Why is a name being posted on the Rewards Store winners list? These people are not the GOTW winners posted weekly by the mods. Are there 2 prizes or does this confirm that entering using alternate entries really doesn't count and is only there to satisfy the legal requirement? We have asked numerous times in the past if anyone has ever won using alternate entries and each time a mod has said they would check and post back but never do.
Those are all very good questions, @velveteenrabbit7! Getting and waiting for answers can be frustrating. With the transition of the Arcade we are in the mist of constant updates and restructuring and sometimes getting an answer isn't that easy. We apologize for the lack of response to your concerns regarding the alternate entries process. I can assure that I am working to get you an answer. We'll update you once we know more.
@velveteenrabbit7, the name was inadvertently posted due to a technical error. Each week, GOTW alternate entries are combined with qualifying score entries and a winner is randomly selected from the combined list. Throughout the nearly three years we have offered the weekly GOTW prize, there have been winners from both entry types.
That's not really an answer. There is a program used to select Rewards Store winners so of course an alternate entry will be selected along with the prizes. What weeks exactly did someone using an alternate entry win? It would be helpful when you post the winner If there was a symbol distinguishing whether the winner actually beat the score or used alternate entries. Until then I am not convinced anyone has ever won using alternate entries as I seriously doubt the rewards store is combined with the program tracking scores in the arcade.


text:
Q: Возможно ли использовать псевдонимы на кириллице в Firebird? Уместен ли следующий кусок запроса?
SELECT ClientName AS 'Имя клиента' FROM ClientTable

В разных источниках ответы, которые отличаются. Где-то говорят, что нельзя. Где-то - что можно, но с ограничениями. И всё же утвердительного ответа не получил. Возможно ли в Firebird использовать псевдонимы на кириллице?

A: Да, все зависит от версии, у меня начиная с версии FB 2.5 работает так:
SELECT ClientName AS "Имя клиента" FROM ClientTable
/*___________________^___________^________________*/

и да ограничение на алиас 31 байт, ~15 символов до версии FB4
На версиях FB 1.5 не работает (dialect 1)
Использовал для проверки IBExpert и спасибо @VP_ARTH за подсказку: dialect 3

A: С разрешения Сергея Астахова, владельца страницы http://people.comita.spb.ru/users/sergeya/java/ruschars.html, приводится часть раздела, описывающая работу с русскими буквами в InterClient:
InterBase (interbase.interclient.Driver)
Для этого драйвера работает параметр "charSet":
   // Параметры соединения с базой
   Properties connInfo = new Properties();

   connInfo.put("user", username);
   connInfo.put("password", password);
   connInfo.put("charSet", "Cp1251");

   // Устанавливаем соединение
   Connection db = DriverManager.getConnection(dataurl, connInfo);

Однако не забудьте при создании БД и таблиц указать кодировку символов. Для русского языка можно использовать значения "UNICODE_FSS" или "WIN1251".

redpajama_set_name: RedPajamaStackExchange


text:
Monitoring & Risk Analysis
Operational Analysis
Third Country Analysis
CIRAM
With so many member states and other partners involved in operations, and the quantity of data that needs to be sorted and analysed, information management is an important aspect of Frontex's work. With over 42,000 km of coastline, almost 9,000 km of land borders and around 300 international airports, Europe sees around 500 million border crossings a year. The job of managing the flow of legal and illegal migration requires a clear picture of the current situation at all the EU's external borders — from airports as well as from the EU's other approximately 1800 Border Crossing Points both on land and at sea ports.
In response to this need, the Frontex Situation Centre (FSC) was created. FSC has the task of providing a constantly updated picture, as near to real time as possible, of Europe's external borders and migration situation. But the FSC has more than an information-gathering function. It acts as a central point of contact and information access for all Frontex stakeholders. It is also a vital part of Frontex's rapid-response mechanism in the event of an emergency situation occurring anywhere at the external border. To ensure this, FSC has multiple functions to fulfil within the Frontex apparatus.
Situation monitoring — This is FSC's core function. All other areas of the centre's activity contribute in some way to its ability to provide as detailed, accurate and up-to-date a picture as possible of the situation at the EU's external borders. FSC provides situation and crisis monitoring, delivering early alerts and situation reports to internal and external customers.
Central point of contact — In order to ensure effective communication, FSC provides a clear point of official contact (incoming and outgoing) between Member States and Frontex as well as for other external partners.
Joint operational support — FSC processes incoming data from all fields of operation, collating and processing it into daily situational pictures of what is happening on the ground. This processing includes checking the quality of incoming data and ensuring it is available in the right format for further analysis. Frontex has developed its own specialised reporting systems that allow all participants in joint operations to share information effectively.
Media monitoring — An indispensable element of staying abreast of the bigger picture is constantly monitoring open and media sources.
Mission awareness and back-up — The aim of mission awareness is to keep the relevant Frontex staff informed about critical areas and any other pertinent information about countries outside the EU.
Crisis management support — In the event of a rapid intervention being deployed, it is FSC's role to ensure that all in-house procedures are followed correctly and to monitor the progress of the emergency support measures.
EUROSUR
Eurosur is the information-exchange framework designed to improve the management of Europe's external borders. It aims to support Member States by increasing their situational awareness and reaction capability in combating cross-border crime, tackling irregular migration and preventing loss of migrant lives at sea.
The backbone of Eurosur is a network of National Coordination Centres (NCCs). Each member state establishes an NCC, which groups the authorities responsible for border control in a given member state. The main role of the NCC is to coordinate the border surveillance activities on national level and serve as a hub for the exchange of information.
The NCCs collect local and national information about what takes place at the border, including illegal border crossings and criminal activity. The data processed by the NCC personnel creates a national situational picture. The NCCs are also responsible for sharing the relevant information with other member states and Frontex. Based on this input and information from other sources, Frontex creates the European situational picture and the common pre-frontier intelligence picture (focused on areas beyond the Schengen Area and EU borders).
The two pictures created by Frontex contain information on the events that recently took place at the borders, operational activities and analysis. These are created and maintained by Frontex and shared with Member States through the NCC network. None of the information currently exchanged within Eurosur contains personal data.
In addition to maintaining and sharing the situational pictures, Frontex also provides information collected from satellites and other surveillance tools at the European level. Member states can use such information to further improve their situational awareness. The collection of these services, called Eurosur Fusion Services, facilitates access to state of the art technologies, help reduce the duplication of efforts by member states and reduces costs.
The Eurosur Fusion Services include automated vessel tracking and detection capabilities, software functionalities allowing complex calculations for detecting anomalies and predicting vessel positions, as well as precise weather and oceanographic forecasts. Fusion Services use optical and radar satellite technology to locate vessels suspected to be engaged in people smuggling that often puts the lives of migrants in danger. Many of the services are delivered in cooperation with the European Maritime Safety Agency (EMSA) and the EU Satellite Centre (SatCen).
Besides close-to-real-time services, Frontex also makes available a wide range of analytical products tailored for operational use within Eurosur.
Eurosur goes beyond situational awareness by indicating the adequate level of operational reaction at different border sections. For this purpose, Member States have divided their external land and sea borders into sections. Each of this border sections is attributed an impact level — low, medium or high — which refer to the security of a given border section assessed against identified risk levels for illegal border crossing or cross-border crime. Measures to be taken to reduce the risks remain the responsibility of individual Member States, although in the case of "high impact level" border areas they may request operational assistance from Frontex in the form of prioritised spatial services, a joint operation or rapid intervention.
The Eurosur Regulation contains a range of fundamental rights safeguards, including the principles of data protection and non-refoulement, or the practice of not forcing migrants to return to a state where they may be subject to persecution.

redpajama_set_name: RedPajamaCommonCrawl


text:
Pau Solé Raventós (Castellví de la Marca, 1874 - Argentona, 1936) va ser un treballador agricultor i pare de sacerdot que va ser afusellat i assassinat durant la guerra civil espanyola.

Natural de Castellví de la Marca (Alt Penedès), residia i era veí de Premià de Mar de 1934 al 36. Vivia a Can Doria (despoblat núm. 27), tenia 62 anys, estava casat amb Filomena Gallofré, i era pare del sacerdot Mn. Pere Solé i Gallofré, capellà de La Salle, també assassinat durant la guerra civil en Girona, l'11 d'octubre de 1936.

Quan el seu fil Mn. Pere Solè va ser destinat en 1934 a ser el capellà del noviciat del dels germans de les escoles cristianes en Premia de Mar, Pau i la seva dona es van traslladar a viure amb el seu fill, a la casa en la que residien els capellans del noviciat. Allà va treballar d'agricultor i feines de manteniment en els camps del Sr. Doria i en els mateixos del noviciat.

Començada ja la guerra civil, en la matinada del 15 de setembre de 1936, va ser detingut a casa seva per quatre o cinc individus del Comitè revolucionari de Premià, per ser coneixedor de l'amagatall que podria tenir el seu fill sacerdot, que en veritat, per aquells dies ja era pres a la presó de Girona, però que el comitè no sabia. Junt amb la seva esposa, Filomena, foren conduïts al local del Comitè Revolucionari, on va ser somes a un llarg interrogatori. A les 3 de la matinada van deixar marxar a la seva dona, però a ell el van retenir durant uns dies. Després sembla que va desaparèixer. Es creu que fou assassinat al Coll de Parpers (Argentona) el dia 17 de setembre.

