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If you're not sure what the differences are between Champagne, Cava and Asti, you're not alone. With so many available varieties from so many places in the world, sparkling wines can be hard to figure out–which can make shopping for one a challenge. Luckily you don't need to be an expert in sparking wines to decide if you should buy a French Champagne or an American white sparkling wine for your next party. All you need is some basic knowledge.
The sparkling wines of the world can be divided into basic types and styles that will help you understand what you're looking at, and decide what to buy, on your next visit to the wine shop.
Sparkling Wine Styles
Sparkling wines range in look and taste because of the different ways they are produced. The method by which a sparking wine was made should appear on its label. These are the most common methods:
- Injection method: This process creates carbonation by injecting carbon dioxide into regularly produced white or red wine during the bottling process. Sparking wines created by use of the injection method tend to be the least expensive. They have the largest, harshest bubbles. Many people also believe them to be the least flavorful.
- "Method charmat": This natural fermentation process is most commonly used in Italian sparkling wines, but may be used in some American varieties. It involves fermenting the wine in steel barrels to create natural carbonation before it is bottled. It is a less expensive production method than "methode champanoise," the traditional process used for making Champagne, but more costly that the injection method, putting most Italian sparkling wines in the middle price range.
- Methode champanoise: Also called "methode traditionelle," methode champanoise is the traditional method for making Champagne. It is an extremely labor-intensive process during which the two fermentation stages needed to create Champagne's signature delicate bubbles are done inside of the bottle. This is the most expensive method for producing sparkling wines. Many people also believe it to be the best.
How to Tell if a Sparkling Wine is Dry or Sweet
The amount of residual sugar left in a sparkling wine after it's been bottled will determine how sweet or dry it tastes. A sparking wine's sugar level can be determined by a series of terms used by winemakers that appear on a wine's label:
- Brut is the driest sparkling wine with the least amount of sugar
- Sec is slightly sweeter than brut, but still on the dry side.
- Demi sec is mildly sweet, with a slight hint of dryness.
- Doux is the sweetest type of sparkling wine; sparking wines labeled "doux" have a very high sugar level.
Sparking Wine Types
Different countries produce different types of sparkling wines using various kinds of grapes and production methods:
- American white sparkling wine: White sparkling wine is made in many locations throughout the United States. It is a general term used to describe most sparking wines produced domestically, because terms like "Champagne" and "Cava" can only be applied to those sparkling wines made in specific winemaking regions. There is a lot of good American white sparking wine available, but there are also many inferior ones. To tell if the white sparkling wine you're thinking of buying will be good to drink, look for evidence of its production method and sweetness level on the label.
- Champagne: The only white sparkling wine that can be called Champagne is produced in the Champagne region of France by methode champanoise. Only chardonnay, pinot noir and pinot meunier grapes are used to make Champagne. When Champagne is made from grapes that were all harvested during the same year, the wine is called "vintage." Champagnes that are made from grapes that were harvested during different seasons are knows as "cuvees."
- French crémant: A lesser-known variety of French white sparkling wine, crémant is made in many regions of the country, including Bordeaux and the Loire Valley. It is produced using methode champanoise but often contains pinot gris, pinot blanc and Riesling grapes.
- Italian Prosecco and Asti: Produced by method charmat, the sparkling wines of Italy are reasonably priced and fast becoming a popular alternative to Champagne and other types of white sparkling wine at weddings and celebrations. Italian sparking wines are sometimes named for the grapes that they're made from, but in other cases, an Italian sparkling wine's name may also indicate where it was made. For example, Asti Spumanti is a sparkling wine made in the Province of Asti.
- Spanish Cava: The premier white sparkling wine of Spain, Cava is traditionally made using methode champanoise, but is occasionally produced using other methods. It is produced in several regions of the country using macabeo and parellada grapes which give the wine the light, fruity flavor that makes it drinkable in Spain's hot climate. Freixenet, one of the most popular white sparking wines in the United States, is a type of Spanish Cava.
- Red sparkling wine: Though red sparkling wine isn't particularly common in the U.S., red sparkling shiraz is a favorite drink in Australia and is just beginning to get noticed around the world. Made using methode champanoise, sparkling reds are typically drunk for all occasions. They are a must-try for sparking wine fans that aren't familiar with them.


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For this interview I sit down with Sjoerd 'Hourences' de Jong. He's an Unreal Engine Expert who started out building custom maps for Unreal Tournament. Fast forward nearly two decades later and Sjoerd has worked on more than ten games, released three games with his own development studio, won over a dozen prizes and written two books. He also coordinates the game development education over at Futuregames and he's the evangelist for the Unreal Engine in Europe for Epic Games. He visits hundreds of studios and conferences a year, so he has a very wide view on the game industry. Sjoerd is like an unstoppable machine so trust me when I say, I feel honored to talk to him about living the Indie life.
Hello Sjoerd, I appreciate you taking the time out of your busy schedule to do this interview with me. Looking at what you've done and what you are still doing, I can't help but wonder, how do you manage your time? Do you even get the chance to see your friends and family?
I work very long days and have done so since pretty much the very moment I started. Over the past 5 years I am probably at about 70 hours a week average or so. I rarely take weekend days. I have to say though that creating The Solus Project has been particularly taxing, so I am likely going to scale down some from here on out. On The Solus Project I was responsible for large parts of all development and business, alongside my responsibilities for Epic Games, and the education program at Futuregames in Stockholm. That was basically running 5+ jobs at the same time, for years on end.
I am able to schedule everything I do really tightly because I am in full control of my own schedule. I know exactly what is happening, when, and why which helps a lot. This would be far harder to accomplish within a larger team or company since you'd automatically get dependencies and communication to take care of. In a strange kind of way doing a lot myself saves me time in some regards. Also because I have been doing every aspect of my work for many years now, I have a lot of routines and prior experience to fall back on, and that has allowed me to get a lot more done in a small amount of time over the years.
