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Post Mortem: Castle Creator Previews 'Fun' New Obstacles -- Plus: Is There a [Spoiler] Coming?
By Matt Webb Mitovich / September 23 2013, 11:00 PM PDT
Warning: The following contains major spoilers from Part 1 of Castle's Season 6 premiere.
"You do know how this works, right…?"
Some four months after Castle's titular mystery novelist (played by Nathan Fillion) got on bended knee and proposed marriage to Kate Beckett (Stana Katic), the NYPD detective delivered her answer.
"Richard Edgar Alexander Rodgers Castle, yes…. Yes, I will marry you."
PHOTOS | Fall TV Spoiler Spectacular: Exclusive Scoop on Castle and 44 Other Returning Favorites
Kate's response came with one caveat that shook her mate none — that she got the job on the federal task force in and thus will be relocating to D.C. And already, one flash-forward later, we are seeing the complications that come with their long-ish distance romance. (For one, Castle wound up exposed to a fatal chemical weapon!)
Amy Robach and T.J. Holmes Both Out at ABC Following Internal Review of GMA3 Co-Hosts' Romantic Affair
Grey's Anatomy/Station 19 Showrunner Stepping Down at Season's End
Assuming Castle makes it out alive, TVLine invited series creator Andrew W. Marlowe to dissect recent developments for the show's core couple and dish on what lies ahead. (Could it be… wedding bells?)
TVLINE | Which came first — Rick proposing to Kate or Kate getting a D.C. job offer? Or did they always come part and parcel?
In our minds they always came part and parcel. The proposal is a big step, but we also wanted to challenge the relationship right away, and I think that in today's age, taking a job in another city and trying to conduct a long-distance relationship is something that a lot of people are familiar with. And we though it would be a great way to instantly challenge some of the assumptions that they both have about the relationship – certainly some assumptions that Beckett has about who she can be in life. She's trying to have it all, and like many of us who are trying to have it all, she's not doing it particularly well. Seeing somebody who has always been a high performer and really on top of her stuff for five years struggling is really interesting. It puts her in a really vulnerable position. We wanted to take advantage of two people who wanted to be together but had to go through this yearning process for being with each other and finding a moment. Also, there are times when things in life shift, where you're trying to recapture the magic and trying to find the spark in your relationship again. On the heels of this great momentous moment of both of them accepting each other, we wanted to really put it under a microscope and examine it, have some fun with it.
TVLINE | Stana told me that she thought it was important to send the message that a woman shouldn't have to choose. That partners should support each other's dreams.
Absolutely. But that doesn't mean that it's not hard. You know, we're in a tough economy and people are working harder than ever. I know a lot of married couples where they're both working and they don't see each other that often and they're trying to make it work and they're trying to find balance. So there are significant costs in having to choose, because you you're sacrificing something, but there are also costs in trying to have it all. We wanted to see a couple who has the best intentions towards each other trying to figure out how to make it work.
RELATED | Nathan Fillion Reflects on Castle's Past, Future: 'You Want for a Fairytale, But….'
TVLINE | Were there any other yes/no/maybe scenarios that you even briefly toyed with? Because it would have been efficient for you to also shoot the outcome back in the spring, while you're already on location at the playground.
Sure, we toyed with it, but we're always looking for what's most honest and what's going to be most challenging. And it felt like where the characters were in their trajectory and how they felt about each other, that [the path we chose] was honest. Having Kate sacrifice an opportunity and having Castle ask her to sacrifice an opportunity felt dishonest. Instead, it's, "Hey, if we love each other we'll figure it out," and we're looking at a handful of episodes where they really are trying to figure it out. And the future is not just about their relationship. It's about who Beckett is, and what kind of life Castle's going to lead if he remains in New York without her.
TVLINE | Some fans are concerned that you're geographically "breaking up the band," at least for a stretch. How can you reassure those people?
Well, without getting too spoilery, I can say that we are committed to making sure that every episode feels like a Castle episode. Even during a time when folks are separated geographically, it's still going to feel like the experience that they've always gotten. We're not interested in changing the overall DNA of the show, which is, you know, Castle and Beckett and solving cases and having all the other folks that we know and love involved. But we are interested in throwing new obstacles, in growing the relationships. We are interested in seeing fresh faces come in to help illuminate our characters, move them along or give them something to push against.
TVLINE | I was actually impressed by the premiere's mechanics — even knowing how it was going to play out, I was not expecting Rick and Kate to have as much screen time together as they did.
We were very conscious that, although we wanted to change some of the trappings and some of the obstacles, we did not want to change the experience. We know that people are tuning in for a very particular Castle experience, so that was first and foremost on our minds. Hopefully we've been able to achieve it.
RELATED | Castle Takes on National Treasure and The Da Vinci Code — Matt's Inside Line
TVLINE | Back at the 12th, are Ryan and Esposito going to get work a case or two entirely on their own? Something that doesn't always dovetail with D.C.?
Absolutely. But then it will dovetail, in a very fun and unexpected way that, I think, will delight fans. We have an episode coming up which is a lot of fun, where Castle can't be with Beckett and Ryan and Esposito end up on a very high-profile case that has a lot of fun attached to it.
TVLINE | Is there any larger theme to Season 6?
What's emerging for us as a theme is "relationships and how to make them work." Relationships are complicated, and for a long time Castle and Beckett were doing this dance of, "How do we feel about each other." We've moved beyond that to a couple that's made a commitment to each other, but that commitment is constantly challenged, just like it's challenged in all of our lives. Now that they're at this moment, now that she said yes, this season has become, "OK, how are we going to make this work? On a practical level. Given your life, given my life. Given where I come from, given where you come from. Given what my ambitions are, given what your ambitions are. How are we going to make this work?" We feel like that's a very relevant question to our culture these days.
TVLINE | But once they navigate the initial "long-distance"/juggling issue, are there other obstacles that might come their way? Any external forces or any past issues that will bubble back up?
There are some. There are some really fun ones that we're working on, but we're not quite ready to advertise those yet because they're still cooking.
TVLINE | Lastly, are you ready yet to go on record as committing to a Season 6 wedding date…?
I'm ready to go on record in that Castle and Beckett are going to be talking about it and planning it and figuring out when it happens. But I think it's a little too soon for me to say to the fans that it's going to happen or it's not.
Coming soon to TVLine: Guest star Lisa Edelstein previews what's next for Agent McCord and Beckett (and Castle). Also: Stana Katic shares her own thoughts on the premiere and the future of "Caskett."
TAGS: ABC, Andrew W. Marlowe, Castle
GET MORE: Interviews, Premieres, Spoilers
China Box Office Hits $1 Billion Over Lunar New Year, as Zhang…


Boron is a city in Nizhny Novgorod region of Russia. Located on the Volga river, opposite to Nizhny Novgorod. The city's economy is the manufacturing of glass. The population of 75,8 thousand people, 94,96% Russian, of 1.44% Tatars.
Telephone code: 7 831 59. Postcode: 606440. Car code: 52, 152.
First mentioned in the XIV century. The exact date of Foundation is unknown. In 1938 year he received the city status. The name is given from the word Bor, meaning "coniferous, mainly pine forest".
08/02/2017 19:40, " PortNews IAA " tells: "Bor, Nizhny Novgorod Oblast based JSC Nizhny Novgorod Motor Vessel Yard (ZNT Yard) and the Russian Ministry of Defense on July 27, 2017, ..."
09/29/2015 16:35, " Daily Star " tells: "The family are from the town of Bor, in the Nizhny Novgorod Oblast region, located in western Russia. Lyudmila Rodnikova, the head of the obstetrics ..."


Selecting the most comfortable bed pillow can be a tough decision to make as you want to make sure you select a perfect pillow that gives complete comfort and sleeps quality.
If you have gone through some research, you might have felt overwhelmed by the availability of choices. Latex and Memory foam is seen as top ranking pillow choices in today's times.
So, which of these is a better choice? While Memory foam has superior motion transfer, takes shape of the head and neck, and insulates body heat, latex is long-lasting, more responsive, and made from natural material.
Are you still struggling to decide among the two? Go through the article and get all the necessary information about the pillow so that you can make the right decision.
Memory foam is generally prepared with Viscoelastic polyurethane. Initially, Memory foam can be hard to touch. However, when it absorbs the natural body heat, it softens and molds around the body after some time. What is great about the Memory foam is that it adjusts according to the pressure and bounces back slowly, providing a classic "cushioning" feeling.
You can visit Sleepsia.in and find the most comfortable Memory Foam Pillow according to your needs.
Latex is originally known as natural foam, made from Hevea milk that is collected from the rubber tree sap. The sap is then foamed to make a myriad of small air bubbles which provides the bouncy and soft texture that latex is commonly known for.
What is the difference between the Latex and Memory Foam Pillows?
Latex is either a synthetic interpretation or natural product. In contrary, the memory foam is completely man-made and is made with a specific weight-absorbing objective.
The Memory foam can be considered as the intensified version of latex. While the latex material is softer to touch and springs back up quickly, the memory foam is a bit slower to spring back aftertouch.
Contours the head & neck, dispensing weight uniformly, relieves pressure, and helps reduce neck & back pain.
Beneficial for those sharing bed with restless sleeper as it is energy absorbent and is normally squeak-free.
Memory foam is an aesthetically eye-catching pillow option, as it naturally goes back to its plumpness shape after use. It does not require any fluffing during bed-making.
Unsuitable for babies, as they may get stuck in the contours of the pillow.
Retains heat, so it may get uncomfortable in a warm environment. However, Sleepsia gel-infused technology resolves this issue and provides cooling.
More Durable than standard down or feather pillows.
Contours according to the shape of the head & neck.
Naturally hypoallergenic and antifungal, making it a comfortable and hygienic pillow choice.
It is less ergonomically designed as compared to memory foam. For those who are experiencing weight distribution issues, joint pain, Memory Foam Pillow can be a healthier choice.
A lot of pillow choices depend on personal liking. Memory foam pillow contours and is slow to react, whereas latex is softer and bouncier. As all bedding products, you receive what you pay for, both with latex and memory foam.
If you consider on buying the Memory Foam pillow to add your sleep comfort, we recommend visiting Sleepsia.in. You can find an array of Memory Foam pillow choices suitable for all sleeping position. Call on 1800-833-6688 to know more.


