text:
James Jackson: Forgotten Founding Father
James Jackson did not sign the Declaration of Independence or the Constitution. But his heroism in the War of Independence and his exemplary integrity and republican statesmanship in the first days of the U.S. government entitle him to rank with the great men of the founding generation.
Jackson is a fine example of what that generation and several subsequent generations of Americans regarded as republican virtue. Virtue in this connection did not refer to private morals. It referred to the type of character deemed necessary to preserve liberty, a thing of great value to the community and the individual. It had a masculine Roman cast, which is why we have capitol buildings and statues of George Washington in a toga.
Posted by Brock Townsend at Sunday, May 08, 2016 4 comments:
Notes on the Origins and Future of Trumpism
Via Peter
It may seem absurd to speak of Trumpism when Trump himself does not speak of Trumpism. Indeed, Trump's surprising popularity is perhaps most surprising insofar as it appears to have been attained in the absence of anything approximating a Trumpian intellectual persuasion or conventionally partisan organization. Yet, Trump's unique charisma notwithstanding, it is simply impossible for a candidate to have motivated such a passionate following for so long by dint of sheer personality or media antics alone.
Whatever might be said of the media's treatment of Trump, it has been remarkable in at least one respect: Michael Brendan Dougherty of The Week, along with Rush Limbaugh, actually uncovered the closest thing to what could be described as the source of Trumpian thought in the writings of Sam Francis. This discovery is most importantly a rediscovery of themes quite prevalent in both academic and political discourse not many decades ago, specifically a critique of the managerial economy and global bureaucratic elite. Despite their conspicuous absence from political discussion in recent years, these ideas, especially in Francis' writing, not only clarify the significance of Trump's popularity but provide the best explanation and justification for the broader disaffection underlying politics today.
The briefest perusal of Francis' work will attest to the fact that he was the most talented member of the faction that has come to be called the paleoconservatives.
More @ Journal of American Greatness
He Just Can't Help It.
Via Joe
I Want To Live To See Jane Fonda & Kerry Die
Joe Martin's Ghost
Back in November I published a short piece titled "John Kerry Is Still An Asshole". http://theeveningchronicle.blogspot.com/2015/11/john-kerry-is-still-asshole.html?m=0
Mind you I still don't think that this steaming pile of elitist garbage is not worth much ink, but his commencement speech today at Northeastern University condemning Donald Trump's plan to build a wall on the Mexican border and telling the graduates that should prepare for a "borderless world" only reinforces my previous conclusion.
He is correct that no wall will stop all determined terrorists from commiting their evil acts. Yes John your administration has already allowed rafts of them entry, as was recently demonstrated in San Bernardino. This low grade moron however thinks that that means we should just leave the windows and doors open and give them an open invitation to walk on in.
On second thought, asshole just doesn't cover it. Kerry is a profoundly corrupt man of evil intent. His is the epitome of the globalist con game that Trump condemned in his recent foreign policy speech. To call him a mere asshole is an insult to other assholes. Apparently he suffers from having his alimentary canal working backwards, because what comes out of his mouth is nothing but shit.
The Federal Government has given Gov. McCrory until 5pm tomorrow to repeal HB2 "or else".
Via Tommy
& people wonder why the South seceded...........
Please e-mail Gov. McCrory to voice your support for his stance against Federal Government.
Nationalism, Old and New
Via Ryan
by Samuel Francis
In the course of American history, nationalism and republicanism have usually been enemies, not allies. From the days of Alexander Hamilton, nationalism has meant unification of the country under a centralized government, the supremacy of the executive over the legislature, the reduction of states' rights and local and sectional parochialism, governmental regulation of the economy and engineering of social institutions, and an activist foreign policy—expansionist, imperialist, or globalist—that costs money and requires at least occasional wars. Nationalism and its proponents have historically been Anglophiles, emulating the mercantilist dynastic state that flourished in Great Britain from the eighteenth century, and for all their claims of overcoming sectionalism and private interest, they have been identified with the Northeastern parts of the United States and its institutions—New England, New York City, the Ivy League, Big Banks and Big Business, Wall Street and Washington. The national state the nationalists defended and constructed was born with the ratification of the U.S. Constitution, reached adolescence in the victory of the North in the Civil War, and grew to corpulent adulthood in the twentieth-century managerial state of Woodrow Wilson, Herbert Hoover, Franklin Roosevelt, and Lyndon Johnson.
The principal opponents of nationalism in American history have been republicans, and it is one of the ironies of our history that the political party that claims the republic.
More @ Facebook
London Mayor Sadiq Khan's first function to be at Holocaust memorial
Via Nancy
Sadiq Khan used his first act as Mayor of London to attend the UK's Holocaust Memorial Ceremony today - 24 hours after the last Labour mayor repeated controversial claims that Hitler was a Zionist.
The newly-elected mayor swore to be a leader for all faiths in the capital and was at the Holocaust Remembrance Ceremony in Barnet this afternoon alongside Chief Rabbi Ephraim Mirvis, who just last week attacked Jeremy Corbyn by saying Labour had a 'severe' problem with anti-Semitism.
Mr Khan's visit today is hugely symbolic and will be interpreted as another pointed criticism of Jeremy Corbyn's leadership.
Mr Corbyn was notably absent from Mr Khan's official swearing-in ceremony at Southwark Cathedral in South-East London yesterday amid claims that Mr Khan is keen to distance himself from the Labour leader.
More @ Daily Mail
Sleeper: 1963 Ford Falcon 2dr Sedan COBRA ENGINE 5sp
Original paint.
RUNS AND DRIVES EXCELLENT, ENGINE AND COMPLETE DRIVE TRAIN FROM LOW MILEAGE 1994 COBRA MUSTANG.v ROLLER MOTOR 5.0, CONVERTED TO 750 DOUBLE PUMP HOLLEY, ALUM INTAKE, MALLORY ING, 303 CAM SHAFT, GEAR DRIVE TIMING SET UP, SHORTY HEADERS, NEW RADIATOR, BATTERY IN TRUNK. "FREAKY FAST" HAS CABLE CLUTCH SET-UP, 1994 T-5 COBRA 5SP TRANSMISSION, HURST SHIFTER, 8.8 REAR END ASSEMBLY, SHORTEN WITH 31 SPLINE MOLSER AXLES, 4.10 GEAR RATIO, POS-A-TRACION, ALUM 15" WHEELS..... LARGE TACH WITH SHIFT LITE, A BLAST TO DRIVE AND GETS LOTS OF ATTENTION!
More @ Collector Nation
Posted by Brock Townsend at Sunday, May 08, 2016 No comments:
Ukrainian sniper rifles
Via benogi
Can You Begin To See Where "Civil Rights" Is Taking Us?
Decades ago now we were told by some in government and in the "news"media that we needed civil rights for blacks to end segregation in the South and so that blacks could begin to be able to vote. So, after multitudinous marches, demonstrations, sit-ins and other media-driven events blacks finally achieved some of those "civil rights" everyone was told they needed. If, at this point, you are going to ask me if I have a problem sitting next to a black family in a restaurant, I don't. I have no problem with folks all being treated equally. Problem is, that some folks have gotten to the point where they feel they are entitled to be treated more equally than the rest of us, and, as usual, the ruling Marxist Regime in Washington totally agrees with them.
In fact, let's be rather blunt. When it comes to equal treatment in this Kountry anymore, white Southern Christians are at the absolute bottom of the totem pole and everyone else is supposed to denigrate them and their accomplishments with equal abandon as history is erased, reconstituted, and historical memory is obliterated, to be replaced with–well, you don't want to know with what. That will spoil your supper.
More @ Revised History
Legal group representing Roy Moore calls ethics complaint 'outrageous'
But Moore did not participate in the 2015 orders, which ruled that the Probate Judges must uphold the Alabama Sanctity of Marriage Act, according to the statement from Liberty Counsel.
"The Judicial Inquiry Commission has no authority over the Administrative Orders of the Chief Justice of Alabama or the legal injunction of the Alabama Supreme Court prohibiting probate judges from issuing same-sex marriage licenses. We intend to fight this agenda vigorously and expect to prevail," the statement quotes Moore as saying.
The legal group representing Alabama Supreme Court Chief Justice Roy Moore issued a statement Friday night saying called the charges leveled against Moore by the state's Judicial Inquiry Commission "outrageous."
The group Liberty Counsel, which is representing Moore, stated it will "vigorously defend" Moore
against this complaint. The group describes itself as an "international nonprofit, litigation, education, and policy organization dedicated to advancing religious freedom, the sanctity of life, and the family since 1989."
Sarah Palin endorses Paul Ryan's challenger
Excellent: Captain Higgins: "America United"
Via comment by Anonymous Sheriff David Clarke stands up for Confederate mon...":
The Federal Government has given Gov. McCrory unti...
London Mayor Sadiq Khan's first function to be at ...
Can You Begin To See Where "Civil Rights" Is Takin...
Legal group representing Roy Moore calls ethics co...


