Hearing Maharaj talk about the pieces is infectious. Following the acquisition of its own fiber optic infrastructure in 2007, Onstage expanded its fibre network in Vienna.MORE: With theater doors closed for coronavirus, diversity in opera finds new paths Onstage is one of the first Internet Service Providers in the Austrian market. The company has been active in the Austrian market since 1995. Onstage offers its customers an IT and telecommunications solution that is both optimal and cost effective. Hannah Britt | Senior Director, Marketing & IR | eu Networks Wholesale, finance, content, media, mobile, data centre and enterprise customers benefit from euNetworks’ unique inventory of fibre and duct based assets that are tailored to fulfil their high bandwidth needs.įor further information visit. The company offers a targeted portfolio of metropolitan and long haul services including Dark Fibre, Wavelengths, and Ethernet. euNetworks is also a leading cloud connectivity provider, directly connecting 14 cloud platforms with access to a further 7. The company leads the market in data centre connectivity, directly connecting over 370 today. We thank him for his vision to build this dense metropolitan network and we wish him well.”ĮuNetworks is a bandwidth infrastructure company, owning and operating 14 fibre based metropolitan networks connected with a high capacity intercity backbone covering 49 cities in 15 countries across Europe. Robert Dornetshuber has decided to retire after the integration of the business. Their local knowledge, expertise and strong relationships in the market are invaluable as we look to grow euNetworks’ presence in Austria. We are delighted to welcome Rudolf Lesiak of Onstage, and the full team into the euNetworks Group along with their customers and suppliers. We anticipate a rapid integration into euNetworks’ systems and network. “Approximately 90% of revenues map to euNetworks’ focus products of Dark Fibre, Wavelengths and Ethernet. “There are strong synergies between the businesses, added Rafuse. We are excited to be joining the team and to continue to focus on delivering a great service experience as well as more fibre-based service options to our Austrian customers.” euNetworks is very focused on their customers, working closely with them to support their growing bandwidth demands. “Our customers will immediately benefit from this acquisition, with access to euNetworks’ extensive fibre footprint across Europe,” said Rudolf Lesiak, Managing Partner of Onstage. euNetworks’ bandwidth offering across Western Europe is certainly market leading and their approach to aligning network development and investment with customer needs is very welcome.” “We have a shared vision of the importance of fibre networks and how they should be developed. “We are delighted that Onstage has been acquired by euNetworks,” said Robert Dornetshuber, Managing Director of Onstage. The combined footprint will deliver immediate value to both existing customers and our new customers that we welcome from Onstage.” This is a highly complementary business to euNetworks and growing our presence in Austria was a logical next step in our development. Vienna is an important internet hub, both for proximity to Germany and also as a hub for eastbound traffic to Asia and the Middle East. The addition of Onstage to euNetworks adds to our metropolitan network portfolio and immediately delivers diversity and reach in this growing market. “Our long haul network connects into Vienna. “The acquisition of Onstage adds further uniqueness to our fibre based infrastructure,” said Brady Rafuse, Chief Executive Officer of euNetworks. These investments fuel the company’s growth and are driven by the bandwidth demands of its customers. euNetworks continues to invest in its network, building unique routes, adding multiple diverse paths and extending reach into key hyperscale sites, data clusters and aggregation points. The network directly connects to 16 data centres in the city.Īs a leading bandwidth infrastructure provider, euNetworks owns and operates deep fibre networks in 14 cities across Europe and also operates a highly differentiated long haul network that spans the region. Each backbone node is connected to at least two other network nodes, delivering true route diversity. The duct and fibre metro network running under the pavement and in the sewers comprises several redundant network rings. Onstage is a firmly established fibre provider in Vienna, having been founded in 1995 by Robert Dornetshuber, and originally one of the first Internet Service Providers in the Austrian market. London, UK Vienna, AUSTRIA – 28 March 2019 – euNetworks Group Limited (“euNetworks”), a Western European bandwidth infrastructure company, today announced that it has acquired 100% of the shares of Onstage Online GmbH (“Onstage”), a fibre company headquartered in Vienna, Austria.