Al registre civil de defuncions d'Argentona, amb data 22 de setembre de 1936 apareix la inscripció d'un desconegut, assassinat al quilòmetre 10 de la carretera de Mataró a Granollers. No hi consten les dades personals donat que el cadàver, en estat de descomposició, no va ser identificat. També consta al registre civil de Premià de Mar (R. C. Premià 31. 4 de maig de 1942).

Referències

Premianencs
Castellví de la Marca
Morts pel bàndol republicà durant la GCE
Morts a Argentona

redpajama_set_name: RedPajamaWikipedia


Measures 20 inches in diameter and roughly 4 inches deep. Fits perfectly on most all doors, and between screen and storm doors.
Perfect Wreath to Display All Year. Looks great Summer, Winter, Spring and Fall. From 4th of July, Thanksgiving, Christmas, Easter and all other holidays, this wreath blends seamlessly with any decor. .
This gorgeous realistic Synthetic southern magnolia wreath is the easiest addition on your homes front door, and just about all different areas. It also looks nice on fireplaces or massive mirrors, and adds sublime taste and class when incorporated into home decor or wedding centerpieces. This pretty lifelike Inexperienced and brown wreath measures kind of 20 inches and is delivered in a robust box which can be utilized for simple storage or to offer as a present. Fits perfectly between hurricane doors, and the light-weight design works neatly with so much suction cup door hangers.
Measures 20 inches in diameter and kind of 4 inches deep. Fits perfectly on so much all doors, and between screen and hurricane doors.
Easiest Wreath to Show All Year. Looks nice Summer, Winter, Spring and Fall. From 4th of July, Thanksgiving, Christmas, Easter and all different holidays, this wreath blends seamlessly with any decor. .


The elegant wedding on Lake Como with impeccable organization, combined with professionalism and excellent service – welcome to Marry Me on Lake Como.
Our basic task (as the organizer) is to create the wedding style for a couple. It means that every detail "speaks" the language of two. We apply all our talent to make the wedding on lake Como as a fairy tale and reality at the same time, so in the future, it will be a magic moment to remember.
Our desire is to make you fall in love with Italy, to show its superiority and to create the wedding of Your dreams.
We regularly visit locations and new places we work with to offer You the best wedding location on Lake Como .
Marry Me on Lake Como will be with you from the first day, so you don't have to worry about the documents for the official ceremony in Italy or about wedding vendors reliability. We have selected for you the best, from accommodation to the wedding cocktail on Lake Como, florists, gourmet cuisine, music. We are proud of ourselves on offering only those suppliers who share our vision, passion, and desire to create unforgettable events on Lake Como .
Providing You the service, knowledge, and passion for our work We create all things that You want!
Lake Como is one of the most romantic and exciting places for weddings in Italy , which you could wish; you will have everything that You have dreamed of and even more!
How did I find Victoria? I made my choice quickly. I didn't consider any Moscow agency because of expensive services abroad, and I was choosing among international ones. I needed someone who spoke Russian and had had an experience in wedding organization on lake Como. This can be universal advice for those who are planning a wedding abroad.
The most exciting is to create and develop your own unique style and individual concept. When the girls from WeddItaly suggested to organize a wedding in the style of James Bond - we agreed at once! The wedding concept is fully reflected our relationship. In our family Eugene is courageous and strong and I am gentle and delicate.
Well, first, we were looking for the organizers who spoke Italian, English, and Russian of course. Secondly, several top photographers gave us the advice to take Victoria (who had already worked with her). And third, we immediately liked Victoria's passion and operability she started to work with. We want to say "thank you" once again because Victoria was able to find a perfect and elegant location for wedding banquet that was not just a restaurant, it was a whole villa with garden and the best panoramic views. She booked the rooms in a hotel and coordinated decorators, florists, Shuttle service, cars, musicians, bakers etc. We should also say that Victoria has become a "virtual" member of our family for almost 6 months before our wedding We were in a contact every day discussing all necessary details.
Victoria is the only person who showed honest interest in our request and showed her professionalism that we were able to see in the future.
Thanks to you the phrase "all according to plan" is fully realized.
Our expectations and desires have been heard by you, so that in the day of wedding we were able to forget all worries and enjoy this unforgettable day! Thanks to your team this day was exactly as we imagined!


This entry was posted in Art and Artists, Art History, Art History France, Art History Site, Book Review, World War II France and tagged Art History France, Art History Novel, Camille Pissaro, Francois Valenti, HIstorical Fiction, Lisette's List, Marc and Bella Chagall, Mont Saint-Victoire and the Viaduct of the Arc River Valley, Paul Cézanne, Roussillion France, Susan Vreeland, World War II history in France by americangirlsartclubinparis. Bookmark the permalink.
I love Susan Vreeland's books, especially Luncheon of the Boating Party. Have you read any of Tracy Chavelier's novels? I read The Lady and the Unicorn, which is quite good, after seeing the unicorn tapestries in the Musee des Moyens Ages in Paris.


Let's Fake Love: Week Four from EastLake Tri-Cities on Vimeo.
Let's Fake Love: Week Three from EastLake Tri-Cities on Vimeo.
Let's Fake Love: Week Two from EastLake Tri-Cities on Vimeo.
Let's Fake Love: Week One from EastLake Tri-Cities on Vimeo.


text:
Q: SQL how to get parent and its all children and children of children... etc I have to see I am new to sql.
I have a table which looks like this:
child      parent
-------------------
Nancy      Bob
Oli        Bob
Alice      Oli
Mira      Alice

Now I need sql statement which gives me parent -which is already known- and its children and children of its children... etc, given is parent name.
Example I need Family of Bob. The sql should return (Bob, Nancy, Oli, Alice, Mira)
I tried this: select child from myTable where parent='Bob' This gives me Nancy and Oli.
Any Idea?

A: You can use Oracle's hierarchial queries to get this along with the level of tree:
Demo
SELECT CHILD,  LEVEL FROM TABLE1
START WITH PARENT = 'Bob'
connect by prior child = parent;

A: That's a typical hierarchical query. One standard method uses a recursive with clause:
with cte (child, parent) as (
    select child, parent from mytable where parent = 'Bob'
    union all
    select t.child, t.parent
    from mytable t
    inner join cte c on c.child = t.parent
)
select child from cte


text:
A Shout Out To The Call of Duty Black Ops 3 Game & Online Gaming
Subject: A Shout Out To The Call of Duty Black Ops 3 Game & Online Gaming
From: Johnnie
As a relative late-comer to the Call of Duty franchise I must say I particularly enjoyed their earlier world war games and initial Black Ops games. In fact it even reached a point where I developed a group of purely online friends who I met whilst gaming and we would routinely meet up 'online', chat and play games together.
You hear a lot of people talking about gaming as a childish pursuit and it is usually followed with a quote along the lines of "get into the real world!" or "go outside and do something!". But more and more online gaming has become a new environment for social interaction and for people to make friends.
All you have to do is look to the money in the industry now and the rise of professional gamers! Now if you have a kid who is good at gaming then you genuinely might want to consider supporting them in this pursuit. The rise of YouTube channels has meant that there is more money than ever and these kids have become just as popular if not more so than a lot of musicians.
I would say that I'm a pretty good gamer, I've played for many years and I generally end up the top of my team in most Call of Duty games...except when it came to Advanced Warfare. That was a game that really put me off the franchise and the point where I fell out of love with Call of Duty.
I just didn't get it! The gameplay was too fast, messy and laggy for me. I couldn't understand how I could go form team deathmatch gameplay of 30-1 on Black Ops 2 and then struggle to get a positive K/D on Advanced Warfare. It wasn't until much later on that I learnt the developers of this title (who are different to the Black Ops series) has introduced a 'Skill-based Matchmaking' system that essentially meant you would barely ever do very well. Now the developers of the game heard the outrage of everyone on social media and all they did was pretend it was exactly the same as the Black Ops franchise...which of course it wasn't and everyone knew they were just trying to cover their behinds.
Not to mention that you could pump more money than ever before into the game in order to get special weapons and armour. I hate it when I see a game just become a blatant tool for additional sales and that's why a lot of people have fallen out of love with Assassins Creed. I even think that Advanced Warfare payed off a lot of successful YouTubers in order to get them to give positive feedback about the game.
The result of all this was that gamers and YouTubers really didn't enjoy the game and went from posting tonnes of videos of previous Call of Duty games to barely any of Advanced Warfare. I thought after this title that perhaps I had just lost my taste for Call of Duty and you can have too much of the same thing.
Fortunately for myself and other lovers of CoD, Treyarch came along with Black Ops 3. I was lucky enough to be invited to the Beta launch of the multiplayer recently and I was quite frankly relieved that we were seeing the return of a quality game.
Black Ops 3 is a return to form for the franchise and I found it really enjoyable and I know from the community feedback so have others. I can't wait to play on a truly immersive next generation FPS and get back in with the group of online friends I had spent so much time with.
The only people who aren't going to be happy are the girlfriends and partners of people who immerse themselves in this great new game for months on end.
Google is fined $2.7Billion by European Union but neither Google nor Reddit will allow people to discuss it! Thank god Ruqqus and Duckduckgo do not censor. Can the new kids on the internet block save us from the plague of Censorship - the true Pandemic?
What you don't know about 5G Mobile Phone Networks CAN hurt you - FACT: Not a single independent medical study has ever been conducted for ANY Telecom company, nor our U.S. government.
Open Letter To Tech People
WARNING! The Cloud is the Mother of All Government Spyware! Microsoft sold out to Uncle Sam years ago. If you want true privacy in your life and online, read this article - twice.
UPDATED: Warning To All TOR, Skype, Cloud, and On-Star Users: Your communications are not as secure as you were led to believe. I found out the hard way.


