Today's lectionary gospel text gives us the parable of the prodigal son. It really highlights our overall theme for Lent: God's faithfulness changes us. God's faithfulness in providing what we need changes our response to temptation. God's faithfulness gives us His strength in the face of suffering. God's faithfulness produces obedience. And today, God's faithfulness produces reconciliation. Our sinfulness has created a separation between God and humanity.
God is holy. His holiness is so incredible, that sinfulness can't be in the same place as he is. So throughout history, God has been at work, breaking down this barrier between him and humanity. God has been reconciling humanity to himself. From the very beginning, God promised that his faithfulness, regardless of how unfaithful we were, his faithfulness would produce the result needed to enable his creation to be present with him once again. God's faithfulness produces reconciliation.
Christmas is one of the most amazing moments in history, when God took on human flesh, Jesus Christ, the second person of the Trinity, became a man, a fully human being, also fully divine, so that he could reconcile sinful humanity to himself, the Holy Spirit and the Father. So that at last, we can be in the father's presence.
Up to the moment of Jesus' birth, the Holy Spirit was at work in various people. God would raise up leaders, prophets, priests, kings in order to bring us into faithfulness, to remind us of God's holiness, of his commandments, his character, which we were to show by how we live.
And the people would follow, for a while, as the Spirit enabled them, as a result of God's faithfulness, but then they'd forget and wander.
"For God so loved the world, that he sent his one and only Son, that whoever believes in him shall not perish but have everlasting life" (Jn 3.16).
Where would you expect God the Son to be? The temple? With religious people? With Good people? With saints?
No, not Jesus. Jesus came to reconcile! He came to seek and save the lost. He came for all, but those who received him were the ones who knew they were sinners. Those who thought they were righteous, wanted nothing to do with him.
He came for the very people the Pharisees didn't want to be around. Make no mistake, he came for them too. He came to reconcile.
Reconciliation is the bringing together of two offended parties. Our sin offended God's holiness. It needed to be paid for, it needed to be addressed.
Jesus Christ, by taking on human flesh, becoming a man, offered himself as a payment for our sin, a sacrificial atonement, once and for all. His humanity meant he could pay for human sin. His eternal divinity meant that his sacrifice paid for all sins, past, present and future.
His resurrection from the dead proved that his sacrifice was good, it was accepted, on your behalf, on my behalf.
There's lots of things we could look at this morning. We could probably spend several weeks on this text. But for today, we're going to look at the heart of the matter. God's heart. Our hearts.
The young son's heart showed in his words, his actions. "For out of the overflow of the heart the mouth speaks" (). His heart was rude, crude and stupid. He asked for his inheritance while his dad was alive. He was as good as dead to him. "You are dead to me." He was not nice. He wanted nothing to do with his family, nothing to do with his dad, nothing to do with his brother. At great cost to himself, and to his other son, the father divided his property and gave the inheritance to his son.
This dad wasn't dumb. He knew what would happen. He knew his son. He loved his son, stupidity, crudeness, rudeness, hurtfulness. You can't help but love your flesh and blood, no matter what they do. The Father's heart was filled with love.
The son lost everything. He sinks so low that he's feeding pigs: Jewish people were forbidden to do anything with pigs, they were "unclean". Furthermore, the pods he fed the pigs were unfit for human consumption—they looked edible, but were not—for humans.
Then if finally dawned on him: he could go home. No, not as a son, he was too far gone for that. He didn't deserve sonship. After the way he treated his dad, how could his dad treat him differently? He deserved nothing.
But maybe, maybe, his dad was gracious enough to let him be a servant. They were treated better than he was being treated now. So, he repented, he resolved to turn his back on his wild living, and he resolved to seek his father's grace. He went home.
Let's think about that for a moment. Think about your own life, or about the way you've interacted with others. Think about your relationships, good and bad. What would you expect from someone you know you've sinned against? What do you expect from God?
That's God, That's Jesus, every time, every day, no matter what you've done. That's God's heart. Not just one small demonstration of love, of reconciliation, an overwhelming demonstration.
As you go into the week ahead, remember. Remember God's grace, God's love, God's faithfulness produces reconciliation—the sending of his Son! Be reconciled to God! And know this, that Jesus Christ, the one who saves us from our sins is always before God's throne, always interceding for you, for me. Amen.
What, then, shall we say in response to this? If God is for us, who can be against us? 32 He who did not spare his own Son, but gave him up for us all—how will he not also, along with him, graciously give us all things? 33 Who will bring any charge against those whom God has chosen? It is God who justifies. 34 Who is he that condemns? Christ Jesus, who died—more than that, who was raised to life—is at the right hand of God and is also interceding for us.
Ascension—ties into song of response, also, we are reconciled to God, we are able to be reconciled to each other—because of Jesus.
Thank you, Father, for your faithfulness. Thank you for your love. Thank you for Jesus. Thank you Jesus for paying for all our sins. Thank you that you stand before the Father, pleading our case before him. Thank you Holy Spirit, you always lead us right. May our hearts of stone be replaced with hearts of flesh that overflow with love for God, and for others. Amen.


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text:
Q: Executing ng test chromeHeadLess fails in jenkins I have a project in Angular 9 and so unit tests with karma.
When I execute my tests locally, everything work fine but not in Jenkins.
My goal is to have the junit report to use in Jenkins.
In Jenkins I have the following error
10:03:47  + npm run test
10:03:47
10:03:47  > dclic_frontend@0.1.0 test /var/jenkins_home/workspace/dclic_frontend_master
10:03:47  > ng test --watch false --code-coverage
10:03:47
10:03:47  Node.js version v11.14.0 detected.
10:03:47  The Angular CLI requires a minimum Node.js version of either v10.13 or v12.0.
10:03:47
10:03:47  Please update your Node.js version or visit https://nodejs.org/ for additional instructions.
10:03:47
10:03:47  npm ERR! code ELIFECYCLE
10:03:47  npm ERR! errno 3
10:03:47  npm ERR! dclic_frontend@0.1.0 test: `ng test --watch false --code-coverage`
10:03:47  npm ERR! Exit status 3

I increased timemout in karma.conf.js -> no effect
Here the package.json
{
  "name": "dclic_frontend",
  "version": "0.1.0",
  "scripts": {
    "ng": "ng",
    "start": "ng serve --base-href /coa/",
    "build": "ng build -- --base-href /coa/ --output-path=build/dist",
    "build:prod": "ng build --configuration=production --base-href /coa/ --output-path=build/dist",
    "test": "ng test --watch false --code-coverage",
    "test:dev": "ng test",
    "lint": "ng lint",
    "e2e": "ng e2e",
    "postinstall": "ngcc --properties es2015 browser module main --first-only --create-ivy-entry-points"
  },
  "private": true,
  "dependencies": {
    "@angular/animations": "^9.1.9",
    "@angular/cdk": "^9.2.4",
    "@angular/common": "^9.1.9",
    "@angular/compiler": "^9.1.9",
    "@angular/core": "^9.1.9",
    "@angular/forms": "^9.1.9",
    "@angular/localize": "^9.1.9",
    "@angular/material": "^9.2.4",
    "@angular/platform-browser": "^9.1.9",
    "@angular/platform-browser-dynamic": "^9.1.9",
    "@angular/router": "^9.1.9",
    "core-js": "^2.6.9",
    "ngx-spinner": "^9.0.2",
    "ngx-toastr": "^12.1.0",
    "rxjs": "~6.5.4",
    "tslib": "^1.10.0",
    "zone.js": "~0.10.2"
  },
  "devDependencies": {
    "@angular-devkit/build-angular": "^0.800.6",
    "@angular/cli": "^9.1.7",
    "@angular/compiler-cli": "^9.1.9",
    "@types/jasmine": "~3.5.0",
    "@types/jasminewd2": "~2.0.3",
    "@types/node": "^12.12.43",
    "codelyzer": "^5.1.2",
    "jasmine-core": "~3.5.0",
    "jasmine-spec-reporter": "~4.2.1",
    "karma": "^4.1.0",
    "karma-chrome-launcher": "~2.2.0",
    "karma-coverage-istanbul-reporter": "~2.0.5",
    "karma-jasmine": "~2.0.1",
    "karma-jasmine-html-reporter": "^1.4.2",
    "karma-junit-reporter": "^1.2.0",
    "protractor": "~5.4.3",
    "ts-node": "~8.3.0",
    "tslint": "~6.1.0",
    "typescript": "~3.8.3"
  }
}

The karma.conf.js
module.exports = function (config) {
  config.set(
    {
      basePath: '',
      frameworks: ['jasmine', '@angular-devkit/build-angular'],
      plugins: [
        'karma-jasmine',
        'karma-chrome-launcher',
        'karma-jasmine-html-reporter',
        'karma-junit-reporter',
        'karma-coverage-istanbul-reporter',
        '@angular-devkit/build-angular/plugins/karma'
      ],
      client: {
        clearContext: false
      },
      reporters: ['junit', 'progress', 'kjhtml'],

      junitReporter: {
        browserNoActivityTimeout:100000,
        outputDir: '../test-reports',
        outputFile: 'junit-report.xml',
        useBrowserName: false,
      },

      angularCli: {
        environment: 'dev'
      },
      port: 9876,
      colors: true,
      logLevel: config.LOG_INFO,

      browsers: ['MyHeadlessChrome'],
      autoWatch: false,
      singleRun: true,

      coverageIstanbulReporter: {
        reports: ['html', 'lcov', 'cobertura'],
        fixWebpackSourcePaths: true,
        dir: 'coverage',
        file: 'cobertura-coverage.xml'
      },

      customLaunchers: {
        MyHeadlessChrome: {
          base: 'ChromeHeadless',
          flags: [
            '–no-sandbox',
            '--disable-translate',
            '--disable-extensions',
            '--remote-debugging-port=9223',
            '--headless'
          ]
        }
      },
      captureTimeout: 210000,
      browserDisconnectTolerance: 3,
      browserDisconnectTimeout : 210000,
      browserNoActivityTimeout : 210000
    });
};

The polyfill.js
import '@angular/localize/init';
import 'zone.js/dist/zone'; // Included with Angular CLI.
