Management Training from Leadership Simplified | doug van dyke. dvd consulting incorporated. leadership simplified.
Before becoming a manager, you were probably trained in a specific area: sales, analyzing markets, planning a project, writing technical specifications. Your success in your field sent you on a meteoric rise in your company and planted you firmly in the seat of a manager – shiny name plate and all. The pitfall is that training to be a manager was not on your "professional to-do list." Did you rationalize you could pick up what you needed to know along the way? Now you have new management responsibilities that put you outside of your comfort zone. Where can you learn the essential skills to manage?
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"Us versus them," that was the issue that Assurant Employee Benefits was facing. Assurant had a sales team and a service team that seemingly could not get along. Every team member was frustrated. Sales results and profits were suffering. Morale hit bottom. That's when Assurant contacted Doug Van Dyke for help. Doug introduced the Assurant management team to a construct called Working Agreements. Through the working agreement process, team members began to share clear expectations of each other, communicate smarter, and gain clarity regarding the potential that exists in collaborative relationships. As collaboration improved, so did sales results. Within twelve months of implementing their newly acquired management skills, the managers of the Assurant team were recognized as top performers in the company. Plus, their team members experienced the added bonus of great team building in the process!
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"If only we could manufacture time!" That was the lament of the managers of Fortis. They felt they were losing sales because their sales force was disorganized. In addition, they had support people who were unfocused and overwhelmed – seemingly swimming in a sea of paper. Fortis requested that Doug Van Dyke conduct a management training session entitled Building a Powerful Day. The day after the program the managers at Fortis implemented their takeaways. The results for Fortis? Team members whose day was structured around meaningful actions; better measured outcomes; priorities that were clearly focused; and increases in sales volume and quality of support service.
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Bealls Department Stores was looking for answers on how they could increase the positive impact of internal meetings. "So many meetings waste time," was a common complaint. They engaged Doug Van Dyke to conduct his semi-famous Death by Meetings training. Within one week of the management training, the Bealls leaders implemented the 16 skills that they learned during the session. The result?
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"Hi Doug, Thank you for leading a great day yesterday! The tools you provided and your ground work with the team activities will be information the care managers may use immediately as well as continue to grow in their expertise. I appreciate your expertise and effectiveness. I'm looking forward to an incredible year!"
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text:
using System;
using Iyzipay.Model;
using System.Collections.Generic;

namespace Iyzipay.Request
{

    public class CreateAmountBasedRefundRequest : BaseRequest
    {
        public String PaymentId { get; set; }
        public String Price { get; set; }
        public String Ip { get; set; }

        public override String ToPKIRequestString()
        {
            return ToStringRequestBuilder.NewInstance()
                .AppendSuper(base.ToPKIRequestString())
                .Append("paymentId", PaymentId)
                .AppendPrice("price", Price)
                .Append("ip", Ip)
                .GetRequestString();
        }
    }
}

redpajama_set_name: RedPajamaGithub


Carlisle Baptist Church enjoys warm relationships with a number of other local churches and is known for its friendly style and atmosphere. Although established for many years, recently the church has declined numerically to the point where the existing members are now few in number. After several years without a pastor the church faced an uncertain future. In October 2009 the church invited Peter Walkingshaw to come and serve them as its full-time pastor. Peter accepted the invitation and will begin work in September 2010. This opportunity for a fresh start or "reboot" is welcomed by all the present members. They are looking forward to the opportunities for growth now presented by this partnership.


text:
Desert Island Discs 75th anniversary: 23 things you never knew about the iconic show
Country Life January 27, 2017
Credit: Alamy - BTP37Y
Radio 4's iconic programme Desert Island Discs will be marking its 75th birthday this weekend. Flora Watkins reflects on the making of a special programme.
Seagull calls over the opening bars of By The Sleepy Lagoon have been gently washing Radio 4 listeners onto the shores of an imaginary desert island for 75 years.
The formula is simple, yet magical: marooned on a desert island, you have eight records that you'd be happy to listen to for the rest of your life, plus one book and one luxury. That format has remained unchanged for over half a century.
Other things have changed, however: these days you're as likely to hear the Notorious B.I.G. (as chosen by novelist Zadie Smith) as you are Mozart. But one thing is a constant: nobody can listen to the programme without wondering which music they might themselves choose if they were ever to make an appearance.
'Because of its brilliance,' says Cathy Drysdale, the current series producer, 'you can almost guarantee that people will still be talking about it on its 150th anniversary.'
The BBC are celebrating the occasion with a three-hour programme of recently rediscovered archive material on Saturday, January 28; on Sunday 29, exactly 75 years on from the first broadcast, David Beckham will be Kirsty Young's castaway.
The pitch written in pyjamas
Late one evening in 1941, freelance broadcaster Roy Plomley had an idea for a radio programme. He was about to go to bed, but, instead, sat down, in his pyjamas, and wrote the pitch for Desert Island Discs, which he sent to the BBC's Head of Popular Record Programmes, Leslie Perowne. The response was emphatic. 'Why didn't we think of Desert Island Discs before?' Perowne is said to have written. 'It's such an obvious and excellent idea.'
Roy Plomley devised and presented Desert Island Discs from when it was first broadcast on the 29th January 1942 until his death in 1985. He is seen here in the study of his Putney home overlooking the River Thames on 30th July 1984.
The first castaway
At the start of the first broadcast, on January 29, 1942, the interviewee – or castaway – actor and musician Vic Oliver, was asked to select 'eight gramophone records… assuming, of course, that you had a gramophone and an inexhaustible supply of needles', a format that became embedded in the British psyche.
Vic Oliver, the first Desert Island Discs guest
The extraordinary success
75 years on from that programme, Desert Island Discs is still going and is Britain's longest-running radio programme. There have been more than 3,000 castaways.
The once-unimaginable luxury, now plentiful in every supermarket in Britain
Garlic: Exotic, back in 1951 (Pivari, via Wiki Commons)
In 1951 castaways were permitted to name one luxury to take with them to the island Actress Sally Ann Howes was the first granted that honour, and chose garlic – unimaginably exotic to a Britain still grappling with postwar rationing.
The introduction of books
In the late 1950s a new idea came: castaways were permitted a single book to read. From the start there was an automatic provision of the Bible (deposited on the island by the Gideon Society); the complete works of Shakespeare were added to the bible in 1960.
Since Roy Plomley's death in 1985, there have been only three presenters: Michael Parkinson (1986-88), Sue Lawley (1988-2006) and Kirsty Young (2006-today). The format – which current series producer Cathy Drysdale describes as 'genius' – remains sacrosanct. And although castaways are never subjected to Today-style bludgeoning, the show is consistently compelling and revealing.
The choices
It's the music that is key to Desert Island Discs' intimacy: those 'eight gramophone discs' can at once reveal castaways' vulnerabilities, inspirations and pivotal moments in their lives. They often prise a reserved castaway open – though not always in the way you might expect. Take the case of the divas who have chosen strings of their own recordings, for example. And then there is the case of Tony Blair, whose bland, middle-of-the-road record choices prompted many to detect the hand of his spin doctor Peter Mandelson in the selection.
The changing times
The music chosen is a barometer of change and social history. 'Understandably, there are fewer classical choices now than there were in the 1940s and 1950s because pop music wasn't the thing that it is now,' explains Cathy Drysdale.
Team GB's Olympic boxing champion Nicola Adams
'Recently we had [Olympic boxing champion] Nicola Adams on, who chose a number of rap tracks. Mozart, Beethoven and the Beatles will, I think, always remain popular.'
'The important part of the music is that it's personal – [chef] Yotam Ottolenghi chose a song from his childhood in Hebrew; you don't get that anywhere else.'
The strangest luxuries
Pianos, guitars and binoculars are the most-requested luxuries, although the writer Norman Mailer asked for 'a stick of the finest marijuana' and the actor Oliver Reed an inflatable rubber doll.
The early days
Roy Plomley had no researcher, instead taking his castaways to lunch at the Garrick before the broadcast; the show itself was usually broadcast live, and rarely taped. The BBC has been urging any listeners who might have recorded early broadcasts to contact them (via www.bbc.co.uk/desertislanddiscs) to try and piece together lost interviews. Today, producer Cathy Drysdale has a part-time producer and assistant producer to help her book and research the 42 guests required for each series; taping the programme is no longer necessary, of course: each episode is archived online immediately.
The tough questions
Roy Plomley's gentle style – more statements of fact, along the lines of 'You did this, you did that' than direct questions – belongs to a different, more deferential era. Michael Parkinson, who presented the programme from 1986 to 1988, and particularly Sue Lawley (1988-2006) brought a new journalistic rigour. As a result the programme found itself making headlines – as when, in 1989, Diana Mosley told an astonished Miss Lawley that the Holocaust may have been exaggerated.
The new approach isn't to suggest that Plomley failed to bring colour to the programme. In 1964 he asked Tallulah Bankhead if she'd be able to survive on the island: 'I can't even put a key in a door, darling' she drawled.
The surprise request
David Dimbleby wanted to take Kirsty Young as his luxury; she refused – the luxury must be inanimate, although Princess Michael of Kent was granted her cat.
Dimbleby: Cheeky request
The rules of engagement
Editorial integrity is paramount. Castaways must agree that no area of their life is out of bounds and the presenter – since 2006, the gently probing Scot Kirsty Young – will never agree to any questions beforehand. A castaway is never interviewed on the phone. 'Preferably they will be in the studio here at Broadcasting House with Kirsty,' explains Miss Drysdale, 'although, on very rare occasions, we would go to them if they were unwell; for example, we went to Manchester to interview [Coronation Street actress] Betty Driver.'
The book taken for all manner of reasons
Princess Margaret, Debbie Harry and Ian Fleming are among the many castaways who've taken War and Peace as their book. George Clooney requested it too – but mainly, he explained, because of the likely shortage of lavatory paper on the island.
Tolstoy's War and Peace: Multiple uses
The most popular music
The eight most-chosen tracks are:
Beethoven's Ninth ('Choral') Symphony (Ode to Joy)
Rachmaninov's Second Piano Concerto
Schubert's String Quintet in C major
Beethoven's Sixth ('Pastoral') Symphony
Pomp and Circumstance March (Elgar)
Beethoven's Fifth ('Emperor') Piano Concerto
'Nimrod' from the Enigma Variations (Elgar)
Beethoven's Seventh Symphony
The public's choices
In 2011 a public poll was carried out offering listeners the chance to vote on which tracks they would choose if on the show. The Lark Ascending by Vaughan Williams came top of the poll of fantasy lists; Queen's Bohemian Rhapsody, Pink Floyd's Comfortably Numb and Handel's Messiah also featured.
The song which features every week
Eric Coates composed By The Sleepy Lagoon, which was used as the theme music from the every start. Coates himself was a castaway in 1951.
The singularly self-absorbed castaways
Pianist Moura Lympany chose eight of her own recordings. Soprano Elisabeth Schwarzkopf chose seven of hers, though later claimed to have misunderstood the format. Norman Wisdom made two appearances on the programme; on his second, in 2000, he selected five tracks on which he'd sung.
Then there was film director Otto Preminger, who chose discs from his own films and, rather incredibly, his autobiography as his book.
The popular culture footprint
Desert Island Discs has been referenced numerous times, including in Tom Stoppard's play The Real Thing; episodes of Porridge and The Vicar of Dibley; and Howard Jacobson's Booker Prize winner, The Finkler Question.
The repeatedly cast-away
Arthur Askey and David Attenborough have been cast away on four occasions.
The wish list of castaways
In a first for the programme, in 2012, the team travelled to Burma to interview Aung San Suu Kyi. Then leader of the opposition, she had opened her Nobel lecture the previous year by reminiscing about listening to Desert Island Discs with her young son while living in Oxford. She was fairly near the top of the producers' wish list, which is 'very long', according to Miss Drysdale and includes Barack and Michelle Obama, The Queen and Madonna.
The dream guests
'The people who are really great to get on are those who rarely give interviews,' says Cathy Drysdale. Then there are what she calls the 'Wow! Can you believe who's sitting in our studio?' guests, such as actor Tom Hanks ('an absolute joy') – one of his film roles was as a castaway – and the eloquent rock star Bruce Springsteen (who was on in December 2016, naming Elvis Presley's Hound Dog as his first inspiration).
The surprise packages
Producers also have the freedom to introduce the listener to people they've never heard of. These tend, in the main, to be eminent scientists or doctors, such as the war surgeon David Nott. One of the most memorable recent castaways, he broke down on air as he described operating on injured children in Gaza and Syria.
'There's a crackle in the air' with such guests, says Cathy Drysdale. 'Mr Nott was not a household name, but we had so many emails from people who wrote "I've never emailed before, but wanted to say what an extraordinary person".'
Should you have missed David Nott's appearance, then you'll find it on the programme's website, along with thousands of other castaways. Here's to 75 more years!
Credit: Finest Properties
Three beautiful properties for sale, as seen in Country Life
Credit: Alamy
The wonders of Carolina allspice: Used to scent a garden, a kitchen, or even your cleavage
Gerald Durrell with one of his beloved animals. Credit: The Wildlife Trust
How a chance visit to a Jersey prompted Gerald Durrell to turn his menagerie into a beautiful zoo

