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Make me an island
St Lide
Submitted by the hermits on Wed, 20/08/2014 - 23:27
Feast Day (new calendar):
Feast Day (old calendar):
Saint Lide, who is also known by variants such as Elid or Elidius, was a Cornish hermit who made his residence on what is now known as St Helens in the Isles of Scilly. Whilst relatively little is known about him, it seems clear that he played an important role in establishing the Island as a site of Christian devotion. This tradition continues to the present day with the annual pilgrimage to the island in 2014 being joined by around a hundred people including a local bishop.
St Lide and Olaf Tryggvason
The view from St Helen's
A hermit living on the Scilly islands is mentioned in Heimskringla, a collection of sagas about Old Norse kings written by Snorri Sturluson in the 13th century. One of the sagas tells a story about king Olaf's gradual conversion to Christianity. The episode that interests us runs as follows: The Norwegian king Olaf Tryggvason was going on a long-term visit (985-988) to the British Isles and, after visiting Scotland and Ireland, he "came to the islands called the Scilly Isles, lying westward from England in the ocean". There he met a hermit who in the holy spirit foretold to him about his future kingdom. After the prophecy was fulfilled Olaf returned to the holy man and asked him about his wisdom."The hermit replied, that the Christian God himself let him know all that he desired; and he brought before Olaf many great proofs of the power of the Almighty. In consequence of this encouragement Olaf agreed to let himself be baptized, and he and all his followers were baptized forthwith. He remained here a long time, took the true faith, and got with him priests and other learned men."
So was Saint Lide the hermit who conferred with Olaf? The reconstructions involve a lot of guesswork. The story of a saint predicting a kingdom to a future king is a typical legendary pattern and some scholars suggest that it was taken from Pope Gregory's story about the conversion of the Gothic king Totila after meeting St. Benedict. An earlier saga by Oddr Snorrason, a 12th century Icelandic monk, also reports that Olaf was baptised on the Scilly Islands in 993. However, the legend may go back to the 11th century since among the sources for Heimskringla were scaldic poems belonging to a long-lived oral tradition. In any case, the account in the Norwegian sagas may reflect the existence of a Christian community on the Scilly Islands that was famous for its spiritual toils and gifts.
Cults of saints in Cornwall
Although the early history of Christianity in Cornwall is somewhat murky, there is evidence from an account of the life of St Samson of Dol that it was probably well-established prior to his arrival in the 6th Century. It thus goes back well before that time, possibly even to the early centuries after Christ. Whilst Lide's shrine can be singled out for its continued ability to draw distant pilgrims through until the later middle ages, Lide stands within a rich and multi-faceted Cornish tradition of veneration. Nicholas Orme suggests that, whilst the presence of saint cults in Cornwall was not necessarily particularly unusual, what is unusual about Cornwall is its possession of a great number of distinctive local saints in addition to its veneration of more-international figures. Evidence for these can still be found dotted around the cornish countryside in the forms of place names and buildings named after particular figures. The names of St Austell or St Ives, for example will be familiar to any tourist.
Hermits and islands
The Hermit's Hut on St Helen's
Helen O'Neil suggests that the Isles of Scilly 'were the type of site which attracted the early Celtic Christians', noting the large number of Celtic monastic sites that were founded in the 5th and 6th centuries. A remote site such as this clearly provides an attractive location for the solitary aspects of life as a monk or hermit. Even today islands around Britain remain important pilgrimage sites, the islands of Iona and Lindisfarne being popular examples. Evidence for a cult on St Helen's comes from a number of sources. Pope Pius II, writing in 1461 speaks of 'The faithful who go in great numbers to the chapel of St Elidius', granting indulgences to those who visit as a result of the site's need for repair following raids from pirates (whom he excommunicates). Likewise the poet and antiquary John Leland, writing in the 16th Century mentions 'Saynct Lide's Isle, where in tymes past at her sepulchre was gret superstition'. The island houses the remains of a number of buildings, the earliest being a round hermit's hut and oratory probably belonging to the founder. The earliest pottery dates back to the 11th century suggesting this as the period around which the island began to be inhabited. By the early 12th century O'Neil suggests that 'the original hermit must have become a figure of veneration, as St Ilid, and have been commemorated by the erection of a chapel to mark the site of his grave'. Three rectangular huts, all enclosed by a precinct wall indicate the expansion of the site to house multiple hermits following in Lide's footsteps.
Why did St Lide choose a remote uninhabitated island to live and to serve God? The tradition of Christian asceticism, which goes back to the Egyptian monks of the 4th century, supposes that one may save his soul and approach God only by renouncing the world's pleasures and by taking on an ongoing fight with one's own sinful passions. Christian hermits of past ages were determined to leave their ordinary life behind and to explore completely new places in order to start their new life in Christ there. Perhaps, a small island, being naturally isolated, seemed to St Lide a perfect place for praising God, thanking Him for the beauty of His creation and contemplating his own inner spiritual life.
A troparion in the Eastern Orthodox tradition is a short hymn in honor of a saint or a holiday. It summarises in one stanza the key points of the saints' life and deeds or the main events of the holiday, usually in a poetic way. E.g. the troparion of Christmas:
Your birth, O Christ our God, dawned the light of knowledge upon the earth. For by Your birth those who adored stars were taught by a star to worship You, the Sun of Justice, and to know You, Orient from on High. O Lord, glory to You.
The troparion is usually sung to one of 8 tones but can be also said without music. Not all saints have their troparia written. In cases where a saint doesn't have a troparion yet, we shall compose it ourselves based on the main principles of this liturgical genre.
Troparion:
O honorable father, adornment of the Scilly islands! You have disdained all wordly glory and fleeing from inhabitated places you have reached a deserted island to find the eternal beauty in a hermit's cell.
And thus the glory of your name reached the far lands over the seas and people still gather around your holy grave praising the God and singing:
Saint Lide, pray to Christ our Lord for us.
Image credit: https://www.flickr.com/photos/r36ariadne/3938123241
For further discussion of Olaf's conversion and its historical context see Sverre Bagge (2006) 'The Making of a Missionary King: The Medieval Accounts of Olaf Tryggvason and the Conversion of Norway' In: The Journal of English and Germanic Philology 105.4 , pp. 473-513.
Other sources for further reading include:
Nicholas Orme (2000) The Saints of Cornwall. Oxford: Oxford University Press.
Helen O'Neil (1964) 'Excavation of a Celtic Hermitage on St Helen's, Scilly, 1956-58'. In: Archaeological Journal 121.
David Farmer (2011) Oxford Dictionary of Saints. Oxford: Oxford University Press.
King Olaf Trygvason's Saga http://omacl.org/Heimskringla/trygvason1.html
Read more about St Lide


Operated by the JUSD, this state funded preschool provides children with early educational experiences designed to help them prepare for a lifetime of learning success. Located at Sunnyslope Elementary, this program offers one morning and one afternoon session and also provides adult education classes to parents and caregivers.
* Can accommodate up to 24 children. * All snacks and meals are provided. * No transportation assistance is available.


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CPO Rising: Andrew Bartolini Unleashed
Jason Busch
- May 6, 2010 4:05 AM |
Categories: Spend Management |
Since leaving Aberdeen as an employee, industry analyst Andrew Bartolini has done an excellent -- I might argue better -- job covering the sector than he did while working for his former employer, who constrained the type of coverage and analysis that recent posts such as this one on eSourcing 2.0 showing that he can carry out when given the flexibility to do so. In it, Andrew defines and explains a concept that he believes we should all know about: the importance and need to enable "every negotiation" that leverages an eSourcing solution to "result in an executed contract." Even though I think there are certainly industry exceptions to this argument (e.g., blanket POs in automotive rather than traditional contracts and MSAs tied to specific worker orders or POs), the suggestion is telling. Moreover, it calls attention to an almost endemic sourcing and contracting problem -- the failure to closely integrate the two processes not only to avoid lost savings, but to more quickly achieve results.
Andrew suggests that "the concept of eSourcing 2.0 has an exact parallel in the downstream procurement process: 'No PO, No Pay,' which is crisp, succinct, and universally understood by procurement and AP pros, but also by those in the line of business." The way it could work in sourcing and contracting, Andrew argues, is remarkable similar to P2P: "If you do not use eSourcing (to capture the negotiation), there can be no contract or eSourcing usage must precede a supplier contract," Andrew suggests. I have personally seen many examples of companies failing to closely link contracting and sourcing, due in part to separate platform decisions in each of the areas. But leveraging a single technology platform to more closely tie together the two elements is not essential.
In fact, I'd argue the fundamental issue here is not a failure of technology, or even a failure of technology integration -- but a failure of process and process linkage. In far too many organizations, there's significant time wasted between negotiations and contracting (or in the back and forth of contract negotiation) because of the loosely coupled interactions and structures between procurement, legal and actual spend owners. Much as many companies "fixed" their negotiation processes through defined strategic sourcing steps, sign-offs and stage gates processes in the past decade, I argue we either need to extend this paradigm into contracting and contract management or implement a new one entirely. Kudos to Andrew for writing about and surfacing a topic that requires far more discussion than it typically receives.
- Jason Busch