When I started out making levels I remembered that I found it difficult to work focused for 6 hours or more a day, since it is mentally taxing work, but as the years passed I can now easily push it up to 12 hours a day for years on end creating levels and still not really feel any drop in attention or mental fatigue. I do get more impatient over the years though. I want faster results, and skip the boring parts of making levels. In the past I have hired people just to deal with placing all the models for example so I can deal with the more fun start and end parts of creating levels for example.
Talking about time management, we all know the horror stories of crunch time during game development. How do you decide what needs to be done first to finish a game? How do you schedule finishing everything, like art, sound, AI, gameplay, etc, on time? Or does independent mean you can do things on your pace?
Technically you could do it on your own pace, but in reality no matter how much money or time you have, you also need to consider the level of motivation of yourself and your team. That is a resource too. People lose their energy and interest slowly over time. Some lose it faster than others, but everyone, me included, will lose it. So as an indie I primarily fight my dwindling energy levels. The exhaustion too. Making a game like this adds considerable weight on your shoulders over a long period of time. It increases the pressure on a relationship or marriage too. And so on.
Once you announced the game, you also need to take marketing into account. You have a marketing campaign planned out. If the game takes longer then your marketing campaign will likely go down the drain and that is a big issue. So being indie definitely doesn't mean you can take your time as you see fit.I always try to objectively look at everything that needs to be done, and to identify what I should do first I look for 3 things. How time consuming and difficult is it? How big is the impact? How urgent is it?
What I find particularly interesting is how a lot of developers often focus primarily on task and bug priority. Provided something is not game breaking, I reason that if I were to add or fix 1 particular important feature or bug, and invest 6 hours into doing so, I would have paid 6 hours to improve for example 1 minute of gameplay in 1 specific spot in the game. But if I were to fix 100 minor issues in those same 6 hours, then there would be a significant chance of all that having a greater impact on the perceived overall quality of the game than that 1 single bigger 6 hour feature or bug fix. All that aside, I do a lot on a "go with the flow" kind of basis, and it tends to simply work out. I've made so many levels over the years I know pretty much exactly how long something takes, and it all just goes by itself to be honest.
You are responsible for your own quality control. People who work on projects for a long time can lose focus on the bigger picture. How do you decide when something is good enough?
First of all we bring in external testers every now and then. Before Early Access we had test sessions with game dev students, and then of course during Early Access you get a lot of feedback from the community too. Bringing someone to your office and sitting next to them watching them play is vital I think. We've learned so much from doing that in all of our games. We have them play the entire game start to end, and analyze how they think. That is crucial. If you rely on your testers to tell you what they think you'd get a just a fraction of the feedback you need. When we made The Ball we brought in a tester at some point, and I sat next to him watching him play. After an hour he stopped and described me 5 problems he experienced so far, but during that same hour I had noticed and written down over 300 problems.
I tend to be very demanding on myself too, and very precise. I regard "public beta" the moment that I can play a game or level and not find almost a single problem. If you have trouble keeping an eye out on the bigger picture I suggest you print out a bunch of papers using some massive font, with the key points of your game. For example "Exploration - Mystery - Adventure - Aliens". And every time you think or encounter anything look up to above your desk and read what you wrote. Is it compatible with your core values? Does it add to or strengthen them? If not, forget whatever you were thinking, or find a way of making it strengthen the very heart and soul of your game.
Your team is spread out across Europe. How do you organize the project without having everyone in the same location?
Key is to keep the team small, and to keep the hierarchy flat. Preferably keep everyone in the same time zone too. The bigger the team, the more need for hierarchy and communication you have, and those are exactly two of the things that are more difficult to do when you are a distributed team. Proper meetings are hard to do online, and people misinterpret each other much more easily if they are not meeting face to face. You don't want to have 10 leads and producers all trying to push the project in a certain direction, or trying to understand what the rest of the team needs or can/can't do.
Another problem is that without being able to overhear each other in an office, have a face to face meeting, or go out for lunch together, it is very easy for information to go around between only a few people in the team. For that reason we stay very small, and very flat. Basically everyone reports to me and I then redistribute info to the others in the team. At most you should have 1 to a maximum of 4 people who developers report to and who form the decision making core of your team. Anything more than that and you should completely change your team organization, and become very strict and rigid in how people communicate, at what times, and so forth.
Because we are so small and have all decisions go through me, we don't do much formal planning. We use Slack, and a Perforce server, and some emails. That is it. I basically just remember every bit of information, all estimations, etc at any given time, and schedule it all accordingly in my brain. It wouldn't work for a bigger team, but for us it saves time instead of writing it all down. With a massive game, just a few people and 3 years of development, we only overshot our initial release date by 3 months so that is pretty good I'd say.
How would you define being an Indie? Is it working without a big publisher or perhaps working with a small team?
I think being indie is much more about a mindset than it is about things such as budget or team size. To create your own original games, out of pure passion and love for the medium, with no or few compromises towards external parties, and even if it comes with a degree of hardship involved due to lack of manpower, money, or marketing to name a few. Basically an indie for me is someone who makes games out of passion. If you'd start a new game by researching which features and themes sell the most to which demographics, and what your projected sales would be like if you'd add in X or Y, I think that is the point you stop being indie. Obviously you need to make money, and paying a bit more attention to the business side of things wouldn't hurt many indies (usually a weak point for them), but getting rich should not be the driving motivation why you make games as an indie developer.
Without a publisher, do you still have milestones or vertical slices to deliver?
If you want you could yes. It usually is a great idea to set clear and short-term goals for yourself, so I'd do it anyway with or without publisher. You do need to be more disciplined though without publisher. There is no one checking up on you or forcing you to stick to your own deadlines, so you will need to be strict for yourself. If you tell yourself or your own team that next week content X must be done, it must really be finished then. Otherwise you will lose the faith and trust of your team.
