It is possible that the earliest "Resurrection" image was symbolic rather than literal. Literal images showing the resurrection of Jesus — and actually depicting Jesus — came later. In the catacombs are found a number of depictions of Jonah and the Sea Monster (later just called a "whale"). They appear to have been used as images signifying resurrection from the dead.
"Then certain of the scribes and of the Pharisees answered, saying, Master, we want to see a sign from you.
So what the addition of Matthew has done is to transform the Markan "no sign" into a supposed prophecy — the "sign of Jonas" then signifying that just as Jonah/Jonas was three days and three nights in the belly of the sea monster, so the Son of Man — meaning Jesus himself — would be "three days and three nights in the heart of the earth." This of course refers to the burial of Jesus, which was then — in the biblical accounts — followed by his resurrection.
"And when the people were gathered thick together, he began to say, This is an evil generation: they seek a sign; and there shall no sign be given it, but the sign of Jonas the prophet.
"…for they repented at the preaching of Jonas; and, behold, a greater than Jonas is here" (Luke 11:32).
Nonetheless, in early Christian art, when we see Jonah being expelled from the mouth of the sea creature after his "three days and three nights" inside the creature, we are seeing what is likely the first symbol of the Resurrection in Christian art — but applied not just to the resurrection of Jesus, but to that of the deceased Christian believer in general, as following the model of Jesus.
And by the way, I will leave aside here the disputes over how the "three days and three nights in the heart of the earth" can or cannot be made to fit the Gospel accounts (which add up to Friday night, Saturday, and Saturday night) of when Jesus was buried and resurrected, and the various attempts made to adjust the matter. Suffice it to say that the biblical chronology makes a literal "three days and three nights" impossible.
When examining the origins of early Christian art — and the later appearance of icons as venerated images — we must be careful to make precisely that distinction: between the image used as symbol and/or narrative illustration, and the image used as venerated icon. As I have pointed out in previous postings, Christian icons developed on the fringes where Christianity met non-Christian polytheism, and the former, over time, increasingly borrowed the venerated image from the latter and adopted it into Christian usage. The use of venerated icons in Christianity was never without controversy, and it took many centuries before icons were officially accepted in the church, and before a theology was created to excuse them.
But what of Christian art before the venerated icon? It consisted largely of symbols and of narrative images. That is what we find in the earlier Christian catacombs.
The subjects mentioned by Clement were extremely common on the everyday seal market as used by polytheists, but can generally (as he suggests) be given a Christian interpretation. Note that he forbids images of "idols," which to him meant any of the deities of the polytheists. Note also that he does not suggest any images of Jesus or of saints that would have had to be specially made — though he permits generic images that may call such to mind — for example a fisherman, which could remind a Christian both of Peter the Apostle and fisherman, and of baptism. But the fisherman here is a symbol, not an iconic representation of Peter.
We find many symbolic and narrative images in the early Roman catacombs, and in fact that is what the first Christian art was — symbolic or narrative, or a combination of both — not the venerated icons that came later. That is not surprising, given that narrative images were already to be found here and there in Jewish art of the 3rd century — itself subject to, and the result of, Hellenistic Greek influence. In fact the representational use of art as found on the 3rd century Dura Europos synagogue walls is characteristic of other religions (polytheistic) of the time, and borrowed by Jews for their own purposes.
We see that syncretism, for example, in the western wall of the Synagogue at Dura Europos, which has a surprising depiction — Orpheus taming the animals with his music, borrowed directly from Greco-Roman mythology. That shows us the extent to which Jews — and also, we shall see, Christians — borrowed motifs from "pagan" Hellenistic mythology and used them as symbols to refer to figures in their own religious traditions. In the Dura synagogue, for example, the Orpheus figure is used to remind one of King David — a symbol, in other words, borrowed from the Hellenistic and polytheistic culture, and used much as Clement used a fisherman to call to mind both the apostle Peter and Christian baptism.
Hellenistic influence extended not merely to art, but also to Jewish and Christian theology. Think, for example, of the allegorical biblical interpretations of the Hellenistic Jewish writer Philo of Alexandria (c. 30 b.c.e- 50 c.e.), and his discussion of the Logos, the emanation of the hidden God, which is very much the Logos ("In the beginning was the Word…" John 1:1) doctrine found in the Gospel called "of John". There are other examples from elsewhere of the Jewish use of the Orpheus image during this period. We find Orpheus images used also in a Christian context in the Roman catacombs, as well as the image of the sun god Helios/Apollo, again used in a symbolic sense to call Jesus, the "sun of righteousness" to mind — another "polytheistic" image borrowed and given a Christian significance. It is hardly necessary to mention yet another common image from polytheistic culture — the Kriophoros or ram-bearer, which was borrowed into the earliest Christian art to signify Jesus, the "Good Shepherd." One could add more Christian borrowings from the art of the polytheistic culture surrounding them that are found in the art of the early catacombs — and in the first Christian art in general. In fact — because the same images may be found used both by polytheists and as Christian borrowings, context is important in distinguishing one from the other.