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Licensed & Leisure
Ashburton, Devon
Offers in the Region of £500,000 + VAT Freehold Ref: 3883
The Victoria Inn is situated less than a quarter of a mile from Ashburton town centre. Known as the gateway to Dartmoor, Ashburton is a vibrant Devon town which has become incredibly popular as a place to live and work, particularly over the last decade, with a significant number of families relocating to the area. This lively and historical town is nestled on the southern side of the vast Dartmoor National Park. The high street is home to many galleries, bookshops and a variety of eateries, as well as boasting lots of great antique shops. The town is situated off the busy A38 Devon Expressway, which runs between Plymouth and Exeter and then onto the M5 motorway network beyond.
The Victoria Inn is a substantial public house with an adjoining derelict cottage and large car park behind. Situated in a sought after residential area, a short stroll from Ashburton's town centre. The main property is a triple fronted, four storey, Grade II Listed terrace property, which has been extended over the years to the rear. There is also a large rear courtyard with various outhouses and adjoining the pub is a three storey derelict cottage. Over the River Ashburn is a footbridge leading to two beer garden areas and a large car park with access to North Street. The public house is currently trading on a temporary management basis.
Read and follow Bettesworths for all the latest news across our social channels.
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redpajama_set_name: RedPajamaCommonCrawl


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Q: MyBatis Spring Boot custom type handler I need help with Spring Boot and MyBatis integration. I have an issue with custom BaseTypeHandler. I've created a mapper:
@MappedTypes({LocalDateTime.class})
public class LocalDateTimeHandler extends BaseTypeHandler<LocalDateTime> {

I've added a type handler:
sqlSessionFactory.setTypeHandlers(new LocalDateTimeHandler[]{new LocalDateTimeHandler()});

And I have next error:
org.apache.ibatis.executor.ExecutorException: No constructor found in com.some.space.SomeObject matching [java.lang.Integer, java.sql.Timestamp, java.sql.Timestamp]

Where SomeObject looks like:
public class SomeObject {
    private Long id;
    private LocalDateTime created;
    private LocalDateTime updated;

    public SomeObject(Integer id, LocalDateTime created, LocalDateTime updated){
    //..........
    }
}

I using mybatis-spring and spring-boot-starter-web version 1.3.2.
All examples about working with TypeHandlers are on the XML configuration, but I need to use Java configs way. What I'm doing wrong?

UPD:
My mapper:
@Component
@Mapper
public interface SomeObjectRepository {

    @Select("SELECT * FROM some_objects")
    @Results(value = {
            @Result(property = "created", column = "created_date", typeHandler = LocalDateTimeTypeHandler.class, jdbcType = JdbcType.TIMESTAMP),
            @Result(property = "updated", column = "updated_date", typeHandler = LocalDateTimeTypeHandler.class, jdbcType = JdbcType.TIMESTAMP)
    })
    List<SomeObject> getAll();
}

A: You haven't instructed mybatis to use your type handler for timestamp fields. So it converts timestamp fields from the database using default type handler for that JDBC type.
If you want to do this only in some queries do like this for xml mapping:
<result property="created" column="created"
    typeHandler="com.mycompany.myapp.LocalDateTimeHandler"/>

Or via annotations:
@Result(property = "created", column = "created",
        typeHandler=LocalDateTimeHandler.class)

If you want to make it global and use it for all fields of the specific JDBC type add @MappedJdbcTypes to you TypeHandler:
@MappedJdbcTypes({JdbcType.TIMESTAMP})
@MappedTypes({LocalDateTime.class})
public class LocalDateTimeHandler extends BaseTypeHandler<LocalDateTime> {

Depending on the version of mybatis you are using you may need to set includeNullJdbcType=true on the @MappedJdbcTypes annotation.
See documentation for details about this.

redpajama_set_name: RedPajamaStackExchange


New boutique condo building is coming to Astoria's Welling Court.
Once the brown brick structure is finished, it will include 27 apartments, 14 parking spots, a second-floor recreational room, a laundry room and a bike storage space inside the cellar, reports YIMBY.
This complex covers a total of 19,475 square feet within the 27 apartments. With all that space, residents in the upper floors can gaze dreamily at the East River from their state-of-the-art glass balconies.
The project was designed by architecture studio of Angelo and Anthony Ng from Maspeth. The developer is Astoria-based Halil Todic.
But the art doesn't stop there! The building is surrounded by the beautiful Welling Court Mural Project, first begun in 2010 by the Ad Hoc Art organization. This project looks to add a spark of creativity to the neighborhood as it invites artists both young and old to come appreciate ingenuity and freedom of expression. Ad Hoc Art also hosts a yearly summer block party to celebrate the new editions to the project as artists and residents alike join in on the celebration.


To be perfectly honest, I still have to nail down the habit of writing "2014" and find myself stepping on a pine needle every now and again. I really don't need a tantalizing box of fancy chocolates or a lavish meal to set me back on my New Year resolution.
So I began to wonder, how can I bring more meaning to a day that has become yet another Hallmark opportunity to show love, affection and commitment through expensive presents and flowers pried open to bloom in the dead of winter? I'm not the scrooge of Valentines Day and I'm happily married but like the holiday season, Valentines Day can bring up feelings of loneliness and abandonment.
Christmas tends to stir something in our better natures. From Good King Wenceslas, via Ebenezer Scrooge, Tiny Tim and a massive turkey, to this year's Christmas shelters offering hot meals and human company to thousands, charity and volunteering has long been wrapped up in the cultural norms of the festive season.
Why can't that continue on into Valentines Day—the day reserved for showing others love. It feels good during the holidays when we buy a gift for a needy child or serve a holiday meal at a shelter. So why stop there? According to the 2013 Valentine's Day Consumer Intentions and Actions Survey by the Retail Advertising and Marketing Association, the average annual Valentine's Day spending reached $17.3 billion. That means, the average American spent $133.41 on candies, flowers, dinner, jewelry, etc.
2. Rather than buying a bouquet of flowers, donate to a local community garden. Your donation will not only continue to give back for months to come, but also be enjoyed by many others.
3. While still setting aside the day to be with loved ones, take a group trip to a near by food pantry or homeless shelter. It might mean the world to an individual to have one hug on Valentines Day from a kind heart.
As the song goes, "Love is something, if you give it away you end up having more".


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Hungary Historic Sites
About Hungarian National Museum
The Hungarian National Museum exhibits a comprehensive collection of historic artefacts, documents and works of art. Its collections is incredibly diverse, ranging from bone tools from the Palaeolithic era to 45,000 twentieth century posters relating to significant political, social and cultural events.One of the main sections of the Hungarian National Museum is its archaeological department, which is divided according to time periods.
Amongst the myriad of exhibits overseen by this department, they cover the Paleolithic era, the migration period of the early Middle Ages and the Middle Ages generally and the Hungarian Conquest.
The Hungarian National Museum also houses an impressive Roman collection containing 65,000 artefacts including an incredibly large mosaic from Balácapuszta dating back to the third century – though they aren't all on display at any one time. The Roman collection also includes Roman gravestones, sculptures, milestones and stautes of Roman gods
A particularly interesting aspect of the Hungarian National Museum is its Zalavár collection, made up of grave and cemetery finds, mostly from the ninth century. It also has almost 80,000 archaeological animal bones, some dating back to the Palaeolithic era.
The Hungarian National Museum covers an extensive number of time periods and exhibits pieces from throughout the historical and global spectrum. There is quite a lot to see, but themed audio guides are available to rent, offering a structured tour.
An abridged audio guide can be downloaded from the Hungarian National Museum website whilst the full versions are available on site. Alternatively, you can either plan your route in advance or book a guided tour. Guided tours of the Hungarian National Museum are available in a variety of languages and themes, but should be booked at least a week in advance.
Hungarian Parliament Buildings
The Hungarian Parliament Buildings are some of the oldest in Europe and were built in the nineteenth century in a dramatic Gothic Revival style.
Buda Castle is a vast palace in Budapest's Castle Quarter housing a series of museums including the National Gallery.
Hungarian National Gallery
The Hungarian National Gallery contains several historical art collections as well as being home to the Habsburg Palatinal Crypt.
Budapest History Museum
The Budapest History Museum chronicles the history of the city, Buda Castle and the region as a whole.
Ancient and Classical, Ancient Rome, World, Budapest
info@hnm.hu
Just as empires rise and fall so do entry fees and opening hours! While we work as hard as we can to ensure the information provided here about Hungarian National Museum is as accurate as possible, the changing nature of certain elements mean we can't absolutely guarantee that these details won't become a thing of the past. If you know of any information on this page that needs updating you can add a comment above or e-mail us.
Dohany Synagogue
House of Terror
Budapest Museum of Military History
Budapest Bath Museum
Fisherman's Bastion


After I installed the new Windows 10 OS on my system, I noticed a huge problem. I'm a web designer which means I use a lot of tools for my work. WordPress happens to be my most important software. I tried launching WordPress on Windows 10 64 bits to no avail. After installing the software, I received a system error message informing me that node.dll is missing and could not be found on my system and that I should reinstall the software to fix it. Unfortunately, the problem persisted even after I reinstalled the Software. I kept reinstalling the app, but it didn't work. So I decided to carry out a little research on how to fix this problem.
I contacted the Microsoft Support Team and searched different technical forums but none of them could give me a viable solution. I was advised to run a third party software, and was given links to different malicious sites. I finally decided to research more on node.dII and node.dII is missing errors, and I discovered that node.dll is not really peculiar to WordPress alone. It is a Windows system library that can be found in the Windows system folder. The solution to the problem is quite straight forward, all I had to do is find a genuine node.dll file, put it in the right location, and then register it. So, I visited https://fix4dll.com/node_dll, downloaded the node.dll and then followed the website's installation instructions. The node.dll is missing error was fixed within five minutes and it never bothered me again. I now know how to handle any dll is missing error and you too. Feel free to like and share this guide.
Fix the mfc110u.dll is missing error when launching AVG.


