Sindh assembly approves Sindh Laws Amendment Bill 2012 changing official spelling of the province's name.
KARACHI: The official spelling for the province Sind will now be Sindh.
Radio Pakistan had earlier erroneously reported that the spelling had been changed to Sind.
The provincial assembly approved Sindh Laws Amendment Bill 2012 which adds the letter "H" to the province's spelling, as substituted by the Constitution (18th Amendment) Act 2010.
The 18th Amendment of the Constitution corrected the name of the Province of Sindh from "Sind" as the British Empire spelled it to "Sindh" to reflect more accurately the actual pronunciation of the word by the people of the Province. This Act shall bring all legal documents issued in the Province into conformity with the constitutional Amendment.
In 2010, the name of the province North West Frontier Province (NWFP) was changed to Khyber-Pakhtunkhwa.
Correction: A reporting error occurred wherein it was stated that Sindh will be written as Sind. The error is regretted.
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Students of the Asian Institute of Fashion Design make their way into the textile industry.
semantics, dont we spell it with a "hay" at the end in urdu?…. karachi is burning and this is the best they could come up with?
Arabs spellings weight more than those of ancestors,shame!
What a remarkable achievement by "Sind" assembly !!! In all these last 5 years, they have come up with this glorious idea of benefiting common people in Sind.
People! you know that I am joking? Ain't I?
Which one is correct, Sind or Sindh?
Now what: again print new stationary.
Why can these members of Sind Assembly not discuss and solve the problems of law and order, un-employment.
Please forget you language too and accept Arabic as you have accepted Arabic script instead of Devanagari.Shameful act by the Sindh assembly and its the insult on the native Hindu minorities.Native Hindus in Sindh felt proud due to the name the province.Pakistan a most bigoted fundamentalism intolerant country on earth.
Doing such Insulting things to your minorities you want Aman Ki Asha with India.Shame on you Sindh Assembly.
Wow! what a big achievement. Dozens of people die every day and all they do is change the province name.
Y U no stop target killing in Karachi?
Let there be a standing ovation for this work of greatness !
And this takes precedence over other issues? People are getting killed everyday and all these odious representatives can think about is how to spell?
Brilliant !! Bloody brilliant !! What's next ? Kolachi instead of Karachi ??
What an achievement by Sind Assembly. They should make some policies for current law and order situation in Karachi,make some logical actions other then block mobile phone network or ban on pillion riding. But they are wasting time on such useless issues.
Insulting minorities shame on Sindh Assembly.
I wonder why is everyone so disturbed at this. Sind has always been known to locals as sind, it was only after creation of Pakistan when urdu was made the official language of the country due to which many places lost the names that originally their native used to call them. Another case is Lahore. Its english and punjabi pronunciation is same but when it comes to its official name which unfortunately is in urdu it is pronounced as Laahore.
Arabanization & Islamization of Sindh,Insult to History, religion,culture,traditions of Hindu minorities.
Why not al Sind? Just Sind seems neither here nor there, kind of like the rest of Pakistan.
What's the point of this? Will we also change Urdu and Sindhi spelling? Will Sindhi language now be known as Sindi? Since our MP's have so much time on their hands debate this issue as well.
Yipppppppeeeee… now all our problems are solved.. Hay Jamalo….
Government top achievement, Now they get the time to focus on other issues.
Sindh assembly has Insulted Sindhi language and Insulted Hindu minorities by adopting Arabic name.
I still remember that long time back there was a notification came from one of the PPP previous Government of Sind to change the spelling fron 'Sind' to "Sindh".
Now after so many years the sitting government of PPP again has changed the name from 'Sindh' to "Sind".
If this is the level of Government of Sindh/Sind, what will happen to Sind in the future.
The government cannot stop target killings in Karachi and more keen to keep on changing the name of the Province from "Sindh" to 'Sind'.
For all the Indians without any knowledge. Please refrain from passing any negative comments here. SIND was the official name of the province till the early 90's when ppp ( benazir) government has changed it to SINDH , now they change it back to sind . Do you have any problem with it . Pakistanis has not passed stupid comments when you guys change the name of Bombay to Mumbai or banglore to bangluru.
What is financial cost of the change? Looks like a small administrative change however have significant financial implications. For a country like Pakistan which begging in the world to make the budget this is criminal? These are the gimmicks and emotional tactics our politicians use to keep the people busy, while they loot and plunder.
Why my comment is blocked by express tribune?
hahahahaha wow what am important issue the have resolved? Great Legislators!
I can tell you even the new spellings of Sindh (Sind) wouldn't fit well in Sindhi (Sindi) language. Imagine writing "Sind" in Sindhi as a name, and you will feel it like an incomplete name/word.
Arabs who attacked Sindh, called it Al-sind.
So by removing h, the name becomes closer in semantics to its arabic name which is however disturbing and disrespecting the people who for thousands of years loved sindh and sindhu.
The attempt is to remove all the signs which lead to history and culture of original Sindh which has remained multi-cultral though with Hindu majority but mostly peaceful, tolerant and progressive.
As the original name of Karachi was changed from Kolachi to karachi a long ago and the historic graves of fish-farmers were demolished few years before, now it's the purification of Sindh from its hisotic and cultural heritage to islamisation.
The province was a nation before the British annexed it. They named it 'Sind' province, & that name was changed to 'Sindh' in 1955. The fact that we've adopted the Arabic name for it is rather insulting to the native religious minorities. After all, these minorities do deserve more of a say in the affairs of their province than some Muslim migrants.
Alas, nothing is correct in neither Sind or Sindh!!!
Yesterday Mali Tombs, today Sindh to Sind – tomorrow what?
Farhan : Pl note that in India, names were changed to their original Indian names which were tongue twisters for British. Just to get rid of that legacy, names of Indian cities were changed.
Sindhudesh is a man made nonsense. Have a nice day.
Just wondering though – why in the picture on top, sind or sindh a part of India?
Hi, I'm a Sindhi and I refuse to be called Cindy.
I urge the Sindh assembly to rename Sindh to Sindudesh(original name) given to it by the original inhabitants of Sindh.
All the English texts of British India refers the region only as Sind. I prefer the spelling "Sindh" as the letters "DH" together brings out the ending hard native sound properly in English.
I want to see an advertisement from Information Ministry claiming achievement and service to Sindi people.
So whatever lawlessness we witnessed was in Sindh. Sind is a fresh start!!
Sindhu,India,Indus,Hindu all of these are same it represents Hindustan.
Don't insult minority Hindus (original natives of Pakistan)click on the below link to know the truth.
Once it was part of United India.
Is urdu is dying in pakistan?
And how will they spell the Mohajir province….Mahajirstan or Mohajirstan or Muhajirstan?
For your kind information the assembly proceeding have been misreported. The amendment has been made to endorse the 18 Amendment which has officially declared Sindh not Sind.
SIndh Assembly members following the spirit of 18 Amendment have also made a law to correct the name of the province from Sind to Sindh.
I even suggest to drop 'D', as she has become a 'Sin' of political parties.
This is another attempt to islamize SINDH and another attempt to uproot the roots of indigenous peoples of SOIL.Condemnable Act.
Pah !!! earthshattering change of heavy importance.
-desh sounds to you man made nonsene and not -istan?
Sindh in Sindhi and Dravidian languages, which means land of Sindhu river. it is more then 15000 years old word.
no dear. "Sapta Sindhudesha" was a kingdom in 700 BCE.
which means "Sindhu country of 7 rivers". but now Sindh do not have 7 rivers. so its only Sindhudesh.!
Excuse me: correction! The word Hind, Hindi, Hindvi, Indus and India are all variants of Sindh which was a separate country through much of history and gave India its name due to the speech limitations of Greeks. Not the other way around.
Lets call it al-bin-Quasim-Stan after its founder.
Good to see that Pakistan is seriously tackling those issues that matter the most. We must make it our duty to add that 'H' at any cost.
It seems trivial, but the name of the province as used in passing provincial laws must match the wording used in the constitution. Since the spelling was changed by the 18th amendment, it was a legal requirement to ensure uniformity. The other affected provinces have all passed similar legislation. It doesn't seem like exciting legislation or directly affect the common man, but sometimes legislation such as this is required for legal and constitutional purposes.
whilst we enjoy our rides and commutes on metro bus, let the sindhis make progress and achievements by adding H to their name.
A sensible and honourable move. I always felt a bit uncomfotable with the 'h' in Sindh.
The name has been changed from 'Sind', which was the spelling the British gave, to 'Sindh'. Why exactly are all the Muhajirs bitterly commenting on this as if it applied to them?


