Tis' the season to make sure your search engine optimization (SEO) techniques are in accordance with Google's Webmaster Guidelines.
Why? Because Santa, I mean Google, will put your on the naughty list. A spot on Santa's naughty list means receiving coal instead of presents on Christmas morning. A spot on Google's naughty list means a lower pagerank, or worse, taken off the index completely.
In order to keep in Google's good graces and avoid these undesirable consequences, you have to play the rules, which means avoiding black hat SEO techniques.
I've brought for you the most common forms of abuse according to Google. However, Google reserves the right to take action against acts not listed here as well; so be careful to take steps to improve the user's experience, instead of looking for loopholes.
Read over this list and check it twice, because Google knows if you're naughty or nice..
The following list comes straight from Google's Webmaster Guidelines.
Automatically generated content is content that has been created by a program or software. Google is referring specifically to content that will be difficult for a user to understand because it has been automatically generated.
Link Schemes can include "any behavior that manipulates links to your site or outgoing links from your site." Some of these schemes include; buying and selling links, trading links excessively, large scale guest posting campaigns, or using services that create links to your site.
Web pages that attempt to improve their page rank by using a lot of words, but fail to provide original and meaningful content will be penalized. The key here is that these pages do not provide value for the user.
"Redirecting is the act of sending a visitor to a different URL than the one they initially requested." Whereas sneaky redirects involve showing human users to significantly different content than what is indexed by search engines.
Hiding texts or links on any given page in order to manipulate Google's search results is a violation of Google's Webmaster Guidelines. This can include hiding links in hyphens or other hard to find places, using white text on a white background, or setting the font size to 0.
Doorway Pages are websites or pages that exist for the sole purpose of ranking high on specific search queries. If the purpose of the page/site is to redirect users all to the same destination, this disrupts the user's experience.
Scraped content is content that has been taken from another website and republished on a different website without offering anything new to the user. An example of this violation includes changing around a few synonyms of an article and republishing it without offering adding any original or new content..
This category refers to "pure" affiliate sites which offer no added value to the user and simply take content from other places on the web. This can include copying product reviews from the merchant without adding value, or sites that have very little added value and every page is an affiliate link.
Any attempt to improve search engine ranking by loading a webpage with keywords such as repeating a keyword over and over again in an unnatural way weakens the user experience and is not allowed.
Malicious behavior in this instance refers to websites that execute activities/downloads that the user did not want or agree to. This behavior includes: installing malware and viruses, including other files in a download that the user didn't request, or changing a user's homepages preferences without consent.
Structured data that creates "misleading or deceptive experience for search users" should not be used in order to hide content from the users in any form. Snippets using fake ratings, reviews, and other forms of misleading information are all not allowed by Google's Webmaster Guidelines.
Using automated software to conduct research and inflate search engine results is in violation of Google's Terms of Service.
If you're unsure as to whether your practice might be in violation of Google's guidelines, ask yourself "Does this help my users?" or "Would I do this if search engines didn't exist?". It's best to avoid practices that deceive users or search engines.
1. Concentrate on building relationships with relevant influencers who will link to your content.
2. Do your keyword research and make sure you and your target audience are on the same page.
3. Make content so good that strangers will want to link to your content.
4. When using images and videos include appropriate ALT tags.
5. Make your website is user-friendly for desktop and mobile.
6. Focus on creating quality content over quantity.
7. Put yourself in the reader's shoes and ask yourself if you are proud of the content you have created.
There are no shortcuts here. If your focus is on creating great content and displaying your unique selling proposition, that is what will allow you to stand out from your competition.
And remember, if your website is on Google's nice list, it'll be on your users' nice list too.


McLaren has lopped the roof off its 570S, but don't expect the new McLaren 570S Spider to be any less potent. It'll still go from 0-100km/h in just 3.2 seconds.
I've got my eyes up and our Sicilian Yellow McLaren 570S Spider is demolishing the twisty narrow roads up near the spectacular Montserrat in Spain – and it's doing it with the same kind of uncanny speed and agility as a mongoose in a cage full of cobras.
I daren't look at the digital speedometer, either, for fear of losing some rhythm. But I can tell you, we are covering ground at an astonishing pace. In fact, it's difficult to think of a more capable car with this kind of corner-conquering firepower. Only the Porsche GT3 RS and the now-discontinued McLaren 675LT come to mind.
This kind of driving is addictive, especially in this car and in these parts. And thankfully, there seems to be no end to these deserted, corner-laden twisties.
Front-end grip on turn-in is simply astounding, and requires a full cognitive reboot in order to feel comfortable with this level of performance. It's a point made even more remarkable for the fact that this latest Spider is shod with relatively narrow 225/35 series tyres up front, though split with wider 285/35s down back.
It's a not a big footprint, as footprints go. There are more than a few of our favourite hot hatches wearing wider rubber than the 570S, at least up front. But, that's the thing with McLaren's sports cars, the chassis is so sublimely tuned, the tyres don't have to compensate for any twist caused by a lack of rigidity – because there just isn't any.
At least, that's the perception. But even if there's a semblance more flex in the Spider, it's largely imperceptible to this driver, even under these extreme loads. There are no rattles, squeaks or body movement, either.
And, while it feels like we're pretty-well on the pace, it's doubtful we're even running at seven-tenths. I know that, because the feedback from the electro-hydraulic steering rack tells me so.
That said, to push any harder is to go where only angels dare tread, such is the drop-off in these mountainous parts. There's plenty of freshly-laid Armco around to suggest plenty have tried. Not today, Jose.
Tyre width is also one of the few things McLaren uses to differentiate between the various series, otherwise there's little that separates the various models, as far as outright performance goes.
Certainly, that was case before the recently released 720S came along – a more advanced second-generation Super Series model intended to raise the bar with new technologies across future product.
Still, the 570S Spider is an inspiring machine, mainly because it responds so precisely to the smallest steering inputs, giving the impression it's all a bit too easy. Even my co-driver who's on his first trip to Europe, and only his second time behind the wheel of a left-hand drive vehicle, is making a proper go of it.
There's no doubt McLaren's intention to was to build a Spider version of the 570S with such potent capability from day one when the original 570S sketches were penned by Rob Melville (McLaren's Design Director) in 2012.
We're told the brief was simple; keep everything that was great about the 570S coupe – and lose the roof, but without losing anything else in the process. It comes down to several key factors, including McLaren's insistence on sticking with a carbon-fibre tub for each and every model, even the entry-level 540C.
Sticking with a more exotic construction than anything in the baskets of McLaren's rivals has allowed engineers to add a retractable two-piece roof system, weighing just 46 kilograms.
Critically, there's no other weight penalty for the Spider, as there's none of the usual structural reinforcement needed by rival models in order to achieve similar levels of rigidity.
Moreover, McLaren tells us that its cars, like the 570S Spider and its sports series siblings, are leading the charge when it comes to attracting new buyers from competing brands. And many of those are bent on using their brand-new supercar as a daily driver.
The company responded with a non-fiddly mechanism that's quick and easy to operate. Simply press a button and in less than 15 seconds the roof can be opened or closed at speeds up to 40km/h. Not only that, we can't ever recall hearing the mechanism working – at all.
With that in mind, you might be surprised to learn the 570S Spider gives nothing away to its Coupe sibling when it comes to pure drag racing performance off the line.
The 3.8-litre twin-turbo V8 still pumps out 419kW of power and 600Nm of torque, matching the Coupe's 3.2 second time for the 0-100km/h sprint. It's only when during a 0-200km/h sprint does the Spider give anything away to the coupe – try one-tenth for a 9.6-second run.
The Spider's heady top speed of 328km/h is also identical to that of that of the coupe, at least with the roof up. But even after ditching the top, it's still capable of reaching a ballistic 315km/h.
Naturally, there's more noise with the roof down, but even with the top up there's a glazed wind deflector that can be automatically lowered for more audio theatre. McLaren tells us it's continually working on its exhaust note – good thing, because it's still gruff and not overly inspiring.
That said, there's still quite a bit of buffeting inside the cabin above 100km/h – wind deflector or not. Though, conversation at normal speaking volumes was still possible at even greater speeds.
Opening it up on the straighter sections after descending from some considerable altitude, brings a barrage of turbo-infused torque that simply refuses to yield. You can feel the boost at work, for sure, but it's measured and delicately calibrated to throttle inputs.
Low-down lag isn't something that stands out in the Spider, either. This is a turbo V8 that likes to rev – all the way to 7500rpm. But even in these parts, you'll most likely run out of road before you get anywhere near redline.
Either way, you'll need to rely heavily on the standard-fit carbon-ceramic brakes, if you're going to drive this thing with a real sense of purpose. Up front, you can lean on huge 394mm carbon-ceramic rotors with six-pot calipers, while down back, they're not much smaller – 380mm and four pots.
But, like all McLarens, you've got to exert a fair amount of quad-powered leg force before the left-hand pedal starts to sink and the plate-size stoppers begin to bite. And when they do, big speeds can be reined in with devastating efficiency.
It's odd that McLaren's boffins don't make much of a song and dance about their seven-speed dual-clutch transmission (dubbed seamless shift) – because quite frankly, it's an extraordinary piece of engineering.
Left to its own devices it will happily, and rapidly, predict your optimum gear ratio and shift points to match each and every throttle and brake movement. But, that's only if you don't start fiddling with the Active Dynamic Panel, the signature McLaren software that allows drivers to independently control both handling and engine settings in the car between Normal, Sport and Track modes.
On roads like these, though, there's only one way to drive this car – manually, by using the exquisitely fashioned carbon-fibre paddle-shifters. They're fixed to the steering wheel, which is another piece of automotive art, wrapped in extra-thick Alcantara with exposed carbon-fibre spokes and nothing else. Not a single switch, button or knob to complicate matters.
Shift times are lightning fast, as quick anything we've driven lately. There are GT racers that don't downshift this rapidly.
And if you're concerned about how the 570S Spider and its dual-clutch gearbox might cope with peak hour traffic, don't be. Arriving back in Barcelona, we crawled along for seven kays without so much as a single hitch. It bodes well for those buyers wanting to use their McLaren as a daily.
When McLaren talks interiors, it's not all about lavish materials and feel-good touchpoints. It's much more about the low-set driving position and excellent forward visibility. As low as that seating position is (lower again with the optional carbon-fibre racing seats fitted to our tester), the driver still has really good sighting of the wings, which allows you to place the car very accurately on the road.
Though it's doubtful that many would choose a McLaren for its infotainment technology (it's still ordinary and you can't see the sat-nav screen for the sun glare) materials and finish are first class.
Everything in the car that looks like carbon-fibre, Nappa leather or hand- stitched Alcantara, is most certainly that material.
The McLaren 570S Spider is truly an exceptional supercar, which offers the kind of performance and dynamics package that few hardtop rivals can emulate – let alone a convertible.
McLaren has priced the 570S Spider at $435,750 plus on-roads, substantially more than the $379,000 price tag for the coupe and the rival Porsche 911 Turbo cabriolet, priced from $411,800.
Alternatively, Audi's R8 V10 quattro Spyder costs $388,500, while its Italian cousin, the Lamborghini Huracan LP610-4 Spyder is priced from $470,500.
Click on the Gallery tab for more images of the McLaren 570S Spider.


