Early Daredevil put all kinds of strange contraptions into his billy club. We saw a couple of the more bizarre examples of this in a recent post about when Daredevil guest-starred in the Fantastic Four. Below is another chuckle-worthy case from Daredevil #4, by Stan Lee and Joe Orlando, which saw Daredevil go up against the Purple Man.
Interestingly, this isn't the only exciting thing to happen to the billy club this issue. With the plastic sheet and the tape recorder already in place, we also learn that the billy club can transform into a boomerang. Apparently, having a bunch of stuff inside the billy club does nothing to hinder its ability to bend and twist!
When it comes to putting the sheet to the test, it is clear that it performs admirably! Exactly what kind of chemical it was treated with is unknown, as is just how Daredevil would know which chemical coating might be best suited to counteract the (also) unknown chemical released by Purple Man's skin.
But, the biggest mystery here isn't really the chemical coating, but how the bath towel-sized sheet managed to grow large enough to cover Purple Man completely. In the panel above, on the right, it looks significantly larger than anything that would fit inside a billy club!
Where is DD supposed to be in the last panel of the first set of pictures? It looks like he's underground. Did Matt have a Bat cave in the old days? Although I guess the nonexistent background is the least goofy thing in all this. It's almost like having super senses just wasn't enough for Stan Lee. Matt had to double as Batman, but instead of a utility belt he had his amazing, magical, du ex machine billy club. I think Stan thought having a blind superhero was a great idea, but for some reason it was so impractical compared to all the other fantastical things he created that he was constantly trying to compensate for it. Which gave rise to the "fix all" radar sense and the "do all" billy club.
Hey, remember "Fall From Grace" when Matt redesigned his suit while choosing high tech fabrics ?
I'm wondering how Purple Man can breathe while wrapped in plastic.


Smooth sailing from "me" to "WE"; chart your team's course with TheWEQ!
A member of the Authors Guild, public speaker, and owner of Workforce Engagement Solutions, LLC, Jamison J. Manion mentors others to develop their leadership, management, and organizational design capabilities. Jamison is an experienced practitioner of applied behavioral economics who combines relentless drive for improvement with a real-world perspective with a proven track record leading organizational change and performance improvement in dozens of locations domestically and abroad within diverse industries of all sizes and missions including both light and heavy manufacturing, energy and utilities, chemical, pharmaceutical, plastics, military and government agencies, consumer products, and nonprofit agencies.


text:
HomeRegionsRocky MountainDo What You Love, and the Money Will Follow
Do What You Love, and the Money Will Follow
A Slice on Taleeb Noormohamed, CEO of Jane
What do Princeton, Oxford, and Harvard all have in common? Well, maybe more than one thing, but in our case, all three of these prestigious universities happen to be alma maters of Taleeb Noormohamed. Noormohamed boasts titles of Founder, Investor and CEO, a role he serves in currently at Jane, an online boutique marketplace that empowers small and medium-sized businesses to sell their products to customers all over. In its series A round that took place in 2020, they raised $40 million.
Noormohamed is originally from Vancouver, Canada, and post-education has spent the last few years doing a number of things. He's spent time in government, served as Vice President of the Olympics in Vancouver, and has had a hand in growing some notable tech companies. As Vice President of Global Partnerships, he developed Home Away, now known as VRBO which was acquired by Expedia. Later, he served as Chief Officer of Fartech, a luxury marketplace valued at $20 billion. Now, Noormohamed leads Jane.
"The thing I live by is: do what you love, and the money will follow. I do not mean this idea that we should be chasing wealth, chasing money has, in my experience, never been something that has paid off. Adding value and making things better is an important benchmark beyond money."
In an effort to add value to companies, Noormohamed enjoys investing in startups as well as founding them. Noting that he has been "very lucky" to have invested in a few fantastic companies, he describes two key things he believes have brought him that success.
"One is investing in people: invest in really good, really smart people who have great ideas, and they'll make it happen. The other is: be willing to take risks. If something has already been tried and tested that's great but, if you really want to make those crazy, swing for the fences moonshots, you've got to go for people that have crazy, wacky ideas." For Noormohamed, being a part of these wacky ideas, and supporting the entrepreneurs behind them is incredibly meaningful, though he cautioned there is a difference between risk and stupidity. Risk involves a level of calculation, an assessment of options and opportunities while acknowledging there may be a low probability of success.
So let's say you find yourself experiencing this "low probability" scenario, how do you overcome it? For Noormohamed, it's to never give up. "If you pitch 100 times, and you get rejected 100 times, and then you stop, you're still at the same place, you're at zero. But if you pitch that 101st time, you push out that one extra pitch, that can be the one that ends up making the difference."
Noormohamed recalled a time not that long ago he chose not to give up, and instead, take a risk with Jane. Back in early 2020 when COVID-19 hit, he was receiving advice from everyone telling him to "hunker down" and save cash, essentially to pump the brakes and put everything on hold. His response? "No. Warren Buffett said this, 'Take a risk when people are fearful, when everyone else is fearful that's when you need to make your move.'" Noormohamed executed on Buffet's adage and kept pushing, which ended up working in his and Jane's favor resulting in a positive outcome for the company.
Noormohamed realized early on in his life that he did not like being told what to do.
"I think that we spend a lot of time telling people what they can't do. We spend a lot of time judging people on the basis of whatever it is, whether it's their background, their gender, their education, whatever, people are told they can or cannot do certain things, or you should or should not do certain things. I take great pride and great joy in basically trying to blow those things out of the water. My parents, my grandparents were all about, you go out there and do whatever it is that you want to do. I think that makes a huge difference because that empowers you as a young person knowing that you can take risks." Today, Noormohamed still believes in himself even when others don't.
Taleeb Noormohamed attended Princeton University for his Bachelor's, the University of Oxford for his Graduate/Doctoral studies and Harvard University for his Master's. Noormohamed has held multiple leadership positions, including Vancouver Olympic and Paralympic Winter Games and HomeAway. He is currently the CEO of Jane. Connect with Noormohamed on LinkedIn.
Previous articleYou're Rafting Down a River without Control
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Emily Ahrens and Becca Reder
How Do I Know if my Startup is Failing? 12 Signs
8 SaaS Metrics Every Software Founder Should Know
Terkel and blogpost -
Startup Names + The Stories Behind Them
The Power of Pivot
blogpost -
Bullish About Bear Power
Emily Ahrens -
The IntelliU Way
Becca Reder -
When Science Meets Investments
The Joy of Giving
Healthcare: Reaching Out, Making It Work

redpajama_set_name: RedPajamaCommonCrawl


This property sold for $96,000 about 1 year ago.
MUST SEE PARTIALLY UPDATED 2/2 IN INTERNATIONAL VILLAGE!! REMODELED KITCHEN W/NEW APPLIANCES AND GRANITE COUNTER TOPS DONE LAST YEAR. REMODELED GUEST BATHROOM AND NEW WATER HEATER INSTALLED LAST YEAR AS WELL. GATE-GUARDED COMMUNITY W/RESORT STYLE CLUBHOUSE. GYM, SAUNA, INDOOR AND OUTDOOR POOLS AND JACUZZIS, AND MUCH MORE. ALL AGES WELCOME. BUYER/BUYER AGENT RESPONSIBLE TO VERIFY ALL INFO ON LISTING.
Listing Courtesy of: MLSM and Crown Realty Company.


text:
John Henry Hogg
John was born in 1897 in Farnsfield and was the son of Thomas, a general labourer, and Mary Ann Hogg, née Sharman, of Station Road, Farnsfield. His father Thomas was born in 1864 in Farnsfield while his mother Mary Ann was born in 1870 in Chesterfield, Derbyshire. Their marriage is recorded in the Southwell Registration district in June 1896 and they went on to have a large family of 11 children. Sadly, however, four were to die in infancy prior to the 1911 census. Their children were:- John Henry b1897, Eleanor Audrey b1899, Thomas Aubrey b1900, Hilda Eliza b1902, Fred James b1906, Charles b1908 and Doris Rose b1912. All the children were born in Farnsfield. The family in the 1901 census are living at Lower Hexgrave, Farnsfield, and by the 1911 census are still living at Farnsfield and shown as, Thomas 47 yrs a general labourer living with his wife Mary Ann 41 yrs and their children, John Henry 14 yrs a day boy on a farm, Eleanor Audrey 12 yrs, Thomas Aubrey 11 yrs, Hilda Eliza 9yrs, Fred James 5 yrs and Charles 3 yrs. In June 1919 Thomas completed a form for the army listing his son's surviving blood relatives. John's mother, Mary Ann, was not named on the form, but his father was living at Back Lane, Farnsfield, with his six surviving children: Eleanor Audrey (20), Thomas Aubrey (19), Hilda Elizabeth (17), Frederick James (13), Charles (11) and Doris Rose (7). In John's service record is an army memorandum dated January 1918 requesting that any personal possessions be returned to Mrs Mary Ann Hogg of Back Lane, Farnsfield. No record has yet been found of his mother's death.
3rd Bn Duke of Wellington's (West Riding Regiment)
John enlisted on 11th December 1915 at Farnsfield, he gave his age as 18 yrs and 11 months. His address was Back Lane, Farnsfield, and his next of kin was his father, Thomas, of the same address. He gave his occupation as that of a general farm worker and his religion as Church of England. The following day 12th December he was placed into the reserves. He was mobilised on 29th March 1916 for the duration of the war and was posted to the 7th battalion, West Riding Regiment on 31st March 1916. Following his training he embarked for the Western Front from Folkstone on 26th September 1916 and arrived in Boulogne the same day. He was sent to Etaples Camp where on 12th October 1916 he was posted to the 3rd battalion Duke of Wellingtons West Riding Regiment and on 17th October joined his battalion in the field. On 22 December 1916 he reported sick with impetigo and a week later on 30 December was admitted to No. 4 Casualty Clearing Station suffering from a carbuncle on his neck. This was severe enough for him to be admitted to No.18 General Hospital on 4 January and then evacuated by hospital ship to England the following day. His service documents show that he was posted Home ('Depot') on 7 January 1917, which suggests that was the date he arrived back in England. It is not clear from his service documents whether he subsequently returned to duty or was medically unfit up to the time of his death seven months later. However, on 1 June 1917 he was awarded ten days detention and forfeited seven days pay for being absent from (place illegible) at 11.55pm on 23 May 1917 until 'apprehended by the Military Police at Nottingham at 6am on 29 May 1917' (7 days). John died at 7am on 17 July 1917 and the Army's initial report of his death gives the cause as 'Cerebral oedema. Meningeal haemorrhage.' Although it is not clear from his service record when he was admitted to hospital it is probable that he died in Brighton Grove Military Hospital, Newcastle upon Tyne, where an autopsy appears to have been performed which gave the cause of death as cerebral haemorrhage. His body was returned to his family and he was buried in St Michael's Churchyard at Farnsfield.
Farnsfield - St Michael War Memorial as J H HOGG
John Henry Hogg - Commonwealth War Grave Commission headstone marking the grave of John Henry Hogg at St Michaels Churchyard, Farnsfield. Courtesy of Peter Gillings