redpajama_set_name: RedPajamaCommonCrawl


These Are A Few Of My Favorite Picks!
Ever since I first got acquainted with the mountain dulcimer in 1970, I have been fascinated by the variety of textures available when strumming across all the strings at once, or picking individual notes. The type of material that is used in a pick has a lot to do with the texture of the sound you get, and the flexibility is also an important factor.
In a general sense, I tend to use very flexible picks when strumming across all the strings (like the thin triangles above), and medium-to-thin picks when I want some individual notes and some strums here and there (like the nylon .60mm or .73mm gray picks above). If I'm playing arpeggios I tend to favor really chunky, massive picks like the black nylon or the 1.14 Ultex.
Most picks aren't expensive, and the smaller music stores do MUCH better than the big chain stores as far as selection and ability to get your hands on the picks. Go wild and buy a whole bunch of picks made out of completely different materials. Get some real soft super-thin strumming picks, get some medium nylon or tortex, and try a variety of materials in the thick chunky style.
Happy Pickin' and Happy Happy New Year!!!


text:
Carmen é uma ópera em quatro atos do compositor francês Georges Bizet, com libreto de Henri Meilhac e Ludovic Halévy, baseado na romance homônimo de Prosper Mérimée. Estreou em 1875, no Opéra-Comique de Paris.

Histórico
O caráter transgressor da protagonista provocou severas críticas na estreia da ópera, em março de 1875. A aclamação popular só aconteceu em outubro daquele ano, quando foi encenada em Viena, sob os aplausos de Brahms, Wagner, Tchaikovsky e Nietzsche. Porém, Bizet, que havia morrido em junho, não pôde ver o sucesso da sua obra, que teria uma volta triunfal aos palcos de Paris em 1883.

No Brasil
Foi apresentada no Brasil pela primeira vez em 1881, no Teatro D. Pedro II do Rio de Janeiro. A Companhia Francesa de Maurice Grau, responsável pela montagem, tinha como estrela Paola Marié, irmã de Célestine Galli-Marié, que representara Carmen em Paris. Em 6 de setembro de 1913 houve a primeira apresentação da ópera no Theatro Municipal, cantada em idioma italiano. Tornou-se uma das óperas mais populares do Municipal carioca, somando quase 100 récitas em 30 temporadas até 2014.

Em Portugal
A estreia em palcos portugueses aconteceu em novembro de 1885, em Lisboa.

Personagens

Sinopse

Ato I
O primeiro ato começa numa praça de Sevilha, onde se situa uma fábrica de tabaco e um quartel. O cabo Morales comenta com os soldados do corpo da guarda, os Dragões do Regimento de Alcalá, a passagem dos transeuntes pela praça. Então, entra em  cena uma simples aldeã chamada Micaela, aproxima-se de Morales e pergunta timidamente pelo cabo Don José. Morales responde-lhe que este chegará com a rendição da guarda e convida-a a esperá-lo na companhia dos seus homens, mas Micaela decide retirar-se para regressar mais tarde. Ouvem-se nos bastidores os clarins que anunciam o render da guarda e aparecem em cena os soldados sob comando de Don José, seguidos por um grupo de crianças que os imita com admiração. À sua chegada ao quartel, Morales comenta, em tom jocoso, a visita da aldeã. Zúniga, um tenente recém-chegado à cidade, interroga, em seguida, Don José sobre a beleza e a duvidosa reputação das cigarreiras da fábrica da praça, mas o cabo manifesta o seu único interesse por Micaela, por quem está apaixonado. O sino da fábrica soa e anuncia o intervalo das cigarreiras, que entram em cena a fumar e a conversar animadamente com um grupo de homens que as espera. A última a aparecer é Carmen, uma bela cigana que seduz todos os homens que encontra à sua passagem. Seguidamente, Carmen canta uma habanera aos presentes, que manifestam a sua admiração por ela, à excepção do indiferente Don José, que é, precisamente, o objeto do seu desejo. Antes de regressar à fábrica, Carmen, em sinal de desafio, atira-lhe uma das suas flores. Depois deste episódio, aparece Micaela, que regressa ao posto da guarda e entrega a Don José uma carta da sua mãe, em que lhe pede que se case com a aldeã. Depois de se relembrarem juntos das paisagens da sua infância, Micaela abandona a cena e Don José começa a ler a carta. Ocorre então um tumulto no interior da fábrica; um grupo de trabalhadoras comenta entre gritos que está a haver uma rixa entre as mulheres em que Carmen interveio, tendo ferido outra cigarreira no rosto, com uma navalha. Zuniga ordena a Don José e aos seus homens que prendam a agressora. O cabo sai da fábrica com Carmen e recebe a ordem do tenente de a levar para a prisão. Carmen e Don José ficam sozinhos na praça. A sedutora cigana convence o cabo de que a liberte, promete-lhe o seu amor e assegura-lhe que o esperará na taberna de Lillas Pastia. Don José, alvoroçado, decide libertá-la. Nesse momento volta Zuniga com a ordem de prisão. Don José e Carmen iniciam a caminhada, mas perante os presentes a cigana finge empurrá-lo e foge. Don José é preso imediatamente por permitir a sua fuga.

Ato II
O 2º ato começa na taberna de Lillas Pastia, suposto ponto de encontro de contrabandistas. Já se passou um 1 mês. Carmen e as suas amigas, Frasquita e Mercedes, jantam com Zúñiga e outros oficias, que rapidamente se juntam às cantigas e danças dos ciganos. Apesar dos convites dos soldados, Carmen recusa os seus pretendentes. Está à espera de Don José que depois de ter sido preso e mandado encarcerar por sua causa, recuperou a liberdade. A seguir, entre manifestações de júbilo, aparece em cena um famoso toureiro chamado Escamillo que, seduzido pela beleza da cigana, lhe declara o seu amor, abandonando depois a taberna com os oficiais. Em cena ficam Carmen, Mercedes e Frasquita sozinhas. Aparecem então os contrabandistas Dancaïre e Remendado, que propõem um negócio às três mulheres. Carmen recusa no início a proposta, mas por fim muda de opinião perante a possibilidade de que seu apaixonado deserte e participe na operação de contrabando. Finalmente, depois da saída dos contrabandistas, Don José chega a taberna e declara o seu amor a Carmen, que tenta convencê-lo de que se junte a ela e aceite o negócio. Don José, ofendido, nega-se, mas o aparecimento repentino de Zúñiga precipita os acontecimentos. O soldado e o tenente enfrentam-se pelo amor de Carmen. Don José, apoiado pelos contrabandistas, subleva-se ao seu superior, que fica sob custódia de alguns ciganos. Obrigado pelas circunstâncias, o soldado vê-se finalmente forçado a desertar e parte com a cigana.