and here to make a contribution.
We are all different from each other. No two DNA are the same. Even for identical twins. We know this since time immemorial, right? So why do we keep on judging one another for our differences---in skin color, in preferences, in beliefs, in taste of style or music, in culture? Why can't we just embrace our uniqueness?
Embracing our uniqueness does not only mean being comfortable in our choices and individuality. As long as you're not hurting anyone in the process, why not? Whatever floats your boat as long as it doesn't sink mine, you know?
To embrace our uniqueness also means celebrating others for who they are. Allowing them to shine their own light knowing no one else can do it but them.
For we are all called to play a different role, but ultimately, our purpose is the same: to love.
How can we love if judgment comes first? How can we bridge a gap if we build a wall? How can we understand if we refuse to accept?
There is no music if there is only one note. There can't be a rainbow if there is only one color. The world will be dead boring if we are all the same.
Where is the challenge? How will the growth happen? Where is the excitement? What is there to look forward to and learn if we are all the same?
The key to finding peace despite our differences, in my humble opinion, is respect. Live your life, embrace your uniqueness, but most importantly, let live.
Respect the other person's idiosyncrasies. Because we all came from different backgrounds. Even siblings living under one roof for years could turn out to be different people with different perspectives.
We are all wired that way; to be different and to possess a special gift only us could offer.
I love, love, LOVE this. Thank God we are all unique!
nothing gets under my skin quicker than disrespect. thanks for putting this on the table today, Lux.
we are called to love well.
Thank you so much for this post sweetie!
What a wonderful post, dear friend!
Ever since I started blogging more than nine years ago, I have been preaching and teaching the philosophy outlined here. Embrace your uniqueness and be tolerant of others. Yes, of course, it feels good, feels comfortable, to be in the company of people who are "just like me," but there is much to be gained, much to be learned, by getting curious about other types of people, accepting them, welcoming them and embracing them. Walk a mile in someone else's shoes and you will experience the world differently. You will better understand where they are coming from. I consider myself very fortunate to have a friend like you who lives so far away, on the other side of the world, someone of a different culture, different generation and opposite gender. You have accepted me as a friend and I have accepted you. I enjoy experiencing the world through your filters. When it feels this good to move toward people of a different place and a different race, to get to know, understand and love them, then why do some of us deny ourselves this experience?
Embrace we should, as no two people are ever the same indeed.
Great to be one of a kind!
I agree, but it seems everyone is so angry anymore. There is a model of what you're supposed to be and think and if you don't fit into that mold then you're this or you're that. I'm sick of it too.
So well written! Have a blessed weekend!
I'm so glad that everyone is meant to be unique and one of a kind! How boring would life be if we were all alike? Love this! Great post!
It's important to embrace your uniqueness and just be yourself... easier said than done but I believe everyone can get there eventually!
Such a lovely post and inspiring thoughts!
Respect, yes. But let's take the next step and embrace. I am a better person for the diversity I have experienced in my life. There's no doubt in my mind of that.
What a beautiful post! I like your phrase "whatever floats your boat as long as it doesn't sink mine." I think our differences can also be our strengths.
Great post! It´s important to be unique!
Hi babe! Wish you a great day!
I need to remind myself constantly to quit judging. Diversity (in all forms) is beautiful.
Have a good week, Lux.
So true that siblings raised together can still be so different! It would be such a boring world if we all were the same!
I enjoyed reading this. We're all beautiful in our own way. Have a great week ahead.
I truly love this Ghay! Our world today tels you so much about physical or internal beauty but the end of the day, t's you who know yourself and it's your journey. You're correct that by appreciation of your own beauty is your appreciation of other beauty and flaws.
nice post! More empowering bloggers please!
You are right. Our uniqueness is God-given. That's why He made us as individuals, not just a big mass of humanity.
I think embracing what makes you unique is so important! I love this post, lady!
I love this post! One of my favourite quotes is about how if everybody was the same, wouldn't the world be a boring place?! haha :) Hope you're having a great week!
This is so beautiful. Great job with this post, Lux. A lot of poetic quotes.
Very well said. Love the article.


We'd love your help. Let us know what's wrong with this preview of Approaching the Magic Hour by Agnes Grinstead Anderson.
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The artist Walter Inglis Anderson has been dubbed the Van Gogh of the South. That's likely not only for his use of color, form and light; but also due to his bouts of terrifying mental illness. Though Van Gogh never married, he had intense feelings toward several women. Walter, known as Bob, had intense feelings for only one, the woman he married, Agnes, known as Sissy.
This is Sissy's story of her relationship with her husband; and it's a sad, illuminating and exhausting read. It's also a gener The artist Walter Inglis Anderson has been dubbed the Van Gogh of the South. That's likely not only for his use of color, form and light; but also due to his bouts of terrifying mental illness. Though Van Gogh never married, he had intense feelings toward several women. Walter, known as Bob, had intense feelings for only one, the woman he married, Agnes, known as Sissy.
This is Sissy's story of her relationship with her husband; and it's a sad, illuminating and exhausting read. It's also a generous and brave account of her exhilaration and (understandable) frustration during her life with Bob; her fear (many times she was in physical danger) and her enduring love; and her own 'realizations' (her husband's term for the union of man and Nature).
I remember how annoyed I would be when no one could find him. "I went to sleep in the hay," he would say.
So simple, so delightful. Why could I not remember from my childhood the delights of the loft? Was there any reason for alarm? For indignation? What horrible habits of anxiety we allow ourselves to develop. To what good? We never understand, at the time, what other people are seeking.
I know now that the alienated must seek forever the means of reentry into the world of man. Bob was seeking, for some reason, through the simpler world of animals. "Dogs, cats, birds are holes in heaven through which man may pass," he said.
I could not put this book down and read it in two sittings. What a lovely woman and a beautiful writer! I cannot say enought about how much I respect her and appreciate her, her husband, and the Anderson family. Ocean Springs is a wonderful place to visit and I highly recommend everyone visit. Now I just need to get to Horn Island.
A fascinating memoir for fans of Walter Anderson's art from the perspective of his wife, this book tells the story of their marriage, his struggles with mental illness, and the times and places that inform his paintings, drawings, and pottery. Though clearly a loving and sympathetic portrayal, this account does not shy away from discussing the challenges they faced together.
If you appreciate walter Anderson's work, This enlightening book by his wife shows the depth of soul searching...of his neccesity of being one with his subjects, and what one one who loves an artist will put up with for the sake of the art.
This book reveals what it's like to be married to a mad genius. The author, "Sissy" Grinstead Anderson was Walter Anderson's long-suffering wife. The text is her own reconstruction of diaries she'd previously burned, a fact which may convey a bit of the ambivalence she must have felt about sharing the fraught experience of her marriage. Evidently, she decided in the end on complete candor, and the result is very powerful.
Anderson remains my favorite artist, despite what I learned from reading t This book reveals what it's like to be married to a mad genius. The author, "Sissy" Grinstead Anderson was Walter Anderson's long-suffering wife. The text is her own reconstruction of diaries she'd previously burned, a fact which may convey a bit of the ambivalence she must have felt about sharing the fraught experience of her marriage. Evidently, she decided in the end on complete candor, and the result is very powerful.
Anderson remains my favorite artist, despite what I learned from reading this book. I suppose my prior understanding of him was that of a tourist (I am a frequent visitor to his namesake art museum in his adopted hometown of Ocean Springs, Mississippi), and I would often describe him to friends as a little "touched." I learn from Sissy's account, however, that he was neglectful and violent, far beyond what one would expect from an amiable eccentric. Perhaps this book will lead some readers to obsess on whether it's permissible to enjoy his art, considering what a terrible husband (and father) he was; but I don't believe the human experience is so neat, and the paradox is fitting that a man whose art has made me feel euphoric was also the creator of great pain and trouble for his own family.
Accordingly, one of my favorite parts of the book was toward the end, after the death of Walter (known as Bob), when Sissy, on exploring the house where he lived alone, discovers the "little room" (preserved and on display at the Walter Anderson Museum of Art), which he'd consecrated as a temple to the sun, replete with murals showing all God's creation in its fluttering, creeping, and crawling sublimity. "The room is full of the presence of the Creator," Sissy writes, "not the artist, although he is surely there, but God."
Agnes Grinstead Anderson writes so honestly about life with (and without) Walter Anderson. There were several points at which I closed the book and thought, "I'm not sure this is any of my business." But it's a compelling story, and I see his work with even more appreciation now, knowing it came at a high cost.
I was introduced to Walter Anderson and his work in Jack E. Davis' book GULF, thought he sounded like an interesting character, and went looking to see if there were any books about him. I found an "official biography" and this one. The bio was hard slogging, the kind of biography that I call a "data dump"... all the facts and no story. (A curious aside regarding that biography: the first section is a statement written by Anderson's youngest son — included as condition of his giving the author access to his father's papers — stating that his father didn't suffer from mental illness; just depression. Sorry, John, I not buying it.) This book written by his widow was more interesting.
This was a Read-aloud book, and Maggee liked it more than I did. She wanted to give it four stars; I was thinking 2. She thought it said something interesting about genius (often linked with madness) and love (often a condition that will blind a person to the harm the loved one is visiting on those around him/her), but I came away with less of a feeling of admiration for Anderson's genius and more feeling of pity for his wife and children and others in his family.
This book was #55 on our 2017 Read-alouds List.
I cried at the end of the book. I have a few Walter Anderson works and have visited Ocean Springs and shearwater pottery many times. During the reading, I often wondered how she stayed with him. But thank goodness for art, she did.
This review has been hidden because it contains spoilers. To view it, click here. Sometime 20 years ago or more, my grandmother saw an article on Walter Anderson in a Smithsonian magazine. It was an image of the bear from the community center mural that inspired her to be a lifelong admirer of Anderson's work. She has been trying to convince someone to go with her to Ocean Springs, Mississippi ever since. While we were not willing to sacrifice a tropical beach vacation for a road trip to Mississippi (why would anyone want to go to Mississippi of all places??), when I accepted Sometime 20 years ago or more, my grandmother saw an article on Walter Anderson in a Smithsonian magazine. It was an image of the bear from the community center mural that inspired her to be a lifelong admirer of Anderson's work. She has been trying to convince someone to go with her to Ocean Springs, Mississippi ever since. While we were not willing to sacrifice a tropical beach vacation for a road trip to Mississippi (why would anyone want to go to Mississippi of all places??), when I accepted a graduate position at MSU, there was no reason to keep saying no. So off we went on our Grandmother-Granddaughter Gulf Coast Adventure!
I was surprised how much I liked the museum and the town of Ocean Springs in general. His artwork is so colorful and unique, I don't know why I didn't appreciate it before. Inspired by our visit to the museum, my grandmother re-read this book during the remainder of our trip, and was finding it so funny that I felt I had to read it as well.
Walter.. Or "Bob" Anderson was quite the character. Agnes must have really loved him to stick with and love him as much as she did during all of that. After he turned violent, I feel as if many people, including myself, would have abandoned him to the state. My grandmother has a theory that he was not 100% mentally even before his initial psychotic break. I have to agree. The fact that he doesn't react to pain makes me think it was more than just a unique personality.
I adore Walter Anderson, and though I think his history is fascinating, I am not taken with his wife's writing style. It's very simple, which is nice, but sometimes stilted and over-done. Oh well, it is still terribly worth the read. All those pelicans! And the snake bite...Oh my!
this tells about the mississippi artist who had a mental illness but painted and created inspite of his problem. His family endured a lot so he could be an artist.
Intriguing story - love beyond the ordinary, creativity into the insane.
Honest, visual, personal, heartbreaking, lovely, beautiful! A time piece.
A wonderful look into the life of Walter "Bob" Anderson as written from his wife's point of view. Agnes deserves a medal for putting up with him.
this book too is an excellent read. it is about walter anderson, one of the most amazing artist of our times, written by his wife. fascinating story.
After a visit to Shearwater Pottery in Ocean Springs, Mississippi, I'm inspired to pull out this fascinating memoir by artist Walter Anderson's wife of their unconventional life.
Brilliant, tumultuous,tragic. She really captures the artist's way of looking and feeling.
Unusual man, unusual love affair, unusual life. Brilliant artist.