How do you select your employees? Also, how do they get paid? Do you pay them a monthly salary or are they getting paid in royalties once the game is out? Plus, is it more difficult to attract people when you are a small studio?
We've done a bit of everything during the production of our games. We've asked some friends to do a few things left and right for free. We've had some employees as well who we paid steadily every month. We've had freelancers who got paid per object. We've taken in interns. And so forth. As a small developer you basically do whatever helps you along, so any and all approaches are viable as long as all involved parties feel ok with it.
Usually the most important people in the team we set up with royalties. Those are the people who form the heart of the team so you want them to be as involved and as invested as possible. At the same time royalties are a challenging thing to work with. There is only 100%, and you won't ever get more than that. What I mean is that if you pay people based on the time they put in, and it turns out that you need more time to finish the game then you can always find money somewhere, somehow probably to cover for that. But once you distributed your 100 available percentage points, you have absolutely nothing left to work with anymore to recruit additional help and you will get stuck. I see a lot of indie teams primarily resort to royalties but unless your team and product is small, or nearly finished, that is simply not sustainable.
We don't tend to have difficulties attracting people, we have existing games out there, and people know me. If you are a new team and you have difficulties attracting people I would analyze the way the majorities of indie and hobbyist teams try to recruit people, and then avoid the mistakes they make. Show people you are serious and deeply invested in it yourself. Have a fully working vertical slice ready, or a superb and realistic pitch concept, preferably backed up by some form of track record.
I'd say the by far hardest part of being an indie is not attracting people, it is retaining them. Even if you pay them a proper salary and give them a long term contract eventually they will feel the lure of a bigger company, and before you know it they're off to some AAA company. That happened to us multiple times over during the development of our games. You simply cannot match the salaries of large studios, or the "coolness" factor, or for that matter the perceived stability a larger company offers.
How do you budget your development? Is using an existing engine always cheaper than building your own? Do you think that this new trend of "marketplaces" for game engines with pre-made assets and code allows developers to cut corners?
Making games is a risky business. It is kind of like predicting which pop song is going to be the next number 1. Everyone tries, but no one has as of yet really found any real pattern to it. You can try to play the system and the market if you have sufficient means, and improve your chances, but ultimately there is a significant luck factor involved. That makes budgeting hard. As an indie with no real marketing budget and without a large existing portfolio of games or a community, it is hard to come up with minimum revenue numbers you can base production on, so we tend to stay as absolute low cost as possible. We do not pay ourselves during production, only the external people, and we do not have an office.
If you should make your own engine or use an existing one depends entirely on the game you want to build. There is a difference between a game 2D game on mobile and a high end 3D PC game. I think that unless you are a very large company with very deep pockets, like EA or Ubisoft, trying to build your own engine for any kind of 3D game is madness in the year 2016. The engines out there are so good nowadays, so powerful, and have required such a massive investment from the companies who built them, that there is no way you can ever compete and catch up with those. Don't spend your time trying to build the engine, spend it on making your game better.
Marketplaces are great. Development is risky enough already, so anything we can do to cut costs and risks, and speed up development is much appreciated. The flipside to that is that they do enable a lot more games to be made though, which in turn leads to greater market saturation. Which in turn makes it actually harder to make games for a living, but I don't think there is much we can do about that. Anything we do to improve our game development efficiency will have that saturation as outcome, but stopping our drive for improvement and efficiency is not an option.
You've made The Solus Project without the help of crowdfunding. What was the reasoning behind this? What do you think of crowdfunding in general? Is it worth it?
I don't really believe in Kickstarter. Kickstarter takes a huge amount of time to do well and is a job in itself. I know quite a few people who tried. Even when they succeeded it took them so much time and money to do, that a good portion of the money they got from Kickstarter would have to go to simply paying for the effort it took to do the KS in the first place. That is a big commitment, and time you take away from the game, so you need to make sure the payback you get is worth it. If Kickstarter fails you also fail publicly. You can't go to a publisher afterwards and say "we've got this cool game" because they will say "yeah, but the public isn't into it, look at your Kickstarter".
If you compare the amount of money you would possible make after covering for the effort it took to do, to the risk involved that if you fail you also potentially lose other opportunities, then the investment is pretty big. The risk is pretty big. But unless you make hundreds of thousands (you likely won't) the payback is too small in my opinion. Look at it this way. If you see how much trouble we have with The Solus Project in getting press traction with a full and finished released game, then imagine how hard it is to get anyone to care about some Kickstarter.
Do you often cut features or change the design while making a game?
A game will always change as you make it. It is pretty much unavoidable. As you build a game and begin to better understand how it plays, you will always realize new possibilities and ideas, or identify problems you did not foresee. That said I don't like cutting things. I never have. I view re-doing or cutting features and content as a design failure. As humans we are all about efficiency, and the most efficient way of creating X is by ensuring we don't have to redo or change the outcome halfway in. Our ambition should be to strife to do things as accurate and as perfect as we can. Aside from that, not adjusting your scope to the resources you have would be a terrible mistake as well, and one that I've unfortunately seen many do in the industry.
Both of these points basically tie into the very foundation of game development, and there are two completely different schools of thought here. On one hand you got the notion that design should be left free. That you should not constrain yourself by imposing limits on your creativity, and that you should try things out freely and if they don't work redo or cut them freely.
But on the other hand you can argue that the design of a game should take place within the boundaries of those things you have no control over. Such as technological limitations, budget and so forth. And that redoing things means a failure in looking ahead, planning, and analyzing your design ahead of implementation. In fact you could go as far as claiming that designing something within specific boundaries requires more creativity than being left completely free with what you come up with. I'd say this is what has driven our entire history. Human evolution has mostly been geared towards us solving specific problems within a set of very clear boundaries, and it is how we operate best.