redpajama_set_name: RedPajamaCommonCrawl


What does it take for anyone beginning out of their profession to reach a hugely difficult setting? except the technical talents, what are the foremost values, attitudes and behaviours that convey notable functionality in a consistently altering and important world?
This publication examines those questions in the not easy international of elite recreation, a degree that locations laborious pressures not just at the devoted athletes, but in addition at the behind the scenes expertise of coaches, scientists and clinical help staff.
With case stories and interviews all through, this publication presents scholars with a pragmatic research of the private strengths, decision and interpersonal abilities required to arrive the head. The booklet additionally includes sensible counsel for college kids wishing to start a profession in elite activities, together with additional interpreting, web pages and phone information of enterprises at this elite point.
Книга о тренировке спортсменов в командных видах спорта. Это первое издание книги, поэтому для чтения у вас уже должен быть опыт подготовки спортсменов, поскольку некоторые моменты автор опускает надеясь на уровень аудитории, что было исправлено во втором издании. Drawing at the very most modern clinical study, power and Conditioning for crew activities is designed to assist scholars, coaches, researchers and activities medication pros devise more suitable high-performance education programmes for group activities.
Close down the opponent and forestall each shot. simply the total football Goalkeeper will provide help to mix wisdom, method, and actual conditioning to count on the opponent's each stream. within the whole football Goalkeeper, well known goalkeeping trainer Tim Mulqueen stocks his secrets and techniques and offers remarkable guide for constructing the talents, suggestions, and psychological frame of mind for learning the game's hardest place: • Stance, positioning, and footwork • jumping, diving, and saving photographs at quite a few heights • Orchestrating the security and allotting the ball • studying the sport, together with shooters, angles, and set performs • Penalty kicks and situation-specific strategies • particular conditioning workouts to boost explosive energy, sharpen eye–hand coordination, and enhance response time the whole football Goalkeeper additionally contains suggestion from major goalkeepers, research of a few of the game's stellar saves, and particular insights from today's best attackers at the protecting weaknesses they fight to take advantage of.
The soccer training Bible beneficial properties some of the game's so much profitable coaches. each one stocks the designated perception, suggestion, and techniques they have used to box championship-winning groups season after season. The 27 bankruptcy contributing coaches span six a long time of the game and achieve into each nook of the us.
As a consequence, the services delivered to athletes in the North East region were in jeopardy of being seriously depleted. This was a moment of truth for Jared. He felt strongly that the athletes were being let down and that elite sport in the region was in danger of being adversely affected. Believing that the athletes and local people needed to know what was happening, he was prepared to put himself in a very difficult position. He spoke out and found himself quoted on the front page of the local paper, in contravention of his employment terms with the EIS.
15 The practice of mindfulness helps individuals act more in accordance with their values and aspirations. That's probably enough techniques for the moment! As mentioned, many of our interviewees talk about the contribution of their self-awareness to their performance. : The easy answer is 'yes'. I guess it comes back to people's willingness: how important is it to you to be more self-aware, do you understand what self-awareness is and how important a skill do you think it is? It is that whole thing of 'we don't know what we don't know' and unless you are prepared to take the risk and do some work with self-awareness, then you will never know.
He is able to support and challenge coaches in a way that puts the development of the players and the team at the forefront of all decisions. He adopts a holistic approach to development of the athlete and the person. He can build excellent rapport with players of all ages and communicates effectively. He is self-aware and aware of the differing learning styles that players may have and therefore how he has to differentiate his coaching to build on the positive working relationship that he develops.


As the parent of a child with autism, life might not look exactly how you thought it would. Your child may have more challenges than you could have imagined for them. Sometimes you might feel helpless. But you're not. There are many things parents can do to help their child with autism.
Here are some things you as a parent can do to support your child with autism and help them overcome their challenges.
Love your child unconditionally. Don't focus on how your child is different from other children, and don't make comparisons. Instead, accept and love your child for who he or she is. Enjoy the things that make your child unique. Celebrate their small victories and take pride in their accomplishments. Your unconditional love is the most important thing you can give your child.
Learn about autism. Learn as much as you can about autism spectrum disorder. This will help you understand more about your child's behavior. Also learn about different treatments and therapies. This will help you make more educated decisions about your child's care. Ask questions and don't be afraid to be an active participant in your child's treatment.
Get to know your child's quirks. Become an expert on your child. Figure out their quirks. What triggers their challenging behavior? What do they like or dislike? What nonverbal cues do they give when they are hungry, tired, or want something? If you know your child's triggers and cues, you can figure out the motivation behind a tantrum or an unwanted behavior.
Provide structure and consistency. Children with autism do best when they have a structured schedule and routine. They need to know what comes next in their day, from getting dressed, eating breakfast, going to school, therapy time, dinner time, and bed time. Set up a schedule for your child and stick as closely to it as possible. If there will be changes to the schedule, try to prepare your child in advance. Your child will also benefit from consistency wherever possible. It can be hard for them to learn a skill in therapy and apply it at home. Ask your child's therapists what techniques they are using, and use those at home, too. It will help your child learn and make them feel more secure. Also remember to be consistent in how you deal with your child's challenging behaviors. It helps them to know what to expect in as many areas of their life as possible.
Make time for fun. When your child has autism, it can seem like their life is filled with education and therapy. But your child is still a child, and they need fun in their life. Pay attention to the things that make your child smile, laugh, or open up. Find ways to incorporate these things into your day. Play is an important part of learning for any child.
No matter what therapies you choose, your child's treatment plan should be tailored and personalized to fit his or her needs. Think about the skills or behaviors your child needs the most help with, and treat those first. If you're not sure which direction to go, talk to your child's doctor.
Take advantage of services available to you. Talk with your child's doctor to find out what resources are available. Contact the local health department or local autism advocacy groups for information on services they offer. Some federal and state laws make it possible for children with disabilities to get free or low-cost services. These can include free evaluations, different therapies, counseling, assisted technology devices, and other specialized services. Talk to as many people and organizations as you can. This will help you get all of the services for your child that are available to you.
Be an advocate for your child. No one knows or loves your child more than you. So it is up to you to make sure they are getting the best possible care. Stand up for your child wherever you need to. If you don't think they are getting the services they need or are entitled to, say something. Talk to your child's doctors. Be open and honest about how you feel and what you think your child needs.
Take care of yourself. In order to take the best possible care of your child, you have to take good care of yourself. Caring for a child with autism can be challenging, stressful, overwhelming, and exhausting. Sometimes you may feel like you need a break. This is normal. A break is a healthy way to focus on yourself and recharge your batteries. Try to take a few hours or even a day or two occasionally to give yourself space from what is causing you stress. This will help you be a better parent when you return to your child.
Find support. Support can come from a variety of sources. Extended family members can help you out around the house if you need it. Friends can lend a listening ear so you can talk about things that are bothering you. Counseling is also a good idea if you need someone to talk to. You may also consider joining a support group. Sharing information and experiences with other people dealing with autism can be a great help. You can learn about services, get ideas, and feel a connection with other people who are in the same situation as you.
Remember that raising a child with autism is a process. You will probably try a lot of different therapies, treatments, parenting techniques, and approaches. Some of them will work. Other's won't. You will probably also encounter many different opinions on what's best for your child. You know your child best, so trust your instincts. It may take some time, but you will figure out what's best for your child.
What services are available to me and my child?
What kind of schedule would be good for my child?
What is the best treatment plan for my child?
What kinds of therapies would be most beneficial for my child right now?
How can I best be an advocate for my child?
How can I take care of myself while supporting my child?
Are there any local support groups I could join?


The Cincinnati metropolitan area is an extremely fragmented area (particularly Hamilton County), and like much regions in the country it suffers from NIMBYism, white flight and concentration of social services. The mindset of, the different communities, distancing themselves from the inner-city has been in full speed for some time now...until more recently.
Inner-ring suburbs are starting to feel the pinch from the perpetuating nature of sprawl. Cincinnati proper has been dealing with this problem for years, and arguably might be at the point of getting past that issue. Recent population count challenges from the City of Cincinnati have been successful and are now showing a population growth not only for downtown, but for the entire City. Other communities, within Hamilton County, have now also been pegged with losses...losses that they have never seen before.
So...what's new about a Midwest city losing population and struggling as a region. Well, nothing. But what is new with this situation is that the inner-city is showing signs of life as the inner-ring 'burbs are now feeling the pinch. This is inevitably the future for many regions around the nation...so what are we to do?
Well Cincinnati Mayor Mark Mallory has stepped up to the plate, and is taking a leadership role for this region in fighting this decline and challenging numbers that may very well be flawed from a Census methodology that favors new growth cities. It is more difficult to count the number of rehabbed buildings and/or reoccupied buildings. You can spot the number of building permits from a mile away and guestimate that 2-3 people occupy that structure (which may or may not be true).
So...what else is new? We have a leader that is stepping up to the plate and taking on a leadership role at a more regional level. Mayor Mallory is rallying communities from around Hamilton County. If Hamilton County can begin working as one cohesive unit then the region will surely benefit. In short...the voice of 800,000+ people is much more powerful than those voices being split up amongst dozens of jurisdictions.
The bottom line is that it's beginning to look like the Cincinnati region may start to begin working together cooperatively to accomplish their goals...which for Cincinnati is a not so new, new idea.
Cities that actually have population growth have seen their "First Suburbs" evolve and improve as older homes are either torn down or gutted and modernized to satisfy 2007 lifestyle needs.
It's rustbelt cities such as Cincinnati which as a metro area has marginal population growth that will continue to see inner ring burb decline.
I would first focus on changing the prevailing close minded attitude that plagues much of Cincinnati's population as to encourage foreign immigration as well migration to Cincinnati from outside OH.