Ato III
Num desfiladeiro, os contrabandistas fazem os preparativos para a entrega dos produtos do contrabando, sob a supervisão de Dancaire. É noite. Carmen, cansada do ciumento amor de Don José e, além disso, descontente com a sua nova vida, tenta adivinhar, nas cartas, o seu futuro na companhia de Frasquita e Mercedes. As cartas revelam um mau presságio para Carmen: a morte. À saída dos contrabandistas e das mulheres, Don José permanece num penhasco, a vigiar o esconderijo dos seus novos amigos. Da escuridão, surge, então, Micaëla, que, com a ajuda de um guia, chega ao esconderijo de seu amado Don José com a esperança de o convencer a voltar à casa de sua mãe. Porém um disparo interrompe os seus propósitos. Don José disparou contra um intruso, que sai ileso. É o famoso toureiro Escamillo, que, desconhecendo a identidade do seu interlocutor, lhe conta que está à procura de Carmen, que está cansada do seu amante, um soldado que desertou por ela. Don José, cego de ciúme, desafia o toureiro para uma luta até à morte com navalhas, que é interrompida graças à volta dos contrabandistas. Depois de insultar o desertor e convidar os presentes para as corridas de touros de Sevilha, Escamillo abandona a cena. A seguir, Dancaire descobre a presença de Micaëla ,que abandona o seu esconderijo e pede a Don José que a acompanhe porque sua mãe está a morrer. Ele aceita e sai com a aldeã, não sem prevenir Carmen, em tom ameaçador, de que voltará para vir buscar. A cigana não dá importância aos seus avisos, pensando no seu novo objeto de desejo.

Ato IV
Em Sevilha, frente à praça de touros, uma multidão espera a chegada dos toureiros. Os vendedores aproveitam a ocasião para oferecer os seus produtos ao público. Aparece então a quadrilha e atrás dela, Escamillo e Carmen. À entrada do toureiro na praça de touros, Mercedes e Frasquita avisam a cigana da presença de Don José, mas ela mostra não ter medo de se encontrar com o seu antigo amante. A seguir, Don José retém Carmen quando tenta entrar na praça, suplicando-lhe que volte com ele. Ela responde-lhe que o seu amor por ele acabou. Do interior da praça, soam as vivas a Escamillo. O desertor tenta deter com violência a cigana, mas ela atira-lhe despeitadamente o anel que ele lhe tinha oferecido. Em fúria, Don José enfia uma faca na barriga de Carmen. A multidão que vai saindo da praça assiste à terrível cena. Don José, cheio de tristeza, cai de joelhos junto ao corpo de sua amada Carmen.

Orquestração
A orquestração inclui:
 1 harpa
 1 flautim
 2 flautas
 2 oboés
 2 clarinetes
 2 fagotes
 2 trompetes
 3 trombones
 4 trompas
 Instrumentos de cordas: violinos (primeiros e segundos), violas, violoncelos e contrabaixos
 Instrumentos de percussão: tímpanos, tambor, um par de pratos, pandeiro, triângulo, castanhola.

Passagens musicais famosas

Carmen é, provavelmente, a ópera não italiana com maior número de árias famosas, dentre as quais, podemos destacar:

Ato I
 Prelúdio e Entreato
 Coro: "Sur la place chacun passe..."
 Coro das crianças: "Avec la garde montante..."
 Habanera: "L'amour est un oiseau rebelle (o amor é um pássaro rebelde)..."
 Dueto de Don José e Micaela: "Parle-moi de ma mère!..."
 Coro das Cigarreiras: "Au secours! Au secours!..."
 Canção e Dueto de Carmen e Don José: "Près des remparts de Seville..."

Ato II
 Canção e Dança dos Ciganos: "Les tringles des sistres tintaient."
 Canção do Toreador: "Votre toast, je peux vous le rendre..."
 Quinteto: "Nous avons en tête un affaire..."
 Dueto e Canção: "Je vais danser en votre honneur..."
 Finale: "Holà! Carmen! Holà!..."

Ato III
 Trio: "Mêlons!…Coupons!…"
 Coro dos contrabandistas: "Quant au douanier, c'est notre affaire..."
 Ária de Micaela: "Je dis que rien ne..."
 Dueto de Escamillo e Don José: "Je suis Escamillo, torero de Grenade!..."

Ato IV Prelúdio
 Entreato do 4.º ato
 Coro das comerciantes: "A deux cuartos..."
 Coro das Crianças: "Les voici, voici la quadrille..."
 Dueto de Escamillo e Carmen: "Se tu m'aimes, Carmen..."
 Dueto Final entre Don José e Carmen: "C'est toi! C'est moi!..."

Ver também
 Prosper Mérimée
 Georges Bizet
 Novela
 Ópera

Ligações externas

Libreto

Óperas de Georges Bizet
Óperas em francês
Óperas de 1875

redpajama_set_name: RedPajamaWikipedia


text:
Galerie Ganku (    je široká sutinová galerie tyčící se 280 - 300 metrů nad základnou severozápadní stěny Malého ganku nad Ťažkou dolinou ve Vysokých Tatrách. Je odedávna vyhledávaná horolezci.

Název
Pojmenování převzala od štítu, který je nad ní. Gang, "gánok" znamená lidový zastaralý slovenský pojem pro verandu, v regionálním dialektu se vyslovuje "Ganek". Vztahuje se na typickou terasu, sutinovou rampu, která podélně protíná severozápadní stěnu Malého ganku ve výši téměř 300 metrů nad Ťažkou dolinou. Nazýváme ji Galerií ganku. Název přešel do literatury a kartografie ve své místní nářeční formě. Nakolik známější a správnější forma názvu "veranda" je už archaická, respektuje se obecně lidový název "Ganek" i v ustálené tatranské zeměpisné nomenklatuře.

Samostatné jména mají tři výrazné části Galerie Ganku: Puskášov pilier (  je pravý pilíř severozápadní stěny. Zdolal ho Arno Puškáš s Jolanou Petrlovou (Pospíšilová) 26. července 1948. Stanislawského komín (  je pravý komín severozápadní stěny. První ním vystoupili Wiesław Stanisławski a Marek Żuławski 19. srpna 1931. Komín Lapinského a Paszuchu (  se táhne prostředkem severozápadní stěny a první ho zdolali Czesław Łapiński s Kazimierzom Paszuchom 6. - 7. září 1944.

Výstupy
Galerie Ganku je jedna z nejvíce obávaných, ale i vyhledávaných stěn. Nejlehčí z cest, které vedou stěnou, je hodnocena jako velmi těžká. Mnohé výstupy se natrvalo zapsaly do dějin tatranského horolezectví.

První vylezli stěnou Galerie Ganku polští horolezci Ignacy Król ( 1874 - 1951), Władysław Kulczyński ml. (1890 - 1923 ) a Józef Lesiecki (1886 - 1914 ). Jejich cesta v levé části stěny (IV.) se dnes označuje jako "Stará cesta" nebo "Klasická cesta". V zimních podmínkách 13. května 1939 Włodzimierz Gosławski a Kazimierz Paszucha.

Jiný pramen uvádí, že snad první výstup na Galerii Ganku uskutečnil S. Sieczka, otec vůdce Macieja Sieczka, který tam chodil na lov kamzíků. Dále uvádí, že jistě první turistický výstup na galerii udělal od Východního Rumanového sedla Ludwik Chalubiński s vůdci Bartłomiejom Obrochtom a Wojciechem Rójom koncem léta 1870.

Horolezci v Galerii Ganku během uplynulých let našli mnoho nových cest.

Tragédie
V Galeriu Ganku se odehrálo několik horolezeckých tragédií.

V zimních podmínkách 16. dubna 1933 vystupovali na Galerii Ganku Poláci, gymnaziální profesor z Poznaně Wincenty Birkenmajer a železniční právník ze Štětína Stanisław Grónski. Byli to špičkoví horolezci. Wincenty Birkenmajer teprve nedávno překonal chřipku, ale byl rozhodnut dokončit záměr, i když Grónski se chtěl vrátit. Ráno je ohrožovaly sněhové laviny a tak se rozhodli vycouvat ze žlabu. Odpoledne znovu nastoupili do stěny a i když se počasí stále více zhoršovalo lezli až do noci. Po půlnoci přenocovali v sněhovém záhrabu pod východním pilířem. Den si odpočinuli a v neděli 16. dubna pokračovali ve výstupu. Sníh a špatné počasí je přinutili po 70 metrech pomalého lezení opustit pilíř, vytraverzovat do nejbližšího žlabu a potom na žebro, po kterém stoupali do večera až na Galerii ganku. Prudká změna počasí a sněhová vichřice znovu zaútočila. Neposkytla jim dostatek času na přípravu bivaku. Noc přečkali zabalení v celtách, bez potravin a zápalek, které jim odvál prudký vítr. Po těžké noci se rozhodli sestoupit. Birkenmajer byl vyčerpán. Během sestupu do Východního Rumanová sedla je opět zasáhla prudká vichřice. Po 100 metrech sestupu od bivaku Grónski zjistil, že vleče už jen mrtvé tělo svého druha. Záchranná skupina snesla tělo mrtvého horolezce do Zakopaného 20. dubna 1933. V Zakopaném se setkali s pohřebním průvodem nesoucím rakev Ludwika Chalubińského, který se před půl stoletím spolu s Bartłomiejom Obrochtom, Wojciechem Rójem pohyboval po okraji Galerie Ganku při nedokončeném výstupu na Ganek z Východného Rumanova sedla.

Během výstupu jihozápadním pilířem zahynul jeden z nejlepších tatranských horolezců Vladimír Tatarka ( 1945 - 2001 ).

Turistika
Výstup na Galerii gank je možný jen s horským vůdcem.

