The Amite County Election Commission is made up of 5 commissioners representing each of the 5 supervisors' districts. The job of each commissioner is to uphold the election law and see that the elections (general, special and run-off) are conducted in an honest and fair manner. It is our duty to prepare the ballots, man the polling locations, certify the election and purge the voter rolls. Primary elections are overseen by the respective county party and the Amite County Election Commissioners are not involved with these elections.
You can help the Amite County Election Commissioners keep the voter rolls updated by notifying us if you move or if a family member had passed away.


text:
Brighten the Corners: Nicene Creedence Edition
Composer: Pavement
Conductor: Pavement
Label: Matador
Rated: NONE
Genre: Recording
Brighter stars tend to burn out faster, and indie-rock pioneers Pavement — a very bright spot in the somewhat spotty '90s — were no exception, imploding after five stellar albums. Matador has been dutifully reissuing the band's LPs as handsome, colorfully subtitled deluxe editions, and the Brighten the Corners re-release doesn't disappoint with 32 (!) b-sides and unreleased tracks from Pavement's prime.
By 1997, the band was stretching, and not always in the same direction. Tunes veer from indie-pop ("Shady Lane" still shines) to jammy southern rock ("Roll With the Wind"), while Stephen Malkmus word-slings in his trademark "smarter-than-thou" drawl. The cracks that would swallow the band surface in pitch-black tracks like "And Then (The Hexx)," a b-side that would eventually end up on their final album, the beautifully somber Terror Twilight (essentially a Malkmus solo record). It's hard not to listen to Brighten the Corners without thinking of it as Pavement's last hurrah — but judging by the wealth of material the band left behind, there's a lot to celebrate, anyway.
Aural Pleasure Recording

redpajama_set_name: RedPajamaCommonCrawl


Description: Grandma's Pumpkin Pie never smelled so good. All the spices that make your mouth water.
If you like straight cinnamon, this one is for you.
This is good if you like a lot of spice in your pumpkin scents, but it was a little bit too spicy for me.


