The shed foundation you choose is a very important step in having a safe and secure shed. The foundation system includes more than just what you set the shed on. Here are a few things you need to know in order to build the best foundation possible.
The place you choose to place the shed will have a lot to do with the type of foundation you need to use. Ground that is uneven can cause you more problems with building a foundation. If the ground is not level, you may want to consider grading it so it will be easier on you. If you choose not to grade, you will have more work because the foundation needs to have an even surface. You may have to pour more concrete, or adjust the skids you use and the measurements can become skewed.
No matter where you place your shed, you will want to make sure there is some system in place for adequate drainage. Not having a drainage system in place can ultimately cause your foundation to crack or fail all together. A drainage system doesn't have to be fancy. It can be as simple as digging a few trenches down hill away from the shed. Whatever system you choose it's important to prevent water logging.
If you are planning a temporary structure you may want to use a skid foundation. These are great for renters, or those who are planning on moving and taking the shed with you. If you decide a skid foundation is best for you, then prepare the area by laying down gravel where the foundation will go. You will want this to be about two inches deep and at least a foot wider than the shed. This way when you lay down the skids and the shed, any water will not log the foundation or the floor of the shed in case of excess moisture.
Concrete solid blocks make a great base for a skid foundation. Make sure you are getting heavy grade concrete blocks, and make sure you have enough of them to line along the base of the foundation in rows. The more blocks you use, the more support you will have. An expert at your local hardware store can help you estimate the number of blocks you will need for the size and weight of your shed. After the blocks are laid in rows, you can use straight 2X4's to check to ensure they are level. You can then construct a frame that will extend beyond the concrete blocks by about a foot. The frame needs to be able to support the weight of the shed, and most experts recommend using 4X6 timber for this project.
These are designed to be permanent, and will require more work. For this you will need to dig a trench surround the shed area and use layers of metal in the trench for extra support. This also helps to prepare the area so you can avoid spilling over the perimeter. You can then pour the concrete in sections in the area you are working with. If it's a small area you can pour the concrete in to the entire frame you've set up. You can use a 2X4 to spread the pull the concrete and even it out. Use finishing tools, like a trowel and bull float to smooth it out.


text:
package org.scalastyle

import scala.xml.Elem
import scala.collection.JavaConversions.collectionAsScalaIterable
import com.typesafe.config.ConfigFactory

object Output {
  val config = ConfigFactory.load()
  // messageHelper passed in here to work around a scala compiler bug?
  def findMessage(messageHelper: MessageHelper, key: String, args: List[String], customMessage: Option[String]): String = {
    customMessage match {
      case Some(s) => s
      case None =>
        val msg = messageHelper.message(config, key, args)
        msg
    }
  }
}

trait Output[T <: FileSpec] {
  private var errors = 0
  private var warnings = 0
  private var infos = 0
  private var files = 0

  def output(messages: Seq[Message[T]]): OutputResult = privateOutput(messages)

  def output(messages: java.util.List[Message[T]]): OutputResult = privateOutput(collectionAsScalaIterable(messages))

  private[this] def privateOutput(messages: Iterable[Message[T]]): OutputResult = {
    messages.foreach(m => {
      eachMessage(m); message(m)
    })
    OutputResult(files, errors, warnings, infos)
  }

  def eachMessage(m: Message[T]): Unit = m match {
    case StartWork() =>
    case EndWork() =>
    case StartFile(file) => files += 1
    case EndFile(file) =>
    case StyleError(file, clazz, key, level, args, line, column, customMessage) => level match {
      case WarningLevel => warnings += 1
      case InfoLevel => infos += 1
      case _ => errors += 1
    }
    case StyleException(file, clazz, message, stacktrace, line, column) => errors += 1
  }

  def message(m: Message[T]): Unit
}

case class OutputResult(val files: Int, val errors: Int, val warnings: Int, val infos: Int)

class TextOutput[T <: FileSpec](verbose: Boolean = false, quiet: Boolean = false) extends Output[T] {
  private val messageHelper = new MessageHelper(Output.config)

  // scalastyle:off regex multiple.string.literals
  override def message(m: Message[T]): Unit = m match {
    case StartWork() => if (verbose) println("Starting scalastyle")
    case EndWork() =>
    case StartFile(file) => if (verbose) println("start file " + file)
    case EndFile(file) => if (verbose) println("end file " + file)
    case StyleError(file, clazz, key, level, args, line, column, customMessage) => if (!quiet || verbose) {
      println(messageHelper.text(level.name) + print("file", file.name) +
        print("message", Output.findMessage(messageHelper, key, args, customMessage)) +
        print("line", line) + print("column", column))
    }
    case StyleException(file, clazz, message, stacktrace, line, column) => if (!quiet || verbose) {
      println("error" + print("file", file.name) + print("message", message) + print("line", line) + print("column", column))
    }
  }

  // scalastyle:on regex

  private def print(s: String, no: Option[Int]): String = if (no.isDefined) print(s, "" + no.get) else ""

  private def print(s: String, value: String): String = " " + s + "=" + value
}

object XmlOutput {
  def save[T <: FileSpec](target: String, encoding: String, messages: Seq[Message[T]]): Unit = save(new java.io.File(target), encoding, messages)

  def save[T <: FileSpec](target: String, encoding: String, messages: java.util.List[Message[T]]): Unit =
    save(new java.io.File(target), encoding, scala.collection.JavaConversions.collectionAsScalaIterable(messages))

  def save[T <: FileSpec](target: java.io.File, encoding: String, messages: Iterable[Message[T]]): Unit = {
    val width = 1000
    val step = 1
    val messageHelper = new MessageHelper(Output.config)

    val decl = """<?xml version="1.0" encoding="""" + encoding + """"?>"""
    val s = new XmlPrettyPrinter(width, step).format(toCheckstyleFormat(messageHelper, messages))
    // scalastyle:off regex
    printToFile(target, encoding) {
      pw => pw.println(decl); pw.println(s)
    }
    // scalastyle:on regex
  }

  private def printToFile(f: java.io.File, encoding: String)(op: java.io.PrintWriter => Unit): Unit = {
    val p = new java.io.PrintWriter(f, encoding)
    try {
      op(p)
    } catch {
      case e: Throwable => throw e
    } finally {
      p.close()
    }
  }

  case class Alert(filename: String, severity: String, message: String, source: Option[Class[_]], line: Option[Int], column: Option[Int])

  private[this] def toCheckstyleFormat[T <: FileSpec](messageHelper: MessageHelper, messages: Iterable[Message[T]]): Elem = {
    <checkstyle version="5.0">
      {messages.collect {
      case StyleError(file, clazz, key, level, args, line, column, customMessage) =>
        Alert(file.name, messageHelper.text(level.name), Output.findMessage(messageHelper, key, args, customMessage), Some(clazz), line, column)
      case StyleException(file, clazz, message, stacktrace, line, column) =>
        Alert(file.name, "error", message, clazz, line, column)
    }.groupBy {
      _.filename
    }.map {
      case (filename, alerts) =>
        <file name={filename}>
          {alerts.map {
          case Alert(filename, severity, message, source, line, column) => {
            val s = source.collect {
              case x: Class[_] => x.getName()
            }
              <error severity={severity} message={message}/> % attr("source", s) % attr("line", line) % attr("column", column)
          }
        }}
        </file>
    }}
    </checkstyle>
  }

  private[this] def attr(name: String, value: Option[Any]): xml.MetaData = value match {
    case Some(x) => xml.Attribute("", name, x.toString, xml.Null)
    case None => xml.Null
  }
}