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World US Air Force shelves Warthog plane retirement amid IS fight: media
US Air Force shelves Warthog plane retirement amid IS fight: media
WASHINGTON - Thursday, January 14, 2016 10:00 Email Print
An A-10 Warthog sitting on the flightline at Kandahar Airfield, Afghanistan
America's next superbomber to be shrouded in secret for years
China's air force can launch long-range precise strikes: military expert
US Air Force general fired for A-10 'treason' comments
The US Air Force will delay retiring the A-10 -- a stalwart attack aircraft beloved by ground troops -- because of the ongoing fight against the Islamic State group, a military news site reported Wednesday.
Plans to postpone the mothballing will be outlined when the Pentagon submits its 2017 budget request to Congress next month, Pentagon officials speaking on condition of anonymity told Defense One.
Developed in the 1970s, A-10s can fly low and slow, and are famed for their tank-destroying capabilities and their heavy armor that makes them difficult to shoot down from the ground.
US ground forces delight at the distinctive sound of the highly maneuverable plane's massive cannon, which can drench a target with high-caliber firepower at a rate of about 70 rounds per second.
According to Defense One, Air Force officials have postponed immediate plans to retire the Warthog, as the plane is known, because of its utility in Iraq and Syria, where the United States is leading a coalition against IS jihadists.
The Air Force did not immediately respond to a request for comment.
Senator John McCain, who heads the Senate Armed Services Committee, welcomed the report.
"The A-10 fleet is playing an indispensable role in the fight against ISIL in Iraq and assisting NATO's efforts to deter Russian aggression in Eastern Europe," he said, using an alternative name for the IS group.
"With growing global chaos and turmoil on the rise, we simply cannot afford to prematurely retire the best close air-support weapon in our arsenal without fielding a proper replacement."
The A-10's retirement, proposed two years ago, was intended to free up cash to pay for newer planes, including the costly F-35 fighter jet.
In October, the Pentagon announced the deployment of 12 A-10s to the air base in Incirlik in southern Turkey to support anti-IS operations in Iraq and Syria.

redpajama_set_name: RedPajamaCommonCrawl


A spoon with the name "Ruslan" is an unusual, beautiful and practical gift for every occasion, from the birthday to the professional holiday.
On the scoop, there is a laser inscription, and on the handle is an elegant pattern. On the postcard, you will characterization of the name.
Ложка на открытке "Я тебя люблю!"
Ложка керамическая на открытке "Анна"


The Sandgate Brighton Catholic Parish is blessed with two thriving Catholic primary schools, Sacred Heart at Sandgate and St Kieran's at Brighton.
Centacare Child Care services runs an Outside School Hours Care (OSHC) service on behalf of the parish and school community at both sites. This service includes before and after school hours care and vacation care for a number of parish primary school children.


"2FA is Still Too Complicated for Most People"
I wrote something that might be unexpected.
this post has been coming for a while now, so here are ~1500 words on the subject.
It's a lot of faff and when everything is geared towards convenience it really stands out as a lot to have to do.
@szbalint I think a lot of tech savvy people also forget that a lot of people just aren't.
If I told my mother to set up 2fa she'd be there crying for 2 days before asking for help, and my inlaws wouldn't even get that far, they'd not understand.
It's like the old 'anyone can install linux', it ignores a lot of people.
It's OpenPGP vs Signal all over again. My mum and most of my family uses Signal, but would never get encrypted mail working.
@szbalint When I first installed debian I was already extremely tech savvy, but hardware incompatability floored me. Without being talked through it I'd have had no clue, but even the person helping presumed I knew things I didn't because everyone in their circles does.
@szbalint A very small portion of my customers use 2FA/OTP at work, but with enabling it comes enabling a more secure business process on their account for handling their account.
We've found that people who are savvy enough to properly use it and keep backups are extremely happy with the added security and more stringent process, but its definitely not "ready" for mainstream. Not sure if it ever will be in this form.
I am perfectly capable of understanding the security benefits of 2FA and of using it every day, but even I find it too complicated for most stuff. Especially b/c I can easily memorise 15+ strong passwords.
I just came back from a security con and told one of my coworkers (software engineer intern) about a talk I attended on MFA. After lunch she told me she set up 2FA on her work Google account.
While it's great that she has done that, she has doesn't use a password manager, and I'm sure she doesn't understand the extra implications of 2FA (She would really be in for a surprise if she gets a new device).
Your article will be a good resource to share.
@szbalint Great post. The backup codes especially are a real Achilles' heel of these systems. Who in the heck actually prints those out?
@nolan @szbalint "Let me just save these 2FA codes on a USB stick and then take it to the local shipping store to print them out on their shared public computer."
No, but I do write a couple of each down and stick 'em in my wallet (and a couple more in my desk at home).
...which I'm not going to do with N different sites, just the couple I care enough to enable 2FA on. 2FA is an inappropriate availability/security tradeoff for most sites.
@nolan @szbalint Great post! Reminds me of trying to get people to use gpg signed email.


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Thank you to RisMedia for including my story as part of your feature article surrounding the unveiling of RE/MAX's new logo. I am honoured to be contributing to RE/MAX's future successes and am thrilled that I could be a part of their history. RE/MAX has long been synonymous with success in the real estate world. Their new logo is symbolic of their way of growing and adapting to a changing market. RE/MAX created a name for itself by being the brand with the highest performing real estate associates. I believe that you become the average of the company you keep so starting at RE/MAX was a key stepping stone toward the success I'm grateful to have experienced so far.
RE/MAX is one of the most recognized brands in the world and continues to attract talent by bolstering its associates with top level resources, and now the refocus on mentorship and collaboration is the right move for creating successful associates. RE/MAX creates an atmosphere which rewards new and innovative ideas. Mix this with the calibre of real estate agents already working under the RE/MAX umbrella, and you have a highly intelligent design for success. I truly believe that RE/MAX has been a major factor in my success and I intend to use that "RE/MAX attitude" to help build the success of others. I feel the obligation to pay it forward to my team mates, colleagues, and clients. So whether you're looking for mentorship or service, RE/MAX should be your first stop.
To book a strategy session, contact us.
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WHY ATHLETIC FIELD MARKING PAINT?
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When your professional painting services are wanted on the field or turf, choose McCormick's Athletic Field Marking Paint. This product can be used as an exterior white marking paint that's specifically designed as a semi-permanent coating for line marking or artistic graphics on natural grass fields. Save time and eliminate a mess, our water-based athletic field marking paint is ready to use with no dilution or mixing required.


Cassie Blackstock is over-the-moon that she can now be like 'any other teenager' thanks to her new hair system.
The wig, which is a breathable mesh cap with real hair weaved into it, costs £3000 a year to maintain and will be attached to her scalp with surgical tape. The hair will be more secure and natural-looking than the conventional wigs that Cassie currently wears. Due to the heavy price tag, Cassie's family has been raising money by hosting fundraising events. Cassie was diagnosed with alopecia when she was 11, four years later her hair, eyebrows and eyelashes were all completely bald. Cassie's mom, Belinda, said: "'The Hair System will free her from the inconvenience of wearing a wig and make her feel like any other young teenager. We also want to raise awareness of the condition, because hardly anyone ever talks about it." Cassie discovered her condition when her two cousins were doing her hair and discovered a bald patch, she was then told she had alopecia by her GP. Belinda was heartbroken when she found out the news but always knew there was a small chance that Cassie could inherit the condition as her father had it briefly when he was a teenager. Thanks to this new hair system she is soon to receive, Cassie's family and friends believe her confidence will soar and she will return to the bubbly teenager she was before she was diagnosed with alopecia.


Shocking data published by Annals of Internal Medicine. About 21 million American adults are obese and diabetic.
"Diabetes has increased dramatically. The rates have almost doubled since the late '80s and early '90s," said Elizabeth Selvin, the study's lead author and an associate professor of epidemiology at the Johns Hopkins Bloomberg School of Public Health, in Baltimore.
"This study also highlights that the increase in diabetes really tracks closely with the epidemic of obesity. The diabetes epidemic is really a direct consequence of the rise in obesity," Selvin said.
New research shows that many Americans who are at risk for type 2 diabetes don't believe they are, and their doctors may not be giving them a clear message about their risk.
American Diabetes Association researchers surveyed more than 1,400 people aged 40 and older and more than 600 health care providers to come to this conclusion. The investigators found that 40 percent of at-risk people thought they had no risk for diabetes or prediabetes, and only 30 percent of patients with modifiable risk factors for diabetes believed they had some increased risk for diabetes.
American Diabetes Association has updated their Diabetes News & Research page with the latest published studies on diabetes – the most common chronic condition in the United States. Click to read.
Hemoglobin A1c (glycated hemoglobin) is the preferred diagnostic test for diabetes mellitus, and should be done regularly in diabetic patients.
Among its advantages over fasting glucose values (or 2-hour glucose values during an oral glucose tolerance test) is that samples can be drawn at any time and need no special handling (whereas ongoing glycolysis can falsely lower glucose values).
Drinking three to four cups of coffee per day may help to prevent type 2 diabetes by up to 25 percent according to research highlighted in a session report published by the Institute for Scientific Information on Coffee (ISIC), a not-for-profit organization devoted to the study and disclosure of science related to coffee and health.


text:
Q: Navigating between Ionic tabs and clearing navigation stack My app has three tabs:

*

*Tab1

*Tab2

*Tab3

On Tab2, the user has progressed an order to completion. At this point, I want to clear the navigation stack for Tab2, and I want to navigate the user to a page that normally sits under Tab3.
Currently, this is what I've got:
this.navCtrl.popToRoot();
this.navCtrl.parent.select(TabsPage.Tab3);
this.navCtrl.push(OrderStatusPage);

Where TabsPage.Tab3 is the index of Tab3.
The reason I am popping to root is an attempt to clear the pages in the navigation stack so that when the user returns to this tab later, I want them to go back to the root page of that stack.
Then, I followed Ionic's Tab documentation which suggested I could change tab by calling this.navCtrl.parent.select.
Finally, I'm then trying to push the OrderStatusPage onto the stack.
Here's what happens when I run it:

*

*When the application pops to root, it does appear to clear the navigation stack, but in the console I can see that it hits my logon page, which isn't on the Tabs navigation stack, so I don't understand how that happens. I also don't like how it navigates to root. Isn't there some way just to clear the stack without moving the user away from the page?