Galerie

Reference

Externí odkazy
 K názvosloví Ganek - veranda a i.
 na Summitpost.org
 Soupis a nákres nejvýznamnějších cest Galerií
 Ganek a jeho Galerie na nfo.sk
 popis normálky

Hory a kopce ve Vysokých Tatrách
Dvoutisícovky na Slovensku
Údržba:Články s nekontrolovanými překlady


Sweating the Small Stuff (Aaron Swartz's Raw Thought): So Jottit has launched, only five months after I suggested to my friend Simon that we create a website that was just a big text box people could type stuff into. And there are two ways I look at it. One is: It took us five months to do that? And the other is: We did that in only five months?
When you look at what the site does, it seems pretty simple. It has few features, no complex algorithms, little gee-whiz gadgetry. It just takes your text and puts it on the Web. And considering how often I do that every day, it seems a bid odd that it took so long to create yet another way. And then I check the todo list.
As I've said, this is a site I wanted to get every little detail right on. And when you start sweating the small stuff, it's frankly incredible just how much of it there is. Even our trivial site is made up of over two dozen different screens. Each one of those screens has to be designed to look and work just right on a wide variety of browsers, with a wide variety of text in them.
And that's just making things look good -- making them work right is much harder. Each screen does, on average, five or six different things. And each of those things can be done under three or four different modes. Now we're up to over 500 different things to do, each of which can have bugs in lots of unthought-of ways. And then, many of these pieces are exposed to users, who can do whatever they want with them -- and do. If you're building a site that accepts text from users, you need to think about something that lets some people just paste stuff from emails, others write HTML, others play YouTube videos, while others try to insert malicious text to break things for people.
There are lots of features we want to add to Jottit, but before we do any of that we want to make what we have work perfectly. And, at the moment, that means tasks as varied as reporting a bug in a piece of software we use to its developer, configuring the web server to display a nicer error message under certain odd conditions, having another computer monitor the first computer to see if it goes down, figuring out how to tweak the UI to make certain unclear things clearer to people, rewriting some of the text on the site to be nicer, creating a new site to inform our users of updates, making some stuff from our project open source, fixing stuff in other open source projects, testing the site on phones and weird browsers, examining an algorithm we use to see if it needs improvement, and fixing a bug that was just reported by a user. And those are just the things on my todo list!
When you look at it that way, it's amazing anyone ever builds a website.


text:
The Potential For Genius
Published on August 3, 2017 June 16, 2019 by Angel Millar
"[The man of] talent is like the marksman who hits a target that others cannot reach; [the] genius is like the marksman who hits a target…[the] others cannot even see." –- Schopenhauer.
In the musical version of J.M. Barrie's Peter Pan, when Peter tells Wendy she's "just too grown-up" to return to Neverland, what he really means is that she's lost her artist's soul. In our society, most of us lose this soul, while as children we have it naturally and are encouraged to have it. Peter Pan is the Eternal Artist, the God and Goddess, the genius. He flies high above the world, defying even gravity. He teaches others to fly, but they have to believe in magic, in fairies – in themselves – in order to do so.
Peter Pan is profoundly lonely. Most other children grow up and join society; they learn to conform to the sensible ways of adults. When Captain Hook asks, "Pan, what art thou?" Peter proclaims: "I am youth! I am joy! I am freedom!" He is truly mythic, representing the Great God Pan in human form. He alone knows the way to Neverland, which is the secret Magic Circle, beyond all time and space.
Sometimes when flying within my own Magic Circle, I experience an intense déjà vu of when I was a boy, dancing around our dark basement to the fantasy music of Peter Pan with only a flashlight for the stars. I may have been Peter then, but I'm certainly Pan now!
Which leads us to the delicate and controversial subject of genius. At the climax of Ionesco's play, Rhinoceros, when everyone else in the world has turned into the animal of the title, the hero Berenger unlocks his liquor cabinet and surrenders to his favorite bottle of brandy. As a testament to his individuality, he faces the audience and toasts: "I'm the last man left, and I'm staying that way until the end. I'm not capitulating!" And he drinks as the curtain falls.
What is being said here about the artist, the individual, the genius? Well, for one thing, that it ain't easy! Stella Adler, the great acting teacher, used to say, "Never psychoanalyze the artist." What she meant was: don't label him (or her) an alcoholic, a narcissist, an obsessive-compulsive. The life of the artist, the genius, is the struggle to triumph over the confines – and cruelty – of society; and to do so at all cost. How can we judge the life of a "sensitive" genius like Tennessee Williams, Kurt Cobain or Sarah Kane, the late English playwright, by saying that their excesses led them to their doom? Or how can we condemn the life of a "brutal" genius like Picasso, Wagner or Crowley, when they fought to leave us such great bodies of work?
In Surviving Picasso, the Merchant/Ivory film, Anthony Hopkins struts across the screen like Shaw's Superman, like Crowley's Man of Will. Beyond morality, Hopkins' Picasso is one with art. To do, to will, to paint. And to make love! Nietzsche said, "Whatever is done from love always occurs beyond good and evil." This is the driving force of the artist.
Prejudice, incidentally, is the opposite of art. It's a narrowing of the higher faculties. There's "positive" prejudice: the maitre d' at La Goulue restaurant said, "We have the best frites in New York." (Which perhaps was true.) And there's "negative" prejudice: the subtle bigotry of racism, anti-Semitism, homophobia.
Prejudice always stems from a narrow way of seeing. "You've got to be carefully taught," wrote Oscar Hammerstein. Art, on the other hand, comes from an opening of consciousness – beyond mind, beyond judgment – and beyond fear or jealousy, which is what prejudice is really about.
Great art calls to us to be bigger than ourselves. That's why the art of a nation is the soul of a nation. And art will always beckon to us to rise above our prejudices – to see the world from a higher perspective, a perspective of love (Ace of Cups) over fear or cruelty (Nine of Swords).
The genius is the individual who brings this art to the world.
The Age of Aquarius, the astrological sign of genius, has finally begun to bloom. At last, we are no longer "dawning." What does this mean? Well, first of all, it means that the religions of the former Piscean Age, founded on sin and archaic laws, have become passé. It's time to celebrate the new spirituality, where religion and science converge. Einstein said, "Science without religion is blind; religion without science is lame." He was obviously ahead of his time. The religions of the Piscean Age negated science; the religions of the Aquarian Age will confirm science. And the genius will triumph as his own God.
More and more, scientists and physicists acknowledge what ancient religions always knew about magic and psychic phenomena. The relationship between spirit and matter, between the psychic and the mundane, is being recognized as something tangible and scientific. We're beginning to realize that we are the masters, that God is not an all-powerful bearded man in heaven, but instead a power within each one of us. Yes, there's a "cosmic energy" that you could call God, but what's significant is the magical link that every human being can make with this energy.
From personal experience, I can assure you, it's real. It's exciting. It's the way we're going. Now I'm an Aquarius, so why take my word for it? All I can say is you'll see: we're finally in the Aquarian Age – let's wake up to reality!
Once I attended a performance of Philip Glass's The Voyage at the Metropolitan Opera. I've always considered Philip Glass, the Aquarian composer, to be a visionary artist. And his iconoclastic opera got me thinking about the nature of genius. So without further introduction, here are some ideas on genius versus society:
We all have the potential for genius.
A genius is someone who succeeds in making contact with his/her higher self, Higher Genius, or Holy Guardian Angel.
A person who is in touch with his/her genius is totally individual.
Stella Adler (also an Aquarius) made her students promise to take all "indication" out of their work. Indication in acting or any art form is the hinting at genius, copying it without experiencing it.
If one is not expressing his genius, his individuality, then his expression, in art or in life, comes out as cliché.
The alternative to genius is society, the middle class.
"The artist is the highest class," Stella used to say.
Society is threatened by the genius, though greatly enriched by him/her.
Society insists on conformity and is therefore the greatest enemy of the genius.
The genius tears down society.
The number of genius, the number of Aquarius, the number of magical power.
It suddenly occurs to me that I'd better address the subject of how the author views himself in this area, lest he be accused of having secret (or overt) hubris beyond belief. Let me try to be as honest as I can about this. Years ago, someone said that my eyes see more than they can handle. I think this was true at the time. And although I can be so thick in some ways, I was told by the best psychic I ever met, the late Clifford Bias, that I'm "near genius" and "the best attitude is to kid about it," otherwise I might be considered a "conceited ass."
Thinking this was good advice, I tried to take myself less seriously, but it took a long time to develop a sense of humor about myself. Once, while chauffeuring Jackie Onassis, I found her lost umbrella on Madison Avenue. "You're a genius!" she cooed. That was during my acting days; but more recently, at least two people have told me that I have a genius for reading the cards.
This may be true, but I really think it's the work that counts. People don't realize the work I do at night to be able to read their cards in the day. The discipline I have in my daily life is more than most people I know. "A" was never good enough for me; it had to be "A-plus." Maybe I was trying to please my father or my mother or whatever; but for me the "plus" was always the magic, like the glitter on a magical candle: not at all necessary, but oh, so dazzling. I worked for the "plus."
When I'm writing, I work all day and all night. It's an intense, grueling process: the work just takes over, like a fever. Sometimes I wake up with my latest chapter in bed in the morning. My work is my lover; I'm devoted to my work. I've always been this way: I have to give the very best that's in me.
Whether this makes me a genius or not, I don't know. But I do know what Irene Bertuzzi, a flamboyant palm reader in Italy, told me when I was 17: "Your life line and your work line intersect: your life and your work are one. Your father goes to the office and leaves his work at the end of the day. But you, Jimmy (my childhood name) – you will succeed! Because you can do it! You have it in you! But you will have to go through so much pain first…because you are so sensitive: I can see it in your eyes."
That was the summer of 1970: Porto Santo Stefano, Italy. They were playing Led Zeppelin's "Whole Lotta Love" – and I was about to be a senior in high school. I thought the sensitivity in my eyes would make me a famous actor; little did I realize that it would be the way I'd make my living: a "sensitive" is another word for a "psychic."
I've tried to be honest about how I personally relate to the subject of genius. So now we can proceed, finally, and focus on you: the person with the potential for something great.
The first principle on my eleven-point list was "We all have the potential for genius." OK, I've said it; but now you've got to do the work.
In his excellent book, Young Nietzsche: Becoming a Genius, Carl Pletsch asserts that geniuses are made, not born. I tend to agree. Pletsch says: "In his struggle to please Wagner, Nietzsche discovered his own creativity and learned many of the psychological characteristics of genius: audacity, narcissism, and single-mindedness. Eventually he would be able to practice these virtues of genius."
Are you ready to practice the "virtues of genius?" Not if you believe in a "selfless" philosophy or religion. There's no mincing words here: to be a genius, to accomplish something extraordinary, you've got to practice "selfishness." Let's not obliterate the self, the ego, too quickly on our spiritual paths. If we sit around meditating on a mountain somewhere, we might attain the Buddhist "no mind," but we certainly won't design that palatial estate, erect that superlative sculpture, or shoot the film that will influence people around the world.
The choice is yours; this is not an article about enlightenment. This is an article about achievement. Are you ready to achieve something in your life? If so, you have to figure out what that is. And then you've got to fight for it!
If you choose what Crowley calls your "True Will," then the doors of life will open fairly quickly and naturally on your chosen path. It's amazing how the universe helps us when we're doing the "right thing," and how it socks us in the jaw when we're not. (See the movie Run Lola Run.)
So first you need to discover where your potential for genius lies. It may not be where you think it is. The espresso maker at Caffé Sha Sha years ago was obviously unhappy with his job. His coffee wasn't the greatest, but every Friday, when he purchased the flowers for the weekend, his floral arrangements were unbelievable. I tried to encourage him to do this kind of work for a living, but he wasn't interested. Some people just love to be miserable.
Has anyone ever told you that you have a genius for something? A genius for flowers, or a genius for people, or a genius for cars or for picking out the best hat? Comments like these are clues that we probably do have genius in these areas. And I believe that we all need to get in touch with the genius part of ourselves, to begin utilizing it 150%, and to make a lot of money doing it! Unless you prefer to meditate on top of a mountain – and maybe that's your True Will, which is fine.
But whatever your will in life is – get to it, get on it, and get going! If you choose the mountain, then go find it and stop dreaming about it. But if you choose the work, if you choose greatness, if you choose any of the arts – it's got to be the number one choice in your life. There's simply no compromise with this: genius is something you work for. You can't have it two ways; as I tried to tell a friend, choose either the New Jersey family life or a great career in the theatre – but "You can't have both, dahling," as Stella often reminded us. There are exceptions, of course, but they're exceedingly rare.
Are you ready to take the leap and pursue something magnificent in your life? You've got to do it with your blood, your guts – every ounce of your being. And there's no guarantee that you'll ever "make it." The only guarantee is that you'll discover who you are.
At the climax of Peter Pan, Tiger Lilly decrees: "Peter Pan is the sun and the moon and the stars! Peter Pan is the love of delight! Peter Pan is the bravest and strongest of all boys!" And Peter answers, "Yes, I know. I don't say it to boast – it's because I cannot tell a lie."
The genius doesn't need to lie; his life and work tell the truth.
Kyler James is the author of the novel THE SECRET OF THE RED TRUCK, which made Dennis Cooper's favorites list for 2014 and sold out repeatedly in New York City bookstores. A former actor and NYU graduate (studied with Stella Adler), Kyler started reading Tarot cards on film sets and has been a professional psychic counselor for thirty years, amazing people (and animals) with his talents. He has written columns and short stories for a number of magazines and is known for being "The Wizard of Washington Square" when the weather succumbs to his will. Kyler's newly published novel, MERCURY'S CHOICE, about a genius of a painter, is currently available on Amazon. You can visit him at kylerjames.com.
Categories Genius, Kyler James, Self-Overcoming
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3 thoughts on "The Potential For Genius"
Michael Redmond says:
Good to see PHANES back again!
Angel Millar says:
Thank you, Michael! 🙂
Vivian Swift says:
As always, Kyler, you bring a very entertaining point of view to a deep subject. If anyone can pull off an essay that includes both Nietzsche and french fries, it's YOU. XXOO