For those who enjoy wine on a regular basis, belonging to a wine club is an excellent way to keep an adequate supply on hand. In the world of kosher wine, however, such options are fairly limited.
Fortunately, there is a new local alternative. Moti's Wine Club brought to you by Moti's Market. An extension of the Moti's Market basic business model—this is, to use their words, their "commitment to provide the metropolitan Jewish community with quality kosher options"—the wine club is designed to expand awareness of the great diversity and quality of kosher wine today, while providing service and value.
Here's how it works. Four times a year, wine club subscribers will receive a selection of two or three bottles of kosher wine from around the world at a cost of under $50 total per quarterly selection. Each time, Moti's Wine Club will host a "wine pick-up" party featuring wine tastings and a menu prepared by the Moti's Market affiliate, Carmel Caterers. At each pick-up party, attendees can pick up their quarterly selections, learn more about the selected wines, explore other wines and enjoy delicious appetizers. Can't make the pick-up party? No worries, you can simply pick up your quarterly wine selection at Moti's Market any time thereafter—though you will miss out on the fun and food.
How do I know the wines being selected each quarter are any good? Well, I help make all the selections. As the weekly wine and spirits writer for the Washington Jewish Week, and a regular wine columnist for The Jewish Week (NY), I'm confident in my choices. But why take my word for it? Join and decide for yourself. You can always cancel your membership at any time at no additional cost to you.
There are, however, additional benefits to joining the club besides just fun wine and food tastings. Each quarterly selection of two-to-three bottles is offered at 20 percent below retail. Wine club members also receive a 10 percent discount on all regularly priced wines at Moti's Market, as well as a 20 percent case discount. To further sweeten the deal, wine club members enjoy periodic exclusive sales, special events, offers and promotions.
The most recent selections can help illustrate how it works. The first quarterly selection is of two Israeli wines: Teperberg Meritage (regularly priced at $29.99, offered to club members at $23.99 for a savings of $6) and Barkan Special Reserve Chardonnay (regularly priced at $25.99, offered to club members at $20.80 for a savings of $5.19); together they would normally cost $55.98, but for club members the total cost is $44.79 representing a 20 percent savings (or $11.19 off the regular price).
The medium-bodied Teperberg Meritage offers aromas of red berries, dark plum and earth, with lively flavors of black currents, more plum, cherries and blueberries with leather and hints of herbs and spice. It is terrific and well balanced. The Barkan Special Reserve Chardonnay starts with citrus and toasty aromas that develop into lime, tangerine and vanilla flavors with a crisp, lengthy finish. Tasty and refreshing.
Moti's Wine Club is a fun and reasonably priced program to explore great kosher wine. If you are local and enjoy kosher wine, give it a shot.
Joshua E. London writes a weekly column on kosher wines and distilled spirits for the Washington Jewish Week. A resident of Potomac, MD, Josh has lived in the DC Metro area since 1998.


Photo by Jonathan McIntosh, licensed under CC BY.
One year into the Trump presidency, when our core values of multiculturalism, cross-cultural understanding, international diversity, and racial inclusion are under threat, many anthropologists are reflecting deeply upon our roles as teachers, researchers, and engaged scholars. For those of us working with immigrant and refugee communities in our research and teaching, we have been called to the front lines to support students, research participants, interlocutors, colleagues, friends, and family members who face real fears of prohibited entry and forced removal from the United States. The current political climate, which includes actual and pending legislation and administrative policies barring Muslims, banning refugees, building walls, terminating family-based immigration policy, ending Deferred Action for Childhood Arrivals and Temporary Protected Status programs, and recruiting local law enforcement to carry out federal immigration policy, heightens the stakes of our work. This Hot Spots series seeks to generate a discussion between scholars and activists working in the United States about the potentials and challenges of practicing engaged anthropology with (im)migrants in the current political era.


text:
Ahimè! (Hélas pour moi) è un film del 1993 diretto da Jean-Luc Godard.

Trama

Collegamenti esterni

Film commedia drammatica
Film fantastici
Film diretti da Jean-Luc Godard

redpajama_set_name: RedPajamaWikipedia


Uncle Buck's Fish Bowl & Grill in Connecticut Looks Like Fun!
If you're looking for some place completely different to take the kids during winter recess, you might want to check out this under the sea experience at Uncle Buck's Fish Bowl & Grill in Bridgeport.
Onlyinyourstate.com says this ocean themed bowling alley and restaurant is like an attraction right out of Disney's Little Mermaid. It really makes you feel as though you are "under the sea" so to speak.
Now this place is not just a restaurant, they also have an undersea themed bowling alley. From the floor to the ceiling, it recreates a total undersea environment.
With fish overhead, the ocean all around, and your bowling ball gliding across the ocean floor, it's an experience not to be missed.
The ocean theme is also carried into the dining area as well, so I'm sure you'll have a craving for some fresh seafood. Try the fish tacos or fish and chips for that taste of the sea.
Uncle Buck's Fish Bowl & Grill is located at 1 Bass Pro Dr. in Bridgeport, Connecticut.


text:
/*
 * Licensed under the Apache License, Version 2.0 (the "License");
 * you may not use this file except in compliance with the License.
 * You may obtain a copy of the License at
 *
 *     http://www.apache.org/licenses/LICENSE-2.0
 *
 * Unless required by applicable law or agreed to in writing, software
 * distributed under the License is distributed on an "AS IS" BASIS,
 * WITHOUT WARRANTIES OR CONDITIONS OF ANY KIND, either express or implied.
 * See the License for the specific language governing permissions and
 * limitations under the License.
 */
package com.facebook.presto.operator.scalar;

import com.facebook.presto.annotation.UsedByGeneratedCode;
import com.facebook.presto.bytecode.BytecodeBlock;
import com.facebook.presto.bytecode.BytecodeNode;
import com.facebook.presto.bytecode.ClassDefinition;
import com.facebook.presto.bytecode.MethodDefinition;
import com.facebook.presto.bytecode.Parameter;
import com.facebook.presto.bytecode.Scope;
import com.facebook.presto.bytecode.Variable;
import com.facebook.presto.bytecode.control.ForLoop;
import com.facebook.presto.bytecode.control.IfStatement;
import com.facebook.presto.common.PageBuilder;
import com.facebook.presto.common.QualifiedObjectName;
import com.facebook.presto.common.block.Block;
import com.facebook.presto.common.block.BlockBuilder;
import com.facebook.presto.common.type.MapType;
import com.facebook.presto.common.type.StandardTypes;
import com.facebook.presto.common.type.Type;
import com.facebook.presto.common.type.TypeSignatureParameter;
import com.facebook.presto.metadata.BoundVariables;
import com.facebook.presto.metadata.FunctionAndTypeManager;
import com.facebook.presto.metadata.SqlScalarFunction;
import com.facebook.presto.spi.function.FunctionKind;
import com.facebook.presto.spi.function.Signature;
import com.facebook.presto.spi.function.SqlFunctionVisibility;
import com.facebook.presto.sql.gen.CallSiteBinder;
import com.facebook.presto.sql.gen.SqlTypeBytecodeExpression;
import com.facebook.presto.sql.gen.lambda.BinaryFunctionInterface;
import com.google.common.collect.ImmutableList;
import com.google.common.primitives.Primitives;

import java.lang.invoke.MethodHandle;
import java.util.Optional;

import static com.facebook.presto.bytecode.Access.FINAL;
import static com.facebook.presto.bytecode.Access.PRIVATE;
import static com.facebook.presto.bytecode.Access.PUBLIC;
import static com.facebook.presto.bytecode.Access.STATIC;
import static com.facebook.presto.bytecode.Access.a;
import static com.facebook.presto.bytecode.Parameter.arg;
import static com.facebook.presto.bytecode.ParameterizedType.type;
import static com.facebook.presto.bytecode.expression.BytecodeExpressions.add;
import static com.facebook.presto.bytecode.expression.BytecodeExpressions.and;
import static com.facebook.presto.bytecode.expression.BytecodeExpressions.constantInt;
import static com.facebook.presto.bytecode.expression.BytecodeExpressions.constantNull;
import static com.facebook.presto.bytecode.expression.BytecodeExpressions.lessThan;
import static com.facebook.presto.bytecode.expression.BytecodeExpressions.notEqual;
import static com.facebook.presto.bytecode.expression.BytecodeExpressions.subtract;
import static com.facebook.presto.bytecode.instruction.VariableInstruction.incrementVariable;
import static com.facebook.presto.common.type.TypeSignature.parseTypeSignature;
import static com.facebook.presto.metadata.BuiltInTypeAndFunctionNamespaceManager.DEFAULT_NAMESPACE;
import static com.facebook.presto.operator.scalar.BuiltInScalarFunctionImplementation.ArgumentProperty.functionTypeArgumentProperty;
import static com.facebook.presto.operator.scalar.BuiltInScalarFunctionImplementation.ArgumentProperty.valueTypeArgumentProperty;
import static com.facebook.presto.operator.scalar.BuiltInScalarFunctionImplementation.NullConvention.RETURN_NULL_ON_NULL;
import static com.facebook.presto.spi.function.Signature.typeVariable;
import static com.facebook.presto.sql.gen.SqlTypeBytecodeExpression.constantType;
import static com.facebook.presto.type.UnknownType.UNKNOWN;
import static com.facebook.presto.util.CompilerUtils.defineClass;
import static com.facebook.presto.util.CompilerUtils.makeClassName;
import static com.facebook.presto.util.Reflection.methodHandle;

public final class MapFilterFunction
        extends SqlScalarFunction
{
    public static final MapFilterFunction MAP_FILTER_FUNCTION = new MapFilterFunction();
    private static final MethodHandle STATE_FACTORY = methodHandle(MapFilterFunction.class, "createState", MapType.class);

    private MapFilterFunction()
    {
        super(new Signature(
                QualifiedObjectName.valueOf(DEFAULT_NAMESPACE, "map_filter"),
                FunctionKind.SCALAR,
                ImmutableList.of(typeVariable("K"), typeVariable("V")),
                ImmutableList.of(),
                parseTypeSignature("map(K,V)"),
                ImmutableList.of(parseTypeSignature("map(K,V)"), parseTypeSignature("function(K,V,boolean)")),
                false));
    }