#Heavy Duty Clydesdale Road case for Orange Combo Amp w/ Castors!
#Peavey Studio Pro 112 Amp and Foot Switch!!!
#Pianos recycled donated or repurposed.
#Recording Over 30 years exp. Low hour rate!!!!!!!!!!
#Fender Guitar - 5 String - Made in Mexico.
#Guitar Repair Your Warped Neck Guitar At a Reasonable Cost !!
#2 speakers JBL with power amplifier .


Chelsea are facing competition from Jurgen Klopp's Liverpool for the signing of Porto youngster Ruben Neves.
The 18-year-old impressed Blues boss Jose Mourinho by helping his former side inflict a 2-1 defeat on the Premier League champions in the Champions League last month.
Mourinho is keen to take the Portugal U21 international and was thought to be putting together a £20million offer for the player as we approach the January transfer window.
However, Klopp's arrival on Merseyside appears to have thrown a spanner in the works with the German sending scouts to watch Neves in action for his country against Hungary on Friday.
Liverpool development coach Pep Lijnders was previously on the staff at Porto and rates Neves as an outstanding talent, personally recommending them to the club's new manager.
Neves became Portugal's youngest ever player to feature in an U21s European Championships last summer as he helped them reach the final.
Klopp used his first press conference to outline his intentions of giving the current Reds squad a chance before looking at new purchases.
"It's not important who is the best player today, but the best player tomorrow, because we know who the best players today are, but not tomorrow," he said.
Klopp's patient approach at Anfield means path could be clear for Mourinho to move for the Porto prospect this winter.
What team did Klopp support as a child?
Dortmund fans say Thank You to Jurgen Klopp before a Bundesliga match between Borussia Dortmund and Werder Bremen in May.


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Sickening: Senator Who Voted Against Protecting Babies Sponsors Bill To Save Kittens
Reported By C. Douglas Golden | Published March 16, 2019 at 8:44am
URL of the original posting site: https://www.westernjournal.com/ct/sickening-senator-voted-protecting-babies-sponsors-bill-save-kittens/
Please don't get me wrong. I like kittens. Cats, well, maybe not so much; I don't see why you would keep and feed something that won't even come when you call it and whose only trick is the ability to go to the bathroom in a pile of sand. But kittens, they're adorable. I think we can all agree on that. I think we can also agree on the fact that kittens are less important than babies. No matter how cute the kitten, no matter how meme-worthy it is, human babies take precedence.
So, why is it that Sen. Jeff Merkley of Oregon introduced a bill that would save the lives of kittens used in research less than a month after helping Democrats successfully block legislation that would protect babies born alive during abortions?
According to NBC News, Merkley's law was designed "to prevent the Department of Agriculture from continuing deadly experiments on kittens."
"The agency has been breeding kittens in Beltsville, Maryland, and infecting them with a parasite that can cause toxoplasmosis, a foodborne illness. Scientists harvest the parasites from their stool for two to three weeks, and then euthanize and incinerate the cats," they reported.
"The USDA's decision to slaughter kittens after they are used in research is an archaic practice and horrific treatment, and we need to end it," Merkley said in a statement.
There were plenty of great soundbites from advocates of the bill, including one individual from a watchdog group who called it "taxpayer-funded kitten slaughter." (If there's some sort of award for political blurb of the year, I would urge the judges to please consider that one seriously.)
"The USDA's archaic kitten experiments are out of step with 21st-century research practices and animal welfare recommendations," Hannah Shaw, founder of animal advocacy group Kitten Lady, said.
"Continuing to breed and kill perfectly healthy kittens for toxoplasmosis research is unethical and unnecessary, and I'm grateful to Senator Merkley for introducing the KITTEN Act to stop it once and for all."
When it comes to animal welfare, however, Merkley is a bit less concerned about Homo sapiens.
The Oregon senator, as TheBlaze noted, was just one of the Democrats who blocked the Born-Alive Abortion Survivors Protection Act. The bill would have extended protections for babies born alive during an abortion procedure, something that's increasingly important now that we've seen states such as New York and Vermont pass bills which allows greater latitude when it comes to late-term abortions. (Oh, and there was that whole Ralph Northam kerfuffle we've all seemingly forgot about, too.)
In a statement, Family Research Council president Tony Perkins discussed the cruel paradox in Merkley's votes.
"What do cats have that newborn babies don't? Democrats' support," he wrote.
"In one of the sickest ironies no one is talking about, Senate liberals picked this moment — 17 days after they voted to kill America's perfectly healthy infants — to fight for the humane treatment of kittens. Maybe the DNC's strategists are out to lunch, or maybe the Left really is this shameless, but I can't wait to see some of these politicians standing on debate platforms next year telling the American people that when it comes to protecting living things: We chose cats over kids."
"'The KITTEN Act will protect these innocent animals from being needlessly euthanized in government testing,'Merkley told reporters, 'and make sure that they can be adopted by loving families instead.'Does he even hear himself? They should be treated and adopted? That's exactly what Americans have requested for living, breathing babies. Democrats said no. Killing a child is a 'personal decision,' they said, and Congress shouldn't get in the way."
But then, the Democrats have decided to plant their flag upon abortion rights: Any sort of restriction upon the ability of a woman to get an abortion on demand and for the baby to be killed — no matter what — is automatically an interference in a decision that should only be made by a woman and her doctor.
Felines, however, are another story. They need protection. So goes the modern, tone-deaf Democrat Party, unwilling to protect babies born alive during an abortion but ready to expend political capital upon kittens.
C. Douglas Golden
Contributor, Commentary
More Info Recent Posts Contact
C. Douglas Golden is a writer who splits his time between America and Southeast Asia and believes in free speech and the Second Amendment.
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Reuters Drops Bombshell Beto Story, Makes Shock Admission Why They Held onto Story for over a Year
Nat'l Guard Helped Arrest 23,000 Illegals Dems Want in America … They Had 35k Lbs of Drugs Too
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Susie Au studied filmmaking in New York, and began her career directing commercials and music videos. Quickly establishing herself within the field, Au became associated with such distinguished Cantopop singers as Faye Wong and Anthony Wong, collaborators for whom Au directed a series of memorable and distinctive music videos. Several of these works garnered prizes at the Chicago International Film Festival, while her video for Faye Wong's song, "Give Up Halfway" (1998), also won Au the Best MTV Award. Au's impressive work within the music video genre includes collaborations with such artists as Eason Chan, Jacky Cheung, Jeff Chang, Mavis Fan, Joey Yung and Shirley Kwan – a number of these works can now be seen online on Au's personal YouTube channel (http://www.youtube.com/Susieau). Au has also made several behind-the-scenes music documentaries, most notably for Eason Chan (Moving On Stage  and Duo ) and Faye Wong (Faye Reborn ). Besides her work with pop musicians, Au has worked most prolifically within the field of commercials, directing numerous spots for high-profile, corporate clients (McDonald's, Nike, Fuji Film, Bank of China, PCCW and Vitasoy, among others) that are well-regarded and often recognized with awards within the industry.
Au made her feature film debut in 2007 with the film Ming Ming, starring Zhou Xun and Daniel Wu. The film featured Zhou Xun in dual roles as doppelgänger Ming Ming and Nana – a criminal with martial-arts skills and a spunky young girl, respectively. They both become obsessed with tracking down D, a mysterious boxer and triad enforcer, played by Daniel Wu. With the help of cash stolen from D's triad boss, the two separately make attempts to find D, traveling from Hong Kong to Shanghai and Harbin in China. Along the way, they uncover a secret about D's origins, as well as unveiling the mystery behind a stolen treasure that D's triad boss is anxious to recover and preserve. While Ming Ming clearly operates within the parameters of various commercial genres (action, kung fu, triad/crime cinema, romance and mystery), Au as writer-director invests the emotional center of the film with a subversive and genuinely surprising treatment of anxieties related to gender identity and sexual orientation. The film's climactic revelation of a secret – a repressed memory of gender confusion, maternal concern, and patriarchal oppression, as narrated from a feminine perspective – disrupts the flow of conventions normally associated with masculine film genres and frustrates the narrative's obsessive quest for an elusive masculinity.
Despite the film's hip visuals and alluring soundtrack (by Au's regular collaborator Anthony Wong), Ming Ming received somewhat mixed reviews and a lukewarm reception upon its initial release. Many critics commented on the film's privileging of style over substance without touching upon the film's intriguing gender politics. It remains to date Au's sole feature film; although she has recently directed a short film starring Shu Qi entitled Beauty University (2012), and has continued to work in commercials and music videos.
– A critical take on Au's debut feature by web film critic Kozo.