text:
Ms. Metaxas' love for learning is never overdue
Leilani Patino, El Rodeo Staff Writer
The moment you enter the double doors of the ERHS library, you can't help but feel the inviting atmosphere created by the new librarian, Ms. Kathy Metaxas.
Kathy Metaxas keeps the library warm and welcoming for students on campus but before becoming the librarian, Ms. Metaxas was an English teacher at "The Ranch" for 16 years.
Her favorite thing to teach was the service research project. She enjoyed seeing her students' passion and creativity. "Some of my favorite service projects were the Sea Turtle Sweep when we picked up trash in the neighborhood to bring awareness to how our actions affect sea life; Zumba dance class to promote physical well-being; and stress reduction workshops when we crafted, colored, and listened to music," she said.
Being a teacher, she loved to connect with her students. She is still a teacher but is now considered a "guest teacher."
Becoming the school's librarian wasn't a hard switch from teaching as she said, "I have always loved libraries, so I knew it would be a good fit for me. I was a little worried that I would miss the bond that's created when you see the same students in class every day, but it turns out I do get to see a lot of the same students and I even get to talk to them individually more."
Her favorite thing about being the librarian is helping students have the same experience as she has with books as she said, "There have been times in my life when books have made me feel less alone in the world and more connected to humanity. It is exciting to think that I may be able to help students have that same experience."
Metaxas also enjoys seeing students smile and wave at her through the glass of her office to acknowledge her as they leave the library, "It's so adorable!" she said.
Aside from being the El Rancho librarian, Metaxas is also the Leo's Club Advisor. Leo's stands for Leadership, Experience, and Opportunity. The Leo's Club serves the community as they participate in beach clean-ups, Trick-or-Treat For Hunger, diabetes awareness walks, and hospital carnivals.
She said, "During distance learning, Leos recorded virtual storytime videos and shared them with elementary schools in the area. This year, our major project is creating "Take-What-You-Need" boxes with self-care items, snacks and such, to distribute around campus for students to access. Leos meet in the library (L101) on Tuesdays at lunch and it's never too late to join!" She is also the advisor for the Pride Alliance Club and they have meetings on Wednesdays at lunch in the library.
On the weekends, Metaxas does homework as she is back in school at San Jose State to earn her Masters in Library and Information Science. She also reads, watches her son play baseball, and has Sunday meals with her entire family.
Her happy place is being on a boat, in the ocean, as she expresses it gives her the feeling of freeness.
The shows she watches on Netflix are Squid Game and The Great British Bake Off. "I just finished watching 'Squid Game.' Whoa. I was gobsmacked," she said. "If you're interested, watch it in Korean with subtitles rather than dubbed in English. Makes a huge difference. I am also a fan of The Great British Bake Off. I don't even bake often, but I think I find the wholesomeness of that show relaxing."
When it comes to cooking, her favorite to make is Mediterranean-style food, "I'm not a great cook, but when I do, it's with a lot of olive oil, Mediterranean-style. My daughter is a better cook, but she's off at college in Massachusetts, so I've had to step up my game. I'm proud that my junk food-loving husband and son are willing to eat (and even enjoy!) my roasted vegetables now. Huge win."
Metaxas loves creativity and enjoyed her time as an English teacher. She is a supporter of all her students and loves to help guide them to success, especially by reading.
Leilani Patino, Co-Editor in Chief
My name is Leilani Patino and I am co-editor of El Rodeo News. This year is my second year on the staff and I am a senior. I enjoy watching high school...
The fashion at El Rancho: What are the trendy fits of the week?
Boys basketball turns a corner
Column: How do students of El Rancho spend their Christmas?
The Christmas Cabaret brings Christmas spirit to El Rancho
Opinion: Volunteering opens up new opportunities for friendships
Staff Profile: New SSO Ty preaches practice makes progress
Left as prince and princess and came back as king and queen.
All About Animal Advocates
Who could become El Rancho's next homecoming royalty?

redpajama_set_name: RedPajamaCommonCrawl


Three years ago, a local London, ON rock and roll group called Bobnoxious recorded a song titled EOA (East of Adelaide). The self-deprecating, tongue in cheek lyrics attracted some criticism at the time, because it drew attention to many area problems that some of us would like to pretend don't exist. When this band decided to use our Tree Trunk Tour in their lyrics as a sample of something good in our area, this started a chain of events that ultimately resulted in our most prominent and visible sculpture to date. We wanted to do something that would attract a new demographic group to our fan base and the EOA Sasquatch does that in almost every way imaginable.
The original concept or prototype sketch was done by East London's very own famed tattoo artist Mike Austin. The sponsors are STIHL Canada and Tourism London, as always, but this time we used over $3,000 raised by the Fans of Bobnoxious through a go-fund-me account set-up by our local rock station FM96 and Taz the morning host. Summer's Home Hardware stepped up and provided the ideal location or real estate for us to put it on. Each fan who contributed has their name included on plaques attached to the base (almost 250).
Robbin Wenzoski's one-piece, hard maple sculpture is almost 14 ft. high from the tip of his raised hand, which forms the "Rock & Roll" hand sign, to the upside down shopping cart sitting on a base of granite quarried from Manitoulin Island. It weighs almost 2 tonnes. He plays the signature Bobnoxious Flying Arrow shaped guitar and displays an "I love EOA" (East of Adelaide) heart tattoo on his right chest. The Sasquatch stands upon an integral upside-down shopping cart that is contingent to the original song lyrics and provides the space for all the plaques.
The sponsorship by STIHL Canada has been essential to our success since we started the London Hamilton Road Tree Trunk Tour project over 7 years ago. We have funding set-up to do two more next year. They said it in Field of Dreams "build it and they will come" and what we have been able to do, with the assistance of STIHL Canada, proves that over and over again.


text:
Q: Use threads in Android I want to use threads in this program, because it uses UI thread in current state.
I need other processes to use the UI thread while UI thread passes control to new created thread.
How to use thread structure in this code?
public class Ping extends Activity implements OnClickListener
{
  Button pingButton;
  TextView pingText;
  EditText pingCommand;
  String address;

  @Override
  protected void onCreate(Bundle savedInstanceState)
  {
    super.onCreate(savedInstanceState);
    setContentView(R.layout.activity_ping);
    pingButton = (Button) findViewById(R.id.bPing);
    pingCommand = (EditText) findViewById(R.id.tPingCommand);
    pingText = (TextView) findViewById(R.id.tReturnResult);
    pingButton.setOnClickListener(this);
  }

  public void ping()
  {
    try {
      Process process = Runtime.getRuntime().exec("ping -c 8 " + address);
      BufferedReader reader =
           new BufferedReader(new InputStreamReader(process.getInputStream()));
      int i;
      char[] buffer = new char[4096];
      StringBuffer output = new StringBuffer();
      while ((i = reader.read(buffer)) > 0) {
        output.append(buffer, 0, i);
        pingText.setText(output);
      }
      reader.close();
    } catch (IOException e) {
      e.printStackTrace();
    }
  }

  @Override
  public void onClick(View arg0) {
    address = pingCommand.getText().toString();
    ping();
  }
}

A: By using AsyncTask:
public YourTask extends AsyncTask<Object,Object,Object>{

    protected void doInBackground(Object o){
        ping();
    }
}

@Override
public void onClick(View arg0) {
    // TODO Auto-generated method stub
    address = pingCommand.getText().toString();
    // int packetNum = packetNumber.getId();
    // ping(address,packetNum);
    new YourTask().execute();
}

A: Try this:
new Thread(new Runnable(){ public void run(){
   try {
      address = pingCommand.getText().toString();
      int packetNum = packetNumber.getId();
      ping(address,packetNum);
      ping();
      Thread.sleep(5000);
      dialog.dismiss();
   } catch (InterruptedException e) {
      e.printStackTrace();
   }
 }
}).start()

A: Try using runOnUiThread
Runs the specified action on the UI thread. If the current thread is the UI thread, then the action is executed immediately. If the current thread is not the UI thread, the action is posted to the event queue of the UI thread.
runOnUiThread(new Runnable(){
    @Override
    public void run(){
        // change UI elements here
        //ping()
    }
});

redpajama_set_name: RedPajamaStackExchange


Well, this week that's all going to change, but for the best possible reason: laziness the discovery of something even better!
I WAS going to talk about Bubble Ghost, but it turns out there wasn't a lot to say about it. It would have fit my theme, because you play as a ghost (though the "ghost" doesn't look any more spectral than Kirby). However his bubble-blowing adventures didn't really make for riveting gameplay, and I think I'd be hard-pressed to say more than a few sentences about him.
...it's a game about blowing ON a bubble, to propel it safely through the level's exit.
Basically it's something between Arkanoid, The Adventures of Lolo and a "protect the hostage" game. The only interesting idea is that the ghost is truly ethereal, and can't be damaged by the walls/hazards. The only way that he/she/amorphous-it loses is if its hostage-bubble pops on a wall or hazard before exiting the level.
And that's it; there's very little else to say about this game.
Sorry, I call it like I see it.
Or perhaps we should say, "The Real Ghostbuster" (singular), because the other three are apparently on vacation. Solo Ghostbuster resembles the cartoon version of Peter Venkman, a/k/a the Bill Murray character in the movie.
and my proton pack is only useful as a Lode Runner/spitting Casper-esque "dig away certain kinds of flooring" power.
You may notice that your character is much smaller than in the demo level, and the map is swamped with random items.
You'll use keys to open "walls", jump to avoid enemies, and duck to crawl through tunnels.
If you want, you can use that bomb to defeat the "wizard hat + shoes" enemy.
but despite it having its own button, it feels mostly like an afterthought.
And because it bears repeating: your proton pack is not used to battle ghosts (or rogue wizard hats); instead it's sole purpose is to dissolve certain kinds of flooring.
Ok, you've just established that The Real Ghostbusters GameBoy game is both not monster themed AND dull...now what?
Mickey Mouse fulfills his lifelong ambition to be a jackhammer operator.
Yes, the entire game is mildly re-skinned as a Mickey Mouse game.
There's an in-character reason why you have a "floor dissolving" item -- he doesn't plummet to the center of the earth just to discover his love of jackhammering.
The "plant a bomb to blow up enemies" mechanic makes more sense (you pick up an un-lit bomb, you drop it and it lights); whereas for Mickey, you pick up a magic wand, then put it down again and now it's an ARMED magic wand.
The great Ray Parker Jr. song is this game's background music.
Does NOT contain the Ghostbusters song.
So, I guess there's more in-game reasons to believe that it probably started as a Mickey Mouse game. But the Mickey Mouse-with-a-Jackhammer plot is still brain-fryingly odd.
Guess what Kotobuki System Co.,LTD released in Europe...?
"I hate Mondays...but I (evidently) love JACKHAMMERING!"
Both of these cartoon characters were voiced by the late, great Lorenzo Music!
, Bats/Cats/Rats/Gnats, Cut the Cut Scenes!, Delicious Power-Ups!, Form of: Plat!, Haberdasher Galaxy, Hi, Explosives!, Informative Info!, Melting Flooring, Movie Cash-In!, Paid Celeb Spokesman, Port-a-Porty, Puzzling, yes?, Recursive Recursion, SPOOKY, Toon In!, Weird Animals, What a scoop!, What's the Password?, Whirled Tour!
The Ghostbusters/Mickey Mouse/Garfield game is in the Crazy Castle series, which is seriously one of the most screwed-up game series in existence. Others in the series have featured Looney Tunes, Roger Rabbit, Woody Woodpecker, and Kid Klown. Also, that proton pack/floor digging does NOT look right.


