Can one do all this and be only 'almost' a Christian?
Wesley claims he did this for years!
"I beseech you, brethren, as in the presence of that God before whom 'hell and destruction are without a covering: how much more the hearts of the children of men!' - that each of you would ask his own heart, 'Am I of that number? Do I so far practise justice, mercy, and truth, as even the rules of heathen honesty require? If so, have I the very <i>outside of a Christian? The form of godliness? Do I abstain from evil, from whatsoever is forbidden in the written Word of God? Do I, whatever good my hand findeth to do, do it with all my might? Do I seriously use all the ordinances of God at all opportunities? And is all this done with a sincere design to please God in all things?
First, although Wesley is using this text in a classical Puritan way, one has to admit that it isn't the most faithful interpretation of this verse. After all, Agrippa, who speaks this line, is not an 'almost Christian' at all in the way Wesley intends. He would likely get poor marks from his preaching professor here! Oh well.
This sermon is a rhetorical powerhouse. When I first read this years ago, as Wesley built up such a high moral and religious standard for the Almost Christian, the sermon had the impact that I imagine Wesley intended: I was genuinely wondering what he was leaving for the Altogether Christian! Great example of creating an 'itch' in preaching - then 'scratching' it.
Being a Christian is not about becoming a good person. The Almost Christian is a fantastic and virtuous human being, and the world would be a much better place if it was full of Almost Christians. But though she is in many ways virtuous, she not yet a Christian!
Being a Christian is about who and how you love - and where your trust and confidence in life lies. I'm hearing anachronistic echoes of Jonathan Edwards' Religious Affections here!
But an altogether Christian that loves and trusts and is fully confident in God will be morally transformed. No room to rest on your laurels here - holiness matters.


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Loud Music for Silent Films
Cecil Hepworth and the Silent Film Industry
Surrey Brass spent several years commissioning and performing music for the silent films of Cecil Hepworth was a pioneering film maker who lived and worked in Walton on Thames at the turn of the 20th Century.
John Hughes and Rob Davies have both written fine accompanying sound tracks for many films, some of which are listed below.
Surrey Brass gratefully acknowledges the support of the RC Sherriff Trust on this project.
At one concert in 2004, reactions in the hall proved that the five films dating from 1899 to 1915 were just as fresh and entertaining today as they were with the original audience, but this time accompanied by wonderful brand new scores composed by local composer John Hughes and premiered by Surrey Brass, who were directed by Tom Hammond. This "innovative and entertaining brass ensemble" perfectly captured both the spirit and whimsicality of "The Dog Outwits the Kidnappers" and the moody magnificence of "Burnham Beeches". The movies featured either Hepworth himself (as the dastardly villain seizing his young daughter Elizabeth only to be outwitted by the family dog, Blair - who undoubtedly stole the show!) or renowned actresses of the silent movie era Chrissie White and Alma Taylor, both of whom lived in or around Walton. Many of the scenes were shot in the locality and places such as Church Square, Shepperton were still recognisable today, adding to the considerable local interest.
The pre-concert talk by Simon Brown, the eminent early film expert from the British Film Institute, gave a fascinating insight into the life and times of Cecil Hepworth and his film company. The show was particularly appreciated by VIP guest Valerie Williamson, Hepworth's daughter, who had not seen any the films before and particularly liked "Burnham Beeches".
"How it feels to be run over" (1899) (Music by John Hughes)
"The Dog Outwits the Kidnappers" (1908) (Music by John Hughes)
"Tilly the Tomboy visits the Poor" (1910) (Music by John Hughes)
"Burnham Beeches" (1909) (Music by John Hughes)
"Wife the Weaker Vessel" (1915) (Music by John Hughes)
Oh'Phelia (1919) (Music by Rob Davies)
You can learn more about Hepworth and his films here.
Surrey Brass has often performed live music accompanying Hepworth films at the Walton Playhouse. The Playhouse is the last surviving building from Cecil Hepworth's film studios which flourished in Walton on Thames between 1986 and 1924. Formerly the Hepworth studio electricity generating house, using diesel generators taken from captured German WW1 submarines, it was bought and turned into the home for the local amateur dramatic society and is now operated by Elmbridge Council.
This article is a stub and much more information will be added in due course.
Let's put on a show together

redpajama_set_name: RedPajamaCommonCrawl


Our schools are Limited Unscreened Programs. We give priority to students who demonstrate interest in the school be attending and signing in at a school's information session, open house event or by visit the school's table at any one of the High School Fairs.
Be sure to attend an Information Session or Open House at one of our schools or visit our table at a High School Fair and sign in with the school.