1990. 287 pages. No dust jacket. This is an ex-Library book. Blue cloth boards. Ex-library copy with usual inserts, stamps and inscriptions. Minimal tanning and foxing with thumbing throughout and surface tearing to front endpaper. Contains library stamps and inserts with inscriptions to endpapers. Clear and bold text with firm binding. Boards have rub wear and marking with forward lean and sunning to spine. Bumping and scuffing to corners, edges and spine ends. Some surface drop marking with bleached spots. Label to front board with library call number to spine.


It's time to link up your June purple!
Did you make the free block from Patterns By Jen, one of the blocks offered by Dizzy Quilter, Powered By Quilting, Clever Chameleon Quilting or did you make your own thing.
If you made something purple *this* month you can enter the link up through June 30th, for a chance to win fabric from Art Gallery Fabrics.
They have sponsored June with a fat quarter bundle of some beautiful fabric.
I have added the Square²™ ruler from Deb Tucker's Studio 180 Design. To know me is to know I love her rulers which is why I stock them in my Etsy shop.
We'll be making a lot of HST units and FG units in The Border Quilt Quilt Along.
Making units larger and trimming them down to size is what I love best and her rulers help me do that with ease.
This post has been bubbling in the back of my mind for a few weeks now, and I think I'm ready to share my thoughts.
We've all seen the meme: Why do Quilts Cost So Much? (This one was made by Gail Lizette of I Think Sew.) We've seen it, and we've nodded sagely to ourselves. We think YES! This is what the people who don't appreciate my work need to see! We share it and we share it again. Why? Because we want to be appreciated. We want people to see that what we have made wasn't a "cheap handmade gift."
Pattern designers feel the same way. We hear over and over again how patterns cost "too much." Everyone is looking for free patterns. "Designers are making so much money, look how much the patterns cost." "It won't hurt if I copy this pattern and share it with my friends. I paid for it already." "Digital patterns should be cheaper than the paper pattern of the same design."
I would like to share what it costs to design a pattern, and then take a look at what we make off those patterns. I'll share some pretty pictures along the way to keep from all boring text.
First there is the drawing up of the actual design. Sketching out the idea, figuring out sizes of units, adding it to a design program, adding color (taking color away and starting over, ha). This can take a few hours to a few days.
Then testing begins. I print out the instructions so that I can make the needed changes. (Read cost of paper and ink.) Depending on the difficulty of the pattern I need enough fabric to make at least one full quilt, which will not get quilted, but needs to be pieced. Then it's off to the testers.
Some designers are able to pay for testers and their time. Think about how much that can cost. How much is your time worth? I give my testers their choice of any of the published patterns I have available, or the finished pattern of the one they just worked on. They use their own fabric and then they go through whichever size they have chosen and make the whole top to check for accuracy. This part of the proccess is invaluable.
For my patterns I make two samples for the cover of each pattern. That's two quilts worth of fabric, materials and time, I'm going to use the amount used in the meme above, but only once, because I don't usually have to buy thread etc every time.
I send mine to be quilted, because paying for that service is worth the extra time it "buys" me. Each quilt costs anywhere from $150 - $280, it depends on the size and quilting pattern chosen.
Once I get the binding on, the quilts are off to the photographer. Mine lives in a different state, so each package is sent with insurance up to $1,000. Then mailed back for the same cost. The cost of the photographer varies from one to the other.
If the designer only does digital patterns, what's left is "just" the set up fees for their website or etsy/craftsy page. Each listing comes with a fee, and each sale comes with a fee.
If there are paper patterns involved then the pattern is off to the printer (or printed at home). A general amount for me, for a pattern with color pages and a nice glossy cover runs around 2.468 to 2.856 per pattern, usually with orders of just 25. This varies for each designer/printer.
Now it's time to decide, will you pay to have the printer fold them for you, or will you fold them yourself.
Then it's time to stuff the in those nice clear bags. Those run around $50 for 1,000 bags, plus shipping.
The pattern has been designed, pieced, quilted, photographed, printed and bagged. Now it needs to be sold. Many patterns run from $10 - $12, some even higher. For this I'm going to use the $10 example.
If I sell it from Etsy or Craftsy I am charged a fee for listing and for selling. I would need to sell 346 patterns, plus a few more to cover fees, to break even.
If it is picked up by a quilt shop, the shop pays a wholesale price: $5 per pattern. I would need to sell 693 patterns to break even.
If it's picked up by a distributor they pay 35%: $3.50 per pattern. I would need to sell 990 patterns to break even.
There is a lot of give and take to these numbers. Sometimes a designer can get a fabric company to sponsor the design and give fabric. If the quilting is on a smaller quilt, or it's a large motif, it can cost less. Printing costs vary as well. I hope, though, that this helps quilters understand that most of the pattern designers aren't getting rich selling their patterns. They work hard with a high overhead. The bigger names in the quilting industry can give away free stuff, because they have many avenues of revenue. The smaller pattern designer doesn't have all of that. So add that $10 pattern to your list of quilting supplies and help support the designers that are working long hours to give you a quality product they can be proud of.
Welcome to the June challenge from Island Batik, Modern Batik.
The Blue Moon fabrics I used for this challenge were given to me by Island Batik as part of the Ambassador program.
I am not a modern quilter, in any way shape or form so I reached out to Carole Lyles Shaw. She gave me a few tips and even drew up a couple of layouts for me after she saw what I had pieced. I really appreciate that she took the time to try and help me. I don't know that I did her justice in any way, but I tried. Sigh. I am not a modern quilter. If you are a modern quilter, or want to become one, definitely check out her website.
Here is what she had to work with, I call it Mod^2.
After she gave me a few suggestions I ripped a few seams and changed the layout. I focused more on creating asymmetrical lines, because I didn't feel there was much I could change at this point. Plus, this is really as modern as I get. I'm a traditional girl at heart, in pretty much all areas of my life, breaking out of that is/was hard!
I used the yardage with the birds and more of the branches for the back. I've sent this quilt to the photographer and I know she will grab much prettier photographs for you to enjoy.
Welcome to June's Color Challenge!
It's my favorite color, and uses my favorite unit, the awesome Half Square Triangle. We could stop the Color Challenge right here and I would make a billion of these and be perfectly happy for life!
This month's sponsor is Art Gallery Fabrics.
Win this fat quarter bundle of AGF.
This block is pretty simple and there aren't a lot of tips to share.
When stitching watch your seam allowance, it will keep your points sharp if your seams are all the same width.
How do you get a chance at winning the beatufiful fabric from Art Gallery Fabrics? Make something purple *this month* and add it to the link up that will open June 23 and run through June 30. One entry per person please. Each month you enter you get entered into the drawing for the Grand Prize.


text:
NOTICE OF PUBLIC HEARING BEFORE THE CITY COUNCIL (Legislative – LOC 50.07.003.16.e)
NOTICE OF PUBLIC HEARING BEFORE THE CITY COUNCIL (Legislative – LOC 50.07.003.16.e) Hearing Date, Time, and Location: Tuesday, March 3, 2020; 6:30 p.m. City Council Chambers 380 A Avenue Lake Oswego, OR 97034 File Numbers: PP 19-0012 (Resolution 20-07) Applicant: City of Lake Oswego Nature of Application and Proposed Legislative Amendments: The City of Lake Oswego is proposing a concept plan for Luscher Farm to accommodate current and long-term community needs for integrated open space, park and recreational uses, including: 1) urban agriculture uses and programs; 2) athletic fields; and 3) connecting trails and pathways. The City intends to apply to Metro for a major amendment to the Portland Metro Urban Growth Boundary (UGB) to add Luscher Farm (approximately 83.3 acres of City-owned parks and open spaces) to the UGB, and the concept plan is required by Metro. Following Metro approval of the UGB amendment, the City intends to amend its Comprehensive Plan and Urban Services Boundary so that Luscher Farm can be annexed to the city (subject to voter approval) and zoned Park and Natural Area (PNA). Explanation of Proposal: The City's is proposing the concept plan and UGB amendment for the Luscher Farm properties because: — Luscher Farm provides open space, urban agriculture and recreational opportunities that cannot be achieved on land inside the existing UGB. — Allows the City to maintain and expand a unique combination of uses such as urban agriculture, community gardens, cultural/ historic education, interconnected trails, and appropriate development of passive and active recreational facilities. — The majority of the land is currently zoned Exclusive Farm Use (EFU), which is intended to protect commercial agricultural uses and it does not provide flexibility to accommodate urban agriculture and educational uses and programming envisioned at Luscher Farm. — Urban facilities and services (sewer and water) cannot be extended to serve land outside of the UGB. Additionally, System Development Charges (SDC's) cannot be spent on infrastructure improvements outside of the UGB (such as pathways). — The City will have more certainty regarding allowable land uses on the properties and will be able to fully implement the City's overall vision and the Luscher Area Master Plan. — The City will be able to incorporate elements of the Luscher Area Master Plan into the City's Comprehensive Plan and long-range public facility plans such as the Transportation System Plan, Wastewater System Plan and Water System Plan. On February 10, 2020, the Planning Commission made a final recommendation that the City Council approve the proposed concept plan. The record of the proceedings for PP 19-0012 can be found on the City's website at: https://www.ci.oswego.or.us/all-projects (Under Search enter PP 19-0012, then press Submit) Adoption of Resolution 20-07, will be considered at the public hearing. The title of the resolution is as follows: Resolution 20-07 Approval of the Luscher Farm Concept Plan for purposes of applying to Metro for an amendment to the Portland Metro Urban Growth Boundary (PP 19-0012). Copies of the Resolution will be available from the City Recorder one week before the hearing. Staff Contacts: Inquiries regarding the proposal may be directed to Scot Siegel, Director of Planning and Building Services (503) 699-7474 or ssiegel@lakeoswego.city. For information about the public hearing, contact Anne-Marie Simpson, City Recorder, (503) 534-4225. How to Comment: Bring, e-mail, or mail written comments to: Anne-Marie Simpson, City Recorder	Third Floor, City Hall	380 A Avenue Post Office Box 369 Lake Oswego, Oregon 97034 Phone: (503) 534-4225 e-mail: cityrecorder@lakeoswego.city Please provide a reference to the case to which you are testifying – PP 19-0012. You may attend the hearings and comment under the section for public testimony. For more about hearing procedures, contact staff. Time Limits on Testimony: The purpose of time limits on testimony is to provide all interested persons with an adequate opportunity to present and respond to testimony while at the same time ensuring that the hearing can be conducted in an efficient and expeditious manner. The following time limits on testimony shall be observed, but may be changed by the Council. Testimony will be taken in the following order – in support of the amendment, in opposition to the amendment, neutral. — Ten minutes for a representative of a recognized neighborhood association, homeowner association, government agency, or other incorporated public interest organization; — Five minutes for other persons. Publish February 13, 2020.	LOR152755
Owner: City of Lake Oswego
City: LAKE OSWEGO
County: Clackamas