If there's one quality James Scarlett looks for in a car, it's perfection. So when he set his sights on owning a 'General Lee', simply buying an orange Dodge Charger with some decals on the side was never going to cut it. A lifelong Dukes of Hazzard fan, if James was going to park a tribute to the General in his garage, it had to be worthy of Luke and Bo themselves.
"I went to America for three months last year (2012). I was going to buy a new Chevy truck and fifth-wheeler [caravan] but I went off the idea. Before I left I was looking at General Lees on the computer; I wanted one because my son and I watch Dukes of Hazzard all the time."
It's ironic that the television show that did the most for the popularity of the Dodge Charger also did its best to force it into extinction. During the Dukes' seven-year run, almost 300 Chargers were sent flying through the air to their deaths.
Despite the best efforts of the editing team to make us believe that almost two tonnes of American muscle could sail a couple of hundred feet through the air and shrug off the landing with ease, the reality is that Dodge Chargers tend to fly (and land) with all the grace and subtlety of a refrigerator thrown out of an aeroplane.
Watch any Dukes jumps compilation and you'll see panels crease, chassis buckle and suspensions collapse under the immense forces involved. In fact, to fly properly at all, steel boxes were welded into the boots of the stunt cars then filled with bags of sand or concrete to offset the weight of the iron-block V8s in the nose.
On average, two Chargers met their demise per episode, but this vehicular destruction did have a benefit – viewers loved it. Not even Daisy Duke's denim cut-offs had as much appeal as the General's high-flying antics, but it did present the show's producers with a problem – the more cars they destroyed the harder it became to source donor cars.
Plenty of 1968 model year Chargers received a top-and-tail to turn them into '69s but during later seasons cars were repaired wherever possible, footage from earlier jumps was re-used and, for the more extreme stunts, remote control scale models were used, much to the dismay of the cast and crew.
Fast forward 30 years, however, and the show's enormous and enduring popularity means that sourcing a General Lee is no longer an issue, as James explains. "I started doing a bit of research and the Smith Bros. (a restoration workshop in Washington that specialises in General Lees) build them turn-key.
"They purchase the car for you, cut all the rust out, whatever it needs, paint it and decal it with all the General Lee stuff. I spoke to them on the phone but they'd have to build it so I thought I'd try and find something that was already done."
With time on his side, James bought himself a Chevrolet Suburban and began cruising the southern states. "I just started looking for General Lees and ended up going to Nashville to Cooter's Place." Cooter was the Dukes boys' mechanic in Dukes of Hazzard, played by Ben Jones, who has set up two stores in Tennessee dedicated to all things Dukes.
"I went down there and it was a bit of a day out for Dukes fans," explains James. "They had about seven or eight General Lees there and I was looking at [them] and seeing if anyone had anything available. There was one guy, Kevin, who had a real nice, tidy car. He had a mate with him, Martin, who said 'yeah, I've got one at home'."
Martin had built his General Lee from scratch in his shed at home, but admitted that he'd be prepared to part with it for the right price. Call it fate, providence, or luck – James had found his car. "Martin was a freak; he just lived and breathed Dukes of Hazzard. He'd been to all the movie sites, he'd been to where all the jumps were done, he had photos of him and all the cast and crew – I thought, 'if I want to buy a General Lee, this is the perfect guy to buy it off'.
"I drove down to his place and the car was as good as he said it was, the only problem was it had a knock in the engine. It was a fresh build, but being a 512ci stroker they advise you to put a big sump on them. This didn't have that big sump and where [Martin] lived was quite hilly. He was just taking it for a blast one day and the pick-up must have run a bit dry. He was going to get it repaired but I said 'don't worry, I'll sort the motor out'. I knew how good the car was."
With negotiations under way, Martin invited James to accompany him and his family to a Dukes of Hazzard show in Galax, Virginia. In addition to the General Lee, Martin and his dad had built a 'Rosco' police car, a Smokey and the Bandit Trans Am and a Sheriff Buford Justice police car, de-roofed just like in the Bandit movie.
"Martin and I drove the Bandit Trans Am, his mum and his sister drove the Rosco cop car and his dad was towing the Buford Justice chop-top cop car in a trailer," remembers James. "His cars were the hit of the show, Martin was a perfectionist and his dad was the same, anything they touched turned to gold."
For a die-hard Dukes fan, the Galax show was heaven on earth. "I've watched that much Dukes it's not funny," says James. "To see it all happen was awesome. They set up to do a General Lee jump in front of everyone; Bo Duke was there – just to see Bo it took me two hours in a queue. It was unbelievable the amount of people that just crave the Dukes."
Following the show, James set out to find an engine for his new purchase, visiting renowned NASCAR engine builder Ernie Elliot Inc. with a view to installing one of their engines in the Charger. Arrangements were made with Ernie's son-in-law, Jason, and the General was freighted from North Carolina to Atlanta. "I didn't tell [Jason] it was a General, just that it was a Charger. I rolled up before the car and one of Jason's kids had a General Lee t-shirt on and I thought 'oh, here we go'," grins James.
"The car rolls up and Jason was freaking. He goes 'I've been looking for one of these for ages, how much do you want for it?'." With James understandably reluctant to sell, work began on rebuilding the 512ci V8, with Jason advising "don't put one of these [NASCAR] motors in it, it's too good, you'll ruin it." A change of situation at Ernie Elliot led to the car being shipped back to Australia – "that was a bit of an ordeal with customs" – and the engine sent to Brett Niddrie of BNR Engines in Melton, Victoria, who had built numerous hot engines for James in the past.
"We freshened it right up; fixed the knock, put a bigger sump on it, new bearings, rods, rings and timing chain. Everything was as-new again – the motor had no work anyway, Martin hardly drove the car." With the car now running, James could now unveil his secret.
"It was kind of a surprise for my son as well. I didn't want him to know about it then have to fix the motor and have the thing not running. The day I got the car running, I ended up pulling up in it, tooting the horn, my son came out and that was it. He couldn't believe it – his dad was in a General. He's watched more Dukes of Hazzard than the cartoons, a lot of times we watch the show then go for a drive."
With his mission accomplished and a mint General Lee in his possession, James quickly found that there was a price to pay for perfection. "We've had a lot of fun times in it but wherever I take the car, it's just swarmed with people. You've got to keep an eye on it wherever you take it because it just gets a crowd around it. It's an exact replica; I've seen a few [Generals] here in Australia and they are not a patch on mine. I was just so lucky to meet Martin – the whole deal was just unbelievable."
With a shed full of other toys, James lets slip that while he doesn't need to or even want to sell the car, he could be persuaded to pass the General on to another die-hard Dukes fan if the price was right. If you're interested, drop us a line at uniquecars@bauertrader.com.au and we'll pass your details on.
Running over seven seasons and 145 episodes from January, 1979 to February, 1985, Dukes of Hazzard became the car show of its era. It had the craziest chases, the wildest stunts and, in the General Lee, the coolest car. The first four seasons averaged around 20 million viewers, with many tuning in just to see the General fly.
The story revolved around cousins Bo and Luke Duke who, as part of their probation for running moonshine, were confined to Hazzard County (though that varied from episode to episode).
Inevitably, the two cousins found themselves in trouble with either the law – the inept sheriff Rosco P. Coltrane – or with corrupt county commissioner, Boss Hogg. Another key player was Bo and Luke's bombshell cousin Daisy (actress Catherine Bach's legs were famously insured for $1 million).
The franchise was revived in 2005 with the movie The Dukes of Hazzard, which featured some truly exceptional stunt driving and some truly awful acting.