text:
A whirlwind guide to setting up and managing your own music-publishing company.BONUS MATERIALLearn how to transfer a preexisting copyright from yourself to your company.
Perhaps the most common career-oriented question that unsigned songwriters ask is, "How can I get my songs published?" Many of these same writers have only a vague notion of what it means to be published. In fact, some musicians who want to be published already are, without knowing it!
If you've already sold recordings of your songs to the public, you are a published songwriter. The federal 1976 Copyright Act defines publication (the act of publishing) as "the distribution of copies or phonorecords of a work to the public by sale or other transfer of ownership, or by rental, lease, or lending." Phonorecords are defined as "material objects in which sounds … are fixed" and include vinyl records and CDs.
There are a lot more ways to make money from the use of one of your songs, however, than just selling your own recording of it. Other artists may cut, or record, the song. It might be used in a movie, a movie trailer, a TV series, a TV special, a music video, a video game, for commercial advertising, for a ringtone, or for myriad other uses. Promoting, licensing, and getting paid for such song uses is the job of a music publisher.
Many unsigned songwriters would love to hand off business-oriented tasks to a music publisher so they can focus solely on the creative task of writing songs. Unfortunately, the moment you sign on the dotted line with a music publisher, you give away your copyrights and half the revenues the songs covered in the contract will earn (unless you're already so successful that you've got the bargaining power needed to strike a better deal). For these and many other reasons, many songwriters choose to keep all the profits and self-publish their songs.
This article will explain the basics of how to start up and operate your own music-publishing company. Some of the topics I'll discuss are copyright registration and transfer, affiliation with a performing-rights organization (PRO), the inventory needed to execute day-to-day operations, demo production, making industry contacts, song promotion, and preparing the documents needed to license your songs.
In order to keep this article to a manageable length, my focus will be on publishing your own songs. Signing other writers or their individual songs to a publishing company typically requires far greater preparation and funding. Writing underscore (background or theme music for film or TV) and jingles for commercial products or services is also beyond the scope of this article. (When they're written for national accounts, they often present few opportunities for retaining copyright ownership of your work.)
Before I get to the nuts and bolts of becoming a music publisher, however, let's examine both the benefits and drawbacks of doing so. As you're about to see, starting your own music-publishing company is not a decision to be made lightly.
All by Myself?
There are many reasons to self-publish your songs. Keeping 100 percent of the royalties and one-time fees a song earns is just one reason. You also retain greater control over how your songs may be used and what those uses will pay. And assuming that you're highly motivated, nobody will promote your songs more than you. If, on the other hand, you were signed to a large music-publishing company with dozens of writers on staff, your songs might get lost in the crowd and never get the promotion they need to get cut. Furthermore, most song-publishing contracts specify that the music publisher keeps all copyrights to songs covered in the contract — even after the term of the contract expires and regardless of whether or not the company ever secures a cut for your songs.
Still, many songwriters sign with a music publisher for good reasons. It is extremely difficult and very time-consuming to make the required industry contacts with record-label A&R (artist and repertoire) staffers, music producers, recording artists, music supervisors, and film and TV studios — contacts that major publishers already have. Being your own publisher also means taking on the financial onus, which includes demo production and replication, potential attorneys' fees, inventory, postage, phone bills, printing, and more. And while all that money is going out, you've got to find a way to have some coming in to pay your overhead. A songwriter signed to a staff-writer deal with a publisher typically receives a monthly stipend to keep the credit hounds at bay. Even before (or despite never) getting their first cut, the staff writer earns a living doing what they love most — writing songs.
An experienced music publisher might also secure revenue-generating uses of your songs that you might not have thought of on your own, including sheet music, karaoke, video jukeboxes, and musical greeting cards. They probably already have the contacts you lack with print publishers and subpublishers. The latter collect mechanical royalties for record sales and synchronization fees for the use of songs in TV shows and films abroad. (I'll discuss licensing the various uses of songs in more detail in a bit.) Many successful publishers hire influential song pluggers to pitch the songs in their catalog, greatly increasing the chance of getting a cut. And many a fruitful collaboration between songwriters has been facilitated by major publishers having strong networks throughout the creative community.
You might be thinking at this point, "Screw the do-it-yourself approach. Give me the publishing contract." Unfortunately, it's not that easy. As a highly successful producer and friend recently explained to me, the big publishing companies are interested in signing only songwriters who already have a track record of writing hits. Yet it's "almost impossible" (in his words) to get your first song cut — even if you have high-level industry contacts listening — without an influential publisher or song plugger pitching your song. It's a catch-22.
Despite the sobering realities of independent song plugging, I love the business side of music publishing. I find managing my own music-publishing company to be exciting and self-empowering. But as you'll learn, it's also a lot of work.
An in-depth discussion of the legal requirements and tax consequences of starting your own music-publishing company is beyond the scope of this article, so I'll only briefly summarize them here. As is the case when starting any other business, you should first choose a legal business structure (such as a sole proprietorship or limited liability company) and business name. A sole proprietor may conduct business under its own name or use an assumed or fictitious business name (otherwise known as a "doing business as" name or "dba"). If you want to use an assumed name, check your state's business registry database to see whether it's available or has already been taken by someone else.
You may also need to apply to the Internal Revenue Service for a federal tax identification number (EIN). Go to www.irs.gov/businesses/small/article/0,,id=97872,00.html for a list of circumstances that require an EIN. Also, find out from your state and local agencies what the business-license requirements are for your area. I recommend you consult with a CPA (certified public accountant) for help with all decisions — and their tax consequences — related to starting your new business. State and local governments also offer helpful online resources for do-it-yourselfers.
You'll also need to affiliate your new company — and yourself separately as a songwriter — with a PRO. The PROs operating in the United States are ASCAP (American Society of Composers, Authors and Publishers; ascap.com), BMI (Broadcast Music, Inc.; bmi.com), and SESAC (Society of European Stage Authors & Composers; sesac.com). They collect and disburse to their publisher and songwriter affiliates (or "members" in ASCAP parlance) performance royalties. These are revenues earned from the uses of a song in radio and Internet broadcasts, TV programs and commercials, and movies played in theaters outside the United States. Put another way, PROs are essentially clearinghouses for licensing the performances of a song as opposed to licensing the sale of physical copies or downloads, the synchronization of the song to picture in films and on TV, and other uses. If you don't belong to a PRO, you'll have to individually license, keep track of, and collect payments for performances of your songs everywhere in the world — an impossible task for widely used songs.
ASCAP, BMI, and SESAC all have different requirements for joining and use different payment schedules. You can belong to only one PRO at a time, but you can switch from one to another when your contract with your present PRO is up for renewal. ASCAP and BMI have a much bigger presence in the United States compared with SESAC, a fact that may have a bearing on the size of an affiliate's royalty payments for a hit in this country.
You might also consider joining the Harry Fox Agency (HFA; harryfox.com). The HFA is a licensing clearinghouse and royalty compliance watchdog for the use of your songs in phonorecords and digital services, including downloads and on-demand streaming. The HFA does not issue synchronization and master-use licenses (for film and TV placement), provide sample clearance, or license performance and print (sheet music) rights. It charges an annual membership fee and service commissions per license issued, so many startup companies choose to do their own mechanical and streaming licensing until their level of success justifies the added expense of joining the HFA.
Once your music-publishing company is set up, you'll want to protect all the songs currently in your catalog from potential copyright infringement before making any preexisting demos broadly available for other people to hear. Protecting your songs entails establishing a creation date for each with an unaffiliated third party. One way to do this is to register your songs with the Copyright Office.
Registration forms can be downloaded for free (www.copyright.gov/forms). Use form PA (Performing Arts) for registering sheet music with the Copyright Office. Alternatively, you can use form SR (Sound Recording) to register both an audio recording of the song and the underlying composition — melody, lyrics, and arrangement — at once. The recording needn't be the fully produced version of the song; it only has to clearly convey the music and lyrics in order to protect the underlying song.
When you register your new songs with the Copyright Office, make sure you list your publishing company (not yourself) as the copyright owner, noting in the appropriate section of the registration form "transfer of all rights by the author(s)" as the means by which your company procured copyright ownership from the songwriter(s). By registering your company as the copyright owner, you give it the authority to issue licenses and collect revenues for the song's use by others.
You'll also want to transfer to your publishing company any songs previously copyrighted under your name. You may record this transfer with the Copyright Office, but it's an expensive way to go: currently $95 for one song title and $25 for each additional group of ten songs. The only practical reason to record copyright transfers with the Copyright Office, however, is to protect yourself from conflicting transfers (that is, someone else claiming that the song's copyright was transferred to them and not to you). This is moot if you're the only author of the song, as nobody can register a conflicting transfer unless you gave them your contractual consent to do so.
A valid, no-cost solution for transferring a song written solely by yourself to your publishing company is to draw up a simple document — signed by you and listing the title of the song being transferred — that agrees to the transfer (see the online bonus material "From Me to Me" at emusician.com). You may then freely substitute the name of your publishing company in lieu of your personal name on all copyright notices for the song, such as on CDs and lyric sheets.
Click to continue reading "Self-Control."
More Cost-Saving Strategies
Initial registration of songs with the Copyright Office is fairly expensive. Fees at the time of this writing were $45 for paper filing of PA and SR forms and related materials. Electronic filing will be available soon at $35 per registration.
You can decrease your cost per song by registering multiple songs at once as a collection, paying a single fee for the entire lot. For example, the title of your collection might be "Collection of songs from New York: 1. I Love You Dearly, 2. Baby, Don't Leave, 3. I Hate You for Leaving," where the collection's title is arbitrary and followed by the titles of each song you want to register. The Copyright Office recently announced its intention to charge a fee of $1 per title for electronic claims and $3 per title for paper claims listing titles of individual works in song collections. This isn't simply price gouging on the part of the Copyright Office; the additional fees help pay for keeping track of individual songs in a collection so that they will show up in a database search. That way, someone won't have to know a song collection's provisional title in order to locate an included song's copyright owner. Current copyright registration fees are listed at www.copyright.gov/docs/fees.html.
MasterWriter (www.masterwriter.com) offers its Web-based Songuard service as an alternative means of protecting your songs at greatly reduced cost. When you buy MasterWriter software, which is an outstanding songwriting application (see the review in the April 2004 issue at emusician.com), you get a free one-year subscription to the Songuard service; the fee for the service is $30 annually after the first year. Songuard registers and stores the date of creation of your song's melody and lyrics on the company's server. That's useful in protecting a song in its development stage. Once the song is published, however, there are important benefits to registering it with the Copyright Office, including the right to be reimbursed for attorneys' fees in a successful copyright-infringement proceeding.
Songs that were previously registered with the Copyright Office when they were unpublished need not be registered again after publication. However, you will need to deposit two complete phonorecords of the published sound recording's "best edition," along with any phonorecord packaging, with the Copyright Office. (Go to www.copyright.gov/circs/circ07b.pdf for more information.) If this isn't done within three months of publication, you'll be levied a hefty fine. It's a silly, antiquated requirement, but it's the law. Songs available only as Internet downloads are currently exempt from this requirement.
To run a smooth operation, you'll need to maintain a modest inventory for your company. Obviously, you'll need business letterhead and either custom mailing labels or preprinted mailers that include your company's logo and address. For making copies of your song demos, you'll need blank CDs with printable surfaces and a color printer that can print directly on CDs. The printer will likely come with software you can use to develop a template file for printing song titles and contact information on your CDs and importing your company's logo as a background graphic. Don't use CD labels — if they are applied out-of-round to your CDs, the discs won't play on some players. Buy extra ink tanks or cartridges before you run out. And keep a good supply of slimline CD cases or clamshells on hand for securing your CDs inside mailers.
