Do you remember moth balls?
That was one thing I dreaded when mom used to call out to us kids to say it was time to get the winter clothes out of the basement. Yuck, that smell.
The other thing I disliked even more was to look at my old clothes. The styles had changed, my body had changed. Nothing fit or looked good anymore.
My mom always had a plan for what to do with old clothes, though. She'd tell us to assemble the clothes into three piles: fit, charity, trash.
If it fit, we had to keep it, like it or not. If it was in good condition, we would donate it to charity. If was in poor condition, it became a rag or trash. My mom really knew how to recycle clothes.
I didn't realize then, that along with being a giving person, my mom also had taxes in mind. She knew that she could take a tax deduction for her gift.
Now, with the seasons changing, it's the perfect time for you to do the same. You don't have to wonder what to do with old clothes, you can recycle clothes or donate them to charity and take a tax deduction.
If you itemize deductions on your federal tax return, you may be able to claim a charitable deduction when you donate dresses or you donate suits or other items of clothing. The IRS allows you to deduct the fair market value of clothing, shoes, household goods and more. Charities such as the Salvation Army and Goodwill offer value guides to help you determine fair market value of items you donate, but you can also check with tax adviser for market values in your region. It's important to get a receipt as a record of your contribution. The receipt should include the name of the charity and the date of your donation. If your donation exceeds $500, you will need to complete Form 8283 and file it with your tax return.
I have followed in my mother's footsteps. My children and I have the same ritual when the seasons change and we must decide what to do with old clothes. We pull out our boxes and separate our clothes into three piles. We repeat the process in November, donating old toys so that children who are less fortunate may have new things to play with. It also makes room for any new things Santa might bring.
And, unlike mom, we don't use mothballs.
For more information on tax deductions and charitable contributions, you can always contact Liberty Tax Service® at 1-877-at-Liberty.


text:
Q: load list of links one at a time as soon as previous finishes Similar to Show a list of links in an iframe one at a time with jquery but without the setTimeout function - as i would rather start the next fetch once the previous document as finished loading.
I'm a noob with javascript and even more so with jquery, but here was my first shot:
links = ["http://example1.com","http://example2.com","http://example3.com"]
function loadNext(x){
  if ( x < links.length ){
    $('#target').load('links[x]');
    $('#target').ready(function(){
        x++;
        loadNext(x);
    });
  };
};

$(document).ready(function(){
  $('.loader').click(function(){
    loadNext(0);
  });
});

</script>

Start loading

I can't really see why this wouldn't work.  The logic seems correct at least. on click fire a function with index 0 passed in, then load that array value (full url) in id="target " and once that target is ready run the function again.  Clicking doesn't appear to even load the first target, much less iterate (i had expected it to redirect the first click until i figured out the proxy stuff...)

A: Assuming you have links defined somewhere in the code. Try this which calls loadNext once the previous load is complete using load method's callback feature.
function loadNext(x){
  if ( x < links.length ){
    $('#target').load(links[x], function(){
        loadNext(x++);
    });
  }
}

With above code every load will overwrite the previous content in #target. If you want to retain that then use this.
function loadNext(x){
  if ( x < links.length ){
    $('#target').append($('
').load(links[x], function(){
        loadNext(x++);
       })
    );
  }
}

Update:
If you are trying to access external urls using load then it is not going to work because of cross domain access restrictions. But there are certain ways to get content from external site using JSONP, YQL etc.
Take a look at this link
http://icant.co.uk/articles/crossdomain-ajax-with-jquery/using-yql.html

A: The following improvements should help:
$('#target').append($("
").load(links[x], function() {
    loadNext(x+1);
});

*

*load() accepts a callback function as a parameter, which you should use

*'links[x]' is taken to be a URL, so remove the single quotes (assuming links exists)

*load() overwrites content of #target, so combine with append()

A: Well, you're script is just not valid code. If x is supposed to be an array if ( x < links.length ) is wrong. load('links[x]') is incorrect. links is not declared. You're calling the same function within the function and you have many unexpected ;. And ready() is not what you think it is.
You'll have to rethink this whole thing I'm afraid.

redpajama_set_name: RedPajamaStackExchange


One of the highlights of my recent trip to GDC in San Francisco was hearing Jason Rohrer talk about his game Inside A Star Filled Sky - a game that plays with concepts of infinity, disguised cunningly as a traditional Shoot 'Em Up. The game is now available on Steam from the reasonable price of US$8.
Inside A Star Filled Sky is genius. Die, and you withdraw into yourself. You yourself transform into a level. Not only that, but you can enter into the bodies of difficult enemies, who themselves become levels, and transform them from the inside, hence making them easier to defeat.
The game soon becomes a maelstrom of ideas and leads - you leap inside an enemy to change him, die inside the enemy, withdraw into yourself, and before you know it the tasks you set out to achieve have been completely transformed. You become lost in layers within layers of different meaning.
I've watched the "WTF is Inside a Star-Filled Sky" first-impressions video by TotalBiscuit. It was a philosophical experience of enlightment.
Nevertheless, I'll be staying some distance from this game to avoid messing with my internal organs, especially the one located inside my head, thank you very much.


text:
class StatusController < ApplicationController
  def index
  	available
    @message_text = message
    #chart
  end

  def available
  	@ping = Ping.limit(2).order('id desc').reverse

   	unless @ping.nil?
   		@available = (Time.now - @ping[0][:time] > 60 ? true : false)
   	else
   		@available = true
   	end
  end

  private

  def message
    msg = ""
    File.open("message.html", "r") do |infile|
      while (line = infile.gets)
        msg += line
      end
    end
    msg.html_safe
  end
end

redpajama_set_name: RedPajamaGithub


text:
Homage to Fromage
by Marcelle Richards | Dec 5, 2014 | 0 comments
Fromagination
12 South Carroll St., Madison
Owner: Ken Monteleone
Hours: Monday-Friday 9:30 a.m. until 6:30 p.m.; Saturday 8:00 a.m. until 4 p.m.; closed on Sunday. Classes start at 6:30 p.m.
Fromagination owner Ken Monteleone is as much a cheesemonger as he is a matchmaker. It is clear upon glancing at biography placards of featured cheesemakers or simply talking with him that he loves pairing cheeses with people as much as the "perfect companions"—beer, wines, and other food specialties—that line the meticulously designed interior of his shop.
"We want our store to be inclusive," he said, adding that what he loves about his location on the Capitol Square is the diverse community.
Monteleone's Italian roots show in his philosophy: food was what was always shared. Fromagination is where figuratively and geographically, "all walks of life" meet in the middle.
"We want to create an environment that's true to Madison, whether that's gay, straight, or transgender," he said.
Customers are encouraged to sample the cheeses. Monteleone firsts looks locally, hunting down full-flavored, traditional products such as the heavily decorated Pleasant Ridge Reserve—Uplands cheese, made only when cows are grazing on pasture.
"What's most fulfilling is when you have people coming in from all walks of life taste things they haven't had before," he said. He notes that one day a homeless woman came in with just a few dollars. She wanted a Swiss because she was originally from Monroe. A few bites later, she left with an Emmenthaler.
"It opens their world to what they may have been missing," Monteleone said.
It was not too long ago that Monteleone discovered what he was missing in his past life as a retail executive for Famous Footwear and Lands' End. It was on his business travels that he started to see that his passions and profession were misaligned as he found himself browsing European markets instead of shoe stores.
Monteleone left the corporate world to spend a year traveling the globe pursuing what his gut had been telling him.
"I had a very supportive partner who allowed me to take the time to do this," Monteleone said, noting that his late partner was instrumental in making the dream of Fromagination possible.
Monteleone became a self-educated cheesemonger who sought the advice of the cheesemakers themselves to ask what they would do if they opened a specialty cheese store. He has gone to great lengths to put "cheese in an environment they'd like to see their cheese live in."
Each cheese is given scrupulous care—right down to the rustic-printed wrapping paper that hugged the Sartori Reserve Bellivitano Black Pepper cheese I brought home to pair with the Buffalo Bill's Pumpkin Ale in my fridge. After stealing a small nibble on my drive back, it wasn't much past 10:30 that morning before I paired the cheese and the beer with me. If that isn't love I don't know what is.
Not ready to commit? Adopt a bite-sized piece of "orphan" cheese near the checkout and see what develops.
Buffalo Bill's Pumpkin Ale | Fromagination | Ken Monteleone | Pleasant Ridge Reserve—Uplands | Sartori Reserve Bellivitano Black Pepper cheese