text:
Bench Mark Sheet for 8729376, SANTA ROSA HOGTOWN BAYOU FL
Name:       SANTA ROSA HOGTOWN BAYOU
USGS Quad:  FREEPORT                        Longitude:  86° 13.7' W ( -86.22830)
County Road 393 in Santa Rosa Beach, proceed north on County Road 393 for 2.6 km
(1.6 mi) to the Lions Park on the south shore of Hogtown Bayou.  The bench marks
are in the vicinity of Lions Park and along County Road 393.  The tide gage and
staff were located 58 m (190 ft) west of the highway and 9.14 m (30 ft) NE of a
boat launching ramp in Lions Park.
DESIGNATION:          872 9376 A 1977
MONUMENTATION:           Tidal Station disk                    VM#:        10101
AGENCY:                  National Ocean Survey (NOS)           IDB PID#:  BG3580
SETTING CLASSIFICATION:  Concrete chimmey foundation           OPUS PID#: BG3580
The primary bench mark is a disk set in the top of an old chimney foundation, 87
m (285 ft) west of the centerline of County Road 393, 16.00 m (52.5 ft) SE of
the SE corner of the westernmost covered picnic table in Lions Park, 2 m (5 ft)
north of a light pole, and 1.07 m (3.5 ft) above ground level.
DESIGNATION:          872 9376 B
SETTING CLASSIFICATION:  Concrete abutment                     OPUS PID:
The bench mark is a disk set in the south abutment at the SW corner of the
bridge over Hogtown Bayou, 73 m (240 ft) SW of bench mark 1 1939, 4 m (14 ft)
west of the centerline of the bridge, and 0.46 m (1.5 ft) above the level of the
BENCH MARK STAMPING:  1 1939
DESIGNATION:          872 9376 TIDAL 1
AGENCY:                  US Coast and Geodetic Survey
(USC&GS)                              IDB PID#:  BG3582
The bench mark is a disk set in the top of a concrete monument, 61 m (200 ft)
north of the bridge over Hogtown Bayou, 12 m (41 ft) east of the centerline of
County Road 393, 27 m (90 ft) south of the SW corner of a wood frame house, and
0.3 m (1 ft) NNW of a 0.40 m (1.3 ft) diameter magnolia tree.
The bench mark is a disk set in the top of a concrete monument located at the
east edge of the yard for the first house north of the bridge over Hogtown
Bayou, 51 m (166 ft) east of the centerline of County Road 393, 26 m (85 ft)
east of the SE corner of the house,18 m (58 ft) north of the approximate high
water line of the Bayou, and 0.06 m (0.2 ft)  above ground level.
DESIGNATION:          872 9376 C
AGENCY:                  National Ocean Service (NOS)          IDB PID#:
SETTING CLASSIFICATION:  Concrete racquet ball court           OPUS PID:
The bench mark is a disk set flush in the SW corner of an open concrete racquet
ball court, 79.25 m (260.0 ft) SW of bench mark 9376 A 1977, 47.95 m (157.3 ft)
SW and 20.97 m (68.8 ft) from the water's edge due south of the pine tree at the
water's edge, and 0.46 m (1.5 ft) south of retaining wall of racquet ball court.
DESIGNATION:          872 9376 D
SETTING CLASSIFICATION:  Concrete foundation                   OPUS PID:
The bench mark is a disk set flush in the concrete foundation of picnic table,
43.46 m (142.6 ft) due east of bench mark 9376 A 1977, NE 24.44 m (80.2 ft) NE
of the NE corner of rest room facility, 28.71 m (94.2 ft) west of the centerline
of County Road 393, and 3 cm (0.1 ft) above ground level.
Tidal datums at SANTA ROSA HOGTOWN BAYOU based on:
LENGTH OF SERIES:      5 MONTHS
TIME PERIOD:           June 1992 - October 1992
CONTROL TIDE STATION:  8729840 PENSACOLA, PENSACOLA BAY
North American Vertical Datum              NAVD88 = -0.021
1 1939                                      0.714    0.545
Products available at 8729376 SANTA ROSA HOGTOWN BAYOU, FL


text:
Q: Translating text blocks with Django .. what to do with the HTML? The title might not be clear, but I don't know how else to put it..
In the Django documentation it's pretty clear how to mark a text block for translation .. Take this example:
Lorem ipsum dolor sit amet, consectetur adipiscing elit.
Donec quam sem, sodales in fringilla nec, lacinia a lorem.
Vivamus vel molestie ante.

So far so good. You just either use the trans or blocktrans tag.
But now consider this:
Lorem ipsum dolor sit amet, consectetur adipiscing elit.
Donec quam sem, sodales in fringilla nec, lacinia a lorem.
Vivamus vel molestie ante.

How should I deal with this ? Do I just wrap it in a block trans ?
Edit:
I think I've found out how it should be done ..
{% url some-view as some_view_url %}
{% blocktrans %}
Lorem ipsum dolor sit amet, consectetur adipiscing elit.
Donec quam sem, sodales in fringilla nec, lacinia a lorem.
Vivamus vel molestie ante.
{% endblocktrans %}

A: I would definitely use blocktrans. Sometimes its not possible to split i18n html text into different fragments. Blocktrans has some powerfull features:
{% url path.to.view arg arg2 as the_url %}

{% blocktrans with object.title as title and author|title as author_t %}

  {{author}}: Lorem ipsum dolor sit amet, consectetur adipiscing elit.
  Donec quam sem, sodales in fringilla nec, lacinia a lorem.
  {{title}} molestie ante.

{% endblocktrans %}

Have a look at:

*

*url template tag

*blocktrans template-tag


DURHAM, N.C. (AP) — Zacarry Douglas registered 19 points and nine rebounds as North Carolina Central romped past Delaware State 87-52 on Monday night.
Randy Miller Jr. had 14 points for N.C. Central (12-13, 7-4 Mid-Eastern Conference). Larry McKnight Jr. added 10 points. Raasean Davis had 10 points and nine rebounds for the hosts.
Kevin Larkin had 19 points and 10 rebounds for the Hornets (4-20, 1-10). Johquin Wiley added six assists. Ameer Bennett had three blocks.
The Eagles improve to 2-0 against the Hornets on the season. N.C. Central defeated Delaware State 71-70 on Jan. 14. N.C. Central takes on Norfolk State on the road on Saturday. Delaware State plays Maryland-Eastern Shore at home next Saturday.


Conveniently located east of the CBD, Zhujiang Dijing Venus kindergarten is located at No. 28 of Zhujiang Dijing Community with 5400 square meters. Dijing Campus houses 17 classes and over 550 enrolled children so far, with 20% of them from different countries, such as Japan, USA, France, etc. Dijing Campus has received many awards throughout the years. The Government Education Organization awarded Dijing Campus in 2007 and 2009 with the coveted Beijing Kindergarten Level A title. Dijing Campus was awarded top title from Chaoyang District in 2013. The Chaoyang District Education Bureau has annually praised Dijing Campus for its Infant Education program. Dijing Campus is the leader in providing early childhood education classes, offering programs for age 0-. Dijing Campus has all the certificates and paperwork to hire top of the line foreign teachers from native speaking English countries. These foreign teachers come with a professional teaching background and ensure the top quality foreign language education.
Based on child recognition and life experience theories, teachers from Djing campus develop some curricula and implement into daily lessons. Being surrounded by a proper environment allows children to get in touch with the real world, learn to cope with relationships between themselves and with the environment and primarily cultivate a sense of society.


