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Moulainville – miejscowość i gmina we Francji, w regionie Grand Est, w departamencie Moza.

Według danych na rok 1990 gminę zamieszkiwało 110 osób, a gęstość zaludnienia wynosiła 10 osób/km² (wśród 2335 gmin Lotaryngii Moulainville plasuje się na 935. miejscu pod względem liczby ludności, natomiast pod względem powierzchni na miejscu 535.).

Bibliografia

Miejscowości w departamencie Moza

redpajama_set_name: RedPajamaWikipedia


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YOU ARE AT: Business MK > News > Hospice benefits from efforts of the dragon boats
Hospice benefits from efforts of the dragon boats
The event last Sunday is expected to raise more than £20,000 for various local charities, including the festival's nominated charity Willen Hospice.
Merklyn Hauck of organisers Gable Events said: "We were delighted that the Dragon Boat Festival was once again a sell-out and remains the largest one-day charity dragon boat event in the country.
"It was great to see so many new teams and mixed teams this year and the beautiful hot weather brought a large number of spectators down to Willen Lake to join in the fun."
The Dragon Boat festival was sponsored by Crownhill-based Easycopiers for the third successive year. Crews representing businesses, organisations and groups of friends from all over Milton Keynes and the surrounding area battled it out all day in five-boat races over a 200-metre race course.
The eventual winners were Pistificated Pirates, representing Ian Smith Construction & Pell Frischmann, who were the fastest team throughout the day and also won the mixed team category (minimum seven ladies).
Wheldon 5 '0', from Wheldon Contracts, were runners-up with Crumbliest Floaters from DHL Cadbury in third and Brinklow Barbarians representing Kuehne – Nagel (Milton Keynes) in fourth. Last year's winners Nampak Plastics, from Nampak, finished fifth.
Pride, Passion, Party!, from Amscan International Ltd, finished second in the mixed team category, with Wheldons Waiders representing Wheldon Contracts in third.
Pride, Passion, Party! won the Charity Trophy and a meal at The Swan at Salford, by pledging more than £4,055 for Willen Hospice.
Home Retail Group (The Property Pirates) and Wheldon 5 0 also raised more than £3,000 for Willen Hospice.
Mr Hauck said: "Easycopiers again played a major part in the event's success in their third year as title sponsor and we are very grateful to them."
For mre information and to enter next year's Milton Keynes Dragon Boat festival, visit www.dragonboatfestivals.co.uk/miltonkeynes

redpajama_set_name: RedPajamaCommonCrawl


Rev. Cheryle Hanna is the first woman to lead Fourth Avenue Baptist Church, Ottawa. She holds doctorate and graduate degrees from McCormick Theological Seminary and Princeton Theological Seminary.
Rev. Julia Bowering is the associate pastor at King's Community Church in Oakville. She is passionate about helping others to hear God's voice and to discover their spiritual gifts.
Jess Hartwick facilitates all workshops for this track.


MFL MarMac seniors Nathan Johanningmeier (middle, left), Garret Keehner and Michael Egan are all headed to the state wrestling tournament after placing first at districts. They are pictured with head coach Chet Bachman and assistant coaches Mike Meyer, Chip McGeough, Tracy Decker and Travis Johnson.
MFL MarMac seniors Michael Egan, Nathan Johanningmeier and Garret Keehner are all headed to the Iowa High School Athletic Association State Wrestling Tournament in Des Moines this week after placing first in their respective weight classes at Saturday's Class 1A District 1 Tournament at Denver.
"All three seniors finished the way they needed to," said head coach Chet Bachman.
For Egan, wrestling this year at 145 pounds, this marks his fourth trip to state. He got there by securing a 14-1 major decision victory over Nashua-Plainfield's Shane Hillesheim in his first district match. Egan took the top spot after Denver's Logan Meyer forfeited in the championship round. The win brought his season record to 38-1.
Bachman said Egan is among less than a handful of MFL MarMac wrestlers who've made it to state each year. He finished sixth last year, in spite of a knee injury.
The 182-pound Johanningmeier got off to a good start at districts, pinning Tyler Morrison, of North Tama, in his first match. He then pinned Weiland Steffen, from Sumner-Fredericksburg, in the championship.
Like Egan, Johanningmeier is no stranger to the state tournament. He qualified once before, as a sophomore. Now, he'll ride a 41-3 record into action on Thursday.
Garret Keehner got the fall on North Butler-Clarksville's Jase Wiebke, as well as Postville's Isaac Steffans, to claim the 220-pound title on Saturday. The two wins brought his record to 44-0. According to Bachman, this is the first time any Bulldog has gone to state without a single loss.
For some wrestlers, that might be a lot to live up to, but Bachman said Keehner's "it is what it is" attitude will serve him well.
While Keehner has breezed through the competition up until this point, his head coach said the state tournament is a different animal. He'll encourage all his wrestlers to focus on the match in front of them, to wrestle smart and stay in good position.
Two other MFL MarMac wrestlers, freshman Gabe McGeough (138) and junior Ethan Stubbs (132), also wrestled at districts, placing third and fourth, respectively, in their weight classes.
The state wrestling tournament will begin Thursday at Wells Fargo Arena, in Des Moines. For updates on the MFL MarMac wrestlers, follow the North Iowa Times Facebook page. Next week's paper will also include a full rundown of the results.


Beijing opera (京戏; jīng xì) is the most celebrated of China's 350 or so regional operatic styles – a unique combination of song, dance, acrobatics and mime. Highly stylized, to the outsider the performances can often seem obscure and wearying, as they are punctuated by a succession of crashing gongs and piercing, discordant songs. But it's worth seeing once, especially if you can acquaint yourself with the story beforehand. Most of the plots are based on historical or mythological themes – two of the most famous sagas, which any Chinese will explain to you, are The White Snake and The Water Margin – and full of moral lessons. Offering an interesting, if controversial, variation on the traditions are those operas that deal with contemporary themes – such as the struggle of women to marry as they choose. The colours used on stage, from the costumes to the make up on the players' faces, are highly symbolic: red signifies loyalty; yellow, fierceness; blue, cruelty; and white, evil.


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PDK Prospective Educator Scholarship Program
Phi Delta Kappa International
Number of Awards & Eligibility: The number of awards offered varies annually. Last year, 39 awards were given.
Must plan to major in or be majoring in education.
Currently enrolled undergraduate students must be members of Phi Delta Kappa International.
Must be a graduating high school senior or currently enrolled college student to apply for this undergraduate award.
Description: This scholarship is available for international and U.S. high school seniors and current undergraduate students who plan to major in or are majoring in education. Current college students must be members of Phi Delta Kappa International.
Application requirements for the PDK Prospective Educator Scholarship Program are:
Additional Information: The criteria used to select PDK's scholarship recipients are academic standing, the written essay, letters of recommendation, and leadership activities. Please note: Certain endowed scholarships offered through this program have special eligibility criteria in addition to the standard eligibility criteria. These scholarships and their criteria are listed on the online application form; students should review the criteria carefully to see which additional awards they may be eligible for.
Award Amount: The award amount varies for each award, but ranges from $500 to $1,500 annually, non-renewable. The total dollars awarded for this scholarship is $1,000.
Deadline for this scholarship is Monday, April 3, 2023
Applications are available on the Phi Delta Kappa (PDK) International website. In addition to the completed application, the applicant must submit: an essay of 500 words or less in response to the question posed on page three of the application, a copy of his/her academic transcript; and two letters of reference that address his/her interest in teaching and qualities that will make him/her a successful educator. One letter must be from a person familiar with his/her academic abilities and school activities. If the student is not a Kappan Kid or member of a PDK-sponsored Future Educators of America chapter, the second letter must be from a PDK member in good standing (the member's ID number will be required). These materials should be sent to the address provided. The complete application package must be submitted through the online application portal no later than the deadline date.
About Phi Delta Kappa International:
Contact Information: Laura McClellan, Coordinator of Foundation Programs
Address: PDK Prospective Educator Scholarship Program, PDK International 408 N. Union St. Bloomington, Indiana 47405-3800


I am a Partner within the Medical Negligence team in our Birmingham office and I have worked for Irwin Mitchell since 2007.
I act exclusively on behalf of clients in clinical negligence cases, helping people bring claims against NHS Trusts, GPs and private practitioners. I have a varied caseload including cases resulting in amputations, poor outcomes from cosmetic surgery and cases leading to fatalities.
I have a particular interest in obstetric/gynaecology cases and have represented many families where children have been left with significant disabilities and in need of lifelong private care due to injuries sustained at birth.
I really wanted a career which would mean I was interacting with people constantly, and hopefully making things better for them. I had thought of becoming a vet but I am allergic to cat hair so concluded against that idea.
Absolutely the most rewarding part about my work is when settlement is achieved and a client is able to use the funds secured to make a real difference to their rehabilitation and future life.
The best thing about working for Irwin Mitchell is its people. I work with an extremely talented team of clinical lawyers and we strive to achieve the best possible outcome for our clients. In addition, everyone here is extremely friendly and coming to work is a joy, not a chore.
Outside of work I love music and attending music concerts. I enjoy decorating although I do this infrequently. I also love travelling and try to visit a new country every year.