I try to strike a balance when I work. Out of the box thinking, but at the same time still keeping that imaginary box near as well. If it turns out a certain part of a level doesn't work for example, perhaps there is a way of reusing it elsewhere? Perhaps we can redesign it instead of dumping everything? Or we could simplify it? If it is boring or empty, we can perhaps make it easier for the player to get through the area so we simply lessen the impact of the problem? Is the problem that affects this part of the level perhaps also found elsewhere in the game? If yes, then perhaps we must identify a game wide solution instead of focusing on the level? And so forth. My rule is to cut as little as possible. In The Solus Project we made quite a few changes to some of the levels. Some of the changes were radical, but we never redid or removed entire areas. We have always found ways of reshaping existing content and features in creative and time efficient ways.
How do you market your game and do you spend any money on it or is all word to mouth advertising? What did you do for The Solus Project for instance?
We've spent some money on traveling to various conferences, but not on online ads or such. We don't feel they work well enough unless you have enough money to push it through properly. We are mostly taking the indie route with marketing. An interesting thing we did was to partner up with tech companies such as Tobii. We agreed to have them use the game to showcase their eye tracking tech, and in return they took us to places like GDC. Another partnership had us have a booth at CES. And then our partnership with Microsoft for Xbox had the game playable at E3, Gamescom, Paris Games Week and so on. That has been a great way of covering these kind of major conferences while on a tight budget.
Along with the help of a marketing agency and our partner studio Grip Digital, we've emailed thousands of contacts and streamers. We also met up with them in person at places like E3 to try and get major press interested. We spent quite a bit of time on Reddit and other major communities to present the game and talk to fans, plus we looked up quite a few non-English press and approached the most important ones in their own language. We think it is vital to focus not only on the biggest sites, but also go after all the communities and non-English press. I feel many indies skip out on those, and it gives you more opportunities with them.
Towards streamers we manufactured a survival kit with physical items in it such as energy food and a USB power bank, and we then shipped these to the biggest streamers as a gift. We also ensured the game has all kinds of stuff in it that works well in a stream, or promotes discussions online. For example all the cult references to things like Stargate, Lost, Half Life, and so on, but also gruesome things like our many baby skeletons, or the many secrets within secrets in the world. All of it was meant to get people talking about it online. Starbreeze has also been so nice to do a Payday 2 mask special with us, driving tens of thousands of people to us. Aside from that our reviews have been consistently great, and we even got VR support as well.
The return on all of this has been small however. When we announced and release it in Early Access we had millions of people who saw the game. 1 million+ visited the Steam store page overnight for example, but the new huge updates we did after the initial release barely got any traction. Few picked that up. The full release also went by silently. Getting people to care has been light years harder than any other part of development. Even after having been at all conferences, with a large and very visual game, and with the help of major partners like Microsoft. It's still super hard.
With a game this size and these visuals you'd say they would jump on top of it. But while we do get more attention and sell more than your average indie title on Steam, it is nowhere near enough to fund a game this size. If you would have done this game "properly" with an office and full time devs you probably would have had to have 6-8 people full time for two years to pull this off. That means you'd burn something like 40.000 USD a month, and that is without paying anyone well or having much reserve. You look at a 1 million dollar budget minimum, or roughly 175-200 000 sales.
That scares me the most. We will make some money because we worked for nothing for years, but if you'd want to grow the business and have an office, it is just plain impossible unless you get lucky. We've had the exact same situation with the past two games too. The only reason we make money is because we barely spend any, but from a business point of view we have no way forward making indie games (even of this complexity). There is just not enough return to be able to properly grow the company. We also noticed that even when press picks it up, the impact on sales is minimal. A lot of people simply wait for the sales, but then when the sales happen so much other stuff happens they often simply forget. There were 12 000 titles on sale during the last Steam Summer Sales for example.
How do you survive on your own in this competitive industry? Do you think Indie's need to work together? Also, what aspects in this industry challenges Indies the most?
To be honest, it's getting harder and harder to survive as an indie. We've never before had this many channels to sell our content through and this many great tools and engines, resources, communities and so forth, but the market saturation is really tough to deal with. We don't make games. We primarily create entertainment, and as of such, we compete with every other form of entertainment out there. And that is a lot.
Even if we'd just stick to games only, then you'd see that not only are there ever more games released, games nowadays are also ever longer playable. A game from many years ago is still perfectly playable, so you build up an ever growing library of content you can keep yourself busy with. And no matter how rich you are, we all have only a limited number of hours a day to spend on entertaining ourselves. In that light I think greater cooperation is key. Indies all have their own audiences and press contacts. We should group up with other Indies making games similar to our own to stand stronger. To have an easier time to get visibility or reach your audience. I'd love to see that happening.
Indies have done well the last ten years. Where do you think the industry is headed?
It's hard to say. Given the market saturation will increase, I think it will in turn drive further fragmentation. When you deal with a very saturated environment you tend to focus or specialise, so I think the push from developers for catering to more niche audiences is set to continue. In terms of fragmentation, we are getting more and more consoles and devices too. VR being a notable one. And at some point we are going to get AR, which is most likely going to go mass market. I think that is probably going to be the next big step for games, but it won't be PC/Console style titles. It will create its own set of rules and games.
As various developing economies get richer and more prosperous over the coming years. More and more markets will open up there too, requiring sometimes entirely different kind of games. Again, fragmentation will occur there too. Traditionally, we mostly have had only Japanese and Western games. In the future we will have a whole lot more, and over time some of those might become major export products of those regions.
It's amazing to see how much information you have shared with us Sjoerd 'Hourences' de Jong. This will really help aspiring Indie developers. Thank you very much. You can also follow Sjoerd 'Hourences' de Jong on Twitter. His latest game The Solus Project is available on Steam. It will be coming to the Xbox One this Friday. I reviewed the game for Eurogamer Benelux and gave it a 'Recommended' badge. Make sure to check it out!