Participants will consider the ways in which we understand and interpret written, printed, and physical materials from the early medieval period. This is enhanced by the growing availability of digital resources which enhance the potential for visual perception while reducing the opportunity to use other senses for interpretation.
At the same time, scholarship is becoming more conscious of ways in which artefacts and documents were perceived and used in the period: of how the design of objects, including books and manuscripts, controlled their reception.
Papers include discussions of the role of digital editions of texts, the impact of art, perceptions of deafness, the sensory experience of manuscripts, and the presentation and exploitation of the senses in Old English, Old Norse, and Medieval Literature.
This entry was posted in Upcoming Events and tagged manuscripts, medieval literature, Sense Perceptions, UCL on April 13, 2014 by medievalartresearch.
Symposiarchs: Susan Ashbrook Harvey, Brown University and Margaret Mullett, Dumbarton Oaks.
Byzantine culture was notably attuned to a cosmos of multiple domains: material, immaterial; bodily, intellectual, physical, spiritual; human, divine. Despite a prevailing discourse to the contrary, the Byzantine world found its bridges between domains most often in sensory modes of awareness. These different domains were concretely perceptible; further, they were encountered daily amidst the mundane no less than the exalted. Icons, incense, music, sacred architecture, ritual activity; saints, imperial families, persons at prayer; hymnography, ascetical or mystical literature: in all of its cultural expressions, the Byzantines excelled in highlighting the intersections between human and divine realms through sensory engagement (whether positive or negative).
Byzantinists have been slow to look at the operations of the senses in Byzantium, especially those of seeing, its relation to the other senses, and phenomenological approaches in general. More recently work on smell and hearing has followed, and yet the areas of taste and touch—the most universal and the most necessary of the senses—are still largely uncharted. Nor has much been done to explore how Byzantines viewed the senses, or how they envisaged the sensory interactions with their world. A map of the connections between of sense-perceptions and other processes (of perception, memory, visualization) in the Byzantine brain has still to be sketched out. How did the Byzantines describe, narrate or represent the senses at work? It is hoped to further studies of the operations of individual senses in Byzantium in the context of all the senses, and their place in what the Byzantines thought about perception and cognition. Recent work on dreaming, on memory and on the emotions has made advances possible, and collaborative experiments between Byzantinists and neurological scientists open further approaches. The happy coincidence of a Dumbarton Oaks Garden and Landscape symposium on 'Senses in the landscape: non-visual experiences' and of a forthcoming exhibition at the Walters Art Museum on the five senses enable some cross-cultural comparisons to be made involving gardens in Islamic Spain, Hebrew hymnography, Syriac wine-poetry, Mediterranean ordure, and Romanesque and Gothic precious objects—that were not just looked at but also touched, smelled, heard. Architects, musicologists, art historians, archaeologists, philologists, all can contribute approaches to the revelation of the Byzantine sensorium.
This entry was posted in Upcoming Events and tagged Byzantine culture, Byzantine Studies Symposium, Sense Perceptions on January 28, 2014 by mariaalessiarossi.


- More than 10 thousand local employees including Hae-sun Lee, the CEO of Coway, attend the event.
On January 25, an event was held at the Axiata Arena located in Kuala Lumpur, Malaysia. It was prepared to celebrate the achievement of more than one million customer accounts in Malaysia and to declare a new vision.
The event was attended by more than 10 thousand people, including Hae-sun Lee, the CEO of Coway, Jae-young Park, head of Global Door-to-Door Sales Division, Ki-ryong Choi, head of Malaysia subsidiary, local CODYs, local health planners, and local employees working at Malaysia subsidiary.
Major programs were a celebration party named "1 Goal, 1 Heart, 1 Million COWAY," gift presentation to the millionth customer, and declaration of a new vision.
Coway's Malaysia subsidiary was launched in 2006 and has rapidly grown in the local market thanks to successful localization strategies such as initiating rental service for the first time in Malaysia and first obtaining the halal certification for water purifier. As a result, the number of customer accounts surpassed one million in December 2018.
Moreover, at the event, Coway declared a new vision aimed at achieving two million customer accounts and becoming an unrivaled leader in Southeast Asia by 2020.


Jones Engineering Onion Toppers are heavy duty and come complete with a unique allgearbox drive allowing the blades to be kept in time which results in cleaner topped onions. When in motion the topper is pulled along on four wheels and the trough which houses the blades is raised and lowered hydraulically, achieving more accurate height control whilst maintaining stability on undulating ground. Featuring heavy duty reversible blades, large stable wheels and plastic lined side skirts. Options include: electro hydraulic automatic height control and hydraulic folding tripple bed.


MIDDLETOWN – The Orange Regional Medical Center Foundation has a new way to celebrate the birth of a baby at ORMC.
The creation of the "Footprints Into The Future" donor wall provides an opportunity for friends and family to buy blue and pink tiles that are installed on the wall with the name of their infant, date of birth and the names of the donor.
The wall is located in a high-visibility area in the Rowley Family Birthing Center where parents and families enter and exit.
To order a tile, visit ormc.org/footprintswall.
Two local schools are holding blood drives today with extended hours to make it easy for donors to participate. Blood reserves typically drop in the winter due to fewer donations.
It takes one hour to donate blood, and a single donation can be used to save multiple lives. Nearly 2,000 donations are needed each day in New York and New Jersey alone. About one in seven hospital admissions requires a blood transfusion, and with a limited shelf life, supplies must be continually replenished.
For more information, go to nybloodcenter.org.
GARDINER - The Hearing Loss Group at the Gardiner Library will meet at 1:30 p.m. Nov. 8. The topic this month is the latest improvements in hearing aids.
The speaker, Elias Moor, Au.D. graduated from the University of Massachusetts at Amherst in 2010 and has over seven years of experience. He grew up in the area and has recently moved back from Portland, Oregon. He works at Bryon's Hudson Valley Hearing Aid Center.
The next meeting will be Dec. 13. The group meets in the library community room, 133 Farmer's Turnpike in Gardiner. The community room is equipped with T-coil technology for those with compatible hearing aids and cochlear implants.
For directions or further information, call 255-1255 or visit gardinerlibrary.org or the library's Facebook page.
MONTROSE – The Department of Veterans Affairs Hudson Valley Health Care System is hosting a health fair from 1-3 p.m. Friday at the Castle Point Campus.
In celebration of "November is Veterans Month," the health fair will feature many programs and services, including eligibility and registration, social work services, women veteran services, blood pressure checks, flu shots for eligible veterans, veterans justice outreach, and whole health. Demonstrations on the Clinical Video Telehealth (CVT) program will be available, and representatives will be on hand to provide information on healthy eating. In addition, Veterans Benefits Administration will be providing information on benefits available for veterans.
For more information, call VA Hudson Valley Public Affairs Office at 914-737-4400, ext. 2255.
POUGHKEEPSIE - John Ratey, MD, associate professor of clinical psychiatry at Harvard Medical School and bestselling co-author of the groundbreaking "Driven to Distraction" series on ADHD, will discuss the brain-fitness connection and the importance of exercise and physical movement in his lecture "Exercise and Play: The Perfect Elixir to Keep the Brain Ready to Learn" at 5:30 p.m. Nov. 15 in Rockefeller Hall, Room 300, at Vassar College.
Dr. Ratey will share research to show that moving our bodies has a direct effect on building and preserving our brains, and that changes in brain chemistry can help us compensate for learning challenges.
The lecture is free and open to the public. A book signing will follow the lecture.
Directions to the Vassar campus, at 124 Raymond Ave. in Poughkeepsie, are available at vassar.edu/directions.


