Gerry King has been a leader in mind-body psychology for nearly four decades. His credentials include a PhD from Stanford University and Certification as a Bioenergetic Therapist and Training Analyst with the International Institute for Bioenergetic Analysis.
Marriage Therapist Austin – In 1976, he founded the Bioenergetic training program in Austin and the Austin Society for Bioenergetic Analysis. He has been in private practice in Austin as a somatic psychotherapist treating adults in individual, group and couple sessions.
In supporting his clients to integrate mind, body and spirit through his work, he has relied on Bioenergetic Analysis, trauma-oriented mind-body work, poetry, evolutionary spirituality, neuroscience, attachment research and contemporary psychoanalytic thinking.
The core of his work centers on supporting his clients to find their vitality and authentic self, so they can live their true lives – not the life others want them to live. Active awareness and self-acceptance are keys.
Personally, Gerry is active in his spiritual community, participating in programs for peace and teaching programs on a variety of subjects. Cooking and eating healthy gourmet food, music, poetry and nature are some of his sources of replenishment for the body and soul. Hiking, climbing and kayaking are favored hobbies; in celebration of his 70th year, he climbed the Grand Teton.
His passion is cycling as his favorite way to stay in shape. He and his life partner, Doris Adams, ride their tandem bicycle in the hills around Austin regularly. He has been the State Senior Games Champion for most of the last 20 years and, in 2013, won the World Senior Games Championship for his age group.


1A small group of trees or plants growing closely together.
1.1 A small, compact group of people.
1.2 A compacted mass or lump of something.
1.3Physiology An agglutinated mass of blood cells or bacteria, especially as an indicator of the presence of an antibody to them.
3A thick extra sole on a boot or shoe.
1Form a clump or clumps.
Middle English (denoting a heap or lump): partly imitative, reinforced by Middle Low German klumpe and Middle Dutch klompe; related to club.


We certainly don't make it a secret, we love Divi around here. Unfortunately, sometimes Elegant Themes might do things that we don't like. The most recent such change is the removal of direct URLs for background images and videos. Well, thankfully we've found a way around that! And yes, this does restore direct URLs to background videos too.
I hope that Elegant Themes reads this message as well, because we really do need functionality like this, and I can't understand why it was removed. We need the ability to input a direct URL for images and videos because we don't all host our images and videos on our WordPress installation. For example, we use Dropbox Pro as a CDN, storing web content in a public folder and embedding it. This reduces server load dramatically, and increases the speed of our site. After all, why remove a feature that's already there and used by so many?
Save the file, and that's it, you're done!
I took the time to write a plugin to handle this for you. Simply install this plugin and get your URL field back!
If you look carefully, all that's happening is adding a little CSS to the head of your admin pages. That's because the feature existed all along, but for whatever reason is set to display:none; so as to render it invisible. The good news is that this functions.php hack is completely harmless because of this, and won't hurt your site no matter what future updates might come. The bad news is that Elegant Themes could remove the feature for real in the future, and this won't work.
Hopefully, Elegant Themes will be restoring this feature in the future, and this hack won't be needed. There's also the chance that this might not work on future updates. For now, enjoy!
I'd be very interested in how you're using DropBox PRO as a CDN. Would you mind sharing details?
There are more advanced methods and plugins to do this, but I typically just keep files in a public folder and copy/paste the link to embed for heavier media like large images and videos, or file downloads.
Awesome thanks for this. I really hope this gets added back into core divi, finding it really annoying removal too.
Hi may be missing something here but when you click on the new plus symbol to add an image from the media library as a background for example – you have the choice in the popup to add from existing media library OR insert an image from a URL so that option is still present but maybe in a different location now?
I do see what your code does but I think there is already a way to add a URL to an image that already exists out there on the web.
If I am wrong please clarify so I understand better – thanks!
At the time of writing this post, it appeared that the "Insert from URL" option was somehow missing within WordPress itself, and perhaps may have also been blocked/hidden by Divi at the time (not sure, really). It appears to work now though, so this isn't quite as necessary.


text:
The new Jeep Grand Cherokee delightfully combines classic style and modern luxury.
Jeep Grand Cherokee Inventory
Learn More About the All New Jeep Grand Cherokee
A Legacy Spanning Over 25 Years
Jeep Grand Cherokee Highlights
Feel the power of the available 707-horsepower supercharged 6.2-liter V-8 engine
Stay connected with smartphone integration via Apple CarPlay® and Android Auto™
Bring more along for the ride with up to 68.3 cubic feet of cargo space
Experience peace of mind with over 70 standard and available safety features
Stay in command with the Selec-Terrain® traction-management system
Fall in love with the new Jeep Grand Cherokee, the leader of the midsize SUV segment for over 25 years.
The new Grand Cherokee leaves a lasting impression with its chiseled body, athletic stance, and iconic seven-slot grille. It features over 10 wheel options, including 20-inch black-painted aluminum rollers, and a wide array of colors for enhanced curb appeal.
Slip inside and discover the new Jeep Grand Cherokee's stylish interior that boasts premium features like contrast stitching and real aluminum trim. Lower the 60/40 split-fold rear seats to unlock up to 68.3 cubic feet of cargo space so you can bring more along for the ride.
Whether you're exploring Jacksonville, dropping the kids off in Fleming Island, or carpooling to Middleburg, the new Jeep Grand Cherokee has all the space and style you need.
The new Jeep Grand Cherokee makes boring road trips a thing of the past with its plethora of advanced tech features, including smartphone integration via Apple CarPlay® and Android Auto™. Connect your device to stream music, answer calls, and look up directions from the available 8.4-inch touchscreen.
It also features an available rear-seat entertainment system that includes two 9-inch high-resolution screens, wireless headphones, and a Blu-ray/DVD player to keep the kids occupied.
All this and more awaits in the new Jeep Grand Cherokee. Schedule a test drive today at Garber Automall in Green Cove Springs.
Beauty at Every Mile
Legendary Design
Eye-Catching Wheels
Contemporary Color Palette
Wherever the road takes you, the new Jeep Grand Cherokee ensures you're the center of attention with its sharp body, iconic seven slot grille, available 20-inch wheels, and bi-xenon high-intensity discharge headlights.
With its athletic stance, chiseled body, and iconic seven-slot grille, the new Jeep Grand Cherokee never fades into the background. This midsize SUV's dramatic lines and curves were designed for improved aerodynamics so you get assertive style and improved efficiency.
Light the night with the new Jeep Grand Cherokee's available bi-xenon HID headlights that cast light farther than traditional bulbs. Factor in signature LED daytime running lights and LED taillights, and the new Jeep Grand Cherokee never goes unnoticed.
The new Jeep Grand Cherokee keeps your view clear of snow, ice, and fog with its heated side-view mirrors that activate when you engage the rear defroster.
The new Jeep Grand Cherokee is available with 10 wheel styles with options like 20-inch polished aluminum wheels and 20-inch satin-black-painted aluminum rollers that enhance its curb appeal.
Jeep offers the new Grand Cherokee in a wide array of head-turning colors, including Velvet Red Pearl-Coat, Sangria Metallic Clear-Coat, and Slate Blue Pearl-Coat.
Sophistication at Its Finest
Luxury Abounds
Slip behind the new Jeep Grand Cherokee's wheel and take in its luxurious interior that features an available dual-pane panoramic sunroof, optional heated and ventilated front seats, and up to 68.3 cubic feet of cargo space.
Sit back and enjoy the ride with the new Jeep Grand Cherokee's premium interior that boasts leather seats, sculpted dashboard inlays, and real metal trim. There's even convenient ambient lighting in the door handles and foot wells for enhanced sophistication.
The new Jeep Grand Cherokee makes it easy to bring more along for the ride with up to 68.3 cubic feet of cargo space with the second-row of seats lowered. It also offers innovative storage options, including a center console, driver- and passenger-side cubbies, and a large glove box, to keep small items close at hand.
Soak up some sun with the new Jeep Grand Cherokee's available dual-pane panoramic sunroof. You can slide back the front panel with the push of a button or use the power sunshade to block the powerful afternoon sun.
No matter what the weather is like outside, the new Jeep Grand Cherokee's available heated and ventilated front seats ensure you travel in comfort at the touch of a button.
With the new Jeep Grand Cherokee's dual-zone automatic climate control, you and your front passenger choose individual temperature settings so the cabin is exactly how each person wants it.
Innovative Advancements
Harman Kardon® Premium Audio
SiriusXM Guardian™
Rear-Seat Entertainment System
Say goodbye to boring road trips with the new Jeep Grand Cherokee's assortment of advanced technology like smartphone integration, rear-seat entertainment, and a Harman Kardon® premium audio system.
With the new Jeep Grand Cherokee's smartphone integration, you can connect your device via Apple CarPlay® or Android Auto™ to stream music, answer calls, and look up directions from the available 8.4-inch touchscreen.
With the new Jeep Grand Cherokee's available Harman Kardon® 825-watt premium audio system, you'll have 19 high-quality speakers and a 10-inch subwoofer that surround you in crystal-clear sound while using up to 55% less energy than traditional amplifiers.
With the new Jeep Grand Cherokee's available SiriusXM Guardian, you can lock and unlock doors, remotely start the vehicle, locate it in a crowded parking lot, and even access important vehicle health info right from you phone.
Personalized Info Cluster
The new Jeep Grand Cherokee's 7-inch full-color driver information digital cluster display shows vehicle information like detailed navigation, current audio, active safety features, and more right in front of you.
Keep your rear passengers occupied on long drives with the new Jeep Grand Cherokee's available rear-seat entertainment. This system features two 9-inch high-resolution screens, wireless headphones, and a Blu-ray™/DVD player.
All Roads Lead to Safety
Blind-Spot Monitor
The new Jeep Grand Cherokee leaves nothing to chance when it comes to safety with over 70 standard and available safety and security technologies, including forward-collision alert, adaptive cruise control, and blind-spot monitoring.
Forward-Collision Alert
The new Jeep Grand Cherokee's available forward-collision alert detects when a front-end collision is imminent. If you don't respond to its warnings, automatic emergency braking engages to slow the Grand Cherokee down and mitigate the damage or avoid the collision altogether. In IIHS testing, this feature avoided a collision at speeds of up to 25 mph.
The new Jeep Grand Cherokee's standard blind-spot monitoring detects when a vehicle enters your blind spots and alerts you with a visual indicator on the corresponding side-view mirror.
The new Jeep Grand Cherokee's available lane-departure warning detects when you drift from your lane without signaling. If you drift out of your lane, lane-keep assist uses gentle steering wheel turns to pull the Cherokee back in line.
With the new Jeep Grand Cherokee's available adaptive cruise control, you choose a following distance and a cruising speed. If you approach a slower-moving vehicle, the system slows the Grand Cherokee to maintain that preset gap and returns to the original cruising speed when the slower-moving vehicle is no longer present.
Place the new Jeep Grand Cherokee in reverse to activate its rearview camera that shows a live feed of the area behind you on the touchscreen. There's also standard rear park assist that warns you when you're approaching a stationary object while backing up and rear cross-traffic alert that detects when a vehicle approaches your rearward path.
Unleash Adventure
Make It a V-8
Selec-Terrain® Traction-Management System
Quadra-Trac® Four-Wheel Drive
Towing Prowess
The new Jeep Grand Cherokee tackles any terrain with a satisfying blend of power and performance with four available powertrains, Selec-Terrain® traction management, and Quadra-Trac® four-wheel drive.
Jeep offers the new Grand Cherokee with three V-8 engine options: a 360-horsepower 5.7-liter with fuel-saving technology, a 475-horsepower 6.4-liter, and a supercharged 6.2-liter V-8 that delivers 707 horsepower and 645 pound-feet of torque.
3.6-Liter V-6 Engine
With the new Jeep Grand Cherokee's standard 3.6-liter Pentastar® V-6 engine, you'll have start/stop technology that maximizes the Grand Cherokee's efficiency while still enjoying up to 295 horsepower and 260 pound-feet of torque.
The new Jeep Grand Cherokee puts the control in your hands with the available Selec-Terrain® traction-management system that allows you to match the Grand Cherokee's traction settings to the conditions. Just turn the knob to optimize its grip for conditions like snow, sand, rocks, and more.
With the new Jeep Grand Cherokee's available Quadra-Trac active on-demand four-wheel drive, you'll enjoy optimal traction in any driving situation, providing you with extra peace of mind when off-roading.
Choose any of the new Jeep Grand Cherokee's V-8 engines and enjoy a 7,200-pound towing capacity that makes it easy to bring your jet skis or trailer along for the ride. The V-6-equipped Grand Cherokee is no slough either with its 6,200-pound tow rating.
for Overall Vehicle Score based on Consumer Reviews.
for Overall Vehicle Score based on Customer Reviews.
Open the Door to Adventure
Stop Waiting and Start Doing
Wait no longer to discover the new Jeep Grand Cherokee, the midsize SUV that packs a punch.
Peek under the hood and find one of the new Grand Cherokee's innovative engines like the supercharged 6.2-liter V-8 that delivers a jaw-dropping 707 horsepower and 645 pound-feet of torque. All of the V-8 options boast a 7,200-pound towing capacity, making it easy to bring your jet skis or trailer along for the ride.
Wherever the road takes you, enjoy peace of mind with the new Jeep Grand Cherokee's suite of advanced safety features like blind-spot monitoring, lane-departure warning, and adaptive cruise control. There's even available forward-collision alert that uses radar to detect potential front-end collisions and a rearview camera that makes it easy to back out of any parking spot. These are just a few ways the new Grand Cherokee has your wants and needs in mind.
Experience the new Jeep Grand Cherokee today by scheduling a test drive with Garber Automall in Green Cove Springs.
View Our Jeep Grand Cherokee Inventory
Experience the New Jeep Grand Cherokee for yourself
Check out the rest of our Jeep model lineup below