```code
  "test": {
          "builder": "@angular-devkit/build-angular:karma",
          "options": {
            "main": "src/test.ts",
            "polyfills": "src/polyfills.ts",
            "tsConfig": "tsconfig.spec.json",
            "karmaConfig": "src/karma.conf.js",
            "assets": [
              "src/favicon.ico",
              "src/assets"
            ],
            "styles": [
              "src/styles.scss",
              "node_modules/ngx-toastr/toastr.css"
            ],
            "scripts": [],
            "codeCoverage": true
          }
        },

And the stage in Jenkinsfile where I commented the post of the report for now.
  stage('Angular frontend Karma Test') {
          steps {
              sh 'npm rebuild'
              sh 'npm run test'
         }
         // post {
         //   always {
         //       junit 'test-reports/junit-report.xml'
         //   }
         //}
        }

I have no idea of the origin of this issue.

redpajama_set_name: RedPajamaStackExchange


Klopp feels English culture demands high transfer fees.
Liverpool manager Jurgen Klopp believes the deal to sign Xherdan Shaqiri was viewed with suspicion in England because of his relatively cheap price tag.
The Swiss international was brought in from relegated Stoke for £13million, a relative bargain after the club spent £160m to acquire midfielders Naby Keita and Fabinho plus goalkeeper Alisson Becker.
It raised eyebrows in some quarters but Klopp believes Shaqiri, who has only been given eight minutes of competitive action so far, has already proved his quality to team-mates.
"I don't think German football culture would tolerate transfers of 150 million Euros, they love nothing more than a free transfer," he told German broadcaster SPORT1.
"The view in England is different. If a player costs nothing there is a suspicion he must be useless.
"For example, there was a lot of questioning (in England) around our interest in Xherdan Shaqiri.
Klopp also leapt to the defence of compatriot Mesut Ozil following criticism of the Arsenal midfielder after his international retirement, in which he claimed he was the subject of "racism and disrespect" from the German Football Association following a controversial pre-World Cup meeting with Turkey president Recep Tayyip Erdogan.
"I find this discussion hypocritical," added Klopp. "Bad things happened because people were not informed properly.
"This photo was used – first by Erdogan, then by many other people. In politics, little things have always been blown up and big things pushed away in order to continue.
"Normally intelligent people tend to hold back because it is not easy to say the right thing. I would count myself too. All those who have no idea are very loud in these conversations.
Goalkeeper Loris Karius is set to arrive in Istanbul on Friday to complete his two-year loan deal with Besiktas.
The Turkish club will pay a £2.2m loan fee and are obligated to buy him for a further £7.25million in 2020 if appearance and European qualification criteria are met.
Liverpool will also have a 20 per cent sell-on fee if the deal is made permanent.


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(http://icma NULL.org/Documents/Document/Document/305454)A new ICMA report (http://icma NULL.org/Documents/Document/Document/305454), written with the support of the NADO Research Foundation through its Sustainable Communities capacity building grant from HUD, features seven brief case studies of small municipalities that have implemented various innovative sustainability policies. "Defying the Odds: Sustainability in Small and Rural Places" (http://icma NULL.org/Documents/Document/Document/305454) includes lessons about the actions local leaders in these places took and their motivations. A number of themes emerge including the role of sustainability in promoting local economic competitiveness and community revitalization, the benefits of regulation and municipal utilities in promoting change, entrepreneurial leadership from local officials, and the importance of regional networks for information exchange.
According to the report: "A number of factors come together to make the communities profiled here innovators in sustainability. All have entrepreneurial leaders – either elected officials or professional managers and staff who drive green policy making. These creative leaders reshape regional and global issues to fit local agendas and local circumstance. Usually, they reframe environmental issues in terms of cost savings or increased efficiency, which can be an important way to broaden the appeal of green policies to officials and constituents that do not prioritize such issues.
Click here (http://icma NULL.org/Documents/Document/Document/305454) to download the report.
This report was researched and written by ICMA, through a subcontract agreement with NADO Research Foundation. NADO Research Foundation provided overall guidance and project direction. The work that provided the basis for this publication was supported by funding under an award with the U.S. Department of Housing and Urban Development. The substance and findings of the work are dedicated to the public. The author and publisher are solely responsible for the accuracy of the statements and interpretations contained in this publication. Such interpretations do not necessarily reflect the views of the Government.
This entry was posted in Publications, Publications, Publications, Regional and Community Planning, Regional and Community Planning Publications, Regional Economic Development, Regional Economic Development Publications, Sustainable Development and tagged case studies, economic development, energy conservation, energy efficiency, green infrastructure, HUD Sustainable Communities, ICMA, Rural, small towns, sustainability, water conservation. Bookmark the permalink.


text:
Q: Can any value be url encoded using IS0-8859-1? I thought a server expected urls to be encoded as UTF-8 so I always encoded my urls as UTF-8, however it turns out it expects them to be encoded as IS0-8859-1.
Can any value be url encoded using IS0-8859-1 even if includes chinese, arabic and other non latin chars because it would be much simpler to fix the client then the server.
Update from Answer
So I was a bit confused if my query value is 'Björk' and I put it into IE Explorer I got the expected results, if I put the same value into Firefox I get incorrect results. My theoreom was that IE was uriencoding to iso8859 and my server expected to receive as iso8859 so worked, but firefox was uriencoding as utf8 and as  my server always expect iso8859 it decodes incorrectly and give wrong results,
In fact I'm sure this is right because I get the correct results if I uriencode as iso8859 in my client code and bad results if i urlencode in UTF8. If I dont uriencode at all then server fails to understand the query at all, so you do have to uri encode.
Because I was searching for an ö I thought that meant anything could be encoded as ISO88591. I realize its only one byte (256 chars) but I thought uriencoding conveted chars into multiple bytes before encoding, but now realized that ö is actually in IS0-8859 as char 214.
So I guess the only solution is have the server expect UTF8 and have the client send UTF8

A: a) There is no requirement to use any specific encoding in URIs. But yes, UTF-8 is the best choice. Just don't rely on everybody doing it.
b) No, ISO-8859-1 can only represent 256 different characters.


text:
Play Raft Wars
In Raft Wars, you must protect your treasure chest from pirates. To do this, you will need to shoot tennis balls. After you've collected a certain number of tennis balls, you can upgrade your raft and its ammo. However, be careful not to get hit if you're not armed properly. In addition, be careful not to get knocked out of the raft by your enemies.
This is an interesting turn-based shooting game. You play as Simon, a deuteragonist who finds gold on a beach. He is attacked by several enemies who all want the gold. To survive, you must defeat the enemies and win the game. This is similar to Fleabag vs Mutt. You must destroy all of the enemy ships and take away their health. The level of this game is very short and you can stop playing any time.
The gameplay of Raft Wars 2 is similar to that of Angry Birds. You must aim your weapons and account for their power and shooting arc. To make the game more interesting, you can purchase upgrades at the end of each level. These upgrades will help you defeat pirates faster and keep your treasure safe. The game is developed by Martijn Kunst. There are several levels and hundreds of weapons to unlock. This game is not suitable for kids under the age of 12.
Tags: shooting game, unblocked games
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If you're tired of watching your TV or working, try a new game called Get On Top. This game features two players, and it's a lot of fun! You must get on top of your opponent by pushing him or her down until his or he...
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Schoolbreak.io is a multiplayer io game in which the player controls a character and uses various objects to create destruction. During the game, you must catch indisciplined children and punish them by isolating the...
Cover Orange: Journey In this new puzzle game, you must protect a lovely orange from a deadly rain cloud. You can customize the look and style of the orange and collect stars, but be sure not to touch it. This game i...
Raft Wars 2 is a fun and challenging game where you must defend a hidden treasure in a water park. Your objective is to protect the gold, which is in a hidden cave. Your raft and guns can only be upgraded if you win ...
Three Disks
Three Disks is a puzzle game where you must stack the in a circle. You must match the color of the disks in a row to catch the ball. You can only move the three disks in a circle, so you have to be careful. If you ma...
Ludo King
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The game has many features that make it an interesting and enjoyable game Gangster Hero Grand Simulator to play. Players can choose a character, customize their clothing, vehicles, and weapons, and participate in var...
Rooftop Snipers is an arcade/shooting game where you play against friends or AI. The objective is to knock your opponent off the roof. You use two buttons to jump and shoot. Managing your character is a challenge, bu...
In Raft Wars, you must protect your treasure chest from pirates. To do this, you will need to shoot tennis balls. After you've collected a certain number of tennis balls, you can upgrade your raft and its ammo. Howev...
