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A Brew to a Kill: Coffeehouse Mysteries #11
Rebecca Gibel
The Coffeehouse Mysteries	,#11
Subject: Chick Lit,Contemporary,Mysteries & Thrillers ,Classic Detective,Crime,Suspense,Thrillers
Summary: A shocking hit-and-run in front of her Village Blend coffeehouse spurs Clare.... +
A shocking hit-and-run in front of her Village Blend coffeehouse spurs Clare Cosi into action. A divorced, single mom, Clare is also a dedicated sleuth, and she's determined to track down this ruthless driver who ran down an innocent friend and customer. In the meantime, her ex-husband Matt, the shop's globetrotting coffee buyer, sources some amazing new beans from Brazil. But he soon discovers that he's importing more than coffee, and Clare may have been the real target of that deadly driver. Can ex-husband and wife work together to solve this mystery--or will their newest brew lead to murder?
Murder by Mocha: Coffeehouse Mysteries #10
Summary: Clare's Village Blend coffee beans are being used to create a new java love.... +
Clare's Village Blend coffee beans are being used to create a new java love potion, a "Mocha Magic Coffee," billed as an aphrodisiac. The product, expected to rake in millions, will be sold exclusively on Aphrodite's Village, one of the most popular online communities for women. But at its launch, one of the website's editors is murdered. Clare is convinced a bitter killer wants the secret formula. Can she catch who's gone loco for mocha?
Roast Mortem: Coffeehouse Mysteries #09
Summary: When the firefighters of Ladder Company 189 pull Clare's friends out of a.... +
When the firefighters of Ladder Company 189 pull Clare's friends out of a blazing café, she happily comes to their rescue. As a favor to the men, she visits their firehouse kitchen to teach them the finer points of operating their newly donated espresso machine. But more than their coffee turns out to be hot. Somebody's torching cafés around the city, and firefighters are beginning to die in suspicious ways.
Believing the two events are related, Clare investigates, staking out a five-borough bake sale and sniffing out clues in the pizza joints of Brooklyn. When her detective boyfriend, Mike Quinn, is pulled into the fire of a false accusation, Clare is desperate to put out the flames. But will she be able to come to Mike's rescue before someone tries to extinguish her?
Holiday Grind: Coffeehouse Mysteries #08
Summary: Clare's grown very fond of Alfred Glockner, the part-time comic and genuinely.... +
Clare's grown very fond of Alfred Glockner, the part-time comic and genuinely jolly charity Santa who's been using her coffeehouse as a place to warm his mittens. When she finds him gunned down in a nearby alley, a few subtle clues convince her that Alfred's death was something more than the tragic result of a random mugging, despite the conclusions of the police. With Clare's boyfriend, NYPD detective Mike Quinn, distracted by a cold case of his own, and ex-husband, Matt, "investigating" this year's holiday lingerie catalogs, Clare charges ahead solo and discovers this Santa had a list that he was checking twice--and the folks on it were not very nice. Then someone tries to ice Clare, and she really gets steamed.
Between baking delicious Christmas goodies and fending off the attentions of a persistent professional elf, Clare sets out to solve St. Nick's murder. But she'd better watch out, because if she fails to stop this stone-cold killer, she may just get the biggest chill of her life.
Espresso Shot: Coffeehouse Mysteries #07
Summary: Clare's been hired to create a gourmet coffee and dessert bar for a New York.... +
Clare's been hired to create a gourmet coffee and dessert bar for a New York wedding to be held at the world-renowned Metropolitan Museum of Art. Famous chefs will be there, celebrities, members of the press, well-known politicians--so why isn't she thrilled to have this chance to shine? Because the person tying the knot is Matteo Allegro, her ex-husband and current business partner. And while Clare has no plans to ever marry Matt again, she's afraid he's making a terrible mistake.
The bride-to-be is Trend magazine editor Breanne Summour. Beautiful, wealthy, and sophisticated, the snarky tastemaker has never been a low-maintenance kind of gal, and now she's in full-blown bridezilla mode. The only way that Clare can possibly deal with her is to put her misgivings aside and focus on business. But as a successful amateur sleuth, murder is Clare's business too, and when fatal accidents begin befalling people close to Breanne, Clare becomes suspicious. Is someone trying to sabotage the wedding? To kill Breanne?
Between persuading a sexy Italian sculptor into lending her a one-of-a-kind fountain and roasting some of the rarest coffee beans on Earth, Clare starts to investigate. But what she unveils, amid melted chocolate and steaming mochaccinos, may just get her burned ...
French Pressed: Coffeehouse Mysteries #06
Summary: Clare's daughter, Joy, is immersing herself in the foodie culture with an.... +
Clare's daughter, Joy, is immersing herself in the foodie culture with an internship at Solange, one of New York's hottest French restaurants--and she's getting pretty intimate with the older, married Chef Tommy Keitel as well. Clare's not buzzed about the relationship, but what twenty-something takes romantic advice from her mother? Resolved to keep a closer eye on Joy, Clare makes a deal to micro-roast and French press exclusive coffee blends for Tommy, a man she wouldn't mind seeing roasted and pressed. Then the competitive kitchen turns cutthroat, and Joy's a suspect. To clear her daughter of the crime, Clare knows she must catch the real killer ... even if it lands her in the hottest water of her life.
Decaffeinated Corpse: Coffeehouse Mysteries #05
Summary: At the Village Blend, Clare Cosi realizes her best baristas may refer to a.... +
At the Village Blend, Clare Cosi realizes her best baristas may refer to a decaffeinated espresso as a "why bother?" but knows that a good percentage of her customers prefer the neutered brew. So when an old friend of her ex-husband develops the world's first botanically decaffeinated coffee bean and smuggles it into the country, Clare believes it's a business opportunity she needs to investigate--at least until the first dead body shows up. With casualties piling up and a complicated blend of old and new loves muddying the waters, it's up to Clare to find the murderer before one of her nearest and dearest takes the fall. Otherwise, her latest addition to the menu will prove to be a real buzz killer.
Murder Most Frothy: Coffeehouse Mysteries #04
Summary: Clare Cosi's new friend, millionaire David Mintzer, has an offer no New York.... +
Clare Cosi's new friend, millionaire David Mintzer, has an offer no New York barista could turn down: an all-expenses-paid summer away from the sticky city. At his Hamptons mansion, she will relax, soak up the sun, and, oh yes, train the staff of his new restaurant. So Clare packs up her daughter, her former mother-in-law, and her special recipe for iced coffee for what she hopes will be one de-latte-ful summer.
Soon, Clare tends the coffee bar at her first Hamptons gala. But the festivities come to a bitter end when an employee turns up dead in David's bathroom--a botched attempt on the millionaire's life. Thanks to the Fourth of July fireworks, no one heard any gunshots, and the police are stuck in holiday traffic. Concerned for everyone's safety, Clare begins to investigate. What she finds will keep her up at night--and it's not the java jitters.
Latte Trouble: Coffeehouse Mysteries #03
Summary: To Clare Cosi's surprise, this fall's hottest fashion trend is anything.... +
To Clare Cosi's surprise, this fall's hottest fashion trend is anything caffeinated--because designer Lottie Harmon, a loyal coffeehouse customer, has just created an ingenious collection of coffee-inspired fashion accessories. So naturally Lottie chooses the Village Blend as the perfect backdrop for fall Fashion Week insiders to view her new line of "Java Jewelry." When barista Tucker unwittingly serves a poisonous latte to a prominent figure on the fashion scene, Clare suspects that the real target may have been Lottie. Now she must protect her thriving business from negative publicity, Lottie from further danger, and Tucker from murder charges--even if it means jolting the fashion world with some shocking secrets.
Through the Grinder: Coffeehouse Mysteries #02
Summary: There's trouble brewing at the Village Blend. Business is booming--but Clare's.... +
There's trouble brewing at the Village Blend. Business is booming--but Clare's customers are starting to die. Soon after stopping at the coffeehouse, a regular jumps to her death in the subway. Or was she pushed? Detective Quinn is convinced that someone has an axe to grind, especially after the "suicide" of another female customer. Unfortunately, his prime suspect is Bruce Bowman--the new man in Clare's life. Bruce is the perfect blend of rugged good looks and potent personality. Too bad the women in his life keep turning up dead. Now Clare will risk her heart--and her life--to follow the killer's trail to the bitter end.
On What Grounds: Coffeehouse Mysteries #01
Summary: Clare Cosi used to manage the historic Village Blend coffeehouse ... until.... +
Clare Cosi used to manage the historic Village Blend coffeehouse ... until she opted for quieter pastures and a more suburban life. But after ten years and a little friendly cajoling from the owner (a fresh pot of Jamaican Blue Mountain was all it took), she's back to the grind. With a sprawling rent-free apartment directly above the Village Blend, her cat Java by her side, and plenty of coffeehouse redecorating ideas, Clare is thrilled to return to work. Until she discovers the assistant manager unconscious in the back of the store, coffee grounds strewn everywhere. Police arrive on the scene to investigate. But when they find no sign of forced entry or foul play, they deem it an accident. Case closed. But Clare is not convinced. And after the police leave, there are a few things she just can't get out of her mind. Why was the trash bin in the wrong place? If this wasn't an accident, is Clare in danger? And ... are all detectives this handsome?


James Fairhurst draws inspiration from the exquisite natural beauty of rare and unusual gemstones. His designs are simple and elegant, showing each gemstone off to its maximum potential. Continuous free flowing lines are used to create a balance between the different elements of each piece.