The last Sunday of each month, we jazz it up! This Sunday we have Ravi Welsh Trio joining us to bring you great live vibes for a few hours from 4:00pm.
Just like every Sunday we will be pouring awesome beer and serving great food. There will be Jugs, tasting paddles and amazing beer. Pretty much the perfect Sunday.


text:
Traditionalist Issues
Dialogue Mass - XII
The German Bishops Attack,
Pius XII Capitulates
Dr. Carol Byrne, Great Britain
Soon after he became Pope, Pius XII had to face a United Front of German Bishops that was adamant about promoting "active participation" in the liturgy in defiance of ecclesiastical law.
Numerous liturgical abuses were already flourishing unchecked in their dioceses, fueled by the subversive efforts of progressivist liturgists and theologians from the German-speaking lands: notably Abbot Herwegen and Dom Odo Casel of the Benedictine Abbey Maria Laach, Frs. Augustin Bea, Romano Guardini, Karl Rahner, Joseph Jungmann and Pius Parsch. In spite of the reigning liturgical anarchy, the German Episcopal Conference, headed by Card. Bertram, took the Liturgical Movement under its wing in 1940 and created its own Liturgical Commission, which operated independently from the Holy See.
Archbishop Gröber strongly denounced the progressivist innovations, but lost the battle...
To form an idea of how far the mutinous German Bishops had plunged their dioceses into liturgical chaos, we can consult the 1943 Memorandum (1) written by Archbishop Conrad Gröber of Freiburg addressed to the German and Austrian Bishops and also to the Roman Curia.
Archbishop Gröber had broken ranks with his confreres in the Episcopal Conference and vehemently denounced the radical innovations in doctrine and liturgy practised by the reformers. He was voicing the complaints of many German Catholics who objected to liturgical changes in their parishes.
In his Memorandum he showed how the Liturgical Movement was a showcase for liturgical corruption directly related to the adoption of Protestant principles, (2) thus creating a lethally divisive culture of schism within the clergy. (3) It is noteworthy, though not surprising, that all the doctrinal deviations Archbishop Gröber mentioned as prevalent in 1943 were an exact replica of those that influenced the creation of the Novus Ordo of 1969. After all, many of the key figures of the Liturgical Movement would be promoted as periti (experts) at Vatican II.
As for the liturgical abuses, we can consider one of the most egregious – the singing of hymns in the vernacular during Mass, which was a long-standing custom in Germany. According to Archbishop Gröber, the German Bishops insisted on vocal participation of the congregation – even to the point of making it obligatory – and the use of German in the Mass.
The fact that this had been expressly prohibited by Popes Leo XIII and Pius X and confirmed in the Code of Canon Law (4) was completely ignored. Even though the Holy See, since the Council of Trent, reserved to itself the right of legislation in the domain of the liturgy, orders from Rome were regarded by the German Bishops as an intolerable intrusion of papal legislation and a threat to their supposed autonomy.
Pius XII hoisted the white flag
In 1943, the following demands were made to the Holy See by Card. Adolf Bertram on behalf of the German Bishops:
Approval for the Mass to be sung by the congregation in the vernacular;
A new and simpler Latin Psalter for the Breviary;
Extensive use of the vernacular in the Ritual (for use in the Sacraments, Blessings, Exorcisms etc.);
Celebration of the Easter Vigil ceremonies in the evening.
Card. Bertram, second left, an adept of Hitler,
and also of progressivist changes in the liturgy
Pius XII must have been aware that these abuses were already in vogue in Germany, as in addition to Archbishop Gröber's analysis, strong objections had been published by conservative priests representing the concerns of the laity. (5) Nevertheless, Card. Bertram hoped to put pressure on Pius XII to authorize these reforms, and, as events have shown, his hopes were fulfilled.
He received an immediate reply from the Vatican permitting the High Mass (Deutsches Hochamt) to be sung in German by the congregation. So what had been illicitly done in defiance of Canon Law up to 1943 suddenly became an approved practice.
It was the same principle under which Paul VI would capitulate to pressure for Communion in the hand, Mass facing the people, laicization of priests etc. Regulations were being widely flouted, so why bother trying to maintain the rules?
A 'roll your own' liturgy
As for the other demands, the following concessions were readily made:
The Holy See approved the Dialogue Mass (Gemeinschaftsmesse) and left the vernacularized "Community Mass" (Betsingmesse) to the discretion of the German Bishops;
A German-language Ritual was approved;
Fr. Augustin Bea was appointed to oversee the production of a new, non-traditional Psalter, which Pius XII personally approved in 1945; (6)
The reform of the Easter Vigil would soon be granted. The traditional ceremonies were drastically curtailed and an opportunity for "active participation" was provided by a complete innovation, the "Renewal of Baptismal Promises" recited in the vernacular
1943 will go down in history as the year in which the Church at last gave in to the Zeitgeist or spirit of Progressivism that had been threatening to engulf her since the time of Pius X. The German Bishops were demanding the freedom to "do their own thing." And so the authority of the Roman Pontiff and the sacredness of the traditional liturgy had to be set aside to accommodate a changing and worldly liturgy said in the vernacular, which would enshrine the Cult of Man.
Let us not forget about the impact of these papal concessions on the traditionally-minded Catholics of Germany: The rug was pulled from under their feet as they found themselves disavowed by their Holy Father.
Fishing in dangerous waters
The whole enterprise was an ecclesiastical disaster in the making. The Pope tried to control the German Episcopal Conference by reprimanding liturgical abuses, imposing shambolic restrictions and experimental periods. But the German Bishops tossed them all aside to indulge in unlimited freedom to regulate their own liturgies.
An apparent conservative Pius XII capitulated to the German Bishops
It is obvious that these papal actions against dissident reformers, while tolerating their abuses, were totally illogical: The message was fatally mixed. If infringing Canon Law and disobeying papal commands could be so easily tolerated in Germany, why should progressivists elsewhere be targeted for papal criticism? And if using the vernacular in the German-speaking lands was widely permitted, why should the inhabitants of other countries be prevented from using their own languages in the liturgy?
Even though Latin remained "officially" the language of the liturgy, the situation quickly descended into farcical chaos. There followed a concerted effort in the 1940s to storm the Vatican. Overwhelmed with requests from many countries, Pius XII increasingly permitted the use of the vernacular in the liturgy. (7) For those who decided to short-circuit the system and not bother to ask permission, no action would be taken against them for breaking the law.
The same scenario would be repeated after Vatican II with permission for altar girls, Communion under both species etc. when Popes rewarded disobedience and encouraged contempt of ecclesiastical law.
A French and German pincer movement
The 1940s were also a time when national hierarchies – particularly the French and German – were rallying their combined forces to mount an all-out assault on Roman control of liturgy. It may seem to some people surprising or a trifle hyperbolic that the language of battle should be employed to characterize the situation, but it cannot be denied that the pre-Vatican II reformers saw their mission in these terms.
One of Dom Beauduin's companions in arms, Fr. Pie Duployé, stated in 1951 after attending the First International Liturgical Week at the German Benedictine Abbey of Maria Laach: "If they knew in Rome that Paris and Trier [the centres of the French and German reformist movements] were marching together, that would be the end of the hegemony of the Congregation of Rites." (8)
These are certainly fighting words, revealing the intention of the Liturgical Movement to wrest control of the liturgy from the Holy See, yet they were not matched by any joint action or correspondingly militant spirit of opposition from the Vatican. There was no one there to fight the battles that needed to be fought.
Faced with mounting pressure from the leaders of various liturgical cabals, Pius XII would blow an "uncertain trumpet" (9) in Mediator Dei and follow a policy of appeasement.
Hubert Jedin, History of the Church, London: Burns and Oates, 1981, vol. 10, p. 303.
These included presenting the essence of the Mass as a Meal; exaggerating the priesthood of the laity and promoting the notion that "it is the community that celebrates;" disparaging the ministerial priesthood and reducing the role of the priest to one delegated by the parish to preside at Mass; rejecting private Masses and devotional prayers (the Rosary, Stations, etc); extending the limits of the Church to include Protestants, considering heretical sects part of the Church; redefining the faith as no longer belief in revealed truths, but an experience, an emotion.
Feelings rose high on both sides of the divide. Following the instructions of Card. Innitzer of Austria, Karl Rahner, then in Vienna, wrote a 53-page letter of protest to Archbishop Gröber, a copy of which was sent to all the German and Austrian Bishops. (See William Dych, Karl Rahner, Continnuum 3 PL, New York, 2000, p. 9)
Romano Guardini also attempted to counter Archbishop Gröber's criticism of the Liturgical Movement in a letter to Bishop Stohr of Mainz. (See La Maison-Dieu, Paris: Editions du Cerf , 1945, vol. 3, pp. 7-25) Bishop Stohr was head of the German Liturgical Commission, an organization that had been set up in 1940 independently of the Holy See. It provided a vehicle for communication among the leading members of the German Liturgical Movement and a common front against attacks on the Movement.
The singing of hymns in the vernacular during Mass had been expressly forbidden by Leo XIII in the General Decree of the Congregation of Rites, 22 May 1894.
St. Pius X stated: "The language proper to the Roman Church is Latin. Hence it is forbidden to sing anything whatever in the vernacular in solemn liturgical functions." (Motu proprio Tra le Sollecitudini, 1903, § 7)
The prescriptions of the Motu proprio of St. Pius X have been confirmed also by the 1917 Codex Juris Canonici. Canon 2 prescribes: "All liturgical laws are still in force." (Omnes liturgicae leges vim suam retinent); Canon 1264, n.1: "Liturgical laws pertaining to the sacred music must be observed," (Leges liturgicae circa musicam sacram serventur);
See Fr. Max Kassiepe OMI, Irrwege und Umwege im Frömmigkeitsleben der Gegenwart, (Wrong Turns and Detours in Contemporary Spiritual Life), Kevelaer, vol. 1 (1939), vol. 2 (1940). Fr. Kassiepe specifically mentioned changes to the Confiteor and Agnus Dei, the Easter Vigil held on Saturday night, priests who used German in the liturgy for the Missa Cantata and the Missa Recitata and unjust criticism of the faithful who recited the Rosary or made the Stations of the Cross.
See also Fr. August Dörner, Sentire cum Ecclesia . Ein dringender Aufruf und Weckruf an Priester (An Urgent Wake-up Call to Priests), Kühlen, Mönchengladbach, 1941);
This did not satisfy the German Bishops. At the request of the German Episcopal Conference, Fr. Romano Guardini produced a new Psalter (Deutscher Psalter) in 1950 in the vernacular.
Vernacular versions of the Ritual were permitted by the Vatican in Germany (1943 and 1950), France (1946 and 1947), and the USA (1954), Liège (1948). In 1949, permission was granted to China for the Mass in Chinese. In 1950, India received permission to use Hindu for the celebration of the Sacraments.
Apud Denis Crouan, The History and the Future of the Roman Liturgy, Ignatius Press, 2005, p. 136. The 1959 Congress was jointly sponsored by the Centre de Pastorale Liturgique in Paris and the Liturgical Institute of Trier, Germany. The main theme of discussion at the Congress was "The Problem of the Roman Missal." Many ideas discussed at the International Liturgical Weeks found their way into Vatican II's Constitution on the Liturgy and Gaudium et spes.
1 Corinthians 14:8: "For if the trumpet give an uncertain sound, who shall prepare himself to the battle?"
A Plea for Silent Participation in the Liturgy - I
Pius X Did Not Call for 'Active Participation' in the Liturgy - II
The Start of the New Liturgical Reform - III
Dialogue Mass, a Tool to Democratize Liturgy - IV
Laity-Clergy Class Struggle Based on 'Active Participation' - V
Participation, Vocalization & Vulgarization - VI
Pius XI vs St. Pius X on Active Participation - VII
Pius XI Endorses the Liturgical Revolution - VIII
How Pius XI Paved the Way to Vatican II - IX
Pius XII Empowered Progressivists for the Liturgical Reform - X
How Bugnini Grew Up under Pius XII - XI
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To people who have inquired about localizing mozCC, I'm holding off until I get some of these fixes landed. They're going to change lots of the internals, so it doesn't make much sense to translate strings that may very well change or go away. If you're interested in helping to localize mozCC, contact me, or subscribe to my blog's feed — I'll announce a call for translations there.
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text:
The concept of circular economy
By Greenfish	January 25, 2017 July 25th, 2017 Whitepaper
The following definition by the Ellen MacArthur Foundation (EMF 2015) is used as a core reference to define the Circular Economy 'CE' as it has been extensively referred to in both academic and non-academic debates. "The concept is characterized, more than defined, as an economy that is restorative and regenerative by design".
The term 'restorative' refers to post-consumer or post-use material flows which must be fed back in a manner that 'restores' the original material sources of these economic activities. The CE "aims to keep products, components, and materials at their highest utility and value at all times, distinguishing between technical and biological cycles."
The distinction between technical (referring to finite resources: in blue) and biological (referring to renewable resources: in green) cycles is well illustrated in the 'butterfly diagram' below (Figure 1). These cycles represent the continuous looping and cascading of resources, thus closing material loops, facilitated by processes (or economic activities) such as restoration, remanufacturing and recycling. The EMF comments widely in their reports on how closed loops influence the very essence of the economy, the production, distribution and consumption of goods and services.
Notice that in the technical cycle, use replaces consumption which can only be found in the biological cycle. "It is conceived as a continuous positive development cycle that preserves and enhances natural capital, optimizes resource yields, and minimizes system risks by managing finite stocks and renewable flows. It works effectively at every scale. This economic model seeks to ultimately decouple global economic development from finite resource consumption."
Arguably the most important implication of the CE is referred to in this last section: closing material loops aims at minimizing the extraction of virgin materials and generation of waste. While the definition above outlines principles for action, the following fundamental characteristics describe and operationalize the concept of CE.
Figure 1: The Circular Economy Butterfly Diagram (EMF, 2013)
Design out waste: In a CE, waste is intentionally designed out. Biological materials are non-toxic and returned to the soil while technical materials are designed to be recovered, minimizing the energy input required and maximizing the retention of value.
Build resilience through diversity: Diversity is valued as a means of building resilience, balancing efficiency and adaptability.
Shift to renewable energy sources: The energy needed to fuel the circular economy should be generated using renewable sources, thus decreasing resource dependence and increase systems resilience.
Think in systems: In a CE, systems-thinking is applied broadly, taking into account the system dynamics between businesses, people or plants, the manner in which they are linked and respond to each other.
Think in cascades: Diversifying reuse of materials in different processes and industries substitutes the inflow of virgin materials and increases the resource utility.
Gregory BLAKE – Business Manager at Greenfish
Carbon capture and utilisation: The growing piece of the decarbonisation puzzle
Our #3 French Impact Session was about… Carbon emissions
Greenfish presents the 3rd edition of the Green Mind University
Urban Wind Turbines: Is Smaller Beautiful?
Our #2 Impact Session was about… The real impact of energy efficiency
Wanted: Active players in the energy transformation
Greenfish is the shortest way to link expertise and sustainable engineering.
We help our clients reducing their impact on the planet by providing flexible solutions in Energy Transition, QHSE Management and Operational Performance.
CSR & SUSTAINABILITY AT GREENFISH
Please find here our Greenfish CSR Policy. For more information, please send an email to hi@greenfish.eu
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Chicago Mixtape shot the breeze with Anthony Cozzi of Radar Eyes. Take a listen to the interview here.
To end 2012, LoudLoopPress.com took at look at some of the year's finest music videos to come from local bands.
This week LostInConcert.com put up some photos and a writeup of December 19th's Tegan and Sara show at the Cubby Bear.
As they do each year, the Deli Chicago has set out to identify the "best emerging artists of the year.
The Tribune's Greg Kot interviewed rockabilly pioneer Wanda Jackson, who was in town on New Year's Eve to headline the Double Door.