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Non-resident males are a danger to young cubs and will kill any cubs that are not their own, they do this to induce female receptivity again. One morning, whilst Neil was tracking Krystal, her cub now 4 months old, he found a foreign coalition of three large adult males very close to Krystal’s signal. At this stage Valentina and her four older cubs still stayed and would always be found resting in the scrub not far from their birth thicket. Krystal also started to travel with her young cub much sooner than Valentina, possibly due to the fact that it is much easier to keep an eye on one mobile cub than four! During this time Krystal would emit quiet contact calls to which her cub would reciprocate, he would then approach her, and together they would either move off together or rest together away from the other cubs in another thicket. Perhaps we are witnessing the benefit of being an only cub receiving all of his mother’s milk. Subsequent observation sessions with Krystal revealed that this lone cub was indeed growing fast and acting very responsive to his mother. Krystal’s cub that day seemed to be much more active and alert than any of Valentina’s offspring, despite being a few weeks younger age. One day when the females were resting together, lying within fifty meters of each other and the cubs now playing and resting out in the open. So in this case we accept that loss of data for the benefit of habituation and keeping our observations as natural as possible by not disturbing the animals. Unfortunately, unless we push ourselves into their safe haven thicket right after the lioness has given birth (which we opt against) there is no easy way for us to know for certain whether Krystal gave birth to only one cub, or to multiple cubs that had since died. When we first got a head-or tail-count we found Valentina had four cubs and Krystal with just one cub. When we know a female may be with cubs it’s a long waiting game for us, sitting away from the thicket, eyes pinned through binoculars and camera lenes watching, counting tails, waiting for movement. Lion cubs are very vulnerable during this early stage of development and mothers hide their cubs to protect them from intruding male lions and other predators. Fortunately, two of these females with new cubs are fitted with radiocollars (Krystal and Valentina), which allows us to monitor the growth and survival of their offspring while they are separate from the pride. Once a female lion gives birth, she will leave the pride and remain on her own whilst the cubs are small, for the first three months or so. View all sculptures by this artist.I was lucky enough to join the BPCT as a research assistant at an ideal time, just as several of the female lions gave birth to their cubs. Each sculpture is influenced by his time spent working alongside, sketching, and photographing animals. His ability to portray each species in a natural and lifelike manner is a characteristic feature of his works. He only completes a few originals each year, as bronze is a time-consuming process, however a limited number of castings are made of his work, using the Lost Wax process. Tischler currently resides in Perth, Western Australia where he works in his studio and travels extensively. Inspired by his time in Ethiopia, Tom Tischler began his first sculpture. He then spent 4 years working in Africa for the Ethiopian Conservation Organization helping to establish their national parks and reserves. Tom Tischler had an obsession with wildlife as a child and later as an adult he gained useful knowledge of taxonomy and anatomy in Switzerland at the Zoological Museum of Zurich, Swiss Foundation of Alpine Research and the International Union for the Conservation of Nature in Switzerland. No one is arguing that Beverley should be renamed "The Harden Stopper." He tries to make life difficult for Harden, who is going to score no matter what opposing coaches throw at him. Beverley was the only member of the team's starting unit with a positive plus-minus rating in the loss to Houston, finishing plus-7 in 27 minutes of action. (Note: Minimum of at least 35 matchups with Harden over last two seasons.)Īnd if that isn't convincing enough, through 11 games, the Clippers' defensive rating jumps from 97.9 with Beverley on the floor to 109.3 with him on the bench. Here is the matchup data from ESPN's Kirk Goldsberry: Top Harden defenders Well, he performs about as well as any single defender can. Now, there could be some thought that Beverley got lucky in one game. Could he slow down Harden over a larger sample size? If you want to win, you get guys like that." James was swatting, like, 'Get out of here.' Patrick's one of my favorite players. "At least James could take the coat off of him," Rockets coach Mike D'Antoni said after the game, referring to Beverley fouling out. Harden either scored or assisted on every Houston bucket in the final two minutes. GMKhKJyGeEīeverley fouled out of the game with 1:57 remaining in regulation and the Clippers down two points. Harden dropped 47 points Wednesday night, but was 0-6 when Pat Bev was his primary defender. Harden hit five free throws as a result of Beverley fouls with one of those free throws coming after a technical foul. However, Harden went 0-of-6 from the field against Beverley with four turnovers, per ESPN Stats and Info. In the Rockets' victory, Harden scored his 47 points on 12-of-26 shooting from the field (7-of-13 from 3-point range) and missed only one of his 17 free throw attempts. When asked by ESPN's Tim MacMahon about Westbrook's comments, Beverley simply said, "I don't care about that." He doesn't need to offer