redpajama_set_name: RedPajamaCommonCrawl


Kalani's Kacie Gushiken kept the ball out of the reach of Roosevelt's Tianna Sugui, bottom, yesterday.
Despite turning the ball over six times on its first seven possessions in the fourth quarter, No. 1 Roosevelt cemented its status as the best team in the Oahu Interscholastic Association.
Iwalani Rodrigues showed off her diverse skills with 18 points, nine rebounds, five steals and four assists, and junior Tiana Sugui added 17 points as the Rough Riders overcame a 4-minute dry spell in the fourth quarter to pull out a 63-50 victory over No. 5 Kalani last night at McKinley.
Sugui nailed three of Roosevelt's eight 3-pointers in the game as the Rough Riders (10-0) clinched the Red East regular-season championship and a bye in the opening round of the OIA playoffs.
"I brought the girls down to earth real quick after the game," Roosevelt coach Bobby Keanini said. "We're not even into the playoffs yet and we're not playing as crisp and as well as I'd like."
Courtney Gaddis had a game-high 19 points and six rebounds and Megan Kamehiro added 11 for the Falcons (8-2), who have locked up the second seed out of the East and a first-round bye in the playoffs as well.
The Falcons stayed close with the Rough Riders, who got a shot at the buzzer from Dianna Zane to take a 29-23 halftime lead. That shot sparked a 17-5 run by the Rough Riders to open the second half as a basket by Rodrigues gave them their largest lead of the game at 18.
"We moved the ball well and Dianna was able to get into the paint and find our open shooters," Keanini said.
Leading 49-31 after three quarters, the Rough Riders tried to slow the pace of the game down, which only benefited the Falcons. Kalani managed to force the Rough Riders into six turnovers on their opening seven possessions of the fourth quarter and cut the 18-point lead to seven with 1:30 left.
"I think we were just too intense and hyped ourselves out a little bit," Rodrigues said. "We just had to get settled down and stay cool and make our free throws at the end."
On the ensuing play, Gaddis intercepted a bad pass by Rodrigues and took the ball the length of the court, but was called for a charge on the shot attempt. The Rough Riders converted their next six free-throw attempts to seal the game.
"The good thing is that they're smart and know when you have a big lead to try to settle down and take good shots," Keanini said. "We start holding onto the ball a little too much and you can't do that against a team like Kalani which has such good athletes."
ROOSEVELT--Dianna Zane 9, Tiana Sugui 17, Iwalani Rodrigues 18, Shandree Armstead 0, Tiyana Nakasone 8, Tasia Kamakawiwoole 8, Kaui Kuehu 0, Jayna Tasaka 3.
KALANI--Violet Alama 2, Kim Cabuyadao 5, Megan Kamehiro 11, Kacie Gushiken 5, Courtney Gaddis 19, Chloe Martin 0, Allison Neussl 3, Rhianna Farm 3, Chelsie Kimura 2.
3-point goals -- Roosevelt 8 (Sugui 3, Nakasone 2, Zane 2, Tasaka), Kalani 1 (Kamehiro).
C'ani Kealoha scored 15 points, including four 3-pointers, and Deja Bryce added 15 as the Governors defeated the Bulldogs.
Olivia Phommachanh scored 21 points for Kaimuki.
KAIMUKI--Olivia Phommachanh 21, Mindy Hirokawa 8, Maria Colon 3, Denisha Fa'asoa 1, Sinead Scovil 8, Louise Fiamate 10, Ayesha Shepard 0.
FARRINGTON--Cani Kealoha 15, Jorell Telefoni-Sablan 10, Macilee Moi 8, Deja Bryce 15, Valerie Lesu 0, Angie Gasio 0, Elane Leaupepe 7, Polohiva Folaumahina 0.
3-point goals -- Kaimuki 5 (Hirokawa 2, Phommachanh 2, Fiamate), Farrington (Kealoha 4, Leaupepe, Bryce).


Get ready to slow down and enjoy Coronas and wine at sunset overlooking the ocean and palm trees. B-301 is the premier condominium at Pelican Pointe Villas. This top-floor penthouse unit is bright and spacious. It offers expansive views of Folly Beach and the Folly Pier. You can feel the gentle summer breeze from your deck, and fall asleep to the sound of the ocean at night. This is a solid investment property, or 2nd vacation residence with prime location-- It is steps to the beach, a very short walk to all the restaurants and shops, and only 15 minutes away from the number one city, historic Charleston. The unit comes fully furnished and ready to rent or make family memories. It includes two covered parking spaces located directly beside the elevator for easy access, and has a private storage closet downstairs for all of your beach gear. This is a special property and will not last long!
$3,291 would be your approximate monthly principal and interest payment.


Before my twin women were born, I spent hours researching car seat brands in hopes of finding the perfect match for us. I keep in mind feeling so overwhelmed with all the selections. As if dad and mom wanted extra questions to answer, you have to decide if you wish Automotive to latch or seat belt this automotive seat in. Latching is the beneficial method for security. Again, as a Automotive Crash Detective aficionado, you are not going to booster a 3 year previous. The 5 level harness provides the child optimal security for years, and the Safety Encompass safety retains them safe from all angles.
Though there could be some minor irritations with getting it good, you will know that your child is protected and comfortable in this seat. The harness top of the Nautilus eighty Elite is adjustable between 12″ and 18″, while the crotch strap may be adjusted to five.5″, eight″, and eight.5″. When used as a booster, the maximum height restrict is 20." The seat itself weighs roughly 22 kilos per my fancy automotive seat scale.
Match-to-car LATCH: A ranking of how easy it is to securely and appropriately set up every seat, within the harnessed mode, using the LATCH system in quite a lot of autos and how well they fit every vehicle once installed. Other features that I like are that the seat is FAA certified, which implies it can be used on airplanes, and that it has a 10 year lifespan. A conventional automobile seat, forward-facing automotive seat AND a backless booster seat are all offered in the Graco Nautilus three-in-1 Matrix, making it one of the best Convertible automotive seats of 2015.
You can feel confident using this seat as your baby grows, and likely is not going to must purchase one other seat. The Graco Nautilus 3 in 1 automobile seat also has a 5 level harness that can preserve the kid secure in addition to comfortable during trips within the car, and this may be adjusted with ease, because Automobile the baby grows. Crash protection/Belt match booster Crash protection/Belt match booster A rating that mixes the potential for the seat in booster mode to limit harm and movement in a crash based mostly on simulated frontal crash assessments and the potential for the seat to provide a good belt slot in various autos utilizing child sized dummies.
The American Academy of Pediatrics recommends that kids should stay in a automotive seat for as long as they can safely match, in response to the manufacturer's height and weight limits. Fit-to-vehicle LATCH Match-to-vehicle LATCH A score of how straightforward it is to securely and correctly install every seat, in the harnessed mode, using the LATCH system in quite a lot of autos and how nicely they match every car as soon as put in.
Since I haven't got the automobile seat in hand, I received slightly confused simply studying directions. Using a tether is beneficial throughout the life of the seat however it's a requirement if the kid is harnessed and both is taller than forty nine″ or weighs more than sixty five kilos. As a result of this seat has been accessible for years, parents are raving that their seat has held up for years. This model is currently the Amazon #1 finest vendor of forward dealing with little one security automotive seats There are currently a couple of thousand opinions reviews logged on this product, with more coming in each day.