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USCJ: See Judaism for the First Time
September 15, 2017 24 Elul, 5777
Director of Innovation Rabbi Joshua Rabin asks us to embrace the power of change that continues to oocur in the Jewish world.
"We do not know what the Jewish future will look like, yet the seeds of the future have already been planted. We uncover them when we strengthen an authentic and dynamic Judaism with a spirit of possibility, rather than the paralysis of fear."
In preparation for Rosh Hashanah, read Rabbi Rabin's article, "USCJ: See Judaism for the First Time," in the Atlanta Jewish Times.
Congregational Education
One of USCJ's most vital tasks is to support Jewish education for people of all ages, from early childhood through adult learning

redpajama_set_name: RedPajamaCommonCrawl


Third Floor Penthouse with spectacular lake and sunset views! Spacious floor plan offers 3 bedrooms/3.5 baths formal dining room with 2,800 SQ. FT. of living. Large lanai with outdoor kitchen that includes built in grill and wine refrigerator. Kitchen features 6 burner gas range, granite counters, stone backsplash, and breakfast bar. Crown molding, solid wood core doors, surround sound, private elevator, are just a few of the outstanding features found in this home. Enjoy the Florida lifestyle and the a warding winning amenities of Miromar Lakes Beach and Golf Club which include a 700 acre lake, 3 miles of white sandy beach, zero edge infinity pool, fitness center, tennis courts, 50 seat theater, bocce courts, restaurants, marina, and a dynamic social calendar!
I-75 to exit 123 Corkscrew Road. Go East to Ben Hill Griffin Parkway, turn left onto Ben Hill Parkway approx. 3 miles Miromar Lakes and Golf Club is on the right.
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I'm write the article How To Add Social Media Sharing Button Below Post In Blogger, Today i am guide to your about adding social media sharing button on your blog below every post will increase your blog visitors and readers. There are several style of placement you can use, But in this tutorial adding sharing button below every blog post. Those colorful button are fast and easy to search. For this gadget, I usually use Share This service. You don't have to add all of them. Just pick social media that you use the most or focus on.
Now Click on Save. Done!
Before downloading Please must see mid of the page HOW TO DOWNLOAD instruction carefully and follow up that to download this software and driver.
Thanks for visiting my blog, I Hope you feel much batter when you visit on my blog. You can join us by subscribing your email. Share it with your friends.


3/05/2013 · Sign in to add this video to a playlist. Sign in. Share More. Report . Need to report the video? Sign in to report inappropriate content. Sign in. Transcript; Add translations. 32,654 views. 39... Is there a way for force a second y-axis? I create graphs with combo lines and bars. Bars on the primary y-axis and are typically hudreds of thousands of dollars, while I would like to have my lines on a secondary y-axis to reflect dollars into the millions.
Click the Right Y axis tab to create a Y axis and assign one of your data sets to it. Create a graph with no data. Hide the X axis (one of the choices for axis frame).
I combined 2 charts and I am trying to add the second y-axis, but every time I add the yaxis = "y2" to my code, I lose have the my bar graphs.


Antechinus stuartii (Macleay, 1841), Manly, New South Wales, Australia. Two subspecies described.
Length 2.9-5.5 in (74-140 mm). Uniform grayish brown; paler below, with thin, hairy tail almost body length; broad head with pale fur around eye.
Australian east coast and hinterland from southeast Queensland to southern New South Wales.
Wet to dry forests with dense ground cover and numerous logs.
Nocturnal, but may be active during day if food scarce. Terrestrial; partly arboreal if sparse groundcover or larger terrestrial competitor present.
Lives up to five or six years in the wild. Up to four young from ages two to six. Probably promiscuous.
Small to large insects, beetles, and spiders.
Tightly synchronized mating season (two weeks). Semelparous with abrupt male die-off immediately after mating season. Probably promiscuous.


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All the labels that In Poor Taste covers.
Art of the Dead Review (Umbrella Entertainment DVD)
The Blob Blu-ray Review (Scream Factory)
The Wind Review (Umbrella Entertainment DVD)
Shout!/Scream Factory
Umbrella Entertainment
The Andromeda Strain Blu-ray Review (Arrow Video)
Django the Bastard Blu-ray Review (Synapse Films)
Blu-ray Galleries
I Spit on Your Grave III: Vengeance is Mine (Blu-ray / Movie Review)
It's been five years since the release of the remake I Spit on Your Grave and we've finally got another sequel that continues with the character of Jennifer Hills (Sarah Butler returning to the role) from the first one (the second movie was about a different girl and event.) I Spit on Your Grave III: Vengeance is Mine catches up with Jennifer, who is still suffering from the traumatic events of the first movie and goes to show us how she is coping with those appalling memories. If you're wondering how, it's through numerous daydreams about murdering guys and the occasional real murder, which will make you flinch significantly.
RUN-TIME: 91 min
RESOLUTION: 1080p
AUDIO: Dolby TrueHD 5.1
SUBTITLES: English SDH, Spanish
REGION: A
RELEASE DATE: Oct 20th, 2015
After seeking out the help of a support group after her attack, a young woman takes the law into her own hands and dishes out her own brand of justice to the abusers of her fellow group members.
I Spit on Your Grave III: Vengeance is Mine goes to grand lengths to show us that a sizable amount of men are evil in one form or another. No, seriously, every single guy in this movie, save for one or two, is either a pervert or an abuser. It's essentially taken to ridiculous extremes at times, and there is only a finite amount of times that you can accept that every man Jennifer meets is trying to land in her pants, with or without her permission. Yes, Sarah Butler is remarkably hot, but there has to be some guy out there that isn't a complete asshole.
It's been a few years since the events of the first movie and Jennifer is trying her best to move on with her life, but after visiting other victims of rape in a meeting, she meets a friend, Marla (Jennifer Landon), who gets her back into the swing of things by going after the men that have hurt these other women. Most of them deserve all the horrible acts committed against them, be a sliced up penis or a pipe up the arse, but the police think justice should only be dwelt with through the proper legal channels and Jennifer starts having a few run-ins with the law the more she extracts her innovative justice. Has Jennifer gone off the deep end and can you absolutely blame her? Check out the flick to see precisely what happens.
I enjoyed I Spit on Your Grave III, as much as a sliced in two pecker can bring enjoyment, but I can't quite say I dug it as much as the first movie. At least with the first one, the guys involved are clearly evil and the inflicted actions were just, but in the third movie, there are times when you are wondering if maybe she has gone a little overboard. Also, the constant use of daydreaming all these different murders throughout the flick can become quite tiresome, as you never absolutely know if what you are seeing is indeed happening. Most of the extreme gore happens in these little day trips, which are flashed through quickly. Nevertheless, there are other scenes that bring the gory plasma, but it's not as extreme as the first movie. In the end, I had an enjoyable enough time as you can with a rape / revenge film, and with that being said, I recommend checking it out.
Anchor Bay releases I Spit on Your Grave III: Vengeance is Mine on Blu-ray, with some fantastic looking video and audio, although with no special features included. I would've loved to see some behind the scenes or interviews, but alas, we receive nothing. As for the video and audio, the film is looking sharp, with no detectable defects or noise produced. The audio is loud and precise, with a Dolby TrueHD 5.1 being the only audio option included.
BLU-RAY SPECIAL FEATURES
– None 🙁
Michael Tatlock· January 18, 2016 ·4 min read
Over Your Dead Body (Blu-ray / Movie Review)
I Spit on Your Grave III falls into a category of movies that won't be for all, but I relish seeing movies about women getting some sweet revenge against the atrocities that some men commit, even if sometimes they go a little overboard in making every guy an evil archetype. If you enjoyed the first and second, you'll be thrilled to know that the third flick and Blu-ray from Anchor Bay is a worthwhile pickup.
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Michael Tatlock
Michael has been watching horror movies since he was three. In hindsight, it probably wasn't a good idea. He owns and operates the website In Poor Taste (inpoortaste.ca), and is always looking for ways to become more famous; preferably in a legal way.
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If you run your small business like you did yesterday, you won't be here tomorrow. That's a pretty powerful statement, but it rings ever so true with today's small businesses and their use of technology. Over the last 15 years, the way small business operates has changed dramatically, but many small businesses get so bogged down with the day to day operations that they sometimes forget to look at the nitty gritty of how they are doing things now and how potentially their business will evolve.
Some business owners fear technology as though it was the devil incarnate, running the business on the bare minimum of what's needed. But it's worth noting that small businesses that don't adapt and implement new technologies that may help them work smarter and more efficiently, will be surpassed by companies that do. Outside of everyday operations and employee retention, today's small business owner needs to plan for aging computer equipment, data security, mobile technology and more — all while keeping expenses low.
What's your 5 year goal for financial growth?
Business owners need to step back and determine the needs and wants of their business. As equipment ages and pricey upgrades and contract renewals come due, some small businesses should weigh the benefits of moving some IT technology to the cloud. This is a good time to become re-educated on technology resources available that will help your business operate more efficiently.
You've spent time and resources to train your staff and offered perks to ensure employee retention. Re-education also means taking a look at your employee's needs and desires and implementing solutions that will help make their job processes easier. A happy employee leads to good customer service!
Certain industries have a legal requirement to keep every piece of data they generate or receive. But many small businesses can delete large quantities of data and only need to hold onto customer information and financial records. Cloud computing can offer greater functionality and lower costs, but it can also open the doors to outside attack. Perhaps employees need some education to ensure that they aren't clicking on or opening files that could put you at risk, exposing your existing customer data to viruses?
There are many things to consider from the technology side of your business. Business Technology Solution Providers understand technology and how to install configure and implement, but not all IT Consultants truly understand the business side of IT. Safe Haven IT can come to you and review your technology services when the time works for you. Together, we'll come up with a solution that fits your current and future small business needs.
In future posts, we'll look at some of the top small business technology trends our clients are asking us about and things to consider when implementing them. Subscribe to our social media accounts to receive these updates, access to tech tips and more.