*The page then successfully navigates to my Tab3 page, but the command to push the OrderStatusPage onto the stack doesn't seem to register.

Any ideas?

A: Each tab has its own navCtrl, so when you switch to Tab3, you need to push OrderStatusPage into Tab3's navCtrl, but you seem to be using the same this.navCtrl.
For Question 2, You don't see this.navCtrl.push(OrderStatusPage) result because you switched to tab3, but are still pushing into tab2's navCtrl!
For Question 1, you don't mention your complete page structure, but I'm guessing your three tab pages are shown on top of your login page.
You can put each tab page's navCtrl into a service or a global variable like the method that is discussed here (under: Pushing each tab page into the stack), and then push/pop into them using that service.
Also, as a side note, in case you are taking the user from one step to another step, you can also use ionic slides instead of tabs.

A: The closest I've come to a solution here was to add the following line of code after selecting the AccountTab:
this.navCtrl.parent.select(TabsPage.AccountTab);
setTimeout(() => {this.navCtrl.parent.getSelected().push(OrderStatusPage)}, 100);

It's not at all a good solution but hey it works.

redpajama_set_name: RedPajamaStackExchange


Pears are the peaches of fall— the delicate, perishable gems that epitomize the season with their juicy sweet flesh. A ripe Bartlett melting in your mouth… it even tastes like you should be wearing boots and a cozy sweater. But eating a pear out of hand is only one of many ways to enjoy them. From breakfast with oatmeal or in a smoothie (skip the banana and try adding pear!), to lunch in a frisée salad with cheese and nuts, dinner in a gourmet grilled cheese sandwich, and finally dessert in an upside-down cake or poached on sautéd bread with cream. Oh, and we can't forget drinks— pear brandy or hard pear cider… It was just Oktoberfest, after all.
Did you know that the vast majority of pears in our country are grown in Oregon and Washington? While the East Coast has its share of trees, the climate in the Pacific Northwest is perfect for pears. They are high in soluble fiber (higher than apples), making them great at helping to lower bad LDL cholesterol. They are chock-full of vitamins and minerals that fight free radicals and boost the immune system. And supposedly a glass of pear juice even helps bring down a fever!
Don't be deterred by a firm pear. Pears ripen from the inside out, so by the time the skin is nice and soft, you'll likely have a mushy mess in the middle. Another fun fact: if allowed to ripen fully on the tree, pears can develop a gritty texture, so they are one of the few fruits that are picked before they are ready to be consumed. Let pears sit on the counter at room temperature until the fruit gives slightly when pressed near the stem— then you know it's ripe, and ready to be devoured. Not ripening quickly enough? Put them in a paper bag to trap the ethylene gas they release and hasten the ripening process. Ripe too early? Store them in the fridge.
The Bosc pear's flesh remains quite firm when ripe, so it can be hard to tell when the pear is ready to eat. Look for a bit of wrinkling around the base of the stem. The firm texture also means it's great for poaching! And while the russet skin is beautiful, peel it off before you stick the pears in the pan.
Like the Bosc, the Concorde remains firm when ripe, and stands up well to baking and cooking. It is sweet with a slight vanilla flavor, and tends not to brown as much as other varieties once cut, making it perfect for cheese boards and salads as well.
The Green Anjou is less sweet than other varieties, and has a nice citrus flavor. This pear is perfect in a salad with a bright vinaigrette, but it also stands up well to baking. Looking for some color? Try the slightly sweeter Red Anjou as well.
This French pear is unbeatable. It's silky in texture and irresistibly sweet and juicy, making it the perfect choice for a tasty treat directly from the tree. Plus it's beautiful— the color of its skin ranges from green to yellow with splashes of red.
While sweeter and more floral in flavor than the traditional yellow Bartlett, both pears are actually quite similar. They are an early season pear, ripening in late summer to early fall, and are excellent for canning due to their sweetness, texture and acidity.
Likely the only truly American variety, this pear has a short growing season. Don't underestimate the Seckel due to its tiny size— it is often called the sugar pear because of its robust sweetness. Quite versatile, the Seckel is great with cheese and wine, cooked, and raw.
Fall fruit, warm crostini, fresh salad. If this isn't Autumn, we don't know what is. Serves 4-6.
Make the vinaigrette: Put the shallot in a small bowl with the vinegar and a good pinch of salt and pepper to taste. Let macerate for 5 to 10 minutes. Stir in the mustard, then whisk in the oils. Taste and adjust seasoning.
Make the crostini: Heat the oil in a skillet over medium-high heat. Add the onion and brown, turning frequently. When it begins to soften, season generously with salt and pepper; reduce heat to medium. Continue cooking for about 5 minutes, until nicely caramelized. Add the rosemary and transfer to a bowl to cool to room temperature.
Heat the oven to 400 degrees. Put the bread in the toaster until lightly browned, then lay the slices on a baking sheet. Spread about 1/2 ounce Gorgonzola on each toast, then top with the onion mixture and 3 or 4 walnut halves. Bake on the top shelf of the oven until bubbling and lightly browned, 5 to 7 minutes. Cut into wedges if desired.
Assemble the salad: Put the greens and chopped celery in a low wide salad bowl. Just before serving, lightly sprinkle with salt and pepper, then toss with half the vinaigrette, just coating the leaves. Peel, core and slice the pears. Dress the slices with the rest of the vinaigrette in a separate bowl, spoon the pears over the salad, and serve with the warm crostini on the side.
Featured Pear Recipes from Foodstand Posts!
They should last you 2 days so you can make ahead. I used a slicer, as cutting by hand would probably be more trouble than it's worth. But if you're feeling ambitious, make sure to slice them thin!
Preheat oven to 275 degrees. Halve each pear and using a melon baller or ice cream scoop, cut out the core (including the stem). Using approximately 1/8-inch setting on a mandoline, slice each pear half into thin slices (should make about 10 slices for each half).
Mix sugar and spices in a small bowl. Place pears on parchment paper lined baking sheets, pat slices dry with a paper towel. Sprinkle the spice mixture over the pear slices and bake for approximately 1 hour until dry, turning the tray once after the first 3 minutes for even cooking. Cool on rack or sheet. Store airtight up to 2 days.
Pre-heat oven to 420 degrees (400 w/ convection). Prep a rack over a roasting pan.
Slice pears and shallots flat (slice most on the thicker side, but still flat and save some pieces to slice very thinly to stuff the chicken with). Spread thick pears and shallots on top of the rack.
Separately, clean chicken by removing insides from the center and discarding (or if you want to cook or make broth, save it for later). Pat chicken dry with paper towels, you don't want there to be excess moisture to steam the chicken.
In a food processor, add cool butter, garlic and herbs and pulse until blended.
Using clean hands, spread butter underneath the skin on the: breasts, back, and legs. Clean your hands because they'll be super oily and transfer the chicken directly on top of your sliced pears and shallots. Do your best to cover them completely as any pears and shallots that are totally exposed may burn.
Stuff the chicken's inside with thinly sliced pears and shallots, you can also spread any excess butter in there.
Sprinkle sea salt/fleur de sel over top of chicken and optionally tie the legs and wings with cooking twine (it will keep the meat moist).
Pop your bird in the oven and roast for approx. 1hr 20mins (without convection on 420 degrees) or 50min-1hr (with convection on 400 degrees) – do not pull the chicken out until you've probed it with a meat thermometer. It's done when the thickest part of the chicken has reached 165 degrees.
Remove chicken and let rest for 10-15 minutes, place on a serving dish with pears and shallots, carve and serve hot!
Cranberry pear pie with maple meringue.
Early am baked apple pear oatmeal with steamed almond milk and rose chai latte!
Parsnip, pear and chestnut soup. Savory cheese and herb bread. Both adapted from Around My French Table by Dorie Greenspan. Lunch on!


As part of an occasional series, we are featuring some of the new traders you will see that this year's Wythall Radio Club Hamfest.
Stick 'n' Stitch are a local embroidery company who produce, among other things, the Wythall Radio Club Polo Shirts and other clothing.
In addition they produce other promotional items such as mugs.
Wythall Radio Club members have been pre-ordering purchases from Stick 'n' Stitch, as there will be a limited amount of embroidery they will be able to do on the day, due to time limitations.
If you are interested in having your callsign on a piece of clothing, why not have a look at their website and pre-order too?
Remember the Wythall Hamfest is on Sunday 25th March at 10am. Don't miss it!
Wythall Hamfest 2018 Trader List is out!
The list of traders coming to Wythall Hamfest is now finalised!
Click here to take a sneak peek at who will be there!
First-timers includes our friends from Sotabeams supplementing our stalwarts from Radioworld UK.
Remember the date – Sunday March 25th – and set your clocks – they go forward that weekend!
Steve G0TAN with his best friend, an IC-7300!
Advance notice for a couple of events coming up at Wythall Radio Club before the end of the month.
Programme Co-ordinator John G3VRF explains, "On Friday 23rd February, Steve Venner G0TAN, Engineering Workshop Manager from Martin Lynch & Sons is driving up from London to give us a talk on 'Life on the Other Side'.
He'll be talking about issues encountered when repairing equipment and why some of that equipment needed repairing in the first place!" Sounds fascinating!
Please note this is a change of evening from our normal schedule, so pop Friday 23rd Feb in your diary and see you in the Darts room at Wythall House B47 6LZ at 8.00pm. Visitors, as always, are welcome.
Following that, on Tuesday 27th Feb, Chris G7DDN will be doing a presentation on "Network Radios – The Next Big Thing?" This is a fascinating insight into how the latest technology is expanding the range and scope of Amateur Radio. It will also touch on exactly what Ham Radio may look like in the 21st Century. Chris will be giving this talk again for visitors to the Wythall Hamfest on Sunday 25th March, so if you cannot make it on 27th Feb, don't despair, there is a repeat!
We look forward to seeing you at these events. If you are first-timer, please feel free to come along unannounced – we will give you as warm a welcome as we can!
Wythall Hamfest is coming soon!
Wythall Radio Club are proud to announce that our 33rd Annual Hamfest will take place on Sunday 25th March 2018 at the usual venue of Wythall House, B47 6LZ.
We look forward to welcoming enthusiasts old and new to our event.
As usual, our friends Dave, Annette and Sam from RadioWorld will be headlining the event and we will have lots of radio and electronics traders to supplement them.
New this year are the folks from Sotabeams, so get your thinking caps on with a view to purchasing some of the best portable Ham Radio gear you can get.
Wythall Hamfest is the Midlands' Premier Spring Event – there will be the Wythall Radio Club Stand & Bring 'n' Buy; refreshments will be available from 9.00am with a Licensed Bar from 12.00 noon; we have access to 4 indoor halls and once again we are offering on-site parking, so not far to walk, hurrah!
Admission is just £4.50 per person – for more details, click here.