redpajama_set_name: RedPajamaGithub


text:
Natives, Explorers, Tobacco and Buccaneers
Natives, Explorers, Tobacco and Buccaneers (HMC9U)
Location: Gloucester Point, VA 23062 Gloucester County
N 37° 15.029', W 76° 30.09'
The Early History of Gloucester Point
"I made a draughte of our river?by us discovered." Robert Tyndall to Henry, Prince of Wales
In 1600, this tidewater land was part of a vast American Indian empire ruled by the Powhatan nation. English mariner and mapmaker Robert Tyndall found a narrow entrance to the York River in 1608. He was exploring the new Virginia Colony with John Smith and Christopher Newport. Tyndall sent a map back to England, calling these narrows "Tendales fronte." John Smith changed the name to ?Tendales Poynt" when he printed his famous Chesapeake map in 1624.
Strategic Tyndall's Point soon attracted interest. Tobacco plantations sprang up throughout the area. The colonial government built a tobacco warehouse at the Point to serve local planters shipping their crops to England. The first fort was erected here during a 1667 invasion scare from the powerful, seagoing Dutch.
As Gloucester became an established town in 1680, maritime wars continued with the Dutch, Spanish and French. The fort, with ten foot high dirt walls faced with brick, had fifteen cannon by 1711. In addition to threatened foreign invasions, pirates terrorized shipping and two were hung here in 1719. Over time, the defenses were neglected and often in poor condition.
(sidebar)
Virginians waited over 250 years to officially name their Point "Gloucester." Robert Tyndall noticed the Point in 1608 and put his name on it. The English built the first fort here in 1667 and named it for King James II. In the 1860s, Union forces named their camp and fort located here Gilpin and Keyes. By the late 1800s, Gloucester Point finally joined the county and town named for Henry, Duke of Gloucester, the third son of King Charles I.
HMC9U
Exploration, Native Americans, Settlements and Settlers
Saturday, October 11th, 2014 at 6:58am PDT -07:00
37° 15' 1.74" N, 76° 30' 5.40" W
At or near 1376 Vernon St, Gloucester Point VA 23062, US
Show me all markers in: Gloucester Point, VA | Gloucester County | 23062 | Virginia | United States of America
After the Surrender at Yorktown
Welcome to Gloucester Point
Gloucester Point
Early Land Patent
A Vital British Outpost at Gloucester Point
Attacking with "Decisive Vigor"
The British Safety Valve
Where North Meets South
On to Richmond!
This marker can also be identified by its HM code. You can use the hashtag #HMC9U in tweets, and any other place where you might refer to this marker, including when searching on this site.

redpajama_set_name: RedPajamaCommonCrawl


289 sqm. living area on top floor, 3 bedroom, 4 bathroom, 3 balconies, kitchen,dining room, 2 storage rooms, washing-room, sea view and city view, very nice fully furnished and decorated, completely renovated after the owner moved out, and nearly all the furniture is brand new. , good project, security, communal pool,The unit is available in foreigner name, Jomtien is growing rapidly, becoming more and more city-like. Prices for the most attractive locations follow suit, making this one of the best investments objects in the area.


text:
ABC Weekend Specials è una serie televisiva statunitense trasmessa sulla ABC dal 1977 al 1997.

È una serie di tipo antologico per ragazzi in cui ogni episodio rappresenta una storia a sé. Gli episodi sono storie in live action o animate di genere vario.

A partire dal 1979, la serie cominciò ad essere presentata da Michael Young, che continuò per due stagioni. Nel 1981, il ventriloquo Willie Tyler e il suo burattino Lester divennero i co-presentatori, apparendo in un segmento di apertura e in uno di chiusura dell'episodio. Nel 1984 fu il turno del personaggio animato Cap'n O. G. Readmore (protagonista anche di 5 episodi animati della serie).

Interpreti
La serie vede la partecipazione di numerosi attori cinematografici e televisivi e doppiatori (per gli episodi animati), molti dei quali interpretarono diversi ruoli in più di un episodio.

 Frank Welker (12 episodi, 1978-1994)
 Hal Smith (8 episodi, 1982-1988)
 Janet Waldo (7 episodi, 1980-1983)
 Nancy McKeon (6 episodi, 1979-1982)
 Linda Gary (6 episodi, 1980-1994)
 Michael Rye (6 episodi, 1979-1985)
 Katie Leigh (6 episodi, 1985-1994)
 Pat Petersen (5 episodi, 1977-1982)
 John Stephenson (5 episodi, 1979-1984)
 Alan Dinehart (5 episodi, 1980-1982)
 June Foray (5 episodi, 1980-1991)
 Will Ryan (5 episodi, 1985-1991)
 Billy Jayne (4 episodi, 1978-1983)
 Alan Young (4 episodi, 1980-1984)
 Nancy Cartwright (4 episodi, 1984-1994)
 Peter Cullen (4 episodi, 1983-1989)
 Ilene Latter (4 episodi, 1985-1988)
 B.J. Ward (4 episodi, 1985-1994)
 Shane Sinutko (3 episodi, 1978-1979)
 Robbie Rist (3 episodi, 1977-1981)
 Michael Bell (3 episodi, 1978-1985)
 Frank Cady (3 episodi, 1977-1978)
 Annrae Walterhouse (3 episodi, 1978-1981)
 John Joseph Thomas (3 episodi, 1978-1980)
 Eric Taslitz (3 episodi, 1979-1982)
 Olivia Barash (3 episodi, 1978-1981)
 Owen Bush (3 episodi, 1978-1981)
 David Wiley (3 episodi, 1979-1983)
 Ray Walston (3 episodi, 1986-1991)
 Walker Edmiston (3 episodi, 1980-1988)
 Derek Wells (3 episodi, 1978-1981)
 Joan Gerber
 Lucille Bliss
 Stan Jones
 Neil Ross (3 episodi, 1985-1988)
 Charles Adler (3 episodi, 1989-1994)
 Lauri Hendler (2 episodi, 1978-1981)
 Bryan Scott (2 episodi, 1979-1980)
 Kim Hauser (2 episodi, 1984-1985)
 Jane Withers (2 episodi, 1977-1981)
 Jack Elam (2 episodi, 1977-1979)

Produzione
La serie fu prodotta da American Broadcasting Company

Registi
Tra i registi sono accreditati:

Rudy Larriva in 7 episodi (1978-1981)
Robert Chenault in 5 episodi (1979-1983)
Charles A. Nichols in 5 episodi (1980-1984)
Larry Elikann in 4 episodi (1977-1983)
Rick Reinert in 4 episodi (1985-1988)
Stephen H. Foreman in 3 episodi (1978-1984)
Harvey S. Laidman in 3 episodi (1978-1982)
Arthur Lubin in 3 episodi (1978-1981)
Dennis Donnelly in 2 episodi (1978)
Manuel Perez in 2 episodi (1979)
Steve Lumley in 2 episodi (1983-1984)
Mark Cullingham in 2 episodi (1984-1985)
Claude Kerven in 2 episodi (1985)
Ron Underwood in 2 episodi (1986-1988)
Marija Miletic Dail in 2 episodi (1989-1994)
Ron Myrick in 2 episodi (1994-1995)

Sceneggiatori
Tra gli sceneggiatori sono accreditati:

Jim Carlson in 9 episodi (1977-1986)
Terrence McDonnell in 9 episodi (1977-1986)
Sheldon Stark in 8 episodi (1979-1982)
Malcolm Marmorstein in 8 episodi (1984-1988)
Rod Baker in 6 episodi (1979-1984)
Glen Olson in 6 episodi (1979-1984)
Ann Elder in 5 episodi (1978-1985)
Barbara Brooks Wallace in 4 episodi (1978-1982)
Cindy Leonetti in 4 episodi (1978-1981)
Catherine Woolley in 4 episodi (1978-1981)
Mark Evanier in 4 episodi (1979-1984)
Bruce Harmon in 4 episodi (1983-1986)

Distribuzione
La serie fu trasmessa negli Stati Uniti dal 10 settembre 1977 al 30 agosto 1997 sulla rete televisiva ABC.

Episodi

Altri specials

Occasionalmente, durante la fascia oraria Weekend Specials, la ABC ha mandato in onda una serie di speciali con il titolo ABC Saturday Morning Specials. Nel 1994 sono stati prodotti anche due special ABC's Wide World of Sports for Kids.