The Loft Literary Center is one of the nation's leading nonprofit literary centers, offering more than 300 creative writing classes a year for youth and adults in Open Book, community settings, and online. The Loft also supports writers and readers through grants, mentorships, writing studios, regular readings and a spoken word series, and on its website through a wealth of resources about craft and the writing life.
The award-winning Loft is renowned for the quality of its programming and its service to the community. Loft staff members enjoy a flexible and enjoyable workplace, health and other benefits, and the company of dedicated and creative colleagues.
Position Purpose: The Summer Young Writers' Program Intern (morning) is a part time (20-25 hours per week), temporary position with somewhat flexible daytime hours, July 8 through August 2, 2019, typically between 8 a.m. until 1 p.m., with one half day of orientation and training before the program starts, mid to late June, 2019. The position supports the Loft's Young Writers' Program during the summer which provides creative writing instruction to youth ages 6–17.
Responsibilities of this position may also include creating summer youth content for the Loft's Writer's Block blog and assisting the marketing team with other social media initiatives as requested.
A minimum of a high school diploma is required for this position; current degree seeking college students preferred.
Hours: This position is temporary from July 8 to August 2, 2019; one or two half days in mid to late June, 2019 will also be required for training and orientation, exact date(s) TBD.
Stipend: The Loft Young Writers' Program Summer Intern will be paid a $1000 stipend, disbursed biweekly throughout the internship term.
To Apply: The application deadline is 11:59 p.m. on Friday, May 17, 2019. Interviews will take place late May to early June, with one or two half days of training and orientation to occur in mid- to late June, before a firm July 8 start date. Please prepare a cover letter, a resume, and the names and contact information of three confidential references (you do not need letters of reference) as MS Word or PDF documents. If you do not have a Submittable account, you will need to create one. If you have questions about using Submittable or preparing your files, please see this guide sheet first: http://bit.ly/LoftSubmit.
A complete criminal background check will be required of anyone filling this position.
Due to the expected number of applicants, we request that you do not call or email to check on your application status. You will get a confirmation by email to let you know that your application was received.
The Loft is an equal opportunity employer.
Position Purpose: The Summer Young Writers' Program Intern (afternoon) is a part time (20-25 hours per week), temporary position with somewhat flexible daytime hours, July 8 through August 2, 2019, typically between the hours of noon until 5 p.m, with one half day of orientation and training before the program starts, mid to late June, 2019. The position supports the Loft's Young Writers' Program during the summer which provides creative writing instruction to youth ages 6–17.
Hours: This position is temporary from July 8 to August 2, 2019; one half day in mid to late June, 2019 will also be required for training and orientation, exact date(s) TBD.
Stipend: The Loft Summer Youth Program Intern will be paid a $1000 stipend, disbursed biweekly throughout the internship term.
Proposals for online creative writing classes for Fall 2019 classes are now being accepted and are due May 17, 2019 at 11:59 p.m.
This form is for online classes only. If you are submitting an in-person class, please submit it in the in-person category.
Multiweek asynchronous classes for writers in any genre or at any level. We are always looking for creative writing classes for adults in all genres and for all levels. Our students have a range of skill levels, commitment, and interests. We hope any writer looking in our catalog will find the class that's perfect for them. Online classes run week-to-week but asynchronously; students can log in any time during the week to read content, post to discussions, and follow writing prompts. Classes can be 4, 6, 8, 10 or 12 weeks long. Enrollment is usually capped at 16 students.
Low-stakes, low commitment classes with higher enrollments (30) than our normal classes. Estimate the amount of work for students to be about one hour a week (most are two hours or more). Students should not be promised significant personalized feedback on their writing, since this is not sustainable in a high enrollment class; there may be (limited) opportunities to share their work. Classes can be driven by fun, low-stakes writing prompts or specific goals like formatting a novel for submission or writing a query letter.
Strong and flexible lesson plans. Online classes give writers opportunities to engage with the teaching artist and one another, while also providing content, instruction, and writing prompts students can work through on their own time.
Teaching artists with track records in writing and/or teaching, preferably both. An emphasis on teaching adults in an enrichment environment is preferred for teaching basics and beginner classes, success in writing (publications, awards, etc.) is preferred for more advanced classes.
The question "What if?" is the most powerful one you can ask and the start of any story. Through this theme the Loft aims to explore how speculative fiction, and the act of asking what if, helps us to imagine solutions and create connections. Speculative work can act as a tool to interpret the world, to investigate topics that are too complex or too subtle to define with the limited tool of realistic fiction. It gives us an incredible opportunity to imagine alternative structures and futures, to consider how to make or avoid certain changes, and answer basic questions about our humanity.
We have not had success with classes that feel academic in nature (e.g., reading classes built around classics) or are too niche (e.g., writing in translation).
We would like to serve teens better but online classes for youth have not been successful during the academic year. If you have an idea for a youth class that might work, please email kscaletta@loft.org before completing a full proposal. Note that for legal reasons we cannot have classes for children under age 13.
Reading lists should include recent works and diverse authors. Classes with exclusively white reading lists will be rejected. We love Flannery O'Conner and Raymond Carver as much as you do, but please also incorporate more recently published stories and diverse voices.
Feel free to inquire before writing a full proposal by emailing Kurtis Scaletta, kscaletta@loft.org, with a title and description. New teaching artists are encouraged to attach a CV.
By continuing with this application you are indicating agreement with the following terms and code of conduct.
Teaching Artists are Independent Contractors As an independent contractor, please note that the Loft does not make deductions from your compensation for taxes. We'll provide you with IRS Form 1099 at the beginning of each calendar year. You'll need to indemnify the Loft against adverse rulings by any taxing authority as a result of the consulting contract or in the event that you fail to qualify as an independent contractor for tax purposes.
Compensation You'll be paid $6.50 per student per contact hour based on enrollment for your second class meeting (students may drop the class during the first week). For example, if you are teaching a 6-week, 2-hour/week class with an enrollment of 14 students, your compensation will be $1,092. Tuition alone does not cover the cost of the Loft's sliding-fee classes, which are made possible, in part, through grants and individual donations. Please consider becoming a member of the Loft (membership is not required to teach at the Loft).
Teaching Artist Supervision and Performance Review As an independent contractor, you truly are working independently within the parameters of your teaching contract. Our main performance review tool is student evaluations, which we also send to you. It's a good idea to survey your students mid-way through the class in order to build upon what students feel are the most helpful elements of the class, and to proactively address any concerns students may raise. If you're teaching at the Loft for the first time, a member of the Education Team may visit your class website to see how things are going.
Class Texts and Handouts Required texts for online classes should be readily available online, in bookstores, and/or in libraries. College textbooks are often too expensive for Loft students and not a good fit for enrichment classes. When you select texts, please keep in mind that some students may have limited time available for readings and assignments outside the classroom. Use discretion in providing scans of texts in your online class; when possible, link to resources available legally online. You may not require students to purchase books you have written unless your book is an instructional text on the content you'll be teaching. Feel free to use your own work to illustrate a lesson, but please do not use class time to promote sales of your books, and don't sell your books to students during class.
Controlled Substances Alcohol and other mood-altering drugs are prohibited while directly engaging with students, with the exception of medically prescribed or over-the-counter drugs.
Class Cancellation Due to Low Enrollment If six students are enrolled, you may choose to teach the class (please be aware that enrollment may further drop prior to your second class meeting). If fewer than six students are enrolled, the class is canceled, typically 3-5 business days before the first scheduled class meeting.
Class Cancellation by Teaching Artist Please contact us if you will miss part of the online class due to illness or emergency. We'll inform your students and work with you to extend the class. Please do not arrange for a substitute to teach your class without prior approval from Loft staff. If you cancel a scheduled class you have agreed to teach or fail to show up for your class, you may be ineligible to teach at the Loft in the future.
Criminal Background Check The Loft Literary Center is required by its policies and its insurance carrier to conduct a criminal background check on anyone who will work, in any capacity, with minors. Teaching artists who refuse the criminal background check will not be eligible to teach classes for children and/or teens.
Promotion of Non-Loft Programs and Services Many Teaching Artists also offer private services, and many teach at other organizations. We're happy to include your website address in your Teaching Artist bio. Feel free to respond to student inquiries about your services and other classes, but please do not use class time to promote your services, books, or classes you teach at other organizations.
Code of Conduct The Loft has revised and expanded their code of conduct, especially around sexual harassment. Please see the complete document at loft.org/conduct.
Class proposals for adult in-person classes for fall term 2019 are now being accepted and are due May 17, 2019.
This form is for an adult, in-person class for fall term—September - December, 2019. If you are submitting for an in-person youth class, or for an adult online class, please submit in their respective categories. Thank you!
In the fall of 2019 the Loft will present the theme of "If"
We will run 2-4 in person classes on the fall theme. These themes strive to connect Loft programming across the organization by exploring common themes.
Always, diverse and inclusive reading lists and approaches to teaching craft. Proposals that include the names of 2-4 writers or books likely to be read or studied as examples of writing craft are considered stronger proposals than those without.
A strong, considered statement on equity.
Teaching writers from all walks of life, who provide many different perspectives on approach to teaching craft, the writing life, the (self- or traditional) publishing experience, etc.
If you are submitting a class proposal to the Loft for the first time, please consider proposing a single session class (preferred), or a shorter multi-week (4 or 6 weeks) if you have prior teaching experience and either a solid, established writing practice or some publication credits.
Multiweek classes for writers in any genre or at any level. We are always looking for creative writing classes for adults in all genres and for all levels. Our students have a range of skill levels, commitment, and interests. We hope any writer looking in our catalog will find the class that's perfect for them.
More advanced level classes are always needed; prior teaching experience and a record of professional accomplishment in the genre you'd like to teach are preferred for advanced classes.
12 week classes with instruction on craft, engaging class discussion, in-class writing opportunities, and sharing of work with option for feedback, and clear goals and outcomes.
Strong and flexible lesson plans. Loft classes give writers opportunities to engage with their teaching artist and one another, while also providing content, instruction, engaging discussion, and in-class writing activities, as well as writing prompts students can work on between class meetings.
Teaching artists with track records in writing and/or teaching, preferably both. An emphasis on teaching adults in an enrichment environment is preferred for teaching basics and beginner classes, success in writing (publications, awards, etc.) is preferred for longer classes (12 weeks) and more advanced classes. Reading lists should include recent works and diverse authors.
Advanced classes, especially in poetry, fiction, and creative nonfiction/memoir. (Again, please remember we also need beginning level classes, as well as those that are Open to All, so don't shy away from proposing those, as well as single sessions!).
Classes for Readers - these classes place discussion of great books at the center of each meeting. For Readers classes can focus on one book or a few, and they can incorporate writing practice or not. For more information, take a look at the Big Ideas page of the Loft's website. Big Ideas places literature at the center of dynamic conversations and brings together readers and writers to explore the most pressing issues and questions facing our society today. You can also email the education director at jdodgson@loft.org.
Thematic Classes. We are looking for 2-4 classes that fit with the Loft's fall theme of "If", ideally at least 1-2 multiweek classes, and 1-2 single session classes. Proposals may be geared to writers or readers.
We have not had success with classes that feel academic in nature (e.g., assigning academic writing texts, reading lists that are too long, reading classes built around classics) or are too niche (e.g., somatic writing, writing in translation). Please get to know our catalog and current offerings to see what we do. Again, reading lists should include recent works and diverse authors.
As an independent contractor, please note that the Loft does not make deductions from your compensation for taxes. We'll provide you with IRS Form 1099 at the beginning of each calendar year. You'll need to indemnify the Loft against adverse rulings by any taxing authority as a result of the consulting contract or in the event that you fail to qualify as an independent contractor for tax purposes.
You'll be paid $6.50 per student per contact hour based on enrollment for your second class meeting (students may drop the class during the first week). For example, if you are teaching a 6-week class with an enrollment of 14 students, your compensation will be $1,092. Tuition alone does not cover the cost of the Loft's sliding-fee classes, which are made possible, in part, through grants and individual donations. Please consider becoming a member of the Loft (membership is not required to teach at the Loft).
Those teaching a class for readers, which are more discussion based, facilitated book clubs, with no writing instruction involved, will be paid a flat rate of $50 per hour, regardless of the number of students enrolled. Minimums remain 7, maximums remain 12-17, depending on the max choice of the teaching artist.
As an independent contractor, you truly are working independently within the parameters of your teaching contract. Our main performance review tool is student evaluations, which we also send to you. It's a good idea to survey your students mid-way through the class in order to build upon what students feel are the most helpful elements of the class, and to proactively address any concerns students may raise. If you're teaching at the Loft for the first time, a member of the Education Team may attend your first class meeting to provide assistance, support, and encouragement.
Required texts for online classes should be readily available online, in bookstores, and/or in libraries. College textbooks are often too expensive for Loft students and not a good fit for enrichment classes. When you select texts, please keep in mind that some students may have limited time available for readings and assignments outside the classroom. Often Teaching Artists prefer hand-outs to books.
Copy fees for hand-outs are not included in tuition; students pay you directly during class. Please be sure to bring enough hand-outs for your students. Emergency copies may be made at the Loft for .10 cents per copy. You may not require students to purchase books you have written unless your book is an instructional text on the content you'll be teaching. Feel free to use your own work to illustrate a lesson, but please do not use class time to promote sales of your books, and don't sell your books to students during class.
Alcohol and other mood-altering drugs are prohibited while directly engaging with students, with the exception of medically prescribed or over-the-counter drugs.
If six students are enrolled, you may choose to teach the class (please be aware that enrollment may further drop prior to your second class meeting). If less than six students are enrolled, the class is canceled, typically 3-5 business days before the first scheduled class meeting.
The Loft follows the University of Minnesota's lead on class cancellations due to weather. If concerned, please call us at 612-379-8999. We'll announce cancellations via an email, on our website, and on our phone line.
Please contact us if you will miss a class due to illness or emergency. We'll inform your students and work with you to schedule a make-up class. Please do not arrange for a substitute to teach your class without prior approval from Loft staff. If you cancel a scheduled class you have agreed to teach or fail to show up for your class, you will ineligible to teach at the Loft in the future.
The Loft Literary Center is required by its policies and its insurance carrier to conduct a criminal background check on anyone who will work, in any capacity, with minors. Teaching artists who refuse the criminal background check will not be eligible to teach classes for children and/or teens.
Many Teaching Artists also offer private services, and many teach at other organizations. We're happy to include your website address in your Teaching Artist bio. Feel free to respond to student inquiries about your services and other classes, but please do not use class time to promote your services, books, or classes you teach at other organizations.
Applications for teaching at the Loft are now open. Applications for youth classes for fall term, 2019 are now being accepted and are due May 17, 2019. Fall term is September-December, 2019.
This form is for a youth, in-person class for fall term, 2019. If you are submitting for an online adult or youth class, please submit it in the online category. If you are submitting for an in-person adult class, please submit it in the adult in-person category. Thank you!
In the fall of 2019 the Loft will present the theme of "If"...we may or may not run a youth class or two in this theme, but you are welcome to propose something that would fit.
For youth, single session Saturday classes for writers in any genre, at any level, ages 6-8, 9-11, 12-14, 13-17, or 15-17 years. Our child and teen students have a range of skill levels and interests. We hope any writer looking in our catalog will find the class that's perfect for them.
Classes in fiction (world building, short story writing, novel writing, etc) and creative non-fiction (personal essay, particularly when centered around writing school essays or college application essays) do best for kids and teens in the fall; poetry does less well, though we're always happy to consider poetry class proposals. Themed youth classes around holidays also do well (Halloween, winter, the various holidays that happen in fall/winter).
Strong and flexible lesson plans. Loft classes give writers opportunities to engage with their teaching artist and one another, while also providing instruction on craft, engaging discussion, and in-class writing activities, as well as writing prompts students can work on between class meetings.
Reading lists should be inclusive and diverse; please ensure one perspective is not centered. The writing of people of color, indigenous writers, GLBTQ people, women - ALL are welcome!
Thematic Classes. We are looking for 1-2 classes that fit with the Loft's fall theme of "If" Proposals may be geared to writers or readers.
We have not had success with classes that feel academic in nature (e.g., assigning academic writing texts, reading lists that are too long, reading classes built around classics) or are too niche (e.g., somatic writing, writing in translation). Please get to know our catalog and current offerings to see what we do.
Feel free to inquire before writing a full proposal by emailing Jennifer Dodgson, jdodgson@loft.org, with a title and description. New teaching artists are encouraged to attach a CV.
Those teaching a class for readers, which are more discussion based, facilitated book clubs, with no writing instruction involved, will be paid a flat rate of $45 per hour, regardless of the number of students enrolled. Minimums remain 7, maximums remain 12-17, depending on the max choice of the teaching artist.