text:
A Grand Concert Grand
By Roberta Emerson December 16, 2019 LVPAC News
Photo: Jo Ann Koopman, Linda Tinney, Jon Nakamatsu, Scott Kenison (front)
A new Steinway concert grand piano has been installed at the Bankhead Theater in Livermore and officially made its debut on Saturday, December 7, 2019 at Livermore-Amador Symphony's Winter Dreams concert. The concert included the familiar "Carnival of the Animals" by Camille Saint-Saëns, which includes two pianos in the full orchestral score.
Internationally-acclaimed pianist Jon Nakamatsu, who has performed at the Bankhead Theater multiple times, assisted in the selection of the new piano. He played several pieces on each of five possible instruments, which were compared and judged on sound and performance quality. The Steinway Concert Grand Model D that was selected (shown in video below) is well-suited to the needs of the Bankhead, which hosts dozens of performances each year requiring the use of a piano, from traditional classical, to rock, jazz and other musical genres.
The new piano replaces an earlier Steinway model which had seen significant use since 2007 when it was purchased by Jean King as a donation to the newly-opened Bankhead Theater. Given the high level of use and replacement cost, rather than purchase the new piano outright, its lease agreement allows for replacement with a new instrument in seven years.
Initial funding for the new Steinway came from generous donors, Linda Tinney and Ron and Jo Ann Koopman, allowing the piano to be delivered last week. A Bankhead Piano Fund has now been created to raise funds to cover the ongoing costs of the piano lease, tuning and maintenance. For more information on the fund or to make a donation, contact Major Gifts Officer Steve Glavan at 925-583-2304 or sglaven@lvpac.org
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Big Lawn
Catering Chinese
Discotheque party hall
Gent's Parlor
Permit Room Seating
Carrying of Membership Cards the recent past, it has come to notice that some unauthorized persons have entered the Club and used its facilities inspite of best of vigil by the Receptionist and the Security staff. Hence, members and dependents are requested to be in possession of their cards while visiting the Club.
Hon'ble members are requested to cooperate
THE EASTERN SPORTS CLUB NAGPUR, is one of the oldest club in eastern nagpur, the orange city of maharashtra .
Eastern sports club was founded in the year 1983 and is located in the heart of the city in east wardhaman nagar surrounded by widespread greenery around.
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Merry Christmas for all club members and dependents on Sunday 25.12.1018….At The Eastern Sports club 5.00 p.m. to 8.00 p.m. am onwards. Interested members & dependents can register their names …
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Pastoral Prayer for Reformation Sunday and All Saints' Day
Almighty God, Father, Son, and Spirit, Creator of the heavens and the earth, You spoke this universe by the Word of Your power, and You continually uphold it all by that same Word, and by the mighty working of Your Spirit.
And therefore we praise You and we worship You, as the only God, the only true God. You are Holy and Mighty and Gracious and Just and all Glorious. And we know this because this world and its story is full of Your glory. You framed the heavens and the earth and filled them with treasures, and when we disdained that gift and reached for our own glory, You sent us out into the world. But your grace has followed us down through the ages. And in the seed of the woman you have told and are telling an amazing story.
We give you thanks for righteous Abel who offered worship to you in faith though His brother hated him and spilled his blood on the earth. We praise you for faithful Enoch who walked with you and for Noah who was a preacher of righteousness and the judgment to come. We praise you for Abram who left his father's house and went to a foreign land on the basis of Your promises. Thank you for the faith of Sarah who laughed when you promised her a son in her old age. Thank you for Rebekah who believed the promise of God and tricked her husband into obeying you. Thank you for the faith of Jacob who blessed his rebellious sons and trusted Your promises despite all appearances. Thank you for Joseph who did not compromise with his master's wife to stay out of trouble. Thank you for the faith of the midwives who disobeyed the king's wicked order to kill the Hebrew boys. Thank you for the faithfulness of Moses though Israel was stubborn and hard-hearted. We praise you for Rahab who hid the spies and lied to the soldiers who were looking for them. Thank you for her grace and cunning. Thank you for Joshua who taught the people how to destroy cities with trumpets. And for Gideon who knew that every battle belongs to You. And we worship you for Deborah and Barak and Jael, and we praise you for Siserah's head crushed by a tent peg. Thank you for David who was a man after Your own heart; thank you for his faith and courage and for his sling and for the songs that he sang. Thank you for Jeremiah and Ezekiel; thank you for Micah and Jonah and Malachi, prophets who declared Your word fearlessly despite the consequences, despite the shame, despite their inadequacies.
Thank you for Matthew who wrote his gospel by faith. Thank you for the Apostle Paul and Timothy and Titus his disciples who were also faithful pastors and evangelists. Thank you for Phoebe who was a faithful servant of Paul and the church in Cenchrea. We don't know much about her, but she reminds us of how there were so many faithful saints in those early days of the church who suffered and sacrificed and served gladly for the sake of the Kingdom. We thank you for St. Stephen the first Christian martyr who saw our Lord Jesus in the sky and did not flinch when they stoned him to death. Thank you for Ignatius who was devoured by lions because of his love for you. Thank you for Eustachius and Germanicus and Polycarp and Justin and Irenaeus and Hippolitus and Lawrence and Alban and Sebastian, and the countless thousands of others who gave their lives willingly for the sake of Christ, who did not consider their lives more valuable than the salvation You have won for us. We praise you for mothers who watched their children burned at the stake, and we praise you for children who were faithful even to death.
We thank you for Constantine who loved you and ended the persecution of Your people. We thank you for Athanasius and Augustine and Ambrose and Leo and Gregory. Thank you for Boniface and Bede; and for all those nameless scribes who copied out the Scriptures faithfully over the centuries so that we might have them today in our hands. Thank you for Thomas Acquinas and John Huss and Wycliffe and Calvin and Bucer and Luther. And thank you for Luther's wife, Katie. We praise you for Cranmer and Hooper and Latimer and the many faithful Huguenots who were slaughtered for their love of the cross. We give you thanks for John Bunyan and John Foxe and William Carey and George Whitefield and John Wesley for their faithful proclamations of the gospel. We praise you for Hudson Taylor, Gresham Machen, Jim Eliot, C.S. Lewis, G.K. Chesterton, Alexander Schmemann, Bessie Wilson, and Betty Appel.
We praise you for all Christian wives and mothers who have offered their daily labors to their husbands and children with cheerful love of Christ. Thank you for how they have given of themselves in so many small ways rising early, staying up late, making meals, doing laundry, teaching lessons, disciplining, and loving, pouring themselves out, serving gladly, offering their bodies as living sacrifices to you. And we bless them now before Your throne and we give you thanks and praise for them. Thank you for faithful children down through the ages who image what we must become to enter the Kingdom. Thank you for peanut butter and jelly smears on their faces. Thank you for their prayers and their lessons. Thank you for their exuberance. Thank you for the gift of faith you have bestowed upon them. And thank you for the millions of little ones that we have not yet met but who rejoice around Your throne in glory. Thank you for the poor, the sick, the outcasts, the mentally and physically disabled. We thank you for your people who make us laugh, thank you for those who tell stories, thank you for those who remember and help us remember. Thank you for all honorable occupations. Thank you for hard, honest work. Thank you for secretaries and auto mechanics, thank you for writers and missionaries, thank you for doctors and nurses and accountants and artists. Thank you for teachers and deacons, thank you for coaches and architects and pilots and janitors and senators. We praise you for your people in China and Russia and Egypt and Ivory Coast and Columbia and Mexico and Finland and Italy and France and Iraq and Afghanistan and Myanmar. We thank you and we praise you for all your saints, all your faithful down through the centuries, and we praise you for those who are still yet to come, that innumerable company of saints yet to play their part on the stage. We thank you that in the gift of the Spirit you have rushed us up into the heavenly places and that by Your mighty working we are united to all your saints throughout time and space and that in a mystery we are bound together in Christ.
Our gracious God and Father, we are undone by your goodness, we are glad, and we are deeply grateful to you. But we are most deeply thankful for our Lord Jesus Christ who is the Holy One of Israel, the One who has been anointed with the fullness of Your Holy Spirit, the One in Whom all saints find their rest. We praise you for our Lord Jesus Christ who is the only begotten Son of God and who is the seed of the woman come to crush the serpent's head. And we give thanks to You for all Your people chiefly because in them we have seen Christ manifested. For You have poured out His Spirit on all flesh, and You have begun to remake this world by Your wonderful grace and love.
And so we worship You now, Father, Son, and Holy Spirit, for You are worthy of all glory and praise, unto ages of ages. Amen!
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Katiebdit says
Thank you, Pastor Sumpter – this is so very uplifting and glorious in its reminder of our place in God's story of His people. I'm going to print this, and save it as a family prayer for All Saints Day.
DanaeL says
This was a very uplifting prayer, thank you so much. I will be coming back to it again and again.
As weird as it may sound, I thought this prayer was great …


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Paul has a decade of software development experience and has worked with Trillium since 2011, joining full time in 2015. He has a passion for designing effective and pleasing user experiences while implementing highly technical and maintainable solutions. He is the lead front-end developer and primary user experience designer for Trillium's GTFS Manager software and contributes to Trillium's mapping and website projects. He's also an accomplished visual artist who has exhibited work locally and nationally.


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Redefining the Holocaust: Israeli author Michal Govrin offers insight for survivors' families
Alana Blum
Section: Features
Michal Govrin, an acclaimed Israeli writer, visited Brandeis this past week to discuss her book, "Hold on to the Sun." Her newly translated book presents a collection of short stories and essays in which Govrin explores her identity as the daughter of a Holocaust survivor. Her words redefine what it means to live in a post-Holocaust world. As the granddaughter of Holocaust survivors, Govrin's well-articulated thoughts certainly helped me come to terms with my own family's story.
Throughout Govrin's speech, she spoke about "cracks in [her] existence," which she was able to look through. She explained that as a young Ph.D. student in Paris, she was finally able to face the legacy of her mother's past. She had to come to terms with the fact she once had an older brother, who was murdered during the Holocaust at the young age of eight. Through literature, Govrin is able to express these moments of deep revelation.
As part of Govrin's visit to Brandeis, she was invited to speak to several small classes, including my Israeli Literature and Culture class. In preparation for her visit, each student was given a copy of "Hold on to the Sun." One essay in particular, titled "The Journey to Poland," helped me shed some light on my own family's story as I began making connections between Govrin's past and my own.
"And what about Mother's shrouded story? Details continued to join together in fragments. For years, here and there, she mentioned events … I listened when she spoke, and she spoke little. Never did I 'interview' her; never did I ask. I respected her way of speaking, as well as her way of being silent … I learned from her the lesson of telling in silence," Govrin writes.
I took these words as a lesson about my own grandfather's silence. For as long as I could remember, he never spoke about his past. One evening, as he was sitting with my sister and I, he shocked both of us as he opened up for the first time about his experiences. Like Govrin's mother, he shared his story as a series of separate events. Through his fragmented story, I began connecting the dots of his past.
After the Nazis invaded Poland, his family was forced to close their family-owned store. Starving and penniless, he and his siblings decided to leave their hometown of Krakow. They left their parents behind, not expecting never to see them again. Perhaps naively, and perhaps out of curiosity to hear more, I asked my grandfather why he hadn't forced his parents to come with him. After a moment of silence, he whispered, "Yes. That is the question."
For the first time, I felt as if I could truly see him. He was no longer my elderly grandfather but a man forever tormented by a decision he had made as a teenager. I could only imagine how he must have fruitlessly replayed scenarios in his mind in which he had forced his parents to join his escape.
Through Govrin's essays, I'm now able to understand this memory. I've come to realize that I've learned more from his silence than from his words. His silence after I had asked that naive question and his silence after he had responded together told me more about his suffering than his stories ever would.
Each Holocaust survivor has a different story to tell, and their children and grandchildren each inherit different memories. Nevertheless, I still began focusing on the similarities between Govrin's story and my own as I continued reading Govrin's essays. As I read about the murder of Govrin's older brother—a brother she never met—I again stopped to connect the dots of my past. This time, I focused in on my mother. I had recently learned that my grandparents had a son who had died in a displaced persons camp following the Holocaust. This was a baby that neither my mother nor her siblings had ever met. Although I knew about this child's death, I don't think I truly understood its meaning until reading Govrin's essays. It's difficult to understand that one's parents had another life before you came along. It's even more difficult to comprehend the thought of them having another child before you. For Govrin and my mother, this is something they would have to come to terms with.
Govrin sums up her search for understanding in her poem "Won't You See;" "… On my cheeks still lie the curls of my brother. In whose death I live. His breath is the wind of my hair …"