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This package provides development headers needed to build software using Vc.
- Add 0001-Fix-i686-build.patch to fix build failures on i686 targets.
which libmvec is not available.
* Support for AVX2 gather instructions.
- Added a patch "fix_i686_build.patch" to fix build on i686.
repository since it has a license that restricts redistribution.
- Updated License to "LGPL-3.0+ and GPL-3.0+".
- Added Requires: Vc-devel in the Vc-devel-static subpackage.
+ Fixed VectorTuple to work without using namespace Vc.
+ Fixed compilation for targets that don't support POPCNT.
- Revoke last change (it does not solve the failures).
- Disable parallel build, often fails in OBS.
- Removed fix_install_libdir.patch (fixed upstream).
- Don't build latex devel docs (removed all texlive build requirements).
- Initial rpm release (version 0.6.1).
library in the correct libdir (lib or lib64).


Does the word "love" belong on the title of a metal album? Any metal album? While it is hard to imagine it being used in death metal (unless it is a love of impaling your adversary) or true black metal (unless it is a Satanic perversion of some sort), the avant-garde metal could be more receptive. For example, Spanish avant-gardists As Light Dies had no qualms naming their most recent release The Love Album – Volume I.
Not familiar with the band heretofore, I was not sure what to expect. And having listened to the album multiple times I am still hard pressed to describe exactly the genre As Light Dies is playing in. For starters, the album is replete with short interludes ranging in atmosphere from seductive to horror-movie creepy. These interludes, in fact, alternate with full-length compositions providing pause in the action and ratcheting of tension at the same time. But it is the full-length compositions on The Love Album – Volume I which are impossible to describe. Orpheus Mourning jams three different styles and five different songs, all in the span of just under 8 min. From blackened rush to gothic crooning to strange jazzy stumbling to melodic tremolo and even female vocals to boot, everything in Orpheus Mourning is both unsettling and unexpected. In some moments you wish this concoction to stop, in others you want it to last a little longer, as you are beginning to get a hang of it.
Together as One and Farewell from Distant Shores begin with industrialized harshness, while Nemesis pretty much stays in this rougher groove throughout, and I have to say I did not care much for those moments. Yet those austere rugged passages eventually dissolve and give way to more fluid atmospheres, to soothing caress, reminding me of the Vintersorg progressive era moments in its grandiose end (Together as One) or adding some brass sound instrumentation (real horn or trumpet?) before floating away in piano passages (Farewell from Distant Shores). Complex and progressive, vocally, however, As Light Dies is not Vintersorg, the vocals on The Love Album – Volume I never becoming too aggressive or way sweet.
My favorite composition, in time, I might add, became Your Wake, where hurried beat brings on some minor chord keyboard sequences, and for once the band actually repeats their good finds several times. Eventually though, As Light Dies folds that tent, replacing it with their take on Depeche Mode, which in itself is only a prelude to an expansive finish.
The Love Album – Volume I is intellectually challenging and will require your concentration to follow its twists. I suspect some will find these travels extremely rewarding, if they don't mind to be jolted with changes often. Others, and we should not blame them, will never make sense of it all, or why this is called The Love Album in the first place. Only fitting that Dan Swano produced, mixed and mastered this complex pieces of extreme music.


TMJ (temporomandibular joint) disorders are a family of problems related to your complex jaw joint. If you have had symptoms like pain or a "clicking" sound, you'll be glad to know that these problems are more easily diagnosed and treated than they were in the past. These symptoms occur when the joints of the jaw and the chewing muscles (muscles of mastication) do not work together correctly. TMJ stands for temporomandibular joint, which is the name for each joint (right and left) that connects your jaw to your skull. Since some types of TMJ problems can lead to more serious conditions, early detection and treatment are important. No one treatment can resolve TMJ disorders completely and treatment takes time to become effective.
Our philosophy about TMJ treatment is focused on a team approach and it starts with you; "The TMJ Patient". Stress management and taking care of yourself and your overall health should be the initial and primary focus.
In addition your general dentist can focus on your overall dental health as poor dentition can be an indirect source of TMJ pain.
Once an evaluation confirms a diagnosis of TMJ disorder, Dr. Bolourian will determine the proper course of treatment.There are various treatment options that Dr. Bolourian can utilize to improve the harmony and function of your jaw.
The initial goals are to relieve the muscle spasm and joint pain. This is usually accomplished with a pain reliever, anti-inflammatory, or muscle relaxant. Splint therapy is the foundation and one of the most important steps in a comprehensive TMJ treatment modalities. Unfortunately many people are told that they need a "night guard". So they go to a pharmacy and buy one. That approach only will worsen the condition. There are different types of appliances used for different purposes. A splint (or nightguard) fits over your top or bottom teeth and helps keep your teeth apart, thereby relaxing the muscles and reducing pain. A nightguard helps you stop clenching or grinding your teeth and reduces muscle tension at night and helps to protect the cartilage and joint surfaces. An anterior positioning appliance moves your jaw (Not your teeth) forward, relives pressure on parts of your jaw and aids in disk repositioning. It may be worn 24 hours/day to help your jaw heal.
If the above treatments and are found to be ineffective or with limited effectiveness, Dr. Bolourian may suggest a minimally invasive and very effective treatment called arthrocenthesis. This procedure is particularly beneficial when cause of restricted mouth opening and pain is secondary to upper joint space pathology, particularly adhesions and inflammation within the joint space.
What is Jaw Joint Arthrocentesis?
TMJ / Jaw Joint Arthrocentesis is basically washing out of the jaw joint space during which the jaw joint is washed out with sterile saline. The surgeon may or may not use anti-inflammatory steroids, long-acting local anesthetics, recently researched hyaluronic acid ( a naturally occurring joint lubricant). TMJ / Jaw Joint Arthrocentesis reduces jaw joint pain, improves jaw joint function and reduces jaw joint clicking.
Increasing lower jaw movements by removing adhesions. (Adhesions are primarily scarring within the joint space).
By removing adhesions and inflammatory toxins from the TMJ space, we are able to reduce the mechanical obstruction caused by the anterior (forward) position of the disk (AKA: articular disk) and the disk will regain its ability to freely move to its normal position within the joint.
When is Jaw Joint Arthrocentesis used?
Dislocation of the articular disk.
Limitations of mouth opening originating in the jaw joint.
TMJ / Jaw Joint Arthrocentesis usually takes place under a General Anæsthetic - this means you will be asleep for the entire procedure. While you are asleep, Dr. Bolourian introduces two specially designed small needles into the TMJ / Jaw Joint. One of these needles allows sterile saline to be pumped into the joint under pressure while the other needle allows the saline to drain out of the joint. After a thorough wash out of the joint, Dr. Bolourian will inject a small amount of a lubricating compound within the joint space which will also reduce the inflammation. While you are asleep, your lower jaw will often be manipulated in an attempt to encourage the TMJ / Jaw Joint disc back into its normal position and break down any adhesions within the jaw joint.
How will you feel after the operation?
The area in and around the TMJ / Jaw Joint is often uncomfortable for few days after the procedure. Dr. Bolourian will prescribe to you an anti-inflammatory and muscle relaxer for a specified period of time. There will be some swelling in front of your ear. You may also find it difficult to open your jaw for a few days or perhaps weeks.
You will need to return a few weeks after surgery to have your jaw joint checked by Dr. Bolourian and possibly adjust your splint. Also, you will need to continue with TMJ / Jaw Joint exercises and physical therapy as per Dr. Bolourian's instructions.
Complications after TMJ arthrocenthesis are rare and usually temporary.
Complications usually present in the immediate post-operative phase and are mostly associated with fluid collection and perhaps vascular injury.
Facial Muscle Weakness- This may cause inability to close the eye temporarily.
Bleeding within the jaw joint.
What About TMJ surgery and bite Correction Surgery?
On fewer occasions there may be a need for surgical intervention. If you frequently go to an emergency room because you haven't been able to close your mouth or if there is evidence of severe disk pathology you may be a candidate for TMJ surgery. Surgical options such as arthroscopy and open joint surgery are sometimes needed, but are reserved for severe cases. Dr. Bolourian does not consider TMJ surgery unless the jaw can't open, is dislocated and non-reducible, has severe degeneration, or the patient has undergone other mentioned treatments unsuccessfully.