So the religious image as symbol or narrative is found in the art both of Judaism and of early Christianity — but the venerated icon as understood in later Eastern Orthodoxy is something else entirely, and should not be confused with the art of the early Christians as we find it in literature and in the archeological record.
It is convenient for our purposes that a Christian Church was also found at Dura, and it too had art, though not nearly as sophisticated as that in the Dura synagogue. It is here that we find what may be the earliest-known representation of Jesus, shown as a typical classical figure, healing the paralytic. We find also the "Good Shepherd" image, what is apparently a representation of Jesus and Peter "walking on the water," and also an image generally interpreted as the women coming to the tomb after the resurrection. All narrative/symbolic images, representing biblical stories.
So early Christian symbolic/narrative art must be distinguished from the later venerated Christian icon as found in Eastern Orthodox art. Hellenistic, polytheistic culture influenced both early Christian (and Jewish) art of second and third centuries c.e., so it is an egregious error to imagine that Christian art developed free of influence from its polytheistic environment. Nonetheless, the venerated icon that later developed in Christianity was a significant step beyond the use of narrative and symbol in art; it was the adoption of the polytheistic practice of veneration of images of the gods into Christianity, transferring that veneration of the heavenly hierarchy to Jesus and the saints — a significant distinction that is often overlooked in "religious" discussions of the origins of Christian iconography and of Christian venerated icons. It is a serious historical error to confuse early Christian art with later Christian venerated icons. Though both consist of images, they are completely different in context and significance.
In earlier postings, I noted that the making and veneration of icons (as the term was later understood in Eastern Orthodoxy) was not an "official" part of earliest Christianity, but rather came into it later, on the fringes of Christianity as it spread out of Judaism and into the polytheistic Greco-Roman world. The use of icons came from polytheistic religious practice into Christianity gradually (and not without controversy), only being accepted officially as part of Church practice centuries later.
That is why the first evidence we have of icons being venerated as sacred images is found in that border where polytheism meets Christianity, the latter being influenced by the former.
There were various kinds of votive gifts to the deities, but often they were images. One could donate a clay image of the deity, a stone or bronze statue small or large, and one could even donate a shrine or temple to house such images. Among these votive gifts were painted panels depicting the deity or deities. They could be donated to a temple, or placed in a home shrine. These panels are ancestors of the later Eastern Orthodox icon.
The practice of venerating such images of the gods in polytheistic practice, whether in home or temple, involved honoring them with lights, and with wreaths, crowns, and garlands woven of flowers and foliage.
There came together therefore a gathering of a great multitude on John's account; and as he discoursed to them that were there, Lycomedes, who had a friend who was a skillful painter, went hastily to him and said to him: You see me in a great hurry to come to you: come quickly to my house and paint the man whom I show you without his knowing it. And the painter, giving some one the necessary implements and colors, said to Lycomedes: Show him to me, and for the rest have no anxiety. And Lycomedes pointed out John to the painter, and brought him near him, and shut him up in a room from which the apostle of Christ could be seen. And Lycomedes was with the blessed man, feasting on the faith and the knowledge of our God, and rejoiced yet more in the thought that he should possess him in a portrait.
The painter, then, on the first day made an outline of him and went away. And on the next he painted him in with his colors, and so delivered the portrait to Lycomedes to his great joy. And he took it and set it up in his own bedchamber and hung it with garlands: so that later John, when he perceived it, said to him: My beloved child, what is it that you always do when you come in from the bath into your bedchamber alone? do not I pray with you and the rest of the brethren? or is there something you are hiding from us? And as he said this and talked jestingly with him, he went into the bedchamber, and saw the portrait of an old man crowned with garlands, and lamps and altars set before it. And he called him and said: Lycomedes, what do you mean by this matter of the portrait? can it be one of your gods that is painted here? for I see that you are still living in heathen fashion. And Lycomedes answered him: My only God is he who raised me up from death with my wife: but if, next to that God, it be right that the men who have benefited us should be called gods -it is you, father, whom I have had painted in that portrait, whom I crown and love and reverence as having become my good guide.