The canal ensures is a specialist made get that incorporates the dedication of the canal organization to change or to restore the drains if they are defective. It is basic for most property proprietors to get a drain ensure as it is one of the fundamental parts of the house and a champion among the most extreme when hurt. Remember, it is imperative to figure out what the guttering system certification will and would exclude you need to overview the fine print of the canal ensure; typically this will delineate all assurance uncommon cases, like destructive occasions and wind disasters. Guarantee the exclusions are specific, for example, in occurrences of typhoons not being anchored by a couple of ensures; it should demonstrate the specific breeze speed. On the off chance that there ought to emerge an event of gaps or surge regardless of the terms of the certification has been taken after, the assurance will then give the proprietor the normal treatment to these issues. These incorporate repairing the gap or overflowing, and substitution.
Here are a couple of affirmations that your assurance may push toward getting to be voided. At the moment that there are rejections or cancellations Warranties are legal contracts and should not have oversights or annihilations, if it is unavoidable, an organization lawful guide should at any rate buzzword the destructions. At the moment that the contractual worker is rolling out improvements or changes just like with oversights and cancellations, modifications and alterations are not allowed on a definitive document. It isn't allowed by law that your contractual worker will change the incorporations and dismissals of the assertion in light of how he sees it fit. At the moment that the guttering organization fails to keep an eye on your housetop as suggested the assurance isn't just made for customers, yet what is more for your contractual worker and the drain creator. This rundowns their commitments to their client you as it moreover tallies your obligation to them.
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*Lord Faulkner of Worcester to ask Her Majesty's Government what steps they are taking to recover unpaid congestion charges and parking fines incurred by diplomatic missions.
*Lord Sheldon to ask Her Majesty's Government what is their forecast for the growth of manufacturing investment in the current year.
*Lord Clement-Jones to ask Her Majesty's Government whether they intend to review the operation of the Association for Television on Demand in the regulation of video on demand under the Audio Visual Media Services Directive.
*Lord Alton of Liverpool to ask Her Majesty's Government, in advance of Southern Sudan's independence on 9 July, what is their assessment of the likely impact of the Framework Agreement signed at Addis Ababa on 28 June on securing peace and security in the region.
Lord Strathclyde intends to move the following 14 motions en bloc: but if any Lord objects the motions must be moved separately to the extent desired.
Nationality, Immigration and Asylum Act 2002 (Juxtaposed Controls) (Amendment) Order 2011 Lord Strathclyde to move that the draft Order be referred to a Grand Committee.
Immigration (Provision of Physical Data) (Amendment) Regulations 2011 Lord Strathclyde to move that the draft Regulations be referred to a Grand Committee.
Weights and Measures (Specified Quantities) (Unwrapped Bread and Intoxicating Liquor) Order 2011 Lord Strathclyde to move that the draft Order be referred to a Grand Committee.
Criminal Procedure (Legal Assistance, Detention and Appeals) (Scotland) Act 2010 (Consequential Provisions) Order 2011 Lord Strathclyde to move that the draft Order be referred to a Grand Committee.
Adoption and Children (Scotland) Act 2007 (Consequential Modifications) Order 2011 Lord Strathclyde to move that the draft Order be referred to a Grand Committee.
Environmental Permitting (England and Wales) (Amendment) Regulations 2011 Lord Strathclyde to move that the draft Regulations be referred to a Grand Committee.
National Minimum Wage (Amendment) Regulations 2011 Lord Strathclyde to move that the draft Regulations be referred to a Grand Committee.
National Minimum Wage (Amendment) (No. 2) Regulations 2011 Lord Strathclyde to move that the draft Regulations be referred to a Grand Committee.
Renewable Heat Incentive (Amendment to the Energy Act 2008) Regulations 2011 Lord Strathclyde to move that the draft Regulations be referred to a Grand Committee.
Renewable Heat Incentive Regulations 2011 Lord Strathclyde to move that the draft Regulations be referred to a Grand Committee.
Storage of Carbon Dioxide (Access to Infrastructure) Regulations 2011 Lord Strathclyde to move that the draft Regulations be referred to a Grand Committee.
Criminal Justice and Licensing (Scotland) Act 2010 (Consequential Provisions and Modifications) Order 2011 Lord Strathclyde to move that the draft Order be referred to a Grand Committee.
Disclosure of State Pension Credit Information (Warm Home Discount) Regulations 2011 Lord Strathclyde to move that the draft Regulations be referred to a Grand Committee.
Legislative Reform (Epping Forest) Order 2011 Lord Strathclyde to move that the draft Legislative Reform Order be referred to a Grand Committee.


Our first stay family stay at souchet was a great success so thought we would return for another week.
As expected everything was perfect again, a great addition to the main double room was a very comfortable bed and as before there were plenty of provisions to eat and drink, much welcome after a long journey so no need to faff with a supermarket.
Stephen & Isabelle are great and more than happy to offer advice about the local area and have a great knowledge of local wine.
On arrival we were greeted by Isabelle and Steve and introduced to an immaculate and very welcoming gite. Isabelle and Steve had thought of pretty much everything to make the start of our stay easy and relaxing - complete with a comprehensive welcome pack which meant there was no panic to immediately shop. They were unfailingly helpful and friendly and all their efforts were much appreciated by us all.
Thank you! We had a very enjoyable stay.
Set outside little village of St Mariens, about an hour from Bordeaux, Stephen & Isabelle's gite is a 3 ensuite bed renovated cottage set in a restful garden and having its own private pool.
Stephen could not have been more helpful answering my queries before we arrived and Isabelle took time out for us to give us a private tour of the vineyard where she works , the Chateau Puynard.
Stephen and Isabelle had thought of everything to make a very pleasant stay- we had a great time and will be back.
We had a splendid time at La Grange, Souchet ! Great place ! Having the swimming pool at hand's reach was just like paradise on demand! Stephen and Isabelle have made this old barn a comfortable, cosy, spacious, good standard and functionnal place, and even more ! considering their concern about our well-being from the first minute of our stay and on. Very thoughtful hosts throughout the week. It was a pleasure to meet them. I highly recommend.
Reviews from visitors to our gite.


text:
Joe Ellis, John Elway don't think ownership uncertainty will hurt Broncos' GM search
January 8, 2021 by Broncos Wire Leave a Comment
The Denver Broncos plan to interview five candidates for their open general manager position after John Elway stepped down from GM duties Monday. Elway will remain the president of football operations and he will have a role in the team's search for a new GM.
During his end-of-season press conference on Jan. 4, Elway was asked if the team's uncertain ownership situation might hurt the team's chances of getting their top GM candidate.
"I understand that there's some question out there with ownership, but the thing is, on the football side, we've had every opportunity that we've ever had when Mr. Bowlen [late owner Pat Bowlen] was here," Elway said. "That had not really changed because we still have the resources that we've ever had to try to put a successful football team on the field.
"I don't look at the ownership situation being a big part of this and the fact that we're going to continue to try to find the best candidate, find the best person for that job, and get back to the same mindset, which has not changed. I know we got a ways to get there, but our goal is still to be back and compete for World Championships."
Broncos president/CEO Joe Ellis had a similar stance.
"I think this is an attractive job and I believe this is a good place to work," Ellis said on Jan. 5. "I believe people want to work here. There are only 32 GM jobs. I feel good about our organization, the people that work here, how we conduct ourselves. I recognize we haven't won. I recognize that there are questions about ownership.
"But if you're a candidate that wants to succeed and wants to be great and do great things, you're going to take a job and this is going to be a place where you can succeed because we will give you the resources. I assume that's not going to be any different regardless of who the next owner is."
Ellis and Elway are both scheduled to have their contracts expire in 2022. Ellis has said he will not seek an extension.
Broncos sign 10 players to future contracts
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Laggies (2014): Oh, yeah, Seattle.
So, my laptop is broken, and this is being written from a Kindle (senior year of college is hard with a broken laptop), but I simply had to urge everyone to go watch Laggies.
Guys. It was filmed in glorious Washington. My beloved home is all over it. A girl I know is an extra in it. Keira Knightley's character is named Megan (cough cough my real name cough cough). SAM ROCKWELL is in it!
Go see it. It's not necessarily a life-changing great film--unless it is. I mean, there is an insanely talented cast (Chloe Grace Moretz, queen of my heart) and crew, and evergreen trees everywhere. What more could you want?!
SAM ROCKWELL DOES NOT DANCE IN THIS FILM.
I don't understand how that's possible. It must have been accidentally cut. Maybe, there was a post-credits scene that I should have waited for?! I just don't even know anymore.
But, despite this grievous error, there is so much to love in this charming, fun movie. No rain though, which was a little odd. And, Sam's character carried an umbrella around which was super funny. But, whatevs.
Go chill and watch this movie and then move to Seattle and feel better about life, because trees.