a response because the numbers back up his reputation. All that commotion and ( got 47.” /WaJ5D0Q1U5 He just running around doing nothing.As you seen what happened 47. Russell Westbrook ( Pat Beverley ( “Pat Bev trick y’all man, like he play defense. "Pat Bev trick y'all, man, like he play defense," Westbrook said. All of those incidents packed together made Westbrook's feelings after Houston's 102-93 win over Los Angeles on Wednesday night easier to understand. Westbrook noted that Beverley's primary assignment, James Harden, finished with a game-high 47 points and dismissed the idea that Beverley is an elite defender. So, yeah, these guys don't like each other. MORE: Austin Rivers happy to see dad ejected from Rockets-Clippers game Just last season, Beverley dove for a loose ball and drilled Westbrook's right knee again, leading to another confrontation and technical fouls on both players. In the 2017 playoffs, Westbrook committed a hard foul on Beverley and smacked him below the belt. The next year, Beverley swiped the ball away from Westbrook on a similar play, and the two had to be separated along the sideline. Let's just start there.īeverley knocked Westbrook out of the 2013 playoffs when he collided with Westbrook's knee on a steal attempt, resulting in a torn right meniscus for Westbrook. Rockets star Russell Westbrook and Clippers guard Patrick Beverley have a history. It seems like Waves has really been gunning after XLN as of late.Ī few months ago they also dropped Retro Fi which is a LoFi plugin clearly targeted at the same market that would use XLN’s RC-20 which is probably one of XLN’s most time-tested and coveted plugins. While this combo might not have as many powerful features as XLN’s XO, they sure are at a much more reasonable price point. This can be useful if you’re working with some sort of acoustic based samples like a guitar or piano where the qualities of a low velocity note are much more unique than a high velocity note so you can have your sample change to a high velocity recorded sample as you play harder. You can also split samples up by velocities. You can also save presets so if you go crazy designing a setup, you can save it with or without the loaded samples. You can also construct drum racks this way by assigning a drum sound to a specific key so you can use CR8 as a drum rack. This means you can have bass samples only playing on lower keys and leads or pads playing on higher keys. This is where things get really wild and you can split your samples up to only play across certain keyboard ranges. Its visual representation is just so accurate and makes it way easier to see what you’re modulating. Waves has killed it with this modulation section and I think more plugin developers should considering a modulation section like this. You can then modify these modulation sources to your liking and adjust how much they positively or negatively impact the parameter. In the case of CR8 you have 5 MIDI parameters, 4 modulation types, and 4 envelopes which when you click and drag on one can be assigned to any parameter that has these little boxes. If you don’t already know about Waves modulation sections, these are built into the bottom of most Waves plugins. This is also super fun to modulate to make some unique sounds. You can also freeze the sample by pressing this hand which locks the playhead in the sampler to whatever you set in the offset. What’s nifty is this little speed knob which is super fun to modulate and changes the speed at which the sample is played back. When loop is turned on you can set the loop start and end points independently of the sample start point. The looper section has some crazy powerful stuff in it. Cosmos auto-detect keys and tempos so when you drag in samples they’re already tuned and ready to play! Īdding in samples is easy enough, you can drag them in from anywhere or click on the sample you want in Cosmos to load it in. I’ve been sideying XO like crazy and just waiting for a deal to drop but Waves just basically ripped off XO’s sample browser and released it for free. As far as I know, they’re the ones who created this idea of creating this visualization where all samples or clustered together next to samples that sound the same. This concept and user interface is not anything new.įor those in the scene, you have probably already seen plenty of videos and ads about a similar plugin from XLN called XO. It then allows you to search for samples in 3 different views, my favorite being the Cosmos view where it organizes sounds into these clusters of similar sounds and you can quickly drag around to find the sound you’re looking for.īy the way, if you need samples click here to check out my sample pack store. Cosmos is a sample analyzer where you select all folders that contain your samples and it scans the sounds and applies any applicable tags or instrument categories to that sample making it easy to find what you’re looking for. It’s a clear indication that whatever is going on around them is upsetting them enough for you to step in and remedy the situation.Īfter all, there’s no need to put your dragon in situations that cause them distress, this just strains their immune system and stresses them out. I’ve often seen bearded dragons demonstrated behavior like this when in the bath or around other pets. Think of it as their way of saying “I am NOT happy right now, so don’t mess with me!”