redpajama_set_name: RedPajamaCommonCrawl


The epidermal cells turn over quick. The epidermal cells are constantly being produced at the bottom of epidermis, and then they travel up and are eventually sloughed off from the skin's surface. It takes about twenty days for the cells to get from the bottom of the epidermis to the skin surface where they are sloughed off. This continuous process slows down as we age but it is still extremely rapid, compared to the turnover of the dermis.
The cells in the dermis have an extremely slow turnover. The half-life of dermal collagen is about fifteen years!
People are born with millions of collagen cells in the dermis.
When you are 15 years old, 50% of the original collagen cells remain (the rest were replaced).
When you are 30 years old, 25% of the original collagen is still in your skin.
When you are 45 years old, 12.5% of the original collagen is still in your skin.
When you are 60 years old, 6.25% of the original collagen is still in your skin.
When you are for example 60 years old, some of the original collagen you had as a newborn is still in your skin. This collagen has been subjected to sun damage and other damage for 60 years. It is no wonder we get wrinkles and sun-damaged skin! Elastin has an even longer half-life turnover. It is about 70 years. Sigh.
When collagen gets damaged, the body immediately repairs it but unfortunately, as we age, the repairs turn out rather provisory and to make matters worse – we're faced with diminishing collagen levels.
This extremely slow turnover of the cells in the dermis is the reason why a tattoo in the deep dermis (>1 mm) lasts a lifetime. A Tattoo will slightly lighten over the years but its pigment weathers the decades. "Permanent" makeup is not inserted that deep so it doesn't last as long as a tattoo.
The big deal with dermarolling is that you can trick the body to trigger collagen and elastin much sooner than the natural rate of turnover.
Dermarolling with needles that reach the dermis causes tiny microinjuries in it and the body sees it as a high priority to fix them. These microinjuries will trigger new collagen. But sadly, the skin will never be as perfect as when you were young.
Ablative methods, such as acid peels or ablative lasers can't be used to reach the dermis due to the risk of scarring and hypopigmentation. But a dermaroller very easily can go that deep, because it does not ablate the skin, it only pricks it. Since the pricks are surrounded by untreated skin, the regeneration happens very quickly. It takes long to achieve results because every time you roll, you only prick small fractions of the skin. Be patient and repeat the microneedling procedure on yourself as often and as long as it takes.
Dermarolling will speed up the turnover of dermal cells and this can slow down (but not stop) the signs of skin aging. Maybe not all signs but at least some.
The advantage of wrinkles being filled in by the collagen production triggered with dermarolling or needling is that the results are really long-lasting compared to injected fillers. Restylan, Perlane or other fillers based on cross-linked hyaluronic acid are very expensive and they are relatively quickly metabolized by the body, so they have to be re-injected every few months. The results of dermarolling, a cheap method, will last for years, although they are not "permanent" because a dermaroller can't stop aging and the wrinkles will eventually start to re-form. Dermarolling maintenance is necessary.
You should know that a dermaroller and other microneedling instruments such as dermastamp or the single needle can only affect the skin itself and not the underlying structures (fat, muscles etc). For this reason, they cannot for example improve "hollowness" under the eyes caused by fat recession (as we age, the subcutaneous fat recedes), neither it can significantly improve the nasolabial fold because it is not a wrinkle but a fold caused by a drop of the facial structures. Long-term dermarolling thickens the skin, fills up wrinkles, lines and scars but it has a limited effect on the nasolabial fold.
Don't believe claims that it can. Neither can any laser-based device. Stretch marks are deep scars in the dermis and there is currently no method that can remove them. Dermarolling or needling can very significantly improve the appearance of stretch marks but it cannot make them disappear.
Especially when dermarolling is combined with single needling, you can expect a combination of at least a few of the above.
Usually, hyperpigmentation is the result of locally uneven/excessive melanin production. Melanin is the pigment that determines the color of our skin. When our skin is exposed to the sun, it produces more melanin as a natural protection – melanin absorbs UV. Unfortunately, melanin is not always produced totally evenly, especially in individuals with darker skin.
Uneven/excessive melanin production can also be the result of skin trauma – sun burns, acne, cuts, bug bites etc. If the hyperpigmentation resides in the epidermis, it responds very well to dermarolling. If it is in the dermis (deeper part of the skin), it also responds but it takes much longer. Hyperpigmentation in the dermis is too deep for acid peels but not too deep for a dermaroller. You have to avoid excessive sun exposure and always use a sunscreen. Ignoring this advice may lead to a reappearance of the pigmentation.
Using a dermaroller to facilitate the skin penetration of skin whitening creams can be a very successful treatment for persistent or deep hyperpigmentation or melasma but you have to be careful with hydroquinone (a common skin whitening agent). The long-term usage of a high percentage of hydroquinone in combination with sun exposure can cause dark pigmentation. Do not apply high concentrations for a very long time.
I hesitate to recommend a dermaroller for melasma. Dermarolling triggers inflammation and inflammation or any kind of skin irritation can in principle worsen melasma. For the same reason, a dermaroller should not be used on Rosacea. Always do a test patch first if you use a dermaroller for melasma.
Treating hypopigmentation with dermaroller and needling showed very good results. Hypopigmented skin has malfunctioning or absent melanocytes (melanin producing cells). Skin needling triggers melanocytes production and enables migration of melanocytes from the surrounding skin into the hypopigmented area.
If you got what it takes – the patience and perseverance for long-term dermarolling, dermastamping and single needling – you are destined for success. Major improvement of acne scars was the most common feedback we have received. Some of our customers combined dermarolling with other methods such as saline injections or the suction method. Both methods are explained on our forum.
Dermarolling to reduce pore size?
Not many customers were successful in reducing the pore size. Pores are not scars, pores are ducts in the skin and there is currently no method that can reliably and permanently reduce them. Dermarolling however often helped normalize acne prone skin and post-acne pigmentations.
Dermarolling sun-damaged skin works well?
You can expect excellent results in renewing the sun-damaged skin of the face, décolleté and to a lesser extent of the forearms and the back of the hands. Application of Tretinoin (Retinoic acid or A-Ret) further boosts improvement.
Dermarolling can improve mild skin laxity and crêpey skin on the face, neck and body or a wrinkly post-pregnancy abdomen, provided there is not too much excessive skin. The bulging, sagging abdomen after pregnancy is often due to the abdominal muscles not having gone fully back to their original position – this can only be fixed by a tummy tuck.
You can greatly improve a tummy tuck scar or a C-section scar by needling. The scar will soften and becomes less visible. Dermarolling cannot get rid of excessive skin after major weight loss. Skin folds can only be fixed by plastic surgery.
Dermarolling can improve mild skin laxity but it cannot fix severely "hanging" skin.
The situation is even more complex on the neck. There is a muscle running from the collarbones to the jaw (Platysma muscle). This thin muscle holds the subcutaneous fat and everything else tightly in. When fat deposits accumulate in the platysma muscle area, we end up with a double chin. As we age, the platysma muscle slightly falls which causes jowls and a hanging neck. In addition, the muscle often starts separating in the midline of the neck, which allows fat protrusion that further contributes to a sagging neck.


Raonic is the first ever Canadian man to make the final of a Grand Slam tournament.
Murray owns a 6-3 head-to-head record with Raonic and has not lost to him since 2014.
Murray has a 2-8 record all-time in Grand Slam finals.
Milos made a major career leap in his five-set semifinal victory over third-ranked Roger Federer on Friday and will look to carry some serious momentum into his match with Murray. He has been tabbed as a serious underdog at +275 on Bovada and will have a little more tennis on his legs than his opponent. The big-serving Canadian, however, has a serious shot against the fiery Murray, who has struggled in Grand Slam finals throughout his career.
Angry Murray, as I affectionately call him, is the -350 favorite to win his second career Wimbledon title on Sunday after advancing past Tomas Berdych in straight sets in his semifinal. For the Scotsman, it will be his third Wimbledon Final; he won in 2013 and finished runner-up in 2012.
Beating Federer was a serious mental hurdle for Raonic and I think these odds should be much closer. Take advantage of +275 while it lasts, because it will come down.


The possibilities are endless with Rainbow Loom®. The bracelets are fun to make and can teach children creativity and self-expression. Weaving bracelets can also enhance their concentration and attention.
We carry a wide range of colours perfect for making the right bracelet that suits your style.
This kit is recommended for 8 years and above. Adult supervision is recommended for younger kids (not for children 3 years or younger).
Be sure to check out the instructions page to see a variety of ways to use the kit.
Go through our extensive list where you'll find the right gift for your child. Get yours now!


AEMO prepares a settlement calendar for each of the markets being settled, showing the dates for delivery of statements and settlement of trading amounts relating to each billing period.
To assist participants in fulfilling their settlement obligations, AEMO has prepared a suite of calendars that utilise a common layout, and also calendars that span across markets (e.g. final statement and payment dates for all markets). The table below presents each of the calendars, based on the market(s) they cover and the layout of the calendar.
The calendars are based on the public holiday dates determined by the State Government proclamations. State governments may, from time to time, proclaim additional holidays at short notice. AEMO reserves the right to modify these calendars if necessary to comply with the relevant market rules and provides these calendars subject to this Disclaimer.
Please click here to access the Electricity Data Provision calendar, entitled "Metering Data Delivery Dates".
For further information on these documents please contact AEMO's Information and Support Hub.