Place yourself in a bizarre position, as bizarre as some of these symbols: it is America in the late seventies, and a boy, no more than eleven or twelve, is listening, rapt and spellbound, to a voice the like of which he has only heard once before, and even then it was at a distance. It is not entirely clear whether he is aware that the singer is essentially imitating the boy's father; he hears the last, Sisyphean "roll" at the end of "Stairway To Heaven," the escalating abstract voice interplay of "Battle Of Evermore," or the fourth quarter of "Four Sticks," and something of that smiling despair stays with him and sticks to him, such that when he eventually turns to making music a decade and a half hence, everyone will compare him to this singer, perhaps more so than the inevitable comparisons with the long-gone father whom he never really knew in the first place. Eventually, and prematurely, he will die, slightly inebriated, up to his waist in an unpredictable river, the destruction wrought by which will be described in the record's final, climactic song; and in almost his last conscious act on Earth he will be singing one of this man's songs.
The Buckley stories are two things, or two sides of one miraculously tragic thing, but the fourth Zeppelin album is above all else about hearing things rather than seeing things, and the impossibility of believing anything that you see, or in the continued existence of something which might once have been known as "home." The ancient portrait of a labourer of the soil is tacked to moderately florid, terminally peeling wallpaper, and on the reverse sleeve the camera pans out to reveal, not a rural idyll, but a house in the process of being demolished, giving way to an unspectacular view of a row of similar terraced houses in the process of being knocked down, somewhere in Dudley, in the West Midlands, but dominated by a new, if already grey, tower block. The future will come and swallow you up as mercilessly as the Mississippi if you're not careful.
For most, as 1971 drew to its end, Led Zeppelin were still the most vital present and the most promising future. The group was pressurised by the expectations raised by these promises, but also spurred to become as detached, if still connected, a satellite to the rest of rock as the Beatles had been before them. With the partial exception of Who's Next, I can't think of any other number one album from this year which sounds as though it could have been recorded in the eighties – and that isn't simply down to Bonham's stairwell beats on "Levee," later to become one of the foundation stones of hip hop. The production is as free of mud as the musicians' minds are full of it; everything is crystal clear, even the variegated channel-swapping activities of "Levee"'s climax. They were all around us, yet they also strove to be as absent from us as possible; Jimmy Page had been stung by the muted critical reaction to Led Zeppelin III and was determined to present the blankest of templates; no group credits, no easily graspable title (Led Zeppelin IV and Four Symbols became the most popular aliases) – here is some music, and it doesn't really matter who made it, even though you know damn well who it is (that having been said, the determined anonymity may have wrongfooted some initial buyers in the States, and the record sat at number two for a month without ever reaching the top, although it has since comfortably become the best-selling album in the US never to make number one).
But what is the record saying? Quite a lot of things, and not every one of them is compatible with others. "Black Dog," for instance, is a most defiant album opener, sounding so relaxed in its post-Hendrix priaptic swoon that it's easy to overlook just how tricky the song is to play, both harmonically and rhythmically; in its own way, it's a glove thrust down at the gym-shoed feet of any lousy bar band who think they can do Zep. Its confidence is absolute – Bonham's cowbell chiming in at precisely the right hip-urging moment, the circuitous dervishes of multiple Plants (with his repeated quatrains of "uh!"s), until the song reaches its turnaround and neither guitar nor rhythm sound remotely grounded; the spectre is almost that of what would twenty or so years hence come to be known as shoegazing, guitars playing virtually by themselves, everything ascending into weightlessness rather than being ground down by gravity (even with the gravest of rock drummers at the helm).
This urge, however, isn't quite spent or fully expectant in its thrust. "Rock And Roll" is the greatest tribute anyone could have expected in 1971; from Bonham's "Keep A-Knocking" drum rushes – he sounds as though bashing the biggest drum kit in the world - through Page's Berry recitations (and subtle if speeded and pitched-up quotations from Link Wray's "Rumble") to Plant's righteous holler – so reminiscent of his Wolverhampton contemporary Noddy Holder – demanding to be carried back home, to the world of "The Stroll" and "Book Of Love," although he knows that recapturing such a world is as forlornly foolish as expecting that ancient hop-gatherer to hop again, his echoing "Been a long lonely, lonely, lonely, lonely time"s joining the hurting dots between 1956 Presley and 1970 Lennon – and of course Elvis should have broken down the studio door and demanded to sing this song, but was that ever going to happen? Jones' piano in the meantime references Little Richard, Jerry Lee, and even (in the final verse) John Cale (see the Stooges' "I Wanna Be Your Dog"). Finally Bonham proffers one final explosion on his kit – enough to demand that the 2I's bar be immediately quadrupled in size – and the song ends on a vaguely triumphant A major.
Many first-time listeners must have felt excessive relief; here they are, back and doing what they're best at doing. But then their ears get tripped up again with "Battle Of Evermore," an almost impenetrable song lyrically, if not emotionally; those with only a casual knowledge of Sandy Denny's work, with or without Fairport Convention or Fotheringay, would not necessarily be aware of the fervent fountain of passion which she summoned at deceptively regular intervals – her symbiotic musical relationship with the younger Richard Thompson, as demonstrated on Liege And Lief and Unhalfbricking, was as natural a fusion as that of Gilberto and Jobim, or Keith and Julie Tippetts; indeed her performance on "Evermore," as the stern "Queen Of Light" setting herself against Plant's "Prince Of Peace" (a Pharaoh Sanders reference in the middle of a Led Zeppelin album!), conjures up Julie as much as it does the perhaps more immediately relevant reference point of Shirley Collins. They debate about peace and war, about dragon's flames and sunlight, and their conversation gets more and more animated; the way both Plant and Denny hold and twist their notes is remarkable – Al Cohn and Zoot Sims lost in Hobbitland – and as Denny disappears into the sky, Plant's "BRING IT BACK!" cries become less and less anchored; electric guitar finally makes its appearance – Page mostly contributing excellent first-time mandolin (used very differently from Every Picture Tells A Story) – and Plant's voice rams into a processed, unbearable series of screams (remarkably, the Seattle/Vancouver female-powered rock band Heart tackled both "Rock And Roll" and "Evermore" in their early days).
Set in a solemn A minor – in explicit contrast to the triumphant A major of "Rock And Roll" – "Stairway" was designed to illustrate just how completely the group could develop the dynamics of a song from missable quietude to inescapable wall of noise. Its procession is admirably patient; the doleful school recorders of John Paul Jones herald a near-tearful vocal from Plant; imagine a Del Shannon gradually being brought to his senses. There's this lady – well, it was 1971 – busy buying things, all things she will most likely use once or never at all, and thinking that consumerism will make her unlike all the rest, a shallow notion of "special" which will render her happier than the humblest uncomplaining ploughman. Plant's voice is full of compassion rather than sarcastic blasts – picture how, for instance, Jagger would have addressed a similar subject matter – and the music systematically moves up and amplifies with him as he urges the return to nature, albeit with caution; his repeated "it makes me wonder" – eventually upgrading to "really makes me wonder" – suggests a root bafflement; why would she not look to the "eastern glow" and glean the opposite of what the singer sees when he looks "to the west"; are those rings of smoke visible through the trees the warning or the aftermath of the battle implied in "Evermore" ("The pain of war cannot exceed the woe of aftermath")? The new day, however, is anticipated rather than dreaded; the question is, will she follow or misunderstand the "sign on the wall" (that picture, that worker, as the house collapses) – "sometimes words have two meanings"? The music, meanwhile, is brimming upward, Jones' subtle electric piano blending with Page's treated guitars to create a Traffic-type rustic groove.
As Bonham's drums enter the picture, Plant sings of "two paths" and, rather more ominously, of "a bustle in your hedgerow" which could be the May Queen or the first sign of an impending disaster, hitting the middle of complacent suburbia (Bonham increases the intensity of his drumming at the signal "stand long"). "There's still time to change the road you're on" – and I am reminded of Mingus' "The Chill Of Death" recitative (from his large-scale 1971 project Let My Children Hear Music) where he picks the wrong road and can't get back. "Your head is humming and it won't go – in case you don't know," continues Plant. "The piper's calling you to join him." Get out of that locked tower and join the real world, which isn't this one in which we are all marooned. "Oh-hum-hum," he croons, more agitatedly, and as he points out the true path – that of, or on, the "whispering wind" – his voice hangs on that "wind," blows it out and stirs it up until it becomes the catalyst for a hurricane; the song's implicit rage breaks loose, even if it's not really rage but rather revelation: "There walks a lady we all know" – not the same lady who's been buying from the stores – "who shines white light and wants to show…" and Plant gives us the signal: "The tune will come to you at last/When all is one and one is all/To be a rock and not to roll," with that last "roll" being held, caressed, in its place; realise what you really want and need, stay here, the song stops, Plant sings the key line, once more, alone, now smiling. It's not too late for you, or the environment (this is 1971). Not just yet.
Side two lightens the load, or at least pretends that it does; "Misty Mountain Hop" is a funky frolic, mostly driven by Jones' steadfast Fender Rhodes and an amiably insistent three-note riff. We are back to the blues, or at least Plant is back in 1967, hanging out with the hippies, getting high, the policeman as useless as Dixon Of Dock Green, and it all looks fine, until he turns to his sceptical partner and exclaims: "There you sit, sitting spare like a book on a shelf rustin'," going on to demand, "You better open your eyes," his subsequent "WOAH WOAH YEAH" demonstrating that his request is rather more urgent than that of similar entreaties from fellow Midlanders the Moodies. As a delicately strident strut its latent power is only really approached by peak period Faces, and Supertramp built an entire career out of the bridge alone. Still, Plant reveals himself as not bereft of scepticism (the mocking "really don't care, really don't care" roundelay playground chant); he eventually takes off for "Misty Mountain" but confesses, "I really don't know." Isn't he just going to run straight into a mirror? He disappears, via Bonham's huge riverruns of drums, into echoed oblivion.
"Four Sticks" is a surprisingly, or not so surprisingly, agonised incineration of a torch song, mainly built to feature the titular accessories of Bonham, stoking a 5/4 hurricane; again there is that recurrent theme of red ("Eyes that shine burning red" from "Black Dog"), but now it's the river that's red, and the golden oldies recollections ("It's cryin' time," "When the pines begin to cry") are far more forlorn than those of "Rock And Roll." Plant explodes, sometimes like Janis Joplin, at others like Little Jimmy Scott, about rivers running dry and the rainbow's end (see also Richard Thompson's not entirely unrelated "End Of The Rainbow" from 1974). Finally ("Who hide their love to depths of life and ruin dreams that we all knew so – BABE!") Plant has to resort to Starsailor ululations.
Plant does "Going To California" as a Joni Mitchell tribute – complete with Joni-impersonating vocals – and once more (alongside the band, playing acoustically in White Album fashion - we find him attempting to escape both the sixties ("flowers in her hair") and find something deeper, elsewhere than where he is. So he goes to California, and presumably to Joni (who at this time has released the burnished, bruised Blue), but then is this really the paradise that he wants? No sooner has he got there than the earthquake happens – and it did happen, in Los Angeles in February 1971; the band were there at the time, as was my wife, then aged four, and the event is referenced to, sonically, near the beginning of Escalator Over The Hill - and Plant reels back, as outraged as Kenneth Williams: "Seems that the wrath of the Gods got a PUNCH on the NOSE!" He ends the song standing on the Hollywood Hills, as far removed from "home" as ever – "Telling myself it's not as hard, hard, hard as it seems." Even in "ideal places" there is trouble in store.
But trouble? It's been storing up the whole album long, and "When The Levee Breaks" – revealing itself, as it does, as the intended partner of "Stairway" – lets it all flood out, summing up the record's themes of displacement and restlessness (what does the world mean if it's nothing, and what do we dare do in it, or to it?). It feels like the most cleansing of rains, and a notable step-up, in both intensity and intent, from the Kansas Joe McCoy and Memphis Minnie 1929 original, performed very briskly with McCoy's no-nonsense vocal trembles, blended with Minnie's agile single-note runs, about all the disasters which might befall him were the Mississippi to burst, although it had already done that two years previously, thus engineering the mass migration of chiefly black workers to the Midwest and contributing directly to the urbanisation and eventual electrification of the blues. Zeppelin's take is best heard in combination with Randy Newman's terminally placid thoughts on "1927" which conclude his Good Old Boys album (well, didn't the South ask for it, he wonders?). Through its bursting brooks – every hole of the sound picture drenched in phased guitars, Bonham's dambusting/building drum track, Jones' furious undertow, Plant's howls – the song offers no hope of escape or even home ("Don't it make you feel bad/When you're tryin' to find your way home/You don't know which way to go?"). The riff tumbles and bangs into itself like an Atomic Age pinball machine; even the rhetorical pauses harbour no lifeboat or saviour. Worlds weep and moan and even God appears to have vanished ("Cryin' won't help you, prayin' won't do you no good"). More even than "Baba O'Riley" or anything else in the 1971 portion of this tale, "Levee" sounds like the end of everything, and the underscoring message is indeed that: forget the sixties, there's no way back "home," you have to keep moving or drown, but what if the flood engulfs the whole world? It is ruthless but justified – a lifetime before the Welsh waters, the song demands that everything must go, all the useless baggage, all the store-bought trash, everything that is not you and me and humanity. "Going down, going down now," Plant wails, sounding as though he is indeed drowning, as the music whirls around him into imperceptibility and abstraction. Drums bark like Zeus' vilest thunder. Page's guitar pleads but to no avail. Everything goes out of focus. The last sound we hear is the group, and the planet, vanishing down the plughole of the bath newly bereft of both babies and water.
In the gatefold sleeve there is a dark portrait of the Hermit, high on a hill overlooking, by some distance, a city, and civilisation, in darkness, with only his own lamp to lead the way towards – what? His Tarot card identifies the Hermit as a mentor, a guide, someone whose wisdom is likely to lead everyone else who wants it out of darkness. By casting themselves as four separate but connected hermits, Zeppelin set themselves up as guides. In two entries' time we will see what happened when a levee actually did break, for real, in this age rather than that of the twenties of the rural Southern States. But for now, and for tomorrow if we're that fortunate, we would do well to remember the name of Plant's first band, and listen. You never know what the slightest rustle might mean.
This was the second album I bought. I was 14 (in 1988). Playing Black Dog loud made me feel ill at first but I couldn't stop playing the whole thing over and over again.
I was reading a very appropriate book at the time, The Fionavar Tapestry, which worked with the album's emotion to create a magical experience.
I was introduced to punk of various stripes later and "learned" that Led Zeppelin were not cool. I have thankfully dropped that pose. This will always be in my top 3 records of any kind.
Thank you for writing such a great review!