    @Override
    public SqlFunctionVisibility getVisibility()
    {
        return SqlFunctionVisibility.PUBLIC;
    }

    @Override
    public boolean isDeterministic()
    {
        return false;
    }

    @Override
    public String getDescription()
    {
        return "return map containing entries that match the given predicate";
    }

    @Override
    public BuiltInScalarFunctionImplementation specialize(BoundVariables boundVariables, int arity, FunctionAndTypeManager functionAndTypeManager)
    {
        Type keyType = boundVariables.getTypeVariable("K");
        Type valueType = boundVariables.getTypeVariable("V");
        MapType mapType = (MapType) functionAndTypeManager.getParameterizedType(StandardTypes.MAP, ImmutableList.of(
                TypeSignatureParameter.of(keyType.getTypeSignature()),
                TypeSignatureParameter.of(valueType.getTypeSignature())));
        return new BuiltInScalarFunctionImplementation(
                false,
                ImmutableList.of(
                        valueTypeArgumentProperty(RETURN_NULL_ON_NULL),
                        functionTypeArgumentProperty(BinaryFunctionInterface.class)),
                generateFilter(mapType),
                Optional.of(STATE_FACTORY.bindTo(mapType)));
    }

    @UsedByGeneratedCode
    public static Object createState(MapType mapType)
    {
        return new PageBuilder(ImmutableList.of(mapType));
    }

    private static MethodHandle generateFilter(MapType mapType)
    {
        CallSiteBinder binder = new CallSiteBinder();
        Type keyType = mapType.getKeyType();
        Type valueType = mapType.getValueType();
        Class<?> keyJavaType = Primitives.wrap(keyType.getJavaType());
        Class<?> valueJavaType = Primitives.wrap(valueType.getJavaType());

        ClassDefinition definition = new ClassDefinition(
                a(PUBLIC, FINAL),
                makeClassName("MapFilter"),
                type(Object.class));
        definition.declareDefaultConstructor(a(PRIVATE));

        Parameter state = arg("state", Object.class);
        Parameter block = arg("block", Block.class);
        Parameter function = arg("function", BinaryFunctionInterface.class);
        MethodDefinition method = definition.declareMethod(
                a(PUBLIC, STATIC),
                "filter",
                type(Block.class),
                ImmutableList.of(state, block, function));

        BytecodeBlock body = method.getBody();
        Scope scope = method.getScope();
        Variable positionCount = scope.declareVariable(int.class, "positionCount");
        Variable position = scope.declareVariable(int.class, "position");
        Variable pageBuilder = scope.declareVariable(PageBuilder.class, "pageBuilder");
        Variable mapBlockBuilder = scope.declareVariable(BlockBuilder.class, "mapBlockBuilder");
        Variable singleMapBlockWriter = scope.declareVariable(BlockBuilder.class, "singleMapBlockWriter");
        Variable keyElement = scope.declareVariable(keyJavaType, "keyElement");
        Variable valueElement = scope.declareVariable(valueJavaType, "valueElement");
        Variable keep = scope.declareVariable(Boolean.class, "keep");

        // invoke block.getPositionCount()
        body.append(positionCount.set(block.invoke("getPositionCount", int.class)));

        // prepare the single map block builder
        body.append(pageBuilder.set(state.cast(PageBuilder.class)));
        body.append(new IfStatement()
                .condition(pageBuilder.invoke("isFull", boolean.class))
                .ifTrue(pageBuilder.invoke("reset", void.class)));
        body.append(mapBlockBuilder.set(pageBuilder.invoke("getBlockBuilder", BlockBuilder.class, constantInt(0))));
        body.append(singleMapBlockWriter.set(mapBlockBuilder.invoke("beginBlockEntry", BlockBuilder.class)));

        SqlTypeBytecodeExpression keySqlType = constantType(binder, keyType);
        BytecodeNode loadKeyElement;
        if (!keyType.equals(UNKNOWN)) {
            // key element must be non-null
            loadKeyElement = new BytecodeBlock().append(keyElement.set(keySqlType.getValue(block, position).cast(keyJavaType)));
        }
        else {
            loadKeyElement = new BytecodeBlock().append(keyElement.set(constantNull(keyJavaType)));
        }

        SqlTypeBytecodeExpression valueSqlType = constantType(binder, valueType);
        BytecodeNode loadValueElement;
        if (!valueType.equals(UNKNOWN)) {
            loadValueElement = new IfStatement()
                    .condition(block.invoke("isNull", boolean.class, add(position, constantInt(1))))
                    .ifTrue(valueElement.set(constantNull(valueJavaType)))
                    .ifFalse(valueElement.set(valueSqlType.getValue(block, add(position, constantInt(1))).cast(valueJavaType)));
        }
        else {
            loadValueElement = new BytecodeBlock().append(valueElement.set(constantNull(valueJavaType)));
        }

        body.append(new ForLoop()
                .initialize(position.set(constantInt(0)))
                .condition(lessThan(position, positionCount))
                .update(incrementVariable(position, (byte) 2))
                .body(new BytecodeBlock()
                        .append(loadKeyElement)
                        .append(loadValueElement)
                        .append(keep.set(function.invoke("apply", Object.class, keyElement.cast(Object.class), valueElement.cast(Object.class)).cast(Boolean.class)))
                        .append(new IfStatement("if (keep != null && keep) ...")
                                .condition(and(notEqual(keep, constantNull(Boolean.class)), keep.cast(boolean.class)))
                                .ifTrue(new BytecodeBlock()
                                        .append(keySqlType.invoke("appendTo", void.class, block, position, singleMapBlockWriter))
                                        .append(valueSqlType.invoke("appendTo", void.class, block, add(position, constantInt(1)), singleMapBlockWriter))))));

        body.append(mapBlockBuilder
                .invoke("closeEntry", BlockBuilder.class)
                .pop());
        body.append(pageBuilder.invoke("declarePosition", void.class));
        body.append(constantType(binder, mapType)
                .invoke(
                        "getObject",
                        Object.class,
                        mapBlockBuilder.cast(Block.class),
                        subtract(mapBlockBuilder.invoke("getPositionCount", int.class), constantInt(1)))
                .ret());

        Class<?> generatedClass = defineClass(definition, Object.class, binder.getBindings(), MapFilterFunction.class.getClassLoader());
        return methodHandle(generatedClass, "filter", Object.class, Block.class, BinaryFunctionInterface.class);
    }
}