Note

Collegamenti esterni

 Scheda su ABC Weekend Specials di TVRage

redpajama_set_name: RedPajamaWikipedia


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The tab_footnote() function can make it a painless process to add a footnote to a gt table. There are two components to a footnote: (1) a glyph that is attached to the targeted cell text, and (2) the footnote text (that starts with the corresponding glyph) that is placed in the table's footer area. Each call of tab_footnote() will add a different note, and one or more cells can be targeted via the location helper functions (e.g., cells_data(), cells_column_labels(), etc.).
the text to be used in the footnote. We can optionally use the md() and html() functions to style the text as Markdown or to retain HTML elements in the footnote text.
the cell or set of cells to be associated with the footnote. Supplying any of the cells_*() helper functions is a useful way to target the location cells that are associated with the footnote text. These helper functions are: cells_title(), cells_column_labels(), cells_group(), cells_stub(), cells_data(), and cells_summary(). Please see the help article location_cells for more information on how these helper functions can be used. Additionally, we can enclose several cells_*() calls within a list() if we wish to link the footnote text to different types of locations (e.g., cell data values, stub group headings, the table title, etc.).
footnote.sep: allows for a choice of the separator between consecutive footnotes in the table footer. By default, this is set to a linebreak.
footnote.glyph: the set of sequential characters or numbers used to identify the footnotes.
footnote.font.size: the size of the font used in the footnote section.
footnote.padding: the amount of padding to apply between the footnote and source note sections in the table footer.


The screenplay for this film was featured in 2013's Blacklist; a list of the most liked unmade scripts of the year.
Filming took place in Toronto, Hamilton, Ontario and Boston.
Against its $20 million budget, the film has made $28.9 million at the box office.
Matt Damon was considered for the role of Michael Rezendes which went to Mark Ruffalo.
Director Tom McCarthy said most of the actors reached out to meet the reporters portrayed in the film and that many of those reporters spent a lot of time on set during filming.


text:
Yakuza 0 Launches On PlayStation 4 (video)
10:55 am January 25, 2017 By Julian Horsey
This week Sega has launched its popular Yakuza 0 game on the PlayStation 4 bringing its unique gameplay and style to the PlayStation platform. Watch the launch trailer below to learn more about what you can expect from the Yakuza 0 storyline and gameplay.
Yakuza 0 is the prequel to SEGA's long-running franchise, and a great starting location for those unfamiliar to the series.
Fight like hell through Tokyo and Osaka with protagonist Kazuma Kiryu and series regular Goro Majima. Play as Kazuma Kiryu and discover how he finds himself in a world of trouble when a simple debt collection goes wrong and his mark winds up murdered. Then, step into the silver-toed shoes of Goro Majima and explore his "normal" life as the proprietor of a cabaret club.
Switch between three different fighting styles instantaneously and beat up all manner of goons, thugs, hoodlums, and lowlifes. Take combat up a notch by using environmental objects such as bicycles, sign posts, and car doors for bone-crunching combos and savage take-downs.
Fighting is not the only way to kill time in 1988's Japan: from discos and hostess clubs to classic SEGA arcades, there are tons of distractions to pursue in the richly detailed, neon-lit world.
Source: PS
Filed Under: Top News


text:
Groundhog Dog Opens Eyes on Broadway with a New Take on a Beloved Film Classic
Broadway has changed a lot over the years, but it is still a place where much of the world's best live entertainment can be found. From thought-provoking plays to bombastic musicals, productions staged in New York's legendary theater district regularly make a splash all around the globe. Many of the most popular shows of recent years have started on Broadway, in fact, only to go on to years-long runs that take them all over the world. As a result, keeping up with the latest developments in Braodway theatre can be one great way to stay in tune with the most likely developments of the near future.
As the newest show on Broadway of all at the present time, Groundhog Day has some significant expectations to live up to. The recent history of Broadway has seen quite a few successful productions taking off from familiar points in other spheres of entertainment. Some of the best Broadway shows of recent times, in fact, have been either direct recreations of films, television shows, books, and the like, or at the very least inspired by them.
Groundhog Day is no exception, although its pedigree is distinctive enough to make it stand out. The highly regarded 1993 movie starring Bill Murray has remained popular through the quarter-century since, something that relatively few light comedies achieve. The original Groundhog Day accomplished this, in part, by putting a clever spin on the genre that the lead actor was especially well equipped to make work.
Murray's charismatic, slightly off-kilter screen presence has always been one that comes most into its own in unusual dramatic and comedic situations. The ever-repeating hours that motivated Groundhog Dag the film turned out to be a perfect match for Murray's patient but ironic outlook as an actor.
Although the early reviews for the just-opened Broadway show inspired by the film gave some pause, impressions since have range a lot more toward the positive. While the Broadway production might suffer some from the lack of the now-aged actor who became so closely identified with the film, theater goers seem satisfied that it makes up for this in plenty of other ways.
As a result, passes for Groundhog Day have quickly become some of the most sought-after Broadway theater Tickets of all at the present time. While it remains to be seen whether the show will become a blockbuster or achieve a bit less, it seems certain to repeat, in appropriate fashion, at least some of the successes of the film that inspired it.
/ site by SoloFolio wp_footer();


I just like to know things.
Over the last four years (five if you count the art school year), I've come to realize design is just one of those fields in which you can never stop learning. If you do, you'll easily get left in the dust wondering why on earth you'd want to design anything mobile-first. What I know, right now, will probably be outdated a year, six months, maybe even a week from now. Technology changes everything, it's impossible to guess where we'll be in five years, even one.
If college has taught me anything, it's that you have to at least like what you do. Like it enough to spend hours after work learning new concepts and ideas to keep up with the crowd. After all, if you're going to have to motivate yourself to keep learning about it for the rest of your design career, you're going to have the hardest time if you don't at least enjoy it. I've come to grips with the fact that what I'll know when I graduate this May won't be applicable in a year, maybe even six months from then. Your degree is just a foundation for the blocks you'll have to build and break down as you continue your career. Techniques will change and trends are called trends for a reason - they're just temporary.
Why so much change? Technology; Smart phones, smart glasses and now smart watches create new problems to be solved, and new boundaries to push.
The internet is a goldmine.
With a few keywords and some clicks, you can learn any and everything. Want to learn a new language? That's easy, just Google it. Always wanted to learn HTML but never knew where to start? Google it.
This abundance of available information makes finding resources easy, but can you trust it all?
The truth is, it doesn't matter. Learn something new – test, tweak, and adapt because next month there will be something new to learn. You may find a hidden gem, or a not-so-hidden rotten egg. The point is that you found it.
But it has to do with passion & interest.
Some people think that doing what you love or following your dreams is a waste of time – just get a normal job and earn your dollar. My thinking is if you don't have a passion or at least a liking for what you do, then why dedicate the extra time to improve your skills? After a long day of work, school, whatever, going home and sitting down to get through an online course on responsive web design doesn't sound so appealing, but it's something I've managed to push myself to do. There really are not short cuts, at least not until they develop a way to absorb information from books through osmosis.
But there are tons of resources, and many of them are free. For the last year or so I've signed up for about seven different classes on Skillshare, ranging from WordPress basics to how to build a brand. Once you've enrolled in the class you've got that information and its resources forever. Looking to start learning some code? CodeAcademy has got you covered, and it's free. What's better than free? Cupcakes and puppies, but they're not free.
And maybe, just maybe there's a stroke of boredom.
Some things I could do in my sleep, there's others I would rather sleep than do. I'll never know everything about design, and that, right there, is an instant boredom-killer. To stay motivated, inspiration and learning are going to get you through. Looking for a place to start to learn something new? Let me Google that for you.


DHX Media and Cartoon Saloon's upcoming animated kids series, Dorg Van Dango, is headed across the globe via a deal with Nickelodeon International.
Produced by the the Halifax-headquartered prodco with Ireland's Cartoon Saloon, the show follows a normal kid named Dorg as he goes on adventures with a gang of magical and mythical creatures disguised as teenagers. The 52-episode by 11-minute series is produced in association with DHX's Family Channel in Canada and Irish broadcaster RTE.
Through the deal with Nickelodeon International, the animated show aimed at 11-year-old's will be broadcast in the U.K., Australia, Scandinavia, France, Italy, Spain, Central Eastern Europe, Poland, Israel, Latin America, India, the Middle East, North Africa and in Asia, excluding China. Meanwhile, DHX's Family Channel will broadcast the series in Canada. Production on Dorg is currently underway at DHX's Vancouver studio with the show expected to be released internationally in 2020.
Dorg Van Dango is based on an original idea by animators Fabian Erlinghäuser and Nora Twomey and is developed and produced with the assistance of Screen Ireland and Creative Europe. Twomey recently directed Canada's 2018 Oscar nominee, The Breadwinner, an animated feature film from Toronto's Aircraft Pictures, Cartoon Saloon and Luxembourg's Melusine Productions.
Under DHX and Cartoon Saloon's partnership for the series, Cartoon Saloon handles Dorg's writing, designs, story boards and post-production, while DHX does Dorg's voice-overs, animation, character and background builds. Cartoon Saloon is also responsible for the show's distribution in Ireland and the U.K. DHX handles distribution for Dorg Van Dango in all other territories.