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text:
package org.apache.cassandra.service.paxos;

import java.util.Collection;

import org.apache.cassandra.db.SystemKeyspace;
import org.apache.cassandra.dht.Range;
import org.apache.cassandra.dht.Token;
import org.apache.cassandra.service.paxos.Ballot;

public class TablePaxosRepairHistory
{
    private final String keyspace;
    private final String table;
    private volatile PaxosRepairHistory history;

    private TablePaxosRepairHistory(String keyspace, String table, PaxosRepairHistory history)
    {
        this.keyspace = keyspace;
        this.table = table;
        this.history = history;
    }

    public static TablePaxosRepairHistory load(String keyspace, String table)
    {
        return new TablePaxosRepairHistory(keyspace, table, SystemKeyspace.loadPaxosRepairHistory(keyspace, table));
    }

    public Ballot getBallotForToken(Token token)
    {
        return history.ballotForToken(token);
    }

    private void updatePaxosRepairTable(PaxosRepairHistory update, boolean flush)
    {
        SystemKeyspace.savePaxosRepairHistory(keyspace, table, update, flush);
    }

    public synchronized void add(Collection<Range<Token>> ranges, Ballot ballot, boolean flush)
    {
        PaxosRepairHistory update = PaxosRepairHistory.add(history, ranges, ballot);
        updatePaxosRepairTable(update, flush);
        history = update;
    }

    public synchronized void merge(PaxosRepairHistory toMerge, boolean flush)
    {
        PaxosRepairHistory update = PaxosRepairHistory.merge(history, toMerge);
        if (!update.equals(history))
            updatePaxosRepairTable(update, flush);
        history = update;
    }

    public PaxosRepairHistory getHistory()
    {
        return history;
    }

    public PaxosRepairHistory getHistoryForRanges(Collection<Range<Token>> ranges)
    {
        return PaxosRepairHistory.trim(history, ranges);
    }
}

redpajama_set_name: RedPajamaGithub


Reviews phonics rules—vowels, consonants, blends, diphthongs, and digraphs.
Builds on the parts of speech foundation—present, past, and progressive tenses; and forming plurals.
Classifies words that are homonyms, words with more than one definition and easily confused, and negative words.
Identifies division rules and accenting syllables.
Begins to study word histories through the use of a dictionary.


Come Arredare Un Open Space Di 40 50 MQ MondoDesign It Ispirazione Soggiorno Cucina Mq - Prestobarandgrill.com.
Prestobarandgrill.com (https://www.prestobarandgrill.com) - Come Arredare Un Open Space Di 40 50 MQ MondoDesign It Ispirazione Soggiorno Cucina Mq image uploaded on Friday, December 14 2018 by . this picture size is 479 x 960. to download this image, you can hover on image above then right click and save as.
Gellery Of Come Arredare Un Open Space Di 40 50 MQ MondoDesign It Ispirazione Soggiorno Cucina Mq.


text:
Reasontv
Rap Group Once Targeted by F.B.I. Inducted into Rock & Roll Hall of Fame
Back in 1989, federal law enforcement took "Fuck tha Police" literally.
Paul Detrick | 12.19.2015 10:30 AM
Groundbreaking Southern California gangsta rap group, N.W.A. were inducted into the Rock & Roll Hall of fame this week joining Deep Purple, Cheap Trick, Chicago and Steve Miller. From the New York Times:
N.W.A, the pioneering gangsta rap group, is only the fifth hip-hop act to join the Rock Hall, after Grandmaster Flash, Run-DMC, the Beastie Boys and Public Enemy. The group had been on the ballot three times before; this year they were the subject of a hit biopic, "Straight Outta Compton," which has grossed over $161 million at the box office and is considered a contender in the film awards season.
N.W.A. gained popularity writing larger-than-life lyrics about life in South Los Angeles, writing songs like "Fuck tha Police," with lyrics like "takin' out a police will make my day" and "beat a police outta shape." But, back in 1989, federal law enforcement took those lines literally.
The band's record label received a warning letter from the Federal Bureau of Investigation (FBI) saying the lyrics to "Fuck tha Police" promoted "violence against and disrespect for the law enforcement officer." The unforeseen publicity over the First Amendment right of these rappers only fueled the street cred of the band. For more watch "Gov't Tried to Shut Down Rap in Straight Outta Compton, and They're Still Doing It."
NEXT: The Best and Worst Cities for School Choice
Paul Detrick is a former video reporter and senior producer at Reason.
ReasontvMusicCriminal JusticeFree Speech


text:
Rudy Gobert Apologizes For Coronavirus Prank
Filed Under:Coronavirus Coverage: CW Atlanta News At 10, COVID-19, NBA, prank, Rudy Gobert, Utah Jazz
By Calum Trenaman, CNN
(CNN) — The first NBA player to test positive for coronavirus is being criticized for a prank he pulled on members of the media as it could put them theoretically at risk of contracting the illness.
As he was leaving a media event on March 9 All-Star center Rudy Gobert of the Utah Jazz touched every microphone and recorder in front of him in jest.
Gobert, who subsequently tested positive for coronavirus, released a public apology on Instagram on Thursday.
"I have gone through so many emotions since learning of my diagnosis … mostly fear, anxiety, and embarrassment," wrote Gobert.
"The first and most important thing is I would like to publicly apologize to the people that I may have endangered. At the time, I had no idea I was even infected. I was careless and make no excuse."
One member of the media who was present when Gobert made the joke later tweeted that he thought the act was "a measure of support for the media."
Andy Larsen of the Salt Lake Tribune tweeted: "On the Rudy Gobert microphone incident: at the time, I actually took it as a measure of support for the media.
"We were being told to keep 6-8 feet away from them on the assumption that we might infect a player. I thought it was Rudy thumbing his nose at the separation between us.
"It was obviously reckless, but heck, nearly everyone I know has made a coronavirus distance joke at some point this week."
Before Wednesday's Jazz game, the team announced that Gobert would not play in the game because of an illness.
As the game was about to get underway, the team received test results that a player tested positive for coronavirus and the game was canceled.
Following Gobert's positive test, the NBA suspended the regular season until further notice.
The Jazz later released a statement saying: "A preliminary positive result came back right before tip-off of the Utah Jazz-Oklahoma City game.
"Subsequently, the decision was correctly made by the NBA to postpone the game.
"When it was determined that the individual would be tested, we immediately informed the league office.
"The health and safety of our players, our organization, those throughout our league, and all those potentially impacted by this situation are paramount in our discussions.
"We are working closely with the CDC, Oklahoma and Utah state officials and the NBA to determine how to best move forward as we gather more information.
"The individual is currently in the care of health officials in Oklahoma City.
"In coordination with the NBA and state officials, we will provide updates at the appropriate time."
Evan Fournier, a Guard with the Orlando Magic and a friend of Gobert tweeted out that he has been in touch with the Utah Jazz star. "He is doing good man. Lets not panick (sic) everyone. Love you all."
Meanwhile Utah Jazz player Donovan Mitchell has acknowledged that he tested positive for coronavirus.
Mitchell posted the news on his Instagram account.
"We are all learning more about the seriousness of this situation and hopefully people can continue to educate themselves and realize that they need to behave responsibly both for their own health and for the well being of those around them," wrote Mitchell.


I received this book from WorthyKids/Ideals for free in exchange for an honest review. Post contains affiliate links. All thoughts are 100% my own.
Like seriously, there is nothing I love more than a great book... both for myself and for my children. But for many kids these days, getting them to open a book can be quite the task! For so many kids, even at a very young age, it's all about the technology! I am constantly stunned at just how much even the smallest child can pick up when it comes to technology.
This innovative Bible storybook features more than 100 favorite stories from the Old and New Testaments. From the story of Creation and the Garden of Eden all the way through the life of Jesus and the acts of the Apostles, the stories are told in kid-friendly, yet biblically accurate, language and accompanied by bright and whimsical artwork. The book is paired with a free downloadable app that brings the stories to life through the use of augmented reality. By holding a smart phone or tablet over the page, the app allows characters, animals, and objects in the stories to spring up in 3-D, with audio that reveals additional character dialogue and sounds. Together, the book and its app are sure to engage children's imaginations and start them on their faith journey. Ages 4-7.
Now, I must say that my kids are big book fans too, but even still, given the choice, they'd go for a tablet every single time. I love that this book gives them the best of both. They can still get their reading time in, which as a mom is very important to me. But for them, it's the technology time that they WANT. It brings the Bible to life for them in a way that is fun and that speaks to their personal interests.
My kids are LOVING this book. Even without the app, they love the fun illustrations and stories--- short and sweet, perfect for bedtime. Add in the app an the fun multiplies. It's very easy for kids to use, and of course, its free so you don't have to buy anything special to make it work! It may be designed for kids from 4-7, but even my 10 year old enjoyed seeing the stories come to life!
If you're looking for a fun addition to the Easter basket or a great way to encourage kids to fall in love with the Bible, this is one that you will definitely want to check out. Planet 316 Story Bible is available to purchase now at your favorite Christian book retailers.
My cousin would like this!