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Show Review: April 3rd MTM Presents Demsky, Rikeylittleforest, Satoshi Kanno, Noman
by Ryan Rocha 2021年4月7日
There's always a light at the end of the tunnel. When you finally reach the endpoint, a moment of relief is felt, and all seems well in the world. That's the vibe that was circulating this past Saturday; a moment of ease. With a magnificent lineup, we were ready to put on a display for our talented listeners.
Noman kicked off the night. There's little to be found out there on Noman, but the performance Saturday night showed that echoes of Shuhari still guide his craftsmanship. It was an ambient vibe that ebbed and flowed with time, creating momentary walls of sound and held an intensity to hush the crowd. It's no wonder he chose the image of the sea to pair with his first song.
Satoshi Kanno, with his skills, the crowd was smoothly swayed. Along with intrinsic visuals and unique sounds, he could lure us all in with his talent. The way Satoshi Kanno was able to play with the crowd's emotions was captivating. There were people there who listened intensively during his set, and others were simply vibin' to his sounds. At times it felt like we were riding a wave. Satoshi would bring us high with his pace but then crash us low with the bass. Satoshi Kanno put on an excellent performance, and we're excited to see how he evolves.
Rikeylittleforest was a stunning performance. She hooked all of us when she started to sing with her beautiful voice. With each song choice, she transitioned ever so gracefully. There was a grand piano on set, and there were questions about if it would be used and how. Rikey was the one to use it, and she did so fantastically. She gave us a calming yet snazzy cover performance of "If I Ain't Got You" by Alicia Keys; that was well appreciated. She bewitched us all with her sound, and we fell in love with the performance. Nymph is how we described her in our artist introduction post, and her abilities proved influential to woo us all.
The final act of the night was given by our long-time friend, Demsky. Demsky's performance was delicate, powerful, and a perfect way to end the night. One of the things that we love about Demsky is how far he's come, and his performance on Saturday showed us that he's only going to keep getting better. His ability to create unity amongst the crowd through his bombastic sounds and elemental pictures shows that Demsky was well prepared for the show. He was definitely in the zone that night, and the energy he gave will come back tenfold as he continues to prosper.
Tying each of the band elements together were the VJs of the night. Satoshi Kanno produces his own, and for the rest HAKAAKI and Kai Goto worked tirelessly to bring color and energy to the palette of Half Moon Hall with imagery that added textured and depth to the event.
Anytime you come to a More Than Music event, you're welcome into the family. We're a community of both fans and artists at the end of the day, and we want to discover new music and create memories together. Whether to enjoy the energy the crowd brings, the curiosity of what the night has in store, or the character of the venue, there's always something to find with a night out at an MTM show.
See all event photos in our album on our facebook page.
April 17th MTM Presents: Josiah Hawley, Laya, OSHIN, Elliot Cormack at Kagurane
April 24th MTM X Aries City Presents: Jumeaux, Afrodyty, SLOPE UP SESSION CLUB at 7th Floor Shibuya
Good night everyone.
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With the accent, and the dance moves, you'll be hanging onto his every word, even if you can't understand him. When you put your hands on him, you can really feel him work those hips. This Latin lover is smooth as silk.


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Zagorá är en kommunhuvudort i Grekland.   Den ligger i prefekturen Nomós Magnisías och regionen Thessalien, i den centrala delen av landet,  km norr om huvudstaden Aten. Zagorá ligger  meter över havet och antalet invånare är .

Terrängen runt Zagorá är kuperad norrut, men åt sydväst är den bergig. Havet är nära Zagorá åt nordost. Den högsta punkten i närheten är  meter över havet,  km väster om Zagorá. Runt Zagorá är det ganska glesbefolkat, med  invånare per kvadratkilometer. Närmaste större samhälle är Volos,  km sydväst om Zagorá. I omgivningarna runt Zagorá växer i huvudsak lövfällande lövskog.