text:
Dotdotdot_it
Culture, Go Digital! Contents, tools, planning and strategy. How to humanise digital for an innovative and inclusive culture.
During the health emergency, museums and international institutions responded quickly and creatively to the cultural inaccessibility in which we suddenly found ourselves. This highlighted the importance of an accessible culture and digital during this moment of transformation. The CultureGoDigital.org project was created to support cultural institutions looking for more strategic and integrated planning.
The Garden of Earthly Delights by Jheronimus Bosch
Since the early days of the Covid-19 health emergency, the world's major cultural institutions organised virtual tours of exhibitions and collections, talks and live social networking. The idea was to deliver an essential message that culture even during a crisis, does not stop because it is "oxygen for the mind".
Culture systematically entered our homes for the first time. During a pandemic, a house has become the centre of everything and the focus of all our activities. It has become a gym, office, restaurant, cinema, museum, and a school. But what we are witnessing is an emergency response to an exceptional situation which found us unprepared. Some institutions responded better, mainly because of the type of contents they convey. Cineteca Italiana, and Istituto Luce provided a video and image archives which were particularly suitable to digital fruition. With #ApertiPerVocazione, Salinas Museum (which was closed for restoration) and its successful social museum project managed to integrate digital and real communities, already in 2015. The Garden of Earthly Delights by Jheronimus Bosch, launched in 2016, is a valuable online interactive experience that cleverly combines in-depth content and fascinating sound effects. Today most public and private institutions have significant organised operations which arose from the emergency but sometimes lacked structured thinking.
New strategies and planning
With the Politecnico di Milano Observatory for Digital Innovation in Heritage and Culture's assistance, Dotdotdot created a vademecum to suggest and guide Italian cultural institutions through an intuitive digitisation starting from their existing resources. It aimed to provide a collection of essential tools, useful for the continuity of cultural dissemination during a crisis, and to expand its audience with an inclusive and accessible approach. This was a convenient tool for those institutions which were caught unaware and have found themselves entangled by too many tools and possibilities and helped them bridge the gap using the innovative scope of better-known best practices.
CultureGoDigital.org emphasised the use of free and available digital tools, and especially the need to build a project and a strategy for the fruition of a culture that uses digital in a new, targeted and effective way, and provides selected inspirational case studies.
www.culturegodigital.org
It has suddenly become clear that in difficult or critical situations, digital is not only useful but necessary. It is not ancillary, but an integral part of a complex process to transmit culture.
Digital strategy formalisation and planning is not yet widespread among cultural institutions. The Observatory found* that in 2020, 76 per cent of museums stated that they had no strategic plan for digital innovation. Investments in digital innovation are still limited, although they can positively influence different development areas, including internal management tools, staff skills, storytelling, and communication.
Museums and institutions that were the first to invest in digital technology to enhance their heritage are now the best prepared to continue to provide their services and communication consistently. They did not miss this opportunity to reduce the gap between the institution and its potential visitors. For example, Rijksmuseum has continued to make its cultural and artistic heritage accessible through the site and produced an impeccable content and insight quality.
In addition to the extensive and systematic work of Google Arts&Culture, there are international best practices such as the MET Museum which, with the Art is contemplative leitmotiv, provides a comprehensive journey within the collections, with immersive videos, training shots and audio tours. Nationally, the Egyptian Museum of Turin is strategically and active in multiple areas (streaming conferences, activities for children, digitisation platforms for the exploration of collections — there is also the successful Virtual Tour of the Invisible Archaeology exhibition), and Gallerie Estensi with a complex and well-structured programme of activities and virtual exhibitions, which conveyed insights, educational moments and developed alternative narratives involving curators.
For new, resilient, and accessible scenarios to enjoy culture
Cultural accessibility and the importance of digital are lessons to be learned for the future.
With accessible and free online services, culture becomes a vehicle for social inclusion through digital media, and this is the most crucial aspect. However, it is impracticable without careful design and implementation of the digital experience.
The emergency highlighted creativity and responsiveness, particularly in the cultural sector by encouraging solutions. The tools we have experimented with in a rudimentary and improvised way are the starting point for researching and planning a new vision.
Production of virtual tours is not the only answer, because they are useful only in certain situations. For example, they are less useful for collections or exhibitions of objects, where it is necessary to design ad hoc multimedia experiences.
The beginning of a new vision lies in the examples of humanity and interpersonal relationships that, conveyed by digital technology, become unmediated, "horizontal" and participatory. It is the beginning of a cultural value co-created by institutions and visitors and supported by digital. In these examples, we find the most beautiful and significant aspect of cultural institutions' work.
The digital medium needs a rethink, not by creating new tools but by considering the use scenario and people's needs
Based on this, the last ICOM International Museum Day, held on 18 May 2020, was dedicated to the "Museums for Equality: Diversity and Inclusion" theme. #IMD2020 bought cultural institute social role and their "agent of change" potential to the attention and reflection of the entire museum community and implemented actions to promote the enjoyment and participation of people.
It demonstrated an inclusive and enhancement role for fresh productions and renewed opportunities for new audiences and services. The NEMO — The Network of European Museum Organisations' international survey** underlines that "Considering that more than 82 per cent of Europeans are online (75 per cent on social media), only 42 per cent of Europeans visited museums at least once last year. The current situation brings a great opportunity for museums to make new friends." "Museums in Norway, Spain and Austria have been most flexible and agile in re-allocating or adding resources and have substantially increased their services."
It has become crucial to rethink and diversify culture with a new vision, which is extremely attentive to the unique needs, opportunities and demands generated by this profound moment of transformation.
Alessandro Masserdotti, CTO and co-founder of Dotdotdot
*Dall'emergenza nuovi paradigmi digitali per la cultura — Politecnico di Milano Observatory for Digital Innovation in Heritage and Culture, 27 May 2020 (www.osservatori.net)
**https://www.ne-mo.org/fileadmin/Dateien/public/NEMO_documents/NEMO_COVID19_Report_12.05.2020.pdf
We are a multidisciplinary interaction design studio founded in Milan in 2004, in which experimentation is at the core of innovation.
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Q: how to print specific NNs of a sentence with spaCy? Hi I need help with spaCy, what I'm trying to do is extract specific NNs from a sentence I give as input.
By looking at the little code here let's say I want to use the sentence "the cat is better than a dog and a wolf".
I would like to extract just the first and the third NN and assign them each one to a random variable. how can I do that? the code for now just prints every NN in the sentence. thank you.
import spacy

frase1 = input('> \n\n')
nlp = spacy.load('en')
for t in nlp(frase1):
    if t.tag_ in ['NN']:
        print(t.text)

A: If you want to get NNs by their position in the sentence (in your example, the first and third), you could do it like this:
import spacy
import operator
nlp = spacy.load("en")

doc = nlp("The cat is better than a dog and a wolf.")
nns = [i.text for i in doc if i.tag_ == "NN"]
first, third = list(operator.itemgetter(0, 2)(nns))

If you just want the total number of NNs, you can do:
len(nns)

redpajama_set_name: RedPajamaStackExchange


text:
package com.gendevs.bedrock.repository;

import org.springframework.stereotype.Repository;

import com.gendevs.bedrock.database.model.FailedLoginAttempt;

@Repository
public interface FailedLoginAttemptRepository extends CrudRepository<FailedLoginAttempt, String> {

	FailedLoginAttempt findByUsername(String username);