And John who had never at any time seen his own face said to him: You mock me, child: am I like that in form, [excelling] your Lord? how can you persuade me that the portrait is like me? And Lycomedes brought him a mirror. And when he had seen himself in the mirror and looked earnestly at the portrait, he said: As the Lord Jesus Christ lives, the portrait is like me: yet not like me, child, but like my fleshly image; for if this painter, who has imitated this my face, desires to draw me in a portrait, he will be at a loss, [needing more than] the colors that are now given to you, and boards and plaster (?) and glue (?), and the position of my shape, and old age and youth and all things that are seen with the eye.
But do you become for me a good painter, Lycomedes. You have colors which he gives you through me, who paints all of us for himself, even Jesus, who knows the shapes and appearances and postures and dispositions and types of our souls. And the colors wherewith I bid you paint are these: faith in God, knowledge, godly fear, friendship, communion, meekness, kindness, brotherly love, purity, simplicity, tranquillity, fearlessness, grieflessness, sobriety, and the whole band of colors that paint the likeness of your soul, and even now raise up your members that were cast down, and levels them that were lifted up, and tends your bruises, and heals your wounds, and orders your hair that was disarranged, and washes your face, and chastens your eyes, and purges your bowels, and empties your belly, and cuts off that which is beneath it; and in a word, when the whole company and mingling of such colors is come together, into your soul, it shall present it to our Lord Jesus Christ undaunted, whole (unsmoothed), and firm of shape. But this that you have now done is childish and imperfect: you have drawn a dead likeness of the dead.
What we see in this early pious tale is the making of a Christian icon by a former "pagan" who just adapts his old religious practice to new Christian circumstances. And that is precisely how Christian icons began — with the changing of the gods from pagan polytheism to Christian polytheism — the veneration of Jesus and Mary and all the growing panoply of saints who became the new gods in practice, if not in terminology.
So again we have an association of the making of images with the traditional practices of "pagan" polytheists — though three dimensional art fell out of favor in later Eastern Orthodoxy, the panel painting survived as the Christian icon.
"They also possess images, some of them painted, and others formed from different kinds of material; while they maintain that a likeness of Christ was made by Pilate at that time when Jesus lived among them. They crown these images, and set them up along with the images of the philosophers of the world that is to say, with the images of Pythagoras, and Plato, and Aristotle, and the rest. They have also other modes of honoring these images, after the same manner of the Gentiles ['pagans']".
WHEN DID CHRISTIAN ICONS BEGIN?
The central part of the image is a depiction of the Hodegitria icon supported by two angels, depicting Mary as "Shower of the Way," which was considered a very important icon in Byzantium and another of those icons said (mistakenly) to have been painted by St. Luke.
The crowned figures at left are the Byzantine iconophile Empress Theodora and her son Michael III, as well as various iconophile saints. Not all the saint titles are clear in this image, but later examples of the type usually include such figures as Methodius the Patriarch of Constantinople, Michael Bishop of Synnada, Tarasius Bishop of Constantinople, St. Theodosia, Venerable Ioannikos, Theodore Studite, Theodore Graptus, and Stephen the New.
The embroidered ornamental cloth hanging just below the icon is called a podea (ποδέα) in Greek, and in Russian a pelena (пелена).
Now to the history of the development of the icon out of the Christian image.
Contrary to traditional Eastern Orthodox belief, icons do not go back to the earliest days of the Church. They were a later and gradual development only officially adopted centuries after the first Christians. In examining this history, we must distinguish between images (art) and icons (venerated images).
3rd century (200s): The first recognizably Christian art appears in motifs borrowed from common non-Christian art and appropriated for Christian use, as well as in simple depictions of some Old and New Testament subjects.
Examples are found on oil lamps, in Roman burial catacombs, and in the house church at Dura Europos in Syria. Depictions of persons use generic features common to Roman art of that period.
4th century (300s): This century — particularly the latter half of the 4th century — is a crucial period that laid the foundations for the eventual change in attitude from art image to venerated icon. In 313 Christianity is legalized in the Roman Empire by Constantine and Licinius through the Edict of Milan. Elaborate churches are built under imperial patronage. The first individualizing portrait images of Jesus, Mary, and other saints and martyrs appear and art becomes gradually more sophisticated and elaborate. We see the beginnings of images of saints being regarded as not only commemorative, but also protective.