If you're hosting a sushi party, you can also serve appetizers, drinks and snacks. Besides sushi rice, you'll need to prepare a few other things, including a cutting board, soy sauce dishes and chopsticks. You'll als...
In this sequel to the hit G-switch game, you'll control gravity to jump, run, and overcome obstacles. You'll use a variety of different weapons to change the direction of your gravity. You'll also need quick reflexes...
Civiballs Origins
In the first installment of the Civiballs Origins series, players must make a chain of balls fall into different colored vases. In this game, you'll have to find a way to make all the balls fall into the same color v...
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PUBG Pixel is a multiplayer online game featuring online players. It is a lightweight browser version of the popular game that features block graphics and first-person views. It allows players to pre-arm themselves b...
Whack the Dummy
Whack the Dummy is a game where you must use various weapons to defeat the robotic dummy. The dummy is made of sturdy and hard materials and can withstand any kind of attack. This addictive game lets you test your sk...
7.10K Played85 Comments0 Likes
Slope is the direction of a line. The gradient is the steepness of the line. The slope of a mountain is one hundred percent. The number of the gradient is ten times the height of the summit of Mount Everest. The grad...

redpajama_set_name: RedPajamaCommonCrawl


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proceeded, "This is Mr. Y----. Listen closely to what I am going to say.


Frustrated, Sick and tired of looking for work? You're not alone.
Thousands of people every day get up and start their day with feelings of hopelessness and frustration looking for work. It's not easy and coupled with life's challenges it can be extremely depressing.
Money is tight and bills are piling up, you just need a job!
There may be a few reasons why your job search is unsuccessful and taking so long.
Until you get an interview, your resume is your only representation. It is the employer's window into you, your abilities and your enthusiasm for the job you're applying for. You must show you want the job and that you can do it well. This means taking the time to ensure you have included and addressed all the job requirements and personal attributes they are looking for. They receive thousands of resumes so are simply scanning for a standout candidate who has all or most of what is required. Also, it needs to be clear, easy to read and have no spelling mistakes.
You want to make sure that you have some interest in the jobs you're applying for. Your enthusiasm will shine through and the feelings of satisfaction using skills that you 're good at and enjoy doing will prevail rather than frustration and negativity. Work is something you do every day so it's important to be happy because it will affect your whole life not just your job.
I know it may be hard to think about job satisfaction when money is tight and you need to put food on the table. However, a little self-assessment now can save an abundance of misery for years to come. It's never too late to reinvent yourself or your career!
Having fun and feeling good about what you are doing is more than half the battle.
If you want something you have to ask for it, that's what my mum used to say and how right she was. I don't mean just applying for advertised positions, find other ways to get in contact and around people in your chosen profession. An easy way to do this is Social Media, Facebook and LinkedIn can be a direct link to these people and is a fast and effective way to get in contact.
Explore companies and industry-specific groups on these platforms, it may not connect you to your future boss but possibly to someone who knows them or about a vacant or upcoming position. These groups also connect you to like-minded people who are great for support and know firsthand what you're going through.
Start asking friends, neighbours and anyone else you meet, this cultivates contacts and broadens your network. You never know it may not be this time but one of these people could be the future connection to your dream job.
Stay positive and set yourself goals every day to keep you motivated. Chase up all your applications and be polite and say Thank you when you are unsuccessful, where possible always ask for feedback, this will help you improve on your search, you can always reapply later.
Most importantly don't take rejections personally, there are many possible reasons for you not getting the job and most of them have nothing to do with you. Stay committed and if all else fails, find yourself a mentor in your field who can give you some helpful tips and advice on standing out and landing your next job.


Spanish photographer Frank Diamond (born in April 29, 1990 in Lleida) began his self-taught artistic career at the age of 22. His surreal photography works are largely characterized by dark and dramatic themes.
One can usually see mask-wearing characters in his photographs. "I usually use masks as a way of showing characters whose faces and characters contain secrets and unleash fear. This also helps me submerge my imagery in a cool and subdued atmosphere." artist remarks.
Frank's photo-pictorial style has a distinguishing effect of transporting the viewer to magical and sinister places. He defines his photographs as a visual diary where he expresses how he feels and vindicates his thoughts.
He is currently working on two new projects: A new series titled "Aqua" and his second photo-book "Mutants", a project that talks about people who are judged and despised for their physical appearance.


text:
Help Tell This Important Story of Military Caregivers
by Betty Rodgers on December 11, 2020 with No Comments
We are excited to announce that we have launched our crowdfunding campaign to bring I Married the War to the finish line! You can view the campaign and the perks for contributing here.
There are women across the country, like Carman Hinson, fighting for their loved ones who live with the trauma of war. Carman's life changed forever when her husband Courtney was attached to a Green Beret team whose sole mission was to hunt down the terrorists list and liberate the people of Afghanistan and Iraq. After four deployments Courtney came home suffering from undiagnosed severe PTSD and TBIs in addition to injuries suffered in a parachute accident. "I have come to realize as his wife and caregiver," Carman says, "that I'm not able to fix him at all. His constant survivor guilt, the effects of war, his nightmares, are always haunting him. In my experience, I've recognized that when a combat vet starts to withdraw and isolate themselves, bad things can start to happen. They can go into a downward spiral really fast and I knew that I had to prevent that."
Our nation has barely begun to acknowledge the vital role that these spouses play. In I Married the War (IMTW), a documentary film which investigates the lives of eleven women like Carman, we learn how these spouses fought for their marriages, their families, and their husbands, veterans of WWII, Korea, Vietnam, Iraq and Afghanistan. These women are known as military caregivers.
Please join us by supporting the final stages of this film's production. IMTW has the potential to help thousands—if not millions—of spouses and family members who have experienced the aftereffects of war. We learn that war doesn't end when the fighting stops.
Your donation will help us to complete post production, the place where the editor, music composer, audio engineer and other experts do their finishing magic to bring the story to the screen. The ITMW team will make the final trailer, produce DVDs, and prepare for film festivals. Your support is crucial to our effort to bring this film down the last mile and into the public arena.
You can make your contribution on the Indiegogo page here. If you can't give but still want to help with this cause, please share the Indiegogo page with friends, family and colleagues. Your sharing will help us move one step closer to fostering a national dialogue and helping caregivers of veterans understand that they are not alone and help is available.
The entire IMTW team would like to thank you in advance for your support!
Updates caregivers, caregiversupport, combat veterans, documentary film, donate, hidden heroes, Indiegogo, military caregivers, military spouse, military spouses, military wife, PTSD awareness, spouse, TBI awareness, tell your story, transitioning, untold stories, women in film


Mr. Christain Spell, 67 of Hahira passed away Wednesday, January 30, 2019 at Langdale Hospice House. Mr. Spell was born May 15, 1951 to the late John & Margaret Williams Spell. He served in the United States Air Force and was a member of Welcome Hill Church of Christ.
Survivors include his wife, Dianne Spell of Hahira; daughters, Robin Tillman of Hahira, Amy (Jason) Clark of Valdosta, Rebecca (Brian) McKeig of Ray City, Stephanie (Gregory) White of South Carolina, and Kaitlyn Spell (Trey Southerland) of Hahira; grandchildren, Alex Dion, Jacob Dunbar, Ethan Cheatham, Madison Davis, Ryleigh Clark, Brennen Watson, C J Watson, Hunter Watson, Seth White, Lucas White.Fletcher Commander and Vada Commander; great grandchildren, Hayden Kemp, Cliffton Oliver, Ava Oliver, Rosie Oliver, Emma Southerland; cousins, Billy (Laura) Spell of Lake Park, and Danny (Carol) Spell of Lake Park. Mr. Spell was preceded in death by several brothers and sisters.
A celebration of life will be held Saturday, February 16, 2019 from 1:00 - 4:00 p.m. at the Hahira Community Center, behind the library. There will be a flag presentation at 2:00 p.m.


Explore Your Path Foward: A Gathering For Young Men is designed to encourage community building, while helping young men foster inquiry and skills for greater academic success and positive growth. This event welcomes middle and high-school aged (8th-12th grade) young men across Middlesex County and beyond.
⧫ Panel Discussion: featuring Beloved, Violence Interrupter and Program Director at the Youth Opportunity Hub of Harlem, Jordan Bonner, Captain of Wesleyan University Men's Basketball Team, and others.
Michelon Dorzin has worked in service of young men at the YMCA of Greater New York City, the B.E.L.L. Foundation, and the Brooklyn Children's Museum – supporting programs designed to improve educational outcomes, while building social and leadership skills.
Mr. Dorzin, is a former Life Coach for the African American Male Initiative – a special project launched by New York City's Children's Aid Society to address the disproportionate representation of young men of color in negative outcomes associated with education, health, and the criminal justice system. Michelon is currently a survivor advocate at Safe Horizon's – a New York City based organization providing comprehensive support to survivors of domestic violence and sexual assault.
Throughout his career, Michelon has been a staunch supporter of programs that embrace the responsibility of empowering youth and families of color through collaboration, while building their capacity to understand and respond to the social and political forces impacting their lives.
In his leisure time, Michelon enjoys listening to hip-hop, playing basketball, and long distance biking and welcomes any opportunity to learn about emerging strategies for empowering young men of color.
Mr. Dorzin holds B.A in sociology from City University of New York's – York College and is completing and M.S.W. at Hunter College's Silberman School of Social Work.