text:
Starry offers free service to 'Connect' subs through end of May
News Wire Feed Light Reading 3/17/2020
BOSTON, Mass. – As part of its commitment to keep our communities connected and online during the nation's response to COVID-19, Starry, a wideband hybrid fiber wireless internet service provider, will provide all of its current Starry Connect customers with free service until the end of May.
Starry Connect is a specialized affordable broadband program that partners directly with public and affordable housing owners to provide low-cost true broadband access with no data caps, long-term contracts or complex eligibility requirements for only $15 per month. To support this effort to keep families connected and online during the response to COVID-19, Related Companies, Starry's largest affordable housing partner, has committed to covering the cost of Starry Connect for its residents who currently subscribe to the program.
"Our country is facing uncertain times and anything that we can do to bring a little more certainty to the communities we serve is important," said Virginia Lam Abrams, Starry's Senior Vice President of Government Affairs and Strategic Advancement. "Beginning today, for subscribers currently in our Starry Connect program or for those who wish to sign up, we will cover the cost of their internet connectivity through the end of May, so they don't have to worry about the cost of staying connected during this COVID-19 crisis. Keeping our communities connected and productive is essential over these next few weeks and Starry is proud to do what we can to help."
Starry has taken a number of actions in response to the COVID-19 health crisis to support the communities it serves:
Last week, Starry pledged to suspend cancellation of service due to nonpayment as it relates to COVID-19.
Starry moved to expand its Starry Connect program to nearly 600 additional units of affordable housing in New York City.
The Federal Communications Commission and Congressional Leaders last week called upon internet service providers to suspend certain punitive customer practices, such as data caps and waive certain fees during the nation's response to COVID-19. Starry's internet service has never had additional fees, late fees or data caps as a standard business practice.
Starry Connect is an official ConnectHomeUSA stakeholder with the U.S. Department of Housing and Urban Development and partners with public and affordable housing owners to make available a true broadband service plan for $15 per month, without long-term contracts, data caps, credit checks or other complex eligibility requirements. Starry Connect subscribers experience a minimum of 30 Mbps symmetrical speeds and all equipment, installation and 24/7 customer care are included in the monthly cost.
Be the first to post a comment regarding this story.
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As chief of the Athens Police Department, I would like to welcome you to our official site. It's an honor and privilege for our department to serve and protect the citizens of Athens. Protection of our community is of utmost importance. It is the goal of this department to partner with Athens' citizens in this endeavor. Working together, we can make our community a safer place to live and raise our families. If we can be of assistance in any way, don't hesitate to contact us at 256-233-8700.
Thank you for your support of our department.


text:
East African Community and International Trade Centre improve competitiveness of SMEs
By Wanjiku Mbugua	 Last updated Apr 24, 2016
The International Trade Centre (ITC) and the East African Community (EAC) yesterday announced that the two organizations are launching a new, joint project to boost intra- African trade. The Trade and Regional Integration Project (TRIP) for EAC was announced by the EAC Secretary-General Amb. Dr.
Richard Sezibera and ITC Executive Director Arancha Gonzalez
on the margins of the World Trade Organization's Ministerial Conference that took place in Nairobi, Kenya December 2015.
The new initiative aims to strengthen existing efforts by East African Partner States for closer
economic integration, including the East African Customs Union and the EAC Common Market.
The TRIP for EAC project also sets out to support the African Union's Action Plan for Boosting Intra- African Trade and the recently agreed tripartite free-trade agreement among the Common Market for Eastern and Southern Africa (COMESA), the EAC and the Southern African Development Community (SADC).
Specifically the project aims to boost the competitiveness of EAC- based small and medium-sized enterprises (SMEs), enabling them to step up intra-and inter- regional trade. The project will have a strong focus on women's economic empowerment, and will also support wider private-sector development in the EAC to spur deeper economic integration, including in agriculture, information and communication technologies (ICT), and tourism.
"Regional integration led by the private sector is a powerful vehicle for boosting growth, creating
jobs and promoting economic development," Ms Gonzalez said. 'Enabling the private sector and policymakers to take advantage of trade opportunities is at the heart of what ITC does. We are
looking forward to doing this in collaboration with the EAC, and to ensuring sustainable growth for East African countries and their SMEs." Amb. Sezibera said: 'This cooperation will contribute to improve the
global competitiveness of our region and to trigger sustainable economic growth. 'Implementation of the five-year US$ 8.5 million TRIP for EAC project is set to begin in January 2016. The Government of Finland has pledged to provide initial funding.
ITC and the EAC will intervene at three levels to provide integrated solutions to problems of SME
competitiveness. At the enterprise level, they will work to enhance the
competitiveness of SMEs in selected sectors, with a strong focus on women entrepreneurs.
At the institutional level, they will work to strengthen trade and investment support institutions, enabling
them to better serve their SME clients, especially on export development and international marketing services.
Finally, at the trade policy level, the project will aim to enhance the business environment through improving trade facilitation and public-private dialogue to ensure that reforms correspond to business needs.
Africa works on massive legal reforms
Tranquillity meets hospitality
Empowering Africa to feed itself through a demand first approach
MPost announce plans to expand into sub-Saharan Africa
Amitruck, Sky.Garden partner for last-mile goods pick-up and deliveries


text:
Cosmic Morning was started in late 2010 by Alex Bond and myself. It started as a collaborative realtime light and video performance project, but has blossomed into much more.
Teaser for the Cosmic Morning show at The Tank, NYC
Alex and I were asked to perform at Pulsewave's 2010 Halloween party at The Tank in NYC. Pulsewave is a monthly showcase of chip music and low-bit video art. For the Halloween show each musician was covering a different band, as a sort of musical costume. Alex usually performs under the alias enso, and myself as NO CARRIER. Both inspired by psychedelic art and lightshows, we decided to "cover" a psychedelic liquid light show. We spent months preparing, gathering equipment and learning about the techniques used to create liquid light shows.
Cosmic Morning at The Tank, NYC
The NYC show was a success, as well as another show the same weekend in Philadelphia. Cosmic Morning was born as a mixed analog/digital lightshow, incorporating modern computers, obsolete video game consoles, and liquid lightshow techniques.
Since then I've moved the Cosmic Morning project in other directions. The study and creation of old and new analog lightshow techniques became my focus at ITP, an interactive media program at NYU. Cosmic Morning became my thesis, a mix of research, prototyping, and performance.
Aurora, one component of Cosmic Morning, was shown at Brooklyn's 319 Scholes gallery show titled Hello World in June 2011. Documentation of that show is available on the left under "Selected Work". I recently reunited with Alex to play another Cosmic Morning show at Pulsewave. This show was again an analog/digital mix, but incorporated Aurora into the mix as well.
Aurora at 319 Scholes, NYC
Cosmic Morning is inspiring to me for many reasons. After years of realtime video performance, it is enormously rewarding to go back and explore the roots of modern VJ culture, as well as incorporate some of those techniques into my work. That is why I started The Lightsmiths Wiki, a place to share and archive information related to the psychedelic lightshow. All of the prototypes, inventions, techniques, and research related to Cosmic Morning will be there, as well as other information found on and offline related to this artform.
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Cosmic Morning will continue to grow as a multifaceted project, with an focus on collaborative performance, research and invention, as well as documentation and the sharing of ideas - and of course good vibes.
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Failure to Provide Force Protection Leads to Contract Dispute
Posted by: Whitcomb, Selinsky, PC
In 2003, Kellogg Brown and Root Services, Inc. (KBR) contracted with the U.S. government to provide trailers to house personnel at military camps in Iraq. KBR claimed the Secretary of the Army breached the contract by not providing "force protection" to trucks delivering the trailers to the military camps. KBR sought to recover payments made to its subcontractor, First Kuwaiti Co. of Kuwait, for an equitable adjustment allegedly caused by the Army's breach of contract. The alleged breach was the Army's failure to provide force protection to trucks delivering trailers from Kuwait that resulting in delays, idle truck costs, and double-handling costs. The U.S. Court of Appeals concluded the cost of delay at the border and costs related to double-handling claimed by the Plaintiffs were unreasonable.
In June 2003, the U.S. government executed Task Order 59, a cost-plus-fixed fee order for operations support in Iraq. The task order required KBR to "provide accommodations and life support services and coalition forces…" These services were for trailers for temporary housing of Army personnel. The trailers were to be manufactured in Kuwait and transported to Iraq by Kuwaiti in truck convoys. In October 2003, KBR and Kuwaiti entered into a firm-fixed-price subcontract for the procurement and delivery of 2,252 trailers to Camp Anaconda. The subcontract stated that if KBR ordered any changes to performance that resulted in an increased cost of performance, Kuwaiti would be entitled to request an equitable adjustment. In December 2003, KBR issued a change order for Kuwaiti to deliver and install additional trailers to a second Army camp in Camp Victory in Iraq.
The Armed Services Board of Contract Appeals found "dangerous conditions in Iraq" and "limitations upon the military's resources to escort convoys" resulted in the failure to provide necessary force protection and convoy delays. Kuwaiti alleged it incurred additional costs for double handling, unloading, and reloading the trailers onto its trucks because of delays and backup of trailers at the Kuwait/Iraq border. Kuwaiti subsequently executed change order of more than $48 million in equitable adjustments. KBR filed requests for equitable adjustments and asserted it was entitled to recover the payment to Kuwaiti.
In July 2011, the administrative contracting officer provided $3,783,005 for costs associated with the land leased to store the trailers. KBR appealed to the Board. It argued it was entitled to recover the rejected delay and double-handling costs because the government violated the contract for failing to provide the required force protection. It argued it was entitled to $47,490,477 in disallowed costs. The Board found KBR was not entitled to reimbursement and the government did not breach the Force Protection Clause because "nothing in Change 5 required the government to place trailers into convoys without delay." KBR appealed and its case was heard by the US. Court of Appeals.
Alleged Delays at Iraq/Kuwait Border
The U.S. Court of Appeals found KBR's cost calculation unreasonable. It noted the Board found KBR's model did not demonstrate the actual events that occurred. It noted Kuwaiti "did not always have the number of trucks available at the border dictated by the model or have access to the model's required number of trucks." The Operations Manager at Camp Anaconda stated Kuwaiti did not have the trailers ready at the border and they were not bound for Camp Anaconda. KBR's model assumed all delays at the border were caused by inadequate government force protection. The court agreed with the Board's findings that other factors contributed to delays. The case Sauer Inc. v. Danzig, 224 F.3d 1340, 1348 (Fed. Cir. 2000) states that "to establish a compensable delay, a contractor must separate government-caused delays from its own delays." The court noted KBR's calculating idle truck days data were insufficient to establish the reasonableness of its costs. KBR was required to support its estimates with representative data of the number of trucks delayed, but none was provided. KBR only offered conclusory testimony, without any supporting evidence, that the daily rate of $300 was reasonable for each truck, trailer, and driver "based on KBR's market research and …pricing data available … at the time."
Double-Handling
The U.S. Court of Appeals found KBR failed to support the reasonableness of its claimed costs. KBR claim of double-handling costs only contained spreadsheets of monthly costs. It did not submit pricing data from other sources. The court also found the description of the work performed lacking in necessary detail. Kuwaiti claimed costs to "skilled-workers" without describing what they did or what their skills were. KBR also expressed concern over the reasonableness of Kuwaiti's proposed double-handling costs. KBR described Kuwaiti's quoted prices as "too high" and opined "there would be a very high possibility that this would be dismissed."
In September 2020, the U.S. Court of Appeals held in favor of the Board. It agreed with the Board's determination KBR failed to show its delay costs were reasonable by substantial evidence. The court agreed with the Board's finding KBR failed to prove the reasonableness of its double-handling costs.
For more information on appealing decisions by the government, contact Whitcomb Selinsky PC.
About the AuthorWhitcomb, Selinsky, PC
Whitcomb, Selinsky, PC is a full service law firm serving clients' diverse legal needs. Our focus is in helping people in their interactions with federal, state and local governments.
Government Contracts (47)
Appellate Law (1)
Contract Dispute (1)
Contracts Law (1)
Government Mandates (1)
medium-sized business (1)
veteran-owned small business (1)
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Pasha Hawaii Holdings Protests Contract Award