Nakia. A War Dog from the River Tribe. Love interest of T'Challa.
"Nakia has a range of disguises throughout "Black Panther" that make her particularly fascinating. "We see her in Nigeria in the beginning with ripped jeans; we see her at the Warrior Falls and she wears her River tribe costume; we see her in the CIA with leather pants and jean jacket; we see her in a casino and she portrays an African princess in a long gown. We covered the layers of women with their toughness and softness at the same time," said Carter.
River stone necklace to signify her tribe.
Head cover is called a khimar. Under the khimar is a scarf tied around her head.
Costume inspired by the Suri people (river people of Ethiopia).
Warrior harness with cowrie shell border.
Buy this Nakia replica dress.
See the Dora Milaje Page.
"Nakia is a war dog. She's an operative; a spy, so she has the most looks of everyone in the film. She goes undercover as a Nigerian captive in the hijab, but then I had to quickly get her out of the hijab and give her a costume that looked like she could've been hanging out in any city in Africa. She had to look like she could walk down any street and blend in. When we see Nakia at the airstrip, we see her in jeans and a flowy top and a scarf. Then we see her at Warrior Falls in her traditional costume for the traditional ceremony as the River Tribe's primary fighter. Then we see her in her casino dress. She has a lot of different costumes.
"Nakia's more traditional outfit is inspired by the Surma and the Suri people of Africa. Nakia's tribe are fisherman, so some of her designs are based on different cultures, nations and people of Africa who live near the water. Hence Nakia's tribe is called The River Tribe.
"Nakia's casino dress was based on a Kente pattern. When we see her in this dress, it's very 'Bond Girl'.
"We used the simple line-work from the Kente pattern and we had it printed on the same type of eurojersey that we used for the Panther suit. Once we had an all-black dress printed, we hand-painted it so that it would have an ombré effect.


This program has specific entrance requirements and all applicants must meet these requirements to be considered for program admittance. Supporting documents are required as part of the application process.
Students in the existing Addiction Careworker Diploma and Addiction Studies Certificate program will be eligible to transfer to the Professional Addiction Studies program, provided they meet the above admission requirements. The full online application and $59 application fee applies.
To be eligible for transfer, such students must have completed no more than 50% of the current program. Please refer to the "Transfer Credits" page.
This option will be available to students in the Addiction Careworker Diploma and Addiction Studies Certificate for 18 months following the notice of closure of these programs (until August 31, 2019).
Admittance to the current Addiction Studies Certificate or Addiction Careworker Diploma program does not guarantee admittance into the new Professional Addiction Studies program.