subset: commoncrawl


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Uggla Braves Cubs
August 14, 2011 by staff
Uggla Braves Cubs, Dan Uggla was in charge again to extend his streak to start the game. This time, it was enough to provoke a new victory for Atlanta.
The last entry in the unlikely run Uggla was not enough Starlin Castro and Darwin Barney four hits to help the Cubs beat the Braves 8-4 on Saturday night.
Uggla singled in the first inning and a homer in the fourth off Randy Wells (4-4) to extend his streak to 33 games.
"There seems to be fazing at all," said Braves receiver David Ross. "I'd be a nervous wreck."
Large 'longest streak this season began on July 5 when Uggla was batting .173. The longest streak in the history of the Atlanta Braves has high average of .232 Uggla.
"You look over the 33 days, you get the infield, which is to get the ball, he has done everything," said Braves manager Fredi Gonzalez. "He's swinging the bat well now. I'm happy for him."
Uggla has been waiting until late in the game to break the tension has been building in the Braves clubhouse.
"No complaining out of the way in the first inning, either," said Uggla. "I think it takes a bit of edge.
"I am very happy to take the field every day. I'm excited to compete. … My intention is not to try to continue the streak. My focus is on winning."
Castro Wells had two RBIs and two runs and eight hits in five innings for the Cubs, who have won 10 of 13.
Derek Lowe (7-11) allowed five runs on 10 hits in six innings. He allowed three hits, including two-run Carlos Pena's double that gave Chicago a 3-1 lead in the fifth.
Pena hit a desired Lowe was able to recover. He kicked the ground in the first-base line in disgust when you leave the field at the end of the entry.
Lowe said the plan was not to take a step penalty to hit.
"We had saved up to that point," said Lowe. "We should have made another (pitch) election."
James Russell walked Uggla to load the bases with one out in the ninth after giving up singles to Martin Prado and Freddie Freeman.
Cub's manager Mike Quade brought closer Carlos Marmol, who gave a long fly to Chipper Jones to drive in the Prado before finishing the game when Alex Gonzalez hit a fly to Castro at shortstop. Marmol got his rescue 27.
The Cubs won after general manager Jim Hendry announced the team placed right-hander Carlos Zambrano on the disqualified list. Zambrano will not be paid and have no part in team activities for 30 days.
Zambrano cleared his locker and left the team after giving five homers and expelled on Friday night 10-4 loss to the Braves. He did not return until Saturday the team.
Quade said he was not surprised when his team responded to the controversy with a win.
"You know what, I'm never surprised by these guys," said Quade. "They just come to the park and play.
"They go about their business. And that's a good thing. No distractions. Let's play".
The Cubs added two runs in the sixth. Tyler Colvin led off with a triple to center. Michael Bourn Atlanta had a long journey at the top of his glove before losing the ball when it hit the wall.
Colvin scored on Geovany Soto grounder to third. Chipper Jones threw high to the plate and was initially charged with an error. After the game, Soto was awarded an RBI when the error was changed to a shot of a fielder's choice. Soto scored on a single by Castro.
A fielding miscue left fielder Martin Prado damage to the Braves in the eighth. After Alfonso Soriano led off with an infield hit, Colvin hit a liner that bounced off the glove of charging Prado for an error, allowing pinch runner Tony Campana to advance to third.
Right-hander Cristhian Martinez sent to pinch-hitter Blake DeWitt wheeled and threw to the plate, but Bell slid under the tag of Ross. Pablo Castro and added RBI single.
A pitch beat Uggla before scoring on a single by Alex Gonzalez in the sixth. Jones, who had three hits, doubled and scored on a grounder by Jose Constanza in the eighth.
Rico Carty hit in 31 straight games in 1970 for the previous record of Atlanta. Tommy Holmes has the franchise record with 37 as a member of the Boston Braves in 1945.
Uggla leads the Braves, and is one of the National League lead with 27 homers, including 12 in 27 games since the All-Stars.
According to STATS LLC, Uggla's homer was his success streak of 49 in 33 games. He had 55 hits in his first 86 games of 2011.
NOTES: The Braves had a video tribute before the game for radio and television broadcaster Ernie Johnson's former Sr., who died Friday night at the age of 87. Johnson was involved with the team of more than 50 years as a player, executive and announcer. … A collection of players from the Braves '1991 NL championship was a tie 7-7 in a softball game against the Braves' former players from other years. John Smoltz hit a two-run homer and made a shoulder catch in center field for the team of 1991, which was managed by Bobby Cox. Many of the players attended the ceremony on Friday night to withdraw from Cox No. 6. … Braves rookie Brandon Beachy try for his sixth victory against Matt Garza in Chicago in the game of Sunday's final of the series. Garza will be making his first game against Atlanta, and Beachy make his first start against the Cubs. … Braves C Brian McCann hopes to return from a strained left oblique injury Sunday. He played his second rehab with Triple-A Gwinnett on Saturday. … Castro matched his career high with four hits.
Please feel free to send if you have any questions regarding this post , you can contact on
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text:
Sales Executives required for Life Insurance Corporation of India (LIC)
Life Insurance Corporation of India (LIC)
Northern Region, Jeevan Prakash, 4th Floor, 25, K.G.Marg, New Delhi-110001
Delhi Division-I
Applications are invited for Engagement of Direct Sales Executives on contract basis for 3 years .
Direct Sales Executives : 188 posts,
Age : 21-35 years as on 01/06/2009. Age relaxation as per rules.,
Qualification : Bachelor's Degree of a University in India. Preference may be given to those applicants who possess who possess the Bachelor Degree or Diploma in Marketing /Management. Good working knowledge of English and also one Regional language preferably local language is desirable. Knowledge of soft skills such as Power Point / Word / Excel would be additional advantage.,
Pay Scale : Rs.10000/- per month/-
Application Fee : A crossed Demand Draft of Rs.100/- drawn in favour of "Life Insurance Corporation of India" payable at Delhi. SC/ST candidates are not required to pay any fee. Candidates should write his/her name and date of birth on the back side.