Print several lyric sheets for each song in your catalog so you'll always have them on hand for urgent mailings. Lyrics should also be stored in electronic form so you can quickly paste them into emails when sending MP3s to industry contacts.
Demo Production
An entire book can be written on the subject of producing demos, so I'll focus only on some of the points you're less likely to read elsewhere. First of all, don't let anyone tell you that production values don't matter and that the song's quality will be heard regardless of your demo's sound and arrangement. A producer or A&R manager might listen to hundreds of demos each day. Which one do you think will grab their attention, the one that sounds like a hit record or the one that has an out-of-tune vocal sung to a lone acoustic guitar recorded with a Radio Shack mic?
Preproduction is of paramount importance. Whenever possible, compose catchy instrumental hooks for your songs before recording them. Make the intro short — no more than 10 seconds if possible. Keep solos to a maximum length of eight bars or cut them out completely. The more deliberate, fast-paced, and powerful your arrangement is, the more the demo will retain the listener's attention and sell the song.
Unless you are Prince, resist the temptation to play all the instruments and sing all the parts on your demos. Having ace union musicians and singers perform on your demos can make them sound like hits. That said, doing so will also likely eliminate those demos from being considered for placement in film and TV projects. In order to use any of the instrumental tracks played by union musicians in a sync-to-picture (film or TV) placement, they must first be upgraded to "phono" status with the American Federation of Musicians (AFM). Phono status essentially makes the demo recordings eligible to be used in new media (film, TV, record release, and so on) as a "new use." The upgrade from demo to phono status requires that all the musicians on the session be paid master scale, which equals roughly double the demo scale rate you already paid them, and be given pension-fund payments for the entire session. This is required even if you will use the demo recording for only one song recorded during a multisong session.
The production company must convert the demo recording to motion picture use (a new use) at considerable cost. Yet they cannot do so unless and until the demo recording is upgraded to phono status. They will typically insist that you pay for the upgrade. The production company may also ask you to make any required "additional payments" (royalties) to union musicians in connection with the song being licensed, which you should refuse to do.
All this haggling may be moot, however, as many TV placements must be negotiated from soup to nuts during your first phone conversation with the show's producer, in order to meet an imminent airdate. Therefore, most producers feel there is no time to work out AFM arrangements. In most cases, they want a song whose rights are already "cleared." Similar issues arise with demo singers who belong to SAG (Screen Actors Guild). So if your main thrust as a music publisher will likely be film and TV placements, make sure your demos are either completely performed by yourself or by nonunion musicians and singers whose talents are contracted for in a one-time buyout.
After you have a few song demos ready to pitch, it's time to develop a list of contacts who will be willing to listen to them. This is the most difficult aspect of music publishing, as literally tens of thousands of people vie for the attention of the industry's decision makers, who can't possibly communicate with them all.
There's no one way to make industry contacts, but here are some strategies in brief. Enter your best songs in prominent songwriting competitions (see the online bonus material "They're Playing My Song"); a contest win will often give A&R managers and producers incentive to listen to an otherwise unknown writer. Try to perform at one of the songwriter showcases sponsored by your PRO; industry contacts often attend these and may approach you if they are impressed by your performance and writing skills. Attend songwriting conferences at which A&R reps and producers are scheduled to participate. And ask any well-connected friends you might have to introduce you to their contacts. Networking is a must.
Several excellent industry directories are available that list contacts' names, job titles, addresses, and sometimes direct phone numbers (see the sidebar "The Direct Approach"). Make a separate list of the personal contacts you've already made, and update it often. Present this list by any polite means possible to those new contacts you want to make. Everyone wants to hear a writer who is already being listened to by other top dogs in the industry. Your list will grow in rolling-snowball fashion.
Unless you're already extremely well connected, you'll need to subscribe to tip sheets (also known as pitch sheets) that list which artists are currently looking for songs to record for upcoming projects (see the sidebar "Leave a Tip").
A song typically has to be a hit before it has a shot at being used in a national advertising campaign. The exception is a song that is a "work made for hire," or one written by an employee of or subcontractor for a production company handling the ad campaign.
To get an unknown song placed in a TV or film project, you need to know what projects are currently in development or production. A list of both domestic and foreign projects can be found at Variety.com. Successful placement is also likely predicated on your living in or near Hollywood, where you can form the necessary relationships with TV and film studios, music supervisors, and the like.
Alternatively, seek out a music publisher who already has film- and TV-industry connections and negotiate a revenue-sharing agreement in return for them placing your songs. Just be sure to limit their entitlements to only those revenues generated from the TV and film placements they successfully negotiate (and possibly any follow-on deal, such as release of a soundtrack album). You don't want them to participate in monies from unrelated record deals you secure on your own. A good directory for finding film- and TV-oriented publishers to collaborate with is the Music Business Registry's Film & Television Music Guide.
Here Comes the Pitch
Once you get permission to pitch a song to a new contact, verify their mailing address. Some record companies (such as Curb Records in Nashville) have several unpublished addresses. You want to make sure you're sending your package to the right office. Also, ask if there is anything you need to write on the outside of your package so it will not be mistakenly discarded as unsolicited material.
Include in your package a CD containing your songs, along with lyric sheets and a very brief cover letter. If applicable, also include a list of songs you've already had cut or which are on hold (reserved for possible recording). Skip the bio — nobody will read it. All materials you submit should include your company's name, phone number, and email address. The CD should also have the titles of the songs printed on it.
Never email an MP3 to an industry contact without their express permission to do so. It'll fill up their email account and hard drive and piss them off.
Unless you have a close personal relationship with a contact, don't follow up your pitches with a phone call or email them asking how they liked the songs. They don't have time to give feedback to the thousands of people pitching songs for each project. They'll call you if they're interested.
Keep a log of your pitches, detailing which songs were sent to whom and for which artists. Date each entry, and make sure you never pitch the same song to the same contact for any one project. Once they reject a song, you don't want to take up their time by pitching it again, unless it's for a different artist or a later album by the same artist.
Can I See Your License?
When you finally get a call from a company wanting to use one of your songs, you'd better have your license forms ready to do business. Prepare all the license forms you expect you might need ahead of time, leaving particulars such as signatory names, song titles, dates, royalties, and fees blank. They'll be filled in following negotiations.
A mechanical license is used to authorize phonorecords of a song to be recorded and distributed. You'll also want to prepare a separate mechanical license for authorizing digital phonorecord delivery (DPD), also known as Internet download. You'll need two different forms of streaming licenses to authorize streaming songs on the Internet: one for fee-based streaming on demand, and the other for promotional streaming such as that used by recording artists on MySpace. A master-use license permits all or some of a demo's recorded tracks to be used in a new recording or placed in a film or on TV. You'll also need to prepare separate synchronization licenses (permitting the song to be synchronized to picture) for placements in film, TV, and commercial advertisements. Additional licenses include those for use of your songs in video games and ringtones.
You could have a music-business attorney draw up these documents for you, but it'll likely cost you thousands of dollars, especially if license terms need to be tweaked during negotiations. A good entertainment lawyer typically charges between $150 and $750 per hour. Anyone can learn to understand and write the legalese required to fashion their own licenses, however, by studying the right books. (See the sidebar "A Good Education" for my recommendations on required reading for do-it-yourself music publishers.)
Once one of your songs is recorded, you'll need to register it with your PRO. If you don't, they won't know who to pay performance royalties to when the song title appears in their sample surveys of radio broadcasts and the like. Go to the PRO's Web site to download the proper registration form.
Deal Closer
Music publishing is a very complex subject, and space permits only a brief overview here. Also keep in mind that I am not an entertainment lawyer. You should view this article as a beginner's guide to do-it-yourself music publishing and not as advice for handling complex legal matters.
That said, this isn't rocket science. But it is a ton of work. It can also be discouraging at times. A startup music-publishing company must be prepared to receive hundreds or thousands of rejections during the first years of operation before it has any notable success. If you're up to the challenge, hopefully this article has given you solid footing for the hard climb ahead.
EM contributing editor Michael Cooper is the owner of Michael Cooper Music. Visit him atwww.myspace.com/michaelcooperrecording.
Tip sheets are an essential, subscriber-based service for music publishers. As a publisher of country music, I only know of tip sheets for this genre of music. Here are the two best, both of which include the label, artist, producer(s), contact person(s), and recording schedule for each project:
Pitch This Country Music Tip Sheet, Pitch This Music (www.pitchthismusic.com). This is the most comprehensive listing of current projects for major-label and second-tier (prominent indie and joint-venture) companies. Published monthly, this tip sheet is generated by successful, Nashville-based song pluggers and often includes difficult-to-obtain details on what specific types of material are being sought for each project listed (for example, "Soulful, real-life lyrics with range and attitude").
Row Fax, Music Row (www.musicrow.com). Row Fax is published weekly and contains solicitations for songs by major, second-tier, and small independent labels; unsigned artists; music publishers; and TV and film music supervisors and producers. The main thrust is country music pitches to labels, but solicitations for other genres of music, songs for demo projects, and performance-oriented opportunities are also occasionally listed. Subscribers also gain access to Music Row's outstanding online industry-news service and directory and are emailed weekly the company's valuable Week-At-A-Glance. Week-At-A-Glance includes links to audio clips of current and next week's releases of country music singles and lists of upcoming CD releases, Nashville-based industry events, and upcoming artists' appearances on syndicated and pay TV (for instance, HBO).
The Direct Approach
Industry directories are a must-have for music publishers. While they do not guarantee successful relationships with important industry decision makers, they do provide you with the information you need to make that first contact. The following list provides the name of each directory, its publisher, the publisher's Web site, and, where applicable, notes of interest.
A&R Registry, the Music Business Registry (www.musicregistry.com). A comprehensive international directory of A&R staff and company executives for major and independent record labels. It also includes a useful list of music conferences and conventions.
Music Attorney, Legal & Business Affairs Registry, the Music Business Registry. A comprehensive international directory for contacts working in entertainment law.
Film & Television Music Guide, the Music Business Registry. An international directory of record labels, music publishers, film and television music departments and trailer houses, music supervisors, music placement and video game companies, composers, composer agents, orchestras, music editors, score mixers, music-clearance departments, and more.
In Charge, Music Row (www.musicrow.com). This is the most comprehensive and up-to-date directory for the country music industry I've seen. Subscribers to the company's excellent Row Fax tip sheet also gain access to Music Row's expanded online directory.
Pitch This Music Directory, Pitch This Music (www.pitchthismusic.com). While this is a very limited directory for the Nashville area, it contains some exclusive, invaluable listings I've not seen elsewhere.
Producer & Engineer Directory, the Music Business Registry. Contains thousands of domestic and foreign listings for producers, engineers, and their agents.
Music Publishers Registry, the Music Business Registry. Do-it-yourself music publishers will find this international directory helpful in locating publishers for subpublishing and administrative deals. An administrative publishing deal is essentially one where a larger company handles royalty collections and disbursements, and sometimes licensing and promotion, for a smaller company such as your own.
A Good Education
To be successful, a music publisher must be thoroughly educated about the complexities of the music business. Here are three books I recommend:
All You Need to Know About the Music Business, 6th ed., by Donald S. Passman (Free Press, 2003). This is a must-read for music publishers, especially those who are also performing musicians or aspiring recording artists.
Music, Money, and Success, 5th ed., by Jeffrey Brabec and Todd Brabec (Schirmer Trade Books, 2006). Reviewed in the November 2007 issue of EM, this is the most comprehensive reference book for music publishers and other industry professionals I've read to date. The last chapter contains five sample contracts.
This Business of Music, 9th ed., by M. William Krasilovsky and Sydney Shemel (Billboard Books, 2003). Considered by some to be "old school" and short on dollars-and-sense advice, this book nevertheless includes excellent chapters on copyright law.
Learn how to transfer a preexisting copyright from yourself to your company.
Self-Control (Bonus)
By MICHAEL COOPER
Industry Insider: Page Kelley
Q&A: Mark Bright & Stephen J. Finfer
How to Pitch Your Demo
Production Music Contracts | Before You Sign
Industry Insider: Sherrill Blackman
Reel Money
By Skip Adams
Copyrights and Wrongs
By Fran Vincent