Basil of Caesarea, in speaking of images of the Emperor, says that the honor given an imperial image passes to its prototype (the Emperor). With the veneration of the Christian martyrs in the catacombs, the cult of relics begins as healing and intercessory powers are attributed to body parts of dead saints and items that had contact with their bodies. Relics spread throughout the empire, often placed in elaborate containers (reliquaries). From 381-395 Theodosius begins and extends a ban on traditional non-Christian religious practices in public, closes and destroys "pagan" temples, and extinguishes many non-Christian traditional practices to eliminate "paganism" in favor of Christianity. In this century the halo, adopted from non-Christian use, first appears in Christian art, as do wings on angels, another adoption from non-Christian art. The cross in simple form appears, gradually replacing the chi-rho monogram as the century proceeds.
5th century (400s): The crucifixion first appears in Christian art near the beginning of the century.
6th century (500s): Relic images — three of the so-called "Not made by hands" images of Jesus — first come to prominence as having apotropaic (averting harm) and palladium (city protector) functions. It is in the 6th century that religious images first are found in church use, though generally still not permitted.
7th century (600s): Ex voto painted (etc.) images of saints are created in thanks for answered prayers.
8th century: The veneration and understanding of icons — the theology of icons — is first codified in Eastern Orthodoxy. The earlier "honor to the prototype" concept of Basil regarding images of the emperor is now applied — in a new context — to icons of Jesus, Mary, and the saints by John of Damascus and others. The Iconoclasts openly oppose the making and veneration of icons, rightly viewing image veneration as an innovation counter to the traditions of the church. The Iconoclasts are victorious for a time, having Imperial support, but with reign change that victory vanishes, and the views of the Iconophiles ultimately prevail.
So that is the evolution of the icon made brief.
This does not mean there were absolutely no images honored as Christian religious figures before the 6th century, but it does mean that this is the "mainstream" course of development. We have evidence of Christian images being treated in icon-like fashion first on the outer fringes of Christianity where it blended into "paganism," such as the image of Christ said to have been kept in syncretistic fashion by Emperor Alexander Severus (222-235 AD)) together with other images of Orpheus, Appollonius of Tyana, and Abraham; We also have in the Apocryphal Acts of John (dating uncertain, usually in the 150-250 range) a condemnation of the creation of such images and the honoring of them with lights and decorations. Where there is condemnation there is use to some extent, but to repeat, this use is first documented in the fringe realm between "paganism" and Christianity.
What all of this means for practical purposes is that the icon as it was regarded in the Eastern Orthodox Church from the 8th century onward did not really exist openly as such in the mainstream church until the latter part of the 600s, and its theology was not codified until the 700s, when those who refused to venerate icons were cursed (anathematized) in the official declarations of the Church. Thus the practice of icon making and veneration preceded the "official" doctrine made to justify the practice.
This chronology, incidentally, is not intended to determine whether the making and veneration of icons is "right" or "wrong," from any ethical perspective, because art history only deals with what was and is, and does not involve itself in such judgments. It is obvious, however, that from the perspective of Christian traditional usage, icons were a late innovation in the mainstream church, as the Iconoclasts declared.
Art historians consider the first Christian art just an aspect of Roman art of the time, and the elaboration of Christian art under Emperor Constantine a continuation in Christian dress of more classical aspects of Roman art. My own view is that the making and veneration of painted religious images practiced in pre-Christian Roman society never really died out with the victory of Christianity, but continued on the fringes and in private; after the Edict of Milan and the condemnation of public "pagan" religious practice under Theodosius, the making and veneration of images gradually filtered into the mainstream church through the vast numbers of new "pagan" converts, though keeping largely in the shadows and not finding full and official acceptance until after the Iconoclastic controversies of the 8th century.
If one begins researching the icons of Mary called chudotvornaya— "wonderworking" — in the Russian Orthodox Church (and there are some in Greek Orthodoxy too, but not nearly as many), one will quickly notice that a number of them are said (with a straight face) to have been painted by St. Luke. Yes, Saint Luke, also known as the Evangelist Luke. On conservative E. Orthodox religious sites one will see this repeated over and over again about such icons as the Vladimir Mother of God (Vladimirskaya), which was even said to have been painted by Luke on a board taken from a table used by Jesus and his family.
Well, it simply is not true. Not one bit of it. First of all, we do not know who really wrote the Gospel attributed to St. Luke. That attribution was added later. Nowhere does any author self-identify in that Gospel. None of the Apostolic Fathers, in quoting from a Gospel, attributes it to a named author, which would hardly have been the case if an author was known in those early days. So we can assume the Gospel called "of Luke" was anonymous in the earliest manuscripts (that applies to the other three Gospels as well — and also to the Acts of the Apostles; apparently the attribution titles were added sometime near the end of the 2nd century).