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Police in Yakutia, northeast Siberia, have freed a 15-year-old 12/18/2008 | Other
Police in Yakutia, northeast Siberia, have freed a 15-year-old girl who had been sold by her older sister for 10,000 rubles ($370) to work as a sex slave, a Russian newspaper reported.
Komsomo...
Russia could put those suspected of killing its nationals in Georgia's 12/18/2008 | Other
Russian Federal Security Service (FSB) officers prevented 97 terrorist attacks 12/18/2008 | Other
Russia's international reserves stood at $435.4 billion as of December 12/18/2008 | Other
The head of a post-Soviet security bloc said on Thursday 12/18/2008 | Other
Russia will toughen adoption requirements for U.S. nationals following the acquittal 12/18/2008 | Politics
A Russian communist group based in St. Petersburg wants a metro 12/18/2008 | Other
Latin American and Caribbean leaders have called on U.S. president-elect Barack 12/18/2008 | Politics
Five people on Russia's wanted list will be extradited to Russia 12/18/2008 | Other
The death toll from Zimbabwe's worst cholera epidemic in decades 12/18/2008 | Other
The Collective Security Treaty Organization (CSTO) favors cooperation with other ... 12/18/2008 | Other
The official dollar rate set by the Russian Central 12/18/2008 | Business
Moscow police are investigating the murder of a woman who hired 12/18/2008 | Other
Ukraine has already paid $800 million of its debt to Russia 12/18/2008 | Business
Israeli planes fired rockets into the Gaza Strip overnight, killing 12/18/2008 | Politics
The Russian space agency will make 39 space launches 12/18/2008 | Other
The queen of soul, Aretha Franklin, will be among 12/18/2008 | Other
Russian President Dmitry Medvedev will meet with U.S. president-elect Barack Obama 12/18/2008 | Politics
China is planning to send navy vessels 12/18/2008 | Other
Online games inspired by the Iraqi journalist who hurled his shoes 12/18/2008 | Other
Legislators in the Kirov Region in northeast European Russia approved Nikita 12/18/2008 | Other
An investigation has been launched into twin blasts in the Republic 12/18/2008 | Other
Spartak Moscow face Tottenham Hotspur in London on Thursday evening 12/18/2008 | Other


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HomeRegional
Baahubali 2: Karan Johar Is 'Honoured' To Work With SS Rajamouli, 'Movie Man Of The Decade'
SS Rajamouli's Baahubali: The Conclusion got a blockbuster welcome as it hit the theatres today. Karan Johar said, "It's an honour to collaborate with his genius"
Written by: Shruti Shiksha | April 28, 2017 23:15 IST (New Delhi)
Karan Johar with Rajamouli, Prabhas and Rana Daggubati in Mumbai
"Truly the best director of our times," says Karan Johar
Karan Johar has produced the Hindi version of Baahubali 2
Baahubali 2 got 100% opening on Day 1
SS Rajamouli's Baahubali: The Conclusion got a blockbuster welcome as it hit the theatres today. The film got 100% opening on Day 1 and a 'fabulous' weekend is expected (Well, we aren't surprised). Filmmaker Karan Johar, who is in charge of Baahubali: The Conclusion's Hindi release, has all praises for Rajamouli and his conviction. Sharing a picture of himself with Rajamouli, KJo wrote on Twitter, "With the movie man of the decade. It's an honour to collaborate with his genius. Truly the best director of our time." Baahubali: The Conclusion is the second part of Rajamouli's magnum opus, Baahubali: The Beginning, which released in 2015.
With the movie man of the decade!!!! @ssrajamouli ...it's an honour to collaborate with his genius!! Truly the BEST director of our time! pic.twitter.com/08f4oRnonS
? Karan Johar (@karanjohar) April 28, 2017
The epic fantasy film stars Prabhas, Rana Daggubati, Sathyaraj, Anushka Shetty, Tamannaah Bhatia and Ramya Krishnan. Baahubali: The Beginning has finally revealed the truth behind why Katappa (Sathyaraj) killed Baahubali (Prabhas). Have you booked your tickets yet?
"Everyone wants to know why Katappa killed Baahubali and today the answer has been revealed. This film will go down in the history of our industry," a film distributor in Bengal told Box Office India. Days before its release, Baahubali: The Conclusion, which is made under a budget of Rs 500 crore, made a pre-release business of Rs 450 crore through its satellite and distribution rights. It is undoubtedly the most-anticipated films of the year.
Trade analyst Taran Adarsh called Rajamouli a 'master storyteller.' In a series of Twitter posts, he wrote, "Rajamouli proves he's a master storyteller, the Big Boss, Baahubali 2 is sure to vanquish previous BO records and set new ones."
Baahubali: The Conclusion released across 8,000 screens and all the shows were declared house full. Box Office India reports that it is the 'first film in history to cross the 100 crore mark on Day 1.'
baahubali release
rajamouli baahubali
baahubali 2 karan johar
Doctor Strange Director Reveals Himself As Baahubali Fan. See His Tweet
2 Years Of Baahubali 2: The Conclusion, Prabhas Opens Up About His 'Emotional Connection' With The Film
'You're Next': As Baahubali Soared, A Picturesque Wink To The Moon
Thugs Of Hindostan's Insanely Viral Trailer Crosses 27 Million Views In 24 Hours. But Is It As Insane As Baahubali 2?
'Baahubali Sarees'. A Hit, Just Like The Film
10 Spoiler-Free Takeaways From Baahubali 2
Baahubali 2 Releases Today, Fans Celebrate
Baahubali 2 Hindi Is At Par With Any Khan Film: Producer


Enterprise Resource Planning system no longer require an introduction. It is no longer an option, it is a necessity. ERP systems have been a part of the business for a long time.
Small companies are latecomers to ERP, so they have the advantage of avoiding the early adopters mistakes.
Before even start searching for an ERP vendor you should ask yourself: Why your business needs an enterprise resource planning software? Or if you are already using one, then what are the reasons for changing the old one? Make a list of all basic and specific requirements that you expect from the new provider. Also make a list of your expectations regarding business improvements.
Appoint a selection team & assess business requirements: Assembling the right team is absolutely essential for the success of any ERP project, which requires building a healthy team structure as well as choosing the right team members. Your team will help you identify the desired ERP requirements, assess vendors and their product offerings and get your whole company ready for a smooth handover.
Communicate with Potential Vendors and determine "ERP Vendors" and find compatible vendors: The company would first undertake a vendor analysis to ascertain as to which companies provide Enterprise resource planning (ERP) software and then analyze benefits of each ERP package. Fill out a score card to receive a total score for each ERP vendor & compare results.
Shortlist & Demo System: Shortlist maximum 2-3 vendors and based upon your requirements focus on the areas that are important to your business. After shortlisting ask the vendors to give you a demo presentation of the system they have.
Select the vendor and formalize the project plan for implementation of the new ERP solution: After selection of the best ERP Solution, next task is to initiate client-vendor relationship and begin the implementation process. This new process starts with finalizing the service contract, license and maintenance agreement.


In honor of Free Comic Book Day, we've got a free comic book to give away! A few weeks back, Valiant Comics debuted a new run of "XO Manowar" and local Fresno comic shop Legends Comics and Games had a custom cover variant done for the first issue. This cover was limited to 750 copies, but we were able to get an extra copy, so we're giving it away to you.
The entry form is below and will open at midnight Pacific Time on May 6, 2017. It will run for 1 week, ending at midnight Pacific Time on May 13, 2017.


Our ice skating rink can be made at no extra charge for cutting. Contact us for a quote on the specific size you require.
How to clean ice skating rink?
sweep the surface with a damp mop to keep your panels looking like new.
These UHMWPE synthetic ice panels are made from 100% ultra-high molecular weight polyethylene and therefore able to be skated upon on both sides. Our Pro Skate 20mm panels, for example, have a life expectancy of at least 10 years.
The UHMWPE synthetic ice panels are almost maintenance free. Keep the floor clean.
3. How often do I have to clean the skating surface?
UHMWPE synthetic ice panels can be installed on any sturdy, flat, level and firm surface capable of supporting the weight of the panels and skaters.


Company Fx Pacs is located in the city of Cape Town. The legal address of the company is New Market Rd Invery Pl, Cape Town, Western Cape SouthAfrica. Other interesting information can be found on working days by phone 0214613754. The scheme of travel to the company Fx Pacs can be viewed on the interactive map.