Summary: Those who feel sad or lonely appear to be better at understanding social nature, researchers report.
Social psychology researchers use extensive training and complex empirical tools to explore the roots of human behavior. However, a new study by Yale psychologists found a surprising group of people are particularly good at accurately assessing truths about human's "social nature" without formal training or tools, they report March 15 in the journal Social Psychology.
So who are the best amateur social psychologists? Introverts prone to melancholy seem to be more astute at understanding how we behave in groups than their gregarious peers, the researchers found.
Gollwitzer and co-author John Bargh asked more than 1,000 subjects questions about how people on average feel, think, and feel in social contexts — phenomena that have been extensively studied by social psychologists. Some of the questions were: Do people work harder in groups or as individuals? Do people feel more responsible for their behavior in groups or as individuals? Does catharsis work: If I am angry, will taking out my hostilities on a stuffed doll make me feel better?
Research has shown that, on average, people work harder individually than in groups, a concept known as social loafing, studies; that people feel less responsible in groups than as an individual, a phenomenon that helps explain horrors like genocide; and that, no, knocking the stuffing out of a doll is actually not cathartic.
The psychologists then did a series of experiments to try to identify traits of those who accurately answered these questions. Not surprisingly, intelligence and wanting to engage with complex problems was a key predictor, the researchers said. But they also found that introverts tended to answer more accurately than extroverts, as did people with lower self-esteem and those who reported being more lonely.
"These 'natural' social psychologists, because they better understand social phenomena, may be able to interpret and even predict social changes in our society — maybe they are exactly what is missing from our current governance and positions of power," he said. NeuroscienceNews.com image is in the public domain.
He stressed that individuals who scored high on tests about human nature do not possess the same knowledge and skills as trained social psychologists. However, he also noted that while "natural" social psychologists will not replace actual psychologists, they could be important players in the real world.
"These 'natural' social psychologists, because they better understand social phenomena, may be able to interpret and even predict social changes in our society — maybe they are exactly what is missing from our current governance and positions of power," he said.
Original Research: Abstract in Social Psychology.
Yale "Who is Best at Understanding Human Interactions? Those Who Are Lonely and Sad." NeuroscienceNews. NeuroscienceNews, 15 March 2018.
Yale "Who is Best at Understanding Human Interactions? Those Who Are Lonely and Sad." http://neurosciencenews.com/sad-lonely-understanding-8644/ (accessed March 15, 2018).
In six studies (N = 1,143), we investigated social psychological skill – lay individuals' skill at predicting social psychological phenomena (e.g., social loafing, attribution effects). Studies 1 and 2 demonstrated reliable individual differences in social psychological skill. In Studies 2, 3, and 4, attributes associated with decreased cognitive and motivational bias – cognitive ability, cognitive curiosity, and melancholy and introversion – predicted social psychological skill. Studies 4 and 5 confirmed that social psychological skill is distinct from other skills (e.g., test-taking skills, intuitive physics), and relates directly to reduced motivational bias (i.e., self-deception). In Study 6, social psychological skill related to appreciating the situational causes of another individual's behavior – reduced fundamental attribution error. Theoretical and applied implications are considered.
Feel free to share this Yale.
I like that IronSmith. – Also it would possibly be true to say sad & lonely people have more empathy. It would be interesting if that were the case.
But the saddest part of all this is that sad & lonely people are never taken seriously or put into those governance positions where their insight could be utilised. Therefore, everybody loses out because how good would it be for sad, lonely people to finally feel useful & worthwhile, but no one sees them.
Maybe it is understanding humanity that makes people sad.


You had Leland's Cabins build you a custom modular cabin. And the results are in: You love it!
Now it's time to turn that modular cabin into the perfect place by adding a few…accessories for a cowpoke such as yourself. Where should you begin?
1. A place to hang your hat.
When you walk in the door, you'd like to take your hat off and put it somewhere safe. After all, your mama taught you manners and you know removing your hat inside is the proper thing to do.
You can find a utilitarian option over at Cavender's. Not only will the hat rack they have hold your sun bonnet, it will lovingly cradle your cowboy hat. The rack is designed to keep all the creases in the right places, leaving your brim exactly the way you like it.
If instead you'd like something a little more low-profile, then take a look at this hat rackover at Houzz. Made in America with reclaimed wood, the rack will proudly hold your hat for you until you need it next. And it'll look good doing it too.
If none of those are quite your speed, then maybe you can DIY the project. There are a lot of ideas floating around the great world wide web on breaking a pallet down and using that wood to make a custom hat rack. A handy cowpoke with the right tools could pull it off.
2. A home for your boots.
Did you get your boots wet and covered in mud again? Save yourself a lot of headache by not tracking that through your beautiful new modular cabin. Instead, take those boots off at the door.
Wait, what did you say? You'd like to sit down to do that? Well, no problem. There are more boot benches out there in the world than you can shake a stick at.
Take a look at this boot bench from Sawdust City. It has hidden storage under the seat. So you can hide those muddy boots and keep the cowgirl in your life happy.
And for those who would prefer something a little wider for their hind-end, this cedar storage bench might fit the bill. This little beauty can even sit on your porch, keeping the mud and muck out of your modular cabin entirely.
Now that your hat and boots are taken care of, what about you?
3. A place to relax.
You have your modular cabin, and maybe you even chose The Lodge, complete with a big soaking tub. But did you remember the recliner? A rocking recliner is just what you need to put your feet up and enjoy your cabin after a long, hard day.
Before you start thinking you're stuck with some microfiber recliner that will wear out in a year, check out this western-style recliner by Big Sky Decor. It's made in the United States, and it's wrapped entirely in cow-hide leather.
Or shop closer to home at The Great Western Furniture Co. in Garland. They specialize in oversized leather recliners you can sink right into and relax.
And while you're sitting in that recliner relaxing, don't forget about watching your favorite show or movie. A perfect-sized screen will be just what you need to recharge your batteries for the next day, whether it holds recreation or work.
Speaking of recreation, there are a few things you'll need outside of your modular cabin too.
4. Four-legged or four-wheel transportation.
Every cowboy needs a buggy or a truck or a horse of some kind. How else will you get to where you'd like to go on your property?
If you're anything like many cowboys who purchase a Leland's Cabin, then you plan to use it as a getaway place. It's your hidey hole away from the rest of the world. You go there to hunt, maybe fish, and definitely relax.
So relax and let the proper equipment help you. Get yourself a side-by-side Gator by John Deere to haul that fishing rod and tackle box for you. A Gator will give you room to bring someone with you and leave you room for other goodies for your day out around the farm.
If you like your solitude, though, and you know a Gator is a little too large to haul a deer up out of your dense woods, then maybe an Arctic Cat four-wheeler is more your speed.
And of course, if you'd like to take your time getting where you're going, then look for a four-legged friend or bring your horses with you to the cabin (well, not in the cabin, but I'm sure you understand what I mean).
Beef. And lots of it. There isn't much in the world that tastes quite so enjoyable as a juicy steak at the end of a good day.
Take a look at the ranches around the area. In most parts of Texas, you can find local beef that's been raised right. If you're in the Grandview area, then we recommend trying Burgundy Pasture Beef. Their cattle are pasture-raised and fed 100 percent grass.
If you're getting good steaks, then you know there's something else you're going to need.
Do you prefer charcoal or gas? There is no shortage of options in either category. Here at Leland's Cabins, we've always been a fan of the smoky flavor that comes with grilling done right. As for choosing charcoal or gas, though, that's a tough choice.
Charcoal is great because who doesn't love setting stuff on fire and building a nice blaze? But there's something to be said for the control you get with a propane grill. And with a steak in particular, that control can make or break a good meal.
If you're looking for some expert help on choosing a grill, then this article from Popular Mechanics might be just the thing. They tested all the best grills and then revealed what they experienced (and tasted).
Part of the fun of grilling is hanging out on the porch. Pull up a chair while you wait for the food to cook. If you're crafty enough, you can even cook all your sides in tin foil right on your grill.
So you can bring the whole meal prep outside as well as the company.
But what do you do if you don't have a modular cabin yet?
Come visit us in Grandview. We have the largest cabin superstore in Texas, and we custom-build every cabin to be exactly what you want it to be.


One of the greatest criticisms of the mission shaped church report, is the lack of focus on the Kingdom of God. The danger, as the theologian John Hall has said, is that the Mission Shaped Church can become the Church Shaped Mission. Why? – because there is a difference between mission and maintaining an institution. A kingdom focus, is centred on people experiencing the narrative of God, of inclusion, justice, sufficiency, mercy and the focus on the poor. If the focus on institutional survival, then it becomes a narrative of economics, bums-on-seats, cost benefit analysis, buildings, keeping the show on the road.
There is a real difference. So governance, vision and focus are important if mission is to be Kingdom centred. Structures need to be light, (where light does not mean controlling or old school but participative, accountable and cost-effective). A vision that is focused on transformation or experience, that's about people, not about institutions, and focus – the values and teachings of Christ.
in this way, we can avoid being church shaped mission and a mission shaped church.


text:
Q: Integral domain without unity has prime characteristic? By an integral domain, we mean here, a ring (not necessarily with unity) in which $ab=0$ implies $a=0$ or $b=0$.
Question: If an integral domain without unity has positive characteristic, is it necessarily prime?

An integral domain $D$ is said to be of finite characteristic if there exists a positive integer $m$ such that $ma=0$ for all $a\in D$. [cf. Topics in Algebra- I. N. Herstein, 2nd Ed., p. 129]
My question is a slight modification of Problem 6 in [Topics in Algebra- I. N. Herstein, 2nd Ed., p. 130]
Topics in Algebra- Herstein, 2nd Ed.