Klimatet i området är tempererat. Årsmedeltemperaturen i trakten är  °C. Den varmaste månaden är juli, då medeltemperaturen är  °C, och den kallaste är januari, med  °C. Genomsnittlig årsnederbörd är  millimeter. Den regnigaste månaden är december, med i genomsnitt  mm nederbörd, och den torraste är augusti, med  mm nederbörd.

Kommentarer

Källor

Orter i Thessalien

redpajama_set_name: RedPajamaWikipedia


Since the initial days of the first travel ban, Lawfare has curated a resource of court documents in the litigation against each iteration of the Trump administration's executive orders limiting travel into the United States from citizens of largely Muslim-majority countries. The page started with just a handful of court cases; it currently includes over 50. And now, it's completely up to date.
We took a brief break from updating the page in the run-up to the Supreme Court's decision in Hawaii v. Trump, but now each case listed has the full slate of substantive documents available, including the Supreme Court's ruling—and there are some new cases, too. Dissenting in Hawaii, Justice Stephen Breyer pointed to a sworn affidavit provided by a consular official in a recent case in the Eastern District of New York, Alharbi v. Miller, stating that the waiver process was merely "window dressing" and officials lacked the ability to grant waivers. Most of the documents in Alharbi are under seal, including the affidavit in question, but we've added those that are available.
Emami is still in its early stages, but the case has the potential to shed light on how the travel ban waiver process actually works. And given that the waiver option was key to the government's legal defense of the ban before the Supreme Court, this could be a productive approach for the plaintiffs. Suffice to say that the litigation over the travel ban is far from over.
We'll be keeping a close eye on Emami and Alharbi as they move forward and will add new documents as they become available in those and other cases. The page aims to be a one-stop shop for litigation documents in these cases, but a project this big can never be entirely comprehensive. If you're aware of a case or a document we're missing, let us know.


How Many Scapulars Have Church Approval?
This article was originally published at Grace Filled Mind. It is reprinted below in its original format.
Life has a way of hiding the journey ahead for fear that if we knew the future, we would find a reason not to get out of bed. I like to think that a ministering angel is sent by God to cover my eyes so that I do not see too far ahead. If I did, I am afraid that I would be paralyzed with panic and fear. I have found that some crosses in this life seem just too heavy to bear. These crosses have left a scar on my shoulder that never fades. That is the way it was with the birth of our miracle baby, Zachary Luke John.
The following is a deeply personal statement written by a pastor in the Archdiocese of Philadelphia and posted in the bulletin in order to give guidance to his troubled flock. In this poignant bearing of his heart, he not only gives us all good advice about how to find a way forward, but adds a new perspective to the scandal that has shaken our Church to its core.
Why Were the Magi Allowed to Use Astrology?