text:
Songs for the Road
The Illustrated Gospel
The Illustrated Gospel Project
Mark the Illustrated Gospel
Mark 1-20 The Voice, the Desert and the Call
Mark 1:21-3:6 Levi's Speech and the Table Stories
Mark 3:7-4:41 Kingdom Stories that Stick
Mark 5:1-6:6 When Death does Not Win
Mark 6:6-8:21 A Deaf Man Hears God's Great Message
Mark 8:22-10 A Blind Man Sees the Road Ahead
Mark 11-12 The New King Takes His Place
Mark 13-14 The End of the World
Mark 15-16 That Blessed Nazarene
Luke 1 – The Annunciation
Luke 2 – Simeon & Anna
Luke 4 – Jesus' Synagogue Sermon
Luke 5 – Calling the Disciples
Luke 8 – Jairus' Daughter & the Bleeding Woman
Luke 10 – Sending the 70
Luke 10 – The Good Samaritan
Luke 14 – The Great Banquet
Luke 15 – The lost Stories
Luke 19 – Zaccheus
Luke 23 – Two Thieves on the Cross
Luke 24 – The Road to Emmaus
Contribute (Your Voice)
Opening prayers of adoration
Calls to Worship
Complete services
All Age Songs
Songs for the Saints
Mark 15 - 16 - That Blessed Nazarene
That Blessed Nazarene
Paraphrase – That Blessed Nazarene
Image – Crucifixion
Poem – Winter Willows
Image – Death and Reconciliation
Story – Simon of Cyrene
Song [Congregational] Re-membering
A Way to Pray – Beloved Child
A Way to Pray – Stones and Crosses
Poem – The Empty Place
Image – He Ain't Here
A Way to Pray – Here but not Here
Paraphrase – Adrian Taylor
Mark 15 – 16
How can I, Peter, friend turned coward, tell of what happened to Jesus after he was taken by the guards and beaten? My mind was so beset by self-accusation, guilt and remorse. I had completely denied my master and I loathed myself for it. Joseph, from Arimathea, who would become my brother, was in a better position and more rational state of mind to witness to the details of Jesus's demise. Later he would testify to the events of that day,
"Very early in the morning of Preparation Day, the day before the Sabbath, the whole of the Jewish ruling council met to decide the fate of Jesus the Nazarene. I was a distinguished member of that council—the Sanhedrin—and like all the others I had been eager to reach a decision. We had gathered, along with all the chief priests, the elders and the teachers of the law and we unanimously agreed that he should be put to death. We had him bound, led away and delivered into the hands of Pilate, the head of the Roman authority in Judea. And so he began the questioning we had primed him for.
"'Are you King of the Jews?' asked Pilate.
"'Yes, so you say,' Jesus replied.
"The chief priests bristled not only at Jesus's answer but also Pilate's mocking question, for the kingdom in Judea no longer existed. But they could only attack Jesus, so the chief priests gave him a royal tongue lashing. The accusations kept coming until Pilate prompted him, "Speak up. Where is your defense? You hear your accusers' many allegations against you."
"But still Jesus breathed not a word, which baffled Pilate no end.
"In the time since the nation of Israel's exodus from Egypt, a certain custom had developed. Every year at this time a prisoner of the people's choosing was released to them. A man called Barabbas, whose name means 'the father's son', was being held for murder. He had been the leader of a revolution made in blood, but now languished in prison, awaiting the kind of death that surely had been coming to him all his life. We approached Pilate en masse to demand that he keep this custom.
"But Pilate was no fool because he could tell that we, along with the chief priests, had handed Jesus over out of envy, so he asked, 'Do you want me to release to you the king who is among you?'
"Instead the chief priests began to ask for Barabbas, and we blindly followed their lead. Soon the whole crowd appealed for the release of the criminal Barabbas.
"'What then, do you want me to do with the one you call the king of the Jews?' Pilate asked us.
"'Crucify him!' we shouted.
"'On what grounds; what crime has he committed?' asked Pilate.
"But we shouted all the more boldly, letting volume and violence drown out sense and reason, 'Crucify him!'
"Pilate conceded to the will of the crowd and released Barabbas to us. At his word he had Jesus flogged, and gave him over to those responsible for crucifying him.
"The soldiers led Jesus away into the palace—the Praetorium—the legal heart of the entire region. I would learn later what happened there. The whole company of soldiers was summoned. Jesus was dressed in a royal purple robe and a twisted crown made of thorns was set on his head. The cry went up in military unison, 'Hail, king of the Jews!' They repeatedly struck him with a staff on his newly crowned head and spat on him. Falling on their knees, they pretended to revere him as they would an idol. And when they had finished their mocking parody, they took off the purple robe and put his clothes back on him. But his humiliation was not yet complete; for it was then that they led him out to crucify him.
"Jesus was led out to be crucified and I was not prepared for what I saw. The change in his appearance—from his ghastly crown to his marred face and body—deeply disturbed me. He carried the crossbeam his wrists would soon be staked to. Eventually another man was forced to carry his burden for him because he had become too weak. Later I would learn this man's name was Simon of North African Cyrene, the father of Alexander and Rufus, who would later join us. Before they forced him to carry the cross he had been minding his own business, making his way into Jerusalem from the mountain roads.
"The whole procession brought Jesus to the place called Golgotha, where, as tradition would have it, Goliath's skull had been displayed after David had defeated him. Yes, this is where David had brought back his prize. After disarming his enemies he set about intimidating them with his victory. There could have been no mistaking which side God had favoured that day. Now, with a similar passion, the power-brokers stood by to see justice take its course, confident they acted on behalf of God and for the good of the people. They had championed their cause to see this usurper Jesus brought down, and they would not be denied their prize. My confidence in following this course, however, had already begun to be disarmed.
"There at Golgotha they offered him a poisonous concoction of wine and myrrh to dull the senses, but when it was held to his lips he did not drink it. Then they went about the hideous business of crucifying him. Having stripped him naked, they divided his clothes and set them out as prizes. Then they gambled for the last of his dignity, feigning delight in winning each blood soaked item. I could not escape the words of David's ancient Psalm,
'They play dice for the very shirt off my back.
They leave me with nothing, taking it all for themselves.'
"It was the third hour of the morning when they crucified him. As I watched I could not help but be drawn to the charge on the written judgement above him, which read: THE KING OF THE JEWS, which seemed to mock us as much as him. For he was not crucified alone, but between two dishonest men, whose death represented the way they had lived – a shameful waste, best forgotten.
"The abuse kept coming. People filed past and spat insults at him, shook their heads in disdain and said, 'So! Here we all are with you—you who are going to destroy the temple and build it in three days—don't just hang around, there's work to be done! Come down from the cross and save yourself, then we can begin the real work!'
"In the same way the chief priests and teachers of the law, men I respected, mocked him among themselves. Their ridicule grated as if bone against bone. They gloated, 'Clearly he was able to save others, but now he can't save himself!' and scorned, 'Let this Christ, this Anointed One, this King of Israel, come down now from the cross, that we may have our eyes opened and follow our deliverer. Then we will see who the Lord delights in.' The two undesirables crucified with him also used the last of their strength to heap insults on him amid the smoldering city dump. The more the crowd continued, the more the words of that Psalm loomed over my head like a shadow,
'I am the butt of every joke; every cheap shot hits its mark.
It seems the whole world has come to mock my pain.'
"I began to think that maybe we had made the most God-awful mistake in condemning this man.
"It was noon when, inexplicably, darkness came over the whole land for the longest time. Was the sun now veiling itself in mourning as he had said it would? Would the sky now collapse with exhaustion? And at the ninth hour Jesus gathered a lungful of air and in a piercing cry, shouted, 'Eloi, Eloi, lama sabachthani?' which means, 'God, my God, why are you so silent? Where are you?'
"These were the opening words of that very Psalm – which seemed to have scripted this entire awful drama. But when someone near me heard these words, he exclaimed, 'Listen, maybe he's calling for Elijah,' I ran and found a sponge that the soldiers used and filled it with wine vinegar. Putting it on a stick I went to the cross of Jesus and set it to his lips to revive him. I stood back and said to the others, 'Now let him alone and see if Elijah, the living prophet, comes to relieve his torment.'
"Instead, Jesus gave a loud cry and slumped in death, not to draw breath again.
"I had been there when the high priest had torn his clothes in rage and when the soldiers had stripped Jesus. But then, a rumour reached me of something altogether unbelievable: the immense temple curtain torn from top to bottom as though it was the very action of God tearing his robe and beating his breast. I wondered in that moment what would become of us.
"I found myself standing next to the Roman centurion whose job it had been to administer the sentence. While we stood there in front of Jesus, as both Jew and Gentile, insider and outsider, having witnessed the way he died and having heard his last cry fade away, we understood something in the silence. Then this man beside me, who was surely estranged from God, took the words out of my mouth, saying, 'Surely this man could not have been anyone other than the Son of God!'
"I made up my mind to ask Pilate for Jesus's body, even though it was the property of the empire. As I turned to leave, I saw a group of women who had remained as close as they could to their master to the very last. Later I would learn that among them was Mary of Magdala, Mary the mother of James the younger and his brother Joses, and Salome. These were the mothers and sisters of Jesus, for they were followers of him, and being of means, had provided for the needs of his company. Also gathered there, watching at a distance, were other women who had journeyed to Jerusalem with him.
"So as evening approached I went—without regard for my reputation—to Pilate to ask for the body of Jesus, so that I might give him a decent burial. I remember how surprised Pilate was to hear that he was already dead. He sent for the centurion, to verify my claim that Jesus had already died. When the centurion told him that this was true he gave me custody of the body. I bought some linen cloth before heading out of the city. I had his body taken down and I wrapped it in the linen. Then I had his body taken to a cave-tomb and laid to rest there. Mary of Magdala and Mary the mother of Joses saw where he was placed. I had a large stone rolled against the entrance of the tomb. There I would seal along with it, my hope in the restoration of the kingdom of Israel. What else was there for me to believe?"
For me—Peter, friend turned coward—it would be the longest Sabbath of my life. For me, it was a silence akin to death. But the next day the strangest story would reach my ears. Mary of Magdala, Mary the mother of James, and Salome came to the rest of us breathless and afraid. It would become a story often told and handed on, but it would always remain theirs to tell. They said,
"Very early this morning, because the Sabbath was over, we left to buy spices so that we might anoint Jesus's body. It was just after sunrise, as we made our way to the tomb, when we remembered about the stone that sealed it. We asked each other, "Who will roll away the stone to open the grave?"
"But when we came to that place we looked up and saw that the stone, which was very large, had already been removed. When we entered the tomb, we were so startled. We saw a young man dressed in a white robe sitting to our right, there inside the tomb!
"'There's no need to be alarmed,' he said. 'You are looking for Jesus, that Blessed Nazarene, who was crucified. He has risen! He's not here. See the place where they laid him. The place of death has been emptied out. But go with this message for his disciples and especially for Peter.'
"So we got out of there and ran. We were so shaken and we didn't know what to make of it. We said nothing to anyone along the way because we were so frightened. But here is the message given to us:
'He's on his way –
In between here and Galilee –
You will see him.
And all that he has said
will truly take hold of you.'"
While the cross is to be celebrated for its importance, and God worshiped for his extreme faithfulness to us, this scene is not meant to be palatable. In fact, I hoped to convey the repellent revulsion of this dark scenario. The word toxic came to mind as I read this text, hence the toxic coloured skull. What people were shouting out to our beloved saviour Jesus was verbal poison. The hatred was heavy; it felt dark and the situation noxious. • Golgotha - the place of the skull. The skull itself is the universal symbol of death and is easily read here. • While two cruciform shapes are suggested left and right, the space is purposely sparse, as this death setting, one of self-sacrifice covering all sin, was for Jesus only. The reddened vertical beam of Christ's cross represents his blood that transcends time past, present and future, his blood covers all. The textured background, layered and 'crud like', is there to signal the human sin that Christ's light form contrasts, the darkest death contrasts the purest form. I'm hoping viewers of this painting will understand at a gut-wrenching level the sin-blemished nature of humanity, and realise our own personal need for Jesus even more.
This image is an exploration into the way in which the death of Christ brings reconciliation, without resorting to some of the more violent images of atonement that seem to view divine punishment as a necessity. Here instead, we see the shock and grief of faithful humanity as they realise what has been done to Christ, who is God with them. The movement from those in anguish outside to those enfolding Christ's body in the centre speaks of transformation. The figures on the immediate left and right of Christ could represent Joseph of Arimathea and Mary Magdalene, signifying the reunion of the insider and the outsider, the sacred and the desecrated. These boundaries have been broken down throughout Jesus's ministry, and the deconstruction continues here at the death of Christ.. Below this group of three is a light space, a tomb that is not a tomb. Its elongated shape suggests a womb. The Spirit is represented here by a dove, which was present at Jesus's baptism, and so bookends the gospel. Above is the temple curtain. I have always found the tearing of this curtain a potent image, in that it tells us we are now free to enter. It is for the whole world, and the hills in the background represent the hills of the Earth.
Can you imagine? Mary Magdalene, Mary the mother of James, and Salome, have lost their dear Jesus. They're heartbroken and, as the Sabbath has ended, they buy spices and plan 'a last Haere Ra.' But things didn't go exactly to plan, as Mark 16:1-8 tells us, in fact their plans are 'thwarted.' I can imagine the intense fear that struck them and caused them to bolt. It must've taken a while for any clarity of the event to come about. In a sense the event would have been as intense as my experience of the February 2011 Christchurch Earthquake. Stricken by fear, unclear of what is happening and confused. Then there's the aftermath, dealing with what has happened, making sense of it all. I wanted my piece to express this emotion through the woman fleeing. My piece is influenced by my Whakapapa and draws on ancient Ngai Tahu cave drawings for inspiration. There's also an obvious Aotearoa and Pacific flavour throughout.
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This conversation awaits your contribution.
We have set this website up to share the resources from the book 'The Illustrated Gospel Project',
plus the extra stuff that we couldn't fit in the book.
But there is still room! Room for what you and your community of faith might create in response to God's creative Word at work, and at play in your midst.
So if you create a drama, a song, a prayer or a responsive reading, we'd like you to share it.
Go, contribute 'Your Voice'!
Contribute Your VoiceContribute Your Voice
Mark 1-1:21 The Voice, the Desert and the Call
Mark 3:7-4 Kingdom Stories that Stick
Mark 5-6:6 When Death does not Win
Malcolm Gordon
malcs@onevoice.org.nz
About One Voice
The One Voice Project is about exploring contemporary expressions of Christian worship.
Learn more about the One Voice Project
Lament for the Christchurch Mosque Attacks
The Philippian's Hymn – a good song for Lent
Attend to the Ground – a song for Lent
Slow Songs are Best – A Revelation about Writing