A: I will assume the characteristic of a non-unital ring is simply the exponent of the additive group, i.e. the smallest $n$ such that $na=0$ for every $a \in A$.
Then the argument that the characteristic is prime for integral domains follows the usual way:
So assume that $n=kl,  \;\;\; 0<k , l <n$ is a composite number. Choose $a \in A$ such that $ra \neq 0$ for every $r = 1, 2, \dots, n-1$ (if there is no such element, the characteristic is ncessarily smaller than $n$). Thus, $ka \neq 0, \; la \neq 0$ but $(ka) \cdot (la)=kl a^2=na^2=0,$ contradicting the fact that $A$ was an integral domain. Thus, if the characteristic is positive, it is necessarily prime.


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Robert Downey is not keen on winning Oscars for his role in 'Endgame'
By Karishma
October 10, 2019 19:22 +08
Avengers: Infinity War YouTube grab
Robert Downey Jr. who played the role of Tony Stark, more famously known as Iron man, doesn't seem to be worried or even thinking about winning an Oscar for his performance in "Avengers: Endgame". Mr Downey has said a thank you for the Oscar nomination campaign for his wonderful performance in the movie. But, the actor has also politely said no thank you for the same.
Our dear Iron Man was in conversation with Howard Stern in SiriusXM's Hollywood studios on Monday. While in conversation with Robert Downey about the film, Howard Stern revealed that he loved "Avengers: Endgame". He further went on to state that he must be rewarded for his excellent performance in the movie.
Downey played the character of Iron Man for almost a decade and he has wooed all his fans since day 1. He won praise and recognition for his performance in "Endgame" and bidding adieu to this character seemed to be the toughest for all MCU fans. This movie by Marvel Cinematic Universe is a 2.7 billion-dollar blockbuster. The "Avengers: Endgame" hero, Iron man, is loved dearly by his fans and they were rooting for the star to get an Academy Award nomination for his last Avengers venture. But Robert Downey seems to be thinking otherwise.
The actor seems to purposely choose to stay out of the Oscars race. He considers and believes in doing films and looks at the films itself as a reward. As he was talking to Howard Stern in SiriusXM's Hollywood Studios, he said, "I'm so glad you brought this up because there was some talk about (putting his name forth for an Oscar nomination campaign), and I said 'Let's not."
Jonathan Favreau, who is an American director, actor, chef, producer and screenwriter have been a part of the Marvel Cinematic Universe where he played Happy Hogan. In conversation with Variety, the actor spoke about how Downey has beautifully explored the character of Iron Man throughout. He said, "But I have to say that if you look at, especially how it began and how it ended in his performances between the first one and 'Endgame', there was a thoughtful arc to the character, both in his performance and how all the filmmakers contributed to that character".
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Good question! We made up the term to define a series of short articles we wrote about civil engineering.
A lot of people are a bit 'fuzzy' about what civil engineers do and what civil engineering involves. We thought that we'd try to remedy that by writing a series of short articles that describe some aspect of civil engineering.
We've written the articles without a lot of technical jargon, but have kept just enough to help you expand your vocabulary and perhaps pique your interest...
more eduFacts >>
the Ironbridge
he industrial revolution of the 18th and 19th centuries brought about the marriage of iron — both cast and wrought — and bridgebuilding. The Ironbridge, erected by Abraham Darby in 1779, spans the Severn River near Coalbrookdale, one of England's earliest ironmaking centers. It is the first bridge constructed entirely of cast iron.
Because the trade of ironworking had not yet developed, the bridge was constructed by woodworkers, who crafted the individual members in wood, made sand molds of the pieces, and poured molten metal into them to form cast iron members. These members were then used to construct the bridge, but were connected with traditional woodworking joints such as mortise-and-tenon and dovetails, rather than bolts or rivets.
The problem with cast iron is that it is brittle, as opposed to wrought or malleable iron, and steel, which are ductile materials. Brittle materials do not "give" or deform much, but fracture rather suddenly, generally without warning. Ductile materials, on the other hand, will undergo significantly more yielding, or change of shape, before breaking, and are therfore more desireable for structures such as a bridge. Put another way, the difference between cast and ductile iron is analogous to the difference between a piece of chalk and a paperclip. Try to bend the chalk, and it will break suddenly; do the same to the paperclip, and it will readily deform but remain intact and retain much of its strength. It is because of this inability of cast iron to yield that the Ironbridge today has a number of members which have fractured, and the bridge has been closed to vehicular traffic, although it will still carry pedestrians.
The construction of the Ironbridge ushered in a revolution in bridgebuilding. It was not long until wrought, or ductile, iron began to be produced, and bridges spanning hitherto undreamed of lengths began to be constructed. Thomas Telford, the great British civil engineer, built iron bridges—such as the 1814 cast-iron bridge over the River Spey in Scotland—that remain as models of their time. Isambard Brunel, another British civil engineer, and Gustav Eiffel, creator of the Eiffel Tower in Paris, used ductile iron and steel to rapidly push the boundaries of possibility in bridgebuilding, and by the end of the 19th century had revolutionized the whole bridge design and construction process.
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We are inviting applications for the role of Chair of the NIAA Board, which will become vacant in July 2018.
The post holder will oversee the strategic direction of the NIAA and provide leadership for all aspects of NIAA work. An understanding and support of the NIAA Aims, Strategy, Vision & Mission is essential for this role.
The successful applicant will need to be able to develop and maintain good working relationships with NIAA funding partners to strategically support research in national priority areas. As well as working with other major funders such as MRC, NIHR, and the Wellcome Trust to explore funding opportunities.
The appointment is a three-year fixed term contract subject to review by the RCoA Council and is renewable for a further three-year term on the agreement of the NIAA Board. The Board Chair is also a voting member of the NIAA Research Council.
There are four scheduled NIAA Board meetings per year, and the post-holder will also be expected to attend NIAA Research Council meetings - of which there are two per year.
The role will formally commence in July 2018, and a handover with the outgoing Board Chair is scheduled for May-June 2018. There is no direct remuneration for this role however all reasonable expenses will be covered by the RCoA.
Full details of the role and person specification are available in the document below.
Applicants should complete the application form below and submit this together with their current CV and a one page letter of support from their Head of Department/Line Manager by email to the NIAA Coordinator.
Please also email if you'd like to discuss the role with the existing post-holder Prof Monty Mythen, and we can put you in touch.


When C4L Chairman Ron Paul was running for President in 2008 and 2012, many of his detractors, particularly those in the mainstream media, derided him using the pejorative term "isolationist."
But in 2016, when true isolationist policies have reared their ugly head repeatedly, from candidates in both parties espousing protectionist trade policies, the media has been silent.
As our Statement of Principles spells out succinctly, at Campaign for Liberty, "We believe that the free market, reviled by people who do not understand it, is the most just and humane economic system and the greatest engine of prosperity the world has ever known."
So because of this, it's worth looking back at some of what Dr. Paul said about free trade (not managed trade like NAFTA, or CAFTA) during his time in Congress.
"...If someone says they are for "free trade," one must look carefully what they really mean, for the classic (and common sense) definition does not apply. All to often in Washington, free trade is used when one really means "subsidized trade," or, tax dollars being funneled to foreign governments to buy American products.
Similarly, the phrase can mean to use tax dollars to bail-out American firms for risky overseas ventures, or managed trade by the World Trade Organization to serve powerful special interests. On the other hand, those of us who oppose using the taxes of American citizens to prop-up foreign governments or American corporations are derisively called "isolationists."
There are indeed some people who are isolationists. They call themselves "fair traders," though. Exactly what this means is open to debate. All too often it involves letting the government determine what is and is not "fair" in the private trading between individuals who live in different countries.
Sadly, these definitions all hinge on the assumption that there are essentially only two options: tax dollars being used to subsidize corporations/foreign governments, or no trade whatsoever without the rubber stamp of government bureaucrats and special interest groups.
The bottom-line of both options, of course, is higher taxes for Americans. Higher taxes to finance the subsidies, or higher taxes on incoming products (and make no mistake, a tariff is a tax, paid by the American consumer).
There is another way. Free trade and free markets are, without a doubt, the best guarantor of peace. But this requires something all too few in Washington want: less government intervention.
Free trade, not isolationism or subsidization, is the most moral of instruments between men.
"Free trade is the process of free people engaging in market activity without government interference such as tariffs or managed-trade agreements. In a true free market, individuals and companies do business voluntarily, which means they believe they will be better off as a result of a transaction. Tariffs, taxes, and duties upset the balance, because governments add costs to the calculation which make doing business less attractive."
"Free trade with all and entangling alliances with none has always been the best policy in dealing with other countries on the world stage. This is the policy of friendship, freedom and non-interventionism and yet people wrongly attack this philosophy as isolationist. Nothing could be further from the truth. Isolationism is putting up protectionist trade barriers, starting trade wars imposing provocative sanctions and one day finding out we have no one left to buy our products."
Don't fall for the ugly rhetoric of protectionist politicians promising to "bring back jobs from overseas." Protectionism is an expensive proposition.