text:
By Orly Noy
Stop fantasizing about a coup in Israel
As the images of the attempted coup in Turkey flooded the media, some in the Israeli Left began fantasizing about our own version of a military takeover.
Supporters of the attempted military coup in Turkey seen standing atop a tank in Istanbul, July 16, 2016. (photo: Deepspace / Shutterstock.com)
Along with millions of others across the world, I closely followed the coup attempt in Turkey over the past weekend. Rather than being glued to the television, we stayed up until the early hours of the morning looking at Facebook Live feeds from the streets of Istanbul and Ankara.
What it means when occupation is the consensus
By Mairav Zonszein | June 28, 2016
What does it say when the IDF is the sanest voice in Israel?
By Yoni Mendel | December 4, 2015
Netanyahu has nothing to teach Europe about terror
By Samah Salaime | March 27, 2016
No less fascinating was the response to the coup attempt among many of my Facebook friends. Coups, it turns out, are an exciting thing — especially for societies that find it difficult to bring about their own revolutions, and are therefore resigned to observe other nations' revolts from far away. This becomes all the more relevant when coups try to topple regimes such Erdoğan's, whose policies vis-a-vis Turkish political dissidents and ethnic minorities have grown increasingly loathsome over the past few years.
And yet there was still something surprising, not to say strange and worrisome, about how quickly some of my friends — with whom I share much in common politically — not only cheered on the sight of tanks in the streets of Turkey, but even went as far as fantasizing about a similar scenario in Israel. For instance, the "Hadar Matzav" Facebook group, which was closely associated with the social protest movement in Israel, published the following status: "Think about this kind of thing happening here, on a Friday evening, army forces spread out quietly in strategic locations, and then at night fighter jets fly so low you can hear them — and suddenly everyone understands a coup is underway." They certainly were not the only ones.
Their interests, our interests
When people who are politically and socially engaged long, out of frustration, for a popular uprising by tanks and fighter jets, they assume that militaries are neutral institutions, bereft of any interests, which can be used as an "invisible" tool for carrying out the "will" of the people. Let the army take care of the bad guys, they say, and then it will transfer rule over to the people through democratic elections. In their eyes the military is nothing more than an all-powerful robot. The truth is that armies are organizations, and like any other organization they have their own agendas and interests — ones that not only don't always coincide with those of the public, sometimes they are diametrically opposed.
Israel's army, for example, has an express interest to not reveal details of the defense budget. So that we do not know how much money goes where, or what we are spending the largest part of the state budget on. Of course this position is expressed in terms of "security," but this will be, first and foremost, a clear organizational interest that grants the army extraordinary autonomy, which is translated into power. There is no single organization that does not dream about not having to provide reports on how it uses and manages its money. Our interests, as citizens, is the exact opposite: after all, this our tax money, and the ability to oversee the army's expenditures is directly tied to our ability to oversee the priorities that most affect our lives.
Take for instance the policy of forcing the army's top brass to retire at a relatively young age. Organizations can only dream of providing their workers with such lucrative conditions. Just say the magic catchphrase: public interest. That way the army can poach the best and the brightest! Yet no one has proven that this method works, and that all those who can start their second career under age 50 under the auspices of the IDF — all while receiving their pension — are our best and brightest. Secondly, who said that that having our best and brightest choose a military career — rather than, say, a career in education or medicine — is in the public's interest? Perhaps the public interest is that our education system can reward teachers with early pensions?
Longing for military law
The heads of the Arab city Umm al-Fahm, in the presence of Israeli military officials, sign an oath of allegiance to the State of Israel after the city came under Israeli control in the 1948 war.
These conflicts of interest become clearer in light of the fact that militaries are not just another organization. Along with the police, it is an organization that has a monopoly on violence. The army is a violent organization. Sometimes there is no other option but to use that violence, but its very nature necessitates far stricter public oversight. This is our responsibility as a citizens — a responsibility that Israeli society has no interest in, out of that very same, dangerous belief that the army's interests are "transparent" and coincide with that of the public.
Let's also remember that Israel already instituted military rule over its Arab citizens between 1949 and 1966. This same military regime continues to rule over millions of people in the West Bank. Is this what parts of the Israeli Left longs for? Just before we fantasize about tanks rolling down Tel Aviv's Rothschild Boulevard, ushering in the revolution that the social protests couldn't bring about, perhaps we can imagine what revolution looks like when it is dependent on an institution whose entire raison d'être is security threats and war.
This article was first published in Hebrew on Local Call. Read it here.
military rule
Palestinian Citizens of Israel
Rothschild Boulevard
social protest movement
Turkey coup
Building a new Mizrahi political home in Israeli politics
i_like_ike52
The "progressive" fantasy that Orly outlines goes as
"Let the army take care of the bad guys, they say, and then it will transfer rule over to the people through democratic elections"
But wait, the gov't they are dreaming of overthrowing by force WAS itself put into power
by democratic elections! What those hoping for this scenario is really that they DO NOT want a democratically elected gov't in power unless it is THEIR gov't. Otherwise, it has no right to be in power and thus should be ousted by force. It seems there is an assumption that once this "progressive" Israeii military junta takes over, they will ban parties such as the Bayit Yehudi, Likud or Lieberman's party in order to guarantee a "proper" outcome to the promised elecitons. So much for the democratic pretensions of those who are calling for this coup, that thinks in these terms. The word "democracy" may be on their lips, but so was it in Communist East Germany which called itself the "German Democratic Republic".
"But wait, the gov't they are dreaming of overthrowing by force WAS itself put into power by democratic elections!"
Only half true. The 4.4 million Palestinians Israel rules over in the West Bank, Gaza Strip and East Jerusalem did not have a vote in those elections. What shall we call the one state this state of affairs comprises? The "Jewish Democratic Republic"?
"those who are calling for this coup"
Nope. The verb the writer used was "fantasize." Not "calling for." A crucial difference if one is honest about it. If one is not trying to willfully misread the writer. Surely you are not going to tell us that you wish literally to come true, or to act out, every fantasy exercise you engage in in your own mind?
What's wrong with a Jewish Republic? The Palestinians and all the local Arab countries call themselves "Arab states" such as the "Arab Republic of Egypt" or "Syrian Arab Republic" and they all define Islam as the state religion. So why not a Jewish state?
BTW-The Palestinians had their own elections and they voted HAMAS into power (Abbas through them out in the West Bank, but HAMAS through him out of Gaza) which has promised a war to the death with Israel.
Bernie X
Stop fantasizing?
Orly.Stop projecting!
It is not the first time that I read about such a coup. If I may ask as an outsider, is there any remote possibility of an actual military coup in Israel? (I don't ask if it is desirable or not, but if there is a real possibility of it happening.)
@Oriol
No coups. Absolutely not.
Despite what Leftists and anti-Zionists tell you, Israel is a very cohesive society. It may not look like it is cohesive, but it actually is. For all his complaints, the average Israeli is happy and hopeful for the future. I don't get why, but its true.
Oriol Just a word of advice to self described 'outsider', don't get caught up in the I/P vortex. Fine a hobby. Go to the gym. The I/P vortex has claimed too many lives.
Stay away and you'll be happier for it.
This is a study in deliberately missing the point. My "Jewish Democratic Republic" or "JDR," obviously, was meant to connote the concept of a kind of Jewish "GDR," where the population is occupied and do not get to vote but the authorities keep saying everything is fine. So that the "D" in both JDR and GDR belongs in ironic quotes–you conveyed that by referencing the GDR but pretend to miss it when it applies to Israel. The Palestinians are ruled, for 49 years now, by Israel but cannot vote in Israeli elections. No amount of bluster about their voting internally among themselves, inside the prison cage of Greater Israel that actually rules them, will obscure this fact.
And Ike, you'll love this bulletin from the Israeli "JDR" police state:
'Defense Minister Avigdor Lieberman has summoned Army Radio chief Yaron Dekel because of the broadcast Tuesday night about Palestinian poet Mahmoud Darwish – part of a series on formative Israeli texts in the station's "University on the Air" program.
"This is a serious issue in which someone who has written texts against Zionism – which are still used as fuel for terror attacks against Israel – is included with his works as part of Israeli society's formative texts," Lieberman said via his communications adviser. Lieberman mentioned Naomi Shemer's song "Jerusalem of Gold" and Natan Alterman's poem "The Silver Platter," saying these should not be on the same list as Darwish's works. "It's obvious that this is something that constitutes a cultural decline and it's impossible to continue with business as usual," Lieberman said.'
Thanks for your answer, Bernie. I never had any doubt that Israeli society is very cohesive. If it weren't, Israel probably wouldn't exist right now. I simply read during the last weeks some elusive, rather confusing comments about the possibility / desirability of a military coup in Israel, and I wished to have some native opinion.
On the other hand, I am not sure that I understand your advice about a supposed "I/P Vortex". Well, right now I do not have a hobby like, say, collecting red toy cars, but I go often to the gym and I suppose I am a fairly healthy, muscular, middle-aged man. I hope I can go through your vortex unscathed.
I am a political activist, previously with the Coalition of Women for Peace and the Mizrahi Democratic Rainbow, and currently as an member of B'Tselem's executive board and an activist with the Balad political party. I deal with the lines that intersect and define my identity as Mizrahi, a female leftist, a woman, a temporary migrant living inside a perpetual immigrant, and the constant dialogue between them. I translate poetry and prose from Farsi, and I dream of building, if not a whole bookcase, then at least a modest shelf of Persian books in Hebrew as a political act in the struggle against the marginalization of Mizrahi culture in Israeli discourse.
More from Orly Noy
In Morsi's death, Israel proves it prefers a non-democratic Middle East