M83 has some more Junk for his fans to sift through. An upcoming 12-inch single will package that record's "Go!" with some remixes, and you can take a whiff of Animal Collective member Deakin's redo ahead of the official December 16 due date.
Deakin offers a pretty serene set of sounds, mixing Mai Lan's countdown-styled vocals together with conch shell clacks, wind chimes, a few mid-phase synths and kettle boil washes of white noise.
You can sample the redo down below. The forthcoming "Go!" 12-inch an 8-bit version of the song and a B-side called "Altered Love."


As people, we communicate in three ways; the way we look, the way we sound and the way we behave. So why should it be any different when it comes to your Company? Your Company's identity is represented by every employee, all of your literature, your logo and your website. Effective copywriting is key to getting your message across in your tone of voice, so that your Company's communication is consistent. If you are friendly, then sound friendly and don't use industry jargon!
What we say is a result of our experiences, our goals and our principles; but how we say it is down to our personality.
Don't get me wrong, the content of your copy is crucial to how you come across – are you professional, trustworthy, do you know what you are talking about, do you have the right experience – but it's your tone of voice which results in the successful delivery of your message.
Let's take one of my latest web copywriting projects as an example. The Dame Hannah Rogers Trust provides education, care, therapy and outdoor pursuits for children and adults with profound physical and learning disabilities in Devon. I was asked to refresh the charity's website to make it friendlier, more accessible and less clinical. The challenge for me was making sure their professionalism and expertise came across, that their inclusive and holistic approach was apparent, and that they were friendly (visit www.discoverhannahs.org and see if you think I have achieved this). Remember, copywriting is a balancing act, but once you have found your tone of voice the content usually takes care of itself.


Hawaii craftsman Jerry Kotz creates stunning lathe-turned vessels with woods he finds near his home in Havi, on the north coast of the Big Island.
After retiring from the USMC as a pilot, Jerry spent the next 10 years racing yachts, completing the Trans Pac in 1993. During that time, he took up wood-turning, which has been his passion for over 30 years.
Jerry has never seen a chunk of wood that he could not carve into a beautiful vessel. He prides himself in finding the beauty in all natural Hawaiian woods.


It's time once again to be SuperFly.
Sony Pictures has unveiled the official teaser trailer to the modern-day update of the classic 1972 Blaxploitation film, immortalized by the late Ron O'Neal in the role of Youngblood Priest, who rises to the top of the drug dealing chain only to decide that he has to retire before he ends up either in prison or six feet under.
In this modern day version from the marvelously named Director X, Trevor Jackson brings Youngblood Priest to modern day Atlanta, where he has been working hard since the age of 11 and has risen to the top only to realize he will eventually face consequences if he continues the game. Jason Mitchell, Michael Kenneth Williams, Lex Scott Davis, Antwan "Big Boi" Patton, and Jacob Ming-Trent co-star in the reboot, which was written by Alex Tse, who co-wrote the live action Watchmen movie.
SuperFly is due for a June 15th release date from Sony Pictures.