}

redpajama_set_name: RedPajamaGithub


text:
Shop [MA]
[MA] Training
[MA] Insiders
James Boykin, M.S.
Andrew Waldron
Ryan Polanco
Jason Agha
Positive Thinking On The Blue Line
With the NBA season on hold, professional sports fans have turned their attention to the National Hockey League. With more hype surrounding the early stages of the NHL season this fall, each team is hoping to get off to a hot start.
Despite having a long 82-game NHL season, every team wants to get off to a good start and set the tone for the rest of the season. Although it is great to begin a season on the right foot (like the Washington Capitals have done), early flashes of brilliance or failure should not dictate how the rest of the season will transpire.
Approaching the start of a new season must be done with the appropriate mindset. It is important to use individual and team experience from the past and build on the physical, mental, and skills training from the offseason in order to improve performance.
The start of a new NHL season should be approached just like the start of a golf tournament or marathon, for example. These sporting events cannot be won with one swing of the club or one big stride, so thinking about the outcome early on will only negatively impact the individual and/or team's performance. Thinking about winning the division in hockey during the first few games of the season will only be a distraction from what one is trying to execute and what can be controlled.
As each game goes by, a team (or individual) must continue to build on it's past performances and learn from them, whether they were good performances or bad. Improving from poor executions and recalling perfect ones will help build team confidence (it is important to build on both).
So, in the end, it should not matter how a team is looking in the standings after a few weeks, but rather how the team is reflecting, learning, and improving from each competition. This holds true for every sport.
Sports Psychology/Mental Training from Mental Apex
Tags: Adversity Anxiety Composure Confidence Control Edge External focus Internal Peak Performance Preparation Process Vs. Outcome Sport Sports Toughness
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Viewed: A Day To Remeber I Heard It's The Softest Thing Ever 15 Years In The Making Sunken Garden Theater San Antonio Texas 3-6-2018.
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Viewed: A Day To Remember 15 Years In The Making Tour 02/27/18.
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This year's adult session was held at Camp McDowell, an Episcopal Church camp, with motel-type housing, modern facilities, and a new chapel where many classes and all group singings were held. Campers gathered on Sunday to register at Pradat Hall, pick up T-shirts and room assignments, and get settled. A morning storm had knocked out power, but the staff put together a fine sandwich supper at Stough Dining Hall. Following that, the singers met nearby in the new Chapel of St. Francis for orientation. David Ivey welcomed all, introduced the teachers, and challenged us to become better singers during our time at camp. Over 100 campers and 30 (t? b?) staff and visiting teachers were registered from 26 states, Canada, the UK, and the Netherlands. With no power, the evening singing was shortened and only first verses used. Then campers headed back to Pradat Hall for an ice cream social, prepared by Karen Ivey, with time to renew old friendships and forge new ones. Cheers erupted when the power returned!
Some early risers joined Idy Kiser for a hike. Swimming in the camp's pool was also available. Thirty others gathered on the porch at Pradat to sing for an hour from the Lloyd's Primitive Hymns, led by rocking chairmen Eugene Forbes and Tom Malone, and assisted by Sandra Wilkinson. Breakfast followed at 8:00 a.m.
Campers then selected either Basic Rudiments class with Kelly House or Advanced Rudiments with David Ivey and Jeff Sheppard.
David said that music involves pitch or tone, time or length, accent or emphasis, and volume. The tonic is the first note in the scale, a Fa in major and a La in minor tunes. Measure bars are light and phrase bars are broad and indicate the end of a line of poetry. When a note has a dot behind it, increase its length by half its value. A slur associates two or more different notes with one syllable. Ties connect notes of the same pitch for one syllable of poetry. Traditional singers were taught that birds-eyes usually receive 1? times the value of the note. Regarding repeats, always observe repeat marks that occur before the end of a song. The final repeats are observed at the leader's discretion. While it is traditional to repeat, at conventions time is a factor in limiting that practice. Use the mode of time a song is written in to determine how fast to lead it. Common modes of time and accent patterns are: 2/2 (accent 1 2), 4/4 (accent 1 2 3 4), and 2/4 (accent 1 2); triple times 3/2 and 3/4 (accent 1 2 3); and compound times 6/4 and 6/8 (accent 1 2 3 4 5 6). Accent helps singers stay together and is strongly traditional. David suggested learning a different part than you usually sing if your voice will accommodate it. It is good exercise for you; you may want to switch parts as your voice tires. Historically, all children were taught the tenor part, which also prepared them to lead any tune in tenor.
After a snack, campers could make crafts with Idy Kiser, use the camp's recreational facilities including hiking, canoeing, and fishing, or attend two elective classes: Judy Caudle and Shelbie Sheppard teaching Basics of Learning Songs or Tom Malone's Sacred Harp Composition for the Beginner.
Tom Malone taught about binding "agreeable tones" into chords. He assigned a tonal number from 1 to 8 to each position on the scale, and presented agreeable chords resulting from various combinations, pointing out those chords most commonly used in Sacred Harp composition. Identifying these chords from their root tone, they are the tonic chord 1-3-5; the important 6-1-3; and others 2-4-6 and 5-7-2. The 4 itself, not developed into a chord, is often used. Giving the class a tenor line, the first element to develop in a composition, Tom assigned each class member to write a treble part. Jesse Pearlman Karlsberg and Tom sang several of the efforts. Then the campers added a bass part, and Aldo Ceresa joined in to sing several. Then Tom encouraged participants to write an alto line and said that leaving out the third is fine, especially in minor tunes. Karen Swenson joined in to sing the class's results.
Today's T-shirt color for the day is pink, so all the guys got to wear pink and eat quiche for lunch! Then Harry Eskew presented a lesson commemorating William Walker's 200th birthday year. Born in 1809 in Spartanburg, South Carolina, Walker was known as "Singing Billy Walker". He was already composing by the time he reached 18. He owned a book and stationery store and sold his own tune book there, The Southern Harmony, published in 1835. He was a widely-known singing school teacher in the South and Midwest. The Southern Harmony is still used. In the 1840s, seven shape books became popular. Walker published his Christian Harmony in 1867 in seven shapes. He was the first to publish New Britain with the words Amazing Grace. Walker's legacy is as a singing school teacher, publisher of music books, and composer of tunes in the Sacred Harp such as 45t, 159, and 146. He contributed to choral repertoire, wrote distinctive harmonies, and had an impact on congregational singing across denominations. Tunes sung during the session: 141, 159, 128, 45t, 312b, 134, 35.
Campers could choose to hike, rest, or attend electives: Tom Malone's Accent for the New Singer or Keying Music by David Ivey and Jeff Sheppard.
David Ivey directed singers to page 17 of the rudiments, #4, where it states that the music should be pitched comfortably for all singers. Learn by listening at singings or from recordings, especially of conventions. Be aware of the male trebles, being careful not to pitch too high for them. Give the tonic first, then the starting notes for each part, ending on the tenor's first note. Some songs are written high or low. Scan the parts quickly to look for high and low notes and whether the part stays there.
Another recess time and snacks after which campers could attend a Leading Lesson by David Ivey and Judy Caudle, Jesse Pearlman Karlsberg's Discord Discoveries, or Joyce Walton's Leading and Bringing in Parts, Intermediate Level.
Joyce Walton began by saying, "I've sung with some of the best—Marcus Cagle, Bob Denson, Irene Parker, and Marie Aldridge. We honor the people who wrote these tunes by singing them as they were written." Joyce started singing in 1952, held singing schools in her home, and in several other places. She said there's a knack to leading. Practice in front of your mirror. Lead smoothly to show the flow of time in the tune. Too long strokes when you beat make it difficult to keep good time. Learn from your mistakes. Make eye contact with everyone in the house and make sure they are watching you. When you are in the center of the square, you are the most important person in the room. Don't be afraid to lead, and stay put until you're done. The last chord in the song is the prettiest one in it. Hold that last chord for just a bit longer. If you're going to omit a hold, you must first tell the class you will do that. Communicate. Joyce continued that we often don't tell the keyer that we appreciate his work, but we need to do this. Everyone should keep quite during the keying. Don't hum. Remember that our singing is not a play thing; it is worship. Honor the leader, don't talk during the memorial, and honor whoever is in the square. Tunes led 40, 347 532, 155, 538, 300, 269, 192.
Next, campers could attend Michael Thompson's Tenor Part class or Aldo Ceresa's And Then I'll Be at Rest.
Aldo Ceresa sent the class to page 15 in the rudiments to read about rests. Carefully note where rests are, whether they are increased by dots following them, and check repeats and how rests are involved. Aldo spoke about different categories of rests. Tunes with rests at the beginning of measures include 77b, 28b, 38t and b, 28t and b, 34b, 66, 313t and b. Tunes led were 38t, 77t, 28b, 38b. Then he spoke about tunes which end with a long note and have a rest at the beginning, 39b and 53. Beat through the six beats of that final note, holding it, then silence during the two beat rest, and then begin the next verse. Aldo spoke about tunes with rests in the first measure: 540, 71, 64, 325, 220, 403, 44, and 330t. Tunes sung were 540, 71. A few tricky tunes are 457, 320, and 312t. Check the time signature and notice that a rest is missing; begin singing on the upbeat. Aldo noted that when the chorus of these tunes is sung only once, sing the second ending, if there are two. Aldo continued with 4/4 tunes with an upbeat pick-up (149). Other tricky rests are in 88b, 210, 156, 231, and 143. Unusual pick-ups include 292, 146, 444, 522 (treble line), 532 (bass). Rests before time changes include 43, 417, and 455. Aldo concluded by leading 365.
Dinner followed and a bit of free time. Then campers gathered in the chapel for the evening singing.
Leaders: Jeff Sheppard and David Ivey 460; Bonnie Davis 210; Andrew Mashchak 370; Sarah West 324; Chris Brown 28b; Anne Eringa 47b; Richard Schmeidler 268; Steven Kick 542; Kevin Dyess 274t; Elizabeth Stoddard 440; Zeb Ferguson 535; Marilyn Burchett 294; Kathe Pilobosian 97; Anita Landess 58; Cheryl Foreman 344; Blake Ferguson 32t; Geraldine Sharpton 299; Chris Holley 160b; Eddie Mash 504; Judy Mincey 474; Claudia Dean 102; Pat Temple 34b; Jacqui Selby-MacLeod 82t; Sarah Langendorf 67; Shelby Sampson 30b; Robert Stoddard 435; Janie Short 350; Tom Ivey 196; Karen Swenson 149; Idy Kiser 472; Robert Kelley 449; Terry Barber 528; Mike Hinton 527; Kristie Harju 106.
Mike Hinton conducted the devotional, speaking about the rich heritage we have in The Sacred Harp. How did these words and notes come together? The composer of Odem (Second) is Mike's grandpa, named for the man who gave him the poetry. Seaborn Denson's wife, Sydney Burdette Denson, picked the words to go with the tunes when the James book was being revised. William Billings wrote Rose of Sharon to set the words of the Song of Solomon to music. He repeats a "weather report" in the tune. The winter he mentions, may be literal or may represent those difficult times in our lives, but they will pass.
David Ivey wound up the gathering by announcing that the camp is in Winston County which is Denson country. In Double Springs there is a monument to the Denson Brothers, and they are buried nearby. Try to get up there, if possible, while in the area. Then the campers proceeded back to Pradat for socializing and snacks. Another heavy rainstorm hit and the lights went out again. Some people lingered, others got soaked running to their cabins, but all were cheered when the power came back on shortly after lights out.