With the rapidly growing prevalence of drones on the construction site, it is no surprise that safety personnel are quickly starting to use this aerial intelligence to analyze project safety. Drone imagery and data does not replace project observations but for larger projects where site walks are not a quick or easy, drone imagery can provide valuable information at the ready in a safe, controlled and repeatable manner.
More flying space, for more project opportunity!
The FAA has officially announced the expansion of the LAANC program to airports nationwide. What this means is that now it is quicker and easier for FAA Part 107 licensed drone pilots to gain almost instant digital approval to fly most job sites and projects that are within controlled airspace.
Currently there are 6 airports participating in the "beta" version of LAANC. In the coming weeks LAANC will be rolled out nationwide to over 500 airports.
In the manual process, it can take a long period of time (90 days or more), to get an approval to fly in any controlled airspace. With so much development taking place near airports, the current slow approval system complicates our ability to make flights happen exactly when we need them to. Who wants to wait 90+ days?!
In the next iteration of this new digitized waiver/authorization process, we will be able to schedule drone flights during key phases of the projects, without delay, and complete aerial mapping with much shorter notice. Our network of 400 pilots who span the country are ready and willing to fly whenever we need them. Thanks to LAANC's newly expedited process, we plan on keeping them busy.
Learn more about our drone services and how we can help your next project!


An adventurous and fateful journey to West Africa made Katrin Rohde sell everything she owned in Germany and settle permanently in Burkina Faso. She gives a graphic report of how she began to take care of street children leading pitiful lives marked by hunger, drugs and crime in the capital city of Ouagadougou. Over the years Katrin Rohde has set up a number of facilities for children and teenagers: orphanages, workshops and training facilities for street kids, counselling centres for young women and girls, a clinic, and much, much more - always in accordance with the principle "helping people to help themselves". With self-assurance, courage and discipline, with humour and African equanimity she realizes her projects and ideas in what are often difficult conditions. Today everyone knows her there as "Mama Tenga" - "Mother Fatherland". A colourful and enthralling narrated autobiography, a testimony to human nature, that provides a deep and unusual insight into African reality and the life of people in Burkina Faso. Bonus features: Contains a picture gallery which shows everyday life at AMPO and the African country Burkina Faso.
Otros ebooks de KATRIN ROHDE.


text:
Q: Multiple software configurations with continuous integration workflow with STM32CubeIDE/MX, .ioc, and git Overview: Our workflow is described in this section.