if this is done it will ruin class c and likely class b will get hit next, regulations on class c are already too harsh and a huge public outcry is needed. only 16 days left until its considered, not much time in reality.
Horrible misguided fools seeking to treat the symptoms, not the causes.
Fireworks are dangerous! Leave them to the professionals!
ok fine. i won't repurpose consumer stuff. but stay the hell out of my hobbyist fireworking.
Health and safety. Our kids can't even play soccer in some schools as it is too competitive.
Duh! (Also they may get hurt) Absolutely too much interference in individual rights. You guys will be just like us one day,sorry to say. Enjoy fireworks and fire working while you can. The future will only be worse.


However, after we went back and read all the pretty words we used to describe the CTS-V, we still felt it just didn't do the car justice. So this time around (because we love our fans so much), we're not going to just tell you … we're going to show you.
Do keep in mind what you are about to see isn't some sterile trackside show or closed course challenge. Oh no! This is real world driving. Want to witness the real fun quotient of how well a CTS-V can perform in daily traffic with four adults in the car from the ticket-free comfort of your own chair? Actions (or in this case, actions on video) speak louder than words.
Please check out (preferably, in sequential order) all of the video segments of our Team Hall & Nass and Burnout Radio CTS-V ride and drive on our YouTube channel(s): YouTube.com/TeamHallnNass and YouTube.com/BurnoutRadio.
Please note that Burnout Radio (for their own self-preservation reasons) posted select, edited, somewhat "sanitized" parts of the events captured on their camera. While their videos are shorter, they leave out some of the speed antics and much of the humorous commentary.
However, being the crazy, experiential junkies we are here at Team Hall & Nass, we've posting ours in a format more like you'd expect from us. It's raw and unedited (except for splitting it up into four segments to fit within YouTube's file size restrictions), but deliver the full flavor and experience of the run. Make sure you watch them all. Believe me … you'll get your money's worth!
While there is a lot of talking (since it is a rolling interview), fear not! All that yakking is interspersed with the sweet sounds of LSA-filled roars, Pilot Sport squeals, and visible passenger reactions as we let this puppy run as safely as possible in and through traffic. We hope you enjoy the show!
Please, for the love of all that's holy, DO NOT TRY THIS AT HOME, in traffic, or on your own. Laughable as it may sound, we are somewhat "trained professionals" (granted on a non-closed course, risking life, limb, and media car, but hey, we signed the 'you brake it, you buy it' paperwork). Also, please keep in mind that we were VERY well behaved most of the time and honestly didn't have the car, its occupants, or anyone else around us in any strain at any time.
Also, if you happen to work for GM, Cadillac, or (God forbid) any of its insurers, then we highly recommend sticking with viewing Charlie's "edited" videos on the Burnout Radio YouTube page. Otherwise, please continue to our TeamHallnNass YouTube page, strap yourself in, and enjoy the ride!
We hope y'all enjoyed this late addition to our Team Hall & Nass Cadillac Week coverage. Optimally, we had planned on launching this post and these videos during Cadillac Week, but thanks to some unforeseen (and highly unfortunate) connectivity issues with our ISP in our Dallas location (read AT&T is officially on our POO list) we simply couldn't upload them in time. Since they are too good to let go to waste, we hope you enjoy them now!
Due to new FTC guidelines, please note that GM didn't pay us to write any of this, to film or to post footage of this. They did not ask us to either. (After watching our videos, they may even prefer that we hadn't!). They simply provided dinner and access to their cars and, in turn, we had the "Cadillac" of experiences. We sincerely thank everyone at GM and Cadillac South Central Region marketing who made this possible, and all of you, our amazing fans. We couldn't do this without you. We love you all!


text:
package simpledb.local;

import java.rmi.RemoteException;

/**
 * Created by sushantathley on 10/25/15.
 */
public interface LocalMetaData {

    public int    getColumnCount();
    public String getColumnName(int column);
    public int    getColumnType(int column);
    public int getColumnDisplaySize(int column);
}

redpajama_set_name: RedPajamaGithub


QueenOphelia . Leysaan. SexHotEvelyn. Sharlyst.
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text:
L'Oréal is banking on influencers and try-on technology
With people stuck inside during the pandemic, brands are selling online more than ever.
At cosmetics giant L'Oréal, e-commerce has grown 65% during the pandemic to represent 25% of revenue, its chief digital officer Lubomira Rochet said during a marketing roundtable conversation recently convened by Business Insider.
Further, e-commerce made up for more than 50% of its losses in brick-and-mortar during the pandemic and is expected to account for 50% of its sales by 2023.
L'Oréal leveraged the growth in online sales by spending more on platforms like Amazon that are performance-driven; in SEO to drive people to its own websites; and on ad formats like YouTube for Action.
It's also been spending more on virtual try-on technology, social commerce, and personalization. Its try-on technology ModiFace can now be found across 15 other sites and apps, including Amazon, YouTube, and Google Search. L'Oréal also invested this month in the social commerce platform Replika Software, which lets influencers, makeup artists and a hairstylists using its products to sell them directly to people online.
"L'Oréal brands have all embraced the trend of social commerce and have experimented with different models — influencers, e-beauty advisors, as well as consumers — with very promising results," Rochet said. "We want to crack this new e-commerce channel that has a very strong potential in beauty and build a solid ecosystem of advocates and social sellers around our brands."
The rise of e-commerce during the pandemic has also made marketing more conversational, with L'Oréal having a 40% rise in interactions with consumers across channels like Facebook Messenger and WeChat to pass 60 million interactions this year. That increase has given L'Oréal more data on which to base business decisions.
Read More: L'Oréal now handles 20% of its ad buying in house, and it's another sign of the growing threat to traditional advertising agencies
"We were able to track category shifts like hair color sales growing 300% and make-up falling 30% by managing data and insights not every quarter, but literally everyday," Rochet said. "Having our finger on the pulse of consumers is important also so that we can talk to them in the right tone."
Despite e-commerce's growth, Rochet said brick-and-mortar wasn't going away.
"There may be some disruption, but the Boots and the Carrefours in Europe are embracing omnichannel commerce and emerging as an alternative to Amazon," she said.
Article courtesy of Business Insider here
StockX raises $275M Series E, valuing the retailer at $2.8bn
How FOMO tactics can increase ecommerce revenue
Ambitious EU proposals take aim at big tech

redpajama_set_name: RedPajamaCommonCrawl


The USUHS is a worldwide center of excellence for military and public health professions, education, and research. The primary mission of the USUHS is to train, educate, and prepare uniformed services health professionals, officers, and leaders to directly support the Military Health System, the National Security and National Defense Strategies of the United States, and the readiness of our Armed Forces.
Network vulnerabilities put the USUHS military network at risk of disconnection from the Defense Information Systems Agency (DISA) managed Global Information Grid (GIG) unless these vulnerabilities were successfully remediated. This would have severely affected the USUHS mission and put at risk the education programs it provides.
tiag performed a broad scope of information assurance remediation work. The three focus areas were the USUHS network infrastructure, computing devices, and implementing an upgraded Service Desk tool. Network scanning tools, including DISA Gold Disk (Platinum Level) and eEye Digital Retina/REM, were used to identify vulnerabilities on network devices, workstations, laptops, and multifunction printing devices.
The network remediation task involved designing and deploying a new virtual local area network architecture for the entire network, including upgrading the operating system versions on 100+ switches and routers. The computing device vulnerability remediation task consisted of creating and deploying Microsoft and third party software patches to 2500+ workstations and laptops via Microsoft System Center Configuration Manager 2007, creating and deploying DISA Gold Disk compliant Windows XP, Windows 7 and Mac OS X 10.x images, and performing DISA Gold Disk remediation on Windows Server 2003 and 2008 systems.
In service of the USUHS, tiag security professionals provided the full suite of Department of Defense Information Assurance Certification and Accreditation Process remediation services to achieve an Authority to Operate for their military network circuit. Our cybersecurity experts enhanced the organization's security through the hardening of network infrastructure, remediation of security vulnerabilities, and establishment of compliance documentation.