. Like a small child’s face that may puff up and become red with anger, a bearded dragon’s beard will often times turn black in situations where they find themselves mad or annoyed. Head bobbing and black bearding almost always go together when male beardies are looking to sow their oats. If you suspect your male bearded dragon is showing black beard because it’s that time of year again, pay special attention to see if you notice any head bobbing as well. I’ve even heard of female owners saying they think their male beardies are flirting with them by doing this! Male bearded dragons that are looking to mate will often display black beard pretty regularly, especially when in the presence of a female.ĭon’t be surprised if you see your male bearded dragon showing black beard in the springtime. Okay, okay, maybe a little TMI but it’s totally true! This leads us directly into Reason #2… Reason #2: They’re Looking to Mate The last thing any bearded dragon wants is another male encroaching on his territory and making moves on his ladies… Think of it as their way of trying to intimidate one another. In the wild, it is not uncommon to see male bearded dragons demonstrate a black beard when they encounter one another. Much like a cat that might hiss or yowl, a bearded dragon will attempt to deter what they consider to be a threat by black bearding.Ī black beard is both a sign of distress and a warning to those around them that they find threatening. To learn more about the specific reasons, read on to discover the top 9 reasons why bearded dragons demonstrate a black beard below! Reason #1: They’re Feeling Threatened/Scared From internal reasons to their environment, it’s up to you to pay attention and put on your thinking cap to determine what is affecting them. Much like other bearded dragon behavior, there isn’t one sole reason behind why beardies show a black beard.
The earliest bloomeries – from the Iron Age to the Middle Ages – had bellows worked by foot (or hand), even though many were sited by water which was used for other purposes such as washing the ore or puddling the clay for lining the hearth.īloomeries were widespread, temporary and seasonal in operation. This was wrought iron, which can be shaped by hammering, squeezing or rolling, but not melted and poured into a mould like cast iron. It was then transferred to the smelting hearth where it was reheated and hammered into the required shape. Once the process was judged to be complete, the iron was taken out using long-handled tongs, and hammered on an anvil to expel surplus slag and to consolidate and weld together the iron into a bloom. The iron gathered within the base of the tower, above the tuyeres through which the air was pumped. The temperature inside the hearth was crucial – high enough to melt the ore, but not too high as above a certain temperature the iron took up carbon and became cast iron which at that time was brittle and useless. When iron ore is heated in contact with carbon (the charcoal), the oxygen in the ore unites with the carbon to form an inflammable gas – carbon monoxide – which burns away, leaving a spongy mass of semi-molten iron behind. By the Middle Ages the bloomeries were taller and larger, producing 5-10kg blooms. A typical charge of 15kg of ore (and the same of charcoal) would give a 1.5 kg bloom – the size of a man’s fist – sufficient for just one or two finished products such as farm tools. A fresh charge, in equal weights of ore and charcoal, would be added regularly until it was judged that there was enough for the size of the hearth. Once the temperature was sufficiently high – somewhere between 950✬ and 1125☌ – a charge of small pieces of ore and more charcoal would be added through the open top of the furnace. Charcoal in the furnace was set alight using chopwood, bellows used to pump air into the fuel to raise the temperature, and more charcoal added to keep the furnace full. Bloomery sites were mostly located within the woodlands from which the charcoal was produced – rather than at the orefields – because vast amounts of it were used in the smelting process and the light and brittle charcoal did not travel well.Ī bloomery furnace took a number of forms, but in Lakeland typically had a base made of clay and stone, upon which was constructed a waist high tower made of clay on a coppice oak framework, with an internal diameter of 30-40cms at the base. The earliest method of producing iron was by smelting iron ore in a small furnace or hearth known as a bloomery, using charcoal as the fuel. Please contact me at if you know of any other information I can add, or recognise any errors. The sources of information I have used are listed after each section and at the end. It concentrates on production rather than use – the many foundries and engineering works in the county deserve a chapter of their own. So this is very much an introduction to what was a major industry in Cumbria, with links and suggestions for anyone wanting to discover more. The manufacture of iron and steel is a big subject, not easy to condense into a few pages. Listed Bridges in the Lake District National Parkīlast furnaces – charcoal fired Blast furnaces – coke fired.The Rowrah and Kelton Fell (Mineral) Railway.The charcoal/coke blast furnaces of Cumbria.The Land Settlement Association in Cumbria.Know your mill buildings – an expert’s guide. Buyer’s Guide to Cumberland and Westmorland.Barrow 1901 – a description of its industries. may be registered under DND/DNC Registry.