Morning brought a repeat opportunity to hike with Idy Kiser, swim, or sing from the Lloyd's Primitive Hymns with rocking chairmen Gene Forbes and Tom Malone. Breakfast followed, and then Basic Rudiments with Kelly House or Advanced Rudiments with Richard DeLong.
Richard DeLong led 127, instructing that the leader must decide what tempo s/he wants and beat it from the start. Richard led 132 and told the class to watch the leader carefully, that songs can be sung in a variety of tempos. Beating in four is not mentioned in the rudiments, but "we'll be glad to accommodate you... at least once." When Richard leads, his voice comes in a little early before his first beat to help bring the class in quickly. He calls this "voice leading". If you have a leader who is timid and won't start singing, the front bench can practice voice leading to get the song started well and prevent the tempo from slowing down. Richard led 319 and emphasized that it should be sung with a strong accent. He led 298 and emphasized to watch the leader; if he keeps beating, you repeat. Traditionally the chorus is repeated on the notes and the last verse. Richard spoke about 44, noting that it begins on the last quarter note beat of the measure. Don't pick it up too early. He said that some of the prettiest bass parts are above the staff, above the tenor. Let it thunder out! Richard noted that 197 sounds good either fast or slow. Currently, he likes it slow which highlights the bass and tenor interaction. Manchester, 392, was the town where Thomas Denson lived when he died. Richard likes this led a bit faster and notes the interplay between tenors and trebles. Richard warned to watch the key on 103; it's written high. When asked how tenors should sing the chorus to 36b; Richard recited the first verse words for tenors "Whose anger is so slow to rise, so ready to abate, so ready to abate". In 507; Richard said to take the 3/4 section a bit slower than usual 3/4 time to make a dramatic difference between that section and the 4/4 section which ends the song and is sung fast. On 553; Richard only holds the ritards at the end on the repeat. When leading, be sure to announce your intentions regarding details like this before beginning any song.
Following recess and snacks the options were recreation, crafts, Aldo Ceresa's Sacred Harp Composition II, Shelbie Sheppard's Dinner on the Grounds, or Richard DeLong's Learning Songs, Basics.
Richard DeLong led 101t, and noted that keying takes practice. He led 415, noting it is in 6/4 with an unusual rhythmic pattern. Another 6/4 tune is 370; typical rhythm is half-quarter-half-quarter. The tunes 36b and 138t are the only ones which pick up with the basses entering on the fourth beat and the tenors answering the bass. An example of an unwritten tradition is 143 with the second line sung softly where the treble rests. Regarding rests Paine Denson said, "It's just as important to rest as it is to sing." W.T. Coston (for whom the song on page 382 is named) wrote that Sacred Harp music is in a class by itself and has been preserved by rural southern people. Pronunciations differ, for example: hal-lay-lu-yer; in West Alabama it's Jurden, but in Georgia and East Alabama, it's Jordan. The J.L. White book changed harmonies, trying to contemporize to the popular sounds of 1900. A split occurred. Later another split occurred with the publication of the Cooper book. George Pullen Jackson and other researchers have helped spread awareness of Sacred Harp across the world. Other tunes sung: 405, 148, 292, 430, 142, 383, and 110.
Lunch followed with a celebration of the life and contributions of Hugh McGraw of Bremen, Georgia. A wonderful slide show treated campers to photos of Hugh McGraw as a high school athlete, recipient of the 'cutest guy in the senior class' award, and as a singer and leader of Sacred Harp music. He has been recognized by the Smithsonian Museum as "a caretaker preserving something worthwhile..." Campers lined up to have Mr. McGraw sign their books and pose for photos. Then campers gathered for the group photograph in front of the chapel.
All attended Tom Malone's session on The Life and Songs of Hugh McGraw. Richard DeLong and Jeff Sheppard told stories of their long years of friendship with Hugh. Hugh told about going to Hollywood to sing in a film about Jesse James. He sang "To The Land" from the Social Harp for the funeral scene. They sprayed onion juice at the actors so they would shed tears. When the film played in Bremen, the marquee had Hugh's name on it. Mike Hinton then spoke. The first tune Hugh wrote was Living Hope. Mike led 527; Hugh's second tune. Mike's Aunt Ruth Denson formed a strong friendship with Hugh and they went to singings together. Hugh has driven hundreds of thousands of miles promoting and supporting this music. Then campers led Hugh's tunes: 500, 517, 548, 225t, 549, "Life's Troubles", "Redemption's Free", 570, and "God's Promise". Jeff Sheppard spoke about George Phillips, a good leader and singer, who traveled around the area to sing. He wrote the words to Phillips Farewell and gave them to Hugh to set to music. Joyce Walton spoke about her long friendship with Hugh McGraw. She said that Hugh wanted to be a bluegrass player. Hugh took guitar lessons and his teacher recorded him. When she played it back to him, he quit. Joyce bought Hugh's guitar with a leather strap and "Hugh" on it. Judy Hauff told about the beginnings of Chicago and mid-Illinois Sacred Harp singing in the early 1970's. They decided to have a convention, and Hugh McGraw found out and announced that he would come. At the time, Judy said about Hugh, "maybe he'll know something about Sacred Harp". Chicago knew twenty to thirty songs and downstate knew the anthems. Hugh arrived with other southern singers, and there was great discomfort. But Hugh pitched and culture shock happened and the Chicagoans learned quickly. Two weeks later the Chicago singers traveled South and they have never been the same. Hugh has been everywhere in the country to help new groups form, a real ambassador.
Next campers could rest, attend a birds of prey session by Camp McDowell staff, Cassie Allen's The Alto Part, Matt Hinton's Theology Thoughts, or Richard DeLong's Keying Music II.
Richard DeLong started out by saying that he has a set of standard songs for which he has the sound in his head and which he uses to pitch other tunes: these include 100 for A, 318 for F, and 285t or 546 for B flat. Richard led 159, 155, 45t. Richard emphasized that everyone must be quiet while the pitcher is trying to set the pitch. The pitcher needs to sound the pitch for all parts. The leader should sound the tenor pitch and encourage all the parts sound their pitch, the opening chord, before s/he begins the song. If you are a beginning keyer, it's probably good to sing the triad, then sound any other notes needed. If the tune begins with a solo, pitch for the first and second entrance; for 236, give the bass, then the treble. Richard made a point of noting that you must have males on treble to have real Sacred Harp sound. In pitching, ask whether you are pitching too high and scaring away the men on treble. If so, something's wrong so change your pitching.
Campers enjoyed recess and more tasty snacks prepared by Karen Ivey. Then campers could attend Judy Caudle and Jeff Sheppard's Basic Leading Practice for Adults, Joyce Walton's Leading Boot Camp for Adults, or David Ivey's Time and Tempo class.
David Ivey told campers that we have relative tempos as well as relative pitches. The Rudiments on page 16, #15, say that "the mode of time is a guide to tempo". Tempo needs to be in a range to allow proper accent to be sounded. Gene Forbes said that forty years ago songs were sung slower than today. In southern Alabama they were sung slower than in northern Alabama. In the 1960s, the tempo speeded up. Raymond Hamrick has studied tempo over the years. The Sacred Harp Publishing Company brought out albums which were deliberately slower and clearer, and this may have resulted in the tempo slowing down. There is no single Sacred Harp tradition regarding tempo. Years ago, there were singings in every county and many more local all-day singings. People didn't travel so far to sing. As local singings died out and people traveled further away, slow or fast singers influenced each other and tempos moderated. Then David spoke about the tempo of several tunes. Mt. Vernon, 110, is a dirge, but is sometimes sung very fast. One of the tunes sung on the Sacred Harp Publishing Company recording was 268; David's Lamentation, on which "O my son" is slowed down. Jesus Rose, 156, is written in 2/4, but is led on Easter as though written in 2/2. Sing 532 at a rapid pace, but slow enough to sing the words clearly and retain good accenting. In a fugue, if one part (like the basses) tends to slow down, move toward them, make eye contact, and even sing that part to keep them on tempo. In 417, there is a difference in tempo between the first and second lines. Funeral Anthem, 320, has lots of changes of time which are often sung the same; the tempo should change with time changes, measure by measure. The final three measures are often slowed down.
At this point campers could choose from Ed Thacker's class on The Bass Part or Jesse Pearlman Karlsberg's The Time (and Keys)—They are a'Changing.
Jesse Pearlman Karlsberg noted that twenty songs in our book change tempo. Soar Away is the only fuguing tune which changes tempo. When there's a change in time, there should be a change in tempo. Change tempo and arm movements at the moment when the time changes. Don't lose or gain time, lag or anticipate. Jesse led 387; Penick, which changes from 4/4 to 3/2 to 6/8. Often there are rests when time changes, but not in this song. Note that the composer uses a broad bar for each time change. The composer uses all three modes of time in this song. It's a real teaching moment. Consecration, 448t, moves from 6/4 to 3/4. Generally 6/4 is slower than 3/4, but the Rudiments say that tempo should be appropriate to words. The first part asks God to help; this part is usually sung faster than the second part. Anthems and odes change time a lot. Funeral Anthem, 320, contains the densest changes. Aldo Ceresa led it with no tempo changes; Kelly House led it, observing the changes; quite a difference! Jeff Sheppard led 250 and taught us how to fit in the word "gathered" on page 253 (?), top line. Sing it "ga-ther-ed" on 2 eighth notes, 2 eighth notes, and the first quarter note in next measure. Other tunes sung: 43, 227, 507, 545, 240, and 355.
Campers then enjoyed dinner and some free time before the evening singing in the chapel. Jeff Sheppard and David Ivey called the class to order leading 203, followed by a blessing by Michael Rich. Leaders: Kelly House 503; Cassie Allen and Angela Myers 300; Michael Walker 306; Xaris Martinez 74t; Martha Rogers 270; Wade Kotter 122; Judy Whiting 212; Eugene Forbes 496; Karen Ivey and Shelbie Sheppard 182; Stuart Ivey 287; Margaret Gillanders 318; Ruth Steggles 49b; Ted Brown 111b; Jesse Pearlman Karlsberg 153; Sandra Wilkinson 512; Helen Brown 542; Paul Wilson 501; Connie Stanton 466; Al McCready 84; Ann Mashchak 68b; Philippa Stoddard 383; Nancy Hogan 378b; Martha Beverly 131t; Maria Wallace 38b; Lois Badey 86; Bill Hogan 388 (for Uel Freeman); Tom Malone 358.
Wade Kotter then offered a devotional in which he told campers to watch the leader. The leadership qualities of Jesus are those which we should emulate for others, like our children, students, and friends, to whom we are leaders. Then campers had time to socialize and have some snacks before lights out.
Again, morning began with hiking, swimming, and singing from Lloyd's Primitive Hymns followed by another hearty breakfast. Next, Kelly House taught Basic Rudiments and Judy Hauff taught Advanced Rudiments.