Cliff Thornton is associate dean of admission at Wesleyan, covering a wide geographic and socioeconomic range: the South Central U.S. from Kentucky to Louisiana, Manhattan, Puerto Rico, the U.S. Virgin Islands, and the Caribbean. Having served these communities—and Wesleyan—now for more than 30 years, it makes sense that he would demonstrate an ease and fluency in his relations with so many different people from such different backgrounds. He's had a lot of practice.
Beloved is a Motivational Speaker, Mentor, Youth Advocate, Violence Interrupter and Father. Dedric "Beloved" Hammond is a devoted Cure Violence Specialist and Outreach Supervisor at Next Step and Arches. Beloved transformed from a Crew Leader to Youth Activist and Motivational Speaker after spending time in prison where he turned his life around. He is now dedicating his new life to mentoring at risk youth on the consequences of gang involvement.
Dwayne Brown is Director of Youth & Education at the Brooklyn, NY based St. Nicks Alliance. Mr. Brown has over 15 years of experience managing youth development initiatives in urban settings. Before joining St Nicks Alliance, Dwayne served the Harlem community as the Program Manager of Adolescent and Young Adults for New York City Mission Society where he directed a Teen Pregnancy Prevention program and supported programs empowering over 1000 adolescents and young adults annually.
Dwayne holds a Bachelors of Arts Degree in Political Science from Duquesne University and a Masters in Public Administration. Mr. Brown is a proud member of Alpha Phi Alpha Fraternity, Inc.
Keerome Lawrence is a graduate of Hillhouse High School. In 2007, he led the Hillhouse football team to a state championship and received a football scholarship at Georgetown University. Mr. Lawrence graduated from Georgetown in 2011 with a degree in psychology. Since graduating from college, Keerome has returned to Connecticut and launched the Extra Yard College Prep Program – a special initiative designed to help student athletes prepare for the academic rigors of being an athlete in college, while envisioning careers beyond professional athletics.
Jordan Bonner '19 is from Houston, TX, studies Psychology, and is currently the captain of the Wesleyan Basketball Team. He is also the co-founder of Cardinal Community Classic, an annual 3 on 3 basketball tournament held at Wesleyan which raises money for the Middlesex Health Cancer Center to support individuals with cancer who are facing financial hardships in our local community.
Clifton Watson is the Director of Wesleyan University's Jewett Center for Community Partnerships. He is the former director of the African American Male Initiative at the Children's Aid Society in New York City and he has also worked at the Princeton Center for Leadership Training, Grand Street Settlement, and Prep for Prep. Watson is a graduate of the University of Connecticut and earned a doctorate in history from Fordham University in 2014.


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Events > Graduation 2015
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Design as a Prop
By Gabrielle Kennedy
Sometimes to move forward in the design process students need to intellectually go somewhere else. It becomes the only way to reach a better understanding of their own social assumptions.
A good example of this is recent Masters graduate Fiona du Mesnildot whose project 'Domestic Theatre' found parallels between social structures and the design process. For her, delving into the mundaneness of one, made the dynamics of the other much clearer.
"The first thing I was asked in school was to define social design," Fiona says, "but for me, I needed to first understand society and how it worked. Only then was I ready to tackle design."
To get there Fiona turned to the stage, and specifically Henrik Ibsen's 'A Doll House'. No other drama captures the tension of the social condition more.
"I took this approach because if I look at society as an observer, I see a stage," Fiona explains, "with players, costumes and props. Also I think playing helps us to understand things better. A child recreates their surroundings in a dolls house. They work out the different parts by role playing with characters."
Adults too use tools to engage with social dynamics and to identify with others. We stage ourselves, and judge and connect to others based on the roles that they are playing.
So as an analogy or a metaphor for society, Fiona developed a design methodology to go with it. Practically she could not restage the whole of society so she focused on the very normal. "Ultimately my aim was to challenge or question our perception of the ordinary," she says, "because the deepest norms are the ones we do not think about – they are so ordinary that they become the standard."
Fiona began with a series of everyday objects like a curtain or a staircase – a reference to Gerorges Perec's essay on the ordinary. She then took these objects out of context. "In this way there was the possibility to play with fiction and reality, and to create a new space," she says.
Next Fiona made a series of molds based on questioning shapes and why they are as they are. With these she produced a series of actual props – everyday objects, albeit made with completely unexpected but familiar materials such as sugar and soap. "I didn't adhere to any of the usual constraints," she says. "I just combined two common practicalities - shape and materials – and the result was this series of unstable, curious and speculative props. It was a way to challenge what is considered normal and to leave space for the imagination."
But perhaps most intriguingly Fiona wrote an entire script from the perspective of design as an attitude, an awareness machine, and a critical and political tool, thus combining it with the historical and critical function of theatre. "My results re-script, re-stage and re-act the spectacle of our everyday in a disruptive way," explains Fiona.
Here starts the representation. The lights fade on the audience. The curtains open on a domestic stage: door, window, staircase and props… Another dollhouse.
If her play was to be performed, (designed) objects would serve as the script to reinvent social norms. "I think individual performances can be called social representations that build on a global scale to create the social order as we know it, as well as our cultural identity," Fiona explains.
After presenting this work during Dutch Design Week Fiona thinks the biggest reminder the project offers to designers is to take risks – to dare to be absurd.
"A lot of designers take risks already in other ways," she says, "but distorting the familiar makes us better able to create new perspectives on what we experience everyday, even if it's not a very functional form of design.
"As a social designer," she continues, "my part in this play is to question this script on its different scales and to undermine the norms. A designer can be the scriptwriter and stage director of everyday life, a role that demands real imagination. I really believe that we need to be more imaginative about how design is used and therefore performed."
Published: 30-Oct-2015 13:53
Home News, Graduation 2015
Fiona du Mesnildot - Domestic Theatre


I've been blogging now for almost a year and, since I started, I've never been quite sure or felt quite right about how I rate the books I read. I know, as someone who reads a fair few book blogs myself, that ratings help me decide if I want to read a book, especially once I've come to trust a blogger's recommendations. The same is true for reviews in magazines and newspapers. At the same time, I often find myself agonising over ratings for my own reviews and what to "score" books.
Early on, I tried to solve the problem by giving books 1/2 or 3/4 ratings but pretty soon gave up on this as just too complicated. Plus, they still didn't properly express how I felt about a book, especially when it got to the three star rating. To me, this suggested average when I saw it on other sites but I sometimes rated a book 3 out of 5 because of one or two little things that had bugged me…and might not bug anyone else. I wondered if I was being fair to these books but also couldn't give them a higher rating because that didn't feel right either.
I also had a bit of an issue with consistency as I don't score the books I read for the Classics Club or other challenges like Play On! or the books I've been revisiting. These, I just give my opinions on. Don't as me why as I'm not sure – because they are older definitely but also because, in my head, they weren't reviews. Except they are because my writing about them tends to follow the same format as books I've been rating.
In January, I started adding an opinion along with my ratings, saying whether I loved a book or liked it a lot. That felt better. More in line with how I would share a book with family or friends and with how I wanted to express my opinion on what I read. As with my fractionalised scoring system though, I think I was just making things more complicated for myself (I like to do that in most parts of my life – again, don't ask me why – so no surprise I did it here).
Which brings me to today and this post, which is a very round-a-bout way of formalising something I have been working through and towards for a while and actually started last week with my review of Dead Wake when I decided not to give it a rating. I have to say it felt good and so it's how I think I'll go along for a while at least. What do you think – do you prefer ratings or not? Or do you not mind either way as long as the review tells you what you need to know?
As a reader I like either being able to see a bottom line of whether the reader liked a book or not or a rating. It is so frustrating to read a review but finish reading and wondering BUT BUT BUT…did they like it??
When I started my blog, I gave ratings. But after a while, I just realized how hard and subjective the number system is. Now I do something similar to the Book Riot website; I tell people whether they should borrow it, buy it, or skip it. It works really well.
I like those choices. It does seem less arbitrary. I agree, numbers seem hard…but then I find them useful from others.
If you were talking to a person (me, for example!) in person about a book you loved, would you rate it before/after proceeding? Or would you simply talk?
I think I write about books because I enjoy them so much but also because I wanted to be more than a passive participant after spending more than a bit of time reading other blogs. I think I rated them because I felt I had too. As I get more comfortable with what I'm writing and with the fact that I am simply enjoying blogging, ratings seem less important. I still feel like I have to get to the bottom of what I think but not just with a number that is so objective.
I struggle with Goodreads too – though mainly because I forget to comment / update and then have tons of books to put on at once! I think as well there are books I put down and think they were great then a week later find I've forgotten everything about them…but had given them 5 stars. Others I end up thinking more fondly of as time goes on.
I'm not sure how much the actual rating matters to me compared to the opinion . In my 2nd grade reading group, we rate the stories but then we also talk about our rationale behind the numbers. That tells me more about the story than the numbers.
Ahhh this is such a tough topic! Like I really appreciate being able to see at a glance if this is going to be a review about a thing you love or a thing you hate. Any kind of signifier is good, whether it's a rating or like a "buy, borrow, skip" kind of deal. I've had so much trouble with the star thing that I decided to do a 1-10 rating. But those numbers feel hard to decipher now because nobody else really uses it? I'm trying to figure out what to do as well. Maybe I'll switch to single words like: Loved, Liked, Ok, Ick. Ick of course being my most professional option haha.