Chamber meetings are held the third Thursday of every month at the Rose City Council meeting room (located behind the Police Station). All Chamber members as well as the general public are welcome to attend.
Any Rose City or Lupton business that has interest in joining the Chamber may either attend a meeting or contact any of the Chamber Board members. E-mail and telehone information available on the Membership list.


The audio recordings from Sequential Circus shows are released as podcast episodes, shortly after each show occurs. If you'd like to subscribe to our podcast, please add the following link to your media player software: http://sequentialcircus.ca/feed/podcast/ If you use iTunes, you can simply click here to access all of the sets as free downloads via the iTunes store. If you subscribe to the show, new sets will magically appear in your iTunes player as they are released. If you don't use podcasts, you can always click on the links below for direct access to play or download the recordings from this site.


text:
Q: Python3 server not responding to client request I am setting up a basic python application that will listen for UDP packets at a specific port.
I am using an example code found online to begin to familiarize myself with UDP and socket connection.
When I invoke client.py and then server.py - the server does not respond and the terminal remains idle - any solutions for this problem? Below is the basic code I am working with
Client.py
import socket

UDP_IP_ADDRESS = "127.0.0.1"
UDP_PORT_NO = 6789
Message = b"Hello, Server"

clientSock = socket.socket(socket.AF_INET, socket.SOCK_DGRAM)
clientSock.sendto(Message, (UDP_IP_ADDRESS, UDP_PORT_NO))

Server.py
import socket
UDP_IP_ADDRESS = "127.0.0.1"
UDP_PORT_NO = 6789

serverSock = socket.socket(socket.AF_INET, socket.SOCK_DGRAM)
serverSock.bind((UDP_IP_ADDRESS, UDP_PORT_NO))

while True:
#data, addr = serverSock.recvfrom(1024)
data, addr = serverSock.recvfrom(1024)
print ("Message: ", data)

A:
When I invoke client.py and then server.py

Well that's your problem--by invoking the client which sends, then later invoking the server which receives, you are preventing the two from communicating.  The server needs to be running at the moment the client sends.