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Home Great Neck News Sunny Future For Kings Point Regeneron Scholar
Sunny Future For Kings Point Regeneron Scholar
Sheri ArbitalJacoby
Bradford Lin of Kings Point, who attends The Lawrenceville School in New Jersey, was named a Regeneron Scholar.
Bradford Lin of Kings Point, who attends The Lawrenceville School in New Jersey, was named a Regeneron scholar for his project on Evaluating the Effects of Atmospheric Aerosol Loading on Surface Radiation and Cloud Microphysical Properties Over the Hawaiian Islands.
Lin found the internship opportunity in Hawaii, where he conducted the research that earned him a semifinalist position in the 2018 Regeneron Science Talent Search, while searching for interesting experiences through his research program at school.
"I knew I wanted to work in atmospheric science, so I looked into different programs across the nation and reached out to professors," explained Lin. "The Hawaii trip worked with my schedule and suited my interests, so I chose to do my research there."
Lin has always been fascinated by Earth Science and wanted to further develop his passion for the subject by conducting original research in atmospheric science.
"I spoke with my mentor, a professor at the University of Hawaii at Manoa, about current issues that are relevant in atmospheric science, identifying climate change as a topic of particular interest," said Lin. "Together, we discussed potential project ideas, and I ultimately chose to study the effects of volcanic aerosols from Kilauea on solar energy and climate."
The high school senior explained the details of his research project.
"My project involved two main components. The first component was to investigate the 'direct effects' of aerosols being released into the atmosphere from the Kilauea volcano. I looked at data from 15 solar stations on the Island of Oahu and used aerosol computer models to determine at what point aerosols were in the atmosphere. Then, I used statistical data analysis to compare whether or not aerosols affected the amount of solar energy captured on Oahu. The results showed that the presence of aerosols significantly decreased the amount of solar energy captured at all 15 solar stations," said Lin. "The second component of my project involved investigating the 'indirect effect' of aerosols, which is how aerosols affect clouds. I analyzed satellite data and confirmed that the clouds over Hawaii (which are affected by aerosols from Kilauea) are more reflective than regular clouds, which results in a net cooling effect in the atmosphere that offsets part of global warming."
Lin conducted his research this past summer at the University of Hawaii at Manoa in Honolulu on the Island of Oahu. He said that he didn't physically go to the Kilauea volcano on the Big Island to take data, because the data was taken by machinery, satellites and computer models over the course of six years. Instead, he worked on campus at the Hawaii Institute of Geophysics, doing data/statistical analysis and finding answers to the questions he posed.
When not in a lab, Lin is the editor-in-chief of his school's science journal as well as the top editor of his school's online journalism publication. He is also an avid musician and plays cello for both of his school's orchestras, Lawrenceville Philharmonic and Lawrenceville Collegium, and sings for his school's coed a cappella group. For the past two years, Lin has played for Lawrenceville's tennis team and is also part of his school's Mock Trial team. He enjoys recreational skiing, as well.
Lin was accepted at Stanford University through its Restrictive Early Action program and hopes to study Earth Systems next year in college.
"I'm fascinated by atmospheric science and would love to continue research in this field," noted Lin about his plans. "As for this particular project, potential future ideas include programming an application that would optimize solar panel placement based on aerosol data in the atmosphere."
Read about the Great Neck Public Schools and North Shore Hebrew Academy scholars.
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Sheri ArbitalJacoby brought more than three decades of publishing experience at national magazines to her former position as editor of the Great Neck Record. She also wrote decorating, travel, food and green articles for Long Island Weekly and Anton Media Group's special sections.
North Shore Regeneron Scholar's Invention Saves Lives – PharmaBlender January 22, 2018 at 12:25 am
[…] about the Great Neck Public Schools and The Lawrenceville School […]


Digital Signature Certificate (DSC) as Licensed Registration Authority (LRA) of e-Mudhra for distribution of Digital Signature Certificate. The E-mudhra ( Certifying Authorities under Govt. of India) is licensed Certified Authority authorized by Controller of Certifying Authority (CCA), Government of India, to issue various types of Digital Signature Certificates (DSC).... The ability to create positive that the initial signed message arrived implies that the sender cannot merely disclaim it later. Digital Signature Certificates (DSC) is that the electronic format of physical or paper certificate style of a license, passport etc.
1/04/2014 · If a DSC resource requires the Required and/or Write properties to successfully fetch the state of the modeled entity, then Required or Write properties can also be in the Get-TargetResource input parameter list, and the values for these properties are propagated to Get-TargetResource during the command execution.
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Introducing "CorPro" (c) ROMANTASY 1998. We love this little stretch top with feminine lace trim. Pull it over your head and then put your corset over it, to protect against excess body oils. The less you clean or wash your corset, the longer it will last.
Send us your own Barbierella or we'll dress ours, in removable miniature corset, with collar, cuffs, and whip also available. By a renown miniature maker from Florida. As pictured fully adorned, $225.
1. "When you put on your corset, do you have to re-lace it every time?" -- JC from Austin, Texas. The short answer is "YES!" The reason relates to both body comfort and corset protection. Once moderately laced, the corset places a significant amount of pressure on the waist. If you try to undo the front busk without loosening the laces, you will find that it will likely stick at the waist clip with resulting struggle and stress on both you and the garment. So, why make it difficult when you can make it easy?
2. "OK, but I live alone. How can I lace and unlace by myself?" For a back laced corset, this can be done very easily unless you suffer from extreme arthritis in your hands. But it takes a lot of practice. We do not particularly recommend that you order a front laced corset, even though it is easier to lace, because your tummy can protrude out through the laces if you cannot initially close the corset, and the lack of steel busks in front may not give you proper posture, nor an anchor against which to pull down your waist.
You can start by looking over your shoulder in a mirror, but it might be easier just to do it by feel. Note that an excess lacing loop should exist on either side of the back at the waist. Use friction, not ribbon laces...the kind that do not slip out once you pull and let go. ROMANTASY offers these for sale in black, white, or cream for $2.00/yd., order 1 yard for every 3 eyelets.
Open up the corset laces to create about a 4" wide opening in the back. Clip the corset on. Reach around the back and start at the top (or bottom according to some wearers) of the corset. Find the top place where the lacings crisscross. Hook a thumb under it and pull out a little. Then go down to the crisscross and pull. Continue until you reach the waist. Crisscross the waist pulls and pull to tighten. Release the pulls and start at the bottom and repeat to the waist area. Do this several times until you reach your desired reduction.
One writer advises to keep the distance between the halves of your corset parallel as you lace down, "otherwise the effect on your figure of the lacing will not be good; if the waist is more tight than the upper part, the corset top may bulge outward and the edge will be visible under your clothing." The customer also advises that you take your time in lacing, and once you have laced as tightly as comfortable or desired, give the waist one more pull (with crisscrossed waist pulls) and tie a bow. ( Thank you. Inge, Norway).
3. "Does the corset eventually take on the shape of the person wearing it?" It usually takes on the person's general shape, starting at the waist indentation. This is especially true for styles using flat steel bones. A spiral steel bone may spring forwards and backwards a bit more, not retaining your body shape. This shaping is exactly why we do not recommend that you purchase some one else's used corset, nor loan yours out for extended wear!
"The Effects of Corseting"by Inge, Norway.
A corset is a very special part of an outfit. It has the capacity to modify your figure, your carriage and your movement. Your figure can be smoothed out, your posture will be upright and deliciously self-conscious, and your more restricted movement will seem more elegant. You are indeed a lady, and not a tomgirl!
However, the corset is not something to don with abandon and tightlace to the maximum. Such an approach will not only be deleterious to figure control but may cause substantial discomfort and spoil your growing interest in being corsetted and laced.
"Lewis Johnson tests Ann's waist size after 7 years of practice in corseting, while Ruth Johnson looks at her latest elegant creation!"
Some styles encourage a bit of a forward stance with hips thrust out toward the rear (traditional Edwardian), but modern day corset makers typically adjust the pattern to ensure comfort and accommodate to the more athletic modern female figure. Corseting is one thing; lacing another. The corset alone when hooked, gives you nice support and a firmness of figure. However, it is not until you lace up that you will realize the full and beneficial effect. The lacing develops the form of the corset style you have chosen, and coaxes out the waist profile appropriate to that style, either hourglass, wasp, ice cream cone, or other.
The bust will be lifted and emphasized; the hips will also be emphasized in contrast to the small waist. Your posture will be enhanced as you stand straight, move your shoulders backwards and find your head lifting upwards. Some styles encourage a bit of a forward stance with hips thrust out toward the rear (traditional Edwardian), but modern day corset makers typically adjust the pattern to ensure comfort and accommodate to the more athletic modern female figure.
"Sheri Jurnecka presents her models at ROMANTASY's catalog release party, wearing her gorgeous creations; Sheri debuts her "Elizabeth" style in furry synthetic fabric with patent leather sides."
To be sure, proper corset training takes a long time, particularly for women who are introduced to this sensual garment only as adults. You must only moderately lace, and continue wearing the corset on a regular basis as long as you can each day. You must not become discouraged when you cannot immediately close the back gap nor achieve your ideal of a small waist.
We'd love to hear from you and receive photos to post. We'll be reviewing our visit to the Coronation where Robby and I met the outgoing empress Veronda Lanai and her Emperor, plus we're proud to have become an honorary "Vestal Virgin" with ETVC members the next morning. That is quite a story for the next issue!
Question for the next issue: is it better to start lacing top to waist, or the reverse, and why?