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WHEN RACE BECOMES REAL
Black and White Writers Confront Their Personal Histories
Legacy Crew
Before Barack
PEEK INSIDE THE BOOK...
Click here to hear WHEN RACE BECOMES REAL on NPR
Selected writers read from their essays
Read what critics wrote about WHEN RACE BECOMES REAL
What others said about the book
Browse a chapter: "Jasper, Texas Elegy"
The story that started the book
Bernestine's Magazine Articles
TampaVote 2004: Dispatches from the Ground
Sometimes even your best efforts go unrewarded.
In 1998 we saw the Garden of Eden.
"The New South Africa: Warm and Welcoming"
In 1999, reality hadn't yet trumped hope.
Bernestine in Literary Journals
"Murder and the Reasonable Man"
Mix evidence and prejudice with a jury, then stir.
"The Old Wink and Nod"
Why bother with the facts when it's so easy to keep believing the hype?
"Heat"
Sun isn't the only thing that sets stuff on fire.
"The Tutu"
You're never too young to learn the hard lessons of desire.
Bernestine in Other Anthologies
"Bearing Witness"
When the thing you most fear finally happens, then what?
"White Friends"
Some of my best friends are white. Some aren't.
"Take Me to the Water"
A piece of Texas fiction...or is it?
Africanaonline.com
Bermy Onionpatch
Black Commentator.com
CommonDreams.org
CounterPunch.org
Exittheapple: Brightest City Lights
Freedom Rider blog
HeroicStories.com
IndianCountry.com
Indigenous Voices Worldwide
Joyce King, "HATE CRIME: The Story of a Dragging in Jasper, Texas"
Moving Midway: A Southern Plantation in Transit
Myers Center for the Study of Bigotry and Human Behavior
People's Institute for Survival and Beyond
Real Life Race Relations
Richard Prince's JOURNAL-ISMS
Safundi: South African & American Comparative Studies
Shades of Youth...Speaking on Power, Privilege, & Racism
SpeakOut - Institute for Democratic Culture & Education
Traces of the Trade: A Story from the Deep North
WorkingforChange.com
White Friends
Bernestine Singley © 1998
"How can you be friends with them?!" my friend sputtered indignantly. She jammed her hands in her pockets, but still managed to shake a verbal finger in my face.
We were talking about white people and, consequently, about slavery, lynchings, segregation, poverty, violence, racism. It was the season of Clarence Thomas and Rodney King.
How can you be friends with them?
The answer has everything to do with the circumstances under which I was born.
Having started out with things so far out of kilter, I suppose it was just a matter of time before I added white friends to the collection of paranormal phenomena that make up my life. Perhaps I can explain.
When I was around six months in the making, my grandmother beat my mother so brutally that my mother and my sister, then four years old, fled town with Uncle Tommy's help.
I was born three months later, a birth not widely heralded. At least not by my grandmother and her side of the family. Although we were living with my father's sister and her husband, I have no recollection of them and so I can't speak to what their reaction might have been to my arrival. Except to say, of course, they knew I was coming. And then there I was.
I didn't arrive completely without fanfare, though. Right there in the delivery room, my entry into this world was an occasion which I used to literally show my ass. There are those who would argue today that this approach marked me for life, indeed became my signature. But in this instance, I mean, literally, my ass because my butt was where my head should have been, giving others who know me cause to claim that my head and my ass have often been juxtaposed in ways that defy nature and defeat my best interests.
Anyway, this was not a normal position. So, as Odessa told it, the doctor reached in and turned me around. Straightened me out. This turn of events might have something to do with my subsequent experiences with many men along the way who have felt the need to turn me around in an effort to straighten me out.
In any event, several days after my arrival, my sister had an idea and approached my mother.
"You see," she told Odessa, "we don't need another baby in this house. So, you can just take her right on back to that hospital." The honesty and directness of that approach inspires me to this day. My sister was not confused.
Though I was born in the South in the summer as 1949 wended its way towards 1950, things did not fall into the easy, slow pace often associated with that time and place.
My problems started when, from the beginning, Odessa forced me to understand my power to disagree with the general populace about who I was in relationship to them, the rest of the world. Even though a precocious, stubborn child, I did not welcome this burdensome responsibility, this task of self-definition and, consequently, of self-defense. I wanted to be like everyone else. But, I had no choice. Odessa said it was to be. And so it was.
Black, female, poor and confident in the apartheid south of the US was a heady recipe for danger, a brew sure to produce only one thing: a crazy nigger. A crazy baby nigger, I got off to a very early start.
When I was four, we moved out of the room we shared in the home of Bertha and Major Bunch and into a public housing project, a place where poor people and their families were bricked in and roundly despised. Shortly afterwards, a small white social worker came to our two-story flat with paper thin, vomit green walls to verify the information previously submitted and required to determine the amount of government subsidy—the welfare check—we were to receive.
Early on, the issue of my parentage ambled into the conversation and plopped down on the table, exposing the questionable origins of my existence and therefore my worthiness of government support.
"So the Youngest Recipient is illegitimate," the Social Worker said glaring at me, cutting me down to a millimeter.
"No," Odessa responded utterly remorselessly. "Bernestine is not illegitimate. I just wasn't married to her father." She was not one to lie or shadow the truth.
"My baby is not illegitimate because, you see, God gave her to me just like He gave me my oldest daughter. And nothing that is the work of God can be illegitimate.
"Illegitimate is a man-made thing. My children come straight from God." Instantly, I shot up to six feet tall.
The Social Worker raised her eyes to meet Odessa's steady gaze, snorted, rolled her eyes back down to the form, and wrote in the block next to my name: Illegit. I leaned against Odessa. She put her arm around me and saved me from being swallowed whole in that abbreviation.
That was the first of many visits from the Social Worker, every one unannounced. She cruised our home, eyeing cupboards for contraband ("No sugared cereal? No sodas? Good. They cost too much for what you have to live on."), pulling back the curtains to the closets seeking the merest hint of a male presence ("Not even one boyfriend for such a good-looking woman like yourself?"), fingering my skirt or my sister's blouse while Odessa looked on silently ("Did mother make these for us or did we go shopping and buy them downtown?").
By the time I reached kindergarten, I was diagnosed as severely anemic. Had low blood. Needed iron. Consequently, I was routinely at the Health Department where the government corralled poor sick folks of all colors for the convenience of dispensing whatever medical attention was our due. I was poked and prodded and stuck and pulled by strange always white, always male hands.
These trips contained their own lessons for a black child in 1950s Charlotte, NC. After riding in the back of the bus to get to the Health Department, we signed in and then took our seats in the back of a huge hall, the part of the room reserved for coloreds.
There I learned to sit and wait for my name to be called for services to be rendered on a first-come-first-served basis unless you were lucky enough to be white, which meant no matter how late you arrived, you always came before every single black person.
Our relationship with the Welfare Department and the Health Department lasted for about eight years, during which my life seemed constantly in peril. Time after time, Odessa was ordered to deliver me up to doctors who barely spoke English, which is really beside the point because, of course, they had no need to talk to us. They were doctors. We were poor, black, female. What could we tell them--even about ourselves--that was important to know?
Before I could be cured of low blood, I developed "heart trouble": a nonspecific set of alleged irregularities that might be curable, they surmised, after a bit of cutting-edge surgical technology at the hands of young doctors in training. Without it, they warned, I would die before I reached the age of ten.
Without it, I turned ten at which point it was determined that I needed eye surgery to correct a problem that they could see, though not explain. But Odessa kept getting in the way of those icy-eyed doctors in stiffly starched green cotton jackets who never once spoke directly to us or even called us by our names, the ones who were desperately seeking to use me as a guinea pig
Each time they offered a surgical cure, Odessa turned to me and said, "Honey, do you want this operation?" Her statement could easily have been mistaken as a question. Instead, in each instance, I understood that I was being called upon to speak up for myself.
So, each time, I surveyed the forces arrayed before me: my mother who would not presume to grant or withhold permission for such an invasion of my body without first consulting me; the doctors, jaws slackened in disbelief, scowling disapproval.
And, each time, I just said, "No."
The second time I exercised my right to choose, they practically threw us out of the Welfare Department. These wardens of the public trough accused Odessa of being crazed, an unfit mother who would let her ten-year old daughter's voice be heard above those of doctors who knew what was medically required. They said they would take me and my fourteen-year old sister away from her. At the very least, they said, they would cut off our welfare check. That was not the end of it, they warned. We would see. A crazy nigger and her crazy nigger child.
One night during our weekly family meeting, the three of us voted unanimously to take ourselves off of welfare. We decided the $30 a month welfare check was not enough to make up for the stigma, the invasions, the assaults that came in tow. It was around this time that I came to loath white people. Odessa, a fervent believer with impeccable Christian credentials, was not pleased.
"Judge not that ye be judged," she frequently admonished. Considering what I was working with, I decided I was willing to take my chances though I was wise enough to keep all of these thoughts strictly to myself.
Up to that point, what I had learned of white folks I learned from Odessa, books and magazines. Raised in a home purposely devoid of television--"the stupid box"--I looked to her as my primary source.
White folks were the people whose houses she cleaned. You can't wash shit from a man's drawers and not learn a lot about him in the process. And what she learned, we learned. Every nuance.
Many days, Odessa came home exhausted--not from the physical labor, but from the mental toil of constantly deflecting the arrogance of adults and children drenched in the rightness, the mightiness of their relentless whiteness.
Hers were not a victim's tales, just tiresome examples of white folk who believed the only way to rise was to first step in her black face.
In 1961, a few reasonably prudent white leaders in our town struck a deal with middle-class black leaders and thus began inching towards desegregation of the public schools. As agreed, at first the black leaders offered up their own progeny, thinking them the best representatives of our race: colored children with two college-educated parents, members of Greek letter societies, owners of a mortgage and two car payments, regular church-going, paid up members of the NAACP. Children who came from something and were, therefore, best qualified to go places.
But native intelligence and academic stamina did not sufficiently track the number of parents and household income to provide a large enough pool from which to draw the Race Warriors. So it wasn't long before the circle of the deserving had to be substantially widened. The black leaders went back and dutifully broke off a larger piece of their best, brightest and most well-behaved children and offered us up, a tithe of talent to be cast upon a sea of white mediocrity. For their part, the white leaders refrained from unnecessary talking.
I was among the first to be courted as part of the larger group for this social experiment, another opportunity to become a guinea pig for a different cause. At first, I was intrigued, even flattered to be seen as a worthy warrior in The Fight for Racial Justice and Equality. Then we had a family meeting and together explored my options.
For one year, I attended a junior high school that had been an all-white school in an all-white working class neighborhood the year before we showed up. But when the propertied white leaders decided to send the poor black folks to sit in classes beside the poor white folks, the poor white folks fled and took their children with them, leaving all of us mostly poor black students and solidly middle-class black teachers to our completely black selves.
One night after attending the first monthly parent-teachers' meeting of the year, Odessa came home mad as hell. My English teacher, technically black but proudly bearing the genes of the oppressor, had smiled into my mother's face, the mirror image of her own, and said, "We were so surprised to find out that Bernestine is a recipient." In Odessa's fury, the word came out "ree-SIP-yunt."
"Recipient?" Odessa repeated, puzzled.
"Yes. On welfare!" The English teacher whispered sympathetically.
"Bernestine is so well-dressed, so well-mannered. She speaks so beautifully and carries herself so tall. We just never would've thought….You can imagine our surprise…." Her voice trailed off.
Odessa inhaled the insult, tucked it away inside her gut and finished listening to the glowing reports from the English teacher and all of my other teachers. And then she came home fit to be tied. Less than a year later, my sister and I both got summer jobs. At 13, I earned the same $30 weekly salary as Odessa who, at`43, had been in the workforce for 33 years. Because she refused to let me or my sister clean white folks houses ("I do it so you won't have to do it"), I had found an office job doing typing and filing.
Then it was time to choose schools again, the War for Justice and Equality having ground slowly on.
In the end, the decision was left up to me. I chose to leave the Race War to those who knew they had the money for the clothes and thought they had the money for the weapons.
The next fall, I transferred to a brand new school in a black community surrounded by a mix of poor, working class, middle class, and even upper middle class black neighborhoods. There, left to our own devices, we Children of the Dream brilliantly mimicked the ways of the oppressor, endlessly creating, refining, dismantling, recreating hierarchies of class and skin color and hair texture that would scar us forever after.
It was around this time that I came to loath middle class black people while I continued my life as one who was different, unusual, not an easy fit. Like my name, my fatherlessness and other differences, some real, some imagined, grew into a source of strength even as they remained an easy target for those who saw them as one more reason to try to bludgeon me into conformity.
Eventually, I awoke to the liberation of life led hugging the periphery. A status quo that granted me no allowances commanded no allegiance in return. So when college presented me with the first real opportunity to break free of my black oppressors, I grabbed it with no thought of ever looking back.
Finally, I would stand toe-to-toe and fight the first whom I had hated long and hard: white folks. I marched off, brave under the banner of own personal declaration of war.
I had long ago grown accustomed to being set apart. So, free to haunt quarters and form alliances that, under normal circumstances, would have been taboo, I continued skirting the rim of convention, consorting with others, courageously different for that moment, who pleased me. This is how, once I reached college, I came to have white people as friends. And to simultaneously understand that whiteness was a character defect.
Gruesomely visible in a sea of colorless faces, I was deluged by an endless mass of centuries of wrongs that had to be stomped, burned, smashed into '60s and '70s rights; by white folks, one-dimensional obstacles to be overcome. Jack-boot forces in control of the world, yet so mean, so small, so scared, so threatened. It nearly drove me mad.
Until I remembered that I had seen something like them before. Long before I ever saw a white person in person, I remembered, there were middle class black folk who sat in judgment on me. The black mothers who upon meeting me with their children, especially their sons, would stop me in my tracks with their threshold inquiries, challenging my right to enter: Where do you live? Who are your parents? What do they do for a living?
Perched atop their pedestal in our black, segregated world, they and their offspring were the first who were mean, small, scared, threatened by my worthless difference. So, years later, in my near madness, adrift in the raging white sea called college, I reached back and saved myself by remembering: The early blows to my psyche were not black or white. They were black and white. I loathed them equally.
That is a very good question.