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COVER REVEAL: Chapel Bend by Kristen Proby
Kristen Proby has revealed the gorgeous cover for Chapel Bend!
Releasing: May 16, 2023
Cover Design: Hang Le
From New York Times bestselling author Kristen Proby comes Chapel Bend, an enemies to lovers, small town romance in her beloved series, Huckleberry Bay!
There's a fine line between love and hate.
In Huckleberry Bay, Oregon, everyone knows that when it comes to Juniper "June" Snow – what you see is what you get. When you hire her construction company to do a job, it's done right, on time, and on budget. When she's your friend, she's a ride-or-die who will support you no matter what. And when you're her enemy…well, she can hold a grudge.
And she's never forgotten how the tall, dark, and delicious Apollo Winchester hurt her so many years ago.
In a small town, it's impossible to ignore someone who greets you with a death glare every time you meet. Apollo can't recall why June hates him, but it doesn't stop him from stirring her up every chance he gets. There's something about her stubborn, "don't mess with me" attitude that keeps him coming back for more. But June is his sister's best friend and permanently on the "off-limits" list.
June puts aside her war with Apollo and hires him to work on her most important project, the renovation of a chapel into her dream home. She wants the best…and Apollo is the best . . . on the job site and in her bed. He won't turn down the chance to spend more time with June, especially when it's clear that she wants him as much as she hates him. Proximity leads to opportunity, and opportunity leads to steamy times between the sheets.
But a mystery threatens June and Apollo will protect her and their growing connection, no matter the cost.
Amazon: https://bit.ly/3vBuKfT
Apple Books: https://bit.ly/3Gfrgoe
Nook: https://bit.ly/3WKKKZ9
Kobo: https://bit.ly/3CkdNdP
Add to Goodreads: https://bit.ly/3WKFVij
Kristen Proby has published more than forty titles, many of which have hit the USA Today, New York Times and Wall Street Journal Bestsellers lists. She continues to self publish, best known for her With Me In Seattle and Boudreaux series, and is also proud to work with William Morrow, a division of HarperCollins, with the Fusion and Romancing Manhattan Series.
Kristen and her husband, John, make their home in her hometown of Whitefish, Montana with their two cats and dog.
Connect with Kristen
Website: https://www.kristenprobyauthor.com/
Goodreads: https://www.goodreads.com/author/show/6550037.Kristen_Proby
Amazon: http://amzn.to/2BD4vfq
Facebook: https://www.facebook.com/BooksByKristenProby/
Facebook Group: https://www.facebook.com/groups/684662744993031/
Instagram: https://www.instagram.com/kristenproby/
TikTok: https://www.tiktok.com/@kristenprobyauthor
Bookbub: https://www.bookbub.com/authors/kristen-proby
Pinterest: https://www.pinterest.com/handbagjunkie/
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Home / Hispanic Heritage Month / Caring for others and celebrating her heritage
Caring for others and celebrating her heritage
By: Hannah Koerner
Even at a young age, Karina Benitez, phlebotomist at Aurora Medical Center – Washington County, knew she wanted to pursue a career in medicine.
"I like working with people," says Benitez. "I always played the doctor when I was little and have always liked the medical field."
Her family moved from Mexico to Wisconsin, and her culture was an important part of her upbringing. She highlighted that every state has its own unique traditions, which are reflected in dances and clothing, and she fondly remembers the times in middle school and high school when she celebrated Mexican Independence Day, including when she was chosen to carry the Mexican flag as part of the festivities.
Her love of medicine began in high school when she started taking pre-med classes and found herself enjoying blood draws. After becoming a certified nursing assistant, she further studied to become a phlebotomist, and now she interacts daily with patients in the laboratory to draw blood samples and perform tests to help get a better understand of their health.
A big part of her job is making patients feel comfortable, which can include speaking Spanish with them. Benitez says patients who speak to her in their native language often talk more and ask her more questions in the lab. She's encouraged by all the people of Hispanic heritage working in the medical field and enjoys forming bonds and connections with her colleagues and patients because of their shared culture.
"Some patients comment about how nice it is to see more people with Mexican or Hispanic heritage working in the medical field," says Benitez. "I can tell that they feel more comfortable. It impacts care because patients ask more questions about the tests I'm performing, what different tubes are for, and more questions about health care."
Una cirujana de mama defiende la atención de primer nivel para todas las pacientes
Spanish as a first language creates bonds with community
Finding a calling in healthcare
Achieving her dreams in the medical world and passing it on to the next generation
← Why this simple move may be essential to your health
Not all chest pain is the same →
Hannah Koerner
"Hannah Koerner is a Public Affairs Specialist with Advocate Aurora Health. She received her Bachelor of Arts in Communication from the University of Wisconsin – Green Bay. In her free time, she enjoys biking, snowshoeing, and cheering on Wisconsin sports teams."
Warning: Make sure you know the "danger zone" when storing food this holiday season


The Ducati Company manufactures racing inspired bikes that are engineered to deliver excellent performance on the track. Ducati bikes are highly sophisticated and are reported to be the most desired bikes for the road. The bikes, sold in over 60 countries worldwide effectively indulge even the most extreme motorcycle enthusiasts with its high performance and handling. The technology incorporated into the bikes is state-of-the-art with engine features unique only to this label. With more than 50 years of experience in the field, the Ducati Company continuously makes significant innovations in engineering and bike design and has the reputation of being one of the top bike companies in the world.