I like ick ick ick. That's how I feel sometimes. Is a hard thing to decide and I think a lot of us are not sure what is best.


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Carriera
Centromediano, nel marzo del 1938, a 16 anni, viene inserito nelle giovanili del Manchester United. Nel dicembre del 1938 firma il suo primo contratto professionistico all'età di diciassette anni ma deve aspettare la fine della seconda guerra mondiale prima di scendere in campo. Il 20 dicembre 1947, a 26 anni, debutta in campionato contro il Middlesbrough (2-1). Totalizza 40 presenze e 2 reti con Matt Busby. In seguito gioca per Nottingham Forest e Peterborough United.

Palmarès

Club

Competizioni nazionali

Manchester United: 1947-1948

Nottingham Forest: 1950-1951

Collegamenti esterni

Calciatori inglesi

redpajama_set_name: RedPajamaWikipedia


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He found out that he was fired but he kept his composure.
He was calm and collected when he found out that he was fired.
A number of problems occurred one after another, but he took it in stride.
In order to find a fair judgement, we should be unbiased.


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Chrissy Metz's Reaction To Her Emmy Nom Is A Testament To Following Your Dreams In The Face Of Intolerance
By Dana Getz
Charley Gallay/Getty Images Entertainment/Getty Images
Acting has been an uphill climb for Chrissy Metz. She's been working in the industry for over a decade, but only landed her breakout role last year in widely acclaimed family drama, This Is Us. Now, however, she has a slew of rave reviews and one shiny new Emmy nomination (her first!) to show for it. Even better, Chrissy Metz's reaction to her Emmy nom shows exactly why the effort was worth it: After all this time, she's being celebrated for being exactly who she is.
Metz, who plays the insecure but tenacious Kate Pearson in This Is Us, shared her response to the nomination news in an interview with Entertainment Weekly. She said,
"I hate to say that I'm seeking validation, but it's so rewarding to receive recognition from your peers, especially when it's been a long road for me. I know nobody is but, an overnight success I was not. It's still very surreal but it's also like, 'Okay, maybe I'm doing something right.' And maybe — because I question myself every scene, every day — it is a testament to being true to yourself and being authentic and staying present."
As one of the largest women ever cast in a primetime television show, Metz has been vocal about her struggle to find work in an industry that often shuts out those who don't fit within outdated beauty "standards."
Ron Batzdorff/NBC
Last fall, Metz shared she hopes her role will help push others to be more open-minded in an interview with Bustle. "I think it represents coming together as unconventional women and finding that they are catching up to life — simply by seeing that this is a representation of someone who's different," she said at the time. "This is also someone who's so relatable and real. It's like, why has it taken this long? Why is this a new thing?"
Metz's Emmy nomination is a small but necessary step on the road toward progress, and her success on This Is Us is evidence that Hollywood is gradually changing. But more than that, it's a testament to following your dreams and staying true to yourself, no matter how many times you're told no.
In that same interview, Metz also told Bustle if she weren't overweight, she wouldn't have landed her part in This Is Us, nor would she have such a massive platform to shift intolerant perspectives. So while she may have overcome some challenging hurdles to get here, her perseverance is a guidepost for anyone still fighting.


Will Burnt heat things up at the box office this weekend?
A quick and dirty box office predictions entry this week, as it looks to be fairly quiet across theatres, with big movie stars opening films with little interest. Will any … Continue reading Will Burnt heat things up at the box office this weekend?


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Of course, the cost of your insurance may vary due to many factors including, without limitation, the size, location and cost of your home.
Once you click "I Agree" below you will be directed to the North American Advantage Insurance Services website.


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Q: Cannot convert value of type to required type [org.springframework.aop.Pointcut] I am trying to setup Spring transaction management for Hibernate however, I meet the following issue...
java.lang.IllegalArgumentException: Cannot convert value of type [ac.nz.unitec.service.impl.UserServiceImpl] to required type [org.springframework.aop.Pointcut] for property 'pointcut': no matching editors or conversion strategy found

Here are more details and the Spring configuration
There is an interface called UserService and UserServiceImpl implements the interface.
Spring Configuration:
<bean id="txManager"
    class="org.springframework.orm.hibernate3.HibernateTransactionManager">
    <property name="sessionFactory" ref="sessionFactory" />
</bean>

<aop:config>
    <aop:pointcut id="userService"
        expression="execution(public * ac.nz.unitec.service.UserService.*(..))" />
    <aop:advisor advice-ref="txAdvice" pointcut-ref="userService" />
</aop:config>
             <!--I also tried the following one but didn't work out either-->
<aop:config>
    <aop:pointcut id="userService"
        expression="execution(public * ac.nz.unitec.service.impl.UserServiceImpl.*(..))" />
    <aop:advisor advice-ref="txAdvice" pointcut-ref="userService" />
</aop:config>

<tx:advice id="txAdvice" transaction-manager="txManager">
    <tx:attributes>
        <tx:method name="exist" />
        <tx:method name="add" />
    </tx:attributes>
</tx:advice>

<!--Not sure whether the following piece matters as it has duplicate name with the one in aop config-->

<bean name="userService" class="ac.nz.unitec.service.impl.UserServiceImpl">
    <property name="userDao" ref="userDao"/>
</bean>

Updated Spring Configuration xml:
<?xml version="1.0" encoding="UTF-8"?>
<beans xmlns="http://www.springframework.org/schema/beans"
   xmlns:xsi="http://www.w3.org/2001/XMLSchema-instance"
   xmlns:context="http://www.springframework.org/schema/context"
   xmlns:aop="http://www.springframework.org/schema/aop"
   xmlns:tx="http://www.springframework.org/schema/tx"
   xsi:schemaLocation="http://www.springframework.org/schema/beans
    http://www.springframework.org/schema/beans/spring-beans-2.5.xsd
    http://www.springframework.org/schema/context
    http://www.springframework.org/schema/context/spring-context-2.5.xsd
    http://www.springframework.org/schema/aop
    http://www.springframework.org/schema/aop/spring-aop-2.5.xsd
    http://www.springframework.org/schema/tx
    http://www.springframework.org/schema/tx/spring-tx-2.5.xsd">

<aop:aspectj-autoproxy />

<bean
    class="org.springframework.beans.factory.config.PropertyPlaceholderConfigurer">
    <property name="locations">
        <value>classpath:jdbc.properties</value>
    </property>
</bean>

<bean id="dataSource" destroy-method="close"
    class="org.apache.commons.dbcp.BasicDataSource">
    <property name="driverClassName"
        value="${jdbc.driverClassName}" />
    <property name="url" value="${jdbc.url}" />
    <property name="username" value="${jdbc.username}" />
    <property name="password" value="${jdbc.password}" />
</bean>

<bean id="sessionFactory"
    class="org.springframework.orm.hibernate3.LocalSessionFactoryBean">
    <property name="dataSource" ref="dataSource" />
    <property name="mappingResources">
        <list>
            <value>ac/nz/unitec/model/User.hbm.xml</value>
        </list>
    </property>
    <property name="hibernateProperties">
        <props>
            <prop key="hibernate.dialect">org.hibernate.dialect.MySQLDialect</prop>
            <prop key="hibernate.show_sql">true</prop>
            <prop key="hibernate.format_sql">true</prop>
        </props>
    </property>
</bean>

<bean id="hibernateTemplate" class="org.springframework.orm.hibernate3.HibernateTemplate">
    <property name="sessionFactory" ref="sessionFactory"/>
</bean>

<bean id="txManager"
    class="org.springframework.orm.hibernate3.HibernateTransactionManager">
    <property name="sessionFactory" ref="sessionFactory" />
</bean>

<aop:config>
    <aop:pointcut id="userServiceOperation"
        expression="execution(* ac.nz.unitec.service.UserService.*(..))" />
    <aop:advisor advice-ref="txAdvice" pointcut-ref="userServiceOperation" />
</aop:config>

<tx:advice id="txAdvice" transaction-manager="txManager">
    <tx:attributes>
        <tx:method name="exist" />
        <tx:method name="add" />
    </tx:attributes>
</tx:advice>

<bean name="userAction" class="ac.nz.unitec.action.UserAction" scope="prototype">
    <property name="userService" ref="userService"/>
</bean>

<bean name="retrieveAction" class="ac.nz.unitec.action.RetrieveAction" scope="prototype">
    <property name="userService" ref="userService"/>
</bean>

<bean id="userService" class="ac.nz.unitec.service.impl.UserServiceImpl">
    <property name="userDao" ref="userDao"/>
</bean>

<bean name="userDao" class="ac.nz.unitec.dao.impl.UserDaoImpl">
    <property name="hibernateTemplate" ref="hibernateTemplate"/>
</bean>
</beans>

Really appreciated for any suggestions, thanks ahead

A: In the old config file, in aop:config, the aop:pointcut id is userService. However, there is a bean whose name is also userService. I changed the aop:pointcut id to userServiceOperation and it fixed the issue


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Feel free to ask advice from owner and host, Ruth Parsons. Her local knowledge will help you plan your Cape Town excursions and she will happily book restaurants, theatres, tours, hire cars and airport transfers, with companies that she has personally selected and vetted.