What is the Family Faith Sharing Community program? The FFSC program is faith formation for all parishioners regardless of age who wish to grow in their understanding of their faith. It is based on the idea of building small faith communities that provide for a sharing of talents among all participants.
Why did we choose this model? There are several reasons for choosing this model for formation. (1) The mandates of Vatican II urge the church to address the need for involving the laity in the work of the church; (2) St. Gabriel's Mission Statement calls us to be "an apostolic community"; as such, we accept the responsibility to carry out the evangelizing work of the apostles in our time; (3) this format allows for the sharing of all gifts and talents within the community and acts as a catalyst to building small faith communities among our many established and newly-registered families; and finally, (4) in a more practical vein, our parish facility can not meet the ever increasing needs of our community.
What will the format look like? The format is designed to be a relaxed, sharing atmosphere hosted by individual families in their homes. Groups of typically 6-8 families, usually living within the same general area, are formed according to the similar ages of their children. The facilitator is trained to coordinate the schedules for hosting and leading the various groups. After a short opening prayer, children are dismissed to study their lesson, while adults participate in a study of that Sunday's lectionary readings. During the last 5-10 minutes of the session, everyone reassembles and shares one thing that they learned or studied in their group that day. Total time remains the same as a classroom model - 1 ¼ hours.
When will we meet? FFSC are encouraged to meet on Sunday mornings between the Masses; this carries on the continuity of Sunday as a day of worship and generally works best for families with busy schedules. Some people who participate in the liturgy (or for other reasons) may choose to meet at another time during the week; as these people register and make their needs known, groups will be formed accordingly.
I don't think I can teach. What will the materials be like? As parents, we teach our children through our example every day. From the time they are infants and we teach them to walk and talk to teaching them to tie their shoes and dress themselves, we teach our children the basic skills it takes to live in society. The FFSC materials are designed to give parents the confidence to model the faith to their children as well. All the materials have been selected with ease of use in mind. Knowing that many lay people do not have a teaching background, publishers are now producing materials that have "all you ever wanted to know to teach religious education." The materials we have chosen are simple, concise and require a minimal amount of preparation. In addition, videos and a web site are available for support and ideas. Other supplemental resources and help are also available from the Formation Office. If you choose not to teach, you will be asked to take an extra rotation hosting the FFSC in your home.
Who can participate? All parishioners are invited to participate, regardless of age, marital status or family situation. The Family Faith Sharing Communities program is designed to be a flexible format that can accommodate all needs.
I have a non-Catholic spouse. How can our family participate? Non-Catholics are welcome and encouraged to participate in the community building aspect, as well as the adult session of lectionary study.
My spouse and I no longer have children at home (or do not have any children). Can we participate? Yes, there are two options available. You may choose to join an adult only group, or you may prefer to join a family FFSC.
My spouse and I only have children under age 3. Can we participate? Yes, you may choose to meet with other families of very young children. .
I am single. Can I participate? Yes, you may choose to join an adult group or join with other singles in the parish; you may also join a family faith sharing community if you so choose.
We have two children, grades 2 and 5. Do we have to attend two separate FFSC groups? No, your family will be grouped with other families of like aged children. [In order to allow for more flexibility in the program, children will be grouped in the following manner: 3 & 4 yr. olds together, K in a group by themselves, grades 1 & 2 together, 3 & 4 together, 5 & 6 together and grades 7 & 8 together. High school teens are also welcome to participate in this format. Groups will alternate the grade level texts each year.] So, your family may be grouped with families who have 1st, 2nd, 5th and/or 6th graders.
Can I just drop off my children at a Family Faith Sharing gathering? This program only works when parents are actively involved in modeling their faith to their children. Parental involvement assures the success of each Cluster meeting and distributes the responsibilities equally among all participants.
My house isn't very large and I don't think I can accommodate many people. Do I have to host? Because the sessions are relatively short, most people do not mind a bit of crowding; children may prefer to sit on the floor where they are more comfortable and closer to what is happening. If you choose not to host, you may be asked to take an extra turn leading one of the children's groups, while another family takes an extra turn hosting the Community gathreing in their home.
Do I have to complete the Safe Environment application? Knowing that our children are entrusted to us by God and that they rely upon us for their safety and well being, we feel it incumbent upon us as a community to make every attempt to assure that they are in a safe environment. According to the diocesan-mandated safe environment policy, all parishioners coming in contact with children must be cleared through a simple procedure, which helps to reinforce our belief that our children are our most precious gift from God.
My child will be preparing for a sacrament this year. How will that fit into theFFSC program? Sacramental preparation for Reconciliation and Eucharist are family-centered programs which each include two large group meetings designed to enhance a greater understanding of the sacrament and its signs and symbols. In addition to weekly lessons from the grade level text, parents prepare their children at home for these sacraments. Confirmation (for youth in grades 8-12) consists of a total of 12 weeks in a classroom model setting, a retreat, and participation in service projects. Teens should be participating in a Faith Formation program in addition to the Confirmation Prep Classes. Registration required.


