously, a wet, saturated field would qualify here. Outside of weather conditions, though, compaction can be a large threat.Compaction could be caused from heavy equipment. But, if one dives deeper, there is often planter compaction caused from too much down pressure. This is the pressure that is placed by the actual row unit being either too heavy and/or having too much pressure applied. Most of these can be reduced by planter settings, but still can be a hidden problem.In that ideal world, most would simply hit repeat of the 2018 spring season. Unfortunately, there is no easy button here and each year, farm, and field present unique challenges that keep all operators on their toes. Let’s hope that everyone finds that warming trend!last_img read more

Ohio Ag Weather and Forecast – August 2, 2019

first_imgShare Facebook Twitter Google + LinkedIn Pinterest Dry weather continues Friday through most of Tuesday. Temps climbing gradually through the period, leading to above normal temps this weekend and Monday.  Tuesday late afternoon and evening, a few scattered showers and thunderstorms can’t be ruled out over far NW parts of Ohio. However, this action likely is not a big part of our Tuesday outlook. The best chances come near the Michigan line. Nothing happens south of I-70.  Wednesday features scattered showers and those will continue through most of Thursday, although for that day the focal point comes farther south. 48 hour rain totals will range from a few hundredths to nearly an inch, over 80% of the state. The upper half of the range will be kept mostly to central and southern Ohio. Northern areas could be a few tenths or less, and see the moisture done by Wednesday night.  Dry Friday through Sunday (Thursday through Sunday from US 30 northward). Mixed clouds and sun to Thursday and Friday, mostly sunny skies for next weekend.  The extended period has scattered showers from Sunday night through Monday. However, rain totals are limited to a few hundredths to .3” and coverage only at 40%. More of the state misses this action than gets it.  The remainder of the extended period is drier. We are dry from Tuesday the 13th through the end of the week, Saturday the 17th. During that period, though, warm air and rising humidity will prompt chances for a few pop up showers off an on, particularly Tuesday-Thursday. Coverage will be limited to 20%. We are removing threats of heavier action late in the extended period.  10 day rain totals are below. Notice that for the entire 10 day period we have combined moisture of 0” to 1” and a large part of Ohio sees just a few tenths. Those totals are well below normal, except the totals closer to an inch. Keep in mind those higher totals are dependent on better thunderstorm coverage, which could go away.last_img read more

Should City Governments Sponsor Seed Funds?

first_imgRelated Posts Why Tech Companies Need Simpler Terms of Servic… Tags:#Analysis#start A Web Developer’s New Best Friend is the AI Wai… In February, Portland, Oregon Mayor Sam Adams announced the city would put $500,000 towards a seed fund to help encourage regional startups. And on Friday of last week, the Portland Development Commission announced it had finally chosen the five local business leaders to help launch the fund, predicting it would be “open for business” by the fall.Portland isn’t the only city undertaking these sorts of early-stage investments. Last month, New York City Mayor Michael Bloomberg announced his city was sponsoring an Entrepreneurial Fund, in a partnership with Firstmark Capital that had over $20 million earmarked to fund startups.Following a rather dour report from the Kauffman Foundation that placed Seattle at the bottom of major metropolitan areas for entrepreneurial activity, the Seattle-based technology blog Techflash asked its readers if Seattle should setup its own, similar early-stage fund.The majority of responses to their poll were negative: the city had better ways to spend its money. And although the economic contribution of a healthy entrepreneurial climate is something that cities want to foster, managing these investments might prove difficult. While a city like New York not only has a sizeable startup fund but has a large community of investors, it remains to be seen how a small, city-run seed fund like Portland has created will impact both the local investment and the local entrepreneurial communities.What do you think? Should cities be in the angel business? What other steps – beyond the usual “tax incentives” – can cities take in order to help foster a strong local startup community?center_img Top Reasons to Go With Managed WordPress Hosting audrey watters 8 Best WordPress Hosting Solutions on the Marketlast_img read more