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five-fishermen-tamil-nadu-given-death-sentence-sri-lanka/
Five Fishermen from Tamil Nadu given death Sentence in Sri Lanka
The Sri Lankan courts have given five Indian Fishermen who hail from Tamil Nadu death sentence for drug trafficking according to Zee News. They have been given until November 14 next month to appeal. However this latest development could seriously create diplomatic fallout and problems for Modi Government in the coming days because when it comes to Sri Lanka all the political parties in Tamil Nadu tend to tow the same line.
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Already all the major political parties in Tamil Nadu have started reacting to this verdict and taking this into account MEA spokesperson Syed Akbaruddin said, "The Indian High Commission in Colombo will appeal through lawyer to higher court against judgment by lower court on 5 Indian fishermen." Also in a tweet he said "India's High Commission in Colombo will through lawyer appeal to higher Court against judgement by lower Court on 5 Indian fishermen."
Over the years many Indian fishermen have been incarcerated by the Lankan Government and each year a lot of them get released from both sides. But this judgment by the court in Sri Lanka is defiantly a new development. Whenever fishermen get arrested by coast guard on both sides the reasons given are faulty GPS a device which many use for navigating. However India must now react quickly and save these fishermen who are sentenced to death.
Five Fishermen from Tamil Nadu give...


text:
Q: Getting Error when consume the queue data RabbitMQ - Magento2.4.5 I have implemented 2 queues, one for primary queue and one for retry queue.
Primary queue - Publish data & Consume data is working properly, but when i implementing 2nd queue for retry and when i consume the first queue i got the error of

Xdebug has detected a possible infinite loop, and aborted your script with a stack depth of '256' frames

Below is the my code in my custom module:
Communication.xml
<topic name="order.send" request="string"/>
<topic name=order.retry.send" request="string"/>

queue_consumer.xml
 <consumer name="order.send" queue="order.send"
                  connection="amqp" maxMessages="10"
                  handler="Vendor\Module\Api\OrderApiInterface::process"/>
 <consumer name="order.retry.send" queue="order.retry.send"
                  connection="amqp" maxMessages="10"
                  consumerInstance="Magento\Framework\MessageQueue\Consumer" handler="Vendor\Module\Model\MessageQueue\Consumer\RetrySendPayloadConsumer::execute" />

queue_publisher.xml
<publisher topic="order.send">
    <connection name="amqp" exchange="magento-amqp" />
</publisher>
<publisher topic="order.retry.send">
    <connection name="amqp" exchange="magento-amqp" />
</publisher>

queue_topology.xml
<exchange name="magento-amqp" type="topic" connection="amqp">
    <binding id="sendOrderData" topic="order.send" destinationType="queue"
             destination="order.send"/>
    <binding id="sendPayloadRetry" topic="order.retry.send"
             destinationType="queue" destination="order.retry.send"/>
</exchange>

From frontend on order place observer i have publish the record in the "order.send" queue like below code and it is working properly.
OrderplaceObserver.php
try{
      $this->_publisher->publish('order.send', $this->_json->serialize($finalOrderArray));
   } catch (\Exception $e) {
      }

Below is my consumer file (Model file) as defined in the queue_consumer.xml
OrderApi.php
use Magento\Framework\MessageQueue\PublisherInterface;
use Vendor\Module\Model\RetryQueuePublish;

/**
     * @var RetryQueuePublish
     */
    protected $_retryPublisher;

public function __construct(
        RetryQueuePublish $retryPublisher,
        PublisherInterface $publisher,
){
        $this->_retryPublisher = $retryPublisher;
        $this->_publisher = $publisher;
}

    public function process($message)
        {

            $testMode = $this->_scopeConfig->getValue('config/group/testmode', \Magento\Store\Model\ScopeInterface::SCOPE_STORE, $this->helper->getStoreId());

            if($testMode == 1){
                //$this->_publisher->publish('order.retry.send', $this->json->serialize($message));
                $this->_retryPublisher->execute($message);
            }
    try {
                $data = $this->json->unserialize($message);
                $this->makeApiCall($data, 'orderPush');
            } catch (\Exception $ex) {
                return false;
            }

RetryQueuePublish.php
class RetryQueuePublish implements RetryQueuePublishInterface
{
    const RETRY_TOPIC_NAME = 'order.retry.send';

  public function execute($data)
    {
        try{
            //function execute handles saving order object to table
            $this->publisher->publish(self::RETRY_TOPIC_NAME, $data);

    }catch (\Exception $e){
        //logic to catch and log errors
        //$this->_logger->critical($e->getMessage());
    }
   }
}

So as per above example code i call the retry queue from my primary consumer file, so whenever i call my primary consumer to consume message i got an error of

Xdebug has detected a possible infinite loop, and aborted your script with a stack depth of '256' frames

I don't know what exactly what i am doing wrong, but when i doing regular publisher from magento publish into retry queue it is working when i call the another model for publish message into Retry queue it is giving above error, please review my code in orderApi.php file and process function in which i have written code.
Please help me here, so i was looking for any solution here.
Thank you in advance.