Sather inherits the design by contract (DBC) from Eiffel. DBC consists of precondition which callers (or clients) should guarantee and postcondition which the function (or server) should satisfies when return.
In addition, Sather offers other runtime safety nets such as assert and invariant.
These safety net is activated by adding the -chk flag when compiled. See sacomp man page for detailed information. It is recommended to activate the safety net when you write a big application as unexpected bugs may lurk in it.
The precondition is a predicate that the callers should guarantee. If the predicate is not satisfied, the called function warns and the program terminates immediately.
Following is a part of array.sa. You should give a positive integer as an array size when you create an array (an instance of the ARRAY class) with size.
-- Create a new array of size `n' all of whose elements are void.
The postcondition is the predicate that called function should guarantee. If not, the callers complain and program terminates immediately. A pre-defined word 'result' represents the return value of the method.
The following code is a safety version of the point.sa that I've showed previously.
is                                                             -- and after rotation is in the acceptable error.
You can put this safety net inside of the method. If an assert returns false, the program complains and terminates.
Following is another safety version of the point.sa.
pre a0.size > 0 and a1.size > 0  -- the size of the array should be positive.
The invariant:BOOL is somehow special. The program terminates when the instance does not satisfy this condition. It is seldom used and does not work properly in Sather-1.2.2.
Download and play with the safety version of the point.sa (point2.sa). Compile with the -chk option.
In this chapter, I've explained on the safety aspect of Sather breafly. This technique is usable in developing large scale applications. Use the safety feature as much as possible.


I'm a software engineer from Dresden, Germany. My current job is in web development, but I'm studying game design on the side to start working as a videogame developer at some future point.
Mostly everything you'll find on this website was programmed by me.


Not all vacation spots have vets or even nearby pharmacies. Therefore, we recommend always bringing along a small first aid kit when you're on vacation with your dog. We have combined a list of basic things to include in your first aid kit on your trip. Further down is an explanation of the need and use for each of them.
Here's a list of items you should always pack as a first aid kit with you.
Let us explain why you need those items.
Especially if you're heading to a destination by the beach, there is always the possibility of your dog drinking some salty sea water. In that case, your dog is very likely to experience diarrhea and vomiting afterwards. That's normal and nothing to worry about, just make sure your dog drinks a lot of normal water not to dehydrate. Yet if it gets severe due to a combination of other factors likely to occur, such as change of environments, stress of travelling or change of water. In this case, you need to be prepared with the diarrhea medicine. You can read here about more tips concerning dealing with problems you might face with your dog on the beach, and how to deal with them, e.g. sand in eyes, ears and nose.
Sometimes, in certain areas, the gardens, yards or even beaches can bring on a dog parent's worst enemies; ticks and fleas. Remove ticks with tweezers and make sure to get rid of them properly, best in a jar of water mixed with liquid soap. You can bring along a tick/flea shampoo but make sure not to use too frequently though. Read about properly bathing your dog here.
TIP: In case of a flea or tick infestation, you can use a light, diluted dish-washing soap to bathe your dog. Amount recommended should just be enough to create a dense lather and work it through for 5 minutes to suffocate fleas or ticks then wash off very well with clear water. Use with caution as some dogs are sensitive and could develop an allergy. If you know your dog has sensitive skin, stick to mild dog shampoos.
In case your dog gets wounded, it's always a good idea to have a wound disinfectant with you like Betadine or any other disinfectant you are comfortable using. If your dog gets wounded, wet a piece of cotton with the disinfectant and clean the wound thoroughly. Repeat twice a day and keep your dog from licking it. In case of cuts or leg wounds use the bandage to cover the wound and keep it from getting infected or licked. Your dog will try to remove the bandage, make sure to keep an eye on your dog. If it's a deep wound you must call your vet immediately. Cleaning a dog's wound can cause severe pain and trigger an aggressive uncontrollable reflex. Put on a muzzle or if not available, tie a piece of bandage on the dog's muzzle very shortly while cleaning the wound.
In case you suspect your dog has eaten rodent poison or strychnine, it's crucial that you induce vomiting. One of the most common ways to do so is using hydrogen peroxide 3%, as per the instructions in the visual below. This is something you should do immediately as a first aid, until you reach the nearest vet.
Other types of poison like eating batteries, or poisonous plants will require you give your dog charcoal tablets immediately (mix charcoal with water and give it to your dog to drink to slow down the body's absorption of poison till you reach the nearest vet. You can also give it to him/her orally by using a large syringe with no needle).
First aid measures will differ from one type of poison to the other. So it's crucial that you call your vet immediately to make sure you're taking the right course of action.
Finally, it's recommended to carry the dog's medical history and vaccination card. You might end up going to a completely new vet and it is important for the vet to be able to check on the dog's medical history.


There are two schools when it comes to talking about your work in progress (WIP). The first is that you don't talk about it at all. Period. The second is that you talk about nothing else. I'm kind of a combination of both, and over the years I've become much more of the second. But my current WIP necessitates me talking about my work with a lot of people, and it's taken over such a huge part of my life that it's basically all I think about. So when the talented, beautiful, amazing Jessica Cooper asked me to participate in The Next Big Thing blog game, I agreed.
Here are ten questions (and answers) about my current WIP.
Okay, maybe this isn't going to be as easy as I thought. Right now it's just kind of labeled "Grandmother Poems," but that is just about the worst title possible and kind of makes me dread scrolling to the top of my manuscript. I've been tossing around some ideas like "Forest of Things" and "Children of No Country," but my working titles usually go through several amalgamations before I settle on something I don't hate.
After complaining to a friend that I can't finish anything, he asked me the most basic question: "Why?" That made me think far more than you would expect. It also made me realize that I couldn't get to the end of anyone's story because the beginning of my own is all muddled. So I started at the beginning, writing about the grandmother. How very meta of me.
Creative nonfiction is kind of the catch-all for what I'm working on. It's parts poetry, biography, memoir, speculation. Who knows what it will be in the end.
All unknowns. My characters are very vivid in my head, so I'm not sure I'd be able to say who would "fit" the part best. Good thing I'm not a casting director, or even a screen writer.
I will be the one to mark her grave: Leona Rodak Gaglione, 1917-1979, beloved wife and mother.
I can't imagine what agency would be willing to represent this type of book, so it might end up being self-published. But hopefully my other WIPs will get my foot in the door of an agency that's willing to take a chance on this.
This is a WIP and very much in the early stages, but I'm hoping to have a draft finished within a year.
My grandmother's family immigrated from Poland a few years before she was born, and their lives were far from easy. My grandmother made some very bad choices in her life that still affect my family, but I've also seen how my father has been able to forgive and overcome the past. This book is an exercise in forgiveness.
When most people think of immigrants in the early 20th century, they mostly think about New York City and the Ellis Island Experience. This WIP, however, is set in Omaha. When a lot of people think about Poland, they think about a country in Eastern Europe that gets invaded by just about everyone that is now a member of the European Union. This WIP, however, is about the strong cultural identity of a people with no country. I like exploring the unexpected, and I think others will like it as well.
I'm not a big fan of "tagging" people, but if you do a Next Big Thing post, let me know. I'd love to find out what you're working on!