Check-In: after 2 pm. Check-Out: before midday.
An International Breakfast Buffet is included in the price.
No, bills are settled at check-out.
There are six floors and elevator.
All rooms are quiet, private and romantic.
Do the rooms/apartments have a terrace/courtyard?
There is satellite TV in all rooms.
Yes, all rooms have direct lines.
Self regulated air conditioning is included in the price.
Hotel Stendhal has an Internet Point in the lobby.
A garage near the hotel is available. Prices vary on the size of the vehicle.
Car rental agencies are located throughout Rome.
Ciampino National is the nearest airport at approx. 25 km. Fiumicino International is located approx. 35 km. from the hotel.
Payed pick-up and shuttle services are available by reserving in advance.
The nearest bus-stop can be found in front of the hotel on Via Tritone.
Termini station is located approx. 1.5 km from the Hotel.
The nearest metro stop is Line A Barberini found approx 50 meters from th ehotel.
There is no restaurant but h'ourderves, sandwiches, pasta dishes, and pizzas can be ordered in the lounge from 11 to midnight.
Yes, there are hook-ups in all rooms.


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An Interview with Jonathan Weinert
by Andy Fitch
After publishing my Sixty Morning Talks interview collection, I have begun work on a more focused, single-press interview series, offering a comprehensive oral history (a cinéma vérité, in prose) of Nightboat Books' diverse and ambitious output over its first decade of publication. For this newer project, it particularly interests me to track interpersonal and intertextual constellations that have helped to shape the work done by Nightboat's authors, publishers and designers.
This present talk focuses on Jonathan Weinert's In the Mode of Disappearance. Weinert is co-editor, with Kevin Prufer, of Until Everything Is Continuous Again: American Poet on the Recent Work of W. S. Merwin. He has received the Nightboat Poetry Prize, the Copper Nickel Editors' Prize, and a fellowship from the Massachusetts Cultural Council.
Andy Fitch: Since the back cover frames this collection as a "bulwark against the forces of fragmentation and disappearance," could we start with you cataloging some of these forces? At different points throughout the book, these might include personal forces, interpersonal forces, historical, political, ecological, technological, linguistic forces. We also could consider specific moments in the text, such as elliptical, autobiographical-seeming allusions to "the complications," or to "every woman / I had ever lost, or would." We could look at such localized instances, or we could speak in much broader terms. But if one were to claim, let's say I were to claim, that the world always contains forces of cohesion and appearance as strong as those of fragmentation and disappearance, would you dispute that claim, and on what grounds would you dispute that claim?
Jonathan Weinert: I wrote the bulk of this book almost 10 years ago now. You would think if I wrote it that I must be very intimate with it, and I am in certain ways. I feel in some ways at this stage that it's almost a book written by someone else. I have this kind of distance from it. I think that there are specific things that I've probably forgotten that may be fresher in your mind than my own.
AF: That's part of the oral-history project here.
JW: Though to take your question in a broader, philosophical frame, I think that if you were going to assert that there are forces of disappearance and incoherence (and I think that there clearly are), and that the book investigates those, then disappearance and incoherence could only have a meaning against a background or a presumption of coherence and appearance. Something can't disappear unless it has already appeared. Something can't become incoherent unless there's a coherence against which it could be measured. I think that this tension drives a lot of the poems in the book, and that the engine of them, the source of them is really fundamentally personal. A lot of these poems came out of personal pain and personal history, but they're clothed in historical, philosophical, linguistic and artistic clothing, if that makes any sense at all.
One of the problems that I struggled with while writing this book was how to get at this kind of core sense that I've had with me ever since I can remember of there being . . . I don't know if "forces at work" is quite the right phrase, but that there's always been a struggle to feel as if my existence is on an equal footing with the world's existence. I don't want to psychologize myself too much, but there is definitely a sort of therapeutic dimension to this book that I think is important to mention. It's not that the book . . . I wasn't going through analysis or anything when I did this book. It's not the result of that. But it's really a result of questioning myself and questioning this experience and perception that I've had that it's late, and that I'm always arriving a little late and that what I see and what I've experienced is always somehow slipping away.
AF: I'd love to explore how some of these questions and experiences of perception play out. For example, in terms of In the Mode of Disappearance's paratextual scaffolding, the opening Bachelard epigraph on the cosmos and its narcissism, this idea that "the world wants to see itself": could you begin to situate your poetics, or the place of this book's poetics, as it mediates that desire of the cosmos? Maybe, for instance, we could introduce an axis or basic tension between your engagement with mortality and your engagement with analogy or description. This book's opening "Song of Urthona" seems to establish a stark dichotomy between potential fate and accomplished fate: "Isn't yet is heaven. / Is no more is hell." But I'll also hope to get back to that poem's very first line: "Like is only like since the world was lost," and to think through not so much "isn't yet"/"is no more," but how "being" or "is" relates to "like."
JW: The Bachelard quote isn't complete by itself. I feel like it's completed by the Simic quote that follows: "Reality is very nice as an idea, but who wants to look at it in the face?" Which is funny as Simic often is, but it's dead serious as well, which Simic also is. There is a tension between the cosmos wanting to see itself and this whole notion of wanting to and needing to turn away. That kind of contradiction is emblematic of what happens in the book, I think. That's picked up in "Song of Urthona," which makes a bow to William Blake, whose poetry is very important to me. He's really the first poet I fell in love with. Urthona is one of the main figures in his cosmology. Blake was the great poet of contrarieties. In The Marriage of Heaven and Hell, he said that without contrarieties there is no progression. These ideas are in my mind a lot. Whether it's obvious or not (because it is a little bit oblique here), to invoke Blake in this way at the beginning of the book sets the stage for how contrary forces in the world attack each other or play themselves out.
As for your question about "like" and "is": along with Blake here, there's also the sense of paradise lost and the Fall. Blake deals with this extensively in his prophetic books. It's also of course biblical. It doesn't necessarily interest me to quote biblical text, but this idea of a paradise or a time of unity that has been lost, a golden age from which we've fallen—whether or not that's true historically, it's recapitulated to some extent in each individual life. There's a sense of wholeness that children often have, especially really young children. That sense can get shattered for a variety of reasons, sometimes simply by virtue of becoming self-conscious, conscious of the world, and conscious of one's separation from it.
In a world of unity and paradise (if you want to use that biblical language), there can't be metaphor, because there isn't any distance between anything. So in my book there's a sense in which being able to see something is a loss, as is being able to compare things and to connect things. Even cohesion and appearance are predicated in some way on a loss of unity, because if there's no difference between who I am and what I see, what I am and what other things are, then there can be no metaphor, there can be no language, there can be no relationship, there can be no literature. So there's a kind of elegy even in the act of seeing that presides over this book.
AF: Well in terms of a child's potential sense of unity, naming plays an important role. And again, I'll want to get to a variety of modes of disappearance that this book addresses. But I'll start with how naming seems to relate directly to disappearance here in numerous ways. This phenomenon perhaps gets literalized most concretely in the grandfather figure arriving and contriving some German-sounding name, resituating himself westward in multiple senses, moving as far as he can from the particularities of his Eastern European past. Then this grandfather takes as his assumed birthday July 4th, so that both personal and national identity suggest forms of self-invention but also of self-eclipse, also destruction of others. Likewise, the naming of oneself can take place in some edenic or narcissistic moment, but it also could suggest a desolate lack of any nurturing environment that names you. It could indicate freedom or devastation. And apocalyptic tones certainly circulate throughout the book, evoking prophetic traditions like Blake's, like biblical traditions, but also I thought a lot of Thoreau amid these New England scenes—of Thoreau, as Stanley Cavell describes him, formulating America's historical position of simultaneous morning and mourning. Cavell's Thoreau asks whether we should consider this continent a discovered land or a stolen land, a land of opportunity or of genocidal aggression and ecological devastation. Similar tensions seem to circulate in relation to naming here, to how the world gets defined. Even the Charles River, let's say, not only gets personified, but gets Anglicized, then subsequently gets poisoned. So, more broadly, how does naming abet and/or resist disappearance in this book?
JW: That's a great question. It's interesting that you point to my grandfather's story. Some elements of this book are strictly autobiographical, and that's one of them. At the beginning of World War I my grandfather indeed came to the United States from Romania. He claimed all his life, until he was 88 years old, that he came from such a small village that he didn't have a surname. So he made up this name when he came to the States: Weiner (without the "t"), because he had uncles, so the story goes, in Germany who made wine. "Weiner" is winemaker. And then his wife, who was second- or third-generation American, my grandmother Esther, prevailed upon him to add the "t" to the end of the name because there were too many Weiners in the phonebook.
When I was a kid I heard the story repeated over and over again. It was only when I got older (in fact well after my grandfather died) that I started to question that story of naming, that origin story. There seemed to be some kind of mystery around my grandfather's origins that nobody in the family either knew or cared to find out about or wanted to clear up. So there's this sense of the great good fortune, which was accidental really, of my grandfather leaving Romania before the rise of Nazism and all the horrors that happened beginning with World War I itself and through World War II and after. There is a sense of his act of naming himself when he came through Ellis Island as somehow bound up with the history of the destruction of the Jewish people, and a sense that my existence depends in part on what my grandfather did accidentally.
Bless you for calling the book Thoreauvian, because Thoreau is one of my heroes. I'm living right next to Concord, Massachusetts, so I drive by his and Emerson's houses almost every day. I think that comes through in the poems, especially in the long "Wellesley, Massachusetts" sequence where I had, on the one hand, this rather acute sense of myself as a member of a Jewish community that had been uprooted. We never could find out from my grandfather or even from anyone on my mother's side of the family where our family came from. So there was this sense of rootlessness and also this sense of having just narrowly escaped the Holocaust.
I also had the sense of being this Jewish kid in a very Jewish middle-class family context growing up in the town of Wellesley, Massachusetts, which couldn't be more blue blood if it tried. It was full of old money, very WASPy, lots of Christian Scientists, and Wellesley College, of course. My father taught at a private girls' high school, so I grew up on this unbelievably beautiful campus. It was like a little Eden, now that I think about it. There was solitude there, which I loved. There was beauty there, which I didn't fully appreciate until later. But it was really kind of an artificial landscape, almost an artificial place to grow up even within that town. All around me was the Cradle of Liberty, the Battle Road to Lexington and Concord, and the first Thanksgiving—all of the American origin stories which were fed to me in elementary school the way that they were to all kids in the '60s and early '70s.
This was the beginning of a more cultural questioning of received notions about America's origins. There's an echo here between my question about the received notions of the origins of my family and my family's name and, on a more national/historical level, the origins of the country. In both cases there is something that seemed to be . . . "taboo" isn't quite the right word, but there are secrets, right? The dirty secrets of the founding of America have to do with genocide and all of the horrors that we know about now. The Pilgrims weren't necessarily the heroes of the story.
AF: I thought about "Wellesley, Massachusetts" here as well, specifically its abecedarian formatting, its alphabetized catalogue or index. Again, one could draw historical comparisons to a rhapsodic Whitmanian catalogue, but instead I recall a couple of more contemporary examples in which abecedarian formatting seems to track Manifest Destiny and its consequences, enforcing disappearances. With Cathy Park Hong's abecedarian in her book Engine Empire, the narrative keeps pushing west but ultimately encloses the mythological Western frontier as we get farther and farther down the alphabet. Her project siphons off possibility even as it celebrates the lovely sunset always on the approaching horizon. Or Juliana Spahr's list of disappearing animals in her long poem "Unnamed Dragonfly Species" also arranges disappearance in this alphabetized fashion. Similarly, in "Wellesley, Massachusetts," your own abecedarian at first seems to trace the growth of the poet, at first seems autobiographical and chronological, though eventually that chronology splits apart or breaks down. So, within the broader context of your book: if the "isn't yet" is heaven, if the "is no more" is hell, does it seem better or worse for semantic or alphabetical chronological order, for one's steady progress through life, or across the continent, to break down?
JW: I know Juliana Spahr's work though I don't know that particular poem. But this also makes sense with what we were just saying a moment ago. If I can remember the circumstances of writing the Wellesley sequence, I had been reading Charles Olson's Maximus poems. Something about creating a whole that is also internally fragmented very much appealed to me. That's certainly the way that Olson's book hangs together, or fails to hang together. But there's an attempt there to create a whole. In the simplest possible way, the alphabet provides a readymade framework for holding something together. And the only person who would need a readymade framework to hold something together is someone who is afraid it's all going to fall apart. I think that's also part of the impulse toward counting in this book. I should point out that this book's title poem, "In the Mode of Disappearance," is numbered with all the digits, 1-9, and I think that's an echo of the alphabet as well.
AF: Yeah, when I realize I'm reading an abecedarian, or perhaps also with 1-9, I'll feel a sense of traction and room for growth as I start to get into the rhythm of it. Though then I'll also encounter the anxiety of the impending end. Death already looms because I know a "z" must come. So even amid such an expansive sequence, closure seems present from the start.
JW: If you look at the "z" section, I really made a strenuous attempt to create an opening at the end rather than a closing, because I agree with you: the sense of closure is very strong here, because there's "z" and then that's it. There's nothing after "z." But I wanted to see if I could create this representation of something, of a life or part of a life, that would then serve as a prelude rather than as an epitaph. I think that even if I wasn't entirely conscious of it at the time, there was a . . . I had to bring a fair amount of attention and energy to the problem of how to defeat the very strong closure of this sequence. I think of it almost as a chrysalis, where it's closed and it's final and whatever the life of the creature inside had been, that's over. There's no turning back from that. But there's also the possibility of another life beyond that. To me, that's how this poem works with the abecedarian framework. That's one way to talk about it.