What we do know is that the Gospel attributed to Luke contains not one word about the painting or veneration of icons. Nor is there the slightest mention of it anywhere in the New Testament where a "Luke" is mentioned — or anywhere in the New Testament at all.
Not one of the icons attributed to Luke is in a style remotely connected to the 1st century A.D. All are much, much later (and from various later times chronologically). And there is not one bit of scientific analysis dating any one of the number of icons attributed to Luke to the 1st century.
Where, then, does the notion come from that several icons of Mary were painted by Luke? First of all, it comes from the desire of the later church — after the making and painting of icons had become established practice (which was beyond the period of the earliest Christians) — to retroactively inject the later doctrine of icon making and veneration into earliest Christianity, where there is really no trace of it.
Second, we may speculate that Luke was chosen as the prototypical first painter of Christian icons because, according to tradition, he was a physician — a doctor ("Luke, the beloved physician, and Demas, greet you." [Colossians 4:14]) And early physicians used certain powdered medications that were also used in early and later painting — among them notably cinnabar, which provided the bright red-orange color we see in Russian icons.
An additional factor is that the gospel called "of Luke" devotes considerably more attention to Mary than the other three.
So no, there are no icons, wonderworking or not, painted by Saint Luke. Nor, we can tell from the history of the development of Christian art, were there ever any such icons. The earliest Christians simply did not paint and venerate icons as they are known later in the Eastern Orthodox Church, so attributing any icon to Luke is an obvious anachronism well known to be such by students of art history.
In spite of that, the Greek Orthodox have a legend that Luke painted three icons of Mary during her lifetime, and that she personally approved them; then after her death, he is said to have painted an additional seventy!
The Kykiotissa icon, which the Russians call Kikkskaya, now at the Kykkos Monastery on Cyprus.
The Megalospilaiotissa or "Great Cave" icon (also called Speliotissa), now at the Megaspilaion Monastery in the Peloponnese, Greece.
The Soumeliotissa icon, once kept at the Soumela Monastery in Turkey, now at the 20th-century "monastery" (actually the Dormition Church) in Greece (named after the Turkish site), at Kastania in Macedonia.
As a sidelight on the famous "Vladimir" icon pictured on this page, it is interesting to know that out of the whole painting, only the face of the child (not the rest of his head) and the face of Mary remain from the original painting, along with a couple of other small and insignificant patches. The rest — which is the greater part of the icon we see today — is all later, all reworking.
When I say the original painting, I am not talking about the 1st or 2nd or 3rd or 4th or even the 5th century C.E. I am talking about the 12th century, when the original icon was painted by an anonymous iconographer in Byzantium. This is the most famous supposedly "Lukan" icon, and yet in fact it was not painted until the 1100s, and most of what we see today was actually painted at various later times.


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LAS VEGAS, September 11, 2014 -- LiveDeal Inc. (NASDAQ:LIVE) ("LiveDeal" or the "Company"), a publicly traded company that operates livedeal.com, a geo-location based mobile marketing platform that enables restaurants to publish "real-time" and "instant offers" to nearby consumers, today announces the one-year anniversary of the launch of livedeal.com.
Since the introduction of LiveDeal.com, the company has expanded its reach to include deals at thousands of restaurants in more than 50 cities in the United States, providing consumers with significant savings on casual dining options.
LiveDeal Inc. provides marketing solutions that boost customer awareness and merchant visibility on the Internet. LiveDeal operates a deal engine, which is a service that connects merchants and consumers via an innovative platform that uses geo-location, enabling businesses to communicate real-time and instant offers to nearby consumers. In August 2014, the company acquired ModernEveryday.com to expand its reach into the consumer products realm. In November 2012, LiveDeal commenced the sale of marketing tools that help local businesses manage their online presence under the Company's Velocity Local™ brand. LiveDeal continues to actively develop, revise, and evaluate these products and services and its marketing strategies and procedures. For more information, visit www.livedeal.com.


Welcome to the City of Lake Elsinore's Job Board! We are thrilled that you are interested in working with us! As jobs become available, we will post them below. If nothing is posted, please check back with us in the near future. Please note that we do not accept applications unless there is a posted job.


Olivia de Havilland earned a second Oscar for her role as Catherine Sloper a plain, introverted, socially inept wealthy young woman in 19th century New York City who is on the verge of becoming a spinster. Catherine's father (Ralph Richardson), a prominent doctor is only too well aware of his daughter's shortcomings. He can barely hide his contempt for Catherine and psychologically abuses his sweet daughter, who desperately wants his approval but can never match up to his memory of her beautiful, charming, and vivacious late mother.