If we can reference another mix periodically, we may catch ourselves before going too far in terms of increasing the gap between the lead elements and the rest of the tracks. We can end up with the vocal or lead element being far too loud relative to the rest of the elements in our mix. If we can reference another mix periodically, we may catch ourselves before going too far in terms of boosting the low end unnecessarily.Īs yet another example, we could push the lead element (typically a vocal) a bit too loud in the mix (increase its overall level) to make it heard, when really we should be allowing it to shine in the mix in other ways. However, this can all too easily cause a lopsided, dull mix with lost headroom/loudness. If we can reference another mix periodically, we may catch ourselves before going too far in terms of increased brightness/harshness.Īs another example, we may go down the road of pushing the low-end too much, thinking we're enhancing a thick and powerful bass response in the mix. It may sound good in the short term but rapidly cause an overly harsh result. Periodically switching our monitoring to our reference mix will effectively “reset” our ears and remind us of the overall aesthetic we're going for in the mix.įor example, we can easily get caught up in increasing the brightness of the mix. This adaptability is partially why taking frequent breaks, utilizing multiple monitor systems, and A/Bing our mixes to our reference mixes is common practice. This means that we can swiftly lose our objectivity while mixing. Our ears/hearing have a natural propensity to adjust to whatever we're hearing. To learn more about A/B testing, check out my article A/B Testing & Its Importance In Mixing (With 5 Best Tests). We'll go over the different methods of doing so later in this article. So for this article, we'll focus on reference mixes that we want our own mixes to sound similar to.Īs we make our way through the mix, we can periodically A/B our work against our reference mix. However, it's the most common and effective to have a reference that we'd like to sound alike. Of course, reference tracks can also present mix aesthetics we're trying to avoid, where we will do our best not to sound like them. In other words, we're typically trying to match the general sound of the reference. It should act as a sort of “goal post” to work toward in terms of the overall mix aesthetic. In general, a reference mix is a commercial release in the same or similar genre as the mix you're working on. In this article, we'll discuss reference mixes in greater detail, including how to choose the best reference mix(es) for your work and how to go about actually referencing the reference mix(es) once you have them assembled. A reference track is typically in the same style/genre as what we're working on and acts as a goal post to work toward in terms of mix aesthetic. What is a reference mix, and why are reference mixes important? A reference mix (or reference track) is an audio mix/track that we can compare our work against as we make our way through the mixing process. I neglected this tactic for years and only really began crafting consistently-good mixes once I began utilizing proper reference tracks. Using reference mixes is an often overlooked yet incredibly powerful method of improving our own mixes. If you are going to be recording large multitrack sessions, it’s worth giving some thought not only to the number of inputs required, but to how many outputs you might need. You will still be able to overdub and mix the resulting sessions on a native system - the limit is on simultaneous I/O, not the number of tracks that can be played back. However, if you only need more than 32 channels of I/O occasionally, consider renting a Pro Tools HD system for those occasions. If you need more than 32 channels of simultaneous I/O then you will need to go to a Pro Tools HD Native or HDX System. This doesn’t necessarily mean you shouldn’t consider interfaces that have more than 32 of either, but if you do, be aware that Pro Tools won’t be able to take full advantage of them, and be sure to check that it’s possible for Pro Tools to address any 32 of its inputs and outputs, not merely the first 32 of each. One thing to bear in mind is that with non-Avid interfaces, Pro Tools is limited to 32 simultaneous inputs and the same number of outputs, even if you’re running the HD Standalone version. It might sound obvious, but the first step on the road is to ask yourself what you need this interface to do.