redpajama_set_name: RedPajamaGithub


text:
Working Class Hero: Cal Labor Center Helps Recharge the Movement
By Bill Snyder
Labor Day might seem like a vestige of days when collars were bluer, but a coterie of researchers and educators at UC Berkeley's Labor Center are using their skills to aid the labor movement as it fights to regain relevance.
When San Francisco-based nonprofit Next 10 wanted to study the impact of environmental legislation on employment in two Southern California counties, it turned to UC Berkeley's Center for Labor Research and Education and the Center for Law, Energy and the Environment.
Earlier, Next 10 and the Center had collaborated on a similar report focused on the San Joaquin Valley. The framework developed by the UC Berkeley researchers worked so well, Next 10 decided to extend the study to San Bernardino and Riverside counties, says Next 10 research director Colleen Kredell. "These studies are getting a lot of attention and we think they'll be used by the legislature as they work on these issues," she says.
The results of the new study were striking. Far from killing jobs, environmental and climate-change focused polices in the Inland Empire… resulted in a net benefit…
The results of the new study were striking. Far from killing jobs, environmental and climate-change focused polices in the Inland Empire, a region that encompasses Riverside and San Bernardino counties and about 11 percent of California's population, resulted in a net benefit of $9.1 billion in direct economic activity and 41,000 jobs from 2010 through 2016.
Released in early August, the report is the latest research from the Labor Center, one of four centers and a library clustered under the umbrella of the Institute for Research on Labor and Employment. The topics of other recent Labor Center reports read like a compendium of hot-button social and economic issues, including three looks at various aspects of Obamacare and the effect its repeal might have on California, an analysis of the gig economy, and a threat to retirement plans affecting some 13 million workers in five states.
Those studies don't just sit on the hard drives of academics, either. They affect public policy and attract widespread attention. In the first nine months of the year, the Labor Center was mentioned more than 100 times in state and national media accounts.
The Center's advisory board is replete with representatives of California's largest unions, including the Teamsters, ILWU, Service Employees, the California Teachers Association, the California Nurses Association, and the Communications Workers of America, along with prominent labor scholars including Berkeley's Robert Reich and Harley Shaiken.
The composition of the advisory board is no coincidence. "We believe a robust labor movement is crucial to a functioning democracy," Ken Jacobs, the Center's director, said in an interview. Jacobs, a long-time human rights worker before joining the university in 2002, says the Center was created in 1964 "to be a bridge from the university to labor and the public."
Housed off campus on Channing Way, the Center has a staff of 25 and a budget of approximately $3 million, says Jacobs. About two-thirds of the center's funding is provided by the state, and the rest is derived from foundation grants and paid research, such as the Inland Empire study.
The Trump administration's policies have spurred research into topics like the effects of repealing Obamacare.
Along with research, the Center holds training programs for labor leaders and activists and offers student internships. Student-focused programs are expanding this year, with the addition of a new staffer. Anibel Ferus-Comelo will teach labor studies classes and run field-studies classes in which students are embedded with unions and community organizations.
Not surprisingly, the Center was created during the administration of a pro-labor Democratic governor, Edmund G. "Pat" Brown, and attacked under the aegis of a decidedly less sympathetic Republican administration. Arnold Schwarzenegger attempted to eliminate or at least cut the Center's funding, but the money was restored by the state legislature, Jacobs says.
With Brown's pro-labor son in office for another few years and a Democratic-controlled legislature in place, funding for the Center is likely secure. And while the Trump administration is anything but friendly, its policies have spurred research into topics like the effects of repealing Obamacare.
"The Center is vital for what labor does today and for the future of unions," says Shaiken, an authority on labor in the U.S. and Latin America, who serves on the Center's advisory board. Research on the minimum wage by various parts of the Institute for Research on Labor and Employment laid the groundwork for action in California and other states, he says.
"I'm aware of how grim the current moment is for the labor movement," Shaiken says. "But I'm also aware that unions play a vital role and they are going back to their roots to generate the moral vision and excitement they need to rebuild. If we didn't have unions, we'd have to invent them."
Posted on September 4, 2017 - 10:57am
Filed under: Law + Policy
Related topics: University of California
Institute for Research on Labor and Employment
Center for Labor Research and Education
Center for Law Energy and the Environment
Berkeley research
Colleen Kredell
California Nurses Association
Communication Workers of America
Harley Shaiken
Anibel Ferus-Comelo
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LUX Scotland are issuing three commissioning calls over 12 months. These calls are open to all creative practitioners from a range of backgrounds and disciplines, currently living in Scotland. Each call/brief will be focused around a particular publication platform and/or a theme.
The second call is now open, looking to commission Collaborative Short Films for BBC Scotland. The deadline for applications is midnight on Sunday 24 March 2019.
Find out more about the call for applications on the LUX Scotland website.
Expanding on current BBC initiatives that support new talent, such as BBC Introducing, BBC Writersroom and The Social, BBC Introducing: Now & Next aims to support Scotland-based artists from a wide range of disciplines (visual arts, moving image, dance, spoken word, theatre) to realise their ideas in high-quality short artists' films.
Over the course of one year, BBC Introducing: Now & Next, in partnership with Creative Scotland and LUX Scotland, will commission 20 new pieces of work.
These film commissions will be created by artists working in collaboration. If you're a filmmaker you should include a key collaborator in your proposal, preferably one from a different artistic practice to you (dance, theatre, animation, spoken word, etc). If you are an artist with no filmmaking experience, you would need to collaborate with a filmmaker.
The films will be published by the BBC on television or digital platforms such as BBC iPlayer, BBC Scotland's social channels and BBC websites (dependent upon the work and the specific brief). LUX Scotland will be delivering the project on behalf of BBC Scotland and Creative Scotland, and will offer a package of support to the successful artists.


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(MOBI) FM
Home › Forums › General Discussions › (MOBI) FM
The Rise and Fall of Rock Radio
by Richard Neer
🔗 FM · Read More 🔗
Author: Richard Neer
Publisher: Villard
Genres: music, history, biography
"It was all so honest, before the end of our collective innocence. Top Forty jocks screamed and yelled and sounded mightier than God on millions of transistor radios. But on FM radio it was all spun out for only you. On a golden web by a master weaver driven by fifty thousand magical watts of crystal clear power … before the days of trashy, hedonistic dumbspeak and disposable three-minute ditties … in the days where rock lived at many addresses in many cities."
— from FM
As a young man, Richard Neer dreamed of landing a job at WNEW in New York — one of the revolutionary FM stations across the country that were changing the face of radio by rejecting strict formatting and letting disc jockeys play whatever they wanted. He felt that when he got there, he'd have made the big time. Little did he know he'd have shaped rock history as well.
FM: The Rise and Fall of Rock Radio chronicles the birth, growth, and death of free-form rock-and-roll radio through the stories of the movement's flagship stations. In the late sixties and early seventies — at stations like KSAN in San Francisco, WBCN in Boston, WMMR in Philadelphia, KMET in Los Angeles, WNEW, and others — disc jockeys became the gatekeepers, critics, and gurus of new music. Jocks like Scott Muni, Vin Scelsa, Jonathan Schwartz, and Neer developed loyal followings and had incredible influence on their listeners and on the early careers of artists such as Bruce Springsteen, Genesis, the Cars, and many others.
Full of fascinating firsthand stories, FM documents the commodification of an iconoclastic phenomenon, revealing how counterculture was coopted and consumed by the mainstream. Richard Neer was an eyewitness to, and participant in, this history. FM is the tale of his exhilarating ride.
FB2 ebook FM Richard Neer. EPUB FM read on Mac on Booktopia. Hardcover book FM download on IndieBound. TXT ebook FM by Richard Neer buy cheap for iPhone.
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Tow Truck Insurance Tucson Arizona — New Options for Established Companies.
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Carjacked Towing is a fictitious story covering the business operation of one Jack Franks, a towing operator with a number of years of experience in the repo business.
To catch up on part 2 of Carjacked Towing click on Tow Truck Insurance Phoenix Arizona.
We will now continue our account.
As soon as Jack sets his phone in the cradle he shoots out his office quick as he noticed out of the corner of his eye Jimmy Newtown, who was trying to sneak by Jack's office.
Jimmy, his newest driver on his maiden repo run 1 day ago, slammed his tow truck into a tree after he got spooked when he was chased on foot by a deranged customer waving a shotgun in the air.
The customer, Calvin Coolspin saw his chick magnet sports car being towed off into the sunset and he was having none of it, so he grabbed his sawed off shotgun and chased Jimmy down the street.
Jimmy mashed the pedal down on the accelerator and was looking into his rear view mirror but not straight ahead and ran the tow truck off the road and hit a large oak tree dead on, the oak tree won, the tow truck lost.
Jimmy's first repo run was a disaster and resulted in a badly damaged truck and the sports car suffered some damage too.
"He was waiving a shotgun at me" Jimmy protested.
"How did you know the shotgun was loaded and he was going to shoot you? Jack continued.
"Listen now to me and listen good Jimmy, if you want to keep this job you're going to pay me back on my deductible, each week I'm going to deduct something from your paycheck you hear?" Jack screamed.
For the next 10 minutes Jack continued his verbal assault on Jimmy. Jack laid it on thick hoping the kid would quit, he just didn't have what it takes to be a repo man after his freak out.
Jimmy was saved from further humiliation by a phone call from his cousin Vinny.
In our next post we will find out if Jack's cousin Vinny comes through for him on potential tow trucks for sale.
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Losers, Weepers by Ellery Queen
A criminal mix-up puts an office drone in the line of fire
Jim Morgan can't afford the briefcase. His wife's spending has strangled him with debt, and he's down to his last $20. But the briefcase in the leather shop calls to him. It looks like something an executive would own. It smells like success. When he buys it, he feels a confidence he hasn't felt in years. He tells off the office bully. He talks his way into a raise. The briefcase has made him a new man—and soon, it will be his downfall.
Stopping on his way home for a cocktail, Morgan sets the briefcase on the barroom floor. When he picks it up, it's filled with cash. He's walked off with $100,000 in stolen money. And getting rid of it will turn his life upside down—or end it.
"Ellery Queen clearly is, after Poe, the most important American in mystery fiction." —Otto Penzler, editor of TheBest American Mystery Stories
"A new Ellery Queen book has always been something to look forward to for many years now." —Agatha Christie
"Ellery Queen is the American detective story." —Anthony Boucher, author of Nine Times Nine


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Emirates Successfully Tests Flying Boeing 777 Plane on Sustainable Jet Fuel
BP Says Ukraine War and IRA Could Spur Energy Transition
Dear America: Here Are the Facts on Offshore Drilling
Feb 21, 2019 2:15AM EST Insights + Opinion
smodj / iStock / Getty Images Plus
By Pete Stauffer
For those of us who love the coast, the negative impacts of offshore oil drilling are obvious. Offshore drilling has a proven track record of polluting the ocean, damaging coastal economies and threatening a way of life enjoyed by millions of people. Yet, the oil and gas industry—and the elected officials who prioritize them over the public interest—would like you to believe that offshore drilling is somehow a safe and necessary practice.
To help set the record straight, Surfrider has released a new short film with surf legend Rob Machado and surfer/comedian Tyler Allen, on the Trump administration's plans for new offshore drilling and what this means for our ocean and coastal communities. Please check out the video and take action to stop new offshore drilling!
[vimeo https://vimeo.com/317114098 expand=1]
U.S. Coasts Are Under Threat
In early 2018, the Trump administration announced plans for new offshore drilling in over 90 percent of U.S. waters, igniting a firestorm of public opposition. During the 60-day comment period that followed, more than 1.3 million Americans submitted comments against the proposal and since then, public opposition has only grown. To date, more than 330 municipalities, 2,000 elected officials, 45,000 businesses and almost all coastal governors have formally opposed new offshore oil and gas development.
In the coming weeks, the Department of Interior is expected to release the next draft of the 5-Year Offshore Drilling Plan, which will indicate which areas are still under consideration for new oil and gas development. The agency will then open another comment period and host a series of public meetings in affected communities before making a final decision later this year.
New offshore drilling would threaten thousands of miles of coastline and billions in GDP, for a relatively small amount of oil. Ocean tourism and recreation provide 12 times the amount of jobs to the U.S. economy, compared to offshore oil production. Even under the best-case scenario, America's offshore oil reserves in the Atlantic and Pacific would provide only about 758 days, or about two year's worth of oil at the current rate of consumption, according to federal agency estimates.
Surfrider is determined to stop new offshore drilling off U.S. coasts, but we need your help! Please take action by contacting your federal representatives in support of anti-drilling legislation. We also urge everyone to participate in the Department of Interior's upcoming public comment period of the proposed 5-year offshore drilling plan. Please stay tuned to Surfrider's channels for the latest news and ways to take action!
Coastal Recreation and Tourism Businesses Fight Offshore Oil Drilling Proposal https://t.co/sDYUQT6Boc @BusinessGreen @GreenCollarGuy
— EcoWatch (@EcoWatch) February 17, 2018
New Jersey Passes Nation's Toughest Ban on Offshore Oil Drilling ...
Oceans Are Getting Louder, Posing Potential Threats to Marine Life ...
Stop Offshore Drilling | NRDC
How the Trump Administration Decides to Allow Risky Offshore ...
oceansoffshore drillingsurfrider foundationtrump administration
Scientists Create Biodegradable Plastic Using Solar Energy
Deep Seabed Mining Plans Pit Renewable Energy Demand Against Ocean Life in a Largely Unexplored Frontier
Scientists Developing Floating Solar Farms That Can Withstand Rough Oceans