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text:
Indian River's theater group moves from stage to screen
By Abbey Buttacavoli
Updated: Apr. 19, 2021 at 12:50 PM EDT
TOWN OF PHILADELPHIA, N.Y. (WWNY) - From the stage to the screen, the Indian River theater department made the show go on this school year.
When the pandemic hit, the department's students and faculty were sent home.
But, instead of closing the curtains until COVID-19 left center stage, the group decided that the show must still go on.
So, starting in fall, members acted out their productions online using Zoom. The shows were so good some of them won awards.
"I figured okay, theater is about story telling so, how to I tell a story with this medium," said Kristie Farr, theater teacher.
One way was to include photography and interesting Zoom backgrounds to make each show as engaging as possible.
But dealing with technology can be difficult. Just as high school senior Kristen Masek.
"It was just very weird to look at a screen instead of stage," she said.
For some of the shows, she was a stage manager, which gets tricky when there's no stage.
"People weren't really moving around so I couldn't write down their blocking because they were sitting or standing behind their screen," said Masek.
On screen, high school senior TaeJean LaCroix got to sharpen his acting skills.
"I'm just glad that I was able to perform," he said.
For the last year, online is how the shows went on, but there is great hope that the young actors of Indian River will take the stage again next fall.


text:
☰ Menu | 🔍 Search // Main // 🖖 Prayers & Praxes // 🌞 Prayers for the weekday, Shabbat, and season // Shabbat
אֵלִי כְּבוֹדִי: זמר לסעודה השלישית | Eli Kevodi (My God, My Glory), a hymn for the third sabbath meal by Asher Hillel Burstein
Asher Hillel Burstein
משיח Moshiaḥ, זמירות zemirot, 21st century C.E., 58th century A.M.
Eli Kevodi (My God, My Glory"), for seudah shelisheet, was composed by Asher Hillel Burstein in 2018. The hymn was awarded the "Rabbi Hershel Matt Creative Liturgy Award," the first prize in the creative liturgy contest sponsored by ARC (The Association of Rabbis and Cantors), an interdenominational group of Jewish clergy. . . .
Havdallah: Thinking of those suffering from long-COVID, by Gabriel Kanter-Webber (2021)
Gabriel Kanter-Webber
Epidemics & Pandemics, Motsei Shabbat
21st century C.E., 58th century A.M., הבדלות havdalot, COVID-19 coronavirus, 2020 coronavirus pandemic in the United Kingdom
Liturgy for a motsei shabbat havdallah ritual centering the experience of those with long-COVID. . . .
A Man of Value, by Debra Cash
Debra Cash
Se'udat Leil Shabbat, Travel
English vernacular prayer, role models, אשת חיל eshet ḥayil, men, 21st century C.E., 58th century A.M.
This version of Eyshet Ḥayil replaces valor with value, and while it speaks of man in terms of family, community, and the natural world, it is not heteronormative. . . .
סֶֽרַח בַּת־אָשֵׁר | Seraḥ bat Asher, a Havdalah Song by Isaac Gantwerk Mayer
Isaac Gantwerk Mayer
זמירות zemirot, 21st century C.E., 58th century A.M., Psychopomp, הבדלות havdalot, Seraḥ bat Asher
Some communities have a practice of singing a song about Miriam alongside the well-known Havdalah song about Elijah the Prophet. But Miriam isn't really a parallel to Elijah — she's a parallel to Moshe and Aaron. When we're talking about distaff counterparts to Elijah the clearest example is Seraḥ bat Asher. Seraḥ, the daughter of Asher, is mentioned only a handful of times in the Tanakh, but is given great significance in the midrash. Like Elijah, she is said to have never died but entered Paradise alive, and comes around to the rabbis to give advice or teachings. This song, which includes several references to midrashim about Seraḥ, is meant to be sung to any traditional tune of "Eliyahu haNavi." It is dedicated to Ḥazzan Joanna Selznick Dulkin (shlit"a), who introduced me to the legends of Seraḥ bat Asher. . . .
כְּגַוְנָא | k'Gavna (Just As) from the Zohar parashat Terumah §163-166, a paraliturgical interpretive translation by Rabbi Rachel Barenblat
Rachel Barenblat
Ḳabbalat Shabbat, the Zohar
58th century A.M., paraliturgical k'gavna, interpretive translation, 21st century C.E.
A paraliturgical translation of "k'Gavna" — a portion of the Zohar on parashat Terumah read before Ma'ariv in the ḥassidic-sefardic nusaḥ. . . .
ברכת הילדים | An ungendered Birkat Yeladim, by Yonah Bromberg Gaber
Yonah Bromberg Gaber
Erev Shabbat, Transgender Day of Visibility (March 31st)
birkat yeladim, Parents blessing children, 21st century C.E., 58th century A.M., prayers concerning children, Prayers on behalf of children, genderqueer, nonbinary
This formulation of the Birkat Yeladim (Blessing of the Children) maintains a connection with tradition and serves to degender the blessing by calling upon quoted, mixed gender texts which have merit for children of any gender. . . .
עמידה קצרה לליל שבת | Short Amidah for Leil Shabbat, by Rabbi Oded Mazor
Oded Mazor
21st century C.E., 58th century A.M., Needing Translation (into English), Israel Movement for Reform and Progressive Judaism, עמידה amidah
A short amidah for the Friday evening service for Shabbat. . . .
כוונה להפרשת חלה לשבת | Kavvanah for the separation of ḥalah before Shabbat, by Rabbi Oded Mazor
Shaul Vardi (translation) and Oded Mazor
21st century C.E., 58th century A.M., כוונות kavvanot, taking dough, baking ḥallah, חלה challah ḥallah, Needing Translation (into English), Israel Movement for Reform and Progressive Judaism, פיוטים piyyutim
A prayer for focusing one's mind and intention during the separation of dough in the preparation of halah before Shabbat. . . .
תִּגְדַּל | Tigdal, by Rabbi Oded Mazor
Arvit l'Shabbat, Baqashot
58th century A.M., יגדל yigdal, Needing Translation (into English), Israel Movement for Reform and Progressive Judaism, statements of belief, פיוטים piyyutim, 21st century C.E.
A companion to the classic piyyut, Yigdal. . . .
שָׁלוֹם עֲלֵיכֶם (שְׁלָמָא אֵילוֹכוּן) | Shalom Aleikhem (Shlama Elokhun), Aramaic translation by Yaacov Maoz
Aharon N. Varady (translation), Yaacov Maoz and Unknown Author(s)
פיוטים piyyutim, prophylactic, apotropaic prayers of protection, Aramaic translation, שלום עליכם shalom aleikhem, Assyrian Neo-Aramaic (Suret), Angels
The popular piyyut for welcoming the Shabbat, in Hebrew with translations in Assyrian-Aramaic and English. . . .
Between the Fires: A Kavvanah for Lighting Candles of Commitment, by Rabbi Arthur Waskow (the Shalom Center)
Arthur Waskow and the Shalom Center
Erev Pesaḥ, Erev Shabbat, Shavuot, Earth, our Collective Home & Life-Support System, Sukkot, Rosh haShanah (l'Maaseh Bereshit), Yom Kippur, Ecotastrophes
20th century C.E., 58th century A.M., eco-conscious, כוונות kavvanot, kindling, English vernacular prayer, ecoḥasid, North America, candle lighting
"Between the Fires: A Prayer for lighting Candles of Commitment" was composed by Rabbi Arthur Waskow, drawing on traditional midrash about the danger of a Flood of Fire, and the passage from Malachi. . . .
Blessing over Separation, by Shelby Handler
Shelby Handler
Motsei Shabbat, Separation
blessings, ברכות brakhot, North America, 21st century C.E., Adamah Farm, 58th century A.M., Prayers as poems, English vernacular prayer, הבדלות havdalot
The Blessing over Separations was first read by Shelby Handler on Rosh Ḥodesh Kislev at the 2017 ADVA Reunion, a reunion of the community of Adamah Farm fellows and Teva Learning Center educators at Isabella Freedman Retreat Center. . . .
Israelite Samaritan Prayers for the Shabbat Torah Reading, translated by Benyamim Sedaka
Benyamim Tsedaka
Torah Reading, Samaritan, Nusaḥ haSamerim, Needing Transcription, Needing Source Images
Benyamim's Sedaka's English translations of the Israelite-Samaritan "Prayer to be Read by the Eldest Reader of the Sabbath Portion" and Abraham ben Marchiv Tsedaka Hassafari's poem to be read after reading the last portion of the Torah reading . . .
Israelite Samaritan Ḳiddush for the Shabbat Evening Meal, translated by Benyamim Sedaka
קידוש ḳiddush, Samaritan, Needing Transcription, Nusaḥ haSamerim, Needing Source Images
Benyamim Sedaka's English translations of the Israelite-Samaritan "Blessing on the Food" (Kiddush) and Abraham ben Marchiv Tsedaka Hassafari's opening to the Friday night Shabbat meal . . .
A Kavvanah for Welcoming the Shabbat with the Spring Equinox, by Rabbi Yaakov Reef
Yaakov Reef
the Dry Season (Spring & Summer), Ḳabbalat Shabbat
vernal equinox, 21st century C.E., 58th century A.M., North America, candle lighting, Aviv, Spring
In the year 5775 (2015), the vernal equinox coincided with Rosh Ḥodesh Nissan, the Hebrew month known also as Aviv (Spring), as well as the onset of Shabbat, and a total solar eclipse. Here is a short meditation to receive the shabbat in embrace of the new season. . . .
تعالوا نضيئ شمعات السلام | בואו נאיר נרות שלום | Let us Light Candles for Peace, by Sheikha Ibtisam Maḥameed and Rabbi Tamar Elad-Appelbaum
Tamar Elad-Appelbaum, R' Amichai Lau-Lavie (translation) and Sheikha Ibtisam Maḥameed
Erev Shabbat, Conflicts over Sovereignty and Dispossession
فلسطين Filasṭīn Palestine, candles, ארץ ישראל Erets Yisrael, 21st century C.E., 58th century A.M., Israeli–Palestinian conflict, kindling
Two mothers, one plea: Now, more than ever, during these days of so much crying, on the day that is sacred to both our religions, Friday, Sabbath Eve Let us light a candle in every home – for peace: A candle to illuminate our future, face to face, A candle across borders, beyond fear. From our family homes and houses of worship Let us light each other up Let these candles be a lighthouse to our spirit Until we all arrive at the sanctuary of peace. . . .
Kavvanot when Washing One's Body Before Shabbes, by Eyal Raviv
Eyal Raviv
Erev Shabbat, Immersion (Purification)
all bodies, תחינות teḥinot, 21st century C.E., 58th century A.M., כוונות kavvanot, shower ritual, bathing ritual, English vernacular prayer, North America, shabbat preparation
This is pre-Shabbos reflection that can be done in a shower or bath. Shabbat is a time when I am less focused on my selfish desires and instead my thoughts drift to my place in the larger community and world. I find myself doing some version of this before Shabbos most weeks and am welcome for the time to reflect on truly what it is to cease from lay work and consider the work that needs to be done to make the world a better place. . . .
If I Let It: A Kavvanah for Kabbalat Shabbat, by Trisha Arlin
kindling, gateway, first person, 21st century C.E., 58th century A.M., English vernacular prayer
Shabbat happens, If I let it. . . .
The Breath of All Life, a paraliturgical Nishmat Kol Ḥai for Shabbat morning by Rabbi Rachel Barenblat
paraliturgical nishmat kol ḥai, נשמת כל חי Nishmat kol ḥai, Breath, interconnectedness, interbreathing, 21st century C.E., 58th century A.M., English poetry, Prayers as poems, English vernacular prayer
A prayer-poem inspired from the liturgical prayer, Nishmat. . . .
Saturday Afternoon Request, by Rabbi Rachel Barenblat
Return to Eden, quiet, eros, dreaming, תחינות teḥinot, 21st century C.E., 58th century A.M., English poetry, Prayers as poems, English vernacular prayer
A prayer-poem supplication for the afternoon of Shabbat. . . .
Distinctions (Havdalah) for the end of Shabbat, by Rabbi Rachel Barenblat
21st century C.E., 58th century A.M., paraliturgical teḥinot, English poetry, Prayers as poems, English vernacular prayer, paraliturgical havdalah, הבדלות havdalot, תחינות teḥinot