redpajama_set_name: RedPajamaStackExchange


text:
Health-Healing Self-Health
Complete Hypnotism : Mesmerism, Mind Reading and Spiritualism
Complete Herbalist, The
CLAIRVOYANCE and Occult Powers
Risking Being Alive - Wisdom of NOW
Master Key - Scientific Concentration
Self-Health
Sort by: Catalog # Product Price Default
Result pages: 123456789101112
Allopathy and Homoeopathy : Before the Judgment of Common Sense!
Conservatism is fast dying out, hidden and smothered by the ever-flowing tidal-waves of progression. Radicalism ceases to become radical, by the daily and hourly recurrence of startling discoveries, and new, unheard-of, and unexpected adaptations of old laws.
An Indigo Struggles To Overcome Drugs
If ignorance is bliss, these intuitive shakers and movers are at the other end of the scale. Their quick-thinking, fourth-dimensional methods cause them to be misunderstood, but "by their fruits, ye shall know them." They are the "People of the Seventh Fire," the Violet Ray of Transmutation. The Golden Age cannot fully emerge until this "seventh vial of purification" has been "poured out" by the Indigos.
Ananga Ranga : Kama Sutra
2 Books in One Volume : The Kama Sutra, which means "Sex Science", is the earliest surviving example of a written Hindu love-manual. It was compiled by the Indian sage Vatsyayana sometime between the second and fourth centuries A.D. His work was based on earlier Kama Shastras or "Rules of Love" going back to at least the seventh century B.C., and is a compendium of the social norms and love-customs of patriarchal Northern India around the time he lived.
Anomalies and Curiosities of Medicine
Being an encyclopedic collection of rare and extraordinary cases, and of the most striking instances of abnormality in all branches of medicine and surgery, derived from an exhaustive research of medical literature from its origin to the present day, abstracted, classified, annotated, and indexed. Since the time when man's mind first busied itself with subjects beyond his own self-preservation and the satisfaction of his bodily appetites, the anomalous and curious have been of exceptional and persistent fascination to him; and especially is this true of the construction and functions of the human body. This is a large manuscript of nearly 700 pages in an 11 inch by 8 inch book.
Art of Logical Thinking
"Reasoning" is defined as: "The act, process or art of exercising the faculty of reason; the act or faculty of employing reason in argument; argumentation, ratiocination; reasoning power; disputation, discussion, argumentation." Stewart says: "The word reason itself is far from being precise in its meaning. In common and popular discourse it denotes that power by which we distinguish truth from falsehood, and right from wrong, and by which we are enabled to combine means for the attainment of particular ends."
Art of Perfumery : Method of Obtaining the Odors of Plants
With Instructions For The Manufacture Of Perfumes For The Handkerchief, Scented Powders, Odorous Vinegars, Dentifrices, Pomatums, Cosmetiques, Perfumed Soap, Etc. With An Appendix On The Colors Of Flowers, Artificial Fruit Essences
Back to Eden
Fully updated to reflect the nutritional needs of the '80s, this new edition of the classic guide to herbal medicine, natural foods and home remedies underscores the fundamental principle that true healing consists of a return to natural habits of living.
Barkham Burroughs' Encyclopaedia of Astounding Facts
A Compendium of little known facts- a virtual wealth of knowledge at your finger tips. Over 25 pages in the Table of Contents. Full of recipes, health information, business information, penmanship, etc.
Beauty: Beauty In Woman
It maybe set down, we suppose, as a matter sufficiently settled to become a principle, that men are moved by nothing more generally and certainly than by the power of Beauty-particularly Beauty in Woman.
Chiropractic Made Simple
Chiropractic Made Simple is an interesting book that sets out to explore the more traditional subluxation-based approach to chiropractic care. Dr. John Reizer, a chiropractor for over 16 years and a faculty member in the clinical science department at Sherman College of Straight Chiropractic, writes about his observations and conclusions regarding America's largest drugless healthcare profession.
Cholesterol Hoax - 101+ Lies
The diet-heart-cholesterol dogma is a fiction. It has grown and taken root in the consciousness of American people with the nourishment of those forces in the scientific world, fundraising enterprises, government agencies, academia, industry and others. They have placed profit above truth, and pride above integrity.
he student in India expects the teacher to state positively the principles involved, and the methods whereby these principles may be manifested, together with frequent illustrations (generally in the nature of fables or parables), serving to link the new knowledge to some already known thing. The Hindu student never expects or demands anything in the nature of "proof" of the teachers statements of principle or method; in fact, he would regard it as an insult to the teacher to ask for the same.
People as Their Own Physicians with Natural Remedies - One of the most comprehensive books we carry for the Herbalist or home practitioner.
There is no doubt that hypnotism is a very old subject, though the name was not invented till 1850. In it was wrapped up the "mysteries of Isis" in Egypt thousands of years ago, and probably it was one of the weapons, if not the chief instrument of operation, of the magi mentioned in the Bible and of the "wise men" of Babylon and Egypt. "Laying on of hands" must have been a form of mesmerism, and Greek oracles of Delphi and other places seem to have been delivered by priests or priestesses who went into trances of self-induced hypnotism.
Culpeper: the Complete Herbal
1653 Edition Reprinted! The Old Knowledge! Over 330 herbs and plants and their use, and preparations described in this version. : Hereby you may know what infinite knowledge Adam had in his innocence, that by looking upon a creature, he was able to give it a name according to its nature; and by knowing that, thou mayest know how great thy fall was and be humbled for it even in this respect, because hereby thou art so ignorant.


An injury that occurs when the ankle rolls, twists, or turns in an awkward way.
This can stretch or tear the tough bands of tissue (ligaments) that help hold the ankle bones together.
A sprained ankle causes swelling, pain, and limited range of motion.
Many people simply treat a sprained ankle at home with rest, ice, and pain relievers. Severe sprains may need medical evaluation.
Athlete's foot commonly occurs in people whose feet have become very sweaty while confined within tight-fitting shoes.
Symptoms include a scaly rash that usually causes itching, stinging, and burning. People with athlete's foot can have moist, raw skin between their toes.
Treatment involves topical antifungal medications.
The sole of the foot is distinctly hollow when bearing weight, due to an abnormally high medial longitudinal arch.
A bony bump that forms on the joint at the base of the big toe.
The main symptoms are bone deformity, pain, and stiffness.
Treatments include changing shoes, padding the foot, and pain medications. Painful bunions can be removed surgically.
is an open sore or wound that occurs in approximately 15 percent of patients with diabetes and is commonly located on the bottom of the foot. Of those who develop a foot ulcer, 6 percent will be hospitalized due to infection or other ulcer-related complication.
Flat feet can occur during childhood if the arches of the feet don't develop, after an injury, or from the wear and tear of aging.
Most people have no symptoms associated with flat feet. But some people with flat feet experience foot pain, particularly in the heel or arch area.
For painful flat feet, treatments include arch supports for the shoes, stretching, or a structurally supportive shoe.
Usually, the problems caused by this condition are cosmetic.
The main symptoms are changes in the appearance of nails. Rarely, the condition causes pain or a slightly foul odor.
Treatments include oral antifungal drugs, medicated nail polish or cream, or nail removal.
Pain and inflammation occur when too much uric acid crystallizes and deposits in the joints.
Symptoms of gout include severe pain, redness, and swelling in joints, often the big toe. Attacks can come suddenly, often at night.
A foot condition in which the toe has an abnormal bend in the middle joint.
A hammer toe is usually caused by wearing shoes with high heels or narrow toe boxes. It often affects the toe next to the big toe.
The affected toe may be painful or hard to move, and may develop corns or calluses.
Although heel spurs are often painless, they can cause heel pain. They are frequently associated with plantar fasciitis, a painful inflammation of the fibrous band of connective tissue (plantar fascia) that runs along the bottom of the foot and connects the heel bone to the ball of the foot.
A condition in which the corner or side of a toenail grows into the flesh.
The condition usually affects the big toe. People who have diabetes are at greater risk of complications.
Pain, redness, and swelling can occur at the affected nail.
Lifting or removing the toenail can help. Antibiotics might be needed.
A thickening of the tissue around a nerve leading to the toes.
Morton's neuroma may be caused by pressure or injury, such as from running or use of high heels.
Morton's neuroma may feel like a pebble in a shoe or a fold in a sock. There may be sharp, burning pain or numbness in the ball of the foot or toes.
8 Common Foot Problems. Fungal and Bacterial Conditions, including athlete's foot, occur because our feet spend a lot of time in shoes – a warm, dark, humid place that is perfect for fungus to grow. Fungal and bacterial conditions can cause dry skin, redness, blisters, itching, and peeling.
Athletic foot injuries can be difficult to properly diagnose and treat. Bearing the weight of the entire body, the foot is under tremendous stress. In many sports, the foot absorbs tremendous shearing and loading forces, sometimes reaching over 20 times the person's body weight. Physicians who treat these disorders must have a good understanding of the anatomy and kinesiology of the foot.
Tendons are the strong, cord-like bands of connective tissue that link muscles to bone. If a tendon is made to work too hard, for too long or in the wrong way, damage and tiny tears develop in the tendon. This is accompanied by inflammation which is the tell-tale sign of the condition.
Toe, Foot, and Ankle Injuries. At one time or another, everyone has had a minor toe, foot, or ankle injury that caused pain or swelling. … Toe, foot, or ankle injuries most commonly occur during: Sports or recreational activities.
Chronic leg and foot ulcers occur in many adults with vascular disease or diabetes and are attributed to chronic venous insufficiency, arterial disease, prolonged pressure, or neuropathy. … Chronic wounds can be classified as vascular ulcers (e.g., venous and arterial ulcers), diabetic ulcers, and pressure ulcers (PUs).
Hard, grainy growths that appear on the heels or balls of the feet.
Plantar warts are caused by the human papillomavirus (HPV).
The warts are hard, grainy, or fleshy growths that can be painful.
Treatments include over-the-counter remedies, salicylic acid, freezing medicine, or surgery.