Opened in 1929, the Table Mountain Aerial Cableway has transported over 18 million visitors to the iconic flat summit. It only takes 4 minutes to reach the top by revolving cablecar, which gives you a 360º view on the way. The top of Table Mountain is 1067 metres above sea level and offers spectacular views in all directions The quickest hike up takes about 2½ hours. Liberty Lodge is within walking distance of the Cableway, but it's so steeply uphill that we suggest you take your car or a 5-minute taxi ride to get there. It is best to book tickets in advance so you do not need to queue to buy them.
For shopping, dining, indoor and outdoor entertainment, the V&A Waterfront is a favourite hotspot for tourists and locals. The combination of creative architecture and restoration, fun and festivity all in a working harbour, creates such a buzz that you can easily spend all day here. Visit the Two Oceans Aquarium and the Watershed, an exciting revamped retail market which gathers together over hundreds of top Capetonian and South African brands in fashion, arts, crafts and design. Or why not take a boat trip around the harbour or a yacht into the bay for an alternative way of seeing Cape Town.
Robben Island was a place of exile for society's unwanted for hundreds of years. The prison's most famous inmate was Nelson Mandela, who spent 18 years jailed here, along with many other political freedom fighters. The 3½ hour tour to Robben Island acts as a poignant reminder of this sad period. The exceptional view of Table Mountain across the bay was significant to Mandela, who said, "Table Mountain was a beacon of hope. It represented the mainland to which we knew we would one day return." Robben Island Tours get snapped up quickly, so book your tickets well in advance.
The Company's Garden takes its name from the Dutch East India Company who first started the garden in 1652 for the supply of fresh fruit and vegetables for their ships that plied the spice trade route between Europe and the East Indies, via The Cape of Good Hope. The Gardens are abutted by numerous important landmarks, including the lodge house for the slaves who built large parts of the historic city, the present day Houses of Parliament, the Iziko South African Museum and Planetarium, St George's Cathedral (which is the seat of the Anglican church in South Africa), the National Library of South Africa, the South African National Gallery, the Great Synagogue and Holocaust Centre as well as Tuynhuys, which is used by the President on state occasions.
Just 5-minutes drive from Liberty Lodge, the sweeping white sands and palm trees of Camps Bay beach come into view. It is a vista so profoundly beautiful that you cannot fail to be impressed. Camps Bay is a magnet for people who want to see and be seen on the long white beach or at the many restaurants and cafés lining the boulevard and spilling onto the pavements. Adjacent are the four secluded coves of Clifton's beaches, each one accessed by steps that descend to a fine white powdery beach. One word of warning; the water may look inviting but it's usually very chilly!
At the tip of the Southern Peninsula lies verdant Cape Point. The vast, beautiful Cape of Good Hope Nature Reserve was declared part of the Cape World Heritage Site in 2004. Trails within the park lead to shipwrecks, tidal pools and lighthouses. You'll be hiking in the company of wildlife including curvy-beaked sugarbirds and cape mountain zebra. If you don't feel like walking, climb aboard the Flying Dutchman funicular that will take you all the way from Cape Point to the upper lighthouse, with its vantage point said to resemble the end of the world.
There are few places in the world where you can see penguins waddling around on a sunny beach, then go and swim with them. At Boulders Beach you can do both. These African Penguins were once called Jackass Penguins as their call really does sound like a donkey in distress. Take the boardwalk to their nesting beach to see the main breeding colony, then find your way to the far cove and have a swim. Don't be surprised if a penguin darts past.
Drive for about an hour and you will find yourself in a world where valleys and mountain slopes are covered with vines and grand wine estates invite you in for tastings. Stellenbosch is the historic heart of the Winelands and Paarl has many fine estates, but you will adore the hidden valley of Franschhoek, with multiple award-winning restaurants and breathtaking scenery. Much closer to Cape Town is the Constantia Wine Valley, known for fine wines and historic estates.
Kirstenbosch National Botanical Gardens live up to its reputation as the most beautiful garden in Africa and one of the great botanic gardens of the world. Few gardens can match the sheer grandeur of the setting of Kirstenbosch, against the eastern slopes of Cape Town's Table Mountain. It was established in 1913 to promote, conserve and display the extraordinarily rich and diverse flora of southern Africa, and was the first botanic garden in the world to be devoted to a country's indigenous flora.


text:
Home News World News
Undocumented migrants storm Pantheon monument in Paris
World News July 13, 2019
Hundreds of undocumented migrants calling themselves "black vests" stormed the Pantheon monument in central Paris on Friday demanding the right to remain in France. Police...
Turkey receives Russia's S-400 missile defence system defying US
Russia began delivery of an advanced missile defence system to Turkey on Friday, a move expected to trigger US sanctions against a NATO ally and...
France passes law imposing tax on big tech companies
France's Senate gave final approval to a tax on big technology companies on Thursday, potentially opening up a new front in a trade row...
EU mulls adding Saudi Arabia to money-laundering grey list
The European Union is preparing an overhaul of its listing of countries that pose money-laundering risks, an EU confidential document shows, a review that...
US Key Committee seeks more steps to enhance defense ties with India
Reflecting the strong bi-partisan support in the US Congress to boost Indo-US defense ties, a powerful congressional committee has passed a legislative amendment seeking...
UN, Syria close to agreeing constitutional committee
The United Nations is close to agreement with Syria on setting up a constitutional committee, a long-awaited step in a stalled peace process, the...
Merkel has third bout of shaking, says she is fine and 'working through' issue
German Chancellor Angela Merkel said she was "working through" a bout of shaking that first occurred in mid-June and struck for the third time...
Gunmen massacre 18, including children, in Papua New Guinea attack
Gunmen have massacred as many as 18 people including women and children in a remote village in Papua New Guinea, apparently the latest victims...
Iran threatens British shipping in retaliation for tanker seizure
World News July 5, 2019
An Iranian Revolutionary Guards commander threatened on Friday to seize a British ship in retaliation for the capture of an Iranian supertanker in Gibraltar...
Sudan's military council, opposition reach power-sharing agreement
Sudan's ruling military council and a coalition of opposition and protest groups have agreed to share power for three years and then hold elections,...


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Marijuana grow suspected in Monday structure fire
News | September 28, 2010
Adam Jensen
ajensen@tahoedailytribune.com
Submitted to the TribuneAn overloaded electrical outlet in a medical marijuana grow likely sparked a fire at a Wildwood Avenue home on Monday afternoon.
SOUTH LAKE TAHOE, Calif. – An overloaded electrical outlet in a medical marijuana grow likely sparked a fire at a Wildwood Avenue home on Monday afternoon, causing about $30,000 in damage, city officials said Tuesday.
Two engines from South Lake Tahoe Fire Department and one engine from Lake Valley Fire Protection District responded to a report of the fire at 1331 Wildwood Ave. about 3:45 p.m.
On arrival, firefighters discovered a two story, single family residence with a fire that had started on the front exterior of the residence that had extended into the attic area of the residence, according to a Tuesday statement.
Most of the exterior fire had been knocked down by the occupants with a garden hose, according to the statement.
"Firefighters quickly discovered the fire in the attic and extinguished it, preventing further extension," said Division Chief Brad Piazzo, according to the statement.
No injuries were reported as a result of the fire.
An unknown piece of equipment used in a marijuana growing operation at the house likely caused enough resistance heating to start the fire, said Fire Marshall Ray Zachau Tuesday. Two of the three residents have medical marijuana cards.
Resistance heating is a common problem in improperly-constructed marijuana operations, Zachau said.
The fire marshal said he did not expect to submit anything to the El Dorado County District Attorney's office regarding the fire but said electrical code violations can be subject to civil penalties.
The fire is a "poster child" for why the city is looking at an ordinance to ensure medical marijuana grows are in compliance with building and fire codes, said City Manager Tony O'Rourke Tuesday.
O'Rourke is part of a committee formed to develop an ordinance regulating medical marijuana cultivation in the city. The committee has focused on figuring out how to bring medical marijuana growing operations in line with existing building and fire codes.
"If the operation had adhered to proper electrical and fire codes, this probably wouldn't have happened," O'Rourke said.
The city attorney's office released draft language for the medical marijuana cultivation ordinance Tuesday.
The proposed ordinance would require qualified medical marijuana growers in the city to obtain a permit no later than Jan. 1.
The permit would allow a qualified patient or caregiver to grow medical marijuana in up to 10 percent of the residence where they live. Additional cultivation space could be allowed if a qualified grower presents a doctor's recommendation showing a need for a larger quantity of marijuana.
Under the proposed ordinance, a cultivation permit would be approved by the Community Development Director under a series of conditions, including inspections by city building and fire officials and maintaining compliance with building, electrical and fire codes.
Fees associated with a cultivation permit have been estimated at about $500 for the first year and $200 for annual renewals, but will be determined by the South Lake Tahoe City Council if they approve the ordinance.
Growing medical marijuana in industrial buildings would be allowed with a permit and permission from the property owner under the proposed ordinance.
Outdoor cultivation and most growing in commercial properties would be prohibited. Each of three marijuana collectives already established in the city would be allowed to continue growing medical marijuana in their current locations, but could not expand under the proposed ordinance.
A violation of the ordinance would be subject to a misdemeanor charge and could include penalties of up to $1,000 and 6 months in county jail.
The medical marijuana committee is expected to review the draft of the ordinance from 3 p.m. to 5 p.m. Wednesday at Lake Tahoe Airport.