įirst of all, how many inputs and outputs will you need? Getting this right is important, and you should think about how your needs might change in the future - for instance, by making sure that your chosen interface has ADAT digital I/O as well as analogue inputs, so you can easily attach additional mic preamps. Now that Pro Tools users have such a huge field of third-party interfaces to choose from, by contrast, it can be much harder to make the right decision. In the days when we were forced to buy from Avid’s product range, it was usually pretty obvious which interface would best meet our needs. In general I would suggest sticking with the well-known, established manufacturers, and especially those that have a relationship with Avid, such as Focusrite and UA. If you are not sure whether a specific interface is approved for Pro Tools use, check the manufacturer’s web site and in forums like the DUC, to see if there are any reports of issues. In theory, any interface that has Core Audio (Mac OS) or ASIO (Windows) drivers should work with Pro Tools. So, if you are looking to set up a new Pro Tools system, but you don’t have the need or the budget for an HDX or HD Native rig, the chances are you will need to invest in a third-party interface. More recently, they have discontinued many of their own audio interfaces - namely, the Avid-branded versions of the Apogee Duet and Quartet - without introducing obvious replacements. When they launched Pro Tools 9 back in 2010, Avid broke the links that tied the native version of their Pro Tools software to their own hardware. Which audio interface is right for you and your Pro Tools system? If you want to address more than 32 inputs and outputs simultaneously, you’ll need Pro Tools HD with Avid HDX or HD Native hardware. However, its competitors 1Password and Keeper are inching closer with similar premium plans, and full-featured free options like Bitwarden may be better choices for the budget-conscious. LastPass is still our top pick among password managers because it has a clean and consistent design across platforms and all of the key features you might need. LastPass password manager review: Bottom line On mobile, you can toggle the option to use biometrics for account recovery, though anyone with a biometric profile on your device will be able to access your vault. These are generated automatically and stored locally on any device on which you've logged into the extension or web vault and are used as part of the email verification to recover your account.Īlternatively, you can recover your account via SMS or using a password hint previously set up, but neither of these processes are very secure. The best option is to use a one-time password on a device you've previously used with LastPass. Premium subscribers can also use hardware keys like YubiKey as well as fingerprint and smart-card readers.įinally, LastPass offers account recovery if your master password is lost. Free users can enable 2FA with apps like LastPass Authenticator, Google Authenticator, Microsoft Authenticator, Duo and more. LastPass is also SOC 2 Type 2 compliant according to the Association of International Certified Professional Accountants (AICPA), which means it can be trusted to securely handle consumer data, and the company undergoes regular security audits.Īll LastPass plans include two-factor authentication options for vault access. LastPass does not have access to your master password or your vault content. LastPass operates using AES-256 encryption, which protects your data locally on your device and on the company's servers (and in between). However, LastPass had a difficult time detecting and filling credit-card fields in multiple mobile browsers. You can also launch sites directly from individual records or by tapping on an item in your main vault, and LastPass will ask if you want to autofill with stored credentials. You can also enter a password hint, although this step may be unnecessary and perhaps risky since there's also an account recovery option. To set up LastPass, start by creating an account on with your email address and a strong (and memorable) master password. There are browser extensions for Chrome, Firefox, Safari, Edge and Opera, desktop apps for Windows and macOS, and mobile apps for iOS (13.0 or later) and Android (5 or later).įor LastPass testing, I used a 2020 MacBook Air running macOS 10.15.7 Catalina and an iPhone XR with browser testing on Google Chrome. To run the LastPass browser extensions, you must have Windows 8.1 and later or one of the most recent two versions of macOS, Linux or Chrome OS. The LastPass Family plan ($48 annually) has all the same features as Premium with unlimited shared folders for up to six users. LastPass does offer a 30-day free trial so you can test out the premium features. That said, LastPass Free users still get to have an unlimited number of passwords, one-to-one sharing, secure notes, limited multi-factor authentication and the LastPass Authenticator app.Īn upgrade to LastPass Premium ($36 annually) unlocks unlimited device syncing, one-to-many sharing, advanced MFA, 1GB of file storage, emergency access, 1-to-1 support and a host of security-monitoring features. With other password managers on the market offering unlimited free syncing ( Bitwarden and Myki, for example), LastPass may no longer be the top free choice. However, the company in early 2021 limited syncing to a single device type: Users on the free plan can access their vaults on mobile or on desktop, but not both. For many years, LastPass' free tier was a steal, with most of the basic features you'd want in a password manager, including unlimited syncing across all your devices. |
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