text:
Ocean Navigator / May-June 2019 / An Aussie guide to engine maintenance
An Aussie guide to engine maintenance
by Ellen Massey Leonard
The Leonards' sloop Heretic in Queensland.
Ellen Massey Leonard
To the editor: Years ago, on our circumnavigation aboard our 38-foot cutter Heretic, we had reached Cairns in northern Australia when we left the boat in a marina and returned to the U.S. to work during the Southern Hemisphere cyclone season. Our 3HM35 Yanmar engine — which we affectionately called Grunter — was raw-water cooled, so we worried about it corroding during its months of disuse. We ran fresh water through the cooling system until we thought it was thoroughly flushed.
In April, at the tail end of the rainy season, we returned to Cairns to find Heretic musty but unharmed — except for Grunter the Yanmar. He was all seized up. I couldn't understand it; I thought we had flushed him out.
My husband, Seth, who is really our mechanic aboard, was less confused but therefore more despondent. "The problem is that I didn't change the prop when we replaced the engine," he enlightened me. The old propeller was pitched for a 50-hp engine and Grunter was only a 35. The big two-bladed prop had put too much load on our new Yanmar. Seth thought it had happened when we had first come into the Cairns marina seven months before. As we had pushed our way in against a strong headwind, we had both noticed an ominous black stain in the water astern. "The load probably damaged the head gasket and let water into the cylinders," Seth concluded.
So we sat in the cockpit, mournfully staring down at the engine. Max, a local Aussie man, was walking toward us along the finger pier, barefoot. He stopped when he saw us. "What are you two so glum about?" he asked.
We told him about the engine and he offered to have a look. He gave the crankshaft pulley a jerk and said, "Yeah, it's your pistons, mate. But it's probably only a bit of corrosion. Just take the head off and give 'em a whack."
"Take the head off?" Seth looked skeptical.
"Why not? It's only a couple of bolts. That's what we did all the time on the farm. On the tractors."
Heretic's engine disassembled and the parts labeled.
Over the next few days, Seth disassembled Grunter, and I labeled each part and laid them on paper towels in the order in which they would have to return to the engine. Seth first removed the alternator and exhaust manifold. Then he unscrewed the fuel lines running from the injection pump to the fuel injection nozzles. As soon as the fuel lines came off, Seth covered them in plastic. He also covered the openings where the lines attach to the engine since even the smallest amount of dust entering the fuel system can damage the nozzles. Any jarring or bumping while removing or replacing the cylinder head can also damage the injection nozzles, so they were the next item on the list. Seth removed them and quickly wrapped them in plastic.
He then turned to the rocker arm cover, taking it off and handing it to me. One of the mounting bolts for the valve rocker arm came loose in the head as he removed the nuts holding the rocker arm. Seth handed me the valve rocker arm and looked at the bolt. Someone before us had adopted the do-it-yourself policy and had stripped the threads in the head. It appeared that the person had taken off the rocker arm and over-torqued the bolts when they had put it back together. Their solution, a Recoil thread insert, was poking up out of the head. Seth couldn't drive it back in, so we would have to find a new one. "We haven't seen Cairns till we've seen the Industrial Zone," I joked. Heretic was built in 1968, so it sometimes felt that our circumnavigation was simply a tour of each nation's machine shops and hardware stores.
Seth bent over the engine again. He pulled out the push rods that open and close the exhaust and intake valves, and I laid them on the paper towel. Then it was time for the cylinder head itself. He looked at the manual to see which bolt to loosen first. It is important not to have one side tight while the other is loose; the whole assembly has to come loose together. Seth started with the bolt numbered 11 in the manual and worked his way to the bolt labeled 1, loosening them in a crisscross pattern and turning his wrench less than an eighth of a turn at a time. When everything was loose, I helped him lift the head so that it would come off straight. We didn't want to hit any of the bolts. Half of the old head gasket stuck to the cylinder head and half stuck to the engine as we removed the head.
I looked at the exposed pistons and saw a thin brown line on the wall of the third cylinder: the corrosion that was causing it all. Seth fished out a full bottle of Inox, Australia's rather more persuasive version of WD-40, similar to PB Blaster, and emptied it onto the pistons. Max, the Aussie who had been the impetus for all this, had told us to drown the cylinders in Inox once we had taken the head off.
While the pistons and cylinders soaked, we scraped the old gasket off with plastic scrapers. Metal scrapers would have damaged the cylinder head and the engine block. Then Seth tried to free up the pistons by "giving 'em a whack," as Max had said, with a rubber mallet. The pistons didn't move, but Inox splashed all over the nav station and our Great Barrier Reef chart.
"I'll try something else," Seth said and got out a scrap of oak to hold against the piston. He came down on the piece of wood with a large metal hammer. The piston still didn't budge. He hammered at it steadily for an hour before handing it to me. My attempts were equally futile. Seth repossessed the hammer and piece of oak and thwacked at it for another hour and a half. He finally stopped, saying, "We'll try again tomorrow." But he looked defeated.
The engine block with its new head gasket. Note the covered fuel line openings at bottom left.
The next morning I set to work varnishing to the steady thunk of Seth hammering away below. It was almost noon, and I had finished the entire cabin trunk when I heard a triumphant "Woohoo!" from Seth. "It's moving!"
"That's so exciting!" I paused. "Now what?"
We ordered a new head gasket and when it arrived, Seth and I cleaned all the parts meticulously before coating the gasket with a substitute for ThreeBond 50, the sealant prescribed by the manual. Seth laid the gasket in place, and together we put the head back on, being careful once again to keep it straight. We lubricated the threads of the cylinder head bolts, and then Seth tightened the nuts in sequence with a torque wrench.
Seth managed to put the valve rocker arm back on without mishap, careful not to tighten the nuts beyond the correct torque.
He put the rocker arm back on before the six push rods because the rods would have pushed up on the rocker arm, making it impossible to mount it straight. To install the push rods, he turned the crankshaft pulley so that the rod he wanted to insert was at the bottom of its cycle; then he pushed down on the valve to lift the valve clearance adjusting screw and slide the rod underneath. Once all was in place, he measured and adjusted the valve head clearance with feeler gauges, moving each push rod to the bottom of its cycle to do so. The push rods are at the bottom of their cycles when their corresponding pistons are at the top of their cycles on the compression stroke. A mark on the flywheel indicates this correct position for adjusting the valve head clearance.
In order to see the flywheel, Seth had to remove the starter motor. He then replaced it, reconnected the fuel lines and injection nozzles, and reattached the exhaust manifold and alternator. It was nearing evening when he finally mounted the rocker arm cover. It had taken over a week, but Grunter was back to his normal appearance.
With hesitant anticipation, I went on deck to give Grunter a little throttle, and Seth turned the key. "He works!" I cried as I heard the comforting roar of a functioning engine. Seth just smiled and wiped his oily hands. Two days later, we puttered out of Cairns and soon we were diving among giant potato cod in Queensland's coral-rich waters.
—Ellen Massey Leonard and her husband, Seth, completed a circumnavigation aboard their 38-foot cutter-rigged sloop, Heretic. They were recent recipients of the Cruising Club of America's 2019 Young Voyager Award.


text:
Błaszki  ( Schwarzau, 1943–1945 Schwarzau (Wartheland)) ist eine Stadt in Polen in der Wojewodschaft Łódź. Sie ist Sitz einer Stadt- und Landgemeinde im Powiat Sieradzki.

Geschichte
Die erste Erwähnung des Ortes stammt aus dem Jahre 1386, als es bereits eine Pfarrei gab. Das Recht auf das Abhalten von Wochenmärkten erteilte Johann II. Kasimir Błaszki am 1. März 1652. Das Stadtrecht folgte 1722. Mit der zweiten Teilung Polens wurde der Ort 1793 Teil Preußens. Im selben Jahr sind auch erstmals Juden im Ort nachweisbar. Mit der Entstehung des Herzogtums Warschau wurde der Ort 1807 Teil desselben und 1815 Teil Kongresspolens.
Vor dem Zweiten Weltkrieg gab es in der Stadt etwa 5.700 Einwohner, von denen die Hälfte jüdisch war. Nach dem Einmarsch der Wehrmacht im September 1939 wurden diese verschleppt und größtenteils ermordet.

Gemeinde
Die Stadt- und Landgemeinde Błaszki besteht neben dem gleichnamigen Hauptort aus 55 Ortsteilen (deutsche Namen bis 1945) mit einem Schulzenamt:

Weitere Ortschaften der Gemeinde sind Brzozowiec (Klettenhagen), Kąśnie, Kokoszki, Kopacz, Kostrzewice (Köstritz), Kwasków-Kolonia, Marianów, Pęczek, Wilczkowice und Zaborów.

Sehenswürdigkeiten
 Kirche der Heiligen Anna, die 1779 bis 1789 errichtet wurde
 Wohnhäuser aus dem 18./19. Jahrhundert
 Bahnhof von 1905

Weblinks

 Website der Stadt (deutsch, polnisch, englisch, russisch)
 Amtsbezirk Schwarzau (Wartheland)