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MSO7898 - Porlock Stone Circle (Monument)
A prehistoric stone circle about 24.5m in diameter on Porlock Allotment. The circle was suggested to have originally consisted of 43 stones. 21 were recorded in 1928 of which 14 now remain. Of these, 7 are standing and 7 are recumbant.
STONE CIRCLE (Late Neolithic to Late Bronze Age - 2350 BC to 701 BC (Possible))
Principal Archaeological Landscape 13: Porlock Allotment
Scheduled Monument 1006189: Stone circle, Porlock Common
Stone Circle (NR) The stone circle on Porlock Allotment, to the west of the road from Porlock to Exford discovered by Mr. E. T. McDermott, is 80 feet in diameter. The stones would probably have stood originally about 6 feet apart, suggesting an approx. number of 43. The remaining stones consist of 10 standing stones and broken off stumps, and 11 prostrate stones. [1] The site was discovered in 1928 by E.T MacDermot and is 80 foot in diameter. There are 10 stones standing and 11 prostrate. The Probable approximate number of stones is 42 - others have been found by digging. The stones are of local green micaceous sandstone. Several stones are out of alignment. This can be explained by soil creep or military activity. Digging was carried out systematically at intervals of c.1.83m as well as on targeted stones. A 'little excavation' was also carried out in the centre of the circle. No published record exists of where exactly these diggings took place, though the stone-by-stone descriptions that serve as an appendix to the report indicate specific cases of probing and digging. [2,25] Some of the fallen stones illustrated by St. G. Gray have been removed but all the earthfast stones remain. The tallest upright stone is 0.8 metres high, but the largest stone is a recumbent stone (St. G. Gray's No. 13) which is 1.9 metres long and 0.7 metres wide. The mound shown by St. G. Gray at SS 8453 4467 is a robbed and overgrown cairn. It has a maximum height of 0.4 metres and is listed by Grinsell as Porlock No. 3. Surveyed at 1:2500. [2-4] (SS 84514466) Stone Circle (NR) (SS 84534468) Cairn (NR) SS 844447. [5] This circle was greatly disturbed during the 1939-45 war. Many of the stones have fallen around a 24.4 metres circle, one about 1.9 metres at the south south east. [6] Stone circle, Porlock Common. Scheduled. Additional Bibliography. [7] This monument is situated towards the south edge of Porlock Common, on flattish ground just above the gentle south-west slope to Colley Water, which rises 300 metres to the East-South-East. There are views to the south and west across Porlock Allotment. Of 21 stones in an earlier survey [2] only 14 remain. Seven are standing, seven are fallen. Three stones have fallen since the earlier survey. Most noticeable is the disappearance of five stones from the south-west arc. One stone appears to be modern. All are of local sandstone. The fallen stones appear to lie close to their original positions; together with the surviving uprights they form a true (though not perfect) circle of circa 24.5 metres diameter. The majority of the stones are quite small but typical of Exmoor, only the fallen stone reaching unusually large proportions. The standing stones all have their major axis aligned around the circumference of the circle. The status of the central stone, Grays `central picket' is not at all certain. Central stones do occur elsewhere but are not common [6] and in this case unconvincing. A cairn formerly recorded with this circle is now recorded separately as SS 84 SW 129. It lies only 20 metres north-east of the circle centre. `Recumbant stones' north-east of the circle [13] could not be identified. There is a general scatter of stones around the site but none which can be reliably connected. [10] The disappearance of one third of the stones since 1928 is alarming. The site is close to a gate and cattle pens and persistently trampled, vehicles pass close by and two stones have been recently chipped. [13] Some of the stones may have been removed but the earthfast ones remain. The tallest is 0.8 metres high but the largest is recumbent, 1.9 metres long and 0.7 metres wide (Gray's no 13). [14] Scheduled as AM 201 but not yet visited by HBMC Field Monument Warden. Other stones and mounds nearby may be connected ((MSO7926, MSO7924, MSO7925, MSO11544). [15] Mr St George Gray was informed by ET MacDermot of the existence of the stone circle in 1928. It was found to be eighty feet in diameter and the survey shows 21 stones remaining, some very small, the largest (now recumbent) 6.3 feet in length. When the survey was made, there were 10 standing stones and stumps remaining, and 11 stones prostrate, all of which fell pretty accurately on the line of the circle except those on the south and southwest. But during the war it is believed that the circle was somewhat disturbed in military training. The stones are green micaceous sandstone, presumably of Devonian age and probably of local origin. [16] HBMC FMW reports indicate rapid deterioration of the ground surface around the site 1988-9. [19] One of the stones has been removed and taken from the site leaving a clean hole. [21] The missing stone is no 11. It is shown as a squarish 'post' on the RCHME plan, and there is a squarish hole (very fresh) at that location. [22,23] The Scheduled Monument Condition Assessment of 2009 gave the site a survival score of 7. [24] The site was visited in April 2011. A number of empty stoneholds and displaced stones could be seen but limited-scale excavation was not deemed viable because of Harold St George Gray's excavations in 1928 and the possibility that small-scale excavations could accidentally be placed within a disturbed area. The site was therefore subject to geopysical survey. Resistivity was undertaken on a 60 x 60 metre area, which revealed a number of anomalies, including three sub-rectangular high resistance features that appear to cluster around the circle (in a petal-like manner) with a fourth amongst the moor grass to the northwest. A pair of linked semi-circular high-resistance features in the southwest corner of the survey area also appeared to be structural. Unfortunately, there was no clear indication of any discrete trenching within the circle area and it was thought that only large-scale area excavation would provide evidence for previous excavations. A fluxgate gradiometry survey on a 40x60m subset was then focused on the stones but revealed little more than an apparently random spread of isolated magnetic anomalies, with the exception of two clusters of such anomalies (one adjacent to the southeast edge of the circle and one to the northwest) that could be indicative of more sustained disturbance. [25] The site was surveyed in May 2015 as part of the 2015 Exmoor Scheduled Monument Condition Assessment. It was given a survival score of 5. [26] A programme of targeted survey and excavation was carried out in order to investigate the surviving fabric of Porlock Stone Circle and a nearby stone row and determine the impact of early excavation and subsequent damage to these monuments. In more detail, fieldwork entailed geophysical survey alongside the production of a detailed drawn record of the surviving stones of the monuments and targeted excavation. It was noted in the report that the monument has both lost and gained stones during recent history, with some remaining original stones being toppled, moved or reerected. Geophysical survey noted a number of features around the circle, including three subrectangular high resistance anomalies that appear to mark the boundaries of a series of features leaving no surface trace whatsoever, radiating from the circle in a petal-like manner. Otherwise, apart from showing recent disturbance (possibly including the 1928 excavations), the survey provided little further information on the circle itself. Excavation revealed that a stone recorded as 19 by Gray has been replaced by another within the same socket and stone 23 was a completely new stone. A further two stoneholes were also recorded, one of which accepted a nearby recumbant standing stone and was probably its original hole. Further features included various cut features and several stakeholes, one of which still included a wooden stake pierced by a modern nail and probably indicated a recent date. No contemporary artefactual material was recovered. At the end of excavations, stones 19 and 23 were reinserted into their sockets and the prehistoric stone holes lined with terram and their respective assemblages of packing stones placed within it. It was noted that Porlock Circle as it exists today is an amalgamation of (presumably) prehistoric and wholly modern standing stones. The latter can be distinguished by the expedient way in which their shallow stoneholes have been created and the lack of packing to ensure stability. It was also noted that the Circle is likely to be part of a larger set of features that may well predate creation of the monument. Finally, it was suggested that that a very deliberate strategy with regard to the size and shape of the component stones was intended from the start. Rather than stumps or very small stones, those just poking above the surface may in fact be much more substantial stones that have been set to achieve precisely that effect. Likewise the leaning of the larger stone components and hints of patterning with respect to large/small stone placement. [27] One of two confirmed Stone Circles on Exmoor spanning 24.5m in diameter. The site is situated 40m northwest of the gate to Porlock Allotment, and is very close to the field boundary. Following the 2013 excavation and survey, 22 stones were identified in total. This survey identified 21 of those already recorded including an additional hollow (Stone 3), buried in thick rushes between Stone 4 and 2, and a potential location for a buried stone, Stone 27, between Stone 13 and 25. Overall the condition of the site is considered to be good. [28]
Sources/Archives (29)
--- SEM8485 Artwork: Maryan Green, C.. 2013. Dig Porlock 2013. Oil.
<1> SEM7220 Map: Ordnance Survey. 1962. 6 Inch Map: 1962. 1:10560.
<2> SEM7252 Article in serial: GRAY, H. St G.. 1928. The Porlock stone circle. Proceedings of the Somerset Archaeological and Natural History Society. 74. P. 71-77.
<3> SMO5467 Article in serial: Grinsell, L.V.. 1969. Somerset Barrows. Part I: West and South. Proceedings of the Somerset Archaeological and Natural History Society. 113.
<4> SMO7319 Unpublished document: PITCHER, GHP. Field Investigators Comments. Ordnance Survey visit, 8 January 1965.
<5> SSO1446 Map: Ordnance Survey. 1978. 1:10,000 Map, 1978. 1:10,000.
<6> SMO4084 Monograph: Burl, A.. 1976. The Stone Circles of the British Isles. Yale University Press. P. 205-208, 300-301.
<7> SMO4073 Index: Scheduled Monument Notification . DOE(IAM)AMs Eng 2 1978 117.
<8> SSO1046 Monograph: Dobson, D.P.. 1931. The Archaeology of Somerset. P. 59.
<9> SMO5332 Serial: Royal Archaeological Institute. 1844 onwards. The Archaeological Journal. Volume 107, 1950, P. 87.
<10> SMO5111 Unpublished document: Royal Commission on the Historical Monuments of England. Field Investigators Comment. Pattison, P. 22/01/1990.
<11> SMO5488 Survey: Porlock Stone Circle/ink survey . 1:200. General: Permatrace. Pen and Ink.
<12> SMO5487 Survey: Porlock Stone Circle/pencil survey . 1:200. General: Permatrace. Pencil.
<13> SMO5658 Monograph: Quinnell, N.V. + Dunn, C.J.. 1992. Lithic Monuments within the Exmoor National Park: A New Survey for Management Purposes by the Royal Commission on the Historical Monuments of England.. Royal Commission on the Historical Monuments of England. P. 63 SS84SW10.
<14> SSO1721 Map: Ordnance Survey Archaeology Division. 1965. SS84SW. 10.
<15> SSO1009 Unassigned: Dennison, E, Somerset County Council. 24.04.84.
<16> SEM7618 Article in serial: Gray, H.St.G.. 1950. Porlock Stone Circle. Archaeological Journal. 107. 87-88. 87-8.
<17> SSO1175 Article in serial: Fowler, MJ. 1988. The Standing Stones of Exmoor. Proceedings of the Somerset Archaeological and Natural History Society. 132. 1-13 (Porlock 3).
<18> SMO5711 Monograph: Pevsner, N.. 1958. The Buildings of England: South and West Somerset. Penguin Books. P. 276.
<19> SSO194 Index: 1990. English Heritage Scheduled Ancient Monument Record.
<20> SSO136 Aerial photograph: 1990. DAP QP10,11 (1990) SCED.
<21> SSO728 Monograph: Amy Giggs. 26/11/2003. Richard Huish College.
<22> SSO2108 Unpublished document: Wilson-North R, Exmoor National Park Archaeologist. 18/12/2003. email to HER.
<23> SSO1856 Map: RCHME. 1989. 1:500.
<24> SEM7744 Report: Bray, L.S.. 2009. Final Results Table: Scheduled Monument Condition Assessment.
<25> SEM7945 Report: Gillings, M & Taylor, J. 2011. The Miniliths of Exmoor Project: Fieldwork at Furzehill Common & Porlock Stone Circle, April 2011. 9-12.
<26> SEM8278 Report: Gent, T. and Manning, P.. 2015. Exmoor National Park Scheduled Monument Condition Survey 2015.
<27> SEM8200 Report: Gillings, M.. 2013. Excavation and Survey at Porlock Circle and stone row, Exmoor.
<28> SEM8523 Report: Fuller, J.. 2018. Exmoor Prehistoric Standing Stone Condition Survey: 2017-2018. MSO7898.
Centred SS 8450 4466 (27m by 28m) (Centred on)
SS84SW
PORLOCK, WEST SOMERSET, SOMERSET
Parent of: Possible prehistoric standing stones on Porlock Allotment (Monument) (MSO11544)
Event - Intervention: 1928: AE - Porlock Stone Circle (Ref: EI 9689) (EMO12651)
Event - Intervention: 2011: RS; MS - Porlock Stone Circle (EEM14113)
Event - Intervention: 2013: AE - Porlock Stone Circle, Dig Porlock (EEM14588)
Event - Survey: 2013: SR - Porlock Stone Circle (EEM14589)
Event - Survey: 2017-2018: CS - Exmoor Standing Stone Condition Survey (EEM14735)
Event - Intervention: Field observation on SS 84 SW 10 (EMO9839)
Neolithic (New Stone Age) (Period Overview) (TEM23)
http://www.pastscape.org.uk/hob.aspx?hob_id=36228 (Pastscape entry: 36228)
Exmoor National Park HER Number (now deleted): MSO11540
National Monuments Record reference: SS 84 SW10
Pastscape HOBID (was Monarch UID): 36228
Somerset SMR PRN (Somerset): 33935
Dec 17 2018 6:02PM