His body, which is the church.
The Funeral Service will be held on Saturday, February 2nd, 2019 at 5:00 p.m. in Moose Jaw Funeral Home with Reverend Rebecca Friesen officiating. In lieu of flowers, donations may be designated for missions through either City Oasis, 1291 Gordon Rd, Moose Jaw, SK S6H 3E3 or The Bridge, 5130 4th Ave, Regina, SK S4T 0J7. Arrangements are entrusted to Moose Jaw Funeral Home, 268 Mulberry Lane. James Murdock, Funeral Director 306-693-4550.
We are so saddened with the news of Pastor Johanne passing. She was such a formidable and lovely woman. We are so blessed to have known her. Our family sends our sincerest condolences to the Spencer family. May God bless the family with healing.
Gregg – Sorry seems so inadequate but Barry and I wanted to send you our sincere sympathies for the loss of Johanne to you, the children and the grandchildren. God cover you with His peace.
I was shocked when I saw this. I am so sorry for your loss. Well, Johanne is not lost, but sorry for the absence from the ones dear to her heart. May God comfort you at this time and each as they have need. God be with you.
You and Johanne have been very close to our hearts since the day we first met. Johanne's prophetic gifts gave constant evidence that the Lord is always near and ready to speak into our lives as we listen. We heard her voice, but His words came through to change our hearts & lives. We love you both and we always will.
My condolences to Gregg, his children and Grandchildren.
I rejoice with Johanne that she is dancing with her Lord!
Greg and family, my sincere sympathy on the passing of Joanne.
My sincere sympathy to you GREG and to all of Johanne's family, friends and followers.
There will be a seat of honour awaiting Johanne upon her arrive in heaven. Her ability to gather, lead and heal others will not be forgotten.
Gregg and Family From Savanna, Ken, Leanne we are so saddened for the Loss But Now Pastor Johanne Is in a better Place Singing and Dancing and being with Jesus. Savanna Remembers How she Gave her the first pick for her guitar. God Bless the family. Love and Hugs.
Pastor Gregg and family — I send my sincerest sympathies for the loss of a fabulous, amazing, unique woman, Pastor Johanne. May you be comforted in this season. This is not only a tremendous loss to your family, your churches, your community but to the world at large. She had global and kingdom impact on so many levels. I count it a privilege to have known Johanne, she had the spirit of a pioneer, she was courageous and bold (in a humble way). I truly do and will miss her magnetic spirit, her beautiful smile and her loving heart. Blessings and love to each of you.
It is with our deepest sympathy to hear the sad news of the passing of Johanne. Our condolences are with you Greg and with your family and the extended family of Johanne. We spent so much time with you both awhile back and it's hard to believe now that she has left. I can only imagine the Lord saying "Welcome, good and faithful servant, please enter." We are sure Johanne is dancing and singing with the Lord and the angels around the throne room. May the Lord be close to you at this time and give you His Peace that passes all understanding.
So saddened by the news of Johanne's passing, yet rejoicing for her that she is now with Jesus. Blessings, love and prayers to you Greg and the whole family.
I am sorry that I didn't get to know Johanne better. We all needed and wanted more time with her. Condolences to Greg, the family, and the church family, from our home in Ottawa.
We were shocked and very saddened by the news of Johanne's passing. Our deepest condolences to Greg, Kate, Ob, Shauna, Jared & Scott. Johanna was a lovely lady and her smiling face will be missed by many. Hugs and prayers to you all.
Please know that my heart goes out to each of you at this time of great loss.
Pastor Johanne touched each one she met with the tender love of God. She lived and died for Him and left a wonderful legacy for each and every one who knew her….a shining example of how to live a life well lived in His service.
I had the honour of singing with her on our worship team. Many times her voice would bring me to tears, it was so beautiful. I know she is singing now in His presence and blessing all who hear her.
She will be greatly missed. I pray God will cover each of you in His comfort, peace and strength.
Was very surprised and shocked to learn that Johanne passed away. My deepest condolences to Greg and all of Johanne's family. I didn't' see Johanne that often however when we got together she was a wonderful friend. We had some great times especially at our national meetings when we did team building together. Johanne was full of fun. She was always a great encouragement and she didn't have to say much to be that way. She was an extremely loving women who's joy for life was contagious. I saw her briefly when I managed to get out to one night at our national convention this past year. Can't believe that was the last time I saw her in this life. I was really glad to see pictures of Johanne in Germany doing a short term missions trip there. She will be greatly missed. There are so many wonderful memories.
Johanne I will miss you. From the moment we met I felt a kindred spirit connection in my heart with you. Our conversations were always packed with things we wanted to share with each other. I was looking forward to spending more family time with you as we both entered retirement. Alas, the best of Spirit times are always shorter then what we want. I'll dance on earth as you dance in Heaven knowing that our Spirits will meet again!
Greg, there will always be room in my heart and home to embrace you as brother-in-law and your family as my family. Your strength in your faith is amazing and it will carry you through your loss. No man walks alone and we all need each other as family.
Words cant explain. I love you so much Pastor Johanne and Greg. No one will ever compare to her in my life. I will continue to follow Jesus as you taught me. Till we meet again.
Shirley and I offer our condolences.
Pastor Johanne, a bond-servant of the Lord Jesus Christ, served Her Lord and Master and led His sheep with humility and grace.
We will miss and remember her.
She has entered into the presence of the King of Kings to receive her reward.
Johanne was a force to be reckoned with. She had a heart as big as her smile and everyone that had the privilege of knowing her will never be the same for having her in our lives. She was a constant in the storm and a voice of wisdom in the darkness. She will be missed beyond measure.
My thoughts and prayers are with Greg and the family as you walk through the next steps without her. She loved her family fiercely and I believe that she will still love and fight for you and on your behalf from the throne room.
Praying for comfort in these next steps on the journey.
Gregg, we are so shocked and saddened of this news of Johanne….a bright light in my earlier days. With that glint in her eye and that warm smile…I will never forget her words when life was full of challenges.
3 Children are a heritage from the Lord, offspring a reward from him. 4 Like arrows in the hands of a warrior are children born in one's youth. 5 Blessed is the man whose quiver is full of them.
She loved my babes, every time we came into the store she snuggled and teased them. The world lost a beautiful spirit…but the joy in heaven must be spectacular.
Dear Pastor Greg, we are terribly sorry to hear about the passing of your wife. Our thoughts and prayers are with you and your family. May God rest her soul in peace, and may our condolences bring you peace during this painful time.