*

*IDE: STM32CubeIDE

*Version Control: git

Within git we track: along with other folders for our Src

*

*.cproject

*.project

*Debug.cfg

*Debug.launch

*myProject.ioc

*STM32H743ZITX_FLASH.ld

*STM32H743ZITX_RAM.ld

*Core (Folder)

With CubeIDE and git we are able to successfully clone, generate .ioc and build our project successfully. The generation properly brings in the Drivers folder, and generates the Core contents. This also leaves any manual changes to the .cproject untouched.
We prefer to follow the git workflow to not track generated files, as they can be well generated.
Problem:
1: We have a need for multiple configurations in our software to support various versions/needs of the hardware we have. This way we have a single code base for the multiple similar software/hardware versions of the products we have. This would include software functionality being included/removed in the build with a #define or similar tag to support different product features/execution. This seems fairly straight forward in my opinion.
2: The part that becomes more difficult is handling .ioc/project differences, and generation. Some of the versions may not use the full list of peripherals we are using and we would like to disable these from being generated/building the project.
3: In trying to solve this problem, continuous integration (CI) came to mind, tools like Jenkins. This would allow us to automate the multiple builds to confirm a change for one project does break another. Has anyone been successful using STM32CubeIDE toolchain with Jenkins? I have found a few posts on the topic asking for help, with little to no helpful outcome. More information would be helpful.
Note: I have tried the CubeMX command line generation (ST Document UM1718 V31 Dec19) only to find out the project generation command overwrites the .cproject manual settings, something the IDE does not do in our current setup.
4: We are looking for input on how to modify our workflow, git repo or toolchain to better achieve this.
Potential Solutions:
A: Use the current git repo tracked files to generate code needed to build, use build options to configure software options.
Pros:

*

*works within the IDE

Cons:

*

*We were unable to get the CubeMx cli to work properly without writing over the manual .cproject changes we made, therefore Jenkins is not easily possible.

*Does not support .ioc configuration based on product version (at least as I am aware of)
B: Use the current git repo tracked files, but include a common source folder and a project folder with individual project folders for each version of the product.
Pros:

*

*Should work with IDE

*Allows multiple .ioc configurations to be able to drop certain peripherals from a product not using it.

Cons:

*

*More git complexity in tracking the project, and versions.

*Building is still manual (No CI/Jenkins), so common sources changes would need user to manually build multiple projects to confirm stability.

*We were unable to get the CubeMx cli to work properly without writing over the manual .cproject changes we made, therefore Jenkins is not easily possible.

Suggestions on workflow/toolchain limitations and improvements, or other workflows/toolchains would be helpful.

redpajama_set_name: RedPajamaStackExchange


text:
'use strict';

/* Directives */

var directives = angular.module('cosmosUI.directives', []).
    directive('appVersion', ['version', function (version) {
        return function (scope, elm, attrs) {
            elm.text(version);
        };
    }])

    .directive('errorBanner', function ($compile) {
        //TODO: create sub-scope with its own data attribute and clearError() method
            return {
                restrict: "E",
                template: '
' +
                    '    <button class="btn btn-xs btn-danger glyphicon glyphicon-remove pull-right" ng-click="clearError();"></button>' +
                    '
' +
                    '        Error code:' +
                    '        ' +
                    '
' +
                    '

' +
                    '
'
            }
    })

    .directive('page', function ($compile) {
        return {
            restrict: 'E',
            scope: {
                pageId: '=pageid'  // because pageId will translate to page-id
            },

            controller: ['$scope', '$location', '$routeParams', 'message', 'CosmosService', 'cosmos.settings',
                function ($scope, $location, $routeParams, message, CosmosService, settings) {

                    $scope.routeParams = $routeParams;

                    $scope.getConfigurationByUrl = function (url) {
                        CosmosService.get(url, function (data) {
                                if (data.loginRequired && !loggedIn()) {
                                    var curUrl = $location.url();
                                    $location.url("/login/?redirect=" + curUrl);
                                }
                                else {
                                    $scope.pagedef = data;
                                }
                            },
                            function (data, status) {
                                if(status == 401){
                                    var curUrl = $location.url();
                                    $location.url("/login/?redirect=" + curUrl);
                                }
                            }
                        );
                    };

                    $scope.getConfiguration = function () {
                        if (!$scope.pageId) {
                            return;
                        }

                        $scope.appPath = $routeParams.appPath;

                        settings.getAppSettings($scope.appPath, "pageconfigobject", function (objectName) {
                                var url = '/service/' + objectName + '/' + $scope.pageId + '/';
                                $scope.getConfigurationByUrl(url);
                            },
                            function (status, data) {
                                var url = '/service/cosmos.pages/' + $scope.pageId + '/';
                                $scope.getConfigurationByUrl(url);
                            }
                        );
                    };

                    $scope.getTemplate = function () {
                        var template = '' +
                            '
\n' +
                            '        <field item="field"></field>\n' +
                            '
\n' +
                            '{{page}}' +
                            '';
                        return template;
                    }
                }],

            link: function (scope, element, attributes) {
                console.log("Creating page");
                scope.pagedef = {};
                var template = scope.getTemplate();
                if (!template) {
                    return;
                }

                scope.getConfiguration();

                var newElement = angular.element(template);
                $compile(newElement)(scope);
                element.replaceWith(newElement);
            }
        }
    })

    .directive('objectview', function ($compile) {
        return {
            restrict: 'E',
            scope: {
                itemId: '=',
                configId: '='
            },

            controller: ['$scope', '$location', '$routeParams', 'message', 'CosmosService', 'cosmos.settings',
                function ($scope, $location, $routeParams, message, CosmosService, settings) {

                    $scope.routeParams = $routeParams;

                    $scope.getPageConfigurationByUrl = function (url) {
                        CosmosService.get(url, function (data) {
                                if (data.loginRequired && !loggedIn()) {
                                    var curUrl = $location.url();
                                    $location.url("/login/?redirect=" + curUrl);
                                }
                                else {
                                    $scope.pagedef = data;
                                }
                            },
                            function (data, status) {
                                if(status == 401){
                                    var curUrl = $location.url();
                                    $location.url("/login/?redirect=" + curUrl);
                                }
                            }
                        );
                    };

                    $scope.getPageConfiguration = function () {
                        if (!$scope.pageId) {
                            return;
                        }

                        $scope.appPath = $routeParams.appPath;

                        settings.getAppSettings($scope.appPath, "pageconfigobject", function (objectName) {
                                var url = '/service/' + objectName + '/' + $scope.pageId + '/';
                                $scope.getPageConfigurationByUrl(url);
                            },
                            function (status, data) {
                                var url = '/service/cosmos.pages/' + $scope.pageId + '/';
                                $scope.getPageConfigurationByUrl(url);
                            }
                        );
                    };

                    $scope.getConfigurationByUrl = function (url) {
                        CosmosService.get(url, function (data) {
                                $scope.config = data;
                                if($scope.config.pageId){
                                    $scope.pageId = $scope.config.pageId;
                                    $scope.getPageConfiguration();
                                }
                                else if ($scope.config.pagedef){
                                    $scope.pagedef = $scope.config.pagedef;
                                }
                                $scope.loadSingleItem();
                            },
                            function (data, status) {
                                //$scope.processError(data, status);
                            }
                        );
                    };

                    $scope.getConfiguration = function () {
                        $scope.appPath = $routeParams.appPath;

                        settings.getAppSettings($scope.appPath, "singleitemconfigobject", function(objectName){
                                 var url = '/service/'+objectName+'/' + $scope.configId + '/';
                                $scope.getConfigurationByUrl(url);
                            },
                            function(status, data){
                                var url = '/service/cosmos.singleitemconfig/' + $scope.configId + '/';
                                $scope.getConfigurationByUrl(url);
                            }
                        );
                    };

                    $scope.loadSingleItem = function () {

                        var objectName = $scope.config.objectName;
                        var columns = $scope.config.columns;

                        var columnsCsv = '';
                        angular.forEach(columns, function (column, index) {
                            columnsCsv += column.name + ",";
                        });

                        var url = '/service/' + objectName + '/' + $scope.itemId + '/?columns=' + columnsCsv;

                        CosmosService.get(url, function (data) {
                                $scope.data = data;
                            },
                            function (data, status) {
                                //TODO: $scope.processError(data, status);
                            }
                        );
                    };

                    $scope.getTemplate = function () {
                        var template = '' +
                            '
\n' +
                            '        <field item="field" val="$parent.data"></field>\n' +
                            '
\n' +
                            '';
                        return template;
                    };
                }],

            link: function (scope, element, attributes) {
                console.log("Creating page");
                scope.pagedef = {};
                var template = scope.getTemplate();
                if (!template) {
                    return;
                }

                scope.getConfiguration();

                var newElement = angular.element(template);
                element.replaceWith(newElement);
                $compile(newElement)(scope);
            }
        }
    })

    .directive('rawhtml', function ($compile) {
        return {
            restrict: 'E',
            scope: {
                htmlUrl: '='
            },

            controller: ['$scope', '$location', '$routeParams', 'message', 'CosmosService', 'cosmos.settings',
                function ($scope, $location, $routeParams, message, CosmosService, settings) {

                    $scope.routeParams = $routeParams;