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Dissensus > Art, Literature and Film > Tom McCarthy
View Full Version : Tom McCarthy
Anyone read him? I stumbled across his stuff relatively recently and haven't gotten round to any of it yet. Apparently Remainder is good and Satin Island seems as though it could be intriguing or appalling.
Traumatized by an accident which involves "something falling from the sky" and leaves him eight and a half million pounds richer but hopelessly estranged from the world around him, Remainder's hero spends his time and money obsessively reconstructing and re-enacting vaguely remembered scenes and situations from his past: a large building with piano music in the distance, the familiar smells and sounds of liver frying and spluttering, lethargic cats lounging on roofs until they tumble off them...But when this fails to quench his thirst for authenticity, he starts reconstructing more and more violent events, as his repetition addiction spirals out of control.
Satin Island
When we first meet U., our narrator, he is waiting out a delay in the Turin airport. Clicking through corridors of trivia on his laptop he stumbles on information about the Shroud of Turin--and is struck by the degree to which our access to the truth is always mediated by a set of veils or screens, with any world built on those truths inherently unstable. A "corporate ethnographer," U. is tasked with writing the "Great Report," an ell-encompassing document that would sum up our era. Yet at every turn, he feels himself overwhelmed by the ubiquity of data, lost in buffer zones, wandering through crowds of apparitions. Madison, the woman he is seeing, is increasingly elusive, much like the particulars in the case of the recent parachutist's death with which U. is obsessed. Add to that his longstanding obsession with South Pacific cargo cults and his developing, inexplicable interest in oil spills. As he begins to wonder if the Great Report might remain a shapeless, oozing plasma, his senses are startled awake by a dream of an apocalyptic cityscape.
I have read him - I really liked C - thought Satin Island less successful. I have also read quite a few of his essays - surprised he's not popped up on here before. i haven't read the Tintin book which is supposed to be his magnum opus.
he's clearly someone who wants to combine 'theory' with traditional story telling procedures but is also suspicious of those methods. When it's done well and doesn't become too arch then the writing bristles and fizzes as it does in C whereas when it becomes too self conscious it is just annoying - as it was for me in Satin Island.
I read the two essays he did for LRB on Ulysses and 'realism and the real', but I can't really remember anything about them.
'Ulysses' and Its Wake - https://www.lrb.co.uk/v36/n12/tom-mccarthy/ulysses-and-its-wake
Writing Machines - https://www.lrb.co.uk/v36/n24/tom-mccarthy/writing-machines
IdleRich
I only just saw this thread so late response... but yeah, Remainder I thought was one of the most original and good recent books I've read. It's kinda like nothing else... at least until Synecdoche NY came out with the exact same idea, although they claimed they'd never read the book. In fairness it develops differently.
C is also worth reading, lots of it is fun but I'm not sure it added up to anything in the end, certainly not as much as Remainder did. The next one I haven't read.
I know that he is obsessed with Tintin and believes that Herge thought he was the rightful heir to the Belgian throne (or something) and that there are loads of secret messages and clues relating to this scattered throughout the Tintin book series. He also wrote about fifty essays and articles about the Tintin film that came out a few years back, basically saying that it was crap for millions of reason - one of which was that the filmmakers (Adam Buxton maybe?) had failed to grasp that the whole point of the books was to demonstrate Herge's claim to royal bloodline. In fairness I watched the film in the cinema in Paris with a French friend and he pretty much agreed to the extent that he almost cried and he wouldn't do anything after we went home until he'd watched the whole cartoon series from his childhood to cheer himself up. But I digress.
Isn't McCarthy also heavily involved in the Necronautical Society which aim to travel through death or something?
http://necronauts.net/manifestos/1999_times_manifesto.html
Clicking through corridors of trivia on his laptop he stumbles on information about the Shroud of Turin--and is struck by the degree to which our access to the truth is always mediated by a set of veils or screens, with any world built on those truths inherently unstable... U. is tasked with writing the "Great Report," an ell-encompassing document that would sum up our era. Yet at every turn, he feels himself overwhelmed by the ubiquity of data, lost in buffer zones, wandering through crowds of apparitions.