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Collapsing The Horses: An Interview with Brian Evenson
Growth has been on my mind lately. How do you choose to evolve in art, especially in writing? I say it constantly myself: "I liked the early stuff."
It's partially bullshit posturing, but it's also true: An artist's early work seems to take more risks, seems to care less, spends less time crafting in response to a market, an agent, a commerce.
Then, here comes the exception: Brian Evenson.
His latest collection of short stories, A Collapse of Horses, was released alongside three of his earlier novels, which stand up even today. The release, from Coffee House Press, feels like the Evenson Reader we've all been waiting for.
Through those earlier novels, Evenson had already proven himself a master of tension and terror. So I'll admit I was nervous about the new collection, waiting to be taken, maybe, to a place I had already been before.
Instead, I got a textured, nuanced horror, an ultra-evolved Evenson, a writer who began to write around the danger in his stories, letting it fester at the periphery. His characters enter mysteries and do not escape from them unscathed – but the resulting brutality is almost a hint, a nasty whisper, a shadow behind you.
Even better, at the line level, Evenson has reached a new height. Throughout the stories, each line is crisp, evil, textured – and his final sentences will echo in your brain for days.
I went to New York City to interview Evenson in a bar before he spoke at Columbia University. In person, he was warm and generous – and I was nervous. We discussed A Collapse of Horses, writing, psychology, and dreams.
A Collapse of Horses feels a bit different from your other work — the danger is more at the periphery, the language is sparse. That somehow feels more horrifying during a reading of the book. How did writing this book feel different than your other work? Were you inspired by anything new or different?
That's a good question. Often when I'm putting a book of stories together, I have four or five stories that I feel fit together. Then I start to write towards completing it.
The key story for that was the title story, "A Collapse of Horses." I had this experience where my wife and I, before we were married, were walking through Golden Gate Park. We came across this horse paddock in the center of the park. These horses were just lying on the ground — and I'd never seen horses just lying on the ground before, despite growing up in rural Utah.
So this idea of knowing and not knowing, this idea of reality slipping out from under you was key for that story. And it became key for many of the other stories. The latest story in that collection, the one I wrote very last, was probably "The Blood Drip," which ends up responding to the story "Black Bark," which was in Caketrain. And that idea of having a story that was using aspects from another story and taking them apart was key as well. It helped shape the collection. But I added that story literally when the book was going to press.
Do you find yourself often writing pieces that respond to each other? Two stories that are halves to the same whole?
I often have this thing where I've sold a collection and then feel like there's something else I want. And usually it is like Chris Fischbach at Coffee House — I must drive him crazy. I literally edit and add stories until the last possible moment. I've done it with every book I've done with them.
Maybe he's used to it by now?
He might be. I think he knows by now it's going to happen. But I think it's really just time — having a little bit of time away from a project and having something happening in the back of your head lets you figure out what needs to be there. I don't consciously sit down and figure that out — but there's something as I start to write a story, I can feel it begin to talk to another story.
That process sounds more familiar to me than others. There are all these philosophies about writing — you have to write a page a day, you have to map out every story, every minute. I wonder what things guide you, if any?
I don't map out my work, although I can.
Under the name B.K. Evenson, I do these contract novels where I'm taking someone else's world or idea and developing something. For those, I map them out because that's how you sell those. You have to have a plan. They write very quickly because of that, because I know where they're going to go.
But it's also less interesting to me. If you know where something is going to go, in a way you don't have to write it. So especially with short stories, I don't have a clear plan. It's often about halfway through the story that I start to get a sense of where it's going to go and what's going to happen.
The psychology of your characters, particularly in A Collapse of Horses, stood out to me. Your characters each have their own mindset, and we're often put in a position of watching them puzzle out the scenarios they are in. I know you've spoken before about not knowing how a story is going to play out ahead of time. That always makes me think of Donald Barthelme's Not Knowing, although I know you're coming from a more sparse, tense place. When you approach your characters, do you have them fully formed or are you more often just letting them play things out?
I feel like I do have them figured out. One thing that happens for me is that I have some ideas of how they interact with one or two people. Then, like with life, very quickly you get an idea of someone and how they are, then that begins to change as you begin to know them a bit more.
I would say that's the case with characters too. I start out feeling like they are an acquaintance, and then by the time I'm done, I feel like I know them inside and out. But I do think that since so much comes out of myself and my subconscious, I probably do know them better than I actually think I do when I begin. But there is something that is satisfying about that discovery for me in terms of writing.
So you're not doing a character sketch per se?
No, I don't sketch out characters beforehand. The times I've tried to do that, I don't end up using those characters because it's like — there they are. I don't need to worry about them anymore.
It stops being a process of discovery.
Yes, quite a bit.
At a bigger level, there's a lot of symbolism happening with A Collapse of Horses. There are objects and animals you chose throughout this collection that feel important. I felt myself calling them out as I read it — the gun, the horse. Sound also became really huge — whispers, heart beats. I was curious about those choices.
I think it's mostly impulsive on my part. There are parts of a story I will try to augment, but I won't go back through and add anything like that to make the stories more cohesive. But I think it is part of that creative process — suddenly, I'll hear something or I'll write something and realize there's an echo with something else.
When I wrote "The Blood Drip," when I started referencing "Black Bark," I thought: Can I do this? Can I get away with this? But subconsciously, I was just being driven to write that.
A Collapse of Horses was released in a four-book compilation alongside three of your novels — Father of Lies, The Open Curtain, and Last Days. Why did you decide to release these together? What was it like to revisit the older work?
Revisiting those books, they're all pretty different, I think. I've never had that experience before, doing the final proofs of a new collection while having to re-read simultaneously three books and look at them.
Father of Lies feels to me like a book that was written by someone else. I like it, but I feel as if a very different Brian wrote that. The Open Curtain, not so much. There is stuff going on there with the shifting reality, schizophrenia of the character, and this sort of puncturing of reality that's all through my more recent work.
Last Days, I think, is just a crazy book. I really love it, but it's so much more over the top than the stories. It's a curious thing to read next to A Collapse of Horses, which as you say is more restrained in some ways. It's much moodier, and there's very little that's aggressively gory about it.
It's strange — this idea of starting off your earlier books with this more aggressive horror, then kind of mellowing into this other type of horror that's more suggestive.
Probably I'm just getting old.
Ah, I'm sure it's not that. So did you revise those books again?
I didn't find myself doing too much of that. I feel like it's very hard to revise a book as many years after those were published. I think Father of Lies was published in 1998. The others are a little more recent, but they still felt like they were enough in the past that I didn't want to deform them by trying to make them more relevant. I did do some tweaking here or there.
Was this the first time you'd read those specific novels in a while?
I hadn't read them until that process. It was interesting. My sense of Father of Lies was that it was a very different book than it ended up being. One interesting thing about going back to it was that I began to realize that my interest in psychiatry and psychology was really cemented almost 25 years ago now.
I've always had some interest in psychology. And I've been very skeptical of Freudian psychiatry and psychology. I've also been skeptical of the notion of the unconscious. Not to say we don't have some kind of interior life, but I think the way that gets defined and discussed is not always convincing to me.
That was something that partly went back to my reading of Freud, but also to my reading of [Gilles] Deleuze and [Félix] Guattari. It's been something that's been under my work in a lot of ways.
You mentioned there are definitions of the subconscious that you're not on board with. What are they and why do they leave a bad taste in your mouth?
The whole structure of ego and ID, and the way it is parsed out — I'm just not sure about it. I tend to think the unconscious is much more embodied than we think of it as being. Rather than being something that resides deep within the head, it's more like something that resides on the skin, like sweat. It's something that's much more physically present in some ways.
Wrapped up with perception, almost?
Yes, I think it is deeply wrapped up with perception. I'm teaching a class called "Narrating Madness" right now which is about the way in which mental illness is depicted in novels and graphic novels. For that, I ended up reading Freud and Breuer's early case studies on hysteria.
One thing that's really interesting about those early studies is that they are before the notion of psychoanalysis has really been developed. So their sense of how the mind works and how it comes together is really different.
Breuer is incredibly interested in hypnosis as a way in which you manipulate someone. So you open them up with hypnosis, you find this memory that is blocking them, you have them live through it again, and then…
They are "freed" from it.
Yes. And Freud tries to do this too, but at a particular point, one of the people he's working with says: You know, I feel like there are these gaps and I'm just not remembering certain things. And Freud's response was, "That's how I knew it was working."
Whereas, I think the other way to think about that is: You're really just taking someone's mind and taking chunks of it out. So how do you balance those things out?
Another interesting part of the early studies is that it becomes clear that the reason Freud doesn't use hypnosis, and uses the Talking Cure instead, is because he was not a good hypnotist.
There's an early period in the transition where he'll put his hand on a patient's forehead and say "You will remember!" in this very authoritative voice, trying to make it seem like hypnosis. And it kind of works — so that's the start of the "talking cure."
I think a lot of the notions of how the mind works is developing partly from that. I find Artie Lange, who is insane in some ways, more convincing. His notion of the way the unconscious works is more based in schizophrenia and his intensive case studies of schizophrenic patients. And those are really incredible case studies.
He talks about the way in which schizophrenics begin to replicate people around them and internalize them. So you have these kind of partial objects that build up a sense of self. With schizophrenics, that self just doesn't appear.
It's also the degree to which the subconscious or conscious mind is either formed or not formed by the individual or formed by a larger family dynamic.
How do you view these in the context of diagnosis?
As we're given these models for how the mind works, we can kind of adapt ourselves to work with them. The DSM-IV (The Diagnostic and Statistical Manual of Mental Disorders, 4th Edition) has these descriptions of illnesses. Once DSM-V came out, they suddenly had this big category that was for borderline personality disorder.
And suddenly everyone had borderline personality disorder.
Yes. And that may be partly that they're not looking at it properly to begin with — but it also may be that once you're told what your symptoms mean, you play to that.
So what books are you reading for this course on Narrating Madness? I'm curious what you picked for that.
I go back and forth between looking at those case studies, fiction, and graphic novels. There's a graphic novel by Nate Powell called Swallow Me Whole, which I think is actually really terrific. That's about schizophrenia. Then we also read another graphic novel, Ellen Forney's Marbles, which is a kind of memoir of manic depression. We did Shirley Jackson's The Bird's Nest, which I liked but I don't think they were crazy about. I might not teach that one again. We did a few stories, one by Martin Amis called "Insight at Flame Lake." We looked at some of the DSM-IV stuff, the Freud and Breuer, and Lange's schizophrenic studies.
That sounds like a great class, especially layering in the case studies. Outside of class, is there anything you're reading right now that's inspiring you?
I just read a novel by B Catling which is called The Vorrh. I thought that was just great and very, very strange. It's like a fantasy novel in which you have nothing recognizable from the galaxy of fantasy. It begins with a man whose wife has died making part of her body into a bow and taking the bow into the forest. It's very strange.
It's a very literary fantasy novel. I think anyone who likes fantasy novels is not going to like it. It's a weird combination of French Symbolist stuff and this fantastical forest. It's more weird and surreal.
About your own work, we talked big picture. But I also wanted to discuss sentence structure. Your sentences are so crisp and clean. And your final sentences often feel like a nail in the chest. What's guiding that? How do you achieve that last moment?
I do a lot of revising on the line level. So especially with the final sentence, it might be revised a half dozen times before I find it to be just what I want it to be. A lot of the revision I do, the first time I write the draft of a story, I'm pretty interested in getting the structure in place. I want the shape to be there, and to a greater or lesser degree, I can do that. All the drafts after that are really about perfecting the language and making the flow right, making the rhythm work well, making the language augment what's going on with the story.
Do you always find your last sentence at your desk? Or do you find it walking around? I've always had this image of you in a supermarket suddenly struck by the perfect last line for some reason.
Often, when I end a story, I think: That's kind of an OK last sentence, but it's not quite right. And then it will come to me in strange ways.
The story will sit in the drawer for a week, then I'll look at it and the line will come out. But it can take me a long time to get the last sentence where I want it. Even in page proofs, I find myself revising as much as they will let me.
It's a question of hitting that balance where you want to hit the balance that it's working as well as it possibly can without feeling forced or worked. So trying to get a sense of effortlessness even though you're expending an incredibly amount of effort to get there.
I think it's a similar type of release, dreaming and writing. I feel like I've trained myself to always be subconsciously processing things. In fact, when I'm writing really well, I don't dream very much. When I'm not writing very well, I dream a ton. So there's something about the process that's very similar for me.
What do you usually dream about?
I have lots of dreams that are architectural dreams for some reason. My mom is an architect, and that's probably why. But I have a lot of dreams where I'm moving through different kinds of spaces. That's the most common, recurring dream I have.
Tonight you'll be speaking at Columbia University. You mentioned that you'll talk a bit about how fiction can bend. Can you tell me a little bit more about that?
I'm talking about something I like to call Dissective Nostalgia. Fiction does this thing where it takes these objects from our past — whether those are from individual pasts or cultural pasts — reforms them into language in a way that in some senses rearranges them, destroys them, and makes them something else. So I'll talk a bit about that.
I think about that a lot in regard to my own work. The moments that refer back to my past are moments that probably no one would notice in the work. But those moments end up accelerating the work in some ways.
It's part of just thinking about to what degree there's a relationship between fiction and life. There are all of these ideas about fiction being an imitation of life, or fiction being a reflection of life. There's this notion that we see life through the words that are the window. And I don't think any of those are really adequate exactly. We do draw on life all the time, but in a way that transforms it.
The idea of fiction as a direct replica of life is so boring to me. It feels so staid — like a diary entry about what you bought at the store that day.
I like living life — but why do I want to live a secondary version of that? Fiction should be able to offer something that life doesn't offer. I also think fiction is an intense experience. We have an intense relationship to it, or we can have. So a lot of the writing I'm doing is trying to bring that out.
Tags: A Collapse of Horses, Brian Evenson, Coffee House Press
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In September 1995, Senior Chief George reported to Naval Air Technical Training Center, San Diego, California where he converted his rating to Warfare Operator and followed on with training to Fleet Replacement Squadron, Jacksonville Florida.
In September 1996, Senior Chief George served as Squadron NATOPS Instructor at Patron Squadron 40 in Whidbey Island Washington, while making four deployments to Asia and Masira Oman with the Fighting Marlins.
Senior George then reported tot he P-3 Replacement Squadron, VP-30 serving as Fleet NATOPS Evaluator, Warfare Division Leading Petty Officer and Operations Leading Petty Officer. He developed the World's most dynamic War Fighter.
In 2008, he reported onboard Patron Squadron 45, his most successful and dynamic tour. Made four deployments including a very successful stint in Tallil Air Base Iraq, where he had multiple missions in support of Operation Iraqi Freedom with Combat TWO.
Upon completion of his Patrol Squadron 45 tour, he reported to CPRW-11, where he was selected to Senior Chief Petty Officer and served as CPRW-11 Training Leading Chief Petty Officer, responsible for the training and qualification of seven different Teams and over 1,000 Enlisted and Officer personnel.
February 2012, Senior George reported back to Patrol Squadron 45 where he was selected to Senior Chief Petty Officer and served as AW Shop LCPO and Operations LCPO while making a deployment to Kadena Okinawa.
In May 2014, he reported to Squadron 10 as the Operations LCPO, and Senior Chief, while making a deployment to Isa Airbase and serving with the Fleet's Finest Senior Chief Petty Officer's in the Navy, "The Shady 8's"! He directed the Operational and Tactical Employment of the World's finest fighting Force, with a 100% success rate. As Lead Operator, his Team completed over 1,000 Mission essential sorties and always Combat Ready.
In March 2015, Senior George reported to Naval Recruit District Dallas, Oklahoma City region as Regional Navy Special Warfare Director/Scout and Force Protection Advisor. Single handily changing the way Homeland Security was conducted in this Region.
Senior Chief George is one of the most decorated Operators in the History of our Country. He has made 12 Combat Deployments to the Middle East while maintaining and leading Teams in over 1000+ Combat Missions.
CEO - QB IMPACT
One of the largest Football Academies in the Nation. Currently Training over 250 Athletes across 12 different States, with satellite offices in Arizona and Florida.
Athletes ranging from the NFL, College, High School and even the Elite Youth Level of play.
Thomas George is a graduate of Kaiser and St. Louis High School in Honolulu, Hawaii, University of Arizona, and played two years in Europe. In 1994, he was the league leader in passing yards and touchdowns.
Coach George spent 8 years in the State of Florida as a High School Quarterback Coach, 4 years as an Elite 11 Regional Quarterback Coach and 2 years as Quarterback Coach for DeBartolo Sports.
In 2013, as the Passing Coordinator, Coach George took Clay High School to the Florida 5A State title game and led in Offense in the State of Florida.
Coach George spent 2 years as a Quarterback Coach at Jones High School, OK.
In 2015, Jones achieved as 13-1 record advancing to the Oklahoma State semi-finals. In 2016, Joens achieved a 15-0 record and won the Oklahoma State Title and Coach George trained the 2016 Oklahoma Gatorade "Player of the Year".
Coach George coached in multiple All-American games including the Shrine Bowl and Florida-Georgia All-American game. He also has assisted college camps with QB development including the University of Florida, Florida State, and Ohio State University.
Coach George is the Owner and Head Coach of one of the Countries largest Football/Quarterback Academies and has developed multiple College and NFL Athletes at a variety of positions.
Education and Coaching
CONTACT COACH GEORGE