Interview: The Director and The Producer Behind “Man on Fire”

first_imgIn 2014, a preacher in Grand Saline, Texas self-immolated to protest racism in his town. We talked with the filmmakers who captured his story.All images via Joel Fendelman.At this year’s Slamdance Film Festival in Park City, Utah, Man on Fire debuted as an official documentary feature. This film tells  the story of Charles Moore, the Texas preacher who set himself on fire to protest the dark history of racism in his town. We sat down with director Joel Fendelman and producer James Chase Sanchez to talk about the challenges of capturing this story and what motivated them to bring it to the world.PremiumBeat: Joel, tell me what drew your interest to this project?Joel Fendelman: At the time I was working towards my MFA degree in the Radio, Television, Film program at the University of Texas, Austin. Chase and I had a mutual friend Kristen Lacefield who told me about Chase’s research and the story of Charles Moore. I was immediately taken back by the extreme act and that I had never heard about it. In fact, I had just arrived in Austin about a month after Charles self-immolated in Grand Saline. I remember especially at that moment having larger existential questions about purpose and my responsibility to social justice in society. And more specifically that I wasn’t doing enough. Whether it was going to a protest march or giving a few bucks to homeless person, it always felt like just enough to stave off the guilt. And here was a preacher who spent his whole life on a mission for social justice and felt that he had not done enough. So I was floored and in awe of this preacher who sacrificed his life in such a horrific manner for a social justice cause. So it attracted me on a deep personal level but also as in everything it wasn’t so black and white. There were many questions I had about Charles, about this town, about his choice. I knew immediately that this could be a good opportunity to explore these questions in a documentary that I would use as my final thesis project.PB: Chase, tell us a bit about the research Joel mentioned. What were you working on, and why?James Chase Sanchez: So I am an academic, and at the time of Moore’s self-immolation, I was in graduate school at Texas Christian University studying racial rhetorics (how people talk about race). On June 23, 2014, Moore self-immolated, and I started collecting news stories and talking with news organizations about this story to get it to the public. I went to my dissertation advisor and told him about Moore, and he suggested it should be my entire dissertation project. I framed my dissertation by talking about the recent uptick in self-immolations globally and then moving into the racial perceptions and folklore in Grand Saline. So by the time Joel got in touch with me about possibly making this documentary, I was already 2/3 through my project and had already interviewed 25 people.I knew almost immediately when Moore self-immolated that if I ever had a story I needed to tell in my life this was it because I was raised in Grand Saline, and the racism that Moore wrote about was a racism I saw in the early-2000s. When his story didn’t make national news, I was upset because I couldn’t understand how something so powerful, something so visceral, didn’t get as much attention as self-immolations that take place in other parts of the world, like Tunisia and Tibet. So I jumped into my dissertation wanting to do justice by Moore, at least in an academic sense, and by extension, I believe this documentary does him justice, too.PB: What gear did you use while shooting, and how big was your crew? Were there particular equipment challenges that you think were unique to this project?JF: The documentary portion of the film was shot using a Sony A7sII with vintage Zeiss Contax lenses. In fact most of the footage was filmed using the 28mm. I used a Sony A6300 B camera for interviews and Ikan DS-1 gimbal for the floating shots. There were three of us: I ran camera, Chase did the interviews, and most of the location audio was done by Rodd Simonsen — with a few pick-up days by others when he couldn’t make it.For the reenactment section, it was a full narrative-like crew. There were probably about 15-20 people over the three-day filming, and we used a Panasonic Varicam LT with Cooke mini S4 lenses.One equipment challenge I had during interviews was that the A6300 B camera would overheat after about 20 minutes when filming in 4k. There were many times when I had stop the interview and cool off the camera. We eventually just ended up filming in 2k with that camera to avoid the overheating issue.During the reenactment filming we brought on Big Dog Pyro to handle the pyrotechnics — who were fantastic to work with. We had a particular shot where we wanted the flames to encroach into the frame from either side. It was a challenge to figure where to position the camera and the flame bars. We ended up putting our cinematographer on the floor with the camera and the flame bars right above him and covering him with flame retardant blankets and filming at 240fps.PB: Chase, I understand you faced some production challenges on this project. Particularly social challenges. Can you tell us about that? Did it ultimately benefit or damage the project?JCS: Yes, since I grew up in the town, I found there to be some social challenges with the film. One of the first challenges is that there were many people who did not want to talk to me because they believed I had a liberal agenda I wanted to spread. I am an academic who studies race and rhetoric, and I have some radical thoughts when it comes to racial issues in America that I talk about publicly. Some town members believed the film was going to be used as propaganda against the town—that we would be claiming the town is racist and all the people in it are racist. So on that end, there were many people who would have been great to interview because they had some deep knowledge and stories about the town, but they chose not to share them with us. Also, I had a few friends who actually wanted to talk but felt they would be chastised by the town if they spoke, which is unfortunate. These challenges