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Head Shake – The Mechanics of the Dance
Chris Kallfelz May 23, 2018 0
Establish, project, extrapolate. Visual clues, internal clock, any sensory input repeated over and over again; aka, seat time. There is a sense of timing, a rhythm, that works, and many others that do not. Once you throw traffic in there, you must adapt. So, you change the model to your liking and do the same thing; establish, project, extrapolate. And it all happens in real time, at speed, every lap. That is road racing from a neuroscientist's point of view, and it is also your daily commute.
I watched a young Scott Russell slice his way through an endurance field like they weren't there, this through the demanding carousel section at Summit Point. Blow one corner in the carousel and you likely blow your approach to half the track. He was working Summit like a local, passing traffic like they were orange pylons in a parking lot, at a speed at which committed him to that line one corner, maybe even two corners before, if traffic went his way, with room to reassess as necessary.
What do I mean by that? Running the double apex between Turns 6 and 7 wide, providing the time, and carrying the speed, to observe and reassess, and dive in if opportunity presents itself. Some of the passes themselves were close but clean, and he adapted on the fly if the pass wasn't there. Inside, outside, he took what the traffic gave him. I was watching a young phenom at work.
How do the greats and soon-to-be great do that so effortlessly? What makes them different? What is going on there?
Just recently Sally Jenkins, a sports columnist for the Washington Post, was asking the same question regarding basketball superstar LeBron James. She looked towards neuroscience for her answers, and the answers she found set off alarm bells in my one-highside-too-many cranium. To me the answers were a sequel to Keith Code's classic, A Twist of the Wrist, a tome dedicated to teaching us how to look at a track. After reading Jenkins' column I had to reassess Code's work. Code was not teaching us how to look at a track, he was revealing to us how we do look at the track, and by doing so ramping up our learning curve precipitously.
But I'm getting ahead of myself. So, let's talk basketball for a second. LeBron James, when he needs to, can step up his game, and playing on the same court as everyone else on the floor, scan the court, move, pass, and cover ground as well as anyone in the world, better than most on any given day. Why?
"This is one of the bedrock findings in research on human expertise: that experts have superior memory for information within their domain," Hambrick said.
Hambrick is Zach Hambrick, a cognition-performance expert from Michigan State University, and he is one of the team of brain-science guys Jenkins consulted. The secrets to superior performance lie in that noggin of yours, when you are watching an expert at work on a track you are seeing a form of higher intelligence at work. Yes, that's right, higher intelligence.
It's a chess match at speed, how many moves ahead are you?
K. Anders Ericsson, another of Jenkins assembled experts, a Florida State performance researcher, adds; "They were able to assess where players are going as opposed to where they are right now," Ericsson said. "A momentary picture wouldn't do that job." Ericsson is talking about world class soccer players, I am thinking specifically of a young Scott Russell moving through the enormous endurance grids of last century when he was still racing for the Solmax Racing endurance team.
Think about when you are in the zone, when you can do no wrong, when you are just cutting hot lap after hot lap, and it feels effortless. Traffic is no more than a minor nuisance you dispense with velocity; while they are trying to figure out where to go, you are already gone. Everything – your visual clues, your internal clock, what you hear, what you sense, your lean angle, your knee puck, what you feel through the pegs and the bars, all of it – are all telling you where you are, where you will be, where they are going, and you are constantly one step ahead of the game. You intuit what is going on around you, you draw on a vast amount of recalled experience to do so.
I always thought visualization was a large part of this, but it is only a part. You are getting out of your own way, you aren't overthinking it, you aren't dwelling on the bike, or yourself, or the competition, or those hot wings you ate last night and wishing you hadn't – you have no time for that; you are simply flying seemingly effortlessly. It is Zen and the Art of Hauling Ass.
That is because you have gotten out of your own way and simply allowed yourself to do what comes to all of us quite naturally to varying degrees; establish, project, and extrapolate. And with adequate experience to draw upon to project and extrapolate well, that equates to podiums and wins. In the perfect world, every time that visor goes down you find that zone. You put yourself in that zone.
"To manage all those systems, that is a form of intelligence," Faubert said, "and we shouldn't be afraid to say that."
Jocelyn Faubert is the research chair in visual perception at the University of Montreal, yet another of Jenkins' assembled experts.
Make the time to think, visualize the track, or ask yourself "what if" hypotheticals about your commute or your favorite road. Replay them in your mind, do it now to draw upon later.
I've struggled for decades to understand what goes on with us at speed. I've made no secret about the value to me of Keith Code's early work with his books, particularly, A Twist of the Wrist, in my early days of road racing. It laid a good foundation for me to build on. But whereas back then I thought Code was teaching me something, I've come to believe that he was doing something more fundamental, he was revealing something to me. He was showing me what we do – what we all do – when we get around a track, or a road, or around the house in the dark or through an airport crowd, for that matter. Code was showing me how we move efficiently.
"These people are masters of assessing the likelihoods of things," Fenton said. "If I have an amazingly good set of models and expectations — of my opponents, of my teammates and how the ball will move — it can look like I am totally omniscient."
Just like we say we teach counter-steering to new riders, what we are really doing is revealing counter steering. A brand new novice rider has been counter steering since she climbed on her first bicycle, depending upon rake and trail, it is only more pronounced on a motorcycle. But once counter steering is revealed to a new rider and they become proficient at it, they can use it as a tool, effectively making a bike go from bolt upright to on its side in a heartbeat. Once a new rider grasps that, they are weaving the thing through traffic cones in a parking lot to any MSF instructor's satisfaction. Likewise, Code was revealing how we think and move most efficiently, which is to say fast – the cognitive side of road racing – we all do it, the question is how well.
What Jenkins revealed next was a revelation to me, in her own words:
Most magical of all is what's required to build those spatial maps in James's head. In 2014, researchers John O'Keefe, May-Britt Moser and Edvard Moser won the Nobel Prize for explaining how the brain navigates. They answered a simple but profound set of questions: How do we perceive position, know where we are, find the way home? They discovered the brain's "inner GPS" that makes it possible to orient and plan movement. O'Keefe found that a specific cell in the hippocampus throws off a signal to mark a specific place. The Mosers added to this by showing that neurons in the entorhinal cortex fire in fields with regularity. When they drew lines corresponding to the neuronal activity, here is what they saw: a grid. LeBron James has a geometric projection in his brain that acts as a computational coordinate system. And so do you.
From green flag to checker, from your front door to work, it's ALL in your helmet; it's a mind game. The results depend upon what is in your helmet.
The degree to which you can establish your current position in regards to your immediate surroundings, project your immediate future, and extrapolate from past experience to apply to your present situation all the options and probabilities is one factor. The speed in which you can do so is the other. The former divided by the latter is your rider IQ. Establish, project, and extrapolate comprehensively and do it in a fraction of a fraction of a second non-stop, that was Scott Russell that day on the Solmax Yamaha.
To do all that comprehensively and quickly you have to have a mental database to draw upon. That mental database is called seat time, and back in the '80s, there was no better, more intensive environment to gain that experience than endurance racing. It is no wonder so many American riders filled the fastest grids of the world in the closing years of the 20th Century.
Maybe you can think a little bit more about these ideas. Take a look at Sally Jenkins' column here and see how the notions expressed there may apply to you at the controls.
Then think about how valuable that seat time is to draw upon when choosing between a new shock for that track day bike or more track time. Think about how important cognitive function and mental acuity is to riding and whether you really want that free beer at that Saturday night party in the pits.
Ride hard, be sharp, and look where you want to go.
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Q: Find command starting point with path pruning I am always running into this problem without learning.
When searching for a file with the starting point in another directory I give the full path to the starting point and it does not work. Same happens when I am in the starting directory and give the full path to the starting point.
find /path/from/start/. -path './anaconda3/*' -prune -o -name '*R' -print

goes straight to the "pruned" directory like there was candy in it.
If I'm at the starting point, starting from . works fine. Otherwise find does not prune the path I'm trying to escape.
find . -path './anaconda3/*' -prune -o -name '*R' -print

works.
Maybe a detailed answer will settle this problem, sometimes I learn but the next time I face the find command I run into the same problem like I have never done this before. The -path pattern chapter of the man page is trying to say something but I think it is in vogon and I do not possess a babel fish.

A: -path matches against the full pathname generated by find. When you start from ., the pathname starts with that; when you start from /path/from/start (the /. isn't necessary and will only complicate matters), the pathname starts with /path/from/start.
So you need to match against the full path.
find /path/from/start -path '/path/from/start/anaconda3/*' -prune -o -name '*R' -print

Since this will prune /path/from/start/anaconda3 itself, you don't even need the /* part at the end:
find /path/from/start -path /path/from/start/anaconda3 -prune -o -name '*R' -print

Basically, with -path you need to remember that the start path is repeated in the "criteria" paths:
find /path/from/start -path /path/from/start/anaconda3 -prune -o -name '*R' -print
     ^^^^^^^^^^^^^^^^       ^^^^^^^^^^^^^^^^

find . -path './anaconda3/*' -prune -o -name '*R' -print
     ^        ^

If that's the only anaconda3 directory you want to prune, or if you want to prune all anaconda3 directories, you can use -name instead:
find /path/from/start -name anaconda3 -prune -o -name '*R' -print

All this also applies when you specify multiple start paths: each -path expression will match against the full pathname produced from any of the start paths. So you could have the following:
find /path/from/start /otherpath/from/elsewhere \
     -path /path/from/start/anaconda3 -prune -o \
     -path /otherpath/from/elsewhere/anaconda3 -prune -o \
     -name '*R' -print