A prayer-poem inspired by the ritual Havdallah, preparing a separation between Shabbat and weekday time. . . .
Mikveh Meditation for Erev Shabbat by Rabbi Haviva Ner-David and Shira Gura
Rabbi Haviva Ner-David
The following is a meditation I wrote (with the help of my friend Shira Gura, who teaches meditation and Yoga) to be used on Friday before Shabbat at the mikveh. It is based on midrashim related to Shabbat (for example, the notion that we receive an additional soul on Shabbat), as well as meanings behind mikveh in general (for example, the connection between the waters of Creation and the mikveh waters), and on some kavanot (sacred intentions) that came out of the Kabbalah and Ḥassidut movements. There is a strong tradition to write kavanot to use before immersing in the mikveh, since, as Maimonides writes in his Mishneh Torah 11:15, "If a person immerses but without buttressing him or herself [with sacred intention], it is as though he or she has not immersed at all." . . .
A Prayer before Candle-lighting, by Chaya Kaplan-Lester
Chaya Kaplan-Lester
Erev Pesaḥ, Erev Shabbat, Shavuot, Rosh haShanah (l'Maaseh Bereshit), Sukkot, Yom Kippur, 7th Day of Pesaḥ
English vernacular prayer, entering, welcoming, candle lighting, Light, 21st century C.E., potential, 58th century A.M., fire, כוונות kavvanot, kindling, English poetry, Prayers as poems
Please God Let me light More than flame tonight. More than wax and wick and sliver stick of wood. More than shallow stream of words recited from a pocket book. . . .
אֵשֶׁת חַיִל | Eshet Ḥayil, adaption by Alex and Peri Sinclair
Peri Sinclair and Alex Sinclair
אשת חיל eshet ḥayil, eros, acrostic, 21st century C.E., 58th century A.M., Alphabetic Acrostic, Masorti, Modi'in, ישראל Yisrael, Feminism, role models, love
Peri and Alex Sinclair's adaptation of the traditional Eishet Ḥayil, replacing a number of verses with ones selected from Shir haShirim (the Song of Songs/Canticles), Genesis, and elsewhere in Mishlei (Proverbs). . . .
Motzi, a kavvanah before eating ḥallah by Trisha Arlin
food, bread, ברכת המוציא birkat hamotsi, yom tov, Kolot Chayeinu, 21st century C.E., 58th century A.M., English vernacular prayer, חלה challah ḥallah
Trisha Arlin shares "Motzi", a kavanah (intention) for the blessing, Hamotzi Lehem Min Ha'aretz, over challah. Describing the kavanah she writes that it's, "based on Rabbi Ellen Lippmann's tradition on having us create a chain of touch around room that leads to and from the challah, which she then explains as both exemplifying the connection created when people eat together and the chain of work that went to creating the challah itself." . . .
Havdalah: Three Meditations on Holy Separations, by Trisha Arlin
21st century C.E., 58th century A.M., English vernacular prayer, paraliturgical havdalah, הבדלות havdalot, Kolot Chayeinu, first person
Three short havdallah meditations that culminate in a havdallah prayer/blessing. . . .
יָהּ אֶכְסוֹף נוֹעַם שַׁבָּת | Yah Ekhsof No'am Shabbat, a Shabbes hymn by Reb Aharon of Karlin (interpretive translation by Rabbi Zalman Schachter-Shalomi)
Aharon N. Varady (transcription), Zalman Schachter-Shalomi and Aharon ben Yaakov Perlov of Karlin
זמירות zemirot, 56th century A.M., 18th Century C.E., Hassidic, hymns, יה אכסוף Yah Ekhsof
An interpretive translation of the shabbes hymn, Yah Ekhsof. . . .
פָּתַח אֵלִיָּֽהוּ | Pataḥ Eliyahu (Tiqqunei Zohar 17a), translated by Rabbi Zalman Schachter-Shalomi
Zalman Schachter-Shalomi and Unknown Author(s)
Erev Shabbat, Tiqqunei Zohar, Davvening
תפלין tefillin, תפילות קודם התפילה Prayers before Praying, petiḥah, Openers, Opening Prayers, 15th century C.E., 53rd century A.M., devotional interpretation, prayers of kabbalists, interpretive translation, פתח אליהו Pataḥ Eliyahu
Elijah began saying: Lord of the worlds You Who are One and not just a number You are the highest of the highest most hidden of the undisclosed no thought scheme grasps You at all. . . .
אֵל אָדוֹן (אשכנז) | El Adōn, a piyyut attributed to the Yordei Merkavah (interpretive translation by Rabbi Zalman Schachter-Shalomi)
Aharon N. Varady (transcription), Zalman Schachter-Shalomi and Unknown Author(s)
ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, יוצר אור yotser ohr, אל אדון el adon, interpretive translation, acrostic, פיוטים piyyutim, heikhalot literature, Alphabetic Acrostic, Geonic prayers
The piyyut, El Adon, in Hebrew with an interpretive "praying translation" by Rabbi Zalman Schachter-Shalom, z"l. . . .
אֲדוֹן עוֹלָם | Adōn Olam, interpretive translation by Rabbi Zalman Schachter-Shalomi
Aharon N. Varady (transcription) and Zalman Schachter-Shalomi
Arvit l'Shabbat, Baqashot, Musaf l'Shabbat
Openers, cosmological, 11th century C.E., 49th century A.M., Closers, ABCB rhyming scheme, אדון עולם Adon Olam, interpretive translation, פיוטים piyyutim
Rabbi Zalman Schachter-Shalomi's interpretive "praying translation" of the piyyut, Adon Olam. . . .
נִשְׁמַת כָּל חַי | Nishmat Kol Ḥai, interpretive translation by Rabbi Zalman Schachter-Shalomi
Hallel, Shaḥarit l'Shabbat ul'Yom Tov
Prayers in the Babylonian Talmud, drought conditions, thanksgiving, rainfall, נשמת כל חי Nishmat kol ḥai, interpretive translation, Late Antiquity, Crowning, Amoraic prayers
This "praying translation" of the piyyut Nishmat Kol Ḥai is included in Rabbi Zalman Schachter-Shalomi's Sabbath Supplement to his Siddur Tehillat Hashem Yidaber Pi ~ As I Can Say It (for Praying in the Vernacular) (2009). The translation includes several prayers that follow the piyyut: Ha-El B'ta'atsumot Uzekha, and Shoḥen Ad. . . .
שיר הכבוד (אַנְעִים זְמִירוֹת) | Shir haKavod (An'im Zemirot), part eight of the Shir haYiḥud (interpretive translation by Rabbi Zalman Schachter-Shalomi)
acrostic, 12th century C.E., Alphabetic Acrostic, 50th century A.M., Ḥasidei Ashkenaz, שיר הכבוד shir hakavod, שיר היחוד Shir haYiḥud
A "praying translation" of the piyyut, Anim Zemirot. . . .
צָמְאָה נַפְשִׁי | Tsam'ah Nafshi, a piyyut by Avraham ibn Ezra (interpretive translation by Rabbi Zalman Schachter-Shalomi)
Aharon N. Varady (transcription), Zalman Schachter-Shalomi and Avraham ibn Ezra
Shaḥarit l'Shabbat ul'Yom Tov, Se'udat Yom Shabbat
פיוטים piyyutim, 12th century C.E., 49th century A.M., Acrostic signature, נשמת כל חי Nishmat kol ḥai, libi uv'sari, צמאה נפשי Tsamah Nafshi, זמירות zemirot, acrostic
An interpretive translation of a piyyut composed as an introduction to the prayer Nishmat Kol Ḥai. . . .
אֵשֶׁת חַיִל | Éshet Ḥayil (Proverbs 31:10-31) For an Accomplished Woman, translated by Rabbi Zalman Schachter-Shalomi
Zalman Schachter-Shalomi, Unknown Author(s) and the Masoretic Text
Mishlei (Proverbs), Se'udat Leil Shabbat
אשת חיל eshet ḥayil, interpretive translation, זמירות zemirot, acrostic, Alphabetic Acrostic, devotional interpretation, role models
Rabbi Zalman Schachter-Shalomi's interpretive translation of Proverbs 31:10-31, popularly read before the first festive meal for shabbat on Friday night. . . .
יוֹם שַׁבָּתוֹן | Yom Shabbaton, a Shabbat song by Yehudah haLevi (interpretive translation by Rabbi Zalman Schachter-Shalomi)
Aharon N. Varady (transcription), Zalman Schachter-Shalomi and Yehudah ben Shmuel haLevi
Acrostic signature, זמירות zemirot, acrostic, 11th century C.E., 49th century A.M.
An interpretive translation of Yehudah haLevi's shabbat song, "Yom Shabbaton." . . .
Shabbat Affirmations for Erev Shabbat, by Rabbi Zalman Schachter-Shalomi
58th century A.M., כוונות kavvanot, English vernacular prayer, affirmations, Jewish Renewal, 21st century C.E.
Shabbat Affirmations for erev shabbat in preparation of welcoming the shabbat. . . .
עמידה לשחרית שבת | The Amidah for Shabbat (Day), by Rabbi Zalman Schachter-Shalomi
21st century C.E., 58th century A.M., English vernacular prayer, devotional interpretation
The Amidah for the Shabbat Shaḥarit service in Reb Zalman's devotional English adaptation, set side-by-side with the corresponding Hebrew liturgy. . . .
תפילה לחודש כסלו עד סוף חנוכה | Prayer for the month of Kislev through the end of Ḥanukkah (from Isaiah 60), by Rabbi Levi Weiman-Kelman
Aharon N. Varady (translation), Shaul Vardi (translation), Levi Weiman-Kelman (translation) and Yeshayahu ben Amōts
Ḳabbalat Shabbat, Ḥanukkah, Rosh Ḥodesh Kislev (כִּסְלֵו)
21st century C.E., 58th century A.M., South Jerusalem, Kehilat Kol HaNeshama, כבוד kavod
Rabbi Levi Weiman-Kelman introduced the tradition of reading these verses from Isaiah during the month of Kislev through the end of Ḥanukkah in his Siddur Ha'Avodah Shebalev of Kehillat Kol HaNeshamah (R' Levi Weiman-Kelman, R' Ma'ayan Turner, and Shaul Vardi, 2007). The translation provided here was adapted from the one made by Shaul Vardi in Siddur Ha'Avodah Shebalev. –Aharon Varady. . . .
יוֹם זֶה לְיִשְׁרַאֵל | Yom Zeh l'Yisrael, a Shabbat hymn attributed to Rabbi Yitsḥaq Luria (interpretive translation by Rabbi Zalman Schachter-Shalomi)
Aharon N. Varady (transcription), Zalman Schachter-Shalomi and Yitsḥak Luria
זמירות zemirot, acrostic, 16th century C.E., 54th century A.M., Acrostic signature, interpretive translation
An interpretive translation in English of the shabbes hymn Yom Zeh l'Yisrael. . . .
לְכָה דוֹדִי | Lekhah Dodi, the piyyut for Ḳabbalat Shabbat by Shlomo haLevi Al-Qabets (translation by Rabbi Levi Weiman-Kelman & Shaul Vardi)
Shaul Vardi (translation), Levi Weiman-Kelman (translation) and Shlomo haLevi Al-Qabets
שבת shabbat, acrostic, פיוטים piyyutim, 16th century C.E., 54th century A.M., Alphabetic Acrostic, לכה דודי Lekhah Dodi
This translation of the piyyut for Shabbat by Shlomo Al-Qabets can be found in HaAvodah SheBaLev – the Service of the Heart (Kehilat Kol HaNeshama, Jerusalem, 2007). . . .
קִדּוּשׁ שֶׁל שִׁחְרוּר עַל שַׁבָּת ט״וּ בִּשְׁבָט | Shabbat Ḳiddush of Liberation for Shabbat Tu biShvat, by Mark X. Jacobs (1993)
Mark X. Jacobs
Se'udat Leil Shabbat, Rosh haShanah la-Ilanot (Tu biShvat)
20th century C.E., eco-conscious, North America, קידוש ḳiddush, 58th century A.M., Teva Learning Center
We call to sukkat shalom, the shelter of peace, all of our various selves To rest from the contortion of social life and the demands of others. We liberate ourselves and each other from roles and titles labels and closets positions and pretendings internalized oppressions and oppressive projections hierarchies and competition. . . .
"Prayer Song," a hymn by Stephen Hanan Kaplan from the play, David Dances (1975)
Aharon N. Varady (transcription) and Stephen Hanan
20th century C.E., Openers, 58th century A.M., כוונות kavvanot, English vernacular prayer, הללו־יה hallelu-yah, המשכן the Mishkan, hymns
A prayer written for the play David Dances (1997) by playwright Stephen Mo Hanan. . . .
Hashem is Everywhere! — a song by Rabbi Yosef Goldstein (1972)
Aharon N. Varady (transcription), Aharon N. Varady (translation) and Yosef Goldstein
Taḥanun, National Brotherhood Week, Purim Qatan, Motsei Shabbat
20th century C.E., זמירות zemirot, panentheism, circle drawing, אנה אמצאך ana emtsaeka, 58th century A.M., Pedagogical songs, English vernacular prayer, children's education, affirmations
The pedagogical song "Hashem is Everywhere!" by Rabbi Yosef Goldstein (1928-2013) can be found in the context of his story, "Where is Hashem?," the second track on his album מדות טובות Jewish Ethics Through Story and Song (Menorah Records 1972). . . .
עמידה לשבת מנחה | Amidah for Shabbat Minḥah, translation with an alternative "atah eḥad" prayer by Dr. Jakob Petuchowski (1966)
Aharon N. Varady (transcription) and Jakob Petuchowski (translation)
20th century C.E., 58th century A.M., redemptive translation, revisionist translation, Minḥah, paraliturgical amidah, עמידה amidah