A console S-Lang based newsreader that supports scoring and is highly customizable. Allows free key-bindings and can be easily extended using s-lang macro language. Offline reading is possible by using either slrnpull (shipped with SLRN) or a local newserver like LeafNode or INN. This ext file builds the optional slrnpull.


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Turkish unions strike on Tuesday
Turkey's public sector workers union says its members will hold a two-day strike to protest against what it called "state terror" against anti-government demonstrations
Strike action will affect schools, universities and public offices, while Prime Minister Erdogan is absent on a four day foreign trip.
The strike, starting on Tuesday, comes as the fourth day of mass protests continued in Istanbul and Ankara.
The strike by the 240,000-member Confederation of Public Workers' Unions (KESK) is likely to affect schools, universities and public offices throughout the country.
"The state terror implemented against entirely peaceful protests is continuing in a way that threatens civilians' life safety," KESK said in a statement on its website.
In Ankara, the doctors' union said that over 400 civilians had been injured, some with serious head wounds.
More than 1,700 people were arrested in the unrest nationwide, although most have since been released.
The Prime Minister blamed the main secular opposition party for inciting the crowds and said the protests were aimed at depriving his ruling AK Party of votes as elections begin next year.
Demonstrations started in Istanbul over the proposal to build a shopping mall on one of the last green areas in the city. However, following the brutal actions by police against peaceful protest, public outcry spread across the country.
Staff Shortages Force Intensive Care Unit Closure
Dense Fog In Some Regions
Covid-19 Case Numbers Remain High
Tatar Meets UN Envoy Lute This Afternoon


Back to the model now.
A platform has been added under the wheelhouse to provide the narrow walkway. The railings around all those angles should provide plenty of entertainment/gnashing of teeth in the future.
The wheelhouse now sits on top of the rest of the bridge structure and the funnel can be added. However, when I compared the funnel to the plan it seems I had not got the height quite right so pieces of 30 thou sheet have been added to correct the error. Then support brackets needed to be added under the overhangs.
Next job is the forward extension of the funnel above the wheelhouse. I had omitted this when making the masters for casting as it would have added another complication to an already difficult item. In view of the casting difficulties I am glad it was left off.
This is not an easy shape to replicate, not helped by the fact that interpreting the plans with the aid of photos is problematic because a) this area is seldom photographed close-up and b) many of the tricky angled parts are painted black which makes it difficult to discern the edges.
This meant I was not 100% sure of the shape I was aiming for, but I decided to start carving it from solid and see how it evolved.
The basic width and length for the solid block were achieved by laminating different thicknesses of styrene strip until the right dimensions were reached. The plan view was then marked on one end and the blank carved to shape. The profile was cut checking with templates for front and rear made from the drawings. Finally the front view was cut to shape. The result was not as sharp as I would have liked, so another attempt was made.
This time a built-up approach was used and the shape slightly simplified. The main elements were made from styrene strip and the awkward sloping panels made by adding and shaping Milliput. The result was much better looking and will now go to make another mould as I am feeling sorry for those who have acquired the castings, being left with one of the trickiest bits to scratch build.
The forest of exhaust tubes above the funnel was next. Four large and six small holes were drilled for them. The larger exhausts were made from pieces of styrene rod which were held in a pin vice for the ends to be drilled out before being fitted, mainly because I did not have any brass tube of the right diameter. The smaller pipes were made from 0.6mm brass tube. I don't have a tube cutter, but find that holding the tube in a pin vice, and rolling it with an old scalpel blade to score around the circumference works very well with thin brass.
Last jobs on this element are small platforms just below the wheelhouse and platforms on the port side of the funnel which will be the landings for the staircase (just on that side).