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The Building Is Nice, Too.
The New Porsche Museum The new monochromatic steel structure at Porscheplatz is designed to be a symbolic icon of the "Porsche Idea" presented, in all its complexity, inside. More than three decades after the original Porsche Museum opened in Stut…
The New Porsche Museum
The new monochromatic steel structure at Porscheplatz is designed to be a symbolic icon of the "Porsche Idea" presented, in all its complexity, inside. More than three decades after the original Porsche Museum opened in Stuttgart, Germany, the family-owned automaker invested more than $130 million in an all-new facility to present the storied history of the marque. The new museum is designed to welcome more than 200,000 visitors each year. In addition to the 80 historic vehicles on rolling display, the inspiring building houses a workshop for restoration, historical archives and generous conference areas.
With more than 30 years of engineering expertise already under his belt, Ferdinand Porsche opened his own office for "engineering and consultation on engine and vehicle design" in Stuttgart, Germany, on April 25, 1931. The history of Porsche, the automaker, had officially started. Over the next four decades, the company historically launched as "Dr. Ing. h.c. F. Porsche KG" would engineer, manufacture and successfully race some of the most influential vehicles in automotive history.
The first Porsche Museum opened its doors in 1976. Located in Zuffenhausen, a district of Stuttgart, the original museum was small and intimate. It was only large enough for about 20 exhibits, although there were literally hundreds of near-pristine cars in storage out of the public's eye. Nearly five years ago, Porsche set out to build an all-new museum. The new museum would be significantly larger than the original, and it would include an operating workshop, historical archive center open to the public, conference center, coffee bar, museum shop and upscale restaurant. More than 170 architects from all over Europe applied for the project. In 2005, the bid was won by Delugan Meissl Associated Architects based in Vienna, Austria. Construction started in October of 2005, and was completed in December of 2008.
Delugan Meissl's winning architecture features a spectacular "floating" museum supported on several massive pylons. Much more impressive (and imposing) in person, the angular exterior of the museum is finished in monochromatic white, offset by panels of polished stainless steel and glazed glass. Underneath the façade is a sophisticated three-dimensional lattice framework engineered from high-strength steel and reinforced pre-stressed concrete. Together, they bear the weight of the 35,000-ton exhibition hall hovering above. Below ground level, and hidden from view, is the building's multi-story parking garage. Sitting prominently in the middle of Stuttgart-Zuffenhausen at Porscheplatz, the dramatic architecture is striking in a European city that traces its roots back more than 2,000 years.
Entering the museum, visitors are drawn in as they descend a sloping ramp from the street. The gaping monolith opening is more than 30-feet tall, with embedded illumination in the ground reflected by the polished stainless panels far above. It is impressive, and it sets the tone immediately and rather dramatically. Mirroring the exterior, the interior of the Porsche Museum adopts the same monochromatic appearance. According to the designers, many different types of vehicles, in all shapes, sizes, and colors, would be on display. To avoid unnecessary distraction, a near seamless stark appearance was a necessity. The floors are a crystal wth synthetic glass/stone mixture that is impervious to chemical staining, while the walls are finished with a bright white seamless synthetic acrylic polymer material (it looks and feels much like Dupont's solid surface Corian).
Paying the €8 admission fee (about $10), visitors are met by the coffee bar directly ahead, and the museum store off to the right. Enthusiasts will bypass both as their eyes are immediately drawn to the large glass walls in the middle of the first floor. Framed on the other side is the operating workshop, a place where Porsche restores and repairs both vehicle exhibits and cars owned by customers. Opposite the workshop is the escalator bank carrying guests nearly 100 feet into the upper part of the building, and the heart of the 53,800 square foot exhibition space.
The exhibition floor spirals around logically in a contiguous chronological path. The automaker has divided the displays into two groups: the history of Porsche prior to 1948 and the history of Porsche after 1948 (the first vehicle with a Porsche badge was a 356 Roadster built in 1948). All told, there are about 80 vehicles represented in the museum. As most all of the cars are in running condition, a fact verified by their ongoing participation in historic races worldwide, Porsche will be moving cars in and out of the displays as needed. It is a decision that will undoubtedly encourage repeat visits and has little effect on the overall presentation.
With the exception of the vehicles on raised platforms along the walls, nearly all of the cars are openly presented on the floor sans barriers or barricades. While one would expect the mostly all-white museum to bathe exhibits harshly, the overall illumination is soft. Each of the cars is spotlighted individually from overhead. This allows for excellent observation and scrutiny from nearly every angle (the pristine white floors encourage dropping to one knee to check out the suspension, brake and wheel details!). While all of the cars have been "restored" to working condition, this does not mean each is a sterile piece of untouchable art. Thankfully, it appears just the opposite. Compared to many museums with their mindless curators who find it necessary to erase history with a full ground-up restoration, Porsche has left most of its inventory with original race scars, paint chips, and blemishes. Get close enough, and you can even smell the oils and lubricants on the engines. It is an overall impression that reaffirms Porsche's passion for driving.
Porsche spent a reported €100 million (about $130 million) on the new facility. Their significant investment has delivered a world-class exhibition to serve as a central hub for vehicle restoration, an extensive historical archive, and a literal Mecca for Porschephiles. The automaker expects 200,000 visitors to follow our footsteps and walk the monochromatic halls of the Porsche Museum each year. The chronicled presentation is engaging and well worth the small price of admission–even if you aren't a flat-6 aficionado.
All photos Copyright © 2009 Michael C. Harley, Weblogs, Inc. / Porsche Cars North America / Delugan Meissl
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Mbali Sikakana considers Nozizwe Cynthia Jele's new novel The Ones With Purpose in the context of Hilton Als's groundbreaking 1996 sociopolitical manifesto The Women.
Nozizwe Cynthia Jele's The Ones With Purpose opens with the death of Fikile, a much-loved sister, and though the death seems to fell the fragile Mabuza family, it soon becomes clear that this is the final blow rather than the first. The narrative unspools, uncovering what seems like a genesis event, only to yield to more powerful contenders. A father's death makes way for postpartum depression, which makes way for a miscarriage. The tape takes turns fast-forwarding and rewinding, in the days towards Fikile's funeral, through chapters on alcoholism, unemployment, depression, child neglect and teenage pregnancy, as well as the abuse the latter leaves in its wake. The loss of a job and the decline that follows is described as 'the beginning of the end of our lives'.
Woven within these stories of how family tragedy compounds on itself, like negative interest, are larger questions, national in nature and spanning generations. What is the true sickness? Depression, which feeds on the devastation wrought by personal tragedy, or the pathologies of history, which are revealed by the systemically diminished fortunes of one's forebears? When a mother is unable to fully become, and her daughters meet the same fate, where does one stop and the other begin?
The cruelties of life leave one all the more incredulous when the predictable pecking order of Black generational and family suffering is added to the mix. Those with the misfortune of being born first bear the brunt—but even more so those who are born first into the unfortunate universe of Black womanhood. Anele, the narrator, is set to take over where her sister, Fikile, the ox and first sacrifice, left off. As a nurse, a caretaker and reconciler, she bucks against the inevitability of her martyrdom, and as a result is wracked with guilt. Her mother, the domestic and nanny in her youth, proves unhelpful.
In his 1991 book The Women, Hilton Als describes Black womanhood as Negressity, a state of being for those transcribed, by society, into the category of 'the Negress'. The term implies a matrix of identities, derived from both assumed and real impingements on the psyches of black women as a class—of targeted oppressions along the intersections of race and gender. Because 'Negress' positions black women as an abstract caricature, it simultaneously lampoons the society that employs it for its lack of imagination—but also allows for a space of secret and gleeful resistance. Negresses, in other words, both perform Negressity and subvert it.
One of the ways Negressity is imposed and performed is through the use of grief, struggle and pain, which are deployed as a thread tying together community and sisterhood. Jele satirises this feverish, opportunistic and ad hoc fellowship in the opening of The Ones With Purpose, where Anele is in the throes of watching her sister die of cancer. Her mother, who lives in denial of this reality, compounds the burden on Anele and, as a result, Anele begins to believe that by being pragmatic—by seeing things as they are—she is going against sisterhood, and thus helping to usher her sister towards death. But Jele rescues her Negresses from the caricatures imposed on them by society, which they are made to perform, with dialogue. Their speech is their gleeful resistance: Jele's English dialogue mirrors indigenous language preposition choices and makes translations obvious. Anele dishes out food instead of dishing up. People sleep on beds instead of in. The rhythm is of South African, Black, second-language English speakers, speaking and translating at the same time. It helps to locate the story with specificity, placing it within a particular context, since allowing the narrative to become too generalised would open up contentious questions about how Black people are presented and 'explained'. The space the book occupies is a self-contained universe, with a timeline in which people can grow and change.
In the optimistically named New Hope Township in The Ones With Purpose, relations between men and women are strained. Whether in romantic or familial relationships, intimacy is constrained by labour dynamics. It has ever been thus: witness the imbalance of intellectual, emotional, domestic and other labour as observed by Ayi Kwei Armah's narrator in his 1973 novel Two Thousand Seasons, who laments a lack of reciprocity from men.
The women of New Hope count the cost of this among themselves, before getting on with the job of doing. Since labour-time inversely determines leisure-time, the men seem to have heaps of the latter and use it to get up to no good. The blow is doubled and provides plenty of material for women's communal or private laments. Throughout the course of the novel, confrontations and separations yield little as time plods on. Men who do well by the metric of labour either die early or deceive for love, leaving the women with the grief of the subsequent disappointments. It is a grim picture, to be sure, but not one of Jele's making.
Negressity, we are given to understand, with this bleak certainty as backdrop, and despite the small victories of resistance against and within its enforced performances, cannot be counted on as a mother of invention. In the end you cannot subvert grieving, for others, for yourself.
Mbali Sikakana is a Masters in Publishing Studies graduate from Wits University. She has a passion for the entire value chain of writing and books, and is co-host of the podcast Interns' Insider 2 Publishing. Follow her on Twitter.
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Maybe it's time for the Sheriff of Broward County, Scott Israel, to resign his position? I would say so. Also, it's kinda curious to me how all this info about the disgraceful actions of local law enforcement came out after CNN's spectacle the other night. I guess that would have made for too many uncomfortable questions. Gotta keep the gun control propaganda operation running smoothly!