This is the scholar Dr. Jakob Petuchowski's translation of the Amidah for Shabbat Minḥah from his Shabbat Minḥah prayer-pamphlet (1966), p.5r-13r. . . .
Sabbath Eve (In the Home), a prayer welcoming the Shabbat Queen by Rabbi Ely E. Pilchik (1962)
Aharon N. Varady (transcription) and Ely Emanuel Pilchik
Sabbath Queen, 20th century C.E., 58th century A.M., English vernacular prayer
"Sabbath Eve (In the Home)" by Rabbi Ely E. Pilchik was first published in Rabbi Morrison David Bial's anthology, An Offering of Prayer (1962), p. 28, from where this prayer was transcribed. . . .
Apologia on the Sabbath, by Rabbi Morrison David Bial (1962)
Aharon N. Varady (transcription) and Morrison David Bial
Musaf l'Shabbat, Repenting, Resetting, and Forgiveness
58th century A.M., English vernacular prayer, שבת תשובה Shabbat Tshuvah, 20th century C.E.
"Apologia on the Sabbath" by Rabbi Morrison David Bial was first published in his anthology, An Offering of Prayer (1962), p. 31, from where this prayer was transcribed. . . .
יִגְדַּל (אשכנז) | Yigdal, by Daniel ben Yehudah (rhyming translation by Ben Zion Bokser, 1957)
Aharon N. Varady (transcription), Ben-Zion Bokser and Daniel ben Yehudah Dayyan
זמירות zemirot, פיוטים piyyutim, 15th century C.E., 53rd century A.M., doctrinal, יגדל yigdal, rhyming translation, statements of belief
The philosophical-creed-as-piyyut, Yigdal, in Hebrew with an English translation. . . .
אֲדוֹן עוֹלָם (אשכנז) | Adōn Olam, translated by Ben Zion Bokser (1957)
Aharon N. Varady (transcription) and Ben-Zion Bokser
פיוטים piyyutim, Openers, cosmological, 11th century C.E., 49th century A.M., Closers, ABCB rhyming scheme, rhyming translation, אדון עולם Adon Olam
The cosmological piyyut, Adon Olam, in its Ashkenazi variation in Hebrew with an English translation. . . .
הַנָּאוָה בַּבָּנוֹת | Hana'avah Babanōt, a song by Amitai Ne'eman (1955)
Aharon N. Varady (transcription) and Amitai Ne'eman
20th century C.E., eros, 58th century A.M., ישראל Yisrael
The popular Israeli song from the 1950s. . . .
Song After the Revolution, an adaptation of Psalms 92 for Friday Evening by Rabbi Brant Rosen (Tzedek Chicago)
Brant Rosen and Congregation Tzedek Chicago
21st century C.E., 58th century A.M., English vernacular prayer, Psalms 92, צדק צדק תרדוף tsedeq tsedeq tirdof, Paraliturgical Psalms 92
A paraliturgical adaptation of Psalms 92. . . .
אֲדוֹן עוֹלָם (אשכנז) | Adōn Olam (Rabbinical Assembly & United Synagogue of America, 1946)
Aharon N. Varady (transcription) and Morris Silverman
11th century C.E., 49th century A.M., Closers, ABCB rhyming scheme, rhyming translation, אדון עולם Adon Olam, פיוטים piyyutim, Openers, cosmological
הִנֵּה שָׁם אֶמְצָאֶךָּ | Where We Can Find Yah, a prayer-poem by Eugene Kohn (1945) inspired by Rabindranath Tagore's Gitanjali (Song Offerings, 1912)
Aharon N. Varady (transcription), Eugene Kohn, David Frischmann (translation) and Rabindranath Tagore
Taḥanun, Purim Qatan, Motsei Shabbat
is it Sikh or Hassidic?, universalist prayers, אנה אמצאך ana emtsaeka, 20th century C.E., 58th century A.M., Prayers as poems, cosmic religion
"Where We Can Find God," a prayer-poem inspired by passages appearing in David Frishman's Hebrew translation of Rabindranath Tagore's Gitanjali. . . .
Needed Prophets for Our Day, a prayer-poem by Mordecai Kaplan (1942) adapted from "The Divinity School Address" by Ralph Waldo Emerson (1838)
Aharon N. Varady (transcription) and Mordecai Kaplan
Lincoln's Birthday (February 12th), Musaf l'Shabbat
20th century C.E., 58th century A.M., Prayers as poems, English vernacular prayer, Early Reconstructionist, prophetic revelation, Ralph Waldo Emerson, Transcendentalism
This prayer by Rabbi Mordecai M. Kaplan, first penned in his diary for 23 August 1942, was first published in The Radical American Judaism of Mordecai M. Kaplan, by Mel Scult (1990). Although the prayer was not included in Kaplan's Sabbath Prayer Book (New York: The Jewish Reconstructionist Foundation, 1945), it was added to the loose-leaf prayerbook he kept at the Society for the Advancement of Judaism synagogue. . . .
יִגְדַּל (מנהג הספרדים) | Yigdal, by Daniel ben Yehudah (rhyming translation by Rabbi David de Sola Pool, 1937)
Aharon N. Varady (transcription), David de Sola Pool and Daniel ben Yehudah Dayyan
פיוטים piyyutim, 15th century C.E., 53rd century A.M., doctrinal, יגדל yigdal, rhyming translation, זמירות zemirot
אֲדוֹן עוֹלָם (מנהג הספרדים) | Adon Olam, rhyming translation by Rabbi David de Sola Pool (1937)
Aharon N. Varady (transcription), David de Sola Pool and Unknown Author(s)
11th century C.E., 49th century A.M., Closers, ABCB rhyming scheme, rhyming translation, Nusaḥ Sefaradi, אדון עולם Adon Olam, פיוטים piyyutim, Openers, cosmological
A rhyming translation in English to the popular piyyut, Adon Olam. . . .
Sambatyon, a poem for Shabbat by Rabbi Alter Abelson (1931)
Aharon N. Varady (transcription) and Alter Abelson
romanticism, 20th century C.E., 57th century A.M., mythopoesis, the River Sambatyon
The poem "Sambatyon" (1931) by Rabbi Alter Abelson. . . .
Friday Eve, a poem by Rabbi Alter Abelson (1931)
Ḳabbalat Shabbat, Se'udat Leil Shabbat
57th century A.M., Sabbath Queen, Queens, Kohenet, romanticism, 20th century C.E.
The poem "Friday Eve" by Rabbi Alter Abelson (1931). . . .
אֲדוֹן עוֹלָם (אשכנז) | Adōn Olam (United Synagogue of America, 1927)
Aharon N. Varady (transcription), Maurice Farbridge, Louis Ginzberg and Jacob Kohn
cosmological, 11th century C.E., 49th century A.M., Closers, rhyming translation, אדון עולם Adon Olam, ABBA rhyming scheme, פיוטים piyyutim, Openers
יִגְדַּל (אשכנז) | Yigdal, by Daniel ben Yehudah (trans. United Synagogue of America, 1927)
Aharon N. Varady (transcription), Maurice Farbridge, Louis Ginzberg, Jacob Kohn and Daniel ben Yehudah Dayyan
זמירות zemirot, פיוטים piyyutim, 15th century C.E., 53rd century A.M., doctrinal, יגדל yigdal, statements of belief
פֶּרֶק שִׁירָה | Pereq Shirah, a litany of verses spoken by the creatures & works of Creation (after the arrangement of Natan Slifkin)
Unknown Author(s), Aharon N. Varady and Rabbi Natan Slifkin
Rosh haShanah la-Melakhim, Erev Shabbat, Hekhalot Writings, Rosh haShanah la-Behemah, Birkhot haShaḥar, Rosh Ḥodesh Readings, Rosh haShanah (l'Maaseh Bereshit), Rosh haShanah la-Ilanot (Tu biShvat)
creeping creatures, cosmological, 5th century C.E., hymns of creation, 43rd century A.M., heikhalot literature, ההיכלות ויורדי המרכבה haHeikhalot v'Yordei haMerkavah, Openers, Late Tannaitic, Early Ammoraic, animals, Early Middle Ages, birds
Talmudic and midrashic sources contain hymns of the creation usually based on homiletic expansions of metaphorical descriptions and personifications of the created world in the Bible. The explicitly homiletic background of some of the hymns in Perek Shira indicates a possible connection between the other hymns and Tannaitic and Amoraic homiletics, and suggests a hymnal index to well-known, but mostly unpreserved, homiletics. The origin of this work, the period of its composition and its significance may be deduced from literary parallels. A Tannaitic source in the tractate Hagiga of the Jerusalem (Hag. 2:1,77a—b) and Babylonian Talmud (Hag. 14b), in hymns of nature associated with apocalyptic visions and with the teaching of ma'aseh merkaba serves as a key to Perek Shira's close spiritual relationship with this literature. Parallels to it can be found in apocalyptic literature, in mystic layers in Talmudic literature, in Jewish mystical prayers surviving in fourth-century Greek Christian composition, in Heikhalot literature, and in Merkaba mysticism. The affinity of Perek Shira with Heikhalot literature, which abounds in hymns, can be noted in the explicitly mystic introduction to the seven crowings of the cock — the only non-hymnal text in the collection — and the striking resemblance between the language of the additions and that of Shi'ur Koma and other examples of this literature. In Seder Rabba de-Bereshit, a Heikhalot tract, in conjunction with the description of ma'aseh bereshit, there is a clear parallel to Perek Shira's praise of creation and to the structure of its hymns. The concept reflected in this source is based on a belief in the existence of angelic archetypes of created beings who mediate between God and His creation, and express their role through singing hymns. As the first interpretations of Perek Shira also bear witness to its mystic character and angelologic significance, it would appear to be a mystical chapter of Heikhalot literature, dating from late Tannaitic — early Amoraic period, or early Middle Ages. . . .
A Prayer for Protection from Oppression and Persecution (CCAR 1924)
Aharon N. Varady (transcription), Unknown Author(s) and Central Conference of American Rabbis (CCAR)
Congregation & Community, Arvit l'Shabbat, Medinat Yisra'el (the State of Israel)
paraliturgical hashkivenu, prayers following pogroms, 20th century C.E., Pogroms in Ukraine 1918-1924, protection, ארץ ישראל Erets Yisrael, 57th century A.M., English vernacular prayer, Early Religious Zionist
This is an untitled prayer offered in the Evening Service for the Sabbath from the Union Prayer Book Newly Revised (CCAR 1924), pp. 68-69, as a reading between the Shema and the Amidah. As a prayer for protection it fits as a paraliturgical haskivenu, and in New York City, it makes sense in the context of the terrifying news of mass-murder, rape, and genocide being reported from Ukraine at the time. (Find Nokhem Shtif's "פּאָגראָמען אין אוקראַיִנע : די צײַט פֿון דער פֿרײַװיליקער אַרמײ (The Pogroms in Ukraine: the Period of the Volunteer Army)" (1923) offered in Yiddish and in English translation at In Geveb.) The Ukrainian context of this prayer is further underscored in that the prayer is not found in the 1918 revised Union Prayer Book, but in the later 1924 edition. It may have been unique to Congregation Emanu-El in New York City, who compiled this version of the Union Prayer Book for radio listeners joining their service. . . .
הַמַּבְדִּיל בֵּין קֹדֶשׁ לְחֹל | Hamavdil Ben Ḳodesh l'Ḥol, a piyyut attributed to Yitsḥaq ben Yehudah ibn Ghayyat (German translation by Franz Rosenzweig 1921)
Aharon N. Varady (transcription), Franz Rosenzweig (translation) and Yitsḥak ben Yehudah Ibn Ghayyāth HaLevi
Yom Kippur, Motsei Shabbat
German translation, 11th century C.E., 49th century A.M., Acrostic signature, paraliturgical havdalah, המבדיל בין קדש לחל Hamavdil Bein Ḳodesh l'Ḥol, זמירות zemirot, פיוטים piyyutim
The text of the piyyut, "HaMavdil," with a German translation by Franz Rosenzweig. . . .
אֵשֶׁת חַיִל | Eshet Ḥayil (Proverbs 31:10-31), German translation by Franz Rosenzweig (1921)
Aharon N. Varady (transcription), Franz Rosenzweig (translation) and Unknown Author(s)
57th century A.M., German translation, German Jewry, Alphabetic Acrostic, role models, אשת חיל eshet ḥayil, 20th century C.E., acrostic
The Masoretic Hebrew text of Proverbs 30:10-31, the alphabetic acrostic "Eshet Ḥayil," with a German translation by Franz Rosenzweig. . . .
שָׁלוֹם עֲלֵיכֶם | Shalom Aleikhem, the piyyut for Friday evenings in German translation by Franz Rosenzweig (1921)
German translation, German Jewry, שלום עליכם shalom aleikhem, 20th century C.E., זמירות zemirot, Angels, פיוטים piyyutim, 57th century A.M.
The popular adjuration of the angels of peace and ministering angels, Shalom Aleikhem, in Hebrew with a German translation by Franz Rosenzweig. . . .
על אהבתך אשתה גביעי | Al Ahavatekha Eshteh Gəvi'i, a piyyut of Yehudah haLevi (German translation by Franz Rosenzweig 1921)