The proposed ordinance could be before the city council for discussion as soon as their Oct. 5 meeting.


Ferrari president Luca di Montezemelo just announced, quite plainly, to Engadget that he doesn't believe in electric vehicles and therefore the world shouldn't hold its breath for a Ferrari EV. The Italian businessman and smooth talker stated that he didn't believe that electric vehicles were the key to future CO2 reductions and pollution control, and so he and the company just aren't going to bother dabbling. We think they better start cracking on some sort of green technology because with their fleet average of 15 miles per gallon, they are way behind the rest of the world in terms of fuel efficiency.
We are stunned that such a technology-minded company like Ferrari would brush aside the idea of a no-emissions vehicle, and a little confused by di Montezemelo's last statement.
We have also already seen the mystical hybrid that di Motezemelo is speaking of. Ferrari has a hybrid vehicle out in the world, the Ferrari 599 HY-KERS Hybrid supercar, that was unveiled over a year ago in Geneva and comes complete with a hybrid system that brings the fuel economy from 9 mpg up to a whopping 15 mpg. So perhaps what di Montezemelo meant to say was that one would be able to actually purchase a hybrid Ferrari. Ferrari's race cars already incorporate energy recapture technology, and di Montezemelo has noted that he hopes that all future Ferrari's incorporate this and other hybrid technologies.
Even if minimal, thank goodness the company is incorporating some fuel-efficiency into their fleet, because being in the bottom class of averages doesn't seem like the place for such an innovative company.
But, I think Ferrari might be missing out a potential market for a different sort of performance enthusiast. An all-wheel-drive electric roadster has the potential for a much faster 0-100 than than a Ferrari can muster, with greater simplicity. In most any car, that first 0-40 pulls your eye balls to the back of your skull. 40-60 becomes a little less of a headache. 60-100 might not even you pressed against your seat. But, the linear torque of a really powerful electric motor could risk dropping your blood pressure into unconsciousness.
If you can afford a Ferrari to begin with, you don't really concern yourself with 4 dollar a gallon gas to begin with. And people will still buy them anyway, after all they are still one of the ultimate in prestige, power, performance, and style. While I have no doubt he might rescind his statement in the future when everyone has hybrid or electric Porsches, Corvettes and Lamborghini's.
This is a Ferrari. If you can afford one, 15 MPG is not even a concern. They have their niche, and a profitable one at that.
Ferrari president Luca di Montezemelo just announced, quite plainly, to Engadget that he doesn't believe in electric vehicles and therefore the world shouldn't hold its breath for a Ferrari EV. The Italian businessman and smooth talker stated that he didn't believe that electric vehicles were the key to future CO2 reductions and pollution control, and so he and the company just aren't going to bother dabbling. We think they better start cracking on some sort of green technology because with their fleet average of 15 miles per gallon, they are way behind the rest of the world in terms of fuel efficiency.


text:
Too Much Tchaikovsky
By Lawrence Schenbeck
New York, May 22. I've had some of my favorite musical experiences here, beginning the first time I came forty years ago and popped down to the Village Vanguard on a Monday night, hoping to catch the Thad Jones-Mel Lewis Big Band. Didn't happen. Gil Evans showed up instead, trying out new charts with an assortment of his peers. I remember Howard Johnson playing tuba. There was a woman who had a bewitching way with timpani, and a couple of French horn players, I think. What a night. Lovely music, fun to watch the crowd too. For a kid from Nebraska, the beginning of many eye-and-ear-opening experiences.
This is what we live for, isn't it? We head out for a show, a concert, a solo recital, hoping—of course—to get what we think is in store, but also ready to be surprised. It's fun to hear something new, even if we discover it within something quite old. C'mon, we say (silently) to the assembled musicians. Surprise me. Wake me up.
In New York, for me, that's meant many things: Anne-Sophie Mutter playing Lutosławski with the Philharmonic. The World Saxophone Quartet at the old Village Gate. Ron Carter and Bill Frisell at the Blue Note. Theatre of Voices at Zankel Hall, offering Berio and David Lang. Kent Tritle conducting a heavenly Chichester Psalms at St. John the Divine, just a New Year's Eve or two ago. And of course a few special nights at the Met, like when Karita Mattila transformed Janáček's Jenůfa. This spring, though, NYC was just a way station on our journey to the UK. We saw some old friends, took in a show.
London, May 26. And so to the Royal Opera House. Arrived here just in time to catch the very last performance of Lessons in Love and Violence, composer George Benjamin's follow-up to his enormously well-received Written on Skin (2012). I'll say more about the new work in a moment, but let's talk about the House itself. It's a small room, at any rate smaller than the Met, roughly comparable in seating capacity to La Scala or the Wiener Staatsoper.* As elsewhere, rows of boxes line the three walls of the auditorium framing the proscenium. We sat in Orchestra J13 & 14, perhaps a third of the way back—perfect as far as both sound and sight lines go. The clarity and transparency of Benjamin's scoring was readily apparent, also its power, delicacy, and exquisitely fluid timbres (we were about fifteen feet from the harp and cimbalom players, who filled one of the left balconies). At no time were the singers overbalanced; one also never sensed they were straining to fill the space. I wish I had even a few opera recordings that sounded this good. It was like having a world-class stereo rig at one's command. Amazingly lifelike!
That's meant to sound perverse and silly, of course. The point is, my experience vividly brought an old message home: we all need to get out of our person-caves more often in favor of live venues. We need constant reminders of what live, preferably un-amplified music sounds like, and how a hall contributes to the care and feeding of that sound. (I am reminded, sadly now, of David Wilson's frequent visits to the Musikverein and other great venues.)
For make no mistake, another great performer we heard Saturday was the Royal Opera House itself. Small size, hardwood floors—no carpeting once you leave the lobby and lounges—plenty of wood-and-plaster barriers of irregular shape (masquerading as statuary and decoration) lining the boxes, stalls and walls. No better diffusor panels have ever been devised. Gently raked rows of floor-level seats, each one occupied by a human of different shape and size. In short: many surfaces, both hard and soft, commingled to produce lively, clear sound throughout the spectrum. (Click here to read further details about the acoustic remodeling at the ROH.)
As for the opera: working again with playwright Martin Crimp, Benjamin has produced another 90-minute marvel, a semi-abstract study of love's deadly power in the hands of a King who values his (male) lover above all others and all else in his kingdom. Lessons in Love and Violence is both a gloss on and a critique of a late-16th-century play by Christopher Marlowe, Edward II, which is itself based on historical events related in Holinshead's Chronicles. Like Written on Skin, it nevertheless suggests parallels with modern events and attitudes—indeed Katie Mitchell's inventively cinematic production sets it in 21st-century times, complete with squads of reporters and bureaucrats at the ready. The opera raises basic issues about morality, psychology, a ruler's responsibilities, and much more. If it were a puzzle, a handful of clues might help you "solve" it: (1) the stage settings feature reproductions of well-known paintings by Francis Bacon plus (2) a giant tropical fish tank such as one might find in certain upscale restaurants. Oh, and (3) the king's two children are nearly always present, watching every act of betrayal, adultery, and casual violence that takes place. As the opera ends, they seem destined to inherit their parents' roles as murderous power brokers. Lessons, indeed. Benjamin's boldly sculpted music offsets the story's bitter misanthropy and the concentrated, nearly unrelieved tension of the whole presentation, but it's a draining 90 minutes. It leaves you with a lot to think about, or else puzzle over.
It probably helps to know your Marlowe. And several more viewings of Lessons wouldn't hurt. The ROH were filming the night we attended, as they had done previous nights, so it's likely you'll find the Blu-ray on Amazon eventually. The production quality of previous ROH video releases has been quite high; it's reasonable to expect they'll do this one right as well.
Trio Tre Voci final bows at Wigmore Hall
London, May 28. Trio Tre Voci at Wigmore Recital Hall. The absolute highlight of our stay. Trio Tre Voce is made up of three masters of their instruments: flutist Marina Piccinini, harpist Sivan Magen, and violist Kim Kashkashian (Wikipedia: "not to be confused with Kim Kardashian." As if!). The centerpiece of the repertoire for this combination is Debussy's Sonata for Flute, Viola and Harp, which this trio recorded a couple of years ago on an ECM album that includes Toru Takemitsu's Dickinson-inspired And then I knew 'twas wind. Debussy's music inspired Takemitsu and many other composers to write similarly scored trios, and the trend continues. At Wigmore, Tre Voci gave both Debussy and Takemitsu but also the UK premiere of a work commissioned from Toshio Hosokawa (b. 1955), Arabesque. In a program note, Hosokawa says
My Arabesque is drawn with sounds, with two plant-like curves where the flute and viola have a yin-yang relationship. . . . The harp provides and supports the place in which they exist. I wanted to entrust the arabesque, naturally formed of eastern-like sounds, to these three instruments.
What I heard was a massive chaconne, similar to what Purcell or Britten might have fashioned, building to a climax whose gestures become so angular and abrupt, so extreme in their impact, that we might well be present at a Kabuki drama. The heroic energies needed to pull off such a piece in performance were catnip to these three. In charming transcriptions of Ravel's Sonatine and a suite from Prokofiev's Romeo and Juliet, they put their skills to even more seductive use.