Set in the historic Yorkshire Village of Cawood (10 miles south of York and 4 miles west of Selby), the Jolly Sailor Inn has been providing hospitality since 1840. The current owners have been brewing their own beer since 2012, this follows a tradition of brewer/landlords based at the pub. The pub serves 6 real ales brewed by the Jolly Sailor Brewery (now based at the Olympia Hotel Selby). Keg beer, lager and cider from the Marston's portfolio are also served.
Band night: Professional musicians provide high quality entertainment every Friday night from 8.30pm onwards.
Sunday Singers: Professional acoustic musicians provide late Sunday afternoon/early evening entertainment.
The pub is also equipped with Sky and BT sport.
The inn has two letting rooms available directly or through booking.com. The village has an amazing history and is well worth a visit to appreciate its significance in the history of the UK.
At the time of the English Civil war Cawood had a very large castle, it is fascinating to find how large the castle actually was, the attached Cawood Castle Walk is a guide to doing this. The reason for building a fortification at Cawood probably relate to the Viking era.
The tidal inrush up the River Ouse to Cawood is strong and fast. Viking craft would use the tide to take them to Cawood and then invade nearby York and the surrounding countryside.
The most famous invasion was that of the Norwegian King, Harald Hardrada, who planned to take the English throne in 1066. He landed with an estimated 200 ships carrying 10,000 warriors and a further 2000 supporting personnel. The scale of the landing is quite amazing as a Viking ship was typically 80ft long. This suggests that the moored ships would stretch from the Wharfe's mouth (just upstream from Cawood) back down the river to Riccall, a distance of at least 3 miles (this estimate assumes the ships were moored in single file with no spacing between them).
A relic from one of the many Viking raids and invasions that occurred around this time is the famous Cawood Sword. This late Viking sword was found in the river at Cawood and the original is now kept in the Yorkshire museum. A replica Cawood sword is displayed in the Jolly Sailor.
It is probably because of the regular invasions and raids that a castle was built at Cawood. By the time of the English Civil War the castle had become very large indeed although its original purpose had probably been forgotten. Consequently after the civil war the decision was made to abandon the castle and make it untenable. The accommodation at the Jolly Sailor looks onto the remains of the Castle which although a substantial building is only the gatehouse of the original castle.


When a comment to a post is approved, the comment does not show. I tried setting the comments to NOT need approval and it still will not show the comment.
Meanwhile, are you running any caching plugin?
The site allows comments to be displayed but once made they do not show?
Please advise on the above and post the URL so I may have a look at what is going on there first hand.
Thank you for the URL and can you please be so kind as to answer my two other questions?
Do I need to be logged in to read comments or are you intending them to be open to the public?
Have you performed standard trouble shooting protocol to see if there is a conflict of some kind?
No, you do not need to be logged in to read comments.
I've removed plugins, I set the comments to not need approval and reviewed the docs on line.
The comments are posting just fine in the source. what you have is a CSS problem. I'm looking into it.
See this bit of CSS?
You only need to do one of them. The options are in order of my recommended preference. Do not do more than one of these things as it would be overkill.
@Imperative Ideas great job at spotting this and hopefully Lisa can get it working.
@Lisa Frost please let us know if the suggested coding Imperative Ideas offered has indeed cured your sites comment problems.


Drinking is more than a basic need. Viewed mundanely, we drink in order to quench our thirst. Adequate fluid supply is vital for our organism. The selection of drinks makes it easy for us to turn a basic need into an enjoyment. The reasons for this are as varied as life itself. Fresh spring water when climbing a summit, a steaming cup of hot chocolate after a sleigh ride, a glass of wine in the evening in front of the fireplace – these are moments of unparalleled pleasure.
Coffee has gained a cult status and today is a popular everyday drink that is drunk all over the world in many variations. WMF has been working with the preparation of coffee for more than 120 years.
Tea provides pleasure and wellness.
Tea is appropriate for all life situations and, like wine, it is a ritual to enjoy tea consciously. The variety, preparation and right cup make the perfect presentation.
An exquisite drop deserves to be served and drunk with care. WMF makes the enjoyment of wine into an experience.
Water is a part of the trend. WMF has taken up the matter and given it some thought. WMF brings water to the table in an aesthetically pleasing, but also hygienic manner.


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Alabama just proposed a new law that makes abortion punishable by up to 99 years in prison
Planned Parenthood has described the bill as a "death sentence for women".
By Louise Donovan
Alabama has become the latest US state seeking to introduce a strict abortion ban.
On Tuesday this week, Alabama representative Terri Collins proposed legislation that would make performing an abortion at any stage of pregnancy a crime.
The bill would effectively ban all abortions, including in cases of rape and incest, as soon as a woman is "known to be pregnant". The only exception would be if the mother's health was in jeopardy.
If a doctor was to perform the procedure, they could be charged with a Class A felony, which carries a prison sentence of 10 to 99 years.
"It simply criminalises abortion," said Collins, the Republican representative behind the bill. "Hopefully, it takes it all the way to the Supreme Court to overturn Roe v Wade."
Collins told reporters that Roe v. Wade, the case that first legalised abortion in America, was a wrongful decision in the same vein as the Supreme Court's Dred Scott decision in 1857, which held that African-Americans could not be citizens.
Yet the bill has been branded a "death sentence for women" by Staci Fox, president and CEO of Planned Parenthood Southeast. "These bans are blatantly unconstitutional and lawmakers know it – they just don't care," she said.
"Alabamians are just pawns in this political game to challenge access to safe, legal abortion nationally."
The text of the Alabama bill equated legalised abortion to some of the greatest atrocities the world has seen, including the Holocaust and Rwandan genocide.
"These bans are blatantly unconstitutional and lawmakers know it – they just don't care"
The legislation says: "More than 50 million babies have been aborted in the United States since the Roe decision in 1973, more than three times the number who were killed in German death camps, Chinese purges, Stalin's gulags, Cambodian killing fields, and the Rwandan genocide combined."
The bill, which has more than 60 co-sponsors in the 105-member Alabama house of representatives, is another example of growing anti-abortion legislation occurring in America.
In recent weeks Kentucky and Mississippi approved bans on abortion once a foetal heartbeat is detected, which happens as soon as the sixth week of pregnancy. Many women, however, don't realise they're pregnant until much later than this.
The states of Georgia and South Carolina are also considering passing similar bans. More than 50 Hollywood actors, including Alec Baldwin and Amy Schumer, sent a letter threatening to pull business out of Georgia if the ban goes ahead. Many television and big screen productions are filmed in Georgia.
The Alabama bill, if passed, will face legal challenges, according to The Cut. This is because the legislation violates the precedent set in Roe v Wade, the landmark 1973 Supreme Court ruling that legalised abortion in the U.S.
The American Civil Liberties Union (ACLU) responded via social media and a press release, stating their opposition to the bill and promising to sue should the bill pass.
🗣 A notice for the @AlHouseInfo @ALHouseDems @ALHouseGOP @ALSenateRepubs @ALSenateDems #alpolitics #abortionishealthcare pic.twitter.com/yUe6480cRP
— ACLU of Alabama (@ACLUAlabama) April 2, 2019
Abortion opponents in multiple states, however, hope to start new legal battles that could prompt the court to revisit Roe v Wade. And with conservatives such as Neil Gorsuch and Brett Kavanaugh now on the supreme court, many have been energised in overturning or undermining legalised abortion in the U.S.
Suitcases used to protest NI's abortion laws
From: ELLE UK
Louise Donovan Deputy Digital Editor Louise Donovan is the Deputy Digital Editor at ELLE UK, with a focus on international women's rights, global development and human interest stories.
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Q: How to get windows laptop current location in C++ application using System.Device.Location namespace I am trying to retrieve my windows laptop geo location from a C++ application.
The below link contain a beautiful example written in C++, but this only works if GPS sensor is present in laptop, and this COM API got deprecated and windows may stop the service itself anytime sooner.
https://www.winwaed.com/blog/2018/12/07/using-the-windows-7-location-api/
As per the windows, the most recent recommended way of getting GeoLocaiton is documented in below URL, but this needs a C# application to use the System.Device.Location  namespace, whereas I need a C++ solution.
https://learn.microsoft.com/en-us/windows/desktop/locationapi/windows-location-api-portal
System.Device.Location namespace uses wifi Access point as well to retrieve the location, therefore GPS chip dependency is no longer present.
Could anyone recommend on how can I use this System.Device.Location namespace in C++ application?
~Ashish

redpajama_set_name: RedPajamaStackExchange


Intelligent completions consist of surface-controlled downhole control valves and permanent downhole sensors, helping you to evaluate, monitor, and mange production actively in real-time with no intervention in well. Information is transmitted to surface so as to remote or nearby monitoring.
The market of intelligent completion is divided broadly on the basis of various aspects. In 2018, the segment of simple intelligent well completion is foreseen to dominate the market and is anticipated to have the maximum market share in upcoming years. The basic intelligent well completion is utilized to monitor and control the wells. It gives downhole observing framework to encourage supply monitoring. This intelligent completion incorporates downhole flow meters, temperature and distributed profiling, and temperature and pressure sensors.
In 2018, the segment of onshore is estimated to lead the intelligent completion market and is anticipated to have the biggest market share in coming years. The development of segment is fundamentally determined by the amplification of restoration of oilfield, reduction of non-productive duration, and rising profit via plan of coordinated work processes. The expense acquired in the activities of oil and gas, for example, well completion and drilling are less for onshore when contrasted with offshore applications. These elements drive the development of the of the intelligent completion market.
In 2018, the segment of hardware is likely to rule the intelligent completion market and is foreseen to hold the biggest market share in future. The segment comprises of special hardware that gives continuous checking of wellbore and breaks down the information from various parts of the well for effective development. The segment is broadly classified into monitoring gadgets, controlling devices, and others (communication network and progressing units). These parts comprise of electrical sensors, optical sensors, inflow control valves, disengagement gadgets, temperature measures, downhole sensors, inflow control gadgets, and control lines and links, among others. All these are the main considerations driving the conclusion to-end arrangement portion amid the estimate time frame.
A service firm and a producer have come together to build up a downhole framework to combine multilateral innovation and intelligent completions to make "smart laterals." This methodology is known as the extreme reservoir contact (ERC) way to deal with store administration. The entire paper talks about ERC completion innovation that sections laterals into numerous compartments to give water-cut estimation, pressure, flow rate, and temperature, together with adjustable choking in every compartment.
The Middle East is anticipated to develop at the most elevated CAGR in the forthcoming years. In 2017, Saudi Arabia represented the highest share in the intelligent completion market in the region of Middle East. The regional market development is driven by increased demand in oil and gas segment and energy production. The region is rich in hydrocarbon reservoirs, and is one of the main oil producing areas all over the globe. It is a key exporter of oil and gas worldwide, mainly to Asian nations, for example, India and China.
The key palyers operating in the global intelligent completion market include Schlumberger, Weatherford, Praxis, Tendeka, Ciscon Nigeria, Bhge, Vantage Energy, Halliburton, National Oilwell Varco, Omega Well Intervention Ltd., and so on.