came to the forefront during our last trip to town, when we were asked not to attend the football game because it would be “better for us.” We were unsure if someone actually feared for our safety or if they just did not want us to attend the game.Also, during this time, we learned from some prominent citizens in town that there were some people meeting and discussing our project and if they should speak with us or not. I am not sure if Joel agrees or not, but I felt that there were some people who spoke with us because they spoke with other people in town and got “permission” (in one way or another) to be interviewed. I think that was one of the challenges. I mostly felt people were honest with us on camera, but in some of the interviews, I had to press some people who I thought might be spinning stories.Overall, I would say that my relationship to the town actually helped the project. I believe if outsiders came to town and tried to make this documentary, most of the town would have not responded. Michael Hall, the author of the “Man on Fire” article in Texas Monthly, which was one of the inspirations of the documentary, told me that he had a hard time getting anyone in town to discuss race with him. So while there were many people who did not speak because they knew me and believed we had an agenda, I still think my presence did make some people feel more comfortable because why would a former citizen who mostly enjoyed his adolescent years in town launch into a full-on assault of the town? I think we did a good job alleviating these problems by describing the nuance we were shooting for in the film, and I believe the final product is something that reflects this nuance.PB: Joel, do you want to weigh in?JF: It was interesting for me to observe Chase interacting with the townspeople, many who he had connection to directly or through family or friends. It was always a question whether the person knew Chase’s politics and if so how they felt about it. And then myself being a Jewish city boy, I was curious how that would come off. But interestingly enough, no one ever really asked. I’d say barring the experiences that Chase mentioned and some controversy on social media at the end, all the interviewees were pretty friendly and forthcoming. I did have a concern about how people would discuss race with us on camera and whether we could get anyone to really talk about it — similar to Michael Hall’s challenge. But the beauty of cinema in contrast to a written article is that the camera captures so much. So even when someone doesn’t want to answer a question or brushes it off, the visual act of not saying something can speak volumes. It kind of goes in line with the saying that a picture speaks a thousand words.PB: Joel, you mentioned that you shot the documentary using vintage lenses, and we’re seeing more and more of this trend in the industry. As a cinematographer, what were you hoping to bring to your project with the particular load-out you carried on location?JF: There are a number of reasons I decided to go with the vintage lenses. Firstly, digital can be very sharp and sterile, so any way that we can add character and slightly soften the edge of the digital image the better — unless one is going for the sharp, sterile look. Secondly, you can get pretty high-quality lenses for relatively cheap, at least compared to what a new lens of similar quality might cost.As far as the equipment that I decided to use, it was based around a combination of price, aesthetic, and size. I love the look that the DSLRs are able to bring in such a small, reasonably priced package. At that point the Sony A7sII mirrorless camera had recently come out and was carrying a good reputation with quality and incredible low light capabilities. So it seemed like a good fit for this film because we wanted to be as low-key as possible and use natural light whenever available. It also allowed me to use the Ikan gimbal to create these very high-production-value, Steadicam-like shots for a fraction of the cost.PB: Man on Fire was an official selection this year at Slamdance. What was your experience with the festival, and where can we look to watch the film?JCS: Well, this was my first time at a film festival, so I was mesmerized by everything. Park City was full of people attending Sundance and Slamdance, and it was exciting to see so many creative people coming together to share their work with the world. For Slamdance especially, the mantra is “for filmmakers by filmmakers,” and you see that encompassed in the fabric of the festival. So many great independent filmmakers converged at this one festival, and the experience was very communal in nature. I was so happy to be a part of this project and to be able to experience this festival.We have a few forthcoming screenings: we are screening at the Big Sky Film Festival in Missoula, Montana on February 17th, and we will also be in the San Luis Obispo Film Festival in March. We also have two upcoming school screenings at the Liberty Hall in Tyler, TX on February 28th at 6:00pm and at Texas Christian University on March 1st at 7:00pm. Finally, we will be a part of the PBS Independent Lens series either this fall or next spring.JF: Let me add that one of the key motivating factors for us making this film was to use it as a vehicle for discussion and reflection. We have a link on our website, where you can request to host a screening and have us attend. So even if the film isn’t as of now scheduled to come to your town, it can be…Looking for more filmmaking interviews? Check these out.Interview: How the Editor Behind I, Tonya Recreated HistoryInterview: How This Oscar Nom Edited Downsizing While Directing His First FeatureExclusive Interview: The Secrets Behind RED Sensors and ResolutionInterview: Reality T.V. Sound Mixer Matthew HughesA Conversation with the DP of The Confession TapesInterested in more on working with vintage lenses? Read our previous coverage.Using Vintage Film Lenses on Micro 4/3 CamerasExplore the Ultimate Vintage Lens LibraryWorking with Vintage Lenses on Modern CamerasShould You Use Vintage Lenses on Your Next Project?What Do Filmmakers Mean When They Refer to the Cooke Look?last_img read more