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Asia Pacific|Corazon Aquino, Ex-Leader of Philippines, Is Dead
Corazon Aquino, Ex-Leader of Philippines, Is Dead
By SETH MYDANS JULY 31, 2009
Corazon C. Aquino of the Philippines, who was swept into office on a wave of "people power" in 1986 and then faced down half a dozen coup attempts in six years as president, died Saturday in Manila, her son said. She was 76.
Her son, Senator Benigno S. Aquino III, known as Noynoy, said in a statement that she died at 3:18 a.m. She learned she had advanced colon cancer last year and had been hospitalized in Manila for more than a month, he said. The cancer had spread to other organs, he added, and she was too weak to continue chemotherapy.
Demure but radiant in her familiar yellow dress, Mrs. Aquino brought hope to the Philippines as a presidential candidate, then led its difficult transition to democracy from 20 years of autocratic rule under her predecessor, Ferdinand E. Marcos.
That initial triumph of popular will — after a fraudulent election in which Mr. Marcos claimed victory, though most people believed that Mrs. Aquino had won — was a high point in modern Philippine history, and it offered a model for nonviolent uprisings that has been repeated often in other countries.
But it also set a difficult precedent in the Philippines, where people nostalgic for their shining moment continue to see mass movements as an acceptable, if unconstitutional, answer to the difficulties of a flawed democratic system.
Since Mrs. Aquino left office in 1992, the Philippines has had two electoral transfers of presidential power and two attempts at replicating "people power," including one that succeeded in removing a democratically elected president, Joseph Estrada, in 2001.
Mrs. Aquino spent the decades after her presidency as the fading conscience of her country, supporting social causes and, in her last years, joining street protests calling for the resignation of the current president, Gloria Macapagal Arroyo.
An observant Roman Catholic who sometimes retreated to convents for contemplation, she attributed much of her success to a divine will. She also said she sought guidance from the spirit of her late husband, Benigno S. Aquino Jr., who had been a chief challenger to Mr. Marcos. His assassination in 1983 fueled the opposition against Mr. Marcos and made his widow a popular figure.
"What on earth do I know about being president?" Mrs. Aquino said in an interview in December 1985, after a rally opening her election campaign.
But that was beside the point. For many Filipinos, she embodied a hope of becoming a better nation and a prouder people.
"The only thing I can really offer the Filipino people is my sincerity," she said in the interview.
It was what they hungered for, and what she delivered as president. Although often criticized as an indecisive and ineffectual leader, Mrs. Aquino combined passivity and stubbornness and an unexpected shrewdness to hold firm against powerful opponents from both the right and the left.
Her survival in office was one of her chief accomplishments. She was succeeded by Fidel V. Ramos, whose challenge to Mr. Marcos was a catalyst for the uprising in 1986 and whose support as Mrs. Aquino's military chief was crucial to her in quelling coup attempts.
In the months after she took office, while ambitious people who had wilted under Mr. Marcos's dominance jockeyed for power, Mrs. Aquino succeeded in restoring a freely elected Parliament and an independent judiciary.
She had come to power through what amounted to popular acclaim — she called it "people power" — expressed by huge crowds that gathered in support of her after the disputed election in February 1986.
One year later, in February 1987, an 80 percent popular vote for a new Constitution was seen as a vote of confidence in her presidency, and coming after her nonelectoral ascent to power, it confirmed her legitimacy and helped keep her challengers at bay.
But these challenges, including the attempted coups and continuing agitation from pressure groups, limited her options. Lacking political experience, she held back from making the most of her overwhelming mandate.
Former Philippine President Corazon Aquino at a news conference in Manila on July 8, 2005. Credit Romeo Ranoco/Reuters
Born into one of the country's wealthy land-owning families, the Cojuangcos of Tarlac, Mrs. Aquino did not lead the social revolution that some had hoped for. She failed to institute effective land reform or to address the country's fundamental structural ailment, the oligarchic control of power and politics.
Under pressure from her restive military, she was forced to abandon one of the most strongly held ideas she brought to her presidency, an amnesty and reconciliation with a Communist insurgency. In one of the most striking retreats of her presidency, addressing the graduating class at the Philippine Military Academy a year after taking power, she said, "The answer to the terrorism of the left and the right is not social and economic reform, but police and military action."
She turned her military loose, and the war against the Communist New People's Army resumed. The four-decade conflict continues today, along with widespread extrajudicial killings by the military that are reminiscent of Mr. Marcos's time.
Although the economy revived under her leadership, it remains weak, sustained by the remittances of millions of overseas workers. Economic growth is also hampered by an exploding population in a largely Roman Catholic nation in which artificial birth control is rejected by the church.
Maria Corazon Aquino, popularly known as Cory, was born on Jan. 25, 1933, in Tarlac Province in central Luzon, the sixth of eight children of José Cojuangco.
Like her future husband, she came from a wealthy and politically powerful family. Their banking and commercial interests, along with their 15,000-acre sugar plantation, made them one of the wealthiest families in the province.
Like the Aquinos, they belonged to the class of oligarchs of Chinese, Spanish and Malay descent who have held the real power in the Philippines since colonial days. She attended exclusive schools in Manila until she was 13, when she was sent to finish her education at convent schools in the United States. Teachers and students remembered her as a quiet, studious and devoutly Catholic girl.
She studied at Ravenhill Academy in Philadelphia and Notre Dame Convent School in Manhattan, a small institution on West 79th Street (now called Notre Dame School), where she was a member of the class of 1949. In 1953 she graduated from the College of Mount St. Vincent in the Riverdale section of the Bronx with a major in French and a minor in mathematics.
She enrolled in law school in Manila, where she met Benigno Aquino, a promising young journalist with a future in politics clearly ahead of him. She left the law behind and married him in 1954, and the couple had four daughters and a son.
Besides her son, she is survived by her daughters, Maria Elena Aquino-Cruz, Aurora Corazon Aquino-Abellada, Victoria Elisa Aquino-Dee and Kristina Bernadette Aquino-Yap.
Mrs. Aquino played the dutiful wife as her husband's political star rose. In less than 20 years he became the country's youngest elected mayor, governor and senator, emerging as one of the chief potential rivals of Mr. Marcos, who was then president.
When Mr. Marcos declared martial law in 1972, extending his presidency beyond its two-term limit, Mr. Aquino was arrested and charged with subversion and illegal possession of firearms. He spent the next seven years behind bars. During that time, Mrs. Aquino's political education began in earnest. As her husband's only link to the world outside, she memorized his messages and statements and passed them on to the press.
In 1980, Mr. Marcos allowed Mr. Aquino to go to the United States for a triple-bypass heart operation. Mr. Aquino accepted academic posts at Harvard and the Massachusetts Institute of Technology, and the family settled in Newton, a suburb of Boston, for what Mrs. Aquino later recalled as the happiest three years of her life.
But despite warnings from Mr. Marcos's powerful and eccentric wife, Imelda, Mr. Aquino pursued a sense of mission and returned to the Philippines on Aug. 21, 1983. He was escorted from his airplane by two soldiers, who gunned him down on a side stairway leading to the tarmac.
Mr. Marcos was widely blamed for the assassination, although no proof has emerged, and a huge antigovernment protest took place at Mr. Aquino's funeral.
It was at his funeral, dressed in black and standing beside his open coffin, that Mrs. Aquino became a national symbol, showing the dignity and composure that would characterize her most difficult moments as president. Her popularity reached its peak during her presidential campaign against Mr. Marcos in January 1986, when she was surrounded by enthusiastic crowds chanting, "Cory! Cory! Cory!"
The "people power" uprising began with a foiled coup attempt by a clique of junior officers two weeks after the election in which Mr. Marcos was declared the winner by a compliant legislature. Two of Mr. Marcos's military leaders — Defense Minister Juan Ponce Enrile and Mr. Ramos, then chief of the national police — broke away from Mr. Marcos and took refuge in a military camp in the capital.
Responding to calls by the Catholic Church and by Mrs. Aquino's backers, hundreds of thousands of people poured into the streets around the military camp, blocking the advance of tanks and calling on the soldiers to join them. The tide had clearly turned against Mr. Marcos. President Ronald Reagan, who had supported him throughout, sent him the message that it was time for him to leave.
Four days after the uprising began, Mr. Marcos was flown on an American aircraft to exile in Guam and then to Hawaii, where he died in 1989. Before fleeing, Mr. Marcos had himself sworn in as president in his nearly empty palace. Almost simultaneously Mrs. Aquino was sworn in by her civilian supporters at a social club near the military camp. She was immediately recognized as president by the United States. In an address to the nation, she declared, "Our long national nightmare is over," and there was a moment of hope.
A version of this article appears in print on , on Page A18 of the New York edition with the headline: Corazon C. Aquino, Filipino Leader Whose Rise Ended Marcos Era, Dies at 76. Order Reprints| Today's Paper|Subscribe
Corazon Aquino Dies AUG. 1, 2009
Corazon C. Aquino