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Adelaide Family Dental > Meet the Team at Melbourne Street Family Dental
Meet the Team at Melbourne Street Family Dental
We invite you to take a moment to learn about us by reading our biographies below. We look forward to welcoming you to any of our Adelaide Family Dental location sites.
Dr Alexander Lam
Principal Dentist
BDS (Ade)
BScDent (First Class Hons)
DipClinDent (IV Sedation)
FICCDE (GP Orthodontics)
Dr Alex Lam brings a fresh and enthusiastic approach to dentistry. Alex was born in Adelaide and was schooled at St. Peter's College. He graduated with double degree 1st Class Honours from the University of Adelaide and joined the Practice. Alex also serves on the Australian Dental Association Recent Graduates Committee.
Alex is a dedicated and compassionate dentist who enjoys the art and science of dentistry and his first priority is that his patients have a relaxing experience in the dental chair. His primary goal is that you as his patient fully understand your oral health concerns and the treatment options available to you.
Alex also completed a Postgraduate Specialist Qualification in IV Sedation. This allows Adelaide Family Dental to offer IV Sedation for dental treatment. Patients are welcome to enquire about this very useful service.
Alex is a self-confessed sporting tragic who is a member of the Kensington Garden Tennis Club and the Mt Osmond Golf Club.
Dr Felicity Lam
Dr Felicity Lam is a warm and friendly face at Adelaide Family Dental. She brings her specialities in management of family dentistry and cosmetic requirements especially in working with children.
She was born and bred in Adelaide, a scholarship student at Wilderness School and graduated as a multiple prize-winner from the University of Adelaide with concurrent First Class Honours.
Felicity excels in the art of gentle and caring dentistry. Her top priority is ensuring her patients are comfortable and at ease in the dental chair. She ensures that every one of her patients leave with the satisfied smile they deserve accompanied with the take-away knowledge to keep that smile white and bright and to maintain a healthy lifestyle.
Felicity consistently aims to improve herself to provide the best possible experience for her patients. She continues to build her dental knowledge and skills through Professional Development courses and through her membership with the Australian and New Zealand Paediatric Dental Society. She had presented a number of papers in national and international dental conferences.
Her special interests include:
emergency relief of pain
children dentistry
general dental care and
Outside of the clinic, Felicity is involved in a number of community activities and variety of sports from tennis to yoga and pilates. She likes all forms of art and loves collecting sketching or painting for her own art collections.
Dr Kevin Moon
Dr Kevin Moon is a friendly face at Adelaide Family Dental. He graduated from the University of Adelaide and has been in private and public practices for several years before he got invited by our principal dentist to join the practice bringing his specialties in gentle and caring dentistry to our patients.
Kevin has a great passion for all aspects of dentistry including restorative (especially dental implants), crown and bridge works, aesthetic and preventative care for all the age groups. He always aims to improve himself as a clinician by regularly attending interstate and international conferences.
Kevin is extremely keen on providing a quality care to patients. He strongly believes in the importance of communication with patients. His friendly personality enables patients to relax during the treatment and build a strong relationship between him and his patients.
Outside of dentistry, Kevin enjoys traveling around the world and particularly enjoys playing soccer, going to the gym and spending time with his family.
Ms Michelle Le
BMSc (Ade) (Hons)
MAIPM - Member of Australian Institute of Project Management
Michelle is our Practice Manager.
Michelle brings over three decades of experience in project management and public health. She has previously implemented programs for Diabetes SA.
Michelle is a warm and compassionate health care professional who believes in building long-term relationships between clinicians and patients.
Ms Linda Bui
Oral Health Therapist
BOH (Ade)
Graduate Certificate in Oral Health Science (Ade)
Ms Linda Bui is our resident oral health therapist. She has undertaken further university training which expands her scope to treat adults. She has been invited by Dr Alex Lam to join the practice bringing her specialty skill set of family dentistry, orthodontics, and management of periodontal gum disease.
Born and bred in Adelaide, Linda attended Adelaide High School and the University of Adelaide. She gained extensive experience in many facets of general and specialist dentistry throughout her career which has taken her to both city and rural environments.
Linda is renown for her very gentle and delicate touch. Her top priority is creating a comfortable and enjoyable environment in the dental surgery. She ensures that every one of her patients leave with the satisfied smile they deserve accompanied with the take-away knowledge to keep that smile white and bright and to maintain a healthy lifestyle.
Outside of the clinic, Linda takes care of her young family. She enjoys cooking, travelling and relaxing with friends and family.
A Healthy smile is just a click away.


text:
The Skirball Cultural Center
Noah's Ark is the star of the show at this popular LA destination for families
By Esther Sohn Jun on 07.05.2017
animalsarchitectureCaliforniaeducationeventsexhibitionexperiencefamilyfungalleryinteractiveinterviewkidsLos Angelesmuseummusicplaytradition
The Skirball Cultural Center has been a mainstay venue for all things art and culture for Angelenos for the last couple of decades. The center has a long history of upholding its values of inclusion and interdependency, and has carried them out throughout its history and current programs. The center continues to work alongside visitors to improve and expand the experiences of their projects. MuSEEum Kids experienced the famed Noah's Ark exhibit, soon coming into its tenth year, with Skirball's Rachel Stark, Assistant Director of Education and Mia Cariño, Vice President, Communications and Marketing.
by Esther Jun for Museeum.
The Skirball Cultural Center was opened in 1996 and has since become one of the world's leading Jewish cultural institutions. Founded by Dr. Uri D. Herscher and named after philanthropist, Rabbi, film producer and real estate developer Jack H. Skirball and his wife Audrey, the center features a museum (established in 1972, originally located at the Hebrew Union College in LA) and holds film events, talks, festivals, music concerts and theatre performances throughout the year. The 15-acre site was originally a garbage dump. Geographically, it was an ideal crossroads between LA's Westside and the Valley for Dr. Herscher. It was built over 30 years in 4 phases, beginning in the early 1980s, as to keep the institution never in debt. About the purpose of the museum Rachel Stark states, "The Skirball Cultural Center is a place of meeting guided by the Jewish tradition of welcoming the stranger and inspired by the American democratic ideals of freedom and equality. We welcome people of all communities and generations to participate in cultural experiences that celebrate discovery and hope, foster human connections, and call upon us to help build a more just society."
The Noah's Ark was a 5-year process to build out, and started with proposals to architecture firms bidding for the project. Olson Sundberg Kudig Allen Architects of Seattle ultimate designed the ark. Principal Alan Maskin along with designer and puppeteer Chris Green lead the interactive designs of over 300 animals in and around the exhibition space, many which are made with repurposed materials. The ongoing partnership with Chris Green has continued to bring more animals to the space over recent years. The family art studio, puppet festival and other family programming are rooted in the Noah's Ark galleries. Always a part of the original plan from the 1980s as a kids' destination, the exhibit brings the ideals of the museum to a young audience. The beloved stories span cross culturally and is truly universal and familiar.
The story is introduced at the entry foyer through interactive storytelling. MuSEEum kids, initially engrossed by the eye catching bird puppets high above at the ceiling, were quickly drawn into the educator inviting us to thump and motion to make rain and flood. We loved the integration of sign language in the story, and my daughter was delighted that it all ended with a rainbow. The interactive puppets and display animals offered so many moments of discovery. For e.g. an elephant's body incorporates a gong, it's trunk - bamboo dim sum containers and other parts - Thai handmade paper, all to reflect where the animal had traveled from. As the exhibit unfolds, the visitor walks through the story, beginning with interactive exhibits to make a storm and lightning, to becoming Noah and leading in animals on a conveyor belt two by two, then housing and feeing the animals inside the ark.
The theme of working together and sustainability is a general theme throughout the exhibit, as many of the puppets and interactive features required more than one person to operate. The second part of the Ark is where the animals have settled in and made it their own, with niches and tunnels to explore and even fake "poop" to clean up. For some reason, kids (mine included) uncharacteristically seemed to enjoy the clean-up activity. We spent the bulk of our visit here, climbing up and down the walkways, making soups and rationing meals using the food gadgets. The galleries ended with a workshop area with educators leading arts and crafts, with the theme of building roots and making community. The kids were excited to get to take home their own seed plantings.
We got to catch the storytelling show in the Amphitheatre. The life size puppets and musical elements were engaging and powerful for adults and kids alike. The amazing talent on stage brought a different dimension to the Noah's Ark story. It was exciting to witness the more representational elements inside the exhibit being brought to life by real puppeteers. The ancient story suddenly felt very current and relatable through their representation. After feeling inspired by all of the artful pieces we could not leave without visiting the Studio to make some of our own creations. It was a really fun, creative whirlwind to collaborate with the kids assemble a trophy and a robot out of arbitrary reclaimed materials from buttons to tassles and ping pong balls. The look of accomplishment and pride in their faces as we marched out with our projects made the effort more than worth it!
Rachel Stark was able to share more information about the Skirball Cultural Center through some of our questions:
How has the museum's vision evolved over the years?
Marking its twentieth year in 2016, the Skirball has become a leading cultural venue in Los Angeles and one of the world's most dynamic Jewish cultural institutions. With the opening of the award-winning permanent exhibition Noah's Ark at the Skirball™ nearly ten years ago, the Skirball has become a celebrated destination for families with its unique blend of interactive, participatory, and values-driven programming. Led by a talented team of educators with diverse backgrounds in early childhood education, theater, puppetry, and percussion, Noah's Ark is a space that continues to surprise and inspire visitors, furthering the Skirball's fundamental goals of transmitting values from one generation to the next, welcoming the stranger, and caring for the earth and one another. Essentially, our goal as a cultural center is to connect people who on the surface might seem different from one another (because of their ages, cultural background, etc.) to their common humanity by getting them to see themselves in others.
Where did the Jewish heritage mission come from, and how much does it apply to today's programs?
Our founder, Uri D. Herscher, is a scholar, administrator, and rabbi whose abiding commitment to Jewish values has infused the Skirball throughout its history. Dr. Herscher's pioneering vision was to create a multifaceted Jewish institution whose mission is to welcome and engage diverse communities. This vision and mission have defined the Skirball since its founding, and it undergirds everything we present, including Noah's Ark.
Why is the museum only open to the public after noon?
The Skirball sees education as one of its primary functions and thus dedicates morning hours to its thriving school outreach programs. In the mornings, before we open to the public at noon, the Skirball is filled with hundreds of Pre-K – Grade 12 students attending school tours of exhibitions including Noah's Ark. And during the weekends, the Skirball opens at 10:00 a.m.!
How has having the Noah's Ark exhibit affected the museum?
The participatory nature of Noah's Ark and the commitment to helping visitors make meaningful connections to one another and the world around them has definitely impacted the institution at large. From the selection and design of exhibitions, to the scope of programs offered, we're continually thinking about ways to emphasize interaction and action, activating the visitor experience through storytelling, theater, sensory experiences, and more, as well as aligning with community partners that are working to build a better world. We hope to inspire our visitors to take action on behalf of issues they care about, furthering our mission to build a more just society.
Which kids' education philosophies would you say that you try to adhere to?
The Education department at the Skirball looks to a variety of educational philosophies in both formal and informal learning, adopting a progressive approach to learning. In particular, we use a Constructivist model and focus on affective learning. We're also aligned with many aspects of the Reggio Emilia approach. We're motivated by children's natural curiosity and creativity to create safe, dynamic spaces where they can learn, discover, imagine, and connect.
My kids loved the art studio. What are some of your upcoming interactive kids/family programs that you'd like to highlight for our audience?
Glad you enjoyed the Family Art Studio! The Studio is open every Saturday and Sunday, 10:00 a.m.–5:00 p.m. with projects changing monthly during the school year. In September, use collage materials to create a tzedakah box (tzedakah means "justice" in Hebrew), a container used in the Jewish tradition to collect money, ideas, or kind words to help the community. In October, make your own harvest lantern, inspired by the fall Jewish holidays of Rosh Hashanah (the New Year) and Sukkot (a harvest festival), to honor new beginnings.
On Sunday October 16, attend Family Lego Day, 10:00 a.m.–3:00 p.m. Inspired by the tradition of building temporary dwellings during the Jewish festival of Sukkot and the values of shelter and community associated with this holiday, help construct a mini-neighborhood with instructors at Play-Well TEKnologies. Also, bring in new or gently used household items for families at Upward Bound House, which provides temporary housing and supportive services for homeless families in Los Angeles.
Also, for families with kids age 3 ½ - 5, sign up to attend a monthly Playdate, interactive single morning workshops specially designed for young children and their families. Families work together to make art, explore the campus, and more! The September 18 Playdate is called Attitude of Gratitude, the October 23 Playdate is called Harvest Hoopla!
Last, be sure to save the date for our annual Hanukkah Family Festival on December 18 with music, dancing, storytelling, printmaking with Self Help Graphics & Art and more!
Esther Sohn Jun
kids editor See profile
Esther's hunger for all things art developed from a young age and she has since gained qualifications in Art Studio, Art History and Interior Design. As a member of the Americans for the Arts Foundation and Artist Member of the… Read more
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text:
L'ottava edizione del Die Große Entscheidungsshow si è tenuta il 4 febbraio 2018 presso gli studi televisivi di SRF a Zurigo e ha selezionato il rappresentante della Svizzera all'Eurovision Song Contest 2018 di Lisbona.