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Appointing an Alternate Trustee
November 17, 2017	November 17, 2017	Hull & Hull LLP Beneficiary Designations, Estate & Trust, Estate Planning, Hull on Estates, Trustees, Uncategorized, Wills 0 Comments
When drafting a Will, solicitors and testators should be aware of issues that may arise where the appointed estate trustee refuses or is unable to act. Consideration should be given to appointing alternate trustees.
The issue is illustrated in the recent decision of Simms v. Simms, 2017 ONSC 6624 (CanLII).
There, the deceased died leaving a will which established a Henson Trust for his grandson, K. The value of the trust was $200,000. K's father M was the residual beneficiary of the estate.
The deceased appointed the Royal Bank of Canada as Special Trustee for the trust fund. However, RBC declined the appointment, as they do not manage trust funds of that size. There was evidence that various other institutional trustees had similar policies.
In order to fill the void, the estate trustees of the estate moved to appoint an estate solicitor and former estate planner as Special Trustee. K's father M, who was also K's "trustee" for his personal care and property, also asked to be appointed as Special Trustee.
The court appointed the solicitor as Special Trustee. In doing so, the court took into account a number of factors, including:
the lawyer's rates were similar to the fees that would be charged by the bank;
the deceased could have named M as Special Trustee in the will, but chose not to, and instead chose to appoint an institutional trustee;
as M was the residual beneficiary of the trust, he would be in a conflict of interest;
the terms of the trust required that the Special Trustee consult with M. This suggested an arm's length relationship between the Special Trustee and M;
the Special Trustee would have to make elections under the Income Tax Act. This suggested that the deceased wanted the Special Trustee to have special expertise.
The court concluded that the deceased wanted the Special Trustee to be separate from M, and that this was a deliberate, considered choice, and not merely and oversight. The court therefore appointed the solicitor over M as Special Trustee.
With respect to costs, the court stated that the problem arose as a result of the deceased's failure to appoint an alternate Special Trustee. Therefore, no costs were awarded against M, even though he was unsuccessful in opposing the solicitor's appointment. The court observed that M acted in good faith and in K's interests in seeking to be appointed as Special Trustee.
As a take-away, testators and solicitors should consider whether the named trustee will want the job. Steps should be taken to confirm that, as in this case, an institutional trustee will take on the role of trustee. Secondly, and in any event, consideration should be given to appointing an alternate trustee.
For other drafting tips, see Eight Drafting Tips for Primary and Secondary Wills.
Paul Trudelle
About Hull and Hull
At the law firm of Hull & Hull LLP, our team of respected legal professionals includes four certified specialists in estate and trust law as well as two certified specialists in civil litigation. We focus exclusively on estate and trust issues, and are proud to have built a 50-year reputation throughout the City of Toronto, the Province of Ontario and across Canada as a leader in the field. More About Hull and Hull


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Alexandra "Saša" Ihringová (born 29 January 1975) is a Slovak-born football referee, based in Shropshire, who officiates in the role of assistant referee in the Football League.

In addition she has refereed several major women's football matches at domestic and international level. These include the FA Women's Cup final, the UEFA Women's Champions League final, the UEFA Women's Championship final and the FIFA U-20 Women's World Cup final.

Ihringová is  tall and, as well as her native Slovak, can speak English, German, Russian and Spanish.

Career

Early career

Ihringová grew up in a sporting family in Bratislava. As a player, Ihringová was a national champion three times from 1991 to 1994 with her club Filozof Bratislava. She attended a course for women officials in 1995. Her move into refereeing was inspired by Ihringová's uncle, Karol Ihring, a FIFA official named the best referee in Slovakia three times.

Ihringová quickly progressed through the ranks and in 2002 became the first, and at the time, only, woman to referee in the second tier of men's football in Slovakia.

England
In 2006 Ihringová emigrated to England, and was "adopted" by the Football Association. She oversaw two consecutive FA Women's Cup finals in 2008 and 2009. Ihringová considered that the move to England, and particularly her involvement at Football League level, assisted in her overall development as a referee.

Ihringová took charge of the second–leg of the 2008 UEFA Women's Cup Final between 1. FFC Frankfurt and Umeå IK, before 27,000 spectators at Commerzbank-Arena.

In April 2011 she refereed the first game of the new FA WSL, as Arsenal beat Chelsea 1–0.

International career
Ihringová was appointed to the FIFA list in 2001 and took charge of her first women's international, a World Cup qualifier between Germany and Spain, in October of that year. She also participated at the 2002 edition of the UEFA Women's Under-19 Championship in Sweden. At the 2004 FIFA U-19 Women's World Championship, Ihringová was awarded the semi–final between Brazil and China.

In June 2005 Ihringová was selected to referee the final of UEFA Women's Euro 2005, as Germany defeated Norway at Ewood Park. After switching her allegiance to England, Ihringová refereed the United States' victory over North Korea at Estadio Bicentenario de La Florida, in the final of the 2008 FIFA U-20 Women's World Cup.

See also
 List of football referees
 Amy Rayner, first female Football League referee
 Wendy Toms, first female Football League and Premier League assistant referee

References

English football referees
1975 births
Slovak football referees
Slovak women's footballers
Living people
Women association football referees
Women's association footballers not categorized by position


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Die Trierer Wallfahrt von 1844 war ein religiöses Großereignis des 19. Jahrhunderts und eine katholische Glaubensdemonstration.

Mit der Thronbesteigung Friedrich Wilhelm IV. vollzog sich in Preußen eine Änderung im Kurs der Religionspolitik. Die katholische Kirche erreichte mit den Vereinbarungen vom September 1844 bedeutende Freiheiten, für die sie jahrelang gekämpft hatte. Die neu eingerichtete "Katholische Abteilung", die mit katholischen Beamten besetzt war, ermöglichte im Verhältnis von Kirche und Staat eine sachliche Zusammenarbeit. Die Teilnahme des Königs am Kölner Dombau-Fest war äußerer Ausdruck des veränderten Klimas.

Ein weiterer äußerer Beweis der veränderten Bewusstseinslage war die große Pilgerfahrt nach Trier zum Heiligen Rock im Jahre 1844. Sie knüpfte an alte Traditionen des Wallfahrtwesens an, das in der Zeit der Aufklärung sowohl von staatlicher als auch von kirchlicher Seite Einschränkungen erfahren hatte. Die Veranstaltung galt als größte Massenbewegung des deutschen Vormärz. Eine halbe Million Pilger wurde vom 18. August bis zum 6. Oktober 1844 in bemerkenswerter Disziplin nach Trier und an dem Exponat vorbei geleitet. Verehrt wurde im Heiligen Rock das Kleidungsstück, das nach  bei der Kreuzigung Christi verlost und der Legende nach von Kaiserin Helena (257–330 n.C.) als Reliquie nach Trier gebracht wurde.

Der Trierer Bischof Wilhelm Arnoldi (1798–1864) hatte gegen alle Bedenken die Wallfahrt angeordnet, um die kirchliche Erneuerungsbewegung zu unterstützen und dem Geist des Rationalismus entgegenzuarbeiten. Arnoldi hatte jahrelang die Freiheit der Bischofswahl gegen die preußische Regierung streitbar verteidigt; die behördliche Genehmigung der Wallfahrt war nur unter den veränderten Verhältnissen möglich. Bereits 1842 hatte er mit dem österreichischen Kanzler Klemens Wenzel Lothar von Metternich beraten, wie man den Reliquienkult reaktivieren könne. Für ihn war die Wallfahrt ein Mittel, das "greuliche Gespenst der Revolution" zu bannen und die katholischen Christen "gegen die hohlen Phrasen von Volksglück und Freiheit" zu immunisieren.