According to former Ivy league admissions dean Sara Harberson, Asian-American students could be at a disadvantage when applying to highly competitive institutions.
Formerly an associate dean of admissions for the University of Pennsylvania and dean of admissions and financial aid at Franklin and Marshall College, Harberson recently wrote an op-ed in the Los Angeles Times in which she discussed the many reasons for the rejection of a college application. In many cases, students who do not have a tag, or as Harberson refers to it, "the proverbial golden ticket," connected to their application hit a roadblock.
According to Harberson, students with tags include "recruited athletes, children of alumni, children of donors or potential donors, or students who are connected to the well connected." She goes on to say that Asian students typically do not hold such tags, nor do they typically make use of any connections they may have, whether it be in the form of a politician, chief executive, or other leader speaking on behalf of an Asian American student, writes Peter Jacobs for Business Insider.
Harberson goes on to discuss the "holistic admissions" standards used by many elite colleges, which allows them to consider race when admitting students to the school as long as there are no strict quotas. Sometimes considering race can work against students.
Gabrielle Karol for News10 reports that the increasing competition has resulted in many college admissions counselors beginning to coach Asian-American students to come off as "less Asian" in their applications. The idea comes as a belief that Asian students are competing against themselves because elite colleges hold quotas on Asian students.
The discussion comes at a time when the use of race in college admissions is at a critical point. A federal complaint was recently filed against Harvard University by a coalition of Asian-American advocacy groups, claiming that the school makes use of racial quotas. Similar lawsuits were filed last year against Harvard and the University of North Carolina at Chapel Hill, North Carolina by the group Students for Fair Admission.
"Students for Fair Admission's complaint highlights data and analysis that strongly suggests that white, African-American, and Hispanic applicants are given racial preferences over better qualified Asian Americans applying for admission to Harvard," the group said in a press release.
Harvard remains insistent that the policies used by the university are within the law and that applicants are reviewed on an individual basis using a holistic approach.