text:
« Afghan Troops Learn Better Computer Skills | Main | AQ's Somali Branch al-Shahab Claims American Emigrant Latest Suicidal Islamist »
Kyrgystan Holds Elections
Voters in the turbulent Central Asian nation of Kyrgyzstan are going to the polls in the first presidential election since the deadly 2010 uprising that toppled former President Kurmanbek Bakiyev.
Pre-election polls showed moderate ex-Prime Minister Almazbek Atambayev, a wealthy businessman from the north, leading 15 other candidates in Sunday's multi-party election. His main challengers were the ousted president's former Emergency Minister Kamchibek Tashiyev and former Speaker of Parliament Adakhan Madumarov. Both candidates are from the south.
Just days ahead of the polls, analysts said it was unclear if Mr. Atambayev would secure the 50 percent of votes needed to win outright. A runoff vote is expected for mid-November.
Interim President Roza Otunbayeva, who has led the country since Bakiyev was ousted, is not running for office.
Voting Sunday was reported brisk in the capital, Bishkek.
Kyrgyzstan hosts both U.S. and Russian military bases and is a crucial hub for NATO operations in Afghanistan.
On the campaign trail, the top three leading candidates have said they would respect the U.S. base lease, which expires in 2014.
Less controversial is a Russian base on the other side of Bishkek, a legacy of Soviet days.
Geography divides the mountainous ex-Soviet country between north and south, and ethnicity further splits the population of 5.5 million.
Last year, in Kyrgyz cities bordering Uzbekistan, rioting broke out between ethnic Kyrgyz and ethnic Uzbeks. When the fight was over, about 500 people were dead, thousands were wounded and thousands of houses were in ruins.
Earlier this month, Mr. Atambayev traveled to Moscow where he met with Russian Prime Minister Vladimir Putin. He is the only candidate to win such an audience. Kremlin approval is key in a country where one-quarter of adult males work in Russia. VoA
Posted by WOTN Editor on Sunday, October 30, 2011 at 23:22 in Elections | Permalink


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WHY? Oh, this one needs no explanation.
Sorry, no official blurb available yet!
Kame: First it is an amazing chest and well it's Katie and I am LOVING her books!
What cover are you currently lusting for? Tell me, I want to know! Follow the directions above on how to post your own Lusting for Covers, and leave a comment telling me what you think of the cover for Delicate Ink and Chasing Danger?
Mmm Katie's definitely makes me want it.I love the color on that one.
Darn, I missed it this week! Got caught up in our company! Will definitely send early for next week!
Oh, love Delicate Ink! Have to look for that me!
Both of these are delicious!! These two authors always have yummy covers!!!
Not a problem -- can't wait to see your pick next week!
Oh yes, they have both been very lucky with covers!
Yum with the guys on the cover.
Oh yay! The next Deadly Ops book and quite the cover. too.
:) It's all about the men today!
YES! So much yes! :) I could have used either one of those guys last night -- hard rain and constant thunder/lightning all night!


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text:
1200 Garden View Road
Daniel Vicario, MD
Medical Oncologist
Medical Director, San Diego Cancer Center
Director, Integrative Oncology Program
UC San Diego Health Garden View Road – Encinitas
UC San Diego Health – Vista
910 Sycamore Ave.
map pinmap pin
About Daniel Vicario, MD
Daniel Vicario, MD, is a medical oncologist who co-founded the San Diego Cancer Center (SDCC). He is a pioneer in the research of mind-body medicine (the influence of the human spirit on the healing process) and in the field of integrative medicine. He created the Integrative Medicine Program at SDCC in 1988, and has been director of the program for over a decade. His research interests and publications focus on the treatment of advanced head and neck cancers with highly selective intra-arterial chemotherapy infusions; immunotherapy of hematological malignancies; comprehensive therapy of GU malignancies; and improving the quality of life for cancer patients.
Dr. Vicario was born in California and moved with his family at age 7 to Argentina, where he finished his schooling and graduated from medical school. He then returned to his native California for his medical training, including a fellowship at UC San Diego Division of Hematology / Oncology. In 1994 Dr. Vicario joined the Medical Group of North County, and then co-founded SDCC with Dr. Mark J. Adler. He has been a senior partner, a medical oncologist and an integrative oncologist at SDCC. Dr. Vicario also co-founded with Dr. Adler the San Diego Cancer Research Institute, a non-profit organization dedicated to promoting and conducting research and the development of innovative cancer therapies to improve the care and quality of life for cancer patients. In February 2011, the SDCC became part of UC San Diego Health.
Dr. Vicario is now a full-time medical oncologist with UC San Diego Health and remains medical director of SDCC. In recent years, Dr. Vicario has served the San Diego community through a variety of non-profit groups, including positions as: Medical director of Sharp Hospice in San Diego Medical director of Hospice of the North Coast in Carlsbad Chairman of Cancer Committee, Tri- City Medical Center, Oceanside, CA Member of Professional Advisory Board and speaker for Survivorship San Diego Member of the Professional Advisory Board and Board of Directors of The Wellness Community San Diego, a non-profit organization supporting San Diegans affected by cancer Chief of the division of Hematology/Oncology, Tri-City Medical Center, Oceanside, CA Board member of the American Cancer Society, San Diego Chapter. In 1999 Dr. Vicario was the recipient of the annual CHAD Health Hero Awards for his "dedication and commitment to better health for the residents of San Diego County." In 2006 he received the Channel 10 News Leadership Award for the creation of the Integrative Medicine Program. In 2008 Dr. Vicario was recipient of the "Health Care Champion Award" by the San Diego Business Journal.
Dr. Vicario enjoys teaching medical students, medical residents, fellows, other physicians, nurses, medical staff and sharing information and knowledge with patients with cancer. Dr. Vicario feels that his patients are and have always been his real and true teachers.
Dr. Vicario and his wife enjoy spending time with their four children, hiking, going to the beach, and traveling.
For more information on cancer treatment at UC San Diego Health, see Moores Cancer Center.
University of Buenos Aires, School of Medicine, Buenos Aires, Argentina
UC Irvine, School of Medicine, Irvine, CA
UC San Diego, School of Medicine, San Diego, CA
Advanced Head and Neck Cancers
Comprehensive Therapy of GU Malignancies
Immunotherapy of Hematological Malignancies
Integrative Oncology
View this video on Youtube
San Diego's only Comprehensive Cancer Center
As a NCI-designated Comprehensive Cancer Center, we hold the highest possible rating for a U.S. cancer center. This designation is reserved for centers with experts in every medical subspecialty, pushing boundaries to improve approaches for preventing, diagnosing and treating cancers. In simple terms, these federally recognized centers save lives. Studies repeatedly show that patients seen at NCI-designated Comprehensive Cancer Centers do better, on average.
Cancer Care as Unique as You
Choose UC San Diego Health for truly personalized cancer care at San Diego's only Comprehensive Cancer Center.


Filed under Cultural, Events on October 1, 2018.
Come celebrate with us this Saturday, October 6th by joining us at our annual Mid-Autumn Festival Show. Not only will you be dazzled with a great show, but you can also enjoy free authentic Chinese food. Take pictures at the Reitz Grand Ballroom Lobby and immerse yourself in Chinese culture, but be sure to save yourself a seat! Doors open at 6:00 PM and the show starts at 6:30.
Come celebrate with them this Saturday, October 6 by joining them at their annual Mid-Autumn Festival Show. Not only will you be dazzled with a great show, but you can also enjoy free authentic Chinese food. Take pictures at the Reitz Grand Ballroom Lobby and immerse yourself in Chinese culture, but be sure to save yourself a seat! Doors open at 6 p.m. and the show starts at 6:30 pm.