Procedure to Apply : Complete application in prescribed format along with enclosures should be send to the address below on or before 23/10/2009 in an envelope superscribed as "Engagement of Direct Sales Executives, Delhi Division -I, Northern Region" : to the following address
The Zonal Manager, LIC of India, Zonal Office, (Direct Marketing) H-39, New Asiatic Building,
Connaught Place, New Delhi-110 001
For Details and application form format, Logon to: http://www.licindia.com/pages/notification_for_DSEs_modified_%202nd_batch-DELHI.pdf


text:
The rain never completely went away, but neither did Denham Springs' desire to host the first Louisiana High School Coaches Association Baseball All-Star game Friday night at North Park.
Despite a rain shower at approximately 4 p.m., Denham Springs High coach Mark Carroll moved forward with plans to host the game at 7:30 p.m.
"It rained and we were about ready to call it for the day," Carroll said. "But then the sun popped back out and we decided to make a go of it."
The players for the East and West squads reported as scheduled at 11 a.m. Friday. Practices were held at North Park using an artificial turf pratice surface and indoor batting cages.
The second game is set for 12:15 p.m. Saturday. If there is added rain and North Park's Netterville Field is not playable, Carroll said nearby Walker High would be an alternate site.


text:
News, Interviews, Live Streams, Upcoming Events, Tweets..
Saturday, August 13, 2016
Fox News | Hannity - Aug 12, 2016
3 comments:
Obama is not a Christian. He's a Muslim. He has several Muslim advisors and he wants his religion to take over the world. Those issues have been glaring at us for years. Why aren't you talking about that set of issues?ReplyDelete
Hillary will sell everything America has to other countries along with Bill we cannot afford that with 20 trillion nat debtReplyDelete
- AnonymousAugust 15, 2016 at 9:31 PM
Hillary can give a good speech, but Trump is the only businessman and job creator in the room. As far as the economy is concerned Trump is the most qualified candidate at this time.ReplyDelete
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text:
McCall's 4454; 1989; Stitch 'N Save Misses' Shirt and Skirt -- Front buttoned shirt with contrast collar and cuffs has front patch pocket, self-lined back yoke with forward shoulder seams and machine-stitched shirttail hemline; long sleeves are pleated into buttoned cuffs. Skirt with front and back pleats has waistband and back zipper closing.
Links to reviews/blog posts Edit
Sources/Vendors Edit
Gallery Edit
[insert your photos of this pattern made up]
Wishlist Edit
[insert your username, and make sure your preferences allow for people to contact you via e-mail. Do not list your email address here!]


text:
Cars sorted by lowest price
Mazda Vehicles For Sale in Tennessee
There are 2 vehicles listed
Inventory Page 1 of 1
We've found 2 Mazda vehicles for sale in Tennessee. Some of these Mazda may be sold. Most of these vehicles are bargains that were manually chosen specially for people with low budget searching for where to buy a cheap Mazda car in TN at prices below $1000, $2000 or under $5000 dollars mostly. These used cars weren't automatically fetched from data feeds scattered through the web. If you are selling a used Mazda vehicle in TN at a lower price than the market, and would like to list it here for FREE, please join us visiting the sign up page. At Autopten, we are constantly searching for those car dealers from Tennessee selling the most affordable used Mazda, to promote and help them to get in touch with buyers willing to buy these cars.
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This preowned vehicle was sold for less than $1000 dollars in Nashville TN. Check out...
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text:
1 800 103 2581
Stop following?
Hi i am a graduate in mass communication and a post graduate in advertising and P.R, i am looking some courses in the related field, some courses which may offer job prospects as client servicing in advertising or entertainment industry. something managerial sought of a work.
- September 04, 2016
- Preferred qualification: Postgraduate | Preferred study destination: United States
Add a quick reply to 'courses related to entertainment industry or communication field'
Replies (2)
Hello Ankit
Thank you for sending the query , since you have done both bachelors and masters thus the next logical path goes to PHD but since you are looking for job oriented education thus you can reapply for a masters in marketing communication. Ideally USA and specially New york is know as the media capital of the world can be targeted as one of the ideal destination.For this you need to take a GRE and TOEFL/IELTS and apply for the Fall -2017 intake .
For more infomation please feel free to contact me on my email- firstname.lastname@example.com.
Indrani Sengupta
- September 09, 2016
- Flag as inappropriate
- Vote Up (0)
- Vote Down (0)
US has the biggest Media and Entertainment industry in the world. The market is worth $650 Billion and is expected to reach $800 Billion by 2019, it represents one third of global industry. It's huge! All the top movies, music any other popular media content comes from the US. There is lot of scope in the American Media and Entertainment industry so it's totally worth doing media courses there.
Following are the top 5 Universities for media courses in US which also are top 5 in the world.
1) University of California, Berkeley
2) University of Texas, Austin
3) Columbia University
4) University of Wiscosin, Madison
5) University of Southern California
- November 28, 2016
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text:
Simplicity 2381; ©1948; Misses' Blouse: The front-buttoning blouse may have a large Peter Pan or tie collar. Style 1 has long, full sleeves finished with link-buttoned cuffs. A ribbon bow is tacked to the front neck edge. In Style 2, lace edging trims the collar, and wristbands of the long sleeves. The sleeves, in Style 3, are short and cuffed.
Links to reviews/blog posts Edit
Sources/Vendors Edit
- MOMSPatterns
- Selvedgeshop Size 12 Bust 30
Gallery Edit
[insert your photos of this pattern made up]
Wishlist Edit
[insert your username, and make sure your preferences allow for people to contact you via e-mail. Do not list your email address here!]