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Millie Walton| 06/10/2021| Art
Life is a Performance: Cassils
Millie Walton speaks to visual artist Cassils about the body, mark-making and simulating acts of violence
Cassils' employs their own body as both the material and protagonist of their art, contemplating the histories of LGBTQI+ violence, struggle and survival.
This Autumn, HOME in Manchester presents the first major UK exhibition of the artist's work accompanied by a new performance piece entitled Human Measure that was made in collaboration with choreographer Jasmine Albuquerque alongside a group of trans and non binary dancers.
Here, Cassils discusses representation, mediation and the evolution of their art.
What's your earliest memory of engaging with art or of wanting to be an artist?
I think I always wanted to be an artist. I started to draw very early on; I would spend four to five hours a day drawing. It was a natural form of expression for me and it was also one of the few things that people told me that I was good at. I wasn't very academic, but I was brought up in quite an academic household so art was the one thing where I could really shine. I think I also felt a natural inclination towards it because it allowed me to express things which I maybe I didn't have words for and which seemed to uncover themselves in my work. In that way it was good for my mental health too.
When did you become interested in exploring performance as a medium?
I went to art school, Nova Scotia College of Art and Design, when I was about 18 years old. It's one of two really good art schools in Canada and although I had a love of art, I went there not really knowing much. I guess I didn't really come from a family that was especially engaged with the arts and so I had found things on my own. Anyway, this art school was actually, unbeknownst to me, a super radical, experimental place, especially in the 1970s, when a lot of American draft dodgers from the Vietnam war had made their way up from New York City to Halifax, Nova Scotia of all places and the school became a bastion for conceptual and performance art.
Initially, I thought I wanted to paint, but when I realised all the sorts of possibilities that more contemporary forms offered, specifically the ability to get outside of the gallery and engage people in real time, that became very exciting to me. Then upon graduating in my early twenties, I moved to New York City and I became an intern at a space called the Franklin Furnace, which is one of the largest or maybe the only large non-profit organisation devoted to performance art. My job was to take all this portapak footage of performance works from the 1970s, digitise them and upload them onto a digital archive. This was in the nineties before anything was really online and it gave me this very firsthand experience of sifting through these incredible works. I think that informal education certainly influenced me.
Cassils, Cuts A Traditional Sculpture – Time Lapse (Front and Right), 2011. Courtesy of the artist
In our recent interview with Marina Abramovic, she talked about inhabiting different bodies: her private body and her public body when she performs. Is this something you relate to?
I don't really. Life is a performance. I would say that my work doesn't really stop and end in a gallery space or in a performance, but I think it also depends on who you are and what your subjectivity is. If you're a cis white woman who wanders through the world without much rupture of standards and norms that are anointed and celebrated, then maybe it's possible for you to think of things in these parcelled ways, but as someone who has a sort of rupture in their day-to-day, I'd say that [performance] is not something that I get to start and stop at choice.
Another thing is that a lot of my work is deeply physical and requires hours and hours of physical preparation. Of course, the performance is very different – I would say it's a moment of hyper-focus – but the preparations are also hyper-focused not just in relation to the physical training but also nutrition, sleep, mental state, all of that.
Are those preparations specific for each performance or more of a general lifestyle?
It's both. Every work requires a different training and protocol, and that is an extension of my idea of the body as both an instrument and an image. Just as a painter would train their hand or develop certain new glazing techniques, the way in which I perform for different works requires radically different approaches to the body. For example, putting on 23 pounds of muscle in a certain amount of time is a very different training protocol to conditioning the bones and keeping your heart rate at above 70 beats per minute or training for disorientation.
So do you tend to develop ideas and plan performances quite far ahead?
Yes but the work that we're going to present [at HOME in Manchester] is a little different because it's the first time I've ever worked with other people's bodies. I've certainly done some performances that involve other people's bodies, but not in a physically rigorous way. This piece involves a choreographer and professional dancers of which I am not and so, the work has been much less about my body being prepared and more about the bodies of the dancers being prepared. We make sure, for example, that we have time to warm up and to cool down, which I'm told is not standard in the dance industry.
However, there's a certain level that I keep my body at such that it can be applied on different directions and so I'm not starting from scratch each time. Dependent on the work, I will usually choose a certain amount of time in which I'm able to prepare properly. Although some of my work looks "risky" such as lighting myself on fire or pushing myself against ice, there's a tremendous amount of preparation and risk assessment that goes on so that I can do the work in a sustained way. This isn't about self-harm, if anything it's about being able to sustain in an endured, safe way.
Cassils, Human Measure (Exposure) No. 2, 2021. Archival Pigment Print. Photo: Bonny Taylor. Courtesy of the artist
Have you ever started to develop an idea for a performance only to find it isn't possible for whatever reason?
I'm sure I have although I feel really lucky that I've been able to manifest some pretty big feats. One of the most challenging works that I've done was fairly recently, during quarantine, in 2020. I'm a Canadian citizen and I immigrated to the US which took a very long time and was very expensive. In the process of that, I experienced a lot of homophobia and transphobia. It made me aware – even from a much more privileged position of being a Canadian national – of just how fraught that process is. So, when there were information leaks about the ways that migrants were being met at borders and put in cages for-profit in the United States – stories that were starting to circulate maybe two or three years ago – I found I couldn't sleep at night, knowing what it would have been like to be in that position and really relating. [In response to that] I made a work with a good friend of mine rafa esparza who is an amazing performance artist and painter based in Los Angeles. We brought together 80 other artists and hired the nation's sky-typing fleet to sky-type phrases to highlight and index these otherwise hidden for-profit sites of detention, working alongside 17 immigrant justice organisations. We also created an online campaign with a website, where you could enter your zip code and it would tell you exactly where you were in relation these sites.
It was a project that became incredibly difficult to pull off for many reasons. It was the height of Covid and funding it was really a challenge. We also came up against a lot of racism and xenophobia from funding bodies. I've made work that has, for the most part, involved my own subjectivity, but to then understand just how direct people were with their racism was shocking for me in a naive way. They tried to shut the project down; we were stopped by the FBI; we had trolls coming at our websites, and yet, we managed to pull it off.
So yes, there are things that I've tried to do that have been stopped, but artists have the gift of imagination and when we are met with a roadblock, it's about figuring out ways that we can manage regardless even if it's not along the traditional path.
You've spoken before about your body being a battleground. Can you elaborate on what you mean by that?
I think that the body is a battleground, but I guess my resistance to that idea is not wanting to personify or speak for the trans body. However, I do think that one's personal stake is political and as I was saying before, depending on whether or not you fit the frame of what's celebrated under a patriarchal system that is still under the auspice of white supremacy, your body is less or more of a battleground.
Cassils, Inextinguishable Fire, Performance Stills No. 1-15 (National Theater Studio, SPILL Festival, London), 2015 Archival Pigment Print Photos: Cassils with Manuel Vason. Courtesy of the artist
Works such as Inextinguishable Fire simulate acts of violence. What impact do you think this has on the viewer?
Yes, so with that work, which was made in 2015, I was really interested in the notion of fake news. At that time, there was a tremendous amount of uprisings in the US around the killing of young black men by police, and I was witnessing, in real time, how these uprisings were being framed by reportage as hoodlums and acts of looting. We've all seen that happen before, but it was shocking to see how easily people are manipulated by the way the media would frame things. The title of the piece, Inextinguishable Fire, references a work of the same name by German filmmaker Harun Farocki. His film is about the production of napalm, which was produced in a small factory in Ohio, in the United States. He explains how even though there were antiwar positions in the the US so much of the tax that people pay was contributing to this site of violence. There's this moment in the film when he's smoking a cigarette and he looks directly into the camera and says, "The embers of this cigarette burn at 300 degrees celsius, napalm burns at 3000 degrees." Then, he extinguishes the cigarette into his flesh. It's a horrifying act, but he's not doing this to say this is the equivocation of trauma against the plight of the Vietnamese, it's more that he's using that cigarette burn as an approximation of the distance that we have from these acts of violence, and wars that we moved overseas on behalf of our nation states.
As someone who lives in Los Angeles, in the centre of what I call the industrialised production of imagery where you often see pictures and representations of war, far more actually than people are waging them firsthand having worked in the city for a long time, I became fascinated in the idea of the stunt. I went to stunt school in 2009/10 and I was especially interested in the full body burns, which is a stunt where you're totally on fire. Often, you're running through it so the fire can fly off of your face, but I was always surprised by how much a full body burn be like a self-immolation without the accoutrements of cinema around it, which is, of course, a gesture that someone will undertake when they have very little left to protest. I was interested in that sort of imagery.
Inextinguishable Fire is a live performance, which was performed at the National Theatre in London in 2015, with an accompanying film. The live performance starts when you see me being prepared – I have to be induced into a state of hypothermia because the danger isn't that the fire burns through the fabric of your clothing and burns you, it's that you'll start to sweat and the sweat will boil on your skin and give you third degree burns. With the theatrical act, the audience would witness this entire production which is roughly half an hour of preparation and then only a 14 second burn. For the film, which is included in the HOME exhibition, I employ a single locked down zoom lens, which starts on a closeup of my chest. I'm wearing a raw canvas suit so it actually looks like you're looking at an empty painting. And then, throughout the film, which is shot at 1000 frames per second with a Phantom camera, we see the camera sort of slowly opening and as it opens different sounds and contexts are laid into it. At first you think it's an empty painting, then maybe it's a painting on fire, then you realise it's a burning body, but where are we? More and more information is revealed until you realise that we're in an actual studio and that the image that you've been fed initially is manipulating you into thinking that it's something that it isn't. The sound is also very important. It starts from the viewpoint of inside my body: the sound of my first inhalation, the holding of my breath, the blood in my head, and at the end, you hear my body as if it's on the other side of the room for me. So, you relate to being me and then being very separate from me.
This is a very long-winded answer, but I think, for me, it's about how meditation affects both our ability to empathise and the notion of truth.
Is it important that your audiences understand the references or contexts of your work?
I think there's something there for someone who knows nothing about the references – a physical, visceral feeling and connection that can be established without any knowledge – and also something there for people who are perhaps art historians and have more specific knowledge. I hope that the work is resonant for a large group of people, and I think the viscerality of physicality is a beautiful unifier, in a way, because we can all experience a kind of a cross identification despite what we encounter or where we come from.
So, I try to let the work speak for itself but I also think it's important to set up a certain context so people can understand where you're coming from. I am often making work about my own subjectivity and in certain instances, people have more or less understanding of that. Sometimes, there is an educational aspect to it, which honestly can be a bit tiring for me, but it can also be necessary although as time progresses, I think it's becoming less and less necessary.
Your exhibition at HOME is a survey of ten years of your work as an artist. Do you think your approach to making art has changed at all during the years?
Yes, my approach has definitely changed. It's a very different world to 10 years ago. 10 years ago, there was no word like non-binary, it wasn't part of the common vernacular. There was a small trans subculture but if you didn't medically transition then you didn't really count. That was the sort of vibe amongst the trans community. So to make work from that space, to make work when there was no representation that was around being gender nonconforming or non binary was a different experience. That landscape has changed so the sort of work that I needed to do has changed.
Another massive change for me has been living in the US under the past president. Some would argue that Trump brought to the forefront many of the systemic inequities that already existed in the United States and that's certainly true, but to see such a rollback of rights has been shocking. Right now there are so many conservative judges that have been appointed that there is the largest amount of bills in the state legislature ever in the history of the United States that are actively rolling back the rights of young trans people and literally trying to erase people. To live through that and to come from a time that was fairly supportive and open and free has definitely changed the way that I make work. I'd say that my work has become a lot more community-based and a lot more about collaboration. I've also been thinking about how I, as an artist, can help uplift other artists whose subjectivities may be different from mine such that we can create complex, varied arguments to educate, but also to create change and imagine different ways of being in this more oppressive world.
Cassils, Installation image of Human Measure exhibition, HOME Manchester. Photo: Lee Baxter
Your new performance piece was inspired by Yves Klein's Anthropometries paintings. How so?
Klein is a cheeky bastard; he's great, but nauseating. His Anthropometry series is his deconstruction of the nude – taking his international Yves Klein patented colour, and then using women as sort of living paintbrushes to create his works versus him sitting there and painting himself. The idea of using these women as an extension of his authorship was probably quite playful back then and in the spirit of Fluxus, but today it would definitely be cancelled. Anyway, my day job is that I've worked as professional athlete and a trainer for many years and when I peel a client off the generic blue gym after a hard workout, there's often this impression of their shoulder blades and all the hair follicles, and I think, "Oh, we've made a Klein."
I really have two ways of working: one is my artistic practice which is obviously supported by my physical practice, but I also have this deep knowledge of self-defence personal safety, wellness and the body. So, I started thinking what would it be like to make a work where rather than just engaging these issues in a sort of symbolic and metaphoric fashion, those that I worked with embodied these lessons and took them with them long after the curtain drops. As I dove into Klein, I found this little known fact, which was that he was an avid judo practitioner and had actually studied in Japan with the founding father of judo. He practiced daily and produced the very first Roman language how-to book on the "cutdowns" which is a series of black and white photographs of him performing how to do all the cutdowns with lead practitioners in Japan. He also opened a dojo in Paris.
So, I thought that it would interesting to think about sweat as a mark making device. Rather than women covering themselves with paint and being directed, what would it be like for the mark-making to come from a spirit of empowered labour? The choreographer and I started to hold workshops with a personal safety company in Los Angeles that statistically holds workshops for both men and women because statistically, men and women are attacked for very different reasons, but they'd never done anything for trans and non binary people. In the workshops, we brought trans and non binary dancers together and asked them: what do you wish would have been prepared for? What would you be like to be prepared for? What has happened to you? What skills would you like to learn? So, in real time, we learned these de-escalation techniques, but also physical self-defence movements that became a template for movement and informed the choreography of the piece as well as the painterly essence that comes from the body.
In terms of the actual piece, I've extended an argument that I've been making in one of my earlier works called becoming an image, which kind of deconstructs photography and plays with the idea of meditation. We turn the entire theatre into an analogue dark room, lit entirely by red safety lights. The floor is covered with a thin material that is is very tightly stretched and has been pre-soaked in a cyanotype solution. During twenty minutes of bombastic movement, there are these massive flashes of light. So, the viewer goes from barely being able to see to being overwhelmed with white light. At the very end of the piece, unbeknownst to the viewers, the dancers push this material from the floor into a twenty by three foot trough that sits downstage in front of the audience, and they proceed to wash and develop this massive photograph in realtime. Instead of a curtain drop, the work ends with this giant cyanotype print in this gorgeous blue, which faithfully indexes all the moments and the bodies that have fallen. In that way, it's loosely inspired by Klein but it was really a response to thinking about how personal agency and mark-making have shifted and transcended through the progress of time.
After the performance and show, what's next for you?
Where a lot of people slowed down during the pandemic, I feel like I was on speed maximum. Also, my wife's a nurse, so she's been on the front lines of this pandemic, and I think both of us really need a rest. There are lots of projects on the horizon, but I think I need a moment to reframe things before continuing forward.
"Cassils: Human Measure", curated by Bren O'Callaghan, runs until 12 December at HOME, Manchester. For more information, visit: homemcr.org
Featured Image: Cassils, Encapsulated Breaths, Installation, Image Solutions, Stantion Museum Houston, Texas, 2018. Photo: Cassils with Alejandro Santiago. Courtesy of the artist
Millie Walton
Millie Walton is a London-based art writer and editor. She has contributed a broad range of arts and culture features and interviews to numerous international publications, and collaborated with artists and galleries globally. She also writes fiction and poetry.
artistic medium body Cassils dance performance performance art trans artist trans body violence
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L'Antiga recerca del Jesús històric és un període de la recerca del Jesús històric que va des del 1774 fins al 1953. Es considera que l'obra de Hermann Samuel Reimarus, publicada pòstumament el 1774 pel seu deixeble Gotthold Ephraim Lessing, és la que marca l'inici de l'Antiga recerca del Jesús històric. Aquest període està protagonitzat per la teologia protestant alemanya i pel racionalisme il·lustrat alemany.

