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We created the APT to improve upon the repetitive stroke play experience common among the various am tour companies out there. One way we are doing so is infusing elements of the private club experience into our model by changing up the tournament formats to include match play, Stableford scoring, team event formats, member-guest events, and more. Our focus is always on the player experience with a heavy emphasis on fun and friendly competition. These events are hosted and operated by the national office and open to entry by any member of the Tour. Members from all over the continent will converge on Pinehurst to play a hole stroke play tournament to crown Champion Golfers of the Year in all Divisions. We are excited to introduce a new format to our North American Championship that will provide each competitor in the field, regardless of their Division, to earn the opportunity to play their final round on the storied Pinehurst No.

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Spoilers are precisely defined here. Rules vary by the story's medium. Info from television stories can't be added here until after the top or bottom of the hour , British time , closest to the end credits roll on BBC One. Therefore, fans in the Americas who are sensitive to spoilers should avoid Tardis on Sundays until they've seen the episode. While sixteen of the seventeen short stories didn't make use of any pre-existing DWU characters or elements, the sixth short story, written by Paul Magrs , featured Dodie Golightly , who originated from Magrs' earlier short story The Ninnies on Putney Common , published in Iris: Fifteen. Tardis Explore.

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Amateur Radio Digital Communications ARDC is a private foundation that exists to support amateur radio and digital communication science and technology. ARDC makes grants that support amateur radio, funds scholarships and worthy educational programs, and financially supports technically innovative amateur radio and digital communications projects. Got a question? Get in touch!

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Building on the success of two previous conferences, WSAT? Most histories of performance focus on the commercial and metropolitan theatre. Yet most drama-making is amateur, not-for-profit and takes place in a wide-variety of sites. These sites range from stately homes to bourgeois parlours, to prisons and ships, from the Home Counties to the colonies. As well as presenting a series of case histories, this conference will address methodological and theoretical questions raised by the study of the amateur: questions of value, of the relation of public to private, of the interaction between audience and performer.