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German parliamentary coalition agreed to allocate another 10 billion euros to help the economy
German economy recovers from devastating effects of coronavirus pandemic.
The parties of the German coalition agreed on Tuesday to expand measures to mitigate the effects of the coronavirus crisis on Europe's largest economy. For these purposes, 10 billion euros will be allocated. Proposed measures include extending shorter working hours and freezing company bankruptcy rules..
In the second quarter, the German economy contracted at the fastest rate in its history. The government is desperate to mitigate the impact of the pandemic as much as possible, especially ahead of the fall 2021 elections.
«Coronavirus remains a reality and a problem», – stated Annegret Kramp-Karrenbauer, leader of the Conservative Christian Democrats (CDU) after seven hours of negotiations with their center-left coalition partners Social Democrats (SPD).
«We agreed today that we will expand important and effective measures on how we will fight the coronavirus», – she added.
Key decisions included extending the short-term employment subsidy, which expired in March 2021, until the end of next year, and extending the interim assistance for small and medium-sized companies until the end of this year..
Short-term employment saves jobs by allowing employers to cut employees' hours while keeping them employed.
Minister of Finance Olaf Scholz, a social democrat, said in an interview with the state broadcaster ZDF that next year such measures could cost the budget up to 10 billion euros.
«The goal now is to stabilize the economy, "Scholz said. – The fact that we acted quickly and on a large scale led to the fact that Germany weathered the crisis much better than other (countries)».
The parties also agreed to extend bankruptcy prevention measures by allowing firms facing financial difficulties due to the pandemic to postpone filing for insolvency until the end of the year..
German Chancellor's Government Angela Merkel also tabled a large stimulus package worth more than € 130 billion that it hopes will help the economy return to growth.
Coalition parties also agreed on electoral reform aimed at reducing the number of deputies in the lower house of parliament of the Bundestag.
Trump sponsors receive government aid
World governments pump trillions into their economies
Pope harshly criticized the global economy
Almost $ 20 trillion has already been spent on supporting the global economy
Tagsallocate anotherallocate another billionanother billionanother billion eurosbillion euroshelp economy


Hey! Thanks for posting this!! I recently had an olypmic booklist on my blog and this was one I had hoped to get ahold of. Also thank you for sharing some illustrator's insight into what his training was like then. I think he is taking a lot of negative heat this go around-- cmon people he's still an amazing athlete and his accomplishments have been amazing!!
Thanks, Whitney! Hope you enjoy the book! It was a lot of fun to work on it.


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The Nahrein Network
Achievements 2017-21
Past Visiting Scholars
Ali Al Makhzomy
Scholarship dates: 3 September – 31 October 2018
Academic hosts: British Library, Ashmolean Museum, British Museum, Reading University and World Monuments Fund
Mr Ali Al-Makhzomy is the founder of Bil Weekend Tour Company in Iraq, which caters to local tourists.
Mr Al-Makhzomy was awarded a research grant by the Nahrein Network and partner, the British Institute for the Study of Iraq, to undertake research on developing new methods to strengthen Iraq's tourism infrastructure.
Bil Weekend, which means "At the weekend", is the first tourism start-up operator in Iraq. It's aim is to revive tourism in Iraq and then expand into worldwide destinations while promoting cultural tourism in heritage sites, sport tourism and adventure trips. All of this is done by means of social media.
Through the Visiting Scholars Scheme Mr Al-Makhzomy aimed to learn how to develop cultural and heritage tourism in Iraq, especially through the development of resources such as digital guidebooks and audio smart systems. It was a great opportunity to network, learn about new methods, and to discover how heritage sites in the UK face challenges and opportunities in the protection and promotion of cultural tourism.
Read more about Ali's placement on the AHC website
Listen to Ali talk about his work to Dr Mehiyar Kathem on our Soundcloud podcast
Scholarship timetable:
3 September 2018: British Library, hosted by Daniel Lowe
11– 21 September 2018: Ashmolean Museum, hosted by Dr Paul Collins
25–26 September 2018: British Museum
1–5 October 2018: Reading University, hosted by Professor Roger Matthews
8–31 October 2018: World Monuments Fund, London


text:
Q: Pass query result from rails controller to javascript I have a project which is based on ruby on rails and js in front end.In one of the controller I get the query result @sites which consists of many rows like
id         amount
NewYork    200
Seattle    10000
Toronto    30
...        ....
Now I want to pass this arrays of objects to the front end which is js.In the javascript, I want to get the amount of every id.So what should I do? To make it in json? Or pass it by html?
Thanks so much.

A: It depends on how you have the javascript configured to receive payloads. I have no clue how you have the front end shaped to receive it. Are you using a framework such as Angular or Ember?


text:
Q: Is there an equation for the acceleration of gravity in a disk of uniform density? I tried to solve this problem by entering this monster of an equation into Wolfram:
$$G\rho\left(\int_{-R}^{2r-1}2\int_{0}^{\sqrt{R^{2}-x^{2}}}\frac{x-r}{\sqrt{\left(x-r\right)^{2}+y^{2}}^{3}}dydx+\int_{-2r-1}^{R}2\int_{\sqrt{\left(1-r\right)^{2}-\left(x-r\right)^{2}}}^{\sqrt{R^{2}-x^{2}}}\frac{x-r}{\sqrt{\left(x-r\right)^{2}+y^{2}}^{3}}dydx\right)$$
where $G$ is the gravitational constant, $\rho$ is the disk's density, measured in kilograms per square meter, $R$ is its radius, $r$ is the distance from the center, and $x$ and $y$ are position values inside the disk. The thickness of the disk is negligible. It didn't give a result. Is there a simple equation, or is it as nasty as you'd expect the result of an integral like this to be?


text:
Hurricane Florence: Can Chihuly exhibit at Asheville's Biltmore Estate withstand storm?
The exhibit of glasswork by Dale Chihuly is on display into October at the Western North Carolina tourist attraction.
Hurricane Florence: Can Chihuly exhibit at Asheville's Biltmore Estate withstand storm? The exhibit of glasswork by Dale Chihuly is on display into October at the Western North Carolina tourist attraction. Check out this story on greenvilleonline.com: https://www.greenvilleonline.com/story/news/2018/09/12/hurricane-florence-biltmore-can-chihuly-exhibit-survive-storm/1277070002/
John Boyle, Asheville Citizen Times Published 9:12 a.m. ET Sept. 12, 2018 | Updated 9:14 a.m. ET Sept. 12, 2018
Artist Exhibtion:Chihuly at Biltmore
A large blown glass orb titled Sole d'Oro in the center of the lawn in front of the Biltmore house which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
One of the pools at the Biltmore estate's Italian Garden embellished with a piece titled Palazzo Ducale Tower which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
The pools at the Italian Garden at the Biltmore estate, where pieces titled Float Boat and Niijima Floats are on display which are part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
A display titled Neodymium Reeds with Fiori Verdi in one of the pools at the Italian Garden at the Biltmore Estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
A display titled Fiori Boat in the Italian Garden on the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
A display of glass blown work in the Pergola on the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt / Citizen Times / Artwork courtesy of Chihuly Studio
A display of glass blown work in the Pergola on the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
Displays of glass blown work in the Pergola on the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
A display titled Red Reeds in the Shrub Garden on the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
A tower of blown glass within the Walled Garden on the Biltmore estate, titled Electric Yellow and Deep Coral Tower which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
A tower of blown glass titled Paintbrush Tower within the Walled Garden at the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
A display of blown glass titled Cattails and Copper Birch Reeds in front of the conservatory at the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt / Citizen Times / Artwork courtesy of Chihuly Studio
A piece titled, Laguna Torcello II, in the Winter Garden in the Biltmore house, which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt / Citizen Times / Artwork courtesy of Chihuly Studio
Artist Dale Chihuly at the Biltmore house where an exhibition of his work titled Chihuly at Biltmore opened on May 17. Matt Burkhartt / Citizen Times / Courtesy of Chihuly Studio
Artist Dale Chihuly in the Winter Garden in the Biltmore house where one of his pieces titled Laguna Torcello II is on display which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
One of three blown glass pieces titled Burnished Amber, Citron and Teal Chandeliers inside the conservatory at the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt/Citizen Times/Artwork courtesy of Chihuly Studio
A tower of blown glass titled Paintbrush Tower within the Walled Garden at the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work. Matt Burkhartt / Citizen Times / Artwork courtesy of Chihuly Studio
A display of blown glass titled Cattails and Copper Birch Reeds in front of the conservatory at the Biltmore estate which is part of the Chihuly at Biltmore exhibition of a collection of Dale Chihuly's work.(Photo: Matt Burkhartt / Citizen Times / Artwork courtesy of Chihuly Studio)
ASHEVILLE - Hurricane Florence is approaching, and Biltmore Estate is home — for a few more weeks — to dozens of pieces of glasswork around its grounds, an exhibit by artist Dale Chihuly.
What is the estate doing to protect it?
Biltmore was not offering an enormous amount of detail about the pieces, but spokeswoman LeeAnn Donnelly did sound confident the Chihuly glasswork sprinkled through the estate's formal gardens will be safe.
More: Hurricane Florence: What we know about forecast and projected path of the storm
"About the Chihuly exhibition, we have done our due diligence to protect the pieces," she said Tuesday. "For example, we have ensured that there are no tree limbs hanging over the pieces. We are making every effort to protect our guests, employees, and whatever we can do to preserve Biltmore."
RELATED: Glass floats: Chihuly debuts historic exhibit at Asheville's Biltmore Estate
Earlier this summer, Donnelly responded to concerns about the ability of the art to survive a hailstorm, checking in with Chihuly's public relations folks.
"The pieces are really glass, and are built to withstand the forces of nature," Donnelly said. "The Chihuly team has procedures for replacing elements on the rare occasions of damage."
The exhibition at Biltmore runs through Oct. 7.
Read or Share this story: https://www.greenvilleonline.com/story/news/2018/09/12/hurricane-florence-biltmore-can-chihuly-exhibit-survive-storm/1277070002/


This game can hit only one fleet. Before the race, you can choose one of 20 legendary race cars. And they are all very different. Also in the game has 12 tracks with different weather conditions. There are several game modes. In addition to the test and the race can also participate in races Shootout. Conditions and the level of complexity of each race you can also choose to your liking. Controls: Arrow Keys - move, A / Z - transmission, B - rear view, V - camera, R - spawn, N - nitro, X - restart, O - options, M - choice of machine, H - help.