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Share Juicing the Global Jukebox: Pangea: World Musicians
Issue 23: Squares
Ethnic Marketing
Juicing the Global Jukebox
Pangea: World Musicians
Pangea, World Musicians. Photo by Babak Radboy
The video for "Citizens of the World" begins with a helicopter-mounted camera breaking through the clouds and descending toward the dreary grid of Los Angeles. The spire of the Capitol Records Building comes into view, and a coruscating accordion line beckons. Suddenly, Khaled, Algeria's King of Raï, appears perched atop the tower; his accordion is mirrored by a metallic guitar, and the camera cuts to Flying Machines' John Wlaysewski. Then a crashing cymbal cuts off the surging melody, and the trilling, Bollywood-meets-old-India vocalizations of Kailash Kher take over; King Sunny Ade's Juju guitar begins hammering away at a riff; the wail of Cheng Lin's ehru slices into the mix. Wlaysewski's bandmate, William Ryan George — the white one — begins: "In the beginning / When we were children / We saw no colors / Saw only brothers." The chorus approaches, and the camera zooms out to reveal a perfectly synthesized rainbow of ethnicities, the miasma of globalization repackaged as a rare parfum, the promise of multiculturalism renewed — live from Hollywood. This is Pangea.
Photos by Jay Goldman. Courtesy Equus World
Cheng: "We all are human, and love our families / I hope you realize, we're from the same tree."
Ade: "So if you see me walking down your street / I hope you'll greet me…"
Everybody: "…and join in my dream!"
Kher: "The truest religion is love / We can make the world beautiful."
Cut to the B-roll: Enjoined by Cheng Lin to "Raise your hands up," a gang of peacoat-clad women hoist champagne glasses in front of some generically iconic domed basilica, then a mother and her children jump for joy in front of the Los Angeles Zoo, then a collection of well-dressed, gleeful African men and women in an anonymous concrete plaza throw their hands in the air as if they do not care. Back to the white guy and the chorus: "I've got to let you know" — all together now! — "We are citizens of the world." White guy: "No matter where we go" — together! — "No borders on our soul."
Cut to stop-motion footage of pedestrians and cars flowing in and out of claustrophobic urban spaces, portraits of smiling Mongolian yak herders, septuagenarian beachgoers, head-wrapped men surveying Dubai's towers, two friends of indeterminate (but divergent) ethnicities embracing, and so on.
According to the website of Equus World, a subsidiary of the dry-goods conglomerate Limex Global Industries (maker of Bimbo, Nigeria's favorite detergent), whose head is Paris-based businessman and "Citizens of the World" financier Bassam Abdallah, Pangea is a supergroup created to "prove through the power and beauty of music, that despite being now separated by oceans, we are still one people." ("Citizens of the World" is not just a song, but a component of the grander Equus project, which aims to connect the globe through "sensational events" and message-driven products including limited-edition, custom-made American muscle cars, utilizing "the new triangular link existing between Hollywood, Bollywood, and Nollywood.") Unlike "Do They Know It's Christmas?" or "We Are the World" or other musical endeavors meant to succor the world's benighted, suffering populations, "Citizens of the World" aims to purvey a vibe, not save lives. And unlike, say, the United Nations, it is completely apolitical.
What follows is an account of the genesis of "Citizens of the World," and a lesson in how to engineer a message-driven global pop product, told through interviews with Flying Machines' John Wlaysewski and the project's American masterminds, Spencer Proffer, a veteran music producer who is now the CEO of Meteor 17, and Harry Winer, a producer and director and president of Smash Media. Bassam Abdallah was unavailable for comment.
Harry Winer: Some years ago I was working on a film set in the world of motor sports, and I got to know someone named Dan Panoz, whose passion is creating high-end, hand-built cars. He told me about a project he was working on with a guy named Bassam Abdallah, who had commissioned him to manufacture replicas of classic American muscle cars. Dan introduced me to Bassam one day in early 2009, and it turns out that he's the Procter & Gamble of Africa: He owns a company called Limex, which essentially takes natural resources and transforms them into usable products like soap and detergent. He lives in Paris now, but he's from Lebanon, and was raised in the bush in central Africa, where his father had a business. This is very classically Lebanese — it's a very industrious culture and citizenry, and there's not enough business within the country, so they go elsewhere to seek their fortune. It's very much an extension of their historic, nomadic cultures.
When Bassam was a teenager he saw his first American movie, Bullitt, with Steve McQueen. And he saw this car, a 1968 Mustang GT — he's in a country with all dirt roads, so to even see a paved street, let alone a car that could go that fast, obviously made a big impression on him. Years later Bassam took over his father's business, which was not very successful, and turned it into Limex. He started collecting 1960s muscle cars, and now he has a handsome collection, primarily Mustangs and Chevys. He feels there is something unique about these cars, something that connects with people no matter their culture.
Bassam eventually asked me to create a song that would capture the universal spirit of the car he was building. "Help me find a song that captures the philosophy of how I want to do business," he said. "And let's use American rock 'n' roll, because that's also highly exportable and is an iconic cultural element that people respond to."
Spencer Proffer: Harry contacted me to architect the music that was to help propel the launch of his car. I immediately thought of "Desert Rose," by Sting and Cheb Mami — the video has Sting and Mami driving through the desert in a Jaguar S-Type, and the song was used as a soundtrack for Jaguar commercials.
KW: "Desert Rose" was the prototype, but we wanted to do it in our own way.
SP: Bassam flew over to meet with Harry and me — we liked each other a lot, and I got a sense of his worldview. He agreed to let me have Flying Machines, an emerging band that had just come off a number-one hit on Yahoo consumer response, create the song. John Wlaysewski Spencer threw us a bone. Bassam was like, "Are you getting us Coldplay?" And Spencer said, "Let me get my band to take a crack at the song. If you don't like it, I'll go and find you a real band, a band you can drop $500,000 on." Bassam agreed, but said, "I want it to be hybrid music. I don't want it to be American music. I want it to have an eastern flavor to it — but an American band, so we can have East and West."
KW: If we had gotten Peter Gabriel, we wouldn't have been able to control the song. Spencer told me, "With my group we can do whatever we want with the song." The challenge was that they were used to singing about lost loves and other very America-centric teenage themes that weren't very worldly in their perspective.
SP: Flying Machines is American, but their music transcends. That's a good word: transcends. The band has its own lane. Outside of the US, films and records are made with a global audience in mind. We're hip to that, we're tapping into that already. Their music travels so well: when you hear it you don't think it sounds American; you think it sounds global. Queen, Paul McCartney, Sting, Peter Gabriel, Phil Collins — their music travelled worldwide. My personal blueprint is the international stage, how music bridges cultures, and how cultures and spirits can come together using music as the vehicle. It's who I am and where I play.
KW: I've done a number of international productions. I was first drawn to film because I saw it as a universal language. Little did I realize what was necessary to speak a universal language, or to get everybody to speak the same language. Bassam is trying to find the commonalities in people so that he can build bridges between divergent cultures. If we can find things that remind us of the interests that we share and the beauty that we all appreciate, then instead of being pulled apart by our differences we will be united. So while America is being demonized in many parts of the world, Bassam decides to take his fleet of muscle cars — these vintage Mustangs that are worth a fortune — on a trip through India, on these awful roads. Thousands of people flocked to see Bassam's automobiles, and that's what got this notion going in his head.
JW: Bassam has a vision. He feels like these are beautiful things, especially since they're made by hand, they're someone's passion. If it were just a car rolling off a factory, I don't think he would feel the same. Maybe it's not so much the car that brings people together, but the idea that someone has a passion for something. Driving across India in this classic American car somehow means something about how every culture — it comes back to the feeling of the song.
We had trouble getting it right at first. We were sending Spencer songs that had full bridges, stuff going on everywhere, and he was like, "This is great! But we can't use it. Picture an Indian guy: Is he going to listen to this? He would never be able to follow it. Less!" We got to the point where it was just two chords. "The simpler we make this," I thought, "the more people from different places will be able to comprehend it without feeling like it's an American song."
Another stumbling block was that we had been told the whole time that the song was for a car. We wrote a song called "Driver, Please." I turned it in, and Spencer's like, "You're not getting it." I'm like, "What is this song for? Does it exist outside of selling a product?" And he was like, "It does." And I'm like, "Well, I wish that we hadn't been talking about the car this whole time." That was the eureka moment.
Finally, we wrote the song in my basement at two in the morning, after failing to get it right for a week. I emailed a really crappy demo of "Citizens of the World," with English lyrics, to Spencer, and he was like, "I think this is the one." When he hears it, he knows. Then he asked, "Does it have a title?" I told him I wanted to show that, in the end, we're all citizens of the world. "That's the title!" he said.
SP: John is really a citizen of the world. He's a Vietnamese orphan raised by a Polish father and an Irish mother.
JW: I almost feel like the title is too strong, from an artist's point of view. But the point is that it's a simple, even innocent, totally un-cynical title — there's no irony, nothing idiomatic, nothing to mark it as American. People in America might think it's simple-minded, but for people who don't speak English as their first language — particularly Bassam — it's a concept that's easy to understand.
KW: As soon as I heard the song I said, "Yeah, that's spot on. That captures the spirit of what Bassam wants." You could see people dancing to it in clubs around the world. So I flew to Paris with the song. Bassam flipped. Spencer had mixed the whole thing, so it wasn't just an idea — it was a song, and it really rocked. We drove all over Paris in Bassam's car, playing the song over and over again, picking up his colleagues so they could drive around with us and listen to it. It was the first time in ages that it had snowed in Paris, and we were driving by the Eiffel Tower in the snow, singing along. Bassam was envisioning people all around the world singing the song.
JW: I got an email from Bassam that said, "You know, I've been listening to this song for eight hours. I've heard it thirty-two times. And I can't find anything wrong with it."