Red velvet seats, embroidered with gold row letters and seat numbers, Wigmore Hall
My wife and I fell into an interesting conversation with a fellow concertgoer, a film critic who had apparently been at the ROH Saturday night, perhaps even closer to the cimbalom than we were. He told us he had come late to his appreciation of chamber music, having been much more attracted to the power and color of orchestral concerts. But evenings like the one we experienced would certainly convert any such listener. With chamber music, you can hear each player's heartbeat, sense the spontaneous communication between them, feel the rivers of energy they put forth. In a jewel-box of a hall like Wigmore, with its perfect acoustics, the visceral intensity of Trio Tre Voci's music-making becomes overwhelming. And you get to share it with 500 other music lovers. That too—the act of sharing—is something audiophiles enjoy, and we need to do more of it.
* ROH: 2,256; La Scala: 2,030; Staatsoper: 2,276, including 567 standing-room places.
About Lawrence Schenbeck
Lawrence Schenbeck has spent a lifetime in classical music, but only half a lifetime as an audiophile. Author of two books, a couple dozen scholarly articles, and several piles of liner notes, program notes, and press releases, he's making up for lost time in the high-end by contributing to PS Audio's Copper magazine. Currently a college professor living in the Atlanta area, Larry will listen to almost anything, from Medieval chant to post-post-modern performance art, as long as it's recorded well. He also likes hearing from people with open minds and passionate opinions—the two need not be mutually exclusive.
Steven June 4, 2018 at 5:24 am #
Thanks for warming up at least one of the seats, I think we were in J12 and J13 at ROH a couple of days later when you were at the Wiggie. (The view can be seen here https://flic.kr/p/26sW8Kg ) "Too much Tchaikovsky" says it all for me, I'm not a great fan, I far prefer Prokofiev, Romeo & Juliet is my favourite opera and the Royal Opera have a stunning production. The scale of the thing is so big it is better seen from further back.
Anyway, whilst the purpose of the visit was to see the new Swan Lake production and Natalia Osipova, and I did mention to my wife that the orchestra sounded remarkably good. One of the nice things about the ROH is that you get good sound most anywhere. As a poor student I used to sit behind pillars in the gods and just listen, as I could see little.
The Wiggie, meanwhile, has great sound even if sitting in seats 1 or 19 beside the walls. I heard Alexei Volodin play the Prokofiev transcriptions a while back, https://wigmore-hall.org.uk/whats-on/alexei-volodin-201611031930.
Apologies, for opera, read ballet, Royal Opera read Royal Ballet. I get a bit confused.
Lawrence Schenbeck June 4, 2018 at 12:00 pm #
Same venue. Same orchestra, or similar? (My teenage recollection of the London orchestra scene was that many of the same players scurried from one gig to another, posthaste, trying to put together a living.)
Steven June 4, 2018 at 12:11 pm #
Would have been the Orchestra of the Royal Opera House, do the opera and ballet. They do rotate conductors on the same productions.
Perhaps my favourite show in recent years was Gluck's O&E, requires a specialist team and it was astonishing in every sense. The dance was by Hofesh Shechter, who we know very well.
http://www.roh.org.uk/news/watch-john-fulljames-and-hofesh-shechter-on-their-new-production-of-orphee-et-eurydice
Richard Murison June 4, 2018 at 8:08 am #
I have an odd relationship with chamber music. Much as I invariably end up being captivated by a chamber music recital, at the same time I rarely feel a great deal of enthusiasm when it comes to planning and buying the tickets. I continue to think 'meh', when time and time again the actual experiences turn out to be completely positive. (I have the same problem with my local village theater company.) I've never understood it … or managed to come to terms with it.
On the other hand, give me an opportunity to see Chichester Psalms in concert, and I'm at the front of the line. Even if the producer has chickened out and hired a soprano instead of putting in the the graft and finding a proper treble.
The problem is, it's not that popular.
In London someone like Murray Perahia will schedule a concert a year ahead for silly prices (up to £100) in a big venue. Last time I saw him it wasn't even full. Wigmore Hall, even for world class performers, is never more than £50 and is an infinitely better experience. We saw the premier of Xenos last Tuesday, contemporary dance, (the evening after Swan Lake), £30 for top seats, a 2-week run, capacity over 1,500, was sold out months ago. (We're going again on Saturday.)
https://www.sadlerswells.com/whats-on/2018/akram-khan-company-xenos/
The Casals Quartet are at Wigmore tonight, 550 capacity, they are top notch, it's not even half sold. I might have gone if I hadn't been to a local Haydn quartet recital last night (Wigmore standard in a local church, £20).
I wanted to see Lohengrin at Covent Garden. Still plenty of seats, £230 to £280 in the stalls. It's a lot of money. Was also looking to see Ian McKellen in Lear in August when my family are off somewhere, £160 for a good ticket. Too rich for me, but almost sold out.
So you have to get the pricing right, but still the potential audiences have to be there.
Popularity and pricing do seem to matter. Sorry to hear the Casals Quartet couldn't get Wigmore filled, even at Wigmore prices. But then, excellent as they are, they're still relative newcomers (I guess). The gentleman we talked with at Wigmore said he shows up two or three times a week — who wouldn't, at 30 to 50 pounds per?
I was berated on the golf course the other week by a friend who almost lives at the Wigmore Hall. He is one of the old hard care, seats C6 and C7. I go in phases, there is so much to see and do here. I once went 8 times in 2 weeks, and saw a couple of dance shows and a play as well. A recent highlight was an Igor Levitt Beethoven cycle, got to 6 of the 8 performances.
Bear in mind that in the UK the Arts are heavily state subsidised, mainly either by the Arts Council or the National Lottery Fund, but also other sources. Much less private patronage than in the USA. So ticket prices tend to be sensible. I'm still thinking about Lohengrin. On the other hand, the theatre is mostly commercial and ticket prices are much more expensive, good seats say £80 and much more for musicals.
We are lucky to live near a leading developmental theatre that is a lot cheaper. https://www.hampsteadtheatre.com/about-us/what-we-do/
We also have loads of live streams from the opera, ballet and theatre, £15, these are very popular and in the summer are done nationally open air with massive crowds. Generate lots of money. This has boosted arthouse cinemas, which are growing rapidly, although our local arthouse cinema is over 100 years old and operated as a not-for-profit trust.
http://phoenixcinema.co.uk/PhoenixCinema.dll/Page?PageID=2&SubListID=2&SubPageID=8
So Wigmore is actually quite expensive and still struggles.
Interesting information, and probably an eye-opener for many of our US readership. Thanks for posting.
Just prove how tricky it is to sell tickets, just booked two things today. A Fela Kuti jazz/afro gig on 22 June and a period production of Acis & Galatea at Wigmore Hall on 23rd (the family are all away). Similar capacity. Fela sold out in 30 minutes this morning, a few tickets still available for the Handel even though it's been on sale for months.
Lawrence Schenbeck June 6, 2018 at 5:02 pm #
Hm. On the surface, the reasons for a disparity like that may seem obvious: Fela Kuti = exotic, lively, of the moment (?), worldbeat etc. etc. Acis & Galatea = none of those things. Probably takes an early-music superstar like Rachel P. or Iestyn Davies to sell such an event. (You didn't mention the artists involved.) But here's another thought: isn't it possible that the potential success of all such events is hindered by the sheer number of offerings? In other words, "spoilt for choice," as the saying goes?
Steven June 6, 2018 at 6:20 pm #
The Fela is a local jazz group with a strong young following
http://ezracollective.com
The Handel is the much acclaimed The Sixteen
https://thesixteen.com/events/handel-acis-galatea
My wife got me a ticket for Semperoper Ballett Dresden the same evening as the Handel, so spoilt for choice is probably be the case.
Must be nice! (I guess this is partly why I travel.) I think The Sixteen would make the ticket and time spent worthwhile for anyone.
A friend of my wife was round today. She plays viola for The Sixteen. She told her she's not playing in that performance, she's off to Korea (South, I hope). She's in about 5 different baroque orchestras. Such is the life of a journeywoman instrumentalist. Her son is a travelling tenor sax player, based in NY, saw him play in London a few weeks ago.
Passing on the ballet, a Forsyth programme, seen 2 of 3 pieces before, one of them umpteen times. Tickets not selling well, not a well-known company as don't tour much, but they will be sold cheaply to dance students before the event. That's been going on for ever.
Steven June 12, 2018 at 7:11 pm #
Lawrence, following on from a discussion today with Richard Morison, I'm listening to Kim not-Kardashian playing Kurtag that I heard on the cello at Wigmore Hall (Isserlis). It's on ECM at 16/44, proving what a wonderful violinist she is and that well engineered 16/44 is good enough certainly for solo instruments, even when at their most dynamic, and this certainly is.
http://player.ecmrecords.com/kashkashian
There's quite a lot of sniffing going on and you can hear a lot of the fingering, involving quite a lot of slides, which is impressive to watch live. The nasal element adds to the recording.
Hope you can stream it somewhere, all ECM is on Qobuz, coming to the USA soon.
Lawrence Schenbeck June 14, 2018 at 6:07 am #
Hi Steven, YES! I have this CD, and it's wonderful, and I look forward to being able to stream material like this (which ECM has only lately made available, as you know) from Qobuz very soon. Thanks for sharing, and I hope our readers pick up on this excellent, excellent recording.
BTW my wife informed me that entire Wigmore Hall concerts are also available to stream somehow on the Web. Can you tell us more about that?
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