Calçots with romesco sauce, a winning combination!
The first time you try calçots you won't know whether to love them or hate them… but these long, thin sweet onions really come to life when served with romesco sauce! Most people end up coming back for more. Calçots are cooked over hot coals and then served with a traditional sauce made with tomatoes, almonds, hazelnuts, red peppers, bread, garlic, rosemary, salt, vinegar and olive oil. They are usually followed by a selection of barbecued meat and topped off with a choice of delicious desserts, including, of course, Catalan crème brûlée.
Now we've whetted your appetite, all you have to do is decide whether to throw your own calçotada at home or head out to a restaurant. The first option is great for barbecue fans keen to spend a day with family and friends. If you'd rather not get your hands quite so dirty and have a full menu of delicious food served up to you at the table, check out our selection of the top places for a calçotada in Catalonia. Bon profit!
Get ready for a real feast. After a calçotada set menu for lunch, you won't be wanting much for dinner!
El Jardí de l'Àpat (Carrer de Albert Llanas, 2, Barcelona) If you want to eat calçots while taking in the best views of Barcelona, this is your restaurant! Very close to Park Güell, for just €32 you'll get a selection of barbecued meat, tomato bread, crème brûlée or nougat ice cream with hot chocolate for dessert, and of course a tile piled high with calçots (you can even come back for more)! House wine, soft drinks, cava, coffee and water are all included.
Antic forn de Villaroel (Carrer de Villarroel, 182, Barcelona) A great option for a calçotada right in the centre of Barcelona at an unbeatable price. For €29 you get piles of calçots with sauce, tomato bread and a main course of mixed grill with pork sausage, lamb, beans and artichokes, or grilled sirloin steak with Roquefort sauce or fish of the day. Those with a sweet tooth can choose from crème caramel, mel i mató, ice cream or crème brûlée for dessert. Drinks, coffee and herbal teas included. What more could you ask for?
Can Rectoret (km 4, Carretera de Sabadell, Santa Perpètua de Mogoda, Barcelona) Only half an hour from Barcelona is one of the best restaurants for calçots: a 16th-century Catalan farmhouse known as Can Rectoret. It's also one of the few places to offer a choice of basic calçotada (€30) or the full deal (€36). They both include calçots, a wide selection of barbecued meat, drinks and coffee, toast, romesco sauce, all i oli garlic mayonnaise and the house speciality: crème brûlée. The full deal also includes white beans, a glass of cava and all the calçots you can eat!
Casa Fèlix (km 7, Carretera N-240, at the entrance to Valls) Typical Catalan cuisine, a fine terrace, garden and dining rooms. Only 10 minutes from Tarragona, it's famed for its barbecued meats and calçotades. For €35 you get calçots with romesco sauce, grilled lamb and garnish, pork sausages and beans, crème brûlée and Penedès red or white wine. The best part is that you get to eat as much as you like inside huge wooden barrels that can fit up to 16 people at a time!
Coll de Nulles (km 16, Carretera de Tarragona–Pont Armentera, Nulles, Tarragona) An ideal rural setting for a proper calçotada, with terrace, children's play area, its own wine cellar, group dining rooms and more… For €39.60 you get all the Valls calçots you can eat, homemade romesco sauce, longaniza and botifarra negra pork sausages with beans and grilled artichokes, curly endive salad, grilled lamb with homemade all i oli garlic mayonnaise, oranges, crème brûlée, wine, cava, water and coffee.
Masía Bou (km 21,5 de la Carretera de Lleida, Valls) Experts in calçotades, with over 2 million under their belt! They also offer takeaway calçots for you to enjoy at home. They've been serving calçots to contented customers for over 100 years, so they must be doing something right!
Restaurante Carmen (Carrer de Valladolid, 44, Barcelona) Very close to Sants railway station, this restaurant specialising in stone-grilled meat also offers a wonderful calçotada menu. For €30.90 you get your tile piled high with calçots and served with romesco sauce, all i oli garlic mayonnaise, barbecued mixed grill with baked potatoes and white beans, tomato bread, homemade desserts, coffee and a Catalan wine specially selected for the occasion.
Hotel La Boella (Autovía T-11. Exit 12, Tarragona) If you want a calçotada for a special occasion, this is the restaurant for you! This former 12th-century Catalan farmhouse now houses a superb boutique hotel, surrounded by over 100 ha of olive groves and set in lush 6,500 m² gardens. For €45 you get to sample their exclusive cocktails, delicious calçots, barbecued meat (botifarra, morcilla del Perol and longaniza pork sausages, pancetta, lamb cutlets), baked potatoes and artichokes, white beans, pre-dessert and dessert, wine and cava. The tradition here is to have the aperitifs and calçots in the gardens before moving on to the barbecued meat in the sumptuous dining rooms. An exclusive calçotada that won't disappoint.


But as I WAS riding to the beach, I came upon this yard sale. It's so perfectly Venice, but also served as a lovely reminder that there are so many soldiers that we hope are also resting in peace. I have many conflicted thoughts about our military and the war actions put forth in our name, but underneath it all is the fact that families have lost loved ones forever.
The 2013 Venice Home and Garden Tour lucked out and got one of the most gorgeous days ever to strut its stuff. This was the 20th Anniversary of the day that for many is a highlight of the entire year, and this year's tour focused on the Abbot Kinney (and adjacent) to celebrate.
There were only a few stops actually ON Abbot Kinney, but they were pretty cool. One house had a bamboo garden in back that was so serene and calming (due to the "water features") that you would never know all the AKB hubbub was going on right on the other side of the house. A real retreat.
There's always a lot of ground to cover on Garden Tour day, so you gotta move if you want to see it all. It's also wise to ride your bikes, way speedier and stealthier. I can't imagine driving from place to place, you'd waste half your time looking for parking. Some stops were way over on Vernon and others way over on Rialto, so you hoped the folks wore their comfy shoes too.
A cool thing about the Tour is that many of these places you fly by all the time, having no idea that these wonder spaces exist within. One sort of regular looking house on the outside might have an absolute dream garden behind it, and you'd never know from going by it every day. Unless you make friends with them - the best idea - or have that green Tour wristband once a year.
The highest rated green LEED house on Brooks was impressive in its use of recycled water with a mill wheel and gutter system going on, and lush vegetation all over. It drew crowds.
The rooftops were often as dramatic as the gardens below, and showed how to be very green -living again.
One house/artists' studio was right next door to where I just lived for a year. I never knew all this creation went on inside those walls. I'd almost never seen the owners, save for a quick "Good morning," as we came or went sometimes. Cool place, guys! Good art!
I liked that the Venice Heritage Museum had place markers along the Tour route, so that you could understand a little bit about the place you were traipsing around, if you were a new visitor, or a local that doesn't get out much. I was happy to see one honoring my friend, Bobby Brown. He would have loved this, saying he was "Jam packed and jelly tight!" (Whatever that meant). RIP, Friend.
I'm just touching on my favorites, because otherwise this would be five years long to read, and you should maintain your own sense of wonder until you get to discover some of these places for yourselves. I had a nice moment with a couple of strangers - to where I said, "I'm glad we had this moment" and they said, "Me too" - when the sun shone in just perfectly on us in this little hot tub nook in a gorgeous orange-hued cottage on Altair, and it was so beautiful when we all looked up, away from the throngs of people queuing through the homes, that it prompted that grateful, acknowledged moment. Sweet.
There is a lot to look at over at Robin's Sculpture Garden, back on Abbot Kinney. There were photos and projects and camel topiary prototypes and mosaics and a spinning fortune wheel and all sorts of good stuff. Robin Murez told me how she'd recently been arrested for painting little waves on the streets that used to be canals around Venice. Arrested?! Yes, art is a crime still sometimes here. In this case, a felony. Dumb. I need to hear more, but we had an important engagement to get to ... called watching The Kentucky Derby.
"The most exciting two minutes in sports" always happens the same day as the Garden Tour, so the tradition tends to be stopping in at Hal's for a respite (Mint Julep, of course) in the middle of the Tour to watch the race. Someone at NBC must have been fired this year as there were no graphics on the screen down the home stretch, and in the loud bar, no one had any idea who won. National Buzzkill.
The Tour must go on, and after visiting a few cold and sterile bachelor-looking pads/boxes, we were treated to what wound up being my absolute favorites. Again, just cruising down Rialto, you would have no idea that behind the astro-turf looking fence walls would be a lush, resort-like paradise of a backyard.
You just wanted to sit here and relax all day ... and I could have, because my dear and darling friends, Harry and Russ, live here! Their place is so great, a renovated four-plex Craftsman that Russ surrounded with his own epic landscape work (Russ Cletta Design Studio).
We had some good laughs/Modelos here, (A lady who lunches type told Harry that she could tell it was a man's kitchen. He said, "Well, a gay man's, so I guess it's for both." I'm still laughing. With her.) and then zipped off to try and beat the clock to cram in as much as we could.
I think Harry and Russ's place was tied for my favorite with the one on Santa Clara listed as "Quirky Venice." It's so beautiful, with interesting things to look at at every turn. Artist Simon Maltby designed his own home and studio, and the creativity is everywhere, both in function and beauty. Like his swinging fireplace!
I love this place for its color and art and total uniqueness. It's all very airy and open, with a courtyard between front and back structures.
A sun room must be so pleasant to have breakfast in, with the plants under the glass floor at your very feet.
A door had palm leaves embedded in its panes of glass, making the whole place feel organic to and in its surroundings.
Inside the house, it was ultra-cinematic, with a hacienda feel that was both homey and deluxe at once. Of all the places we'd seen that day, this was the one I'd most want to actually LIVE in.
Maltby was kept very busy answering the many questions the Garden tourists had, as most, I'm sure, had never seen anything else like it. A true highlight.
There is a trend these days with stones and gravel for landscaping, and I'm not that into it. It feels cold and uncomfortable to me, even when you throw some color at it. I like to be barefoot outside, and these kinds of spaces aren't inviting for that. To me.
Congratulations to Barbara Bauman, the Garden Tour's indefatigable motor running it all, the Founders, Co-Chairs, Commmittee and Volunteers ... It was another smashing success, and an absolutely lovely day for everyone who partook in this important fundraiser for the Neighborhood Youth Association.
THANK YOU so very much for again showcasing the beauty of our community's places and people!