Judy Hauff told campers not to worry about leading. All the instructions you need are in the book. Read and learn what is in the Rudiments and follow that. Judy challenged us to use the session's nurturing environment to try to improve our leading style. Maria Wallace and Patti Doss led 448t with its time change. Judy emphasized that they should complete beating the last measure of the 6/4 time and immediately begin the downbeat of the 3/4 time. Judy was asked whether the leader must bring in all the parts. Judy responded to do what you're comfortable doing. Bring in the first part for fugues, usually the basses. Learn the tenor part for tunes you lead. Look through your tunebook before you leave your seat. Check what order the parts come into the fugue and be better prepared to bring them in. On 543; Judy reminded the class that fermatas equal 1-1/2 the value of the written note. On that last quarter note fermata, make a smaller gesture in order to resume proper beating. On the top of 544, the ritard ends with the bird's eye, and then the faster tempo resumes. Richard Schmeidler reminded us that Shelbie Sheppard taught to use pointed finger to emphasize the individual notes during the ritard, and then resume normal beating where it speeds up. On 316 the fermata should be held for about two beats, then turn to the basses and firmly bring them in. Judy said the biggest problem with 188 is to avoid beginning it too fast; it should move along, but not too fast to get in the triplets. On 327 sing "youthful hart" on its eighth and sixteenth notes a bit like a light laugh. Regarding fugues Judy noted, "The altos are not second class citizens—bring them in, too!" Next was a recess with more delightful snacks and schmoozing. Then campers attended Aldo Ceresa's class on the 1959 Alan Lomax Landmark Recording at Fyffe. Aldo told campers that this year is the fiftieth anniversary of the original recording at Corinth Church in Fyffe, Alabama. He passed out a packet containing photos, minutes and comments about the singing. Joyce (Smith) Walton attended that singing; her voice is on the 1977 version of the Fyffe singing. Joyce identified pictures in the packet. They are the same ones as in the recording. Then Joyce led 456. Mike Hinton spoke about R.E. "Bob" Denson and Ruth Denson Edwards, daughter of Tom Denson. Bob Denson was a Biblical scholar, son of Seaborn Denson, and he had a distinctive treble voice and sat on front bench, far left. He often prayed, bringing lots of tears, and didn't use a book when leading. He lived into his 90s. Whitt Denson was there, too. He wrote 422 which Mike led. Mike said that in the documentary Awake My Soul, it was Joyce telling Uncle Bob that she had left her book at home. Uncle Bob replied to her, "That's like going to the cotton field without your hoe." Then Judy Caudle spoke about her grandfather L.E. Hopper who attended the Convention on Sunday. He was a singing school teacher. He sat in all the parts with the children to help them to learn the notes. He was a quiet man, a good listener. His favorite lunch was fried pie, either apple or peach. That's all he ate. He said, if you eat a big lunch, you couldn't sing as well. He had a distinctive voice when he sounded the chord: faw, foghorn-like, strong, steady tone to give the singers. He would rather sing than talk. Judy led 326, the song he led at the 1959 United Convention. Another person attending was only four years old then: David Ivey. Other current singers who attended are: Eloise (Ivey) Wootten, Jewel (Hullett) Wootten, and Reba Dell (Lacy) Windom. Alan Lomax really liked Sacred Harp. He first recorded it in 1942 on primitive equipment, and later returned to Fyffe, Alabama on Sand Mountain in 1959. In 1975 he contacted Buell Cobb and in June 1980 filmed a singing at Holly Springs. Matt Hinton has gained access to this material and a high quality audio tape of this session. Matt is also hoping to re-release the 1959 material. Marcus Cagle attended the 1959 Convention. Joyce Walton said Mr. Cagle would stomp his foot and let you know if he didn't like the changes made by the leader. Steven Kick then said that these Lomax recordings were important to him when he found them during high school. He said we are blessed to be able to meet and sing with these leaders who attended, and form this connection to Sacred Harp history. Kelly House and Tim Erickson listened to this 1959 recording at the Amherst College music library. Western Massachusetts can trace its Sacred Harp history to that event.
Lunch followed with Connie Stanton giving the day's devotional. Connie used the analogy of a stream to emphasize that we are all part of this tradition and together we need to practice and continue moving this tradition, a gift of grace, like a great stream flowing, towards the future. She led 31t in closing.
Then all campers gathered in the chapel to hear Tom Malone's presentation, A Life of Faithful Service: Elmer Kitchens. Several of the Kitchens siblings attended the session. Tom also handed out a packet with some tunes by the Kitchens family. Tom told us that the first time he headed south, he met Sandra Wilkinson, who said that Elmer Kitchens had been her teacher. In November 2008; Tom met Sarah Beasley Smith in Nashville, and Elmer Kitchens had been her teacher, too. Tom said that we singers need to recognize these teachers and the gifts they have given us. In the Harpeth Valley Newsletter, 1962-64, articles about the Kitchen family called them "born Sacred Harp singers". Tom led "Love" by Elmer Kitchens. He wrote it for Sherry Marie Donaldson whose parents were members at Mt. Pleasant Primitive Baptist Church. Sherry used a wheelchair and she loved to come to church. Her nickname was Punky; she died young. Kitchens's Rocky Mount in the Alabama Christian Harmony is similar. Sandra Wilkinson spoke about Elmer Kitchens. Wilkinson was raised in a Primitive Baptist church. In 1949, she attended singing school with Herman Wilkinson, her cousin. In 1962, she brought Elmer Kitchens to Hardeman Primitive Baptist Church for a singing school. The tune Hardeman was written by the class with his leadership. She said he was so easy to be with; he was funny, and he really encouraged Sandra's interest in singing. He had dreams and visions and some of his songs tried to capture poetry from these. In 1967, he sent her a Songs of Zion hymnbook, dedicated to Sandra's grandfather who had passed away. In it he credited Sandra for the words to Hardeman and gave credit to the students for composing the tune. Then Tom Malone sang the tenor part of "Oh, Come with Me" and the class sang the words. Marlin Beasley told the class that he went to church one day to find Elmer Kitchens preaching and singing. Young Marlin was so moved that he joined the church that day. Marlin led 512 and speculated that some of Kitchens's dreams and visions may be in the words to this song. Marlin said that he preached a great funeral, and connected well with others through being a teacher, preacher, and bricklayer. Judy Hauff led "Great Jehovah". Elder J.L. Hopper spoke about Elmer Kitchens. He built driveways, churches, but also built singing classes and church congregations. He remembered his energetic manner when directing singing classes. Elder Hopper led "In Thy Praise", then 181, a tune which Elmer Kitchens often led. S.T. Reed said that he almost lost a crop one year trying to learn 181. Shelbie Sheppard commented that Mary Kitchens Gardner, his sister, was one of the most graceful leaders she has seen. She didn't use a book and led with both hands. Then Mary Kitchens Gardner led 196. Jean Wade, a sister of Elmer Kitchens's, thanked Sandra and Tom and introduced her daughter, Joy, who is a singer. Then Elmer's brother, Charles Kitchens told us that there were five boys and five girls in Elmer's generation, Mary was the youngest. Charles served in Wwii in the Pacific for three years and was awarded the Silver Star. He led 179. Joy Jenkins led 358. Then Jean Wade and her husband led 47b. Elmer's daughters, Jeddy Burnette, Jackie Share, Joy Jenkins, and Jean Wade led 45t and 274t. Tom Malone and Jerry Kitchens led 343, his father's favorite song. In closing Tom Malone, Charles Kitchens, Sandra Wilkinson, and Joyce Walton led 568.
Next campers could take some time off for R&R or attend Henry Johnson's class, Harmony-Tradition that Sets Sacred Harp Apart.
Henry Johnson began by saying that we all know that Sacred Harp is different. The most important difference is in the harmony. Harmony is based on concords and discords, of tension and resolution and of the progression through them. Some concords are: unison, third, fifth, sixth. B.F. White was very partial to the greater fourth. Dr. John Garst in his updating of the Rudiments does not include the fourth in conventional harmony. Discords include the second and seventh and side-by-side notes. Dispersed harmony makes use of frequent chord changes, tall chords where there is a distance between bottom and top notes, parts crossing one another, and polyphony in which the melody does not dominate overall. Early composers emphasized the fourth and fifth more than the third. Look at the chords in the Rudiments on page 22, left column. If you leave the middle note out, you have an open fifth. When asked what song gives the real flavor of what Sacred Harp is, Henry offered the following tunes: 47b, 159, 111b. He especially recommended 460 Sardis, 81t Beach Spring, and 383 Eternal Day.
More snacks and a chance to visit, followed by recreation or the last classes of this camp session: Jesse Pearlman Karlsberg's Sacred Harp Composium, Susan Harcrow's The Treble Part, David Ivey and Jeff Sheppard's Discussion on the Future of Camp Fasola, or Judy Hauff's The Front Bench.
Judy Hauff began by saying that the job of the front bench singers is to make sure that every leader gets as much as possible from the song they lead and to keep the class together. The front bench singers err if they take the song away from the leader or if they let the leader stumble or blow a repeat. The front bench's job is to make the leader look good, regardless of his/her skills. The front bench needs to be a servant and assist the leader. All four front benches should be beating the time. From this point on, Judy spoke about all front bench singers, but with emphasis on the tenor front bench. At the beginning of every tune, singers on the front bench must make eye contact with the leader. Try to find out the leader's skills and support him/her. If the leader is nervous or clueless and the class is not following well, the front bench singers still must support the leader. If it's a train wreck, the front bench may have to stop the song. But it's better to try to use front bench voices to keep things going, if possible. If the song must be stopped, say something to take the heat off the leader, like, "The class needs to wake up now" or "Let's not drag this!" If the leader makes mistakes, divert any comments. If the leader can't beat correctly, the front bench really needs to set the tempo with its own correct beating. Watch the leader's mouth; sometimes the leader can't beat time well, so determine what s/he wants by watching what s/he sings. The most seasoned front bench singers should sit on the center. All front bench tenors should beat the time so that the other three sections can easily see and duplicate this. Judy then modeled problems for the front bench to deal with. She sang correctly, but beat time twice as fast; the front benchers should watch her mouth and beat correctly, hoping that she would come around eventually. When a child leads, the front bench should try to establish friendly eye contact to help guide the child. Judy was asked what to do when the inexperienced or weak singers take front bench seats, especially on the tenor front bench. Judy suggested that the chair should announce before the first break, "We have some good singers here who are sitting on back benches. Let's have some front bench rotation." She also said that books could be left on front bench seats to "save" them, escorting strong leaders to these seats to guarantee a strong front bench. If the tenor section is weak because many strong singers are in the other sections and the singing is unbalanced as a result, the chair should encourage movement towards the tenor section. The chair and the front bench singers have an obligation to make the singing and each leader's lesson successful, if possible.
Supper followed and many visitors arrived for the evening's community singing in the chapel. David Ivey gave announcements and with Jeff Sheppard led 33b. Ricky Harcrow offered the blessing. Leaders: Michael Thompson, Aldo Ceresa, Judy Caudle 424 (for Loyd Ivey); Ian Quinn 163t; Les Doggrell 410 (t? b?); Mary Wright 148; Rick Foreman 75; Anne Eringa 142; Laurin Harrison 138b; Patti Doss and Judy Caudle 426t; Will Fitzgerald 96; Sandie Scott 77t; Carol Selleck 65; Josie Hyde 507; Buck Lea and Ellen Lea 347; Roger Keyes 49t; Geraldine Sharpton 452; Jonathon Smith 186; Travis Keeton 179; Joyce Walton 192; Zackary Sitter and Kevin Dyess 176t; Ricky Harcrow and Susan Harcrow 475; Judy Hauff and Danielle Dunbar 196; B.M. Smith 318; Shannon Primm 415; Warren Steel 392; Sharon Benefield and Karen Ivey 358; Gene Pinion 280; Blake Ferguson, Zeb Ferguson, and Michael Walker 134; Kristie Harju, Connie Stanton, and Martha Beverly 384; Judy Mincey and Karen Swenson 383; Kelly House, Mike Hinton, and Steven Kick 436; Chris Holley and Xaris Martinez 480; Tom Malone and Jeff Sheppard 439; Bonnie Davis and Janie Short 210; Pat Temple 473; Robert Stoddard and Philippa Stoddard 171; Wade Kotter and Robert Kelley 294; Andrew Mashchak and Ann Mashchak 503; Eddie Mash and Tom Ivey 189; Stuart Ivey, Eugene Forbes, and Idy Kiser 217; Judy Whiting and Chris Brown 441; Robert Stoddard and Elizabeth Stoddard 165; David Ivey and Maggie Johnston 45t.
Campers then socialized, snacked and sang until lights out.
A final early morning gathering to sing from Lloyd's, followed by breakfast and good-byes. Camp has offered the opportunity to learn much, to hone skills, to meet singers from around the world and build new friendships, to bond more deeply with this tradition and each other. Final words and hugs were shared, and then many campers moved on to Birmingham to sing at the National Sacred Harp Convention which begins this morning.