text:
RAEN : Flowers by Alex Knost - Black
Designed by Alex Knost, The Flowers delivers a rounded, flat-faced frame with bold individual style and a touch of avant-garde. This is our homage to the historic windsor style eyeglass. Accentuated simplicity and notched bridge detail complete this handmade acetate frame. Designed with hand-crafted perfection, all RAEN sunglasses are outfitted with Optics by Carl Zeiss CR-39 lens technology.
• Handcrafted Mazzucchelli Zyl Acetate Frame • Optics by Carl Zeiss CR-39 Lens offering 100% UVA/UVB protection • Shipped with custom sunglass case and sock


text:
A new dating experience, but for something bigger and more meaningful: Welcome to eHarmony. Whether this is your first time trying online dating or you've already tried other dating services, chances are you're looking not just for true love.
It takes courage to admit you're ready to meet "the one", to take a break from awkward blind dates and meeting strangers you have nothing in common with, and to commit with passion to finding someone you want to be with forever.
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* Find out why first dates on eHarmony have a better chance of turning into happy relationships.


text:
Author has written 10 stories for Harry Potter, Naruto, and Code Geass.
Cynthia, just going through the motions in life. 20 years old.
Read more: ArtemisArtistic
SORRY FOR NEVER UPDATING, i went like almost 2 years without a computer? lol. Just recently got one, So to be honest I probably wont update any of my OLDER stories that i started at the age of 12! lol. but I'll try on the more recent ones.
and YES i WAS Moonlight-Shimmer


text:
Design guidelines Handheld gaming
- Kristian Thomas
- 1 years ago
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1 Design guidelines Handheld gaming Ben Weedon March Tel: RESTRICTED COMMERCIAL
2 Summary In an ongoing programme of research into gaming hardware and applications, Serco ExperienceLab has examined the latest handheld games machines from the likes of Nintendo and Sony. The hardware being released (in the UK) during 2005 offers a range of new features and possibilities in terms of games design. But is it all good news for the consumer? Are the novel control and input facilities offered by the Nintendo DS usable, and are they going to be useful in the long run? Can the Sony PSP succeed as a jack of all trades or is it better to focus on delivering one type of entertainment experience? This document highlights some of the initial lessons we have learnt and presents guidelines that can be used to help design and evaluate handheld gaming solutions. For ease of reference, we have divided the guidelines into separate categories that are relevant to all manufacturers and developers in the field. Design guidelines Optimise the interface for the intended audience and the primary function(s) Be clear about the purpose of the device. If it is primarily for games ensure the hardware, interface and controls are streamlined to support this. Avoid complexity and desktop computing metaphors. A handheld gaming device should be instant on and ready for action, with a simple intuitive interface. If there are many intended roles for the device (such as music or movie player) strive to be as well designed as devices dedicated to those tasks. Note that in terms of functionality, it is better to be a master of one than none. Assist users to move between applications and games. Navigation between different functions may well be novel so ensure the menu system is intuitive. If there are novel features such as dual screens, and stylus or voice control, ensure these are used to add to the gameplay experience in meaningful ways. Ensure icons and symbols make sense to users in their local markets. Consumers should not have to rely on manuals to decipher what is on the screen. Offer games suited to playing on the move Gamers on the move may wish to play a game between stations, at the bus stop or when stood in queues. Games that are quick and simple should be made available. Provide an effective sleep mode. It should be possible to close or turn off a machine, and quickly return to the game at exactly the same point. Provide a headphone socket and mute option should users want to play in an environment where they could disturb other people. 2
3 If the hardware supports location awareness consider incorporating this into the gameplay experience. Ensure the portable gaming glove fits The gaming device should not be too heavy or large for extended use. The diversity of users from young to old may need to be catered for. Ensure the gaming device and the controls can be used equally well by both left and righthanded gamers. Ensure the hardware, particularly the screen, can withstand portable use and being transported in pockets and crowded bags. The device should feel robust. Display screens should be bright and legible. Ideally a backlight should be provided with variable levels of control to balance visibility with battery life. Try to make the device appear like an aspirational purchase and less like a toy to appeal to a wider audience. Ensure controls are intuitive and comfortable to use All controls should be easy to reach, and comfortable to use for various hand sizes. Touch screens should have large active areas to support finger control. If stylus control is available it should be easy to hold the device, use the stylus and hit a variety of buttons. Provide alternatives just in case! New forms of input, such as speech and stylus control, should be manageable when users are moving or standing and not just when they are stationary. Co locate controls that are likely to be used in combinations, whilst ensuring that the users hands can still hold and balance the device. Ideally provide an analogue control for fine in game movement, as directional rocker pads often lack the sensitivity required. Make it easy to set up and commence network play Gamers, young and old, should not need to be networking experts to commence a multiplayer game. The set up process should be quick, simple and inviting. Ideally just one user, with one copy of a game, should be able to host a network gaming session. Furthermore, multiplayer games should not have a detrimental impact on the speed of a game. Keep the gamer informed about system resources All mobile devices require battery power. Users should be kept informed of the status of batteries, ideally via the screen or an LED light so they can manage their gaming sessions. Consider allowing users to turn off power hungry facilities (Wi Fi, Bluetooth, GPRS etc) when they are not in use to maximise the available play time. It should also be quick to re charge a battery and get back into a game. 3
4 About ExperienceLab ExperienceLab (formerly Serco Usability Services), are a global experience design research agency. They help organisations optimise their customer experiences, from web to TV and mobile, from advertising to physical environments. They ve been doing this for a while, pretty much since the first computers and networks were created, so they know a thing or two about how to make people, processes and technologies work in harmony. ExperienceLab use a wide range of techniques to tailor a research solution that fits your business objective, including ideation sessions, proposition analysis, customer needs mapping, usability testing, benchmarking and touch point integration studies. As a co founder of the UXalliance we also provide research on a global scale. Why not visit the ExperienceLab blog (www.experiencelab.info), which features the latest thinking on experience design issues. 4
5 Serco ExperienceLab 22 Hand Court London WC1V 6JF +44 (0) lab.co.uk ExperienceLab is part of the International Serco Group of companies Serco Limited, All Rights Reserved 5
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Peloroeth is a female adventurer in the world of Forloron.