I vincitori sono stati gli Zibbz con Stones.

Organizzazione

Il 30 giugno 2017 l'emittente svizzera SRG SSR ha confermato la 58ª partecipazione della Svizzera all'Eurovision Song Contest, rivelando inoltre che come negli 8 anni precedenti si sarebbe tenuta una selezione nazionale.

Dal 1º al 22 settembre 2017 gli aspiranti partecipanti hanno potuto inviare i propri brani a SRG SSR, che, tramite una giuria di 20 membri, ha poi selezionato, tra le 670 proposte, i 6 partecipanti all'evento.

La selezione nazionale è stata organizzata congiuntamente dalla Schweizerische Radio- und Fernsehgesellschaft (SRG SSR) e dalla Schweizer Radio und Fernsehen (SRF).

Lo show si è tenuto in un'unica serata ospitata dallo Studio 1 di SRF a Zurigo e presentata da Sven Epiney.

Il voto è stato composto per metà dal televoto su scala nazionale e per metà da 7 giurie nazionali (provenienti da Albania, Armenia, Francia, Germania, Islanda, Israele e Italia).

Giurie internazionali
Il voto delle giurie è stato composto dai punteggi assegnati da 7 giurie nazionali:

 : Sokol Marsi, Sonila Djepaxhia, Klodian Qafoku, Elton Deda e Edmond Zhulali;
 : Gohar Gasparyan, Asatur Asatryan, Artsvik, Davit Tserunyan e Emma Asatryan;
 : Edoardo Grassi, Dumé, Sebastien Barké, Enea e Margaux Savarit;
 : Mairena Torres Schuster, Nina Straube, Markus Pingel, Stefan Spiegel e Roman Rätzke;
 : Felix Bergsson, Margrét Blöndal, Máni Svavarsson, Gísli Marteinn Baldursson e Hulda Geirsdóttir;
 : Lev Liron, Zel Chaya, Litvin Eran, Shevach Meytal e Pinto Goel;
 : Eddy Anselmi, Nicola Caligiore, Marta Cagnola, Chiara di Gianbattista e Andrea Bonetti.

Partecipanti
La lista dei partecipanti è stata annunciata il 9 gennaio 2018:

Finale

All'Eurovision Song Contest

Verso l'evento
Gli Zibbz per sponsorizzare il proprio brano hanno preso parte a 4 eventi: il London Eurovision Party (Londra, 5 aprile 2018), l'Israel Calling (Tel Aviv, 8-11 aprile 2018), l'Eurovision in Concert (Amsterdam, 14 aprile 2018) e l'Eurovision Spain Pre-Party (Madrid, 20-21 aprile 2018).

Il 29 gennaio 2018 si è svolto il sorteggio per la composizione delle due semifinali e i rispettivi ordini di esibizione. La Svizzera è stata sorteggiata per l'esibizione nella prima semifinale al 17°, posto dopo l'Armenia di Sevak Khanagyan e prima dell'Irlanda di Ryan O'Shaughnessy.

Performance
Il format dell'esibizione ha subito diversi cambiamenti rispetto a quello utilizzato per la selezione: Stefan Gfeller è rimasto alla batteria, mentre Corinne, in abiti country, gira l'ampio palco dell'Altice Arena cantando il brano. Il duo è stato affiancato da 3 coristi non presenti sul palco: Laurell Barker (autrice del brano), Nita Fernandes e Sabrina Kern.

La Svizzera si è esibita 17ª nella prima semifinale, classificandosi 13ª con 86 punti e non qualificandosi per la finale.

Giuria e commentatori
La giuria svizzera per l'Eurovision Song Contest 2018 è stata composta da:

 Georg Schlunegger, produttore discografico, paroliere e presidente di giuria;
 Alizé Oswald, cantante;
 Michael Kinzer;
 Eva Bellomo, cantante;
 Nicola Kneringer, cantante.

L'evento è stato trasmesso dalle tre emittenti principali svizzere: le semifinali sono state trasmesse da SRF zwei con il commento in tedesco di Sven Epiney, da RSI LA2 con il commento in italiano di Clarissa Tami e Sebalter, e su RTS Deux con il commento in francese di Jean-Marc Richard e Nicolas Taner. Le finali, con i medesimi commentatori, sono state trasmesse da SRF 1, RSI LA1 e RTS Un. La portavoce dei voti della giuria in finale è stata Letícia Carvalho.