AF: That's terrific, and I had forgotten part of my initial question, where I'd meant to ask if, as order does begin to break down a bit, near the end, that creates this sense of opening you've just described.
JW: That's a happy accident, I suppose you could call it. If you Google In the Mode of Disappearance you won't find a lot of results. You'll find my book, but you'll also find an essay written by French philosopher Jean Baudrillard, whose work you may know, but I didn't. The phrase "in the mode of disappearance" obviously was translated by somebody, but it's this famous thing that he said. Because I was startled by that coincidence, I read some of his writing, which I found really fascinating. It had nothing to do with the origins of my book, but it's curious that there's that kind of resonance there. One of the things he says is that you never name a thing unless it is disappearing. Or the name of something only appears when that thing begins to disappear.
We touched on something like this earlier with the opening poems of the book, but here the attempt to gather together all the letters of the alphabet has to do with erasing something almost in the act of naming it. Naming it is erasing it. The letters in an abecedarian poem are there to create some kind of a whole, some kind of a unity, some kind of coherence, but they're also unmoored from their function. You have the whole alphabet there, but it's not performing an alphabetical task. It's not doing anything. It's not naming anything. It's almost like the constituent elements of naming have broken down, even in this act of trying to put pins in things so they don't fly away.
AF: I grew up in a suburb called Glendale, which didn't have any remaining glens. Next to us was Fox Point, which had no more foxes. But as you refer to Baudrillard and how naming relates to disappearance, I wonder if we could bring in another point of literary reference: Wallace Stevens.
JW: He's one of my very favorite poets.
AF: He emerges throughout, by direct allusion but also by philosophical implication. Stevens seems to serve as mediating angel between some of these axes of mortality and analogy, of being and naming, being and seeming, perceiving and reflecting, reflecting and disappearing. So could we place your poetics perhaps in relation to Stevens' supreme fiction? Or we could just talk about the restorative power you find in a Stevensian syntax—in your own elegant, simultaneously spare and dandyish phrasings such as "the lake with something like / a lake."
JW: After Blake, Stevens was one of the most important poetic discoveries for me early on. I love his work. There was a period of time when I tried to imitate what he did, which is not really possible. People don't talk about him as much anymore, but his influence is still really vital in a way that the influence of a lot of other High Moderns is not. That said, I think that "Notes Toward a Supreme Fiction" has had less influence here than a poem like "Anecdote of the Jar," where there's kind of the creation of unity through the assertion of unity, or the creation of a place through the assertion of place, which Stevens does so beautifully.
I feel that for me, or for now, or both, that this isn't really possible anymore. That part of Stevens' project isn't something that can be sustained any longer. I'm not quite sure why. I'm not sure that it even actually worked for Stevens, except that in the moment of conjuring a poem like this one, and there are many others that I could name as well in his work, it does momentarily do what it says. I love that about Stevens. It's that kind of moment in Stevens that is deeply moving and inspiring to me. I think that a lot of what I was doing in my book kind of moves against the background of that experience as a reader of Stevens' work—knowing that although I could write a poem like his, it wouldn't seem authentic to the experience that I'm trying to represent here.
AF: Well we've discussed a bit the importance of place, for providing some kind of grounding. And Stevens' poetics certainly contains euphonic element, abstracted elements, metaphysical elements, but also tactile, place-based elements. I'd love to hear more abut how attachments to place shape your book. Here I think of birthplace, travel destination, sights and scenes of the everyday. In terms of a bulwark against fragmentation, place seems essential. I've asked concept-heavy questions, but I don't mean to discount the pleasures this book takes in including the at-hand world, its crystalline particularities, its "jesting in that private language / only close associates enjoy"—or here even just talking with coworkers at lunch in a food court. We also encounter vibrant idiomatic inflections as terms like "skanky" appear, or seemingly sampled references and nostalgias such as the "is you is" recalling "Is You Is Or Is you Ain't My Baby?" So could you correct some of my overly abstruse formulations by discussing the concrete importance of place, of shared sensory and sensual embodied experience, in this book?
JW: It's a fair point. I look back through this book, and I find that the attempt to discover a place or to place oneself is very important. There are all these specifically named places. There are specific places where I hiked in the mountains in New Hampshire and Maine. Some poems give their coordinates by degrees and minutes, to place them on the map of the earth. There are poems about specific places in Mexico, two poems about towns in the South of France that get specifically named. All of these work together to try to find or name or locate a space where coherence and appearance can take place. Appearance has to occur in a coordinate system somewhere.
The poem "Air Routes of the World (Day)" is interesting in this context. The poem is based on a screen print that I saw in the Speed Art Museum in Louisville. That print presents a map of the world, just a standard projection with all the continents in silhouette. But then the air routes that some airlines fly (like you see in the back of an in-flight magazine) are traced over the continents, and the continents are erased. So all you see are the routes with the nexus of the big cities where the hubs are. You can see (even though all the places have been taken away) the ghost of the continents under this net. It's almost like the artist has thrown a drop cloth over the earth, but you can still make out the general contours of everything. I thought that was really beautiful and also kind of disturbing.
There's something here about how places get constructed. It isn't necessarily the named place that one goes to. It isn't necessarily the vacation one takes to the beautiful places in the South of France. It's not even necessarily the place where one experiences one's childhood as an Edenic birth. There's an imaginative construction that has to take place in order to create the space where one can feel a sense of cohesion and wholeness. That's one way that you could talk about the whole enterprise of this book.
AF: As you described that Louisville-based art project, I looked over your cover again, and, as you'd mentioned the ghost of the continents, I thought about how this cover has a Rothko quality. I also see an Edward Hopper diner-scene palette. And I also see Jasper Johns's faded flag paintings. The Rothko stands out the most, with this appeal to the lumen of light and the numen of experience. So we could discuss your cover's artist Anne Stahl at any point, but also Brenda Hillman, in her intro to your book, considers it paradoxical to talk about plural modes of disappearance. We haven't fully addressed disappearance yet, but could you offer a more expansive sense of what it may mean to emulate disappearance within this book—perhaps particularly within the title poem, where a coastline might retreat as description approaches it, where understanding might make an object or its beholder disappear? Or later, in "St-Bresson's" tactile depiction of how "the disappearance knits its covering: / one membrane at a time," I no longer can parse disappearance from momentary being—from appearance itself. You've mentioned that perceptions of fragmentation or disappearance imply the presence or possibility of something whole. But at the same time, it seems that for something to appear, this other element of disappearance has to occur, has to insert itself into the world.
JW: I think this is one way that disappearance as a force, if you want to call it that, is both destructive and creative. I think that idea gets shot through the whole "In the Mode of Disappearance" poem, in lines like "Effacement's not of novelty, / but everything adjacent to it seems / renewed." So it's nothing new, effacement. But when something is taken away, there is also the opportunity to see things in a completely novel aspect. There is the sense that one's existence in the world impinges on other things in ways that you can both know and not know. There's a kind of terror of what one does completely unconsciously, by virtue of existing, in terms of being a destructive force for other people, other creatures, other things. As you trace your path over the earth, you're inscribing your presence. You're inscribing your lifetime and your life, your being. But you're also defacing the world, and you're destroying something that might be more pristine had you not drawn the pen of your life across it.
I think that there's a tension between disappearance and appearance, but there's also a tension within disappearance itself. I'm very interested in that, and in how one can be a point of consciousness in the world without also being a point of destruction in the world. How one can see and be harmless. I think that's a very troubling question, and it's very difficult because it requires an unflagging effort to become more and more aware of the consequences of one's existence. I think that there are serious limits to how much we can become aware of ourselves and the effect we have on the world we live in, and on others in the world, and by others I mean not just human others but nonhuman and inhuman others as well.
Sometimes I have a sense that the world would be better off if we weren't here. I think that's where the apocalyptic visions start to enter, through this fear that simply by virtue of how human beings exist in the world, that we are destroying something that would otherwise be perfect without us. Since I wrote this book, that sense has only become more and more pointed with the incontrovertible evidence of climate change and the destruction of species. It also has to do with the way that we act toward each other, and the violence we do to one another and to ourselves.
AF: I feel a question arising but it may seem kind of small in relation to what you just said. It interests me how we started this talk with you mentioning that your own self-perception can seem so much less substantial than the world. But now we've started to address how one's presence can seem overbearing upon the world. I wonder if we could explore that threshold or tension, perhaps, if this doesn't seem too much of a stretch, by tracking the place of shadows in this book. Here we might put shadows in relation to narcissism, in relation to mortality, to some sort of quasi-Platonic linguistic idea of perfection or wholeness. But more specific questions also arise for me, such as what discrete hue or significance should we attribute to "the shadow of a blue-veined hand?" Why do we need to hear of its blue veins while considering its shadow? Or what allusive edge to the Eliotesque "double" streaming behind the "I" while this "I" walks along Eliot street? How and to what extent do shadows stand in for this "I," which seems at times to pick up shadow-status in its own life, which refers to serving as its mother's ventriloquial device, "the bellows for another's breath"?
JW: Shadows still appear in my work as much as anything else. I haven't ever quite put it the way you just put it, but that doesn't mean that you're not onto something. If you look at the poem "New Earth," maybe this offers a way into that topic. The poem is talking about shadows. This is definitely one of the kind of apocalyptic moments in the book. The poem is not placed specifically, whereas other poems are very specifically placed. And here's this fantasy of the last day of the earth, again with biblical overtones: "Everything was passing out of sight / like shadows blown apart by wind." So here we encounter this notion that, as substantial as everything may seem, everything has a shadow life as well, and that may not be different—it may be the same existence, the same materiality, even, seen from a different point of view. When the boy walks along Eliot Street with the shadow streaming behind him, there's a sense in which the boy and the boy's shadow are not really different, so that the boy could be the shadow's shadow. There's something potentially overwhelming about one's existence, but also there's something exceedingly ephemeral about it. That is on the one hand a sorrow. It could be a source of sorrow. But it's also a mercy on the other hand.
You mentioned the Platonic world. I do think that that is also at play here. This is a world of shadows, according to Plato, and unless we wake up and question our perceptions and are rigorous with ourselves, with what we believe, to try to arrive at some kind of truth, then we are looking at shadows of shadows of shadows. The manifest world itself is a reflection or a shadow of a more perfect world. So now we're back again to another version of the Fall, aren't we? It's philosophical rather than religious, I suppose you could say. Yet I think that it functions in almost the same kind of way.
If there is a world of forms, if there is an ideal world, it's somehow affecting everything that we experience and that we are, but it's also out of reach. We can't get back to it, if we were ever there. It's not something that Socrates talks about in death—he doesn't talk about going back to the world of forms. He says we don't know what's going to happen. But this sense of a wholeness that's just out of reach, it exerts a pressure both to find a way to break through to it and experience it directly, but also the pressure of a beautiful idea that will only ever remain an idea. That's another kind of a shadow that follows everything around.
AF: In terms of shadow text, your acknowledgments cite Christina Davis for her ingenious editing and generosity of spirit. Could you flesh out a bit how those elements of Christina's shadow presence contribute to this book's final form?
JW: I think this was the third Nightboat Poetry Prize winner. The press was very new at the time. Kazim Ali had called me to give me the good news, but between the time I won the prize and the time the book came out, he had handed the reigns over to Stephen Motika. Christina, who was the poetry editor at the time, was the constant for me in the process of shepherding this book from a manuscript to a finished publication. She worked with me very closely on the manuscript, and questioned a lot of things. We backed-and-forthed quite a bit. She did a lot of very careful line-editing, asking about the necessity of certain things or how things were related. I remember making not an enormous number of revisions, but some crucial revisions based on her commentary. I remember also she made some suggestions that I didn't take, but she helped make the book quite a bit stronger in the end.
I also spoke with Brenda Hillman for a couple of hours after the book was accepted. Brenda had some comments on the poems as well. I remember taking one poem that was five stanzas long and cutting it down to one stanza or two stanzas based on her commentary. So there was certainly a collaborative spirit which I found very useful and very enjoyable.
I ended up designing the book myself, and typesetting it. I really appreciate Stephen allowing me to do that. I was able to extend the theme of the book and the feeling of the book all the way through in a way that to me was . . . I felt very fortunate that I had the opportunity to do that.
I had picked this cover art that you mentioned, the Anne Stahl painting. I was trawling the Internet to try to find something that I liked, and I found an image of this painting, which turned out to be a very bad JPEG of a painting. The color that you see, this green color, is not the color of the painting at all. When I got in touch with Anne, the painting had been sold to a private collector in Dublin, so she arranged to have a photographer go to the collector's house and take a high-resolution photograph of the painting as it hung on the collector's wall, so that I could use it for the book, because I only had this really crappy JPEG. When the photo came back, I was startled because it wasn't green. It was all different colors. It was red and slate and so on. So I asked Anne if she minded if I distorted the color spectrum to make it look like the bad reproduction I had originally seen on the Internet. There was a collaborative process there too that reflected some of the other things that happened with the book. I love Anne Stahl's work. She calls herself an abstract landscape painter. I thought that was just a remarkable way of putting it. You can see that in her work. There are a lot of parallels with what I was trying to do in the poems.
Rain Taxi Online Edition Summer 2016 | © Rain Taxi, Inc. 2016
This entry was posted in Uncategorized and tagged Summer 2016 on August 11, 2016 by Kelly.