Aharon N. Varady (transcription), Franz Rosenzweig (translation) and Yehudah ben Shmuel haLevi
20th century C.E., פיוטים piyyutim, 57th century A.M., German translation, German Jewry
The text of Yehudah haLevi's piyyut, "Al Ahavatekha Eshteh Gəvi'i," with a German translation by Franz Rosenzweig. . . .
לְכָה דוֹדִי | Princess Sabbath, three stanzas of l'Khah Dodi by Shlomo al-Qabets (English adaptation by Angie Irma Cohon (1921)
Aharon N. Varady (transcription), Angie Irma Cohon and Shlomo haLevi Al-Qabets
20th century C.E., 57th century A.M., לכה דודי Lekhah Dodi, hymns
These three stanzas of the piyyut l'Khah Dodi by Shlomo haLevi al-Qabets were adapted into English by Angie Irma Cohon and published in her תפלת ישראל (Tefilat Yisrael) A Brief Jewish Ritual (Women of Miẓpah 1921), p.16. . . .
Friday Night, a poem by Miriam del Banco (1917)
Aharon N. Varady (transcription) and Miriam del Banco
19th century C.E., 57th century A.M., English poetry, Prayers as poems, English vernacular prayer
The poem "Friday Night" by Miriam del Banco (1858-1931) was included in The Standard Book of Jewish Verse (ed. Friedlander & Kohut 1917), p. 269. . . .
כִּי אֶשְׁמְרָה שַׁבָּת | Ki Eshmera Shabbat, a piyyut by Avraham ibn Ezra (rhyming translation by Israel Abrahams, 1914)
Aharon N. Varady (transcription), Israel Abrahams and Avraham ibn Ezra
זמירות zemirot, פיוטים piyyutim, 12th century C.E., rhyming translation, 50th century A.M., כי אשמרה שבת Ki Eshmerah Shabbat
The piyyut and popular shabbat table song, Ki Eshmera Shabbat, in Hebrew with a rhyming translation. . . .
תחנה פון ליכט בענטשין | Tkhine for Lighting Candles [for Shabbes]
Aharon N. Varady (transcription), Tracy Guren Klirs (translation) and Unknown Author(s)
fire, kindling, תחינות tkhines, Needing Source Images, Needing Attribution
This is a faithful transcription of the תחנה פון ליכט בענטשין ("Tkhine for Lighting Candles [for Shabbes]") as it appeared in the Vilna, 1869 edition. I have transcribed it without any changes from The Merit of Our Mothers בזכות אמהות A Bilingual Anthology of Jewish Women's Prayers, compiled by Rabbi Tracy Guren Klirs, Cincinnati: Hebrew Union College Press, 1992. shgiyot mi yavin, ministarot nakeni. If you can scan an image of the page from the 1869 edition this was originally copied from, please share your scan with us. . . .
Lecho daudi | Lekha Dodi, a paraliturgical adaptation by Lise Tarlau (1907)
Aharon N. Varady (transcription), Aharon N. Varady (translation) and Lise Tarlau
57th century A.M., Jewish Women's Prayers, German vernacular prayer, paraliturgical reflections, paraliturgical lekha dodi, לך דודי Lekha Dodi, 20th century C.E.
This paraliturgical reflection of the piyyut "Lekha Dodi" by Lise Tarlau ("Lecho daudi") can be found in Rabbi Max Grunwald's anthology of Jewish women's prayer, Beruria: Gebet- und Andachtsbuch für jüdische Frauen und Mädchen (1907), pages 74-76. . . .
Mogen owaus | Magen Avot, a paraliturgical adaptation by Lise Tarlau (1907)
paraliturgical reflections, paraliturgical magen avot, מגן אבות magen avot, 20th century C.E., 57th century A.M., Jewish Women's Prayers, German vernacular prayer
This paraliturgical reflection of the prayer "Magen Avot" by Lise Tarlau ("Mogen owaus") can be found in Rabbi Max Grunwald's anthology of Jewish women's prayer, Beruria: Gebet- und Andachtsbuch für jüdische Frauen und Mädchen (1907), page 79. . . .
Engelsgruß (Scholaum alechem) | Angels Greeting (Shalom Aleikhem), a paraliturgical adaptation by Lise Tarlau (1907)
57th century A.M., Jewish Women's Prayers, German vernacular prayer, paraliturgical reflections, שלום עליכם shalom aleikhem, paraliturgical shalom aleikhem, 20th century C.E.
This paraliturgical adaptation of the piyyut Shalom Aleikhem by Lise Tarlau ("Engelsgruß. (Scholaum alechem.)") can be found in Rabbi Max Grunwald's anthology of Jewish women's prayer, Beruria: Gebet- und Andachtsbuch für jüdische Frauen und Mädchen (1907), page 85. . . .
הַכְנִיסִינִי תַּחַת כְּנָפֵךְ | Take Me Under Your Wing, by Ḥayyim Naḥman Bialik (1905)
Aharon N. Varady (transcription), Ruth Nevo (translation), the Ben Yehuda Project (transcription) and Ḥayyim Naḥman Bialik
Ḳabbalat Shabbat, Repenting, Resetting, and Forgiveness
20th century C.E., lev nishbar, Openers, 57th century A.M., שכינה Shekhinah, sanctuary, exile, diaspora, love-sickness, heartbreak
The prayer-poem, "Take Me Under Your Wing" (1905) by Ḥayyim Naḥman Bialik. . . .
אַיֵּךְ | Ayekh (Where are you?), by Ḥayyim Naḥman Bialik (1904)
Aharon N. Varady (transcription), the Ben Yehuda Project (transcription), Ruth Nevo (translation) and Ḥayyim Naḥman Bialik
Ḳabbalat Shabbat, Purim Qatan
20th century C.E., eros, modern hebrew poetry, 57th century A.M., Prayers as poems, Queens, Mrozy, מי או מה who or what, אנה אמצאך ana emtsaeka
The poem, Ayekh (Where are you?), by Ḥayyim Naḥman Bialik. . . .
שַׁבָּת הַמַּלְכָּה | The Shabbat Queen, by Ḥayyim Naḥman Bialik (1903)
Aharon N. Varady (transcription), Israel Meir Lask (translation), Angie Irma Cohon and Ḥayyim Naḥman Bialik
20th century C.E., זמירות zemirot, English Translation, modern hebrew poetry, 57th century A.M., Queens, rhyming translation
This translation of Ḥayyim Naḥman Bialik's "Shabbat ha-Malkah" by Israel Meir Lask can be found on pages 280-281 in the Sabbath Prayer Book (Jewish Reconstructionist Foundation, 1945) where it appears as "Greeting to Queen Sabbath." The poem is based on the shabbat song, "Shalom Alekhem" and first published in the poetry collection, Hazamir, in 1903. I have made a faithful transcription of the Hebrew and its English translation as it appears in the Sabbath Prayer Book. The first stanza of Lask's translation was adapted from an earlier translation made by Angie Irma Cohon and published in 1920 in Song and Praise for Sabbath Eve (1920), p. 87. (Cohon's translation of Bialik's second stanza of "Shabbat ha-Malkah" does not appear to have been adapted by Lask.) . . .
חֲבִיבִי יָהּ חֲבִיבִי | Ḥavivi Yah Ḥavivi, by Asher Mizrahi (ca. early 20th c.)
Honi Sanders (translation) and Asher Mizrahi
Se'udat Yom Shabbat, Se'udah haShlishit
57th century A.M., ציון Tsiyon, 20th century C.E., משיח Moshiaḥ, זמירות zemirot, פיוטים piyyutim
The popular table song calling for the redemption of the Messianic age in Tsiyon. . . .
אָשִׁיר לָאֵל אֲשֶׁר שָׁבַת | Ashir la-El Asher Shavat, a piyyut by Rabbi Mosheh ha-Levi (ca. 19th c.)
Honi Sanders (translation) and Mosheh ha-Levi
Se'udat Leil Shabbat, Se'udat Yom Shabbat
57th century A.M., 19th century C.E., זמירות zemirot, Needing Source Images
A piyyut and table song for Shabbat by the chief rabbi of the Ottoman Empire. . . .
הַמַּבְדִּיל בֵּין קֹדֶשׁ לְחֹל | Hamavdil Ben Ḳodesh l'Ḥol, a piyyut attributed to Yitsḥaq ben Yehudah ibn Ghayyat (rhymed translation by Alice Lucas, 1898)
Aharon N. Varady (transcription), Alice Lucas (translation) and Yitsḥak ben Yehudah Ibn Ghayyāth HaLevi
11th century C.E., 49th century A.M., Acrostic signature, הבדלות havdalot, rhyming translation, נעילה neilah, המבדיל בין קדש לחל Hamavdil Bein Ḳodesh l'Ḥol, פיוטים piyyutim
A rhymed translation of the piyyut sung following the Havdallah ritual. . . .
אֲדוֹן עוֹלָם (אשכנז) | Adōn Olam, translated by Alice Lucas (1894)
Aharon N. Varady (transcription) and Alice Lucas (translation)
Baqashot, Arvit l'Shabbat, Musaf l'Shabbat
Kuando el rey Nimrod (When Nimrod was King), a song relating the story of Avraham & the Furnace (ca. 1890)
Aharon N. Varady (transcription), Unknown Translator(s) and Unknown Author(s)
Ladino vernacular prayer, Morocco, the Furnace, 19th century C.E., fire, זמירות zemirot, 57th century A.M., Avraham Avinu
The sephardic folk-song "Kuando el rey Nimrod" in Ladino with English translation. . . .
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Dermatophytosis is the medical name for ringworm. Ringworm is a contagious disease that animals get from each other, from humans or from the environment (soil or dust and hair). One variety is carried by rats and mice so dogs and cats who are good mousers or rat catchers might be infected by hunting.
The origin of the term "ringworm" dates back to the middle ages when people did not know the cause of the disease. Sometimes humans get ring shaped areas of redness and animals get round areas of hair loss and crusting – hence the "ring" part of the disease name. Today we know that ringworm has nothing at all to do with worms or parasites. It is a fungus (not a worm!).
How do you know if my cat or dog has ringworm?
How ringworm in dogs and cats presents is individual and can vary a lot, from small patches of hair loss that do not bother the pet at all, to total body redness, hair loss and thick crusting. It may or may not be itchy. To try and work out if ringworm is the cause of the problem, there are several different tests and techniques we can use.
One is to pluck out some hairs or brush the animal with a toothbrush to collect hairs, and culture these hairs. If there is fungus present, it will grow in the laboratory.
We can also use an ultraviolet lamp to look at the hair on the animal, and if it is one particular type of fungus (Microsporum canis), it may glow apple green under the lamp.
Not all types of fungus glow however. We can also look at hairs under the microscope to try and find the fungus.
Sometimes the quickest and best way to diagnose ringworm is to take a biopsy from the edge of the affected skin. If the fungus is seen in the biopsy samples, we have an answer and can be sure that treatment is needed.
How do vets treat ringworm in dogs and cats?
Ringworm in dogs and cats can be a frustrating and difficult disease to treat, especially when there are other pets in the environment. If a household with multiple cats or a cattery is affected, controlling disease is a major undertaking. Fungal infections can take a while to treat – the general rule is to continue treatment until two months after the first negative culture result.
If ringworm is diagnosed, there are three key areas to consider when treating it.
Treat the pet – use the cream, shampoo and/or tablets that have been prescribed, and clip the fur of long haired cats until it is about 1cm long (since the fungus lives in the hair shaft, getting rid of the hair also gets rid of the fungus). Destroy or dispose of the clipped off hairs. It is important for the vet to check that your cat or dog is in good health otherwise and eating a balanced diet so they are in good shape to fight off the infection.
If you have other pets, they may also need to be treated or isolated.
Decontaminate the environment. The infective fungal spores can live in the environment for up to 2 years. They are protected within hairs that have fallen off the pet. The house will need top to toe cleaning, including vacuuming thoroughly as regularly as possible. Soft bedding or rugs/carpets that the pet sleeps on should ideally be destroyed, otherwise steam cleaning with water over 44C or washing with bleach may help. Clean all wipable/moppable surfaces that can be cleaned with bleach (be careful as bleach will discolour fabrics).
Some cases of mild localised ringworm may get better on their own, however it has been known for long haired cats to take up to 4 years to clear the infection without treatment!
Can I catch ringworm from my dog/cat?
Yes! Ringworm is a zoonosis, ie it can be transmitted from pets to humans and vice versa. If any humans have ring-shaped areas of redness or itchy patches, please advise your doctor and let them know that your pet has been diagnosed with ringworm.