This week we are looking at the parable referred to by many as the parable of the unjust ruler and the importunate woman. I want to make it clear from the beginning that we will not look at this parable through a domesticated or conventional "Empire Approved" lens. There are key phrases and clues that cannot be missed, and these phrases tell us explicitly that this is not a parable concerning prayer by those in places of privilege; rather, it is a parable for those who are not merely passively disadvantaged, but who are being actively oppressed in their state of being disadvantaged.
"Will not God grant justice to his chosen ones who cry to him day and night?" – Luke 18.7 (This phrase, cry to him day and night, would have harkened Jesus' listeners back to Israel's slavery in Egypt, when they also "groaned under their slavery, and cried out. Out of the slavery their cry for help rose up to God" (Exodus 2.23, emphasis added). Within the narrative of Exodus, God is portrayed as saying to Moses, "I have observed the misery of my people who are in Egypt; I have heard their cry on account of their taskmasters" (Exodus 3.7, emphasis added).
This is not a parable about praying over "first world problems." These are not prayers by rulers or judges or those who receive their preference. This is not a prayer to get a promotion in an already high-paying job, or an "A" at an ivy league school, or that your favorite sitcom won't get canceled this season. These are prayers from those who cry out to the "Advocate God" of the oppressed and disadvantaged that we see in the Jesus of Matthew, Mark, Luke and John. These are prayers for God to end oppression, violence and injustice against those who are marginalized, mistreated, stereotyped, mischaracterized, and whose plight is ignored. Jesus is saying to these people, keep crying out to God! Don't give up! This is not a "pray only" parable either. This is a parable where the widow not only prays—she stands up to injustice with her continued prayers. Jesus is saying to the oppressed, "Keep pushing for justice, yes vertically, but also horizontally. And change will come! God is with you. Remember, God is an 'Advocate God.' And this God stands in solidarity with you." Injustice, oppression and violence is a violation of everything that the God we see in Jesus is about. In Jesus we see this Advocate God engaged in a formidable struggle against all oppression, injustice, and violence. As I've said so many times before, yes, God loves even the perpetrators of oppression. Yet the God we see in Jesus seeks to overthrow injustice by winning over the perpetrators of injustice, by being the first to stand in solidarity with the oppressed. Yes, this God loves all, yet this God is also seeking to heal all, both oppressed and oppressor. This God is at work to heal the oppressors by setting them free from the systemic evil they themselves are victims of. And this God is seeking to heal those who are being oppressed by putting to right the very injustice that is crushing them.
The greatest proof I can give that the God we see in Jesus is an Advocate God for the oppressed, is the resurrection. Yes, I know that the historical reality of the resurrection is under fire from our scientifically naturalist worldview today. But stop for a moment, and catch the storied truth of the resurrection.
It wasn't about getting to heaven after one died. It was about turning the world "upside-down" (see Acts 17.6) and placing it right-side up once again.
The resurrection proves that God is not standing in solidarity with political super-powers ("manifest destiny"), nor is God standing within the most exclusive, most holy, central places of religious systems of sacrifice. Rather, the resurrection proves that God was standing with and revealed in the very one who had been crucified by these religious, economic, and political systems.
Yes, there is good in the world worth fighting for and worth saving (see John 3.17). And when we encounter sickness in this world, whether social, political, economic, or religious, the only remedy is to hear the gospel (good news) being proclaimed by the resurrection of this same Jesus who was crucified by these sicknesses.
In John's gospel, Jesus tells Nicodemus, "Indeed, God did not send the Son into the world to condemn the world, but in order that the world might be [healed] through him" (John 3.17).
The cross is the center of appeasement-based theology in the hands of those at the top of privilege-pyramids to take the gospel of the oppressed out at the knees. There is a reason why the resurrection of Jesus was the center of the apostle's gospel in the book of Acts. The resurrection undoes and reverses the unjust act of the cross by systems of oppression. It is this reason, understood by the apostles, that places the resurrection at the center of all rightly-understood systems of liberation theology. Make no mistake, making the cross the center of one's theological understanding speaks volumes about the character of the God at the heart of that theology. Yet placing the resurrection as God's response to the crucifixion of Jesus by human hands also speaks volumes about the character of God at the heart of that theology. And both "centers" place their adherents on a trajectory concerning how they treat the marginalized.
It offers much to ponder for this week, for sure.
It's time to revisit the Jesus story of Matthew, Mark, Luke, and John, as well as the preachings of those in the book of Acts, and abandon conventional, domesticated, "Empire-Approved" systems of interpretation.
The cross is the center of "how to get to heaven" gospels. The resurrection is the center of "how to bring heaven to earth once again" gospels.
This week I'd like you to go back and reread Matthew 5.1-11 and Luke 6.20-26. Contemplate which end of the privilege-pyramid (top or bottom) Jesus is saying the arrival of his Kingdom "blesses," reversing their present state, and which end Jesus' Kingdom will challenge. See if you can outline some of the changes Jesus is outlining for those at the top of our social constructs as well as those at the bottom.
After you have made this outline, spend some time, sitting with Jesus, prayerfully contemplating these differences, and Journal what Jesus shares with you.
Share what you discover with your HeartGroup this upcoming week.
Till the only world that remains is a world where Christ's love reigns, keep living in love, loving like Jesus.
I love each and every one of you, and remember, God does too.


This is an older home with lots of character. It has been very well maintained. All kitchen appliances stay with the home including the washer and dryer. New carpet upstairs, all rooms are a nice size. Master suite is on the main floor with bath. There is a large porch across the back of the house opening onto a deck. Lots of house for the price! $99,900!
Directions:From South take Hwy 231 (Washington Street) thru town, turn North on Hwy 231, property is on the right.


Monica Paprocki, 33, of Chicago, is Phoenix Monster from the game Rising Sun, at the Chicago Comic & Entertainment Expo at McCormick Place last year.
Unless you are deep into comics, there's not a ton of news at C2E2. (This isn't San Diego Comic Con.) Unless you count the C2E2 Crown Championships of Cosplay (Saturday, 7 p.m.), billed as "the largest and most prestigious" cosplay competition in the world. Having attended this (and no other cosplay champions ever), I can't vouch for its prestige or scale, but I can say: It's a spectacle.
People browse for comic books at the Chicago Comic & Entertainment Expo at McCormick Place last year.
Speaking of representation: One of the best trends in comics has been the growing centrality of people of color drawing and writing comics. Hear many of those minds at Beyond Wakanda: The Rise of Afrofuturism in Pop Culture & Comics (Saturday 1:45 p.m.), and DMC Rocks the Mic: Darryl Makes Comics and Friends (Friday, 4 p.m.). That Darryl is Darryl McDaniels , DMC of Run DMC, a longtime comics fan, now creator.


Useful links for families with young people and children.
Following on is a list of all the current disability specific support groups in Kingston & Richmond.
Information for families of children & young people (age 0-25) with Special Educational Needs &/or Disabilities.
For families of children with physical disabilities.
Offer support and services, including pre-schoolers with SEND.


Prime 2.5 Acre Development Site in Smith approved NCP. Proposed Townhouse and Single Family designations. One of the most efficient properties in Smith with no easements, no environmental setbacks or additional road dedications such as some properties on 208 Street. Remodeled home, rented to very good tenants as you wait for development. Great location in Willoughby Heights, close to shopping!


Bocan Exclusive Reception and Loungewear are presented to sale at the Selective Boutiques and Luxury Marketplaces in Middle East.
Limited Editions are available at our Partnership Stores.
All resellers are entitled to have "Bespoke Collection" orders on behalf of Bocan.
"Bespoke Collection of Bocan" are demanded by many women who are willing to experience Bocan elegance with its unique designs, the highest qualified materials and perfect finishings by the talented masters.