Dissensus and the dematerialisation thread in a nutshell.
Apparently it's some sort of art project/collective:
Since 1999 McCarthy has been 'general secretary' of a 'semi-fictitious organisation' he co-founded with his friend[18] the philosopher Simon Critchley[19] called the International Necronautical Society (INS) "devoted to mind-bending projects that would do for death what the Surrealists had done for sex".[2][20] Having failed to interest publishers in his novels in 2001-2, he made art projects under the INS name.[21][22] McCarthy handed out his International Necronautical Society or INS manifestos at a mock art fair organised by artist Gavin Turk.[22] The INS operates through publications, live events, media interventions and more conventional art exhibitions.
john eden
He was influenced by the 90s end-of-DTP (but pre-web) counter culture stuff like the Association of Autonomous Astronauts, London Psychogeoographical Association, Stewart Home (necrocards), etc. That's where the INS came from.
Had a curry with him and a bunch of people once and he seemed OK but there was a bit of snippiness about him from the more anti-careerist keep it real types.
I've not read his stuff but probably should.
I was thinking about AAA and stuff as I wrote that, assumed it must have been an influence.
Anyway, I would like to repeat my endorsement for Remainder, at the time i really thought it was amazing and I'd recommend it to everyone.... er, and if you don't like it, maybe I remembered it wrong it was a while back.
Is C as much of a Pynchon rip off as it sounds?
Um, I didn't think that when I read it. It just has loads of random and, not exactly unrelated, but not really following on from each other segments. I don't remember the writing style being like Pynchon. The overall effect might be similar but it's so much smaller, I think that the size of Pynchon books is part of how they achieve what they do (er, apart from Lot 49 obviously which you always have to say when you talk about Pynchon) and a short book by another writer never reminds me of him. My favourite bits of the book were when he ended up as a heroin addict in London and he's talking about how as part of that underclass you see another world imposed on the usual London world that others see - magic doors to paradise here, people in the know shuffling towards them, dealers having the keys to the kingdom etc. For me something quite beautiful in the way he drew a parallel between Narnia or E Nesbit style magic worlds for children and this subculture that is perceived as an underclass in a poetic way. Or that's how I remember it anyway.
But yeah, I suppose some of the topics - a world war, the radio stuff - are reminiscent of Pynchon.
The title instantly makes you think of V. too.
It does me anyway.
https://www.youtube.com/watch?v=KJIbMIzGCGo
It's a bit Adam Curtis that clip.
Now you say it, C is a bit like V as a title yeah. I definitely spotted that.
John Berger's G. too.
I wouldn't be surprised if all three were a nod to that bit in Ulysses about the single letter book titles:
"Books you were going to write with letters for titles. Have you read his F? O yes, but I prefer Q. Yes, but W is wonderful. O yes, W."
Oh you're way ahead of me now. I'm trying to remember how the book justified being called C, I can't though. I thought maybe it stood for code or something but that doesn't sound right.
Honestly though, although in synopsis C sounds very interesting, I thought Remainder was way way better.
He's got another called Men in Space which sounds Pynchon-y too.
Set in a Central Europe rapidly fragmenting after the fall of communism, Men in Space follows a cast of dissolute Bohemians, political refugees, football referees, deaf police agents, assassins, and stranded astronauts as they chase a stolen icon painting from Sofia to Prague and beyond. The icon's melancholy orbit is reflected in the various characters' ellipses and near misses as they career vertiginously through all kinds of space: physical, political, emotional, and metaphysical. What emerges is a vision of humanity adrift in history, and a world in a state of disintegration.
There's another Tom McCarthy who wrote a book called The Greatest Sniper Stories Ever Told and yet another who was in The Wire and wrote Pixar's Up.
I always forget Men in Space. I've not read it but I understand it was based on his time living in the Czech Republic.
I always mix him up with the artist who did George Bush and the Seven Dwarves (Paul McCarthy?).
https://www.youtube.com/watch?v=QLU6prvOl8E
Interesting thanks... he's a cheerful little chappie