                    $scope.getHtml = function () {
                        var url= $scope.htmlUrl;

                        CosmosService.get(url, function (data) {
                                $scope.htmlBlock = data;
                                var newElement = angular.element($scope.htmlBlock);
                                $scope.element.replaceWith(newElement);
                                $compile(newElement)($scope);
                            },
                            function (data, status) {
                                //$scope.processError(data, status);
                            }
                        );
                    };
                }],

            link: function (scope, element, attributes) {
                console.log("Creating rawhtml element");
                scope.element = element;
                scope.getHtml();
            }
        }
    })

    .directive('objectpicker', function ($compile) {
        return {
            restrict: 'E',
            scope: {
                endpoint: '=?',
                items: '=?',
                template: '=',
                detailtemplate:'=',
                placeholder: '='
            },
            require: "ngModel",

            controller: ['$scope', '$timeout', 'CosmosService',
                function ($scope, $timeout, CosmosService) {
                    $scope.refreshData = function (q) {
                        if($scope.endpoint) {
                            var params = {q: q};
                            CosmosService.search($scope.endpoint, {params: params},
                                function (data) {
                                    $scope.items = data;
                                }
                            );
                        }
                    };

                    $scope.getTemplate = function () {
                        var refresh = "";

                        if ($scope.endpoint && $scope.endpoint.length > 0) {
                             refresh= 'refresh="refreshData($select.search)" refresh-delay="1000"';
                        }
                        var template = '\
                              <ui-select ng-model="selectedData.selected"\
                                         theme="bootstrap" \
                                         ng-disabled="disabled" \
                                         reset-search-input="false" \
                                         style="width: 300px;"> \
                                <ui-select-match placeholder="' + $scope.placeholder + '">' + $scope.template + '</ui-select-match> \
                                <ui-select-choices repeat="data in items track by $index" \
                                         '+refresh+' >' +
                                $scope.detailtemplate +
                                '</ui-select-choices> \
                              </ui-select>';

                        return template;
                    };

                    $scope.startWatch = function(ngModel){

                        $scope.$watch("selectedData.selected", function(newVal, oldVal){
                            if(newVal || oldVal) {
                                $timeout( function() {
                                    ngModel.$setViewValue(newVal);
                                    $scope.$apply();
                                });
                            }
                        });
                    }
                }],

            link: function (scope, element, attributes, ngModel) {
                console.log("Creating objectpicker element");
                scope.element = element;

                if(!scope.items){
                    scope.items = [];
                }

                scope.selectedData = {};

                var template = scope.getTemplate();
                var newElement = angular.element(template);
                scope.element.replaceWith(newElement);
                $compile(newElement)(scope);

                scope.startWatch(ngModel);

            }
        }
    })

    .directive('filectrl', function ($compile) {
        return {
            restrict: 'E',
            scope: {
                label: '=',
                objectName: '=',
                val: '=',
                required: '='
            },

            controller: ['$scope', '$location', '$routeParams', '$modal', 'message', 'CosmosService', 'cosmos.settings',
                function ($scope, $location, $routeParams, $modal, message, CosmosService, settings) {
                    $scope.routeParams = $routeParams;

                    $scope.browseFile = function(){
                        var modalInstance = $modal.open({
                            templateUrl: 'partials/browsefile.html',
                            controller: "BrowseFileController",
                            size: 'lg',
                            backdrop: 'static',
                            resolve: {
                                objectName: function () {
                                    return $scope.objectName;
                                }
                            }
                        });

                        modalInstance.result.then(
                            function (selectedFile) {
                                $scope.fileName = '/gridfs/'+selectedFile.collection_name + '/'+selectedFile.file_id +' ['+selectedFile.filename+']';
                                $scope.selectedFile = selectedFile;
                                $scope.val = '/gridfs/'+selectedFile.collection_name + '/'+selectedFile.file_id;
                            },
                            function () {
                                //$log.info('Modal dismissed at: ' + new Date());
                            }
                        );
                    };

                    $scope.getTemplate = function () {
                         var template = '{{label}} * ' +
                                '<input readonly class="form-control" type="\'text\'}}" ng-model="val" title="{{fileName}}"/>'+
                                '<button ng-click="browseFile()" class="btn btn-sm btn-primary">Brwose</button>';
                         return template;
                    };
                }
            ],

            link: function (scope, element, attributes) {
                var template = scope.getTemplate();

                console.log("File ctrl template" + template);
                var newElement = angular.element(template);
                element.replaceWith(newElement);
                $compile(newElement)(scope);
            }

        }
    });

controllers.controller('BrowseFileController', ['$scope', '$modalInstance', 'CosmosService', 'objectName',
    function ($scope, $modalInstance, CosmosService, objectName) {
    $scope.fileObjectName = objectName;

    $scope.uploaded_files = [];

    $scope.setAction = function () {
        document.uploadForm.action = "/gridfs/" + $scope.fileObjectName + "/";
        $scope.getFiles();
    };

    $scope.selectFile = function(file){
        $scope.selectedFile = file;
    };

    $scope.getFiles = function () {
        CosmosService.get('/gridfs/' + $scope.fileObjectName + '/', function (data) {
                $scope.uploaded_files = data;
            },
            function (data, status) {
                $scope.processError(data, status);
            }
        );
    };

    $scope.onFileUploadLoaded = function () {
        var responseText = this.contentDocument.body.innerText;

        if (responseText) {
            var values = JSON.parse(JSON.parse(responseText)._d);
            angular.forEach(values, function (data, index) {
                $scope.uploaded_files.push(data);
            });
            $scope.$apply();
        }
        // Clear the iframe control
        $('#submit-iframe').remove();
        jQuery("#fileList").empty();
        jQuery("#fileList").append(jQuery('<input class="file-selector" name="uploadedfile" type="file" onchange="angular.element(this).scope().fileNameChanged()" />'));
    };

    $scope.uploadFile = function () {
        jQuery("#iFramePlaceholder").html("");

        jQuery("#submit-iframe").load($scope.onFileUploadLoaded);
        document.getElementById("uploadForm").submit();
    };

    $scope.fileNameChanged = function (fileInput) {
        var emptyFound = false;
        angular.forEach(jQuery("#fileList").children(), function (data, index) {
            if (!data.value) {
                emptyFound = true;
            }
        });

        if (!emptyFound) {
            jQuery("#fileList").append(jQuery('<input class="file-selector" name="uploadedfile" type="file" onchange="angular.element(this).scope().fileNameChanged()" />'));
        }
    };

    $scope.removeFile = function (index) {
        var file = $scope.uploaded_files[index];
        if (confirm('Are you sure you want to delete the file ' + file.filename + '?')) {
            var file_id = file.file_id;
            CosmosService.delete('/gridfs/' + $scope.fileObjectName + '/' + file_id + '/', function (data) {
                    $scope.uploaded_files.splice(index, 1);
                },
                function (data, status) {
                    $scope.processError(data, status);
                }
            );
        }
    };

    $scope.ok = function () {
        $modalInstance.close($scope.selectedFile);
    };

    $scope.cancel = function () {
        $modalInstance.dismiss('cancel');
    };

}]);