Voto

Punti assegnati alla Svizzera

Punti assegnati dalla Svizzera

Note

Altri progetti

2018
Eurovision Song Contest 2018
Festival musicali del 2018


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text:
k4tu
www-new
forked from www/www-new
You've already forked www-new
Fix broken and weird links (#246)
Implements all the changes mentioned in #237, except for the following:
- Services, Live Streaming - "Icecast" still links to https://icy.csclub.uwaterloo.ca/
- Services, In-Office Books - "extensive collection of Computer Science-related books" still links to http://csclub.uwaterloo.ca/library/
(If these items need to be changed, then we can create new issues for them)
Closes #237
Co-authored-by: Amy <a258wang@uwaterloo.ca>
Reviewed-on: www/www-new#246
Reviewed-by: j285he <j285he@localhost>
Reviewed-by: n3parikh <n3parikh@localhost>
Co-authored-by: Amy <a258wang@csclub.uwaterloo.ca>
Co-committed-by: Amy <a258wang@csclub.uwaterloo.ca>
fix-md-font
Amy Wang 1 year ago
parent 966129adf8
commit 8bb5f160f0
content/about/code-of-conduct/license-information-and-attribution.md
content/about/constitution/code-of-conduct.md
content/get-involved.mdx
content/resources/services/cs-club-email.md
content/resources/services/mailing-lists.md
@ -3,4 +3,4 @@ title: License Information and Attribution
index: 11
- The Code of Conduct is distributed under a [Creative Commons Attribution-ShareAlike License](http://creativecommons.org/licenses/by-sa/3.0/) , derived from the [Women in Computer Science Code of Conduct](http://wics.uwaterloo.ca/code-of-conduct/) , the [UW Amateur Radio Club Code of Conduct](http://uwarc.uwaterloo.ca/policies-procedures/code-of-conduct/) , and the [FASS Code of Conduct (Article 2, Section 16)](http://fass.uwaterloo.ca/wp-content/uploads/2015/03/constitution.pdf) .
- The Code of Conduct is distributed under a [Creative Commons Attribution-ShareAlike License](http://creativecommons.org/licenses/by-sa/3.0/), derived from the [Women in Computer Science Code of Conduct](http://wics.uwaterloo.ca/deprecated/code-of-conduct/), the [UW Amateur Radio Club Code of Conduct](http://uwarc.uwaterloo.ca/policies-procedures/code-of-conduct/), and the [FASS Code of Conduct](http://fass.uwaterloo.ca/fassconstitution).
@ -4,5 +4,5 @@ index: 12
1. The Club has a [Code of Conduct](/about/code-of-conduct).
2. The [scope of the Code of Conduct](/about/code-of-conduct/scopes-and-spaces) is specified by the Code of Conduct.
2. The [scope of the Code of Conduct](/about/code-of-conduct/scope-and-spaces) is specified by the Code of Conduct.
3. Changes to the Code of Conduct are governed by the same rules as changes to the Constitution.
@ -80,6 +80,6 @@ Each term, the CSC holds elections to determine the executive council:
- Assistant Vice-President
To find out when and where the next elections will be held, keep an eye on on the [News](/).
To find out when and where the next elections will be held, keep an eye on on the [News](/#news).
For details on the elections, see the [Constitution](/about/constitution).
@ -3,7 +3,7 @@ title: CS Club Email
Members also receive a **username@csclub.uwaterloo.ca** email address.
Members also receive a **[username@csclub.uwaterloo.ca](#)** email address.
- Mailboxes are considered as part of your disk quota, so your mailbox may grow up to the amount of disk quota you have.
- Attachments of any file size or type may be sent.
@ -3,8 +3,8 @@ title: Mailing Lists
Our [csc-general mailing list](http://mailman.csclub.uwaterloo.ca/listinfo/csc-general) informs members about our current events.
Our [csc-general mailing list](https://mailman.csclub.uwaterloo.ca/postorius/lists/csc-general.csclub.uwaterloo.ca/) informs members about our current events.
Our [csc-industry mailing list](http://mailman.csclub.uwaterloo.ca/listinfo/csc-industry) allows students to opt-in to receiving emails from industry representatives.
Our [csc-industry mailing list](https://mailman.csclub.uwaterloo.ca/postorius/lists/csc-industry.csclub.uwaterloo.ca/) allows students to opt-in to receiving emails from industry representatives.
- Corporate events, job postings, info sessions, and related events may be posted here.
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text:
HUSSAIN : Stand With Dignity
Become A Volunteer Now
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Stand with Dignity
AN EVERLASTING STAND
THE TRAGEDY
Bringing the Lioness of Karbala to the West
What is the road to Karbala?
Black Lives in Husain's Eyes
Karbala – The Greatest Untold Story of Our Times
Zaynab The Sister Of Imam Hussain a.s
Safe Ashura practices in the context of COVID-19
Newark: Water is human right.
Newark Drinking Water Crisis
Why Stand with Dignity Serving at Risk and Orphaned Children in…
Stand with Dignity Campaign
Prophets and Hussain
Chaplain Khalid Latif : Who is Imam Hussain ?
Malala Yousafzai – Imam Hussain
Sheikh Hussain Al–Nasheed: Sacrifice of Prophet Abraham Who is Imam Hussain?
Roses from Imam Hussain
Imam Hussain (a.s), The champion of freedom
By Adill Hissan
I feel unworthy of writing about this tremendous personality, Al-Hussain. I do not know how to introduce him. How can you really describe consciousness; how can you define honor; how can you explain patience. All such human values are unworthy of being synonymous with the reality of Al-Hussain.
Whatever is written about Al-Hussain since his martyrdom until now and till the end of time is truly a mere attempt of knowing what this universal idea, whom we call Al-Hussain, is all about. Writing about someone like Al-Hussain is like chasing after the "mirage" in the middle of the desert.
As you know, conventionally, when introducing someone we usually tend to take the genealogy approach.
We deliberately try to present the names of the father, mother and whatever other names that are related to the individual so that the people may appreciate him or her. But this social norm of introduction may not be necessary in introducing someone like Imam Hussain .
Imam Hussain, in reality, stands alone as a distinguished gem in the crown of consciousness; as a bright unique galaxy in the entire cosmos of creation; Hussain's reality has manifested the true nature of the throne of the Beloved. He has unveiled the true reality of the cosmological love towards the only true existence, the possessor of splendor and majesty-thul jalali walikram, Allah (God).
He has become as a measuring stick for all great men of human history (excluding prophets of God). Imam Hussain's close kinship to the Prophet of Islam (s) and to the commander of the faithful Ali (AS) is not paramount to the greatness which he has earned, but surely his kinship to them would only add more wonder to the beauty; more jewels to the crown of wisdom. Hussain does not belong to the Shi'a nor to the Sunni nor to the Muslim community alone.
He is for all of humanity. There are many noble lessons to learn from the various chapters of the battle of Karbala. He has truly manifested the peak of every human principle; he gave life to human consciousness; he redefined the meaning of devotion; his perseverance has humbled the notion of perseverance; steadfastness was unable to comprehend his extraordinary capacity of endurance during moments of overwhelming suffering and hardship.
One extraordinary example of his remarkable fortitude is in the case of his infant son Abdullah when he was murdered while being carried with his sacred hands as pleading to the Muslim enemies for some water for his thirsty crying baby. In this particular episode he truly embodied the true meaning of sacrifice and martyrdom, when he uttered these words, in such difficult moments: "O' Allah, O' my Lord! My consolation is the fact that Thou in Thine Majesty are witnessing what I am going through.
O Lord! Your Hussain has offered in your way whatever you had blessed him with. Bless Your Hussain, O Lord! with the acceptance of this sacrifice. Everything Hussain could do till now was through Your help and by Your Grace." Such profound words of Imam Hussain were not uttered in order to obtain pity nor was it for Muslims to shed tears. Rather he has established a divine path through which human beings can seek forgiveness and reconciliation instead of revenge and division and he wanted to guide Muslims to the almighty God at times of hardship, calamities or the loss of loved ones.
He wanted people of all faiths to seek refuge in God at the most critical moments of our lives such as loosing or watching our loved ones suffer or being murdered. In such critical moments of loss and grief which are capable of incinerating a lofty mountain let alone a human being as Imam Hussain, yet he did not seek revenge from his enemies for the murder of his baby son rather he asked God to help him go through these difficult moments and he accepted what God has ordained for him. He also wanted people to be willing to sacrifice the most dear things to them such as their children if necessary, to uphold the principle of humanity; to maintain the principle of justice and to absolutely reject injustice; to live as free human being and not to be subjugated to the will of tyranny. This is a true form of sacrifice and devotion.
Patience was displayed at its highest level which was displayed by Imam Hussain and his comrades. When he recognized the eminent death of himself and his comrades, the spirit of Muhammad (s) and the consciousness of Ali had spoken. The lips of God's Glory began to sing the symphony of love in longing for the Beloved.
The chorus of the human essence became silent in reverence to its leader "al Hussain"; his words are the divine lyrics to be sung in our battle of the self on the ground of our body at times of challenge and struggle; and these words are: "O Allah! It is Thee in whom I trust amid all grief. You are my hope amid all violence. Thou are my refuge and provision in everything that happens to me. How many grievances weaken the heart, leaving me with no means to handle them, during which friend deserts me, and enemy rejoices in it. I lay it before Thee and complain of it to Thee, because of my desire in Thee, Thee alone.
You relieve me of it and remove it from me. Thou are the Master of all Grace, the Essence of Goodness, and the Ultimate Resort of all Desire." Bravery was embarrassed by the true heroism of Hussain and his comrades; His ultimate purpose was seeking reform within the Muslim community as he declared "…I have risen to seek reform within the community of my Grandfather Muhammad…" He fought against injustice, oppression and exposed hypocrisy and corruption. He has become the hope for the hopeless; the sanctuary for the oppressed and he is the guide for every mission of reform in all societies. Islam's main principle is "unifying Allah"; when Hussain marched to Karbala he had only one thought in mind that is "You alone we worship and you alone we seek help from-Quran1:5″. He feared no one but Allah; he is indeed a wonderful example of a true "unifier" Quran's essence is " To command the good and forbid the mischief "; Hussain's goal was just that. Hussain is the essence of the holy Quran.
Frankly it is almost impossible to express myself in writing about Imam Hussain. And I do not think anyone would be able to define the various dimensions of Hussain's personality. Hussain is the fascination of poets; the imagination of artists and the contemplation of writers. He is a challenge to all writers for all times to come, just like his father Imam Ali and his grandfather the Holy prophet of Islam. Let me escape for a moment to the world of imagination so that I may be able to express some words regarding the beauty of Hussain. It is said that one day a writer wanted to contemplate on Imam Hussain's personality. At first he thought it would be an easy task. He had written about every great man with the stroke of his pen for he was a master in writing.
Then as he was about to write his essay, his hands suddenly froze. His thoughts stalled. His being was shaken. He was frightened. Then he turned towards Allah(SW) asking him for help. His request was granted. He regained his strength and started his journey in the wonders of creation; in the beauty of Hussain. What a journey it was; He entered the world of wonders; The world of knowledge; The world of wisdom; The world of contemplation; What a journey it was. He was exploring in the wonders of the ultimate human qualities. Suddenly his inner feelings told him that he is approaching unexplained reality; the reality of Hussain (A.S); Then he stopped; He tried to collect himself; He looked ahead; He found himself facing a lofty mountain; Its summit he perceived not; Its size he comprehended not; Its likeness he's seen not. Then a voice from the unseen called out. You are in the station of the reality of Hussain and the voice has confirmed that this station is only a sign towards the Garden of the Beloved.
He was overwhelmed with this frightening, pleasurable experience. But he had the charisma to go on with his explorative mission. He marched toward the mountain. What a journey it was! At times he felt shame and disgrace of what achievements the human being could attain. But he also felt that he could learn from these wonders of Hussain(A.S) to reach human perfection. Now he paused to see how far he is from reaching the top of this mountain; Hussain. Fatigue and exhaustion has taken him.
For a moment he thought he was there. He is about to unlock the mystery of Hussain He was about to know the reality of Hussain. So he stopped and looked around him. He said, this can't be true; he looked at his watch; he realized that days and months have passed. Then he realized that he is still roaming in the middle of the valley which surrounds the mountain. Finally he determines that his journey is unattainable. Then he pondered for a moment and said: if that is Hussain, then what would be his father Ali and grandfather Mohammad (s) the prophet of Islam, like. And that is Hussain .
He remains a mystery and a secret of Allah's creation because his reality belongs to the sublime knowledge of Allah (God). No human being will ever comprehend the phenomena of Hussain. He was a true representation of the Holy Prophet's beauty and reality, for he was described by Prophet Mohammad (s) in an authentic tradition as "Hussain is from me and I am from Hussain" Hussain is the necessary principle to ensure the continuity of true Islam. He is the dynamic force to maintain the purity of the Religion of Mohammad (s); an everlasting challenge to every Evil on this earth. Peace be upon the children of Al Hussain, upon the companion of Al Hussain, the peace of the Beloved Allah from us to you O Hussain as long as we live and as long as there is day and night till the Day of resurrection.
Previous articleKarbala and beyond
Next articleThe despicable status of the killers of Hussain
Karbala in current context
Hussain : The conscience of all regions
Quotes on Imam Hussain By great writers,Intellects, artists and...
The historical background of the battle of Karbala
You Tube15
HUSSAIN : Stand With Dignity10
Antoine bara: You shi'a do not appreciate the value of Imam...
Stand with Dignity is a campaign to raise awareness about the state of our lives. What do we stand for? What values would we fight for? How often do we have compassion for others? These are questions we urge you to ask yourself. To stand with dignity is to understand mankind's worth. While we want to encourage people to learn about Imam Hussain, our goal is to first promote reflection on his message
© Copyright Standwithdignity.org || Developed With ♥ By IBRAHIM ASHTAR