SP: Bassam and his staff believed that the statement was much bigger than the car and that the song could have a reach beyond being a propeller for a commercial. And Bassam, to his credit, wanted to make that statement. So I said, "Why not take the Sting model, which was fantastic, which had Sting's voice married to the voice of a foreign language?" I asked Bassam where his business interests were most significant, and he said Africa, China, the Arab states, and India.
JW: Once that happened it started becoming something that wasn't just about a car.
KW: Though at the level of the project's DNA, it was always what it became.
JW: Spencer thought to bring people together on this and actually do what the song says rather than it just being, once again, another American act writing a song about people who they're never going to meet. You know, so that it's not like, "This goes out to my gardener," or "This is about the guy I buy mangos from — this is his story."
SP: I took about a month to do some homework. I'd worked with Stevie Wonder in the eighties, and I remembered how he'd raved about collaborating with King Sunny Ade. I thought it would be quite interesting for this rainbow of artists to include a classic/legacy/timeless artist like Sunny. He was a wonderful, wonderful talent and human being to interface with, just a pure delight. And when I called my friends at EMI India — I have a global relationship with the company — I spoke to the managing director, who turned me on to what he said was one of the hottest voices in all of India, Kailash Kher. I listened to his music and really got pumped. I thought, "Boy, that's the other side of the coin of Sunny: one guy is legacy, one guy is emerging but major." And then we got Cheng Lin, who's been a star in China since she was thirteen and has sold over twenty-five million albums. She plays that instrument, the erhu — it's like five hundred years old. I thought, "What a great adjunct to this team." Last was Khaled, "the king of raï," who's sold forty-three million units — he's based in Luxembourg but is selling throughout the Arab states. He's a classic voice. I thought that would be a really interesting potpourri.
KW: It's no small feat to get people from these different countries together to sing a song: first of all, they have to like the song and be willing to stop their lives; secondly, we were looking for huge stars, because if they already had fan bases we would reach millions of people just by virtue of having their names on the song.
SP: I found superstars who have sold seventy-three million units around the world, and who nobody in America knows, and I surrounded them with this band that is a voice for the next gen of world music. To their credit, Bassam and Harry approved the artists, and then it was my drill to get them all to embrace it. I sent out the song and, to a person, each one got it. They embraced it because they embraced the music, the feel, and because it's pretty hip — it's not corny, it's very contemporary, it's music that can travel worldwide.
KW: We did the whole thing the second week of February, in Los Angeles. The artists arrived on a Monday afternoon. Our game plan was to record the song in three days and film the video on Thursday and Friday. We were going to film it on the roof of the Capitol Records building — there's never been a video filmed there before. I thought, "Okay, that sounds easy enough." Except that these people had never met one another, they all spoke different languages, and one of the five didn't speak a word of English. And as in every creative endeavor, when you bring in more than one person you have to establish trust between them. Every artist feels that their career is riding on each action they take, and they want to make sure that the quality others have come to associate with them will permeate this new venture. If it doesn't, there will be hell to pay.
JW: At first it was really scary. We got there and they threw us a great party, with all this champagne and food, and everyone's walking around, shaking hands. I'm meeting all these people and their entourages, and I don't know who's who, and nobody could tell me because nobody speaks English. We had all these people from different cultures, speaking however many languages.
KW: They all wanted to sing the song in their own language. But the concept of "citizen" isn't universal; it came out of the American and French Revolutions. So the concepts have to be translated, too.
JW: There was a lady there who was wrangling the stars, Dawn Elder, and she and Bassam both speak Arabic. Khalid would be talking about his parts in Arabic and she would translate. Then Bassam, who speaks English and French, too, would be upset that her translation was off. Khalid might have said something like, "You know I really don't like this part, could we change it?" And her translation would be, "He's really unhappy." Then Khalid started speaking French, and someone else was translating into English. You had all these languages flying around, with broken English in the middle. We would get stuck on a melody line, try to talk about it, and all we're getting is, "He's not happy."
KW: It was like a United Nations negotiation, except we had to produce results in three days. Poor Spencer is trying to deal with all these personalities and listen to what they're saying, but knowing that the clock is ticking.
JW: The first day or two, when I was putting tracks down myself, I was thinking, "This sounds like an American song with a bunch of people kinda going 'la, la, la' over it." At some point Spencer, Bassam, and Harry decided that everyone should translate the lyrics or write their own words for the different parts. So all of the artists sat down and had the lyrics translated, then they all stood together and sang the entire song, one at a time, until they got it right.
SP: I recorded the song in Hindi — I did it in, you know, one of the African dialects, in Chinese, and in Arabic. And then I sat with the artists, and with Bassam and Harry, and we cut-and-pasted everything together.
JW: The last couple of days was all mixing, making sure the artists weren't like, "Why does that guy have a line that's two seconds longer than mine?" Because there's a political thing going on there, too. You end up with this difficult balancing act, trying to make sure that everyone is equally represented. It was always on the line of becoming contentious. But everyone kept the big picture in mind: "Wait a minute — this is a song. It's supposed to inspire people to feel like we are all one, like the human race has to put aside its differences."
KW: At the end of Wednesday, Spencer plays the mix for us. It's almost all Flying Machines. Everything is in English. I said, "Wait a second, where are the other artists? This is supposed to be a universal song. We're doing something new here." He says, "You're never going to sell a song in the United States if it's not in English." He's working in the mold that's familiar to him and that he's mastered. But I know Bassam is not thinking about the United States — he's thinking about the world market. Spencer was, understandably, quite upset. But since he had recorded the other artists singing the song in their own languages, that night he was able to redo it. On Thursday morning, literally an hour before the cameras were scheduled to start rolling, he finished the final mix. Then the artists had to approve of the song and learn their parts for the video. They really responded when they heard it; they realized it was something new and unique.
JW: After I heard the final mix of the music, I thought back to seventh grade earth science, when I learned that the seven continents were once a single connected supercontinent called Pangea. I thought this was poetic and was happy everyone liked the name.
KW: Since it was released, the song has gotten unbelievable traction. There was a Wall Street Journal article, Yahoo got behind it, and the documentary has been airing on PBS stations around the country. For a single song to make that kind of inroad in the media space could only have happened because the idea is so interesting.
JW: Some people have a cynical reaction to the song. They think that all these people got together and they auto-tuned the whole thing, and now it's this American product that has other languages, or that it's just a cash cow, when in fact there's actually no way to make money off it. Or they think it sounds commercial. I mean, you don't listen to it and think, "Wow, this African music is amazing." It's not authentic per se. But I think everyone involved did stuff that was authentic to them. I think it's authentic to global culture.
KW: This touched a chord in a lot of people, and Bassam sees that it's a viable concept. But I don't know what his plans are for rolling out the song worldwide.
JW: You know, there were five artists, twenty lawyers, five management teams, and dozens of agents involved. Even just getting us all in the room together was an achievement. Right now all you can do is purchase the ninety-nine-cent song. It's still kind of abstract; it's like we're selling an idea. Apparently they can't actually sell the car yet — there was an issue with the engine or something like that, and it stopped production. I think Bassam is holding back a little bit because he still sees the song as connected to his other venture with Equus. He doesn't want to have it all come out now, and then not have it be connected with the car he's trying to sell. Because he's not going to make his money back selling a ninety-nine-cent song. And he dropped a lot of cash on this.
SP: There is hope that sometime in the future we can, with Bassam's blessing, get one, two, or more of these artists to work on new tracks written by Flying Machines, because they are the propeller of the vision, musically — they have that global vision. As a result of "Citizens," people are now aware that Flying Machines should be architecting world music, and that I should be producing it. My goal as Flying Machines' partner and mentor is to break them on the world stage, not just to have a hit in America. Our favorite artists are Peter Gabriel, Sting, and Elton John — artists who have a world sensibility. There are very few emerging bands that have that reach with their music, their lyrics, and their style. I want to pitch John as the next gen's new Peter Gabriel-guitar-player-Clapton-type guy. He's that good. But clearly my goal is to get me to — I don't want to say that I want to be the next gen, but my hero's Quincy Jones, who produced "We Are the World." I think I can occupy a very interesting lane, because I'm rooted in rock 'n' roll — I've produced a lot of big records, like Quiet Riot's "Bang Your Head" — but I have a real global, charitable sensibility.
JW: "We Are the World" was always in the back of our minds. I actually have the whole five-disc set at home. I watched it before we wrote the song. And I thought about the Simpsons episode where they're going to save the boy who fell down the well, and they bring everyone together — including Sting — to sing a song about it: "Though we can't get him out, we'll do the next best thing, we'll go on TV and sing, sing, sing!"
KW: One thing I learned from "Citizens of the World" is that when you try to bring people together you realize how differently we all see things, and why there's so much conflict in the world that comes from misunderstandings and cultural differences. We often don't realize how profoundly different the points of view of people who were raised in different ways, with different belief systems, are. We have the expectation that we can change things overnight, but it's more like the Ice Age: things move at a glacial speed, but they move. You create little threads of hope that inspire new ways of looking at the world — not in everybody, but maybe in a couple minds out there, who will then reach four other minds, and then eight minds. We know that bringing people together to create something of beauty is a concept that resonates universally; if we continually play that note, eventually it will become the norm, eventually it will become the mainstream.
Squares, Winter 2011
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