Primer racionalisme
 Johann Jakob Hess (1774)
 Franz Volkmar Reinhard (1781)
 Karl Friedrich Bahrdt (1786)
 Johann Gottfried Herder (1797)
 Karl Heinrich Georg Venturini (1806)

Aquests autors reinterpreten els Evangelis des de pressupòsits racionalistes. Es busca una explicació racional per als miracles, mentre sigui possible, i es neguen els que no es poden explicar. S'elimina la possibilitat de transcendència o divinitat de Jesús. Sota aquestes premisses, van presentar la seva versió de la vida de Jesús.

Racionalisme clàssic
 Heinrich Eberhard Gottlob Paulus (1828)

Es continua interpretant els Evangelis des de perspectives racionalistes. Paulus aporta una imatge interessant de Jesús com un sanador popular, tema que va reprendre anys més tard des d'altres perspectives.

Racionalisme tardà
 David Friedrich Strauss (1835-1836)
 Friedrich Daniel Ernst Schleiermacher (1864)

Encara des dels plantejaments del racionalisme, aporten l'observació que als Evangelis hi ha una notable presència d'elements no històrics, que els autors ajunten dins del fenomen de mitificació, com un intent de precientífic d'explicar el que és desconegut. Destaquen que aquest fenomen és sobretot intens a l'Evangeli segons Joan, que des d'aleshores queda descartat com una font d'accés al Jesús històric.

La qüestió sinòptica
La tradició cristiana havia establert que l'Evangeli més antic era el de Mateu i s'havia arribat a afirmar que el de Marc era un resum dels evangelis de Mateu i de Lluc. De manera independent, Christian Hermann Weisse i Christian Gottlob Wilke conclouen el 1838 que l'evangeli segons Marc no és un resum de Mateu i de Lluc, sinó que és anterior a ells i els serveix de font. A més a més, Weisse va establir la teoria que hi havia una font comuna a Mateu i Lluc. El 1890, Johannes Weiss va denominar amb la lletra Q aquesta font (de Quelle, 'font' en alemany). Sorgeix així la hipòtesi de les dues fonts:

 La Font Q
 L'Evangeli segons Marc

La teoria de les dues fonts va ser analitzada i sistematitzada per Heinrich Julius Holtzmann.

L'escola liberal
Moviment de lluita contra el dogma i el kerigma del cristianisme. Després de descartar els evangelis de Mateu i de Lluc, tardans respecte de Marc i de la Font Q, analitzen aquestes dues fonts per intentar reconstruir la vida de Jesús, sempre des de perspectives racionalistes.

 Ernest Renan (1863)
 Bernhard Weiss (1882)
 Adolf von Harnack (1900)

L'escola de la història de les religions
 Julius Wellhausen (1894)
 Wilhelm Bousset (1896)
 Richard August Reitzenstein (1910)

L'escola de la història de les religions sorgeix a finals del segle XIX. La seva aportació principal a la recerca del Jesús històric és la d'observar el naixement del cristianisme en un context històrico-social en què es desenvolupa sota la influència de diverses religions circumdants. Inicialment es van plantejar teories sobre la procedència o dependència directa de religions mistèriques hel·lenístiques o orientals. Estudis posteriors han definit la seva màxima dependència del judaisme.

L'escola de la història de les formes o Formgeschichte
 Karl Ludwig Schmidt (1919)
 Rudolf Karl Bultmann (1964)
 Martin Dibelius (1966)