The Lagor Chronicles
The Blue Cresent
On the way to the Human Capital of Darlaran Peloroeth stopped at a Tavern called The Blue Cresent one night. There after a bar brawl, she rescued another adventurer called Lagor. From there began the long tale of Peloroeth and Lagor
At the begining of the story Peloroeth has a magical sabre called Raindoom. Later on she used two Human BlackPowder Pistols and a number of elven throwing knives.
Behind The Scenes
Peloroeth is a tribute to Pirogoeth in Fred Gallaghers EndGames comics.


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- 06-12-2013 #21
- Join Date
- Feb 2012
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- Tallahassee
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Dude it's not that dangerous. I've fucked with the subconscious for years, attained jobs, sex, objects, money, drugs, muscles, etc... And yes unless you're young it does take concentration, but that comes with practice. Fuck conscious thought, that's only 5% of our power.
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Microsoft and other vulnerability patches explained
Lumension Security
: 10 September, 2009
(Technical Article)
Lumension provides details of the latest patch releases from Microsoft which will keep IT Administrators hopping whilst reminding that it isn't just MS who are plugging vulnerabilities
Andrew Clarke, Senior VP Lumension, comments on September patch Tuesday: "The bulletin from Microsoft confirms that there are five new critical patches for September, all of which address core Microsoft operating system platforms. But the most urgent issues that need to be addressed by IT managers are three un-patched Microsoft day zero vulnerabilities, currently now in the wild. Two of these are Microsoft FTP issues, one which can allow a remote attacker to take over the server in older versions of Windows and the second that can cause a denial of service (DoS) attack. At the last minute, a new day zero vulnerability was released that can cause Vista, Windows 7 and possibly Windows 2008 machines to crash as it takes advantage of a flaw in SMB2, requiring no user intervention or authentication.
"For these FTP issues, IT managers need to be sure they have disabled the ability of a remote user to create a folder on the FTP server in permission settings. For SMB2 on Vista, Windows 7 and Windows 2008, they need to turn off file sharing and block port 443 at the gateway in order to make Patch Tuesday a little less eventful.
"Of the five Microsoft critical patches, two will require mandatory restarts causing some level of disruption within the enterprise (MS09-049 and MS09-048). All three of Microsoft's server platforms (2000, 2003 and 2008) have critical vulnerabilities impacting both server and desktop management IT groups.
"Microsoft Vista leads the batch of patches, with four critical vulnerabilities (MS09-045, MS09-049, MS09-047, and MS09-048). This brings up an interesting situation as Windows 7 and Windows 2008 R2 were released to manufacturing (RTM) early last month, which means many Microsoft Partners and corporate customers will have started using/evaluating these two new platforms. These 'early adopters' are covered this month as Microsoft has identified these new platforms as 'non-affected' for all five September updates."
Microsoft is not alone this week with vulnerability issues. In the last week or so, vulnerabilities have also been reported in the following:
* IBM products
* McAfee Email and Web Security Appliance
* HP products
* Sun Java products
* CA products
* Adobe Flash
* Google Chrome
* Norton
Looking more closely at the details from Microsoft:
MS09-045 - Vulnerability in Java Script Engine is a critical vulnerability and impacts the complete Windows product family from Legacy Windows 2000 through current generation Vista with the only exception being no impact on the Windows Server 2008 for Itanium-based Systems. It may require a restart.
MS09-049 - Vulnerability in Wireless Land AutoConfig Service is rated as critical for Microsoft Vista and as important for Windows 2008 and will require a restart.
MS09-047 - Vulnerability in Windows Media Format is a critical vulnerability and impacts the complete Windows product family from Legacy Windows 2000 through current generation Vista with the only exception being no impact on the Windows Server 2008 for Itanium-based Systems. It may require a restart.
MS09-048 - Vulnerability in Windows TCP/IP impacts various platforms differently i.e. on Windows 2003 it is rated as important, but it does not apply to Windows XP. It is, however, rated as critical for Vista and 2008, and will require a restart.
MS09-46 - Vulnerability in Editing Component of DHTML Active X is rated critical on Windows 2000 and XP; however, it is not applicable for Windows Vista and 2008. It may require a restart.
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The Reading Terminal Market plans to acquire Farm to City, which operates about a third of the region's farmers' markets, including Rittenhouse Square, South & Passyunk, and Fairmount. FTC, chartered as a for-profit limited liability company, would be dissolved and its staff, including founder Bob Pierson, become RTM employees.
Pierson says the benefits would be (1) co-branding the farmers' markets to an existing icon of the Philadelphia food world and (2) open program funding opportunities by becoming part of a non-profit organization.
Rather than clog up the board with details, for those interested in more detail, read about it here: http://bit.ly/93uYCq


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The Sorceress (or The Lady in the Cave) is a minor antagonist who appears in the television series The Little Mermaid.. She is voiced by Linda Gary.
Role in the series Edit Edit
The Sorceress appears in the episode "Red" as the main antagonist of the episode as a disembodied head. She was cursed to be trapped in a cave by King Triton himself, due to some unstated crimes. She would conspire with Glowfish to get the trident and set herself free. She gives Glowfish a magic flute, which physically and mentally reverts Triton to a child. Glowfish, under the sorceress's orders, lures Triton, now calling himself "Red", with the goal of obtaining the trident. The Sorceress attempts to act helpless and vulnerable in order to convince the young Triton to free her. Because Triton encountered the sorceress as an adult, the child version of Triton remained unaware for the danger, though he admitted that the Sorceress seemed familiar. Before the Sorceress can be freed, the spell on Triton wears off, and he uses the trident to defeat her, causing the Sorceress to remain imprisoned.
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