Einzelnachweise

Ort der Woiwodschaft Łódź

Ersterwähnung 1386

redpajama_set_name: RedPajamaWikipedia


The residuals system is broken. It's expensive to administer and is an invitation to conflict as platforms such as new media evolve. Yet we need residuals, because talent survives on these payments between gigs. Can the system be fixed?
Yes, I believe so. For a proposal, see my piece in today's Hollywood Reporter.
I am afraid your idea is simply suggesting that everyone agree to use a modern buggywhip, even though there isn't a horse in sight. Automating the system will make it a more efficient buggywhip, but if there are no residuals to speak of, there's nothing to be efficient about.
Residuals worked well when the business worked on the basis of controlling access to content. If you controlled access, you could steer your audience to a time and place to view your content and charge them for it. That doesn't work any more. To succeed, your idea needs the consumer to agree to get their content only from those "approved" sources that generate the revenue to pay residuals and other creators.
How's that working out for the music industry?
It is time to start thinking beyond residuals as a way to compensate everyone involved in the creation and exhibition of content.
So why hasn't it always worked like this? Whence the current complexity? Who benefits?
Actually, the music industry hasn't died out any more than VHS killed the movie industry.
People still buy music -- RIAA propaganda aside. They'd probably be buying a lot more music if RIAA hadn't dragged their feet in entering the internet era and had actually SOLD content in the format people wanted. Instead, they set the stage for piracy...and now we all pay the price.
You have a point, though. Residuals depend on the distribution economic pipe being connected to the residual pipe. But you don't offer an alternative. If there are no sales of content, where is the money for paying people going to come from?
I can't see the money appearing, if there's not downstream revenue. Nobody is going to put in up money up front without an expectation of making it back -- through sales, rentals, performance, theaters, advertising -- any other ideas to add to the list?
I can't think of a single viable way for content to earn its keep up front. Given that all the earnings are downstream, residuals would still seem to make sense to me -- no matter HOW many problems the industry may have with those downstream revenues.
There's more music being made as there was before, and probably just as much money being made on music, but it isn't being made in the same way, and it largely isn't being made by the same people, and therein lies the cautionary tale for creators of visual content.
The recorded music business was built on sales of physical product. When on-demand consuming no longer required possession of the physical product, that business model no longer made sense. It is why the major labels are so insistent right now on getting a performance royalty from terrestrial radio. If they get paid every time a station plays one of their records, they don't need anyone to buy a single copy.
It is the major labels that succeeded in an environment where distribution was controlled, and it is the major labels who have suffered the most now that distribution cannot be controlled.
And that may well suggest the alternative you chide me for not mentioning; a blanket license, collected by every ISP from every customer, that permits every customer of that ISP to not only watch whatever content they want, ad-free, but, heaven forbid, download it too. Some centralized entity collects the money, figures out how it should be divvied up and sends out the checks. Performers trade their consent to the new exhibition system for a share of the revenue as compensation. They could even be paid directly from the collection agency, removing the possibility that the producers can pull some accounting tricks.
Divorce the idea of compensation from the idea that distribution can be controlled. Once your content is in the marketplace, it is already in the ocean of content out there. There is NO downstream, because there is no stream.
Attach the idea of compensation to the idea that everything is accessible, all the time, which it pretty much is anyway. Get paid from a pool of money created by the ISPs to compensate creators. The ISPs are just going to pass the charge onto the customers, where it belongs anyway.
It's the principle behind the way the RIAA set up SoundExchange to deal with performance royalties from Internet radio. SoundExchange has been a disaster for performers (they've found and paid fewer than half the artists who they have identified, and they've accumulated over $100 million in undistributed artist performance royalties in six years), but that's a failure of execution rather than concept. There's no reason the concept couldn't be applied to visual content.
Residuals are based on a model in which distribution is controlled. No one controls Internet distribution, at least not for long, so residuals just don't make long term sense as a compensation model.
You have to move the basis for compensation to providing open and on-demand access. A blanket license, in the form of a monthly per-capita fee collected from the ISP is the simplest way to achieve that.
"In any case, the proposal violates the guilds' requirement that members participate in the success of a project, which generally means via gross -based residuals."
This statement is a paradox. If guilds have a requirement that the membership participate in the success of a project (reasonable) then that should mean the NET, not the gross. Pluto Nash had gross revenue but no success. If the theory is participation in success then there should be no residuals there.
The second error is the idea that residuals should be an absolute number, irrespective of performance of the industry, and should increase year after year (much like the system for generating the federal budget). But what if you have a massive decline in revenue one year? Why should the percentage paid in residuals swing massively higher (the revenue would decrease but absolute residuals would increase at the proscribed rate)? That's profoundly illogical.
I think a much better proposal is to say 5% of gross revenue from all revenue streams is set aside for residuals - 1% for writers, 1% for directors, 3% for actors divided pro-rata based on up front compensation on a given project. However you are allowed a credit for the up-front costs. Therefore if you pay $100,000 to a writer, $100,000 to a director and $300,000 to cast then the first $10M in gross revenue is recouping the up front and 5% of every dollar after that gets split. In this model, if the film cost $10M then everyone starts to make money at that point. If the film cost less than $10M then the producer has made a bit of a profit and it is slightly more favorable to him or her. If the film cost more than $10M the producer has at least had a reasonable opportunity to recover the risk capital of the creatives and he or she is in the red a little longer.
It's fair to everyone. Creatives participate in genuine success and in ALL revenues evenly. Producers get a reasonable opportunity to recoup their capital at risk. Everybody lives happily ever after.
Thanks for the compliment and your comment.
Re your first point: it's fine to say that participating in success "should" mean net, but that's not how the guilds see it. If you don't accommodate their view, as well as the studios' view, then there's no deal.
Re your second point, how did you arrive at 5%? If your 5% calculation yields a total residual load for 2010 (for instance) that's bigger than what it would be under the current system, then the studios won't accept it. If it yields a smaller number, then the guilds won't accept it.
I recognize your point about a weakness of my proposal being that residuals always increase, and clearly it will take some additional thinking to work through this. There's only so much one can do in 950 words and without access to proprietary data. The only data I have right now is a 6 or 7 year SAG chart and, indeed, residuals in all categories increased (in non-inflation adjusted dollars).
Sorry for the delay in responding to your comment - I've been away. I pulled the 5% totally out of thin air. Just a convenient substitute for actual proportions. Frankly, I think it's probably not far off of what it should be but it's just a lob.
I understand your point about "should" and "do" but I think one of the big problems here is the terrible lack of understanding about residuals in our industry. Most people I talk to who are members of the guilds don't have clear understandings of what they are receiving residuals on and what simple ideas like "gross" and "net" even mean. I think the situation with writers is particularly skewed because of their capacity to individually negotiate which cuts against the very concept of a guild's purpose as a collective bargaining entity.
Anyhow, every proposal has it's holes, I just think that the arguments around residuals are built on massive misunderstanding of what residuals are meant to accomplish. The unions need to decide whether residuals are a tax on profits (the argument you hear from unions that 'you [the producer] keep profiting off my [the member's] creative output') or a way to even out the uneven pay cycles of talent. Once they have a sense of that there is a foundation for logical engagement.
A. the sunset clause is a "joke"
B. the residuals system should be some form of gross percentage across ALL platforms, electronic deposit, saving money, stopping multiple holdings and re-issuings.
Now THAT is a smart idea!
and yet, poor fred, so unlike your multiple DUMB ideas. only this time it comes from a fellow attorney actually IN the business IN hollywood who you can't dismiss out of hand.
this is PROGRESS, and the industry will take NOTE.
perfect? of course not. a VAST improvement and a sensible move forward into the 21st century, across ALL platforms?
yup. your move fred. you might want to listen to people who actually know what they are talking about.
1. A disagreement between two informed people is never unpleasant. There is often much that can be learned from such an interchange, and it doesn't really require the use of CAPs to make a point.
2. Jonathan Handel never called the sunset clause a "joke." It's dishonest to suggest he did. He didn't think it would be effective, but that's something different.
3. Jonathan Handel is an excellent lawyer. However, he would probably be the first to agree that he's not omniscient. When people deal with lawyers, there are usually two in a room. That's why. There's a difference of opinion on the sunset clause, and a difference of opinion on the future of residuals.
"When residuals first snuck their nose under the tent, they were applied only to the then-tiny amount of TV revenue on theatrical films, since talent was paid their base compensation for the primary medium: theatrical. . .Residuals then were applied in the 1970s to another ancillary medium called video, which through an unexpected fluke grew into the main event and now swamps theatrical revenue by a margin of 2-1. The guilds conveniently have forgotten history and now think that residuals on the primary media are a God-given entitlement."
Moore sees residuals as bad for business. I see residuals as becoming non-existent in a business model that generates little or nothing of the traditional revenue that residuals are based on, even the "gross percentage across ALL platforms." That makes them bad for performers.
What's the appropriate percentage of zero, Mattie?
5. My comments here point out the problem of basing a compensation scheme on a percentage of something that might not exist. This really isn't an original idea with me, and I'm not the only one concerned about it. All my clients are concerned about it.
Just recently, on another blog, you came out in favor of a partnership between producers and actors in which the "partners" would share in the gains AND the losses from a production.
This idea goes a lot further than Handel's reorganizing the present system, and actually seems a rather simplistic take on Moore's earlier idea (not that you'd have any idea about that) about having residuals as a line item in the initial project budget, but it also seems to contradict the position you're taking here in supporting a plain vanilla residual system.
Perhaps you can explain the inconsistency.
I've worked in entertainment law for 20 years. I see the traditional means of compensation, all of which are tied to controlling distribution, collapsing now that distribution is uncontrollable. If my clients are going to get paid, we're going to have to find a new way of compensating those engaged in the creation of what we watch and listen to.
Based on my experience, I don't think residuals are going to cut it in the long run. Mr. Handel disagrees. My comments in this column were directed to what I took to be a blind spot in Handel's reasoning, on which I drew on my experience in the music field, which has truly acted as the canary in the entertainment coal mine when it comes to making money. I hope he found my comments helpful. I'm a little disappointed that he hasn't responded directly, because he may very well be the one with evidence that supports reforming the current system over finding something new, but this is his playground and he sets the rules. The debate will just continue elsewhere.
you lost me at "two informed people"
why do you think some lawyer from nashville, not in or involved in either union, except for being fired by aftra in the late '80's for mismanaging a fund, has anything to add that anyone takes seriously?
"You lost me at "two informed people""
You were lost well before that, but I'm glad to know you finally noticed.


Controls 2 devices: TV and DTT receiver.
4 operations modes: Set-up mode, Manual search mode, Auto search mode and Display mode.
Back-up memory to keep the set-up data.
LED flash to indicate when there is transmission.
Volume and Mute lock function.
The replacement remot control Toshiba CT-90383 (75024860) is now available!
A replacement for the remote control Maxell MAX001 can now be purchased.
On sale the remote control that replaces the Philips RC2022401/01 (996510006838) in ALL of its functions.
You can access to the interactive keymap for Toshiba CT90383.


text: declare class Spriteset_Battle extends Spriteset_Base { }

redpajama_set_name: RedPajamaGithub


text:
Home/Pirates Draft
Pittsburgh Pirates: Way Too Early 2022 Five Round Mock Draft
By Kody Duncan
Mandatory Credit: Charles LeClaire-USA TODAY Sports /
Jul 6, 2021; Pittsburgh, Pennsylvania, USA; Pittsburgh Pirates manager Derek Shelton (17) observes batting practice before the game against the Atlanta Braves at PNC Park. Mandatory Credit: Charles LeClaire-USA TODAY Sports /
2nd Pick: Left-handed pitcher Carson Palmquist, Miami
For their second pick in the 2022 MLB draft, the Pittsburgh Pirates select left-handed pitcher, Carson Palmquist. Palmquist stands at 6'3" and weighs 175 pounds and is from Fort Meyer, Florida. He is often compared to Chris Sale, which should get Pirate fans excited.
Numerous pitchers have been compared to Chris Sale over the past two drafts, but Carson Palmquist might be the only person who truly deserves the comp. One of many legit '22 eligible arms. pic.twitter.com/uaafQ32hby
— 📊 (@mason_mcrae) July 23, 2021
In 2020, Palmquist appeared in 8 games and pitched 11.2 innings. He finished the year with a 2.31 era allowing only 6 hits and 3 earned runs. This season was canceled because of the shutdown of college athletics due to the COVID-19 and the pandemic.
In his first full season in college, the 2021 season for Carson Palmquist helped boost his draft stock. He appeared in 25 games in a relief role where he had a 2.22 era in 44.2 innings pitched. He had 14 saves on the year and only allowed 8 walks.
Palmquist sits in the mid to low 90s with his fastball but has a devastating sweeping slider. I'll be interested to see if next year the Miami pitching staff moves him to a starting role with the team. In 2021 Palmquist made the NCBWA All-America First Team as a pitcher and also the 2021 Perfect Game All-America First Team as well. Hopefully, the Pittsburgh Pirates see what I see in his this kid and draft him early.