Der überwiegende Teil der Wallfahrer kam aus dem Bistum Trier, viele auch aus den ehemals kurtrierischen Gebieten der Bistümer Limburg, Luxemburg, Metz und Nancy sowie den Nachbarbistümern Köln und Speyer. Die Angehörigen der Unterschichten, die noch anfällig waren für Wunderglauben und Devotionalien, stellten den Hauptteil der Pilger: Bauern, in großer Zahl die durch die preußische Zollpolitik besonders bedrängten Moselwinzer, aber auch Handwerker und kleine Gewerbetreibende. Das katholische Bürgertum hielt sich deutlich zurück.

Die Wallfahrt löste heftige Kritik an der katholischen Frömmigkeitspraxis aus. Aufgeklärte Christen beiderlei Konfession spotteten über die Leichtgläubigkeit der Katholiken. Der katholische Priester Johannes Ronge empörte sich öffentlich, die Wallfahrt sei eine bewusste Täuschung ungebildeter und einkommensschwacher Menschen, denen bei der Reise ungerechtfertigte Entbehrungen abverlangt würden, das von ihnen kassierte Opfergeld sei ein Geschäft mit dem Aberglauben. An die Adresse Arnoldis gewandt schrieb Ronge:

Für diese Äußerungen wurde Ronge exkommuniziert. Die Trierer Wallfahrt wurde so zum Kristallisationskern des Deutschkatholizismus, einer aufklärungsaffinen und anti-ultramontanistischen Bewegung.

Literatur
 Erich Aretz, Michael Embach, Martin Persch, Franz Ronig (Hrsg.): Der Heilige Rock zu Trier. Studien zur Geschichte und Verehrung der Tunika Christi. Paulinus, Trier 1995, ISBN 3-7902-0173-1.
 Wolfgang Schieder: Religion und Revolution. Die Trierer Wallfahrt von 1844. Vierow: SH-Verlag 1996. ISBN 3-89498-026-5

Einzelnachweise

Christentum in Trier
Christliche Wallfahrt in Deutschland
Christentum in Deutschland (19. Jahrhundert)
Christentum in Preußen
Bistum Trier
Religion 1844
Geschichte (Trier)
Religion (Rheinprovinz)
Christentumsgeschichte (Rheinland)
Veranstaltung 1844
Veranstaltung in Trier


For the last Design Connections which took place at the London Design Museum on Wednesday 19 September 2018, CONGREGATION Design presented its work to an audience of key industry figures and international delegates.
in order of presentation:⠀1. @Congregationdesign⠀2. Cellule @salomebazin_⠀3. Matthew Plummer Fernandez @plummerfernandez⠀4. @Saint_Lovie @TheLaundryArts⠀⠀5. @UnitLab⠀6. @Esna_Su⠀⠀7. Kusheda Mensah @modularbymensah⠀8. @StudioMutt⠀9. Gulia Tomasello @gitomasello⠀10. @azeemamag⠀"Image courtesy of ADF British Council, Design Museum, October 2018.
Image and texte ADF British Council, Instagram, September 2018.
Design Connections is an annual design industry networking programme.
Organised by the Design Council it offers directors and curators from design museums, centres and festivals around the world an inspiring and immersive introduction to the best of the London Design Festival, alongside meetings with leading designers and organisations with the aim of brokering new connections and collaborations.
Congregation is a fluid design structure, from fashion practice Congregation aim to challenges the global industry by proposing a sustainable and singular approach to the current social and commercial pattern.


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Suffield Players, Suffield, CT
www.suffieldplayers.org
through May 18, 2014
Creating a small theatre stage into a boat -- no, an ocean liner -- is a herculean task of thought, ingenuity, hammering, and painting. The scenic design team of Konrad Rogowski and Kelly Seip has once again, as they have in so many Suffield Players productions, launched "Anything Goes."
Set in the 1930's, Cole Porter's music has been contagious for the past 80+ years. No matter what the age of the audience goer (and it was wonderful to see youngsters in the audience) he/she is familiar with and can probably hum most of the melodies: "You're The Top," "It's Delovely," "I Get a Kick Out of You," "All Through the Night," and title song
Two comedic plots immediately interweave punctuated with lots of mistaken identity, a love triangle, con men on the lamb, and hackneyed one-liners. All of that is okay in efforts toward purposeful silliness.
"Anything Goes" has lots going for it, and so does Suffield Players -- usually. It seems as if the troupe relied heavily on "newbies" at the helm, particularly the director and choreographer. "AG" demands spunk, frivolity, and get up & go. Sadly, this "AG" didn't get up. The pace drags, several actors are far too old for their characters, and (sadly) many singers' voices crack.
Two actors stand out: Kimberly Spera, whose soprano voice is sweet; and Peter Hicks, whose comic timing works well.
What particularly shines in "AG" are, as stated at the top, the excellent tech qualities: Dawn McKay's costume design, Jerry Zalewski's lighting, and Hal Chernoff's sound design.
"AG" has lots of potential. And Suffield Players has proved its skill and success for 60 years. They have, and they will, do better the next time the curtain rises.
Labels: Greater Hartford, Suffield Players, Theatre
Justin Hayward
Objectify: A Look into the Permanent Collection
SSO 70th Anniversary Concert
Interview: Odette Yazbeck, Canada's Shaw Festival


Ever since the iPhone X arrived, we've come to expect all new flagship handsets to cost more than they used to. That's because Apple introduced the $1,000 premium phone, and everyone in the business followed. The new wave of Android devices will also be pretty expensive, and a brand new leak indicates the same goes for the upcoming LG G8 ThinQ.
A few days ago, LG confirmed that the G8 will feature front-facing camera technology capable of measuring depth. In other words, the phone will support 3D face recognition just like all the iPhones that followed the iPhone X. LG also teased a few days ago that the G8 will deliver support for gesture-based navigation, which should replace traditional touches, at least for some features. It's likely that the same 3D camera will be responsible for recognizing gestures and translating them into actions on the screen. Finally, a leak said that an upcoming LG phone would have a secondary display, with the G8 being the obvious suspect.
Thus, the G8 will have more advanced features than any of its predecessors, which would warrant a higher entry price.
A Redditor from Canada posted an image showing the price for the 128GB Galaxy S8 version, as found in the system of an unnamed Canadian retailer. The phone will cost CAD 1,199.99 ($904), according to this listing, and the Redditor said the US would likely get a $900-ish price. If the price is accurate, the phone will still be cheaper than the $999 iPhone XS, but $900 is still plenty of money.
The regular Galaxy S10, priced at €899 in the list above, would likely be the direct competitor to the LG G8 when it comes to prices.


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Son developed a therapy with music and image to help his father with Alzheimer's disease
Shared by Jo Roth on 2014-05-09 16:34
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The goal of any Alzheimer's therapy is to help the person maintain a better quality of life. This is what he wants for his dad, and this is why he developed therapy streams using music and images. Music is an amazing tool that promotes interactive communication. Rhythm cues are felt in the motor center of our brains, a part of the brain that is intact late into the disease's progression. Many people associate music with important events and emotions (i.e. a wedding song), helping to create happy and calming feelings.
Adapted from: http://www.medstartr.com/project/detail/161
http://www.youtube.com/watch?v=7jo_DqH2ldU
This solution shall not include mention to the use of drugs, chemicals or biologicals (including food); invasive devices; offensive, commercial or inherently dangerous content. This solution was not medically validated. Proceed with caution! If you have any doubts, please consult with a health professional.
Mike Antonuci's father has early onset Alzheimer's. There is no situation that has made him feel more helpless than watching his father, a man who he has admired his whole life for his wit and intelligence, lose his ability to simply remember and communicate with him.
Tags associated to this solution
Alzheimer's disease (incl subtypes)
Dementia Alzheimer's type
Dementia of the Alzheimer's type, uncomplicated
Dementia of the Alzheimer's type, with delirium
Dementia of the Alzheimer's type, with delusions
Dementia of the Alzheimer's type, with depressed mood
Prodromal Alzheimer's disease
Using communication devices and techniques
Memory impairment
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Many consumers now want to cover areas of their garden that dogs have completely ruined. These areas, sometimes referred to as dog runs, are significantly benefited by the use of artificial grass. It provides a safe environment, easy to clean after your pet, lead-free, non-flammable, non-toxic, resistant to extreme traffic, wear and tear. No more mud or yellow spots!
Artificial synthetic grass for dog runs have become more and more accepted in places such as commercial locations, dog kennels, dog day care facilities, pet kennels, public parks, residential locations, roof top buildings, veterinary clinics, and many more, especially in the state of California.
Feedback from pet owners utilizing artificial synthetic grass for dog runs within their landscapes have often commented that animals appear to treat the new synthetic turf just like they do real grass . The only disappointment for your four-legged friend maybe the inability to bury bones! So the overall consensus is a yes for artificial grass from creatures both great and small.
Quote for a 12 ft by 18 ft piece of artificial turf for our puppy?
Hey Eileen, the minimum width that we have is 15ft. The best strategy is to call our office and ask for Louis. The number is 408-960-2255. We should be able to help from there!