JFOPT 4E1/10-100Base-T Protocol Converter is an Ethernet Bridge specially designed to transmit Ethernet data over several E1 circuits. It enables point-to-point transmission of Ethernet MAC frame data through one to four E1 circuits, with a maximum designed transmission rate of 7.68 Mbps. They adopt de-multiplexing technology, which binds several E1 circuits together to transmit 10M/100M Ethernet data, allowing certain transmission Time lag difference. It can extend the transmission distance and scope of application of Ethernet with existing E1 circuit resources of telecommunications network and is an ideal Ethernet broadband access solution.


The WHR (Porthmadog) is a small, friendly railway where the train ride is just part of the experience. Free guided tours at the sheds. Vintage train.
A rare opportunity to explore the virtually untouched historic workings of an old Welsh slate mine (1836-1970) with one of Wales' most experienced Mine Explorers. More than 130 years of history is captured inside awaiting discovery.
The Rheidol hydropower plant is the largest of its kind in England and Wales. Guided tours of the power station at set times, visitor centre and interactive display.
The Ffestiniog Railway is the oldest independent railway company in the world, established in 1832.
Rail Route: Porthmadog to Blaenau Ffestiniog.
Dyfi Distillery produces artisan gins crafted with wild Welsh botanicals foraged in the Dyfi Biosphere.Based at Corris Craft Centre, near Machynlleth and recognised in the Great British Food Awards 2017 for the best gin produced in the UK.
All aboard the Vale of Rheidol for an unforgettable journey through the beautiful Rheidol Valley by narrow gauge steam train.Sit back, relax and let us take you on a nostalgic journey through some of Wales' most spectacular scenery.
The Aberystwyth Electric Cliff Railway is the longest in Britain and the only one in Wales. Its 778 feet undulating track and tilted carriages are the unique work of Victorian engineer G. Croyden Marks.
Cardigan Castle is one of the most important castles in Wales - the first stone castle built by a Welshman and the birthplace of the first eisteddfod in 1176.
The Corris Railway is a narrow gauge (2 foot 3 inch) railway whose origins date back to the 1850's. The line was initially built as a horse-and-gravity worked tramroad to carry slate from the quarries of Corris Uchaf and Aberllefenni.
Llanerchaeron is a very special place. Its history, architecture and its setting combine to make it a rare survivor of traditional Welsh, self-sufficient, agricultural estate.