text:
The Battles for Spotsylvania Court House and the Road to Yellow Tavern
In The Battles for Spotsylvania Court House and the Road to Yellow Tavern, May 7-12, 1864, Gordon C. Rhea charts the maneuvers and battles from May 7, 1864, when Union General Ulysses S. Grant broke convention and flanked Confederate General Robert E. Lee's Army of Northern Virginia after the Battle of the Wilderness, through May 12, when his attempt to break Lee's entrenched army by frontal assault reached a chilling climax at what is now called the Bloody Angle.
Drawing on previously untapped materials, Rhea challenges conventional wisdom to construct a detailed and thorough account of Grant and Lee at Spotsylvania, including the rise of Union cavalry commander Philip Sheridan and death of the legendary J.E.B. Stuart. This is the second of a five volume series on General Ulysses S. Grant's Overland Campaign during the American Civil War.
In the aftermath of the Wilderness, General Grant learned from his mistakes, but familiar problems still shadowed his army. At Spotsylvania, Ambrose Burnside continued to conduct the IX Corps at a glacial pace. His failings "… were so flagrant that the army talked about them openly." While Sheridan's ride south in pursuit of J.E.B. Stewart earned him fame and resulted in Stewart's death, it also deprived Grant of the eyes and ears of his army at a critical time. The result was eight days of brutal combat, with little to show for it. Once again, Grant's divided command was a hindrance.
The Battle of Spotsylvania showed Grant's stubborn determination and persistence, but Rhea puts the blame squarely on Grant for his failure to decisively defeat Lee. Grant's impulsiveness and impatience undermined what was otherwise a sound strategy. He imposed unrealistic timetables and gave little time for preparation, so plans that looked good on paper failed miserably in execution. As the battle progressed, Grant took an increasingly active role and sidelined Maj. Gen. Meade. Meade was unable or unwilling to temper Grant's more aggressive tendencies.
Rhea did not let General Lee off the hook, generally praising his conduct but arguing he made two critical mistakes. First, he failed to recognize the importance of Spotsylvania Courthouse. It was only quick thinking by Maj. Gen. Richard H. Anderson that saved his army from disaster.
Second, he ordered the withdrawal of artillery from a salient in his lines (known as the Muleshoe), leaving it essentially indefensible. Confederate artillery chief Porter Alexander believed they could have used artillery to devastating effect against the Northern assault, perhaps stopping it altogether. Lee himself admitted this was a fatal mistake.
Gordon C. Rhea (born March 10, 1945) is a military historian specializing in the Overland Campaign in Virginia during the American Civil War. He is a graduate of Indiana University, Stanford Law School, and Harvard University and is a practicing attorney in Mount Pleasant, South Carolina. His other books include To the North Anna River (2000), The Battle of the Wilderness (1994), and Cold Harbor (2002).
The Battles for Spotsylvania Court House and the Road to Yellow Tavern, May 7-12, 1864 by Gordon C. Rhea was published by Louisiana State University Press (Baton Rouge, Louisiana) in 2005. The 504-page paperback edition retails for $27.95. The Kindle edition sells for $15.37.
Author Michael KleenPosted on December 18, 2017 July 17, 2018 Categories Historic America, ReviewsTags American Civil War, book, Virginia
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text:
How to Convert NTFS to HFS
by J.S. Copper
NTFS is the standard file system format of Windows-based drives, while HFS (now HFS+) is the standard file system format for Mac OS X-based drives. If you have an NTFS formatted drive, you may notice that it does not play nice with Mac OS X. In order to use the drive with your Apple computer, you'll have to convert the file system format. This can be done using Apple's Disk Utility (included as part of Mac OS X) and will only take a few minutes to complete. Unfortunately, it will erase the contents of the drive, so the drive should be backed up prior to conversion.
Connect the NTFS drive to the Apple computer.
Click the "Finder" icon in the Dock. Select "Go" followed by "Utilities" from the menu bar. Double-click "Disk Utility."
Select the NTFS drive in the "Disk Utility" side bar, and then select the "Partition" tab.
Set "Volume Scheme" to "1 Partition." Select "Mac OS X Extended" as the "Format." Optionally, set a name for the drive and set the desired size.
Click "Apply" to format the drive and convert it to the Mac OS X Extended format.
Apple: Mac OS X Extended Format
Indiana University: What is NTFS?
Ken Stone: Formatting and Partitioning a Hard Drive in Mac OS X
Apple: About File System Journaling
How to Format SSD on a MacBook
How to Make a Bootable Cruzer Drive
How to Format a 2TB My Passport ...
How to Make a Drive Writable
How to Create Another Drive on Your ...
How to Remove CDFS from a Flash Drive
How to Factory Reset Your iMac Without ...
How to Make a FATX Drive
How to Connect a Zip Drive to a Computer