text:
Q: Factor the expression completely $x^{5/2} - x^{1/2}$ I factored out the $x^{5/2}$ and was left with $x^{5/2} (x^{-4/2}-1)$.
The answer in the book is $x^{1/2} (x+1)(x-1)$.
What am I forgetting to do?

A: I think this is ambiguous in terms of a full factorisation - if you are allowed $\frac 12$ as an index you can do $$x^{\frac 12}(x+1)(x-1)=x^{\frac 12}(x+1)(x^{\frac 12}+1)(x^{\frac 12}-1)$$
This is what you get if you set $y=x^{\frac 12}$ at the start to change all the exponents to integers, so the problem becomes: factorise $y^5-y$ and you get: $$y^5-y=y(y^4-1)=y(y^2+1)(y^2-1)=y(y^2+1)(y+1)(y-1)$$

Note: this further comment is less straightforward, but raises the question "what do you mean by a complete factorisation" rather more radically.
For a bit of fun, if you are allowed arbitrary fractions as indices you can do things like $$x+1=(x^{\frac 13}+1)(x^{\frac 23}-x^{\frac 13}+1)$$
which imitates $z^3+1=(z+1)(z^2-z+1)$. For any odd $r$ you can set $a^r=x$ and obtain a factorisation of $x+1=a^r+1$ by extracting the factor $a+1$. For $x-1$ you can do something similar for any positive integer $r$.
so although the first form is probably the "obvious" one to go for, the question is not entirely well posed.

A: $$x^{\frac52}-x^{\frac12}=x^{\frac12}\left(x^2-1\right)=x^{\frac12}\left(x-1\right)(x+1)$$

A: $x^{\frac{5}{2}} - x^{\frac{1}{2}} = x^{\frac{1}{2}}(x^{\frac{4}{2}} - 1)= x^{\frac{1}{2}}(x^2 - 1) = x^{\frac{1}{2}}(x+1)(x-1)$
The last factorisation uses $a^2 - b^2 = (a+b)(a-b)$

A: $$x^{5/2}-x^{1/2}=x^{1/2}x^{2}-x^{1/2}=\\
x^{1/2}(x^2-1)$$
Since $a^2-b^2=(a+b)(a-b)$, let $a=x$ and $b=1$ (note that $1^2=1$). What do you get?

A: Hint:
try replacing $x^{1/2}$ with $t$, perform the factoring, then back replace $t$ with $x^{1/2}$
the first step would be...
$$x^{5/2} - x^{1/2} = x^{5\cdot\frac{1}{2}} - x^{\frac{1}{2}}= (x^{\frac{1}{2}})^5 - x^\frac{1}{2} = t^5 - t$$
you can complete the other steps.

redpajama_set_name: RedPajamaStackExchange


text:
WashU trial evaluates effectiveness of COVID-19 vaccines for people taking immunosuppressants
The trial wants to see how the vaccine interacts with people on immunosuppressants
Author: Justina Coronel (KSDK)
Published: 9:28 PM CDT March 23, 2021
Updated: 9:28 PM CDT March 23, 2021
ST. LOUIS — For people on immunosuppressants, there are still a lot of unknowns when it comes to the COVID-19 vaccine.
They don't know how much protection they will have.
Washington University said these patients were not included in the large COVID-19 vaccine trials and the drugs they are taking may blunt the body's antibody response to vaccines.
To answer questions, researchers with Washington University's School of Medicine are leading a trial to evaluate the safety and effectiveness of COVID-19 vaccines in people taking immunosuppressive drugs.
These drugs often treat autoimmune diseases, including arthritis, lupus, Crohn's disease and psoriasis.
"In this group of patients, our team will be evaluating the quantity and quality of the antibody response normally generated from COVID-19 vaccines," Dr. Alfred Kim, assistant professor of medicine and leader of the trial, said. "Many people with autoimmune diseases need these medications to stay in remission."
For Marshala Bernaugh, Lupus has taken a toll on her life.
"I've had some really low points to the point where they didn't think I may survive. And some high points, for the last 10 years I've been in remission," she said.
When the vaccine came into the picture, she wondered how it will affect her.
"There's actually very little data, particularly with COVID-19 vaccination and the type of responses, whether or not they're going to be protective or sufficient enough for them," Dr. Kim said.
Dr. Kim is Bernaugh's rheumatologist and told her the importance of the vaccine.
Not only did she get it, but also became one of the 100 participants in the trial.
They are collecting blood and surveys from pre-vaccination and several post-vaccination visits.
Results are already rolling in.
Dr. Kim said they will report the data in the next couple weeks.
But for now?
"Early on, without telling too much, we are seeing certain types of medications, in particular, may reduce antibody responses after vaccination. All we can say is that, with certain medications, we're definitely seeing a reduction though. I think the biggest caveat here is we don't know whether this type of reduction is so great that you won't be protected."
Bernaugh believes the vaccine gives her a fighting chance and hopes with her input, she can help others.
"There were people before me who tried the medications that I am now on that's helping me and I'm thinking if they hadn't done that, they wouldn't know how to treat me. So now, I feel like I'm paying it forward," she said.
Dr. Kim strongly urges patients on immunosuppressions to get vaccinated, as these patients tend to do worse if they contract COVID-19.
He encourages patients on the fence to discuss this with their treating physician.
Dr. Kim said they are still needing several hundred participants, so that way they get even more data.
HOW TO ENROLL:
As long as they have a documented autoimmune disease and are on immunosuppressive medications, they are largely eligible. Its team can help determine final eligibility. This does exclude patients with cancer though.
Researchers are enrolling adults ages 18 and older in the St. Louis region.
They are recruiting health-care workers at the School of Medicine and patients seen in Washington University outpatient clinics.
They have to get the vaccine, WashU cannot offer the vaccine through the study.
You can sign up by emailing: Covaripad@wustl.edu
Participants have to be able to come to the WashU medical campus though, as the blood processing requirements are unique and cannot be done in routine clinical labs.
'It means we get our life back' | Spouses reunite as vaccinations increase
Volunteers needed for new COVID-19 vaccine
Find vaccine clinics in your area
Demand for COVID-19 booster waining