redpajama_set_name: RedPajamaGithub


text:
Rambling Feet
The inspiration to take your next step
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Baldwin Street: How Steep is the World's Steepest Street?
New Zealand /	NZ South Island /	0 Comments
Let's get the mundane facts about Baldwin Street out of the way first. This 350-metre stretch of road in Dunedin, New Zealand is recognised by the Guinness World Records as the world's steepest street. Its official maximum gradient is 19 degrees (though there are little bits that are 21 degrees); in other words, the ground rises a metre for every 2.86 metres you cover horizontally. You might be able to find another place or two with a slightly steeper slope, but it isn't in the records.
The inclusion of roads like Baldwin Street that lead up the rugged slopes of Signal Hill was entirely intentional. In the mid-19th Century, Charles Kettle surveyed Dunedin and designed its city plan based on the widely-admired layout of Edinburgh New Town. Kettle died before the bold plans were realised, but a mining and farming boom ensured that they became reality.
A remarkable location comes with remarkable events, like the Jaffa Race and the Gutbuster (more details below). It's tempting to grab a GoPro and do something even crazier, so here's a reminder that one student died and another suffered serious injuries when they rode a wheelie bin down the slope in 2001.
Enough of the dry stuff that you can find on the web; how steep is Baldwin Street in the flesh?
How steep is Baldwin Street IRL?
As I stood at the end of the street, I wanted to ask my friend Sheila if she knew anything about belaying. I was sure that I was facing a cliff, not a hill.
The concrete upper section adds to the wall-like appearance of Baldwin Street. Asphalt is avoided for safety reasons: in hot summers, it would melt and slide right off, while in winter it would get too slippery. This is not a place where unattended wheelchairs stay put.
After adjusting my photos to make the ground level, I have gravity-defying core muscles. The houses around me don't seem to fare so well, though.
Keep a brisk and steady pace up the hill and it rewards with a good pump from the heart to the glutes, hamstrings and calves. After the workout, the drinking fountain at the top was a thoughtful and welcome feature. There's also a pretty mural of the street view from the bottom.
However, it can't beat the view of the valley below. I swear people wouldn't crawl up hills and throw themselves off planes and bridges in NZ if it wasn't for the scenery. One does not forget memories like this in a hurry.
If you drive into Dunedin from the north via SH1 (from a place like Oamaru or Moeraki), make a left turn on Great King Street and keep going straight. After the park at the junction, it becomes North Road; look out for Baldwin Street roughly 1.5km later on the right, after Black Street. You can also take bus No. 9 or 9A from the Octagon (Stand 2 on Princes Street or Stand 8t on George Street; 25 minutes, $3.40 one-way in cash).
See also The First Singaporean Guide to a New Zealand Working Holiday
Every July, 25,000 Cadbury Jaffa chocolates are released from the top of the hill in the Jaffa Race. There are winning tickets and the proceeds go to charity, but no one knows (or cares) which candy crosses the line first.
In February, Baldwin Street hosts the Gutbuster, a foot race up and down the slope. Never has a race been more appropriately-named. The record, if you want to know, is 1 min 56 s – I can't even run that fast on level ground.
This is probably what I'd look like if I returned for the Gutbuster
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Cyberware in Shadowrun tends to be awfully standardized. Despite hundreds of companies, and thousands of individual physicians and tinkerers, there really aren't very many items available. That never seemed especially satisfactory somehow – so we broke the stuff down into subsystems and let people design their own cyberware, mixing and matching as needed to produce just the system they wanted. In this case we're covering Basic Neuralware – the items designed to interface directly with the central nervous system. Computerized augmentations – intelligence boosters, biofeedback enhancers, and so on – are basically simply programs, and can run on either dedicated special-purpose processors or on dedicated systems. In either case, they are add-ons to basic Neuralware systems.
Actlinks relay activesoft directives to the user's motor centers. Unfortunately, this doesn't work very well; the effective rating of the `soft is halved – and is still limited to the user's (Unaugmented "related" attribute)/2 (Round down in both cases). This is why skillwires were invented; Actlinks didn't work at all well for anyone lacking exceptional natural talent, and had severe limits even then. There is one exception; Riggers need not divide either the rating or the base attribute by two as long as they're using a skillsoft to direct something through a VCR. They are, however, still limited to a maximum effective skillsoft rating equal to the base attribute.
Direct Neural Interfaces translate neural commands into electronic ones and transmit them to other devices via a basic fiber-optic network. Operated in reverse, the system can relay electronic impulses to the brain – although it can usually only interpert simsense and/or biofeedback signals properly. Thanks to the immense data-transmission capacity of fiber optic systems, it is a simple matter to connect additional systems; one simply uses a standard tap. For those with a lot of cybersystems to link up, it may be advisable to add a dedicated microcomputer (.1 Ess) to keep the signal routing straight. A few people use a secondary system so that they can isolate some items from the primary.
Hotwires and Coldwires either stimulate (Hotwire) or suppress (Coldwire) specific brain centers located in the Hind- (Level I. Responsible for body regulation, pleasure, pain, fight-or-flight responses and so on), Mid- (Level II. Responsible for complex emotions, the voluntary motor centers, switching between sleeping and waking states, most sexual responses, and instinctive behavior), and Fore- (Level III. Conscious memory and thought, mathematics, music, language, imagination, and most "higher" functions) Brain. As a general rule, an appropriate wire stimulus provides a bonus/penalty of up to +/-2 (Dice or target number) on "relevant" acts OR will induce/enhance a particular behavior pattern/ physiological mechanism. Unfortunately, while neural centers can safely be suppressed almost indefinitely, stimulating them will fatigue them fairly quickly. If the tactic is overused, neural damage may result. (While the information on the brain's divisions is not entirely accurate, it'll do for game purposes. It must also be noted that some behavior patterns – such as "berserker rage" – can have drastic effects on the character's capabilities).
Knowsoft Links are described in the basic book.
Skillwires come in a variety of styles. Old 2040's systems (Mark-40's), the 2050's Skillwire Plus system (Mark-50's) – and current 2060's systems (Mark-60's). They have, not unexpectedly, become more effective as time passes and improvements are made.
Skillwires are a problem. For non-mages, skills are one of the primary ways to individualize a character. They're also one of two basic "sinks" for good karma. Seeking out and interacting with an instructor offers many interesting roleplaying opportunities.
Skillwires ruin all of that. Nobody likes it much when some bozo with `wires and a pocket full of chips demonstrates that learning skills was a waste of time and karma. While someone with a very high skill will still outshine said bozo, they're far less versatile.
Forbidding skillwires. This may be accomplished thru GM fiat, raising NY/Essence costs to prohibitive levels, or simply by vetoing characters designed with them. Simple, if not entirely satisfactory.
Reducing their effectiveness. The rules already provide for this in one form by forbidding the use of dice pools in conjunction with `soft-derived skills.
Making them difficult to find. The easiest way to do so is to set their "availability" at 2x(Rating) rather then (Rating). This is a recommended solution. It leaves them available and versatile – but unlikely to overshadow the other characters, since their users won't be able to start out with high level `wires and will have a difficult time getting them later.
Transducers "convert" higher-order brain functions into computer data formats. At L1 they can convert the relatively simple patterns of the speech centers – an effect close to pure telepathy. At L2 it can generate visual images as the user envisions them – and at L3+ it can convert memories, dreams, and even patterns of neuromuscular responses, into usable formats, such as "Skillsofts" (Maximum rating equals the system rating minus two, the process requires at least a week).
A quick question about hot/cold wires: are these universal or specific? as in if I buy hot wires for one purpose, do I have to buy them again for another aplication in the same level of the brain?
if I buy rank 3 hot wires, do I need to buy any more hot wires ever again?
Unfortunately, they're specific to particular brain centers. For example, you can buy Hotwires that induce berserker rage (an unsophisticated L1 neural function, .05 essence and very effective for it – and also very dangerous to use), andone that enhances your ability with mathemetics and computations (a handy function, costing .15 essence). Coldwires are a little more involved to install, since shutting down a neural center is more complicated than stimulating it, but are just as specific. Nevertheless, the ability to shut down pain on command can be quite useful – or lead to the user ignoring the fact that they're dying.
(1) Prices in newyen? Are they different than similar items in the books? I am mostly sure hot and coldwires are not in any of them.
-Considering that getting it involves delicate brain surgery, Neuralware is astonishingly cheap. Apparently getting someone to interface a computer with your brain costs about the same as getting your ears bobbed, and less than a fingertip compartment, a pocket secretary, or an electric scooter.
Direct Neural Interface: 500 NY (Listed in the sourcebooks, but not at all the same thing or the same price. This version is basically a component of a standard datajack; the one in the books is a pointless add-on to various pieces of equipment; if you want a data-translator get a central microprocessor for it).
Knowsoft Link: 1000 NY (From the basic book).
Skillwires: In first and second edition the cost was R1-3 x10 KNY, R4-6 x 100 KNY, and R7+ x 1 MNY. The rules were drastically revised – essentially making high-end wires unavailable and low-end ones much cheaper – in third edition. I'm using the older structures, since they're simpler and scale better. I'm also using the Availability = 2x Rating rule, so if you want to start with Skillwires above R3 you'll need to take an appropriate advantage. Since we're starting in the mid-2050's, Mark-60 skillwires are not available at all, but the prices on Mark-40 systems are currently down about 25% and their availability rating is reduced by 2.
Transducer: Rating x 2000 NY (Rating-1 Transducers are found in the sourcebooks, but these are drastically revised).
-Normal spells do, indeed, work on plants just fine. As of yet, no one has publicly reported an experiments with using boosting spells to give them attributes they don't normally have. Most people who want to do that use transformation spells instead.


Fantastic Sylter 4-room apartment with sea view and about 90 m² living space up to 5 persons Here you can enjoy the far-sightedness and the view of the North Sea. The glass gable offers a beautiful view and ensures a pleasant and bright room atmosphere. The domicile in the upper and attic convinced with a very lush space and many extras. Upstairs you will be welcomed byKitchen: A practical and bright Sylt kitchen with all the necessary comforts. Living / dining area: Cozy dining area with the electric, antique tiled stove, a comfortable living area and TV. In addition, from here you can reach the sunny, spacious balcony, including the sound of the sea and distant views over the pristine heathland. Bathroom: shower room with WC. Bedroom 1: Bright double bedroom with plenty of storage space in the numerous closets. Via a staircase you reach the gable and bedroom 2: Super comfortable living area with sofa area and stunning views, and a built-in bunk bed. Bedroom 3: Cozy, double bedroom with a shower room and toilet. Pets: NoNon-smoking: Special features: Your car has its own parking space. In a few minutes you can walk to the beautiful sandy beach or the beautiful promenade. With your bike you will soon reach the good shopping, restaurants and the beautiful bike paths.


text:
Kirk Hammett Celebrates Jimmy Page's Birthday While Saying He's Always An Inspiration For Him
Enes K.
The lead guitarist and also the contributing songwriter of Metallica, Kirk Hammett, has posted a new photo on his official Instagram account today and celebrated Led Zeppelin co-founder Jimmy Page's 77th birthday.
Jimmy Page has born in Heston, Middlesex, England in 1944 and began his solo career as a studio session musician alongside Big Jim Sullivan. After founding Led Zeppelin and breaking up with The Yardbirds, he has become one of the most popular figures in England and ranked number three in Rolling Stone's 'Top 100 Greatest Guitarists of All Time.'
Today Kirk Hammett has taken his verified Instagram page and showed his admiration and respect to the Egnlish star. Kirk admitted that Jimmy will be an inspiration for him forever and sent his love.
After sharing the post, Kirk's photo with Jimmy was liked by over 130K people, and one of the users who liked it was Tool star, Adam Jones. According to the caption, the photo was taken by one of the most popular photographers of the industry and also the photographer of Metallica, Ross Halfin.
Here is what Kirk said:
"Happy Bday Jimmy!
You are such an inspiration to me, now and forever !!!
May you have many more with fine health and welfare – much love and aloha!!!"
You can check out the photo right below.
A post shared by Kirk Hammett (@kirkhammett)
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