"Trick Me" is a song by American singer Kelis from her third studio album, Tasty ( ). It was written and produced by Dallas Austin. The song was released as. Trick Me Lyrics: Wooo / This is It Yeah / Wooo / Said I've paid my dues for all that i' ve done / And I showed you that I loved you more than once / Theres nothing. Wooo This is it yeah. Wooo Said I've paid my dues for all that i've done. And I showed you that I love you more than once. Theres nothing left there to decide.
Waoaoo This is It Yeah Waoaoo. Said I've paid my dues for all that i've done. And I showed you that I loved you more than once. There's nothing left there to. Kelis Lyrics. "Trick Me". Wooo This is It Yeah Wooo Said I've paid my dues for all that i've done. And I showed you that I love you more than once. Theres nothing. Wooo / This is it yeah / Wooo / Said I've paid all my dues for what I've done / And I showed you that I love you more than once / There's nothing left there to.
Kelis - Trick Me. Wooo This is it yeah. Wooo Said I've paid all my dues for what I' ve done. And I showed you that I love you more than once. There's nothing left. 22 Oct The Lyrics for Trick Me by Kelis have been translated into 5 languages there to decide Said you might trick me once I won't let you trick me. Trick Me This song is by Kelis and appears on the album Tasty (). Said you might trick me once, I won't let you trick me twice. Freedom to us has always. Versuri "Trick me" de Kelis: Wooo / This is It Yeah / Wooo / Said I've paid all my dues for what i've done / And I showed you that I love you more than once. Wooo This is it yeah Wooo Said I've paid all my dues for what I've done And I showed you that I love you more than once There's nothing left there to decide.
Wooo This is It Yeah Wooo. Said I've paid all my dues for what i've done. And I showed you that I love you more than once. Theres nothing left there to deside. Wooo This is It Yeah Wooo Said I've paid all my dues for what I've done. And I showed you that I love you more than once. There's nothing left there to decide. Paroles Trick Me (Explicit) par Kelis lyrics. Said you might trick me once, I won't let you trick me twice. Freedom to us has always been a trick. Freedom to you. Trova il testo di Trick Me (Artificial Intelligence remix) di Kelis su Rockol. Said you might trick me once, I won't let you trick me twice. Freedom to us has always.


The bars on my bike are chrome. I don't know what kind they are, as I just got the bike. I love the way the feel, but not the chrome. They are in great shape. I'd like to trade for similar bars in black.
You could just get them powder coated.
Yeah, I've thought of doing that, along with a couple of other items on the bike, mainly exhaust. Just thought I'd see if someone who had a set of black, might want chrome.
Very few bars came black for the Warrior. So if you like the stance, the way they fit your body style then best off powder coating these.


Science Shops initiate projects on a local or national level to respond to the needs of civil society. They work with Civil Society Organisations (CSOs), universities, students, researchers and other institutions. Therefore, Science Shop projects are diverse with reference to topics and partners involved. Project examples of university-based Science Shops and autonomous Science Shops can be found in the submenu.


Hanoi (VNA) – The Straits Times, an English-language daily newspaper based in Singapore, published an article on April 3 praising an eco-friendly campaign in Vietnam, which has seen local supermarkets using non-plastic products to wrap vegetables.
Accordingly, the three biggest supermarket chains in Vietnam – Lotte Mart, Saigon Co-op in Ho Chi Minh City, and Big C in Hanoi – have begun using banana leaves instead of plastic bags.
Citing information from a Vietnamese newspaper, the article noted that Lotte Mart in Ho Chi Minh City plans to expand the use of banana leaves to its entire national chain later this year, following a trial period in the southern city.
The measure is part of an effort to switch to environmentally friendly products, not only for vegetables but also fresh meat.
The company has also sold paper straws and food boxes made from sugarcane waste, while eggs have been contained in paper packages instead of plastic boxes.
Big C, meanwhile, is offering shoppers completely biodegradable bags made of corn powder, it added.


By Jen Murphy Oct. 21, 2016 Updated: Nov. 29, 2018 1:45 p.m.
During my first two winters living in Boulder, Colo., I'd make the two-plus-hour drive to snowboard the legendary Back Bowls of Vail at least once a week. While crawling along in Interstate 70's infamous traffic I'd pass Keystone about halfway through my journey, never giving the resort a second thought. As an Epic Pass holder - a season pass to all ski areas operated by conglomerate Vail Resorts - I could ride there for free. But in my mind, Keystone was Colorado's family resort, beloved for its Kidtopia activities, including a snow fort, weekly parade and Ripperoo, its ski-loving dog mascot. As a single woman in her 30s, a base village full of kids sounded worse than an iced-up double black diamond bump run.