Not to be confused with Cyrillic Yo (Ё).
Ë, ë (e-diaeresis) is a letter in the Albanian, Kashubian, Emilian-Romagnol and Ladin alphabets. As a variant of the letter e, it also appears in Acehnese, Afrikaans, Dutch, Filipino, French, Luxembourgish, the Abruzzese dialect of the Neapolitan language, and the Ascolano dialect. The letter is also used in Seneca, Taiwanese Hokkien, Turoyo and Uyghur when written in Latin script.
In Acehnese, ë is used to represent /ə/ (schwa), a mid central vowel.
In Afrikaans, the trema (Afrikaans: deelteken) is mostly used to indicate that the vowel should not be diphthongised, for example geër ("giver") is pronounced [χeər], whilst geer (a wedge-shaped piece of fabric) is pronounced [χiːr]. There are some cases where the deelteken does nothing to the pronunciation, like in reën ("rain"), which is pronounced [reən]. The non-existent word reen would be pronounced the same. The deelteken in this case has only a historical background; the archaic form of reën is regen and the deelteken indicates that the g was removed. Some older people still pronounce reën in two syllables ([ˈreː.ən]).
The deelteken does exactly what it says (deelteken being Afrikaans for "separation mark"). It separates syllables, as it indicates the start of a new one. An example of this is the word voël ("bird"), which is pronounced in two syllables. Without it, the word would become voel ("feel"), which is pronounced in one syllable.
Ë is the 8th letter of the Albanian alphabet and represents the vowel /ə/. It is the most commonly used letter of the language, comprising 10 percent of all writings.
Ë is a phonetic symbol also used in the transcription of Abruzzese dialects and in the Province of Ascoli Piceno (the ascolano dialect). It is called "mute E" and sounds like a hummed é. It is important for the prosody of the dialect itself.
Ë is used in Romagnol to represent [ɛː~ɛə], e.g. fradël [fraˈdɛəl~fraˈdɛːl] "brother". In some peripheral Emilian dialects, ë is used to represent [ə], e.g. strëtt [strətː] "narrow".
Use of the character Ë in the English language is relatively rare. Some publications, such as the American magazine The New Yorker, use it more often than others. It is used to indicate that the e is to be pronounced separately from the preceding vowel (e.g. in the word "reëntry", the feminine name "Chloë" or in the masculine name "Raphaël"), or at all - like in the name of the Brontë sisters, where without diaeresis the final e would be mute.
Ë appears in words like French Noël and Dutch koloniën. This so-called trema is used to indicate that the vowel should not be diphthonged. For example, Noël is pronounced [nɔɛl], whilst Noel would be pronounced [nœl]. Likewise, "koloniën" is pronounced [koːˈloːniən], whilst "kolonien" would be pronounced [koːˈloːnin].
Ë is the 9th letter of the Kashubian alphabet and represents /ə/.
Although not used in standard Ladin, Ë is used in some local dialects. It represents /ɜ/.
In many editions of Latin texts, the diaeresis is used to indicate that ae and oe form a hiatus, not a diphthong (in the Classical pronunciation) or a monophthong (in traditional English pronunciations). Examples: aër "air", poëta "poet", coërcere "to coerce".
In Luxembourgish, ⟨ë⟩ is used for stressed schwa /ə/ like in the word ëmmer ("always"). It is also used to indicate a morphological plural ending after two ⟨ee⟩ such as in eeër ("eggs") or leeën ("lay").
In the modern orthography of Mayan languages, the letter Ë represents /ə/.
In some Latin transliterations of Russian, ë is used for its homoglyph ё, representing a /jo/, as in Potëmkin to render the Cyrillic Потёмкин. Other translations use yo, jo or (ambiguously) simply e.
In the Syriac Latin alphabet, the letter Ë gives a schwa. In some grammatical constructions, it is a replacement for the other, original vowels (a, o, e, i, u). Example words that have Ë: knoṭër ("he is waiting"), krëhṭi ("they are running"), krëqdo ("she is dancing"), sxërla ("she has closed"), gfolëḥ ("he will work"), madënḥo ("east"), mën ("what"), ašër ("believe"). Turoyo and Assyrian languages may utilize this diacritic, albeit rarely.
In Seneca, the letter Ë is used to represent /ẽ/, a close-mid front unrounded nasalized vowel.
In Tagalog and its standardized form Filipino, Ë is used to represent the schwa, particularly in words originating from other Philippine languages, for instance Maranao (Mëranaw), Pangasinan, Ilocano, and Ibaloi. Before introduction of this letter, schwa was ambiguously represented by A or E.
Ë is the 6th letter of the Uyghur Latin alphabet and represents close-mid front unrounded vowel /e/.


This is a Must See! Motivated sellers - 4Bed/3FullBath - A charming open floor plan & wonderful modern amenities.Any chef will love cooking in the gourmet kitchen,equipped w/slab granite counters,pantry & an eat-in island.Relax in family room nearby,& cozy up by the fireplace.Glass slider provides easy access to newly built 15x15 deck that backs to green space.Spacious Garage w/custom 212 sqft storage area, & Wifi garage door opener.
All information deemed reliable but not guaranteed. All properties are subject to prior sale, change or withdrawal. Neither listing broker(s) or information provider(s) shall be responsible for any typographical errors, misinformation, misprints and shall be held totally harmless. Listing(s) information is provided for consumers personal, non-commercial use and may not be used for any purpose other than to identify prospective properties consumers may be interested in purchasing. Information on this site was last updated 4/20/2019 9:21:39 PM. The listing information on this page last changed on 4/20/2019 9:21:39 PM. The data relating to real estate for sale on this website comes in part from the Internet Data Exchange program of RMLS (last updated 4/20/2019 9:21:39 PM) or Willamette Valley MLS (last updated 4/20/2019 9:21:39 PM). Real estate listings held by brokerage firms other than RE/MAX Equity Group may be marked with the Internet Data Exchange logo and detailed information about those properties will include the name of the listing broker(s) when required by the MLS.


text:
Healthy Food & Nutritions
5 Most Common Signs and Symptoms of Iliotibial Band Syndrome
Health November 26, 2020 0
The iliotibial band is a piece of connective tissue. It runs from the hip to the shinbone on the outside of the leg. This piece of fascia plays a significant role in helping the knee flex and extend. Unfortunately, this piece of connective tissue can become damaged over time. In many cases, this damage is referred to as iliotibial band syndrome. This condition is an overuse injury.
The primary causes are overworking the body, failing to stretch properly before strenuous activity, and mechanical imbalances. This condition most commonly occurs in runners and bicyclists, though it can affect anyone.
There are several options for iliotibial band syndrome treatment. All patients need to rest their legs. Medications for iliotibial band syndrome can be helpful to relieve some pain.
Most patients will take over-the-counter anti-inflammatories for iliotibial band syndrome, as they can provide IT band pain relief. One example is ibuprofen. Home remedies for iliotibial band syndrome include massage and foam rollers for the legs.
Signs and Symptoms of Iliotibial Band Syndrome
Some patients need physical therapy for iliotibial band syndrome. Of course, patients must first understand their symptoms to ensure that they receive the best treatment for iliotibial band syndrome.
1. Stinging or Pricking Sensation
The first sign of iliotibial band syndrome is a stinging or pricking sensation in the knee after the patient's leg has been in motion. While this sensation can feel really odd, most patients generally ignore it.
The reason is that the stinging or pricking sensation comes in quick bursts. This symptom will gradually progress over time as the iliotibial band becomes more damaged. After months of quick bursts, the stinging sensation will eventually become painful.
Most individuals suffering from it band syndrome feel this sharp sting when the heel of their foot hits the ground.
2. Knee Swelling
The iliotibial band runs behind the thighbone before reaching the knee joint. With the bursa's help, the iliotibial band ensures that the leg can be extended and bent without harming the knee joint.
If this area of the body gets overworked without proper stretching or rest, inflammation will start developing. It is often tough to notice any symptoms when this inflammation first starts to occur.
Once the iliotibial band and bursa stay inflamed for a long period, patients start to notice swelling around the knee joint. This knee swelling will only go away with decreased activity and proper medical treatment.
3. Knee and Leg Pain
Once the iliotibial band and bursa sac are allowed to swell for an extended period, more troubling symptoms will start to appear. The inflammation will eventually begin to cause serious knee and leg pain.
Since the iliotibial band is located on the outer side of the leg and knee, this is where patients will feel the most pain. There is a chance that the pain can start to radiate in the other parts of the knee and leg.
However, it will always develop on the outside of the knee first. Pain is easily the most common symptom of iliotibial band syndrome. The pain is sometimes accompanied by warmth and redness on the knee.
4. Clicking or Popping Around the Knee
Inflammation in the iliotibial band causes the connective tissue to tighten over time. The tightening of the iliotibial band plays a huge role in the painful symptoms associated with this medical condition. It can also cause another problem.
Although not everyone experiences it, some patients report hearing clicking or popping around the knee when dealing with iliotibial band syndrome. These unwanted noises are heard when bending or flexing the leg.
The noise occurs because the iliotibial band is getting stretched to its limits. Several different problems can cause knee clicking or popping. However, it is almost always iliotibial band syndrome when accompanied by these other symptoms.
5. Buttock Tenderness
Most of the problems with the iliotibial band occur around the knee. However, it is also possible to develop issues near the top of the connective tissue. Similar to the other symptoms associated with iliotibial band syndrome, these problems occur when the iliotibial band becomes too tight.
The tight tissue causes friction on the hip when the body moves, resulting in hip and buttock tenderness. The iliotibial band may start at the hip, though the tenderness almost always radiates to the buttock.
The tenderness will occur on the same side of the body with the bad iliotibial band, so it will only be felt on one buttock and not the other.
5 Amazing Health Benefits of Riding a Bike
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