Seattle built a 1.2 mile two-way protected bike lane in just 4 months and in Pittsburgh it took 4 months to announce, build and install their first three protected bike lanes. Seattle and Pittsburgh are cities with leadership (and bike advocates!) that have a strong commitment to bike infrastructure, evident by the quality and speed at which they're building.
While local conditions will always vary, seeing cities quickly building quality bike infrastructure demonstrates what is possible with committed, forward thinking leadership.
What do we love about how bike infrastructure is getting built in Seattle?
Volunteers and signs are telling people about changes. In addition to signage, like in the photos below, the local advocacy group mobilized volunteers to be stationed along the new lane at its opening to answer questions.
The city continues to iterate on the design once they see how people are using it. After a new bike lane opened, the city made several changes to improve problem intersections, including improved "no turn on red" signage and changing green balls to straight arrows.
They're building bike infrastructure in coordination with public transit infrastructure.
For example, the two-way protected bike lanes on Broadway were created as part of the $134 million First Hill streetcar expansion.
What do we love about how bike infrastructure is getting built in Pittsburgh?
It's being built quickly. It took Pittsburgh 4 months to announce, build and install their first three protected bike lanes. That's really fast!
Mayor Peduto has a bold, unwavering commitment to building protected bike infrastructure. He said, "It isn't the way it was in 1970. Not everyone's dream is to have their own car and be able to use it to get to work. [...] When you talk about the bike infrastructure and the investment and capital dollars to build it out, you're really not talking about bike lanes. What you're talking about is a multimodal approach to building out your infrastructure."
While community involvement in these projects has been questioned, we believe bike infrastructure projects are strongest with both committed and fearless city leaders and sustained engagement with communities. And here in Baltimore, we're definitely committed to both, with a combination of efforts like #DirectDOT and our community engagement campaign for the Downtown Bike Network.
The city put their money where your mouth is by passing a particularly bike friendly city budget. This included significant funding for protected bike lanes, bike infrastructure in a diversity of neighborhoods, funding for bike racks, improved sidewalks, and more.
Mayor Peduto issued a Complete Streets Executive Order, which was unanimously adopted by Planning Commission, and affirmatively recommended for City Council to adopt. This ensures that a complete streets vision is carried through all city departments in the design, construction, and maintenance and use of the city's streets.
They're building bike lanes within a complicated landscape of hills, bridges, narrow and non-grid streets. Pittsburgh, not unlike Baltimore, is a city with characteristics that make bike infrastructure and biking itself difficult: tons of hills, bridges, windy roads, and a strong car culture. But the city is taking that as a challenge rather than a barrier.
According to Bike PGH, census numbers show that bike commuter rates doubled since Pittsburgh began vigorously installing bike lanes in 2007. Seattle and Pittsburgh demonstrate what is possible, and act as an illustration of what we can and should be asking for from Baltimore leadership.
→ Share your vision for a Baltimore that builds quality bike facilities on a reasonable timeline through our #DirectDOT campaign!
When you pass by Roland Park Elementary/Middle School on a Wednesday in October, you're likely to see kids with crazy hair, the Loyola mascot, and an outpouring of excitement and energy as students make their way toward school. If you've ever been to a school on an early morning, you'd know that this is not typical — but Walk to School day at Roland Park isn't typical.
"I feel like I belong to a community when I walk," says Amy Bonitz, a Baltimore parent taking active steps to get her neighbors walking and biking more — and taking active steps to build the infrastructure that encourages it. Like many, she loves to walk to run errands, to connect with nature along Stony Run Walking Path, to walk her dog and even to get her kids to school. She's thankful for the tree lined streets and sidewalks in parts of her neighborhood that make these things possible.
For the past few years, she's been organizing Walk and Bike to School activities for Roland Park Public Elementary/Middle School, with about half of the 1400 students participating in annual Walk to School month in October and Bike to School month in May. "I love how excited the kids get about participating and how parents share their experiences of forming new habits of walking or biking to school," Amy says.
Amy and other local advocates organized the school community to support the creation of the Roland Park Cycle Track to help kids bike to school, but they're hoping to keep the ball rolling. Like much of Baltimore, the biggest barriers to walking and biking in her neighborhood are "speeding cars and the challenges of crossing major arteries."
But these committed volunteers need the city's support. She wants help to reduce speeding throughout the neighborhood and to create real crossings for bikes and pedestrians at intersections along Northern Parkway and Charles Street. "I feel like some things are harder than they need to be like getting more bike racks for our school. I also feel like the City's Walk to School program is too formulaic and needs to support schools in developing a unique plan to meet the needs of each school."
"I wish all Baltimoreans had the opportunities to walk in a safe environment with trees and adequate sidewalks and crossings. There are way too many one-way streets in Baltimore that are geared toward allowing through traffic to get through neighborhoods as fast as possible. These streets are bleak, mini-highways that undermine any sense of community for residents on either side and create a hostile environment to walk in. There are also too many non-ADA sidewalks and not enough trees and garbage cans.
The ideal street in my mind would be two-way, with on-street parking and street trees. These streets would have trash cans that are emptied frequently to cut down on litter and main streets would incorporate transit to cut down on automobile use. Major streets would also have neighborhood retail or community amenities on the first floor of key buildings to activate those streets and provide nearby amenities. Bike lanes would also be incorporated in a strategic manner to link City neighborhoods together.
We can't have a livable city, reduce health disparities and rebuild devastated neighborhoods if we treat streets in our poorest neighborhoods as highways whose sole job is to move traffic as fast as possible. We need two-way, complete streets in Baltimore's neighborhoods and a DOT leader who is a creative doer that feels a sense of urgency in moving the City toward a 21st century street network."
The walk and bike to school days that Amy and other volunteers formally organize are only two months a year, but if you do something for a month, it tends to become a habit. Walk to school on Wednesdays in October has become "walking Wednesdays" year round for many families.
While Amy and her team have accomplished a ton, imagine what a group of committed neighbors and parents could accomplish with the support of a DOT Director who has a vision that all students should be able to safely walk and bike to school.
→ Share your vision for streets that are safe enough for all kids to walk and bike to school through our #DirectDOT campaign!
"Complete Streets are streets for everyone. They are designed and operated to enable safe access for all users, including pedestrians, bicyclists, motorists and transit riders of all ages and abilities.
What's the status of Complete Streets in Baltimore?
Building complete streets requires both leadership (like mayors and DOT directors) that is dedicated to it and policy in place that directs the city, its planners and engineers to design complete streets.
In late 2009, Mayor Sheila Dixon's Bicycle Advisory Committee worked with Councilwoman Mary Pat Clarke to introduce a Mayor and City Council Resolution for Complete Streets. The bill sat for several months. With advocacy from the bicycle community, the bill came out of subcommittee in December of 2010 and was subsequently passed by the full City Council and signed by Mayor Stephanie Rawlings-Blake.
At the time, Baltimore was on the leading edge of cities passing complete streets legislation that prioritized multi-modal transportation options on city streets. However, the downside of being one of the first cities to pass such legislation is that the language of Baltimore's complete streets bill lacked specificity and contained significant loopholes.
As a result, over the past six years Baltimore City Department of Transportation has routinely ignored the spirit of the complete streets legislation, resulting in planning, design, and construction of streets that prioritize moving cars over moving people — the exact opposite of what complete streets legislation tries to achieve.
Planning for cars first is not just a transportation problem, it's an equity problem. Promoting private vehicle throughput over safe options for transit, biking and walking unfairly harms our most vulnerable road users, who also often are individuals in our city most in need of connections to opportunity.
Bikemore is working with Councilwoman Mary Pat Clarke and the incoming City Council to introduce a new, stronger Complete Streets Ordinance that will more clearly outline the intent of complete streets, mandate certain design standards, and require DOT to report regularly on progress.
While the Complete Streets Bill from 2010 was a step in the right direction, it wasn't specific enough to implement and wasn't made a priority by the administration. This new bill will be a huge step forward for Baltimore, and allow us to catch up to neighboring cities and begin to address the inequity of our roadway planning. Paired with a visionary complete streets leader to #DirectDOT, we will be empowered to implement world-class complete streets treatments in Baltimore.
→ Share your vision for Complete Streets in Baltimore through our #DirectDOT campaign!
Our work achieves tangible outcomes, like Complete Streets policy, that ensures Baltimore streets are designed for everyone. We need your support to keep winning for livable streets.