text:
Q: When an operator is called a symmetry in quantum mechanics? If an operator only commutes with Hamiltonian can we call that operator a symmetry, If the operator would not be a unitary or anti-unitary operator?

A: Yes. These go by the name of non-invertible symmetries. In particular, you can find operators that commute with the Hamiltonian, but have no inverse at all, e.g. if you apply them successively you might get something like
$$U\times U = \mathbb{I} + V,$$
where $V$ also commutes with the Hamiltonian (and might or might not be unitary or anti-unitary). This immediately shows that there does not exist such a thing as $U^{-1}$ and hence it cannot be identified with $U^\dagger$ or $-U^\dagger$.

redpajama_set_name: RedPajamaStackExchange


DUBOIS — After losing to DuBois in December 43-24, the District 4/9 Duals afforded an opportunity for the Bison to see how much they had closed the gap. Unfortunately for the Bison, the result was much the same – a very quick 47-27 Beaver win.
The meet started off with a bang – four straight falls, each in under a minute. Three of the four went to DuBois, with only heavyweight Trae Kitko winning for Clearfield.
Clearfield finally struck back at 126, as Jude Pallo racked up several takedowns on Tyler Myers before hitting a third-period headlock. The ref slapped the mat at 5:42, bringing the Bison briefly to within nine points at 21-12. "It took Jude awhile to get going, but once he did he really got aggressive and took it to Myers there. Good win for Jude", said Aveni.
138 pounder Caleb Freeland scores a takedown here and went on to a 9-5 win versus the Beavers.
The last competitive bout was a good scrap between Clearfield's Hunter Wright and Dubois' Brock Adams. Adams got the initial takedown in the first period,and built a 5-1 lead after two. A quick escape and takedown for Wright closed the gap to 5-4, and Wright pushed Adams hard for the last minute of the third but was unable to tie the bout, losing 6-4. "Hunter wears kids down, but he's got to set a little better pace. When he picked up the pace in the third, Adams got a little frustrated. We want to see that pace a little bit earlier in the bout from him", said Aveni.
DuBois went on to defeat St. Marys 35-29 in the final and will now represent Districts 4 and 9 in Hershey at the PIAA AAA Team Wrestling Championships. They will face Erie Cathedral Prep, the District 10 champion, on Thursday.
In AA action, Brookville won the final by a score of 67-6 over Coudersport. Both teams are entered in the PIAA AA Team Wrestling Championship.
With their dual meet season complete at 7-9, the Bison will be off until the District 9 individual championships on February 25 at Clearfield High School.


I love squid. If done right it is super tender and it has a subtle sweet flavor. I tried grilling it and below is the recipe!
1. Clean the squid under running cold water. Make sure to check for any beaks leftover from the grocery store.
2. Marinade the squid in all above ingredients, reserving roughly a teaspoon of the lemon zest and herbs to finish the squid with after the grill.
3. Let squid rest for 20-30 minutes.
4. Grill squid over medium high heat. Grill the bodies first, then the tentacles.
5. Grill the bodies for about 3-4 minutes on each side until no longer opaque. The tentacles need about 4 minutes total. I held mine with tongs until they tightened up, as not to fall through the grates.
6. Remove from grill and finish with the saved lemon zest and herbs.


It's Official - We played for Rylan Clark and Dan Neals Wedding!!!
TV Presenter Rylan Clark booked us for his special day - and what a beautiful day it was!!!
Katie Price & Kieran Hayler Renew their Wedding Vows and Party with Ultra 90s!!!!
After being invited to Katie & Kierans West Sussex home in January to discuss plans for the big day, Kelly & Chris have been keeping details to themselves until OK! Magazine released pics and interview with the happy couple in Issue 972 out on the shelves today (Tues 10th March 2015).


John Leslie Breck's painting of Suzanne Hoschedé captures a familiar theme of the Impressionist painters — women seated in the grass, contentedly sewing in the shade beneath a tree. The demure and self-contained pictures offer an idealized image of the women's devotion to the home and personal idiosyncrasies or notions of sexual independence are quietly but firmly implied. Suzanne was the eldest of four daughters and regularly modeled for her stepfather, Claude Monet. In this painting, Breck portrayed her as an arch-type of quiet domesticity – shown in profile and shaded by a large straw hat that draws attention to her activity. Breck carefully framed Suzanne to exclude her feet and legs. Her bold red blouse stands out from the other warm and cool tones in the bright, sunlit field.
The painting, which been in the same collection for 110 years, can be dated to 1888, as a photograph from April of that year shows Breck painting a work called Twilight with Suzanne visibly sewing by his side. Breck came to the Impressionist style while painting with Monet, and his portrait of Suzanne demonstrates how far he progressed in a short time. Breck left Giverny in 1891 after his relationship with Monet deteriorated and his courting of Suzanne's younger sister, Blanche, ended. Suzanne eventually married one of Breck's acquaintances. His painting of Suzanne beneath a poplar tree remains a timeless image of her youth and enduring beauty.