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Mortal Kombat XL Review – An Extra Large Helping of Magnificent Sadistic Brutality
Trevor Houston
With all the fighting games released in the past couple of years, none of them hit that nostalgic button any better than Mortal Kombat X. The legendary franchise has seen many highs and lows over the past few decades but when Mortal Kombat X arrived on the scene last year, fans were thrilled and rightfully so. It was about the best we could expect from the franchise and the phase "Finish Him" never felt (or sounded) any better. Slick visuals, seamless combat and snappy controls made for about the best Mortal Kombat game we have seen in recent memory. MKX was so well received, it got the Mortal Kombat XL treatment almost a year later. So if you missed out when MKX dropped in the spring of 2015, now is your chance to jump into what is the most complete and definitive Mortal Kombat experience to date.
This Extra Large Mortal Kombat game includes the fantastic base game which was a hit last year but also includes all the DLC released with the game. More specifically, you get the new playable characters with Alien, Leatherface, Triborg, and Bo'Rai Cho. You also get the previously released characters which include Predator, Jason Voorhees, Tremor, Tanya, and Goro. Mortal Kombat XL also includes the new skins pack Apocalypse Pack and all previously released skins packs. All in all, its great value for the buck especially if you missed out on Mortal Kombat X last year.
"Sure, its always been a little over the top in the gore department but this time around Ed Boon and company amped it up a notch, and then some."
If you're a Mortal Kombat fan and have already fully immersed yourself in the MKX experience, you'll already appreciate how bloodier and brutal this Mortal Kombat game is compared to previous games in the franchise. Sure, its always been a little over the top in the gore department but this time around Ed Boon and company amped it up a notch, and then some. It's brutal, it's glorious and there is a reason why the online community is as strong as it is.
The stars of the show in Mortal Kombat XL remain the fighters. Jason, Alien and Leatherface are all fantastic additions and are highly enjoyable to play with. Leatherface waiving his chainsaw around like a maniac and Jason pulling out a large butcher knife from his neck before a fight sets the perfect mood. The development team truly nailed the characters mannerisms. What is great about using each of the fighters in the game is how uniquely different they feel compared to one another. I expected a more generic feel with each fighter but that is not the case at all. In Mortal Kombat XL there is robust roster of fighters all with unique styles and move sets to experiment with.
The story mode really caught me off guard as I wasn't expecting anything with the amount of depth and cinematics that you get in Mortal Kombat XL. The story mode plays much like NetherRealm's Injustice: Gods Among Us where you are put into the role of a number of MK's kombatants. The story takes place 25-years after Mortal Kombat 9 where we see the warriors of Earthrealm going head to head with Outworld god Shinnok and his forces. Without giving too much else away, the story mode is a great place to start. It introduces you to the characters, gives you some backstory and does so in a cinematic fashion. I'll admit, I hit a wall at about Chapter 5 as I am just not that great at fighting games but regardless, the story mode is an excellent opportunity to try the various characters with all their various fighting styles.
When I did hit that proverbial wall, I jumped into the games comprehensive tutorial mode. For the fighting noobies like me this is an essential place to stop before you even think about jumping online or attempting to tackle the towers. The controls in the game are not overly complicated but if you want to master some of those combos or advanced moves spending some time in the tutorial mode is highly recommended. Button mashing or hoping around like a jack rabbit will only get you so far. Learning special moves, combo breakers, wakeup attacks, reversals, environmental attacks, and meter burns are all critical if you plan on mastering all that is Mortal Kombat XL. The controls can be unforgiving as you need to be precise with every move. That precision got me in trouble far too often. So the only remedy is practice, practice and practice.
Aside from the story and tutorial mode, there is still a ton of content to explore from The Krypt, where you can spend earned koins on unlockables, to The Living Towers that offer everything from daily to weekly challenges and more. There is also a "Testing Your Luck" mode where you can fight with up to seven modifiers or you can try out the "Test Your Might" mode where you can enjoy brutally on crystal meth. You can also choose from one of the five factions in the game and participate in challenges.
Visually, Mortal Kombat XL is incredible. Everything from the environments to the fighters, Mortal Kombat XL is a stunning fighter. It truly feels next gen and pushes the limits of the consoles hardware. The game really shines during some of those slo-mo x-ray attacks and final fatality moments. It is brutal, grotesque and simply fantastic. There is reason why fans love it and I am certain a lot of it has to do with MKXL's over the top violence. The sadistic creativity in those finishers is something else.
"With so many skins, strong cast of characters (classic and new), stunning visuals, variety of modes and lively online community, Mortal Kombat XL delivers the ultimate Mortal Kombat game for fans to enjoy."
I'll be perfectly honest, the online game in Mortal Kombat XL is not for me. I am clearly too much of a novice as I got my ass handed to me each time I jumped on. I noticed the odd hiccup of lag here and there but overall it was a smooth online experience. There are simple head-to-head matches or team tournaments. There are also a King of the Hill mode. All in all, there is plenty there for fans who are looking for a more competitive Mortal Kombat experience.
Mortal Kombat XL is the definitive Mortal Kombat experience to date. With so many skins, strong cast of characters (classic and new), stunning visuals, variety of modes and lively online community, Mortal Kombat XL delivers the ultimate Mortal Kombat game for fans to enjoy. There are micro-transactions present in the game, which will annoy many, but in this day in age it is hard to fault a game for having them when it seems nearly every AAA game these days includes them in some shape or another. This gruesomely brutal game will surely quench any fighting fans thirst as it's about the best Mortal Kombat game we have seen to date.
***A PS4 review copy was provided by the publisher for the purpose of this review***
Stunning visuals
Strong cast of characters
FINISH HIM never felt so good
Microtransactions annoying
Online players will punish you
A little early for an XL edition
Developer: NetherRealm Studios
Publisher: WB Interactive
Mortal Kombat Celebrates 30 Year Anniversary With Video
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Mortal Kombat 12 Will Be a No-Show at EVO 2022
Sequel to 2021's Mortal Kombat Movie Officially Moving Forward
Next Into the Stars Review – Decent Graphics But It's a Blackhole of Boredom
Previous Overfall Review – True Pen & Paper Brought to Life on the High Seas