text:
package org.togglz.core.repository.cache;

import org.junit.jupiter.api.Assertions;
import org.junit.jupiter.api.BeforeEach;
import org.junit.jupiter.api.Test;
import org.mockito.Mockito;
import org.togglz.core.Feature;
import org.togglz.core.repository.FeatureState;
import org.togglz.core.repository.StateRepository;
import org.togglz.core.util.NamedFeature;

import static org.junit.jupiter.api.Assertions.assertTrue;

class CachingStateRepositoryTest {

    private final StateRepository delegate = Mockito.mock(StateRepository.class);

    @BeforeEach
    void setUp() {
        // the mock supports the ENUM
        Mockito.when(delegate.getFeatureState(DummyFeature.TEST))
            .thenReturn(new FeatureState(DummyFeature.TEST, true));
        // and NamedFeature
        Mockito.when(delegate.getFeatureState(new NamedFeature("TEST")))
            .thenReturn(new FeatureState(DummyFeature.TEST, true));
    }

    @Test
    void cachingOfReadOperationsWithTimeToLive() throws InterruptedException {
        // given
        StateRepository repository = new CachingStateRepository(delegate, 10000);

        // when
        for (int i = 0; i < 10; i++) {
            assertTrue(repository.getFeatureState(DummyFeature.TEST).isEnabled());
            Thread.sleep(10);
        }
        // then
        Mockito.verify(delegate, Mockito.times(1)).getFeatureState(DummyFeature.TEST);
    }

    @Test
    void testCacheWithDifferentFeatureImplementations() throws InterruptedException {

        StateRepository repository = new CachingStateRepository(delegate, 0);

        // do some lookups
        for (int i = 0; i < 10; i++) {
            Feature feature = (i % 2 == 0) ? DummyFeature.TEST :
                new NamedFeature(DummyFeature.TEST.name());
            assertTrue(repository.getFeatureState(feature).isEnabled());
            Thread.sleep(10);
        }

        // delegate only called once
        Mockito.verify(delegate).getFeatureState(DummyFeature.TEST);
        Mockito.verifyNoMoreInteractions(delegate);
    }

    @Test
    void usesTheCacheForTtlOfZero() throws InterruptedException {

        StateRepository repository = new CachingStateRepository(delegate, 0);

        // do some lookups
        for (int i = 0; i < 10; i++) {
            assertTrue(repository.getFeatureState(DummyFeature.TEST).isEnabled());
            Thread.sleep(10);
        }

        // delegate only called once
        Mockito.verify(delegate).getFeatureState(DummyFeature.TEST);
        Mockito.verifyNoMoreInteractions(delegate);
    }

    @Test
    void delegateIsUsedWhenCacheExpires() throws InterruptedException {
        // given
        long ttl = 5;
        StateRepository repository = new CachingStateRepository(delegate, ttl);

        // when
        for (int i = 0; i < 5; i++) {
            assertTrue(repository.getFeatureState(DummyFeature.TEST).isEnabled());
            Thread.sleep(ttl + 30); // wait some small amount of time to let the cache expire
        }

        // then
        Mockito.verify(delegate, Mockito.times(5)).getFeatureState(DummyFeature.TEST);
        Mockito.verifyNoMoreInteractions(delegate);
    }

    @Test
    void stateModifyExpiresCache() throws InterruptedException {

        StateRepository repository = new CachingStateRepository(delegate, 10000);

        // do some lookups
        for (int i = 0; i < 5; i++) {
            assertTrue(repository.getFeatureState(DummyFeature.TEST).isEnabled());
            Thread.sleep(10);
        }

        // now modify the feature state
        repository.setFeatureState(new FeatureState(DummyFeature.TEST, true));

        // do some lookups
        for (int i = 0; i < 5; i++) {
            assertTrue(repository.getFeatureState(DummyFeature.TEST).isEnabled());
            Thread.sleep(10);
        }

        // Check for the correct number of invocations
        Mockito.verify(delegate, Mockito.times(2)).getFeatureState(DummyFeature.TEST);
        Mockito.verify(delegate).setFeatureState(Mockito.any(FeatureState.class));
        Mockito.verifyNoMoreInteractions(delegate);
    }

    @Test
    void shouldFailForNegativeTtl() {
        Assertions.assertThrows(IllegalArgumentException.class, () -> new CachingStateRepository(delegate, -1));
    }

    private enum DummyFeature implements Feature {
        TEST
    }
}


DEARBORN — Building construction permits and building inspections are in place to keep homes safe and in good repair, according to a press release by the City of Dearborn.
City officials say that property owners who are considering home renovations should keep in mind that a residential renovation permit is required for various installations and adjustments.
The release stated that the following renovations require a permit: Addition of room, dormer, breezeway, enclosed porch, sunroom, gazebo spa enclosure; installing a new bathroom; finishing a basement; removing and replacing chimney cap or brick veneer chimney stack; waterproofing of basement interior and exterior systems; constructing accessory structures such as gazebo, pergola, shed, flag poles and basketball poles or similar structures, among other renovations.
Renovations that do not need a permit include replacing a window or exterior doors.
For assistance and more information, call Permit Information at 313-943-2442 or Permit Inspections at 313-943-2400. For more options, visit //cityofdearborn.org/news-and-events/city-news/1609-permits-and-inspections-keep-homes-safe-and-appealing.


Amy is raised in the glitzy façade that is Hollywood. Her mother, Maxine, is an Oscar winning actress, and her father, John, a famous film producer. When Amy is eight years old, Maxine is tragically killed. A grown woman, Amy becomes the focus of John's obsession for her to star in his movies and be as successful as her mother. But Amy's insistence on following her heart and moving permanently to Ireland causes a rift between them. As her own daughter, Emma, approaches her eighth birthday, Amy is haunted by the nightmare of what happened on her own eighth birthday, and determines to find out why.


The Clark's Nutcracker is larger than most jays but smaller than crows, and is related to both. It is pale gray with black wings, a short black and white tail, and a white face.
Pine seeds are an important component of the diet, but Clark's Nutcrackers also eat nuts, berries, and insects, along with eggs and young of other birds.
The Clark's Nutcracker forages both in trees and on the ground, and frequently stores seeds for later retrieval.
Clark's Nutcrackers are found in mountainous habitat of the western U.S. Their population has increased in recent decades.
Visit the Bent Life History for extensive additional information on the Clark's Nutcracker.
Clark's Nutcrackers may store tens of thousands of seeds annually, and they have a large capacity for remembering and retrieving these stored seeds over the winter.
Despite being found near the treeline in remote mountains, Clark's Nutcrackers are often quite tame when it comes to accepting food from humans near campgrounds or trailheads.
During years when food is scarce, Clark's Nutcrackers sometimes move to lower elevations far from their normal range.
Gray Jays are slightly smaller and lack black in the wings and tail. Clark's Nutcrackers have longer bills than other species of similar size with gray and black plumage, such as Northern Mockingbirds or shrikes.
The nest is a large platform of sticks and bark fibers with a lining of grasses and pine needles. It is usually placed 8-40 feet above the ground on conifer limb.
Number: Usuallysually lay 2-4 eggs.
Color: Pale green with fine, dark markings.
The young hatch at about 16-18 days, and leave the nest in another 18-21 days, though continuing to associate with the adults for some time.


Enjoy a delightful old-fashioned beginning to the holiday season with a visit to Switzerland County for "A Country Christmas". Visit two historic farm houses celebrating Christmases of the past on Saturday, December 6th from 10 a.m. to 4 p.m.
Have a simple country Christmas at 1820's Venoge and also enjoy the beginnings of modern Christmas celebrations at the 1860's Thiebaud farmstead. The pleasures of hearth cooking and entertaining of the times as celebrated in rural southern Indiana come to life in these two beautifully restored National Historic Register properties.
At Venoge you can sample hearth cooked Swiss fondue and traditional Swiss Christmas cookies, including the very special Springerle cookies, made with wooden molds. While there, pick up some fresh cedar branches for your home decorating. Musee de Venoge is one of the few remaining examples of the French colonial architecture that once characterized the first settlement of Switzerland County.
The Thiebaud home will be welcoming Christmas with later traditions such as a decorated tree and the reading of "A Visit from St. Nicholas". Live Christmas tunes by 'West of Dublin' will also welcome the season. The newly restored Thiebaud house is part of the developing Agriculture Museum Center property of the Switzerland County Historical Society.
Musee de Venoge is located at 111 State Route 129, which is two miles west of Vevay on State Route 56 and one mile up 129.
The Thiebaud Farmstead is located at 5147 East State Road 56, which is about three miles west of Vevay along State Route 56.
Admission to "A Country Christmas" is free, with donations greatly appreciated.
For further information about the two sites, visit www.switzcomuseums.org or call (812) 427-3560 and www.venoge.org or call (812) 593-5726.


Year 8 for the day!
Our current Year 7 pupils have stepped up and shown us what they are made of today as they take on the role of Year 8 Buddy for the first time. They were introduced to their Year 5 buddies this morning and have spent time with them, showing them around the school and completing a QR code challenge. It has been lovely to see them at work, interacting and engaging with the Year 4 pupils who are here today.


Sgurr na Càrnach is one of the munros that lies at the head of the great sea loch Duich forming the The Five Sisters of Kintail which features 3 munros & 2 tops. Sgurr na Càrnach is part of a north-north west to south south east long ridge which twists and terns and has steep slopes on both sides. On the eastern slopes of the summit are slopes dropping down sharply into Coire Domhain which feeds Allt a'Choire Dhomdain where Gleann Lichd can be accessed. The western slopes drop suddenly into Glen Shiel. The summit ridge of Sgurr na Càrnach runs simply from north to south with the northern ridge connecting to Sgurr Fhuaran<, and the southern ridge connecting to Sgurr na Ciste Duibhe<. The summit is marked which a substantial cairn. There is also a minor north western ridge which descends sharply to Glen Shiel, however this is rarely used as a means of ascent because of difficulties crossing the River Shiel in the valley and of the unremitting steepness of the ridge itself.
The usual access onto the summit top due to it's central position on the ridge is by a full traverse of the Five Sisters of Kintail<. So it's either from Sgurr Fhuaran's< connecting ridge on the north or Sgurr na Ciste Duibhe's< on the south depending on which way your traversing the mountain range. Alternately, access can be gained from the minor north-western ridge starting from Achnangart Farm around NG963148 where there is parking space in an old quarry. Direct access can be gained by walking 1.5 km north to the base of the north western ridge and ascend steeply from there.
There are fine views from the summit of Loch Duich and the Five Sisters Ridge< to the north and down into Coire Domhain to the east. On the south there's the South Shiel Ridge< where you can complete 7 munros in a single outing.
From 1891 to 1997 Sgurr na Càrnach was ranked as just a "Top" of the nearby Munro of Sgurr Fhuaran< and was not given separate Munro status, however in the 1997 revision of the tables by the Scottish Mountaineering Club, the mountain was elevated to the Munro category as it was decided that with 134 metres of topographic prominence it had the required characteristics of a separate mountain.