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Brexit-proof your business
Your location is set to Herne Bay
Home Kent Business County news Article
Small Business Saturday takes place across Kent this weekend
By Chris Britcher
cbritcher@thekmgroup.co.uk
Published: 08:54, 27 November 2018
| Updated: 11:43, 27 November 2018
With Black Friday and Cyber Monday now behind us, it's time to look forward to Small Business Saturday this weekend.
The annual day aims to shine a light on small businesses in our towns and villages and encourages us all to 'shop local' as the countdown to Christmas gets under way in earnest.
Small Business Saturday UK is a grassroots, non-commercial campaign, which takes place on the first Saturday in December each year.
Kelly Tolhurst MP is supporting Small Business Saturday which takes place on December 1
A host of firms will be taking part in the day by hosting events and offering discounts.
In its sixth year, last year saw an estimated £748m spent with small businesses across the UK on Small Business Saturday.
As part of the build-up to the event, a bus tour made a stop at Tunbridge Wells last Friday to showcase local firms and help them promote the event.
Small business minister Kelly Tolhurst, MP for Rochester and Strood, said: "With more than 1,000 starting up every day, the UK's small businesses are the backbone of our economy and at the heart of our modern industrial strategy."


In an earlier post, I wrote about the competitive atmosphere I fostered when I coached baseball and taught AP English at SLO High. In an nutshell, there were hundreds of mini-competitions, awards, punishments, scoldings, celebrations, champions, and difficult challenges. Each assistant coach "bet a cheeseburger" on their own practice team at least four times a week. The teams and classes were not only a lot of fun, but we won several league championships, several players went on to play in college and/or professionally, and many of my students went to the university of their choice (and would tell me the English classes at their college were much easier than mine). I felt really good about myself.
Meanwhile, I taught some "college prep" classes that were even more disastrous than the team. Certainly there were some individual lessons that bombed, but I had one entire class where over half the students failed and we had all pretty much given up with three weeks to go in the school year.
You might be thinking, what was this psycho-teacher doing? Exactly the same things I was doing at SLO HIgh. If anything, since my reputation hadn't been established at this new school, I was more careful with everyone's feelings. I was humbled; I monitored, adjusted, scaffolded, and differentiated. Some experiments led to minor improvements, but still — my best lessons were bombing, student learning was minimal, and we kept losing basketball games. I occasionally doubled down on my disciplinary ways (just to see if I wasn't being tough enough), which almost always backfired; mostly, I asked the students/players themselves what I could do to help them.
No seriously, you might be asking, can you be honest and tell us what you were doing wrong? Yes, but I'll stick with basketball since it's more dramatic. I told our star he needed to bend his knees more on defense, he talked back, and so I put in a sub; the team didn't seem to like this. Another player, after a few warnings about pouting, snubbed our assistant coach while coming back to the bench; I told him he didn't have to be here, so he left and sat the crowd; at halftime I told him return to the bench or give me his uniform permanently, and he returned to the bench — barely. One player missed a league game to go to Hawaii, so I benched him the first game back. I once called it "embarrassing" when a player just stood there and didn't run back on defense, and his parents were furious and followed me from the locker room to the bus after the game, lecturing me then entire way. I repeatedly (and nicely) asked the seniors to play in some summer basketball games with the team, and they didn't appreciate the "pressure." I recorded player stats and set up certain benchmarks during the offseason to qualify for certain types of playing time (for example, you had to make a certain percentage of three-pointers before you could shoot in a game); the returning seniors did not appreciate this.
The wheels starting coming off in the first week of our second season. A popular senior told me that he couldn't make it to our game because he had to go to a "mandatory" football award banquet. Note that no coach I have ever talked with has ever heard of a player making this choice. I was really nice with him, and we talked for about 15 minutes, and I explained to him how hard his teammates had worked while he was playing football, I talked about leading by example, and I ultimately told him that we expected him to choose the game over the banquet unless he didn't want to play basketball this season. If I wanted to save the season, this was probably the biggest mistake of my career. He went to the banquet, and then quit the team (very respectfully) the next day. One of his friends (a star on the team) quit an hour later (very respectfully). I asked if he wanted to talk about anything, and he said no. Another starter quit the next day (the same pouter I mentioned previously); he said he didn't like how I treated the player who wanted to go to the banquet. Two days later, another senior quit, citing the same reason. And finally, our star center got a 59% in an art class, which kept him from being academically eligible.
I was deflated, but I took it for granted that the younger players would happily step up (especially the ones who took offense at not being in that starting lineup I was touting) and we would go through another rebuilding year. But when it came time to leave town for a tournament, five different players suddenly couldn't go "because of school" (they would have to miss a day of school). I barely scraped together a team of six players — two were from the JV team and one from the freshman team).
Later on in the regular season, there were tears after we played great and almost beat the sixth-place team; there was almost no excitement when we earned two victories — in fact, one senior who didn't play a lot stormed out and went on a rampage on Twitter. This will be an important clue later.
The whole article was life-changing for me, but in a nutshell, it points out that, "like it or not, the rapidly changing demographics of U.S. society have shattered traditional sources of belonging," and school is now the central source for relationships and acceptance. It quotes Glasser, who says that hungry students need to eat, and lonely students need friends.
At SLO High, the kids I coached and taught tended to have a very secure family life, with similarly blessed friends, and they all seemed very connected with their church and community in general. The team (or AP class) was something extra for them — if they succeeded, great; if they failed, nobody cared. The former principal used to laugh, "Nobody gets over a loss quicker than SLO High." More obviously, they really liked to stand out. They felt secure in their central group, and they wanted to stand out as an individual. They dressed to be noticed, and they fought hard for awards and public recognition. But if they didn't, oh well. Life was still good. And most importantly, I'm now realizing, is this becomes the culture — if you want to look normal, you should try to stand out.
At Morro Bay, the students aren't as fortunate — one of my players was literally hungry every day. Without that security of belonging, they weren't ready to stand out, even if it was in a positive way. Everyone at the school wears blue hoodies. The two parents didn't like it when I singled them out for praise; none of the players ever liked when I praised them in front of their teammates. Nobody wanted to take big shot, nobody argued with the officials, and if their name was ever in the newspaper, I believe they would purposely lay low in the subsequent game. I noticed at a school-wide academic awards assembly, each recipient looked ashamed, and stood apart from their teacher. The banquet was chosen over the game. Friendships were favored over starting positions. When one guy quit, four guys quit. And when four popular players quit, the central purpose of participating on the team was largely destroyed.
Everything I did was based on competition and stratification, and this was (I realize now) in opposition to the culture at Morro Bay. They wanted to belong. All my constructive criticism and individual praise, all my skills tests, this was all antithetical to want they wanted. Team losses made them cry, but wins based on heroic individual efforts didn't mean very much, not even to the individual hero.
I knew what I needed to do as a coach, but I also feared it was too late — the trust in belonging to a "family of basketball players" (with me as their father) was long gone, and I decided they needed a new leader to bring them back together again. So I resigned.
But my classes — that was a different story. I get new students every year.
I understood the same lessons could apply to my struggling classes — they didn't want to stand out at all, even if it was for "good" reasons. They literally didn't want to win the competition. I even let them play Pictionary for one goof-around day and was exasperated when they wouldn't take the game seriously enough to try to win. And if most of the kids weren't doing the homework (or the classwork), nobody wanted to get noticed doing the work. They'd rather get a low grade, if that helps them belong.
On the other hand, they didn't want to fail at something that nobody else was failing at. Thus, I came up with "Plan A." If everyone is getting an A, then everyone wants an A. And if everyone wants an A, then we have a chance to get some learning done.