The mountain, I thought, must be crowded with pint-size skiers, wearing mohawk-lined helmets, flying recklessly down bunny hill runs.
Then last year, my friend Dan was bragging about a powder-filled guys' weekend of snowcat skiing … at Keystone. Keystone, he told me, is Summit County's best-kept ski secret. Dan, a father of a 5-year-old and 3-year-old, assumed his backcountry powder days were over when he and his wife first had kids. But once the kids started ski school, he discovered Keystone has a grown-up side.
United, Southwest and Frontier Airlines offer 2½-hour nonstop flights from Houston to Denver. The drive from Denver International Airport along I-70 takes about 40 minutes in good weather conditions. Airport transfers on Keystone's shuttle, the Summit Express, start at $52 one way.
Keystone Lodge & Spa: You aren't slopeside, but most of the 152 rooms have terraces and a short shuttle ride delivers you to the slopes. After skiing, you can take advantage of the lodge's spa services, heated pool and hot tubs. 22010 U.S. 6, 970-496-2316. Rates from $159 per night.
River Run Condos: A collection of eight different buildings, these condos are a great option for families or groups looking to stay in the heart of the village with easy access to the slopes, shopping, dining, plus Kidtopia headquarters and activities. Rates from $165 per night.
Alpenglow Stube: Ride the gondola to this fine-dining spot, known for its wine cellar and excellent service. Alpenglow Stube puts a Rocky Mountain twist on European fare with dishes like poached Colorado potato dumplings and a bison short rib and lobster duet. Top of North Peak, 800-354-4386.
Der Fondue Cheese: A chocolate and cheese lover's dream set atop North Peak Mountain. Luxe add-ons like white truffle oil or applewood-smoked bacon can (and should) be added to your choice of traditional Swiss Gruyere and Emmental or pilsner-spiked Gouda fondue. Save room for dessert; purists can order simple chocolate fondue.
Inxpot: This coffee shop-bookstore-bar mashup in River Run Village brews killer, locally roasted joe and has a menu of healthy and decadent breakfast options. Every night you'll find great cocktails; Friday and Saturday nights, traditional and creative sushi rolls are on offer. 195 River Run Road, 970-262-3707; inxpot.com.
Labonte's Smokehouse BBQ: There's nothing like an on-mountain barbecue on a bluebird day. Labonte's sets out Adirondack chairs and pumps out tunes to create the feel of an afternoon party. You'll smell the smoked meat as you head down the mountain to the base of North Peak. Be warned: This is stick-to-your-ribs cooking.
Ski Tip Lodge: Originally an 1800s stagecoach stop and once the home of Keystone's founders Max and Edna Dercum, Ski Tip Lodge today is a charming B&B and reservations-only restaurant with just two-seatings per night. 64 Montezuma Road, 800-354-4286.
9280' Tap House: A prime location in the center of River Run Village Base Area plus a deep list of craft beer and awesome pub fare makes this Keystone's go-to après ski spot, as well as the perfect base to watch football games. 140 Ida Belle, 970-496-4333.
Ski and snowboard: The average adult ticket price is $99, but that varies depending on the day and season. It's best to purchase lift tickets in advance online to guarantee the best price; keystone.com.
Keystone Adventure Tours Guided Cat Skiing and Outback Cat Shuttle: Full $285 tour includes guide, mountain access, catered lunch in a private yurt and demo ski rentals. A single ride on the Outback shuttle cat is $10.
Dubious, I decided to cut my weekend ski commute and enlisted a few child-free friends to explore Keystone.
As expected, the resort base is a traffic jam of parents pulling ski gear and bundled up kids in complimentary red wagons. Unexpectedly, the trail map reveals 135 trails; nearly 50 percent of them marked "most difficult."
We hop on the River Run Gondola, which drops us at the foot of the world's largest snow fort. Even though this ice palace is meant for kids, we all agree it looks like a blast no matter what your age. Schoolmarm, a three-and-a-half-mile-long, cruisy green run serves as our warm up and takes us past kid-friendly features with names like Tornado Alley and Rockin' Rollers. Dan had clued me in to a secluded stash of more-difficult blacks tucked away on the west side of Dercum. We tackle Go Devil, a steep, mogul-pocked run that overlooks Keystone's A51 Terrain Park, which is regularly ranked one of the top in the country.