Jesús


2. For those who arrive at EWR airport, feel free to take our shuttle to Jersey Garden Outlet and we will take you back to the hotel as soon as the rooms are ready to check-in.
2. You may have to wait for other guests to get on the shuttle.
3. Paid 24/7 pick-up: $120 per first two persons with $10 for each additional person.
• For guests who can meet tour guide with claimed baggage before 9:00am at JFK/LGA airport.
• $25/adult and $15/child (excludes service fee $10/person).
• All guests who can meet tour guide with claimed baggage before 4:30PM can join our tailored night tour to experience the charm of "the city that never sleeps"!
(Thursday & Sunday Schedule) We will visit Metropolitan Museum of Art and Madame Tussauds' only if time allows.
One World Trade Center is the main building of the rebuilt World Trade Center complex in Lower Manhattan, New York City. It is the tallest building in the Western Hemisphere. There, 102 stories up, find yourself face-to-face with New York's iconic skyline. Maybe you've seen views of the city before, but never quite like this. Walk the three sprawling levels of the Observatory and discover surprises along the way.
Day 3: Philadelphia – Washington, D.C.
In the morning, we will visit Philadelphia where known as the birthplace of American democracy. At the Independence National Historical Park, you will have a special moment of standing exactly where the Declaration of Independence and the Constitution were signed inside the Independence Hall. You also won't miss the Liberty Bell which is recognized for its famous crack. Go beyond the iconic crack to learn how this State House bell was transformed into an extraordinary symbol. You will also see the Statue of Washington, Congress Hall, and many other great attractions.
Afterwards, we will head to Washington D.C. and visit the Lincoln Memorial. This grand monument overlooks the Reflecting Pool, the Washington Monument and the U.S. Capitol. Inside, the 19-foot marble statue of the 16th president is flanked by inscriptions of his Second Inaugural Address and the famous Gettysburg Address. We will also stop at the Vietnam Veterans Memorial and the Korean War Memorial. The two monuments honor members of the U.S. armed forces who fought in the wars.
Next, we will go to Smithsonian National Air and Space Museum which is located on the National Mall (also known as the Capitol Hill). We will take a glance at the human aviation and space heritage as well as have a vision of space travel in the future through thousands of objects on display, including the 1903 Wright Flyer, Charles Lindbergh's Spirit of St. Louis, the Apollo 11 Command Module Columbia, and a lunar rock you can touch. Later we can take photos with backdrops of the White House and the U.S. Capitol due to the visit limitation for the public. The two buildings compose the nerve political center of Washington, D.C. and the nation.
Furthermore, you surely don't want to miss the opportunity to take our exclusive DC cruise for sightseeing of the town along the Potomac River. Along the way, you will also see and pass by the Thomas Jefferson Memorial, WWII Memorial and more.
In winter, D.C cruise is not available. Therefore, we will go to International Spy Museum.
The museum is a museum exploring the craft, practice, history, and contemporary role of espionage. It is the only public museum in the United States solely dedicated to espionage and the only one in the world to provide a global perspective on an all-but-invisible profession. It also features the largest collection of international espionage artifacts ever placed on public display. Many of these objects are being seen by the public for the first time.
The National Air and Space Museum is a center for research into the history and science of aviation and spaceflight, as well as planetary science and terrestrial geology and geophysics. Almost all space and aircraft on display are originals or the original backup craft.
We will arrive at one of Fortune Global 500's headquarter, Corning, to visit the Museum of Glass, which is dedicated to the history, art, and science behind glassmaking. Its collection contains more than 45,000 objects, some of which date back millennia. Guests here will be invited to enjoy the Hot Glass Show which is performed by professional glass craftsmen.
After lunch, we are going to see the renowned Niagara Falls. Overlooking American Fall, the Horseshoe Fall and the Bridal Veil Fall, you will be astounded by the deafening roar of the falls. It's the combination of height and volume that makes Niagara Falls so beautiful. More than 6 million cubic ft. (168,000 cubic meters) of water goes over the crest line of the falls every minute during peak daytime tourist hours. Take the voyage on the famous "Maid of the Mist" (will be closed from November to April) which gets passengers as close as possible to the Niagara Falls! The Maid rides right into the mists thrown up by the roaring cascade as the Niagara River tumbles over the edge of the falls. You can also optionally watch a Niagara IMAX movie which chronicles more than 12,000 years of history and examines human interaction with the falls from ancient time through the people - like you - who come to see them today.
Later we will go to the hotel when night falls.
Maid of the Mist will be closed from November to April. Guests can take the JetBoat ride on the Niagara River which makes the tour unforgettable and refreshing by playing in the whitewater rapids.
*JetBoat tour will be closed under tough weather or river icy condition.
In the morning, guests will continue sightseeing in the Niagara Falls. We will cross the border to Canada through the Rainbow Bridge. You will also watch a dramatic 45-minute IMAX film which will further discover the culture and history of the Niagara Fall!
Later, take the ride to the top of the Skylon Tower which is 775 feet above the falls! Relax and enjoy your meal at the 360 degree Revolving Dining Room.
After lunch, guests will arrive in Toronto - the largest city and financial center of Canada - in the afternoon. The CN Tower will be the first stop here for fabulous views of the city and Lake Ontario. It is Toronto's famous landmark, the tallest freestanding structure in Canada, and also the most impossible to miss in our trip. The highest viewing area on the CN Tower is from the Sky Pod at 447 meters and a lower viewing area, the Glass Floor, offers a bird's eye view straight down over the city as visitors stand on a glass floor as the name suggests.
We will also see the Ontario's Provincial Parliament which completed in a Romanesque style in 1893 and then the modernist styled City Hall which consists of two arc-shaped high-rise blocks, 20 and 27 stories high respectively, whose stunning structure makes it another popular landmark.
Next, Lake Ontario cruise offers gorgeous views of the city and vicinity from the waters. See the city of Toronto and vicinity in a new way!
Around the evening, we will go to the historical Chinatown. It is one of the largest China towns in North America, located in downtown Toronto, where you will find authentic Chinese food!
In winter, Lake Ontario cruise is not available.
We will visit the Ripley's Aquarium of Canada after CN Tower.
It holds over 16,000 fantastic aquatic animals, featuring with North America's longest underwater viewing tunnel (96 meters) which allow you to walk by the Sharks, Rough tail Stingrays, and dangerous lagoon. Guests will be both entertained and inspired to protect the waters of the world.
After City Hall, we will also experience the elegance and splendor of the Edwardian era at Casa Loma, the only full sized castle in North America and Toronto's premier historic attraction. Explore secret passageways, elaborately decorated rooms with authentic period furnishings or take in the breathtaking view of Toronto from one of the towers.
It is a 553.3 m-high (1,815.3 ft) concrete communications and observation tower in downtown Toronto, Ontario, Canada. It is now the third tallest tower in the world and remains the tallest free-standing structure in the Western Hemisphere, a signature icon of Toronto's skyline, and a symbol of Canada,attracting more than two million international visitors annually. Its name "CN" originally referred to Canadian National, the railway company that built the tower.
In the morning, guests will enjoy the beauty of Thousand Islands on a cruise boat.
We will be driving on Highway 401 along St. Lawrence River and reach Canada's Capital and political center, Ottawa. Here we will visit the National War Memorial, Parliament buildings and Peace Tower with the height of 295 feet.
After a short stay, we will drive to the Montreal, known as "Paris of North America", a French-speaking and second largest city of Canada. The famous Olympic Tower together with the Olympics stadium has become the symbol of the city. The 175-meter inclined tower leans at a 45-degree angle and functions as an observation deck with a funicular that whisks passengers to the top in 95 seconds. Amble around and soak up the European charm of the Old Montreal, you will marvel at how you can step back in time at every cobblestone corner.
Along the way, we will pass by the grand Notre-Dame Basilica.
In Winter, we will skip Thousand Islands and go to Ottawa directly.
As the name indicated, the Thousand Islands constitute an archipelago of 1,864 islands that straddles the Canada-U.S. border in the Saint Lawrence River as it emerges from the northeast corner of Lake Ontario.
Parliament Building of Ottawa - Parliament Hill, located on the banks of the Ottawa River Canada's capital city, is home to the Canadian Parliament. The gorgeous location and dramatic architecture make this a huge tourist location-- more than 3 million people come every year. Canada's Parliament buildings are commonly viewed as the one of the most magnificent government centers in the world with firm stone exterior and vivid setting on the cliffs! The buildings consist of the House of Commons, the Library of Parliament, the Hall of Honor, the Senate, and the impressive Peace Tower.
Peace Tower - The Peace Tower is a large clock tower in Ottawa, Ontario that sits at the center of Parliament Hill. This iconic Canadian building appears on both the fifty- and twenty-dollar Canadian bills. It is more than 300 feet tall.
Olympic Stadium and Tower - The "tower" portion of this Stadium, which was originally constructed for the 1976 Olympics, is the tallest inclined tower in the world, stretching 574 feet into the air. This enormous building has a capacity of 78,322.
Old Montreal - The neighborhood in Montreal, Quebec known as "Old Montreal" is the oldest area of the city, with some structures dating as far back as New France settlements. The area contains many museums as well as sightseeing opportunities.
Notre-Dame Basilica of Montreal (pass-by) - The Notre-Dame Basilica-Cathedral in Montreal, Quebec is the oldest parish church in North America, founded in 1647. It is also the first to be elevated to the rank of basilica. Visitors also come for its impressive neoclassical architecture.
In the morning, we will go to another beautiful French style city, Quebec. Everything in the town such as the street signs, cafes, buildings, people's dressing look and the atmosphere will tell its rich French descent. As you wander past period buildings along cobblestone streets, enjoy the area's boutiques, art galleries, and restaurants. A visit to Place Royale is like a step back in time to the early days of New France. Quebec is the only fortified city in North America north of Mexico, with close to 4.6 km of walls and imposing gates to explore.
Visit the Notre Dame de Quebec Basilica-Cathedral and you will see a large number of pieces of art. You will also have chance to take pictures with the world's most photographed hotel Château Frontenac and the Parliament Building as well as enjoy an authentic French cuisine.
This impressive and breathtaking Second-Empire-style building is home to all of the governmental functions of Quebec. Construction on the imposing building took ten years beginning in 1877. The buildings are surrounded by statues of famous Quebecois.
The first stop will be the Harvard University at Cambridge, MA. Here, guests will be invited to visit its oldest campus district and take pictures with the Statue of Three Lies - Harvard Statue.
Also, we have a chance to walk around the campus of Massachusetts Institute of Technology (MIT) and take pictures with its main building.
For the rest of our Boston city tour, we will pass by old Trinity Cathedral, Hancock Building, Boston Athenaeum, Boston Park, Swan Lake Park, and overlook the Golden Dome of the State House. Another fun will begin as soon as you board the cruise ship and enjoy a breathtaking view of the Boston harbor.
Furthermore, the old Quincy Market is opportune for strolling through, or to get a taste of the historical ambience as well as to pick out souvenirs among the assorted merchants and artisans. The Market was also surrounded by dozens of restaurants for dining option with a variety of authentic cuisines, and absolutely, you cannot miss the famous New England clam chowder. The trip will be completed at the Quincy Market around noon.
Later guests will be sent to airports in Boston or in New York.
One of the most famous institutions of higher learning in the world, Harvard University in Cambridge, MA has been standing since 1636, making it the oldest university in the United States. Tourists visit the attraction for both its history and the architecture.
13. Two full-sized beds per room. No additional bed for children, 3rd or 4th travelers. No smoking in hotels.
14. The attractions may be subject to change on November 28, December 25, January 1 and other special days.
15. Please bring American passport, or bring Canadian passport and Permant Resident Card; guests who don't have American passport or Permant Resident Card need to bring American and Canadian visas.
16. Tour is not wheel chair accessible.


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Welcome to the Florida Department of Health in Pasco County (DOH-Pasco) Human Resources Department. All employment opportunities with DOH-Pasco are posted on People First which is the State of Florida job site where you can look for state government jobs located throughout our beautiful state of Florida.
DOH-Pasco seeks individuals who are willing to protect, promote and improve the health of all people in Pasco County through integrated state, county, and community efforts. Individuals should be willing to serve the public and make a difference in the lives of Pasco County residents and visitors.
If you are interested in applying for any DOH position YOU MUST APPLY ONLINE at People First, the state employment website that all job applicants must utilize.
WE DO NOT ACCEPT APPLICATIONS AT ANY OF OUR LOCATIONS.
If you are interested in applying to any positions at DOH-Pasco, all applications need to be submitted to People First. No faxed, mailed, or paper applications will be accepted.
Applicants will be contacted directly if selected for an interview. Experience, education and/or training used to meet the minimum qualifications and in response to the qualifying questions must be verifiable through information contained in your application. Reference checks will be conducted on the top candidates.
Volunteer Opportunities are available at DOH-Pasco in a variety of programs and services at multiple locations throughout the county.