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John Carpenter on The Thing
By Erik Bauer
.July 22, 2014
One of the undisputed masters of the horror genre, John Carpenter's career has spanned forty years and over forty films. A director who straddles the line between mainstream and cult filmmaking, his most personal work, including John Carpenter's The Thing, Halloween, and less successfully, Prince of Darkness, is permeated with a sense of dread and the inevitability of violence. While he tends to collaborate with other writers on his films, and nearly all of his best films have been co-written, Carpenter is a staunch defender of the auteur theory, arguing that he normally has more personal impact on a film than any other collaborator. The Thing, arguably his best work, lends some support to Carpenter's argument. Written by Bill Lancaster, the finished film deviates substantially from the script and clearly bears the marks of both Carpenter and Rob Bottin, creator of the film's special make-up effects. Sadly, Bill Lancaster died in 1997. In his stead, Carpenter graciously agreed to discuss the landmark film's script.
What attracted you most to John Campbell's short story "Who Goes There?" Was it the mystery or the horror?
Well, to be quite frank with you, what attracted me to go back and re-read it was my utter fear of the Hawks movie [The Thing from Another World]. Stuart Cohen, a friend of mine from USC, said we're going to remake it, and the idea of trying that was terrifying. The monster wasn't any great shakes in it, but the whole stylistic approach…you just can't touch that, and I was afraid to try. So he suggested I read the short story and see what I thought, and it was Agatha Christie's Ten Little Indians in many ways, but it was the creepiness of the imitation business and the questions that it brought up that I thought were really interesting. I also thought it was timely, that in remaking the short story I could be true to my day making this movie, just like Hawks was true to his day when he made his. And there was something else, that whole "who goes there?" – it was a spooky idea. The horror and the creature didn't come in until later when Rob Bottin got a crack at it.
One thing you've said is the people at Universal didn't really understand the Campbell story because of its pulp style. What did you mean by that?
The story is written very much the way the pulps were written back in those days. The hero is masculine, you know, strong-jawed, steely eyes looking at the other men in the camp – it's very hyped, written for the pulp magazines people picked off the shelves and got excited about. I don't think they quite got the uniqueness of the imitation aspect. They wanted a movie called The Thing and they wanted me to direct it. They just didn't know anything else.
Kurt Russell as MacReady
Why do you think pulp material makes for such good films?
I think they fit into a three-act structure. They have an imagination that captures the attention of a guy walking past a newsstand and a guy going to a movie. They have this real spark, an imagination, fun.
You're a fan of the old hardboiled novels too.
Well, they came from the pulps. Raymond Chandler wrote for a pulp magazine called Black Mask, and for his first novel, The Big Sleep, he just took two stories in Black Mask and stuck them together. That's why that story doesn't make any sense. He took the plot about Geiger being blackmailed and he took the second part about Joe Brody out in the gambling house in Ventura County and stuck the two of them together with a kind of cheesy connecting device and it makes no sense. It's not really written.
Stuart Cohen has said you were very committed to not writing the script for The Thing.
Well, I had just come off making Escape from New York and before that I was working on the screenplay for The Philadelphia Experiment, which was one of these urban legend-type stories about a destroyer in World War II that supposedly time traveled and went into a weird warp. It had a great first two acts but no ending, no third act; it was a shaggy dog story that didn't end. So I struggled with it, but I couldn't fix it. I hit the wall and I think it spooked me on writing for a little bit. I wanted somebody who could hammer out a script who wouldn't have to worry about that.
We met with a lot of people on The Thing and it was only when Bill Lancaster talked about what he would do with the short story that I thought, "This is the guy." Bill was an incredibly charming person and I loved his movie, The Bad News Bears. I thought he was just brilliant, and that script was really, really good. He was the one who came up with a couple of really key scenes. He came up with the scene where the doctor tries to shock another character and The Thing comes out of his chest. And we discussed the idea of the blood tests – that's the reason I wanted to do the movie. That's the showdown; that's the big scene. Bill wrote the screenplay with the monster in shadows, the old Hollywood cliché stuff, which everybody still talks about even to this day. Rob Bottin was the guy who said, "No, you've got to put him in the light, then the audience really goes nuts. They really go nuts because there it is in front of them." I wasn't sure, but that's what we did.
Rob Bottin's visual FX in The Thing
The critics really hammered that aspect of it.
I've always thought that was somewhat unfair. I mean, the whole point of the monster is to be monstrous, to be repellent. That's what makes you side with the human beings. I didn't have a problem with that. The critics thought the movie was boring and didn't allow for any hope. That was the part they really hammered on.
The lack of hope is built into the story. There is an inevitability to it, but that's not necessarily a negative.
Well, in the short story the humans clearly win, but then they look up and wonder if the Thing got to the birds and they're flying to the mainland. It was just a question mark that wasn't quite the two men freezing to death in the snow to save humanity. I thought that was the ultimate heroic act, but audiences didn't see it that way. I remember the studio wanted some market research screenings and after one I got up and talked to the audience about what they thought of the film. There was one young gal who asked, "Well what happened in the very end? Which one was the Thing, and which one was the good guy?" And I said, "Well, you have to use your imagination." And she said, "Oh, God. I hate that."
[Laughs] What a great comment.
We were dead. Dead in the water. Dead. Horrible.
In the wake of that type of response, what gave you the strength to stick with Bill Lancaster's ending when you had shot a happier alternative?
Well, it wasn't a happier ending. It was one shot of Kurt [Russell] having survived and what we would have had to do was a fade out or some type of title card or something, so stylistically it would have been cheesy. We did test another ending where MacReady blows up the Thing. He comes in and sits down by himself in the cold and then you go to black. You don't have Childs coming in. There was absolutely no difference in audience reaction between that and the one we had. So the problem was inherent—the film wasn't hero- ic enough, it wasn't the U.S. Hockey team beating the Russians. That's what people wanted to see.
It wasn't Independence Day.
Yeaahhh!
A number of writers worked on this project before Bill Lancaster, and they all seemed to think the material needed to be larger, needed to be opened up. Why did you think this was a story best told in a bottle?
That's what it's all about. It's a siege from within. What's scary about the movie is not that's it big and action-filled, but it's small and there's nothing out there but this blowing blackness and storm and cold and right next to you maybe a creature. That's the creepiness of the story.
Was Lancaster the first screenwriter you worked with who wasn't a personal friend?
Yeah, he was the first.
How did you two collaborate?
Bill wrote the first thirty or forty pages and gave it to me. I read it and I loved it. And then he struggled with the second act and the rest of the script. When he finished it we went up to Northern California together for a weekend, just to kind of hang out and talk it through. We asked ourselves, "Why are we making this movie? What is this about?" We went back through it again in our minds. And it was interesting. He had a different voice than the one I wrote with. He heard dialogue differently and had different ideas. So I talked to him a lot about how he saw things. How to you seeing this playing? How do you see this character? Is this a fast dialogue, or is it slow? Of course all of that went out the window as soon as the actors arrived. You're at their mercy. But Bill did an incredible job on the screenplay.
Was it his idea to move away from Campbell's "happy ending" toward something that was a little more gray?
His original ending had both MacReady and Charles turning into the Thing and being rescued in the spring. The helicopter lands and out they come out, "Hey, which way to a hot meal?" I thought no, let's not do that. It was a little too glib.
Lancaster's second draft screenplay is referred to on the DVD. Was there a draft after that, or was that the shooting draft you used?
I did a little second act work on it. It was never published.
There are a number of scenes in the script that weren't in the film. Did you actually shoot that material?
It depends. There were several sections where there was way too much dialogue.
Right. That was definitely cut back.
What plays on paper doesn't necessarily play on the screen. And some of it just didn't play. It wasn't making sense. We were losing some of the tensions that we were trying to build.
John Carpenter on the set of The Thing
Was a little bit of the verbosity a holdover from the short story?
I suppose a little bit. But primarily we had scenes that seemed to be repeat- ing themselves. It probably was the way I directed it, but it seemed like it was going to be the dullest picture ever made unless we got a little bit more mood in there, a little more paranoia. Verbose? Yes, a little. Mainly repetitive.
In the film MacReady has a great monologue out in the snow with everyone standing around – I love that monologue. It's one of my favorite parts of the film, but I couldn't find it in the script.
It's not in there. I wrote that. We needed MacReady to stand up there and say, here's what's happening.
That pulled the second act of the film together.
Also, Bill tended to write ensemble stories, which is what this was. But I wanted to push Kurt out a little more heroically when he finally takes over.
One scene in the second draft that stands out in my memory was the snowmobile chase after the dogs. Was that something you shot?
No, it was too expensive for us. I believe we had a shooting script after that, that didn't involve that. The snowmobile chase was a great idea. It's under the ice, isn't it? It was a great idea but we couldn't pull it off.
Lancaster's script contains a number of classic horror beats that were removed in the film. After making pictures like The Fog where you punched up that kind of horror, how did you decide to turn your back on some of those conventions for this picture? For example, when they're searching the Norwegian camp, a body falls out in a surprising way.
I shot that, but it seemed out of place, cheap. It was obvious.
Keeping that stuff out of The Thing made it a lot classier.
Here's the thing: at that particular time I had unleashed this terrible thing about horror movies with Halloween. All these imitators came out and threw every possible cliché up onto the screen—the body in the closet, the thing behind the door, all of that stuff. I suppose I was trying to get away from that and make this film better, or I just shot it and it wasn't any good.
Do you think a great science fiction film needs to have some kind of a social anchor? I mean, a social relevance, a metaphor, or a statement that it makes?
It has to have a thematic concern. Every great work has something that's thematic about it. Not a message, because I don't think movies do messages very well. They fall flat. Socially, I mean, some great films were made back in the '30s and '40s and you can see that they were placed in the time they were made, but their themes are for all time. The biggest thing is the story, but within that you need some thematic element that gets the audience going, that reaches out to them.
So much of Hollywood filmmaking tries to somehow tie into the cultural zeitgeist of the moment. Do you think that's overplayed?
I don't think so. Movies reflect the time in which they were made. Great movies go beyond that, they reach out over time. You know, I can still watch a movie like Only Angels Have Wings which was made in 1939, and get affected. It's dated, but it still has something really unique in it. These days they're just trying to make a buck, that's all.
Your remake of The Thing is a great movie, but it was a box office failure when it was released –
El tanko.
[Laughs]—do you think that was because it failed to reach out to the audience of 1982? It didn't have relevance for them?
Yes, it was unpleasant for them to deal with. I think the social climate in the country at that time had a whole lot to do with it. There was a recession under way and people rejected its downbeat, depressing view of things. They didn't like the horrible inevitability of the movie.
In your work you've drawn a line between the fantastic horror that you create and the more "realistic" horror of other filmmakers, like Seven or Silence of the Lambs. Do you ever want to cross that line?
Not that we need another serial killer movie, but – Yeah. That's a good question. I don't know what I'd bring new to it. Seven was a really good script. Really good. Highly improbable killer, but the acting was terrific. And the directing's terrific. They did a great job with that. When I read the script, I though, hmmm, is anybody going to buy this? In my hands, it would have been a comedy.
Oh, cross the line? Seven and Silence of the Lambs are cop movies, essentially. They're procedurals which you either have a feel for or you don't. You know, I've always loved watching procedurals, cop pictures, but I don't know if I'd be very good at making them.
The Spaceship
I can see through what you've put into the DVD version of The Thing that you really care about this film. How badly did the savage criticism it received hurt you?
Oh, big. Big. But I wasn't used to – look, I was just a skinny kid from Kentucky who came to Hollywood, and I got real lucky in my life. If you want to play in the big leagues you've got to be ready for the hits. So that was my first big one. I'd gotten bad reviews before, but I had had some success, I'd been built up a little bit in the eyes of the critics and now they needed to swat me back. And I don't blame them. Whatever they want to do is fine.
Have there ever been serious discussions about making a sequel to The Thing?
Nothing serious, no.
Would you think about that?
Sure. I'd use the Dark Horse comic book series. There's a three-book series they did in the '80s which started with MacReady and Childs coming across the ice, getting discovered by a ship, and being brought back. It's a great story that ends up in a submarine. It's really cool. I'd just do that. It's all there. Big budget, though.
But again, it's always the story. That's the big thing. You have to come up with a great story.
This article first appeared in Creative Screenwriting Volume 6 #1.
Erik Bauer
Erik Bauer is the founder of <i>Creative Screenwriting</i> and Screenwriting Expo, and was editor from 1994-2005.


Have you always wanted to see what the inside of my fridge looks like? Click over to GroceryAlerts.ca and read the post where they interview me about our grocery shopping! That was a totally fun project.
Thanks again for the interview. Love your blog!
Awesome interview. My husband and I live in New Zealand and shop in a very similar way to you and your husband. Meal plans and lists really save us from the impulse buys and splurges.