In turn, the person suffering from ROCD will perform rituals or other compulsive behaviors like seeking constant reassurance trying to alleviate the distress caused by obsessions. Source: pixabay.com Needless to say, this puts a significant strain on individuals and relationships.... In turn, the person suffering from ROCD will perform rituals or other compulsive behaviors like seeking constant reassurance trying to alleviate the distress caused by obsessions. Source: pixabay.com Needless to say, this puts a significant strain on individuals and relationships.
OCD can make us feel very insecure and encouragement works much better than reassurance (however much we want the reassurance it doesn't work ) We lack confidence and self esteem and without both we find it difficult to deal with the OCD. Seeing a CBT therapist can help with this as well as the OCD.
Reassurance seeking in OCD 625 clinical groups, while healthy individuals and individuals with depression would stop seeking reassurance when they perceived a reduction of social threat.
You will also have what is known as compulsions, the things you do to feel better, such as seeking reassurance about your relationship or analysing your relationship inside your head. ROCD is not an official diagnosis, rather the symptoms that you experience are part of OCD , but for the purpose of trying to help you, I am going to use the label ROCD.
Reassurance Seeking Rituals in OCD One of the most common reassurance seeking rituals involves compulsively searching for health-related information online. Although sources of information may vary in their level of scientific credibility (e.g., the CDC website vs. an online forum), credible information sources are just as vulnerable to rituals as those lacking in credibility.


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Branches of Military
Military, Branches of Military Essays and Research Papers
Recent publications in the Military / Branches of Military category
Change and Innovation Strategies in the U.S. Army
Presents an in-depth review of the U.S. Army and its ability to innovate new strategies.
# 153376 | 5,355 words | 22 sources | APA | 2013 |
Brigade S3 and the Problem of Suicide Bombers
A look at how Brigade S3 of the United States military has addressed the problem of suicide bombings.
Army NCOs during the Revolutionary War
A review of the significant role of the American Noncommissioned Officer (NCO) during the Revolutionary War.
An Army JAG Corps Summer Internship Application
An application for a summer internship position with the U.S. Army JAG Corps.
# 152918 | 601 words | 0 sources | 2013 |
History of the Women Air Force Service Pilots (WASP)
A review of the history of the Women Air Force Service Pilots (WASP) unit.
A Career as a Navy SEAL
An overview of job of a Navy SEAL.
Logistics for Disaster Relief Operations
A research paper on the logistical cooperation between military and humanitarian organisations in disaster relief operations.
My Experience in the United States Army
A description of the author's experience serving in the US Army.
The Empowerment of the American Non-Commissioned Officer (NCO)
An analysis of the three most important factors that have led to the ever-increasing empowerment of the American Non-Commissioned Officer (NCO).
Assessing the Use of Virtual Teams
Looks at the use of virtual teams as part of the US Army Logistics Network.


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Сарга — река в России, протекает по Свердловской области. Устье реки находится в 470 км по левому берегу реки Сылвы (пруд Сылвинский). Длина реки — 20 км, площадь водосборного бассейна — 158 км².

Данные водного реестра
По данным государственного водного реестра России относится к Камскому бассейновому округу, водохозяйственный участок реки — Сылва от истока и до устья, речной подбассейн реки — Кама до Куйбышевского водохранилища (без бассейнов рек Белой и Вятки). Речной бассейн реки — Кама.

Код объекта в государственном водном реестре — 10010100812111100012234.

Примечания

Притоки Сылвы
Реки Шалинского городского округа

redpajama_set_name: RedPajamaWikipedia


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YOBO EXITS
August 23, 2012 isportUncategorized
Everton manager David Moyes is likely to increase his efforts to sign the Inter Milan player Luc Castaignos after he has secured new transfer funds following the exit of defender Joseph Yobo.
The Nigerian international has been part of the Everton setup in the last few seasons and will be a major miss after he recently completed his move to Turkish club Fenerbache. The two clubs have agreed an undisclosed fee for the defender, who has not been getting regular first team action in the last couple of seasons. Prior to the arrival of players like Distin, Joseph Yobo was a regular for the bulk of Everton fixtures.
Due to the fact that Everton struggled to score goals last season, it is understood that the manager has made it a priority to sign a young and fresh talent before the end of the transfer window. With only a few weeks of the transfer window remaining, Everton have been linked with the Inter Milan striker Luc Castaignos. The 19-year-old has drawn attention from some of the biggest clubs in the world, but it is thought that he will be favouring a move to Everton in order to get regular first-team football.
"I would love to thank Everton and the management of Fenerbahce for reaching a deal. My family have settled well in Turkey and enjoy the life there, so I'm glad they will be re-uniting with friends here. The permanent switch is done and I am also switching to help the team do well on the pitch. It's been a long journey into achieving this dream and now is the time to pay the club and fans back with a great performance," said the former Everton defender Joseph Yobo after announcing his departure from the club. Everton will be facing Manchester United on the opening day of the season.


As of Monday, August 29, 2016 at the close of trading EquitySurge™ has continued a buy signal for USA equities.
Stock prices were higher today with the S&P500 Index closing around the 2180 level. This week may be an important one for the markets as the Employment Situation Report for July will be released on Friday morning, and the Federal Reserve has intimated that this report could be pivotal in determining whether it raises interest rates this year.
Liquidity indicators were up again today, and with the continued strongly bullish backdrop for higher stock prices that liquidity is telegraphing, we would keep using any stock price weakness as an opportunity to buy or add to existing long equity positions.


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