Yep—I'm talking about my generation.
I met my boyfriend, Robert, at age 59. I hadn't had much luck with men prior to that.
We were at a local music spot and he sidled over to my friend Linda and me. He plied us with Perriers, and asked me to dance. When the rock 'n' roll segued into slow blues, we went out to the patio to talk.
"When did you graduate high school?" he asked tactfully.
"Wilson High, class of '65," I replied.
That sweet comment made me feel 15, and led to seeing him again. Two years later, we're still dating. Truth be told, I still feel 15, and he merely validates it.
My boomer friends and I are not going gentle into the dark night of old age. To begin with, we don't think we have to age. If our knees blow out, we ask the surgeon to make us new ones. And if we can't jog anymore, we bike or swim.
One of Robert's friends summed him up well. "To love Robert, you have to love the child in him." And I believe that's the key to my entire generation. We still sing rock 'n' roll and wear blue jeans. Anyone who courts our demographic would do well to remember that we feel internally and eternally youthful.
There is a scene in the movie Young @ Heart where a choir of seniors, average age 75, sings "Forever Young" to some male prisoners in New England. The camera pans the faces of inmates as they listen and some of the toughest begin to weep.
There is also a look of bemusement on their faces, as they make the most important mental shift that young people can make about my tribe. They see that kindness is ageless.
AARP Bulletin's "What I Really Know" column comes from our readers. Each month we solicit personal essays on a selected topic and post some of our favorites in print and online. Sue Clark is a reader from Grass Valley, Calif.


There are many improvements that come along with the modern garage door, one of them being the option of a keyless entry garage door opener. This system has several benefits for you to consider. Not only will this opener raise your door, it locks it for you as well. If you are thinking about getting a keyless entry here are a few reasons why it will be a worthwhile buy.
One of the most beneficial things about a keyless garage is that you don't have another key to weigh down your keyring. This also reduces the stress if you happen to lose your keys. A keyless entry functions through the use of a number pad or mobile application.
If you run into a situation where you suspect that someone has unauthorized access, the process to change your locks is usually long and costly. If you have a keyless entry you can actually change your "locks" in seconds. This is accomplished with a personalized key code that can be changed at any time, at your convenience.
If you are an online shopper or have guests arriving when you are not home, you have a few options with a traditional opener. You can stay home, have someone be at home at all times, arrange your package pick-up for somewhere other than your home or let them leave it at your doorstep and hope no one takes it before you do. All these options involve a lot of planning and inconvenience for all parties involved. However, instead of having to make special arrangements for these types of things you can set up a temporary code for each situation. This allows you to have the security you need to keep your belongings and packages safe, while not making your guests wait in the cold or heat either.
Additionally, another great tool you can add in addition to your keyless entry door system is the Overhead Door® OHD Anywhere® Technology. OHD Anywhere® allows you to control your garage from almost anywhere with a cell or wireless signal. It's is a sensor that is attached to the garage door, which is an important security add-on that alerts you when your door position changes. This can be installed with any compatible garage door opener, even one that was not purchased from Overhead Door. This system allows you to check if your garage door is open or closed, open it for the delivery man, and to see if someone is attempting to operate the garage door, all from the convenience of your smartphone.
Want more information about a keyless entry and other opener accessories? Give us a call!


text:
package sample.jaxrs.page;

import org.apache.commons.logging.Log;
import org.apache.commons.logging.LogFactory;
import sample.jaxrs.page.dao.UserDAOException;
import sample.jaxrs.page.dao.UserRepository;

import javax.ws.rs.Consumes;
import javax.ws.rs.DELETE;
import javax.ws.rs.DefaultValue;
import javax.ws.rs.GET;
import javax.ws.rs.POST;
import javax.ws.rs.PUT;
import javax.ws.rs.Path;
import javax.ws.rs.PathParam;
import javax.ws.rs.Produces;
import javax.ws.rs.QueryParam;
import javax.ws.rs.core.Context;
import javax.ws.rs.core.MediaType;
import javax.ws.rs.core.Response;
import javax.ws.rs.core.UriBuilder;
import javax.ws.rs.core.UriInfo;
import java.net.MalformedURLException;
import java.net.URI;
import java.net.URISyntaxException;
import java.net.URL;

@Path("/page")
public class UserResource {

    private final Log log = LogFactory.getLog(UserResource.class);

    private UserRepository users;

    @GET
    @Path("/users/{id}")
    @Produces(MediaType.APPLICATION_JSON)
    public Response find(@PathParam("id") int id) {
        try {
            User user = users.find(id);
            return Response.status(Response.Status.ACCEPTED).entity(user).build();
        } catch (UserDAOException e) {
            log.error(e);
            return Response.status(Response.Status.INTERNAL_SERVER_ERROR).build();
        }
    }

    @GET
    @Path("/users")
    @Produces(MediaType.APPLICATION_JSON)
    public Response findAll(@QueryParam("offset") @DefaultValue("0") int offset, @QueryParam("limit") @DefaultValue
            ("10") int limit, @Context UriInfo uriInfo) {
        try {
            Page page = new Page(users.findAll(offset, limit));
            addPagination(page, uriInfo, offset, limit);
            return Response.status(Response.Status.ACCEPTED).entity(page).build();
        } catch (UserDAOException e) {
            log.error(e);
            return Response.status(Response.Status.INTERNAL_SERVER_ERROR).build();
        }
    }

    @POST
    @Consumes(MediaType.APPLICATION_JSON)
    @Path("/users")
    public Response create(User user) {
        try {
            users.create(user);
            URL link = new URL("");
            return Response.created(link.toURI()).build();
        } catch (UserDAOException | MalformedURLException | URISyntaxException e) {
            log.error(e);
            return Response.status(Response.Status.INTERNAL_SERVER_ERROR).build();
        }
    }

    @PUT
    @Consumes(MediaType.APPLICATION_JSON)
    @Path("/users")
    public Response update(User user) {
        try {
            users.update(user);
            return Response.status(Response.Status.ACCEPTED).build();
        } catch (UserDAOException e) {
            log.error(e);
            return Response.status(Response.Status.INTERNAL_SERVER_ERROR).build();
        }
    }

    @DELETE
    @Path("page/users/{id}")
    public Response delete(@PathParam("id") int id) {
        try {
            users.delete(id);
            return Response.status(Response.Status.GONE).build();
        } catch (UserDAOException e) {
            log.error(e);
            return Response.status(Response.Status.INTERNAL_SERVER_ERROR).build();
        }
    }

    private void addPagination(Page page, UriInfo uriInfo, int offset, int limit) {

        int nextOffset = offset + limit;
        int prevOffset = offset - limit;

        URI currentLink = UriBuilder.fromUri(uriInfo.getBaseUri()).path("/page/users").queryParam("offset", offset)
                .queryParam("limit", limit).build();
        page.setCurrent(getStringURL(currentLink));

        if (page.getSize() > 0) {
            URI nextLink = UriBuilder.fromUri(uriInfo.getBaseUri()).path("/page/users").queryParam("offset", nextOffset)
                    .queryParam("limit", limit).build();
            page.setNext(getStringURL(nextLink));
        }
        if (prevOffset >= 0) {
            URI prevLink = UriBuilder.fromUri(uriInfo.getBaseUri()).path("/page/users").queryParam("offset", prevOffset)
                    .queryParam("limit", limit).build();
            page.setPrev(getStringURL(prevLink));
        }

    }

    private String getStringURL(URI uri) {
        try {
            return uri.toURL().toString();
        } catch (MalformedURLException e) {
            log.error(e);
        }
        return null;
    }

    public UserRepository getUsers() {
        return users;
    }

    public void setUsers(UserRepository users) {
        this.users = users;
    }
}

redpajama_set_name: RedPajamaGithub


All the benefits of LinQTM - simple, fast, secure with an integrated look.
Easy one-second on/off tool-less system.
4 US gallons (15 L) capacity.
Allows a LinQ Bag (860201740) to stack on top for more storage.
Equipped with Marinized LinQ hardware.
LinQ Cargo Base Kit included.
Note: Fuel caddies cannot be stacked.