My friend Erica laughs when I ask if we should hit the half-pipe - instead, we find thrills on Windows, a black/double black area lined with tree runs on the back of Dercum. Vail's Back Bowls may get all the hype, but Keystone's five bowls hold their own. Spanning the resort's three mountains, they also, as Dan had said, offer some of Colorado's best cat skiing.
At most resorts, you have two options: spend a full day (and a lot of money) playing in the backcountry via snowcat or hike to fresh lines. At Keystone, for just $10 - the cost of fries and a beer - you can save your efforts for the descent and take a single snowcat ride. The Outback Shuttle whisks us from the top of the Outback chairlift atop the resort's highest peak to a lunarlike landscape that feels worlds away from River Run Village. Carving through powder down a run called the Wolf Den, Erica actually compares the terrain to what she's skied in Verbier, Switzerland - untouched, wild and free of people.
Legs tired and adrenaline pumping, we cheers a surprisingly challenging day on the patio at 9280' Tap House. As the sun starts to fade, Erica and I retire to the hot tubs at Keystone Lodge & Spa, but the guys get a second wind and take the gondola back up Dercum to experience Keystone's popular night skiing. When we regroup for dinner, my friend John declares the day his longest ski day ever.
What Keystone lacks in terms of a rowdy après-ski scene it more than makes up for in dining options. All cleaned up, we wrap ourselves in blankets for one final gondola ride up the mountain, this time for dinner at Alpenglow Stube, a mountaintop restaurant that wouldn't be out of place in chic European ski towns like Zermatt or Cortina.
We've certainly earned our dinner, so no one feels guilty when we all agree to the three-course menu. Dishes of jumbo prawn and saffron risotto and rosemary garlic Colorado rack of lamb get passed around the table so we can all share tastes. Brooks, our sommelier, offers to give us a tour of the extensive wine cellar while we wait for dessert. Inside the wine cave, he tells us that a snow storm once closed the gondola, forcing all of the guests and staff to stay the night at the restaurant.
Over port and chocolate molten cake, we all pray for a blizzard. After today, I realize being stuck at Keystone is a grown-up's dream, not a kid-filled nightmare.


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Sioux City, Iowa
Call Us: +1 712 522-2961
Welcome to our Family
Vision, Mission, and Guiding Principles
Autism Support Program
Midstep Services
Social Smarts Groups
Autism FAQ
Autism Facts
Signs and Symptons
What is ABA
The Siouxland Impact
Behavior Technician
There are three different types of ASDs:
Autistic Disorder (also called "classic" autism) This is what most people think of when hearing the word "autism." People with autistic disorder usually have significant language delays, social and communication challenges,and unusual behaviors and interests. Many people with autistic disorder also have intellectual disability.
People with Asperger syndrome usually have some milder symptoms of autistic disorder. They might have social challenges and unusual behaviors and interests. However, they typically do not have problems with language or intellectual disability.
Pervasive Developmental Disorder – Not Otherwise Specified (PDD-NOS; also called "atypical autism")
People who meet some of the criteria for autistic disorder or Asperger syndrome, but not all, may be diagnosed with PDD-NOS. People with PDD-NOS usually have fewer and milder symptoms than those with autistic disorder. The symptoms might cause only social and communication challenges.
How common is autism?
ASDs occur in all racial, ethnic, and socioeconomic groups, but are almost five times more common among boys than among girls. CDC estimates that about 1 in 68 children has been identified with an autism spectrum disorder (ASD). More people than ever before are being diagnosed with an ASD. It is unclear exactly how much of this increase is due to a broader definition of ASDs and better efforts in diagnosis. However, a true increase in the number of people with an ASD cannot be ruled out. We believe the increase in ASD diagnosis is likely due to a combination of these factors.
Information from www.cdc.gov
Intake Packet
You can make a tax-deductable contribution to The Pier Center for Autism through PayPal.

redpajama_set_name: RedPajamaCommonCrawl


Several testers welcomed the breathable upper of the Saucony Peregrin 8.
According to some people, the midsole was able to deliver comfort and support to the underfoot.
The grip of the outsole unit's traction lugs proved to be efficient, a few runners noted.
According to a few users, the shoe feels lighter compared to other trail shoes.
Several runners mentioned that the Peregrin 8 offers reliable underfoot protection for trail running.
Most runners didn't like the removal of the rock plate which served as a protective layer against sharp surfaces and debris.
A few mentioned that the midfoot area is too snug.
The Saucony Peregrine 8 is not durable.
The response for the Saucony Peregrine 8 is mixed. It is true that more than several people were happy with the underfoot platform, the outsole configuration, and the well-ventilated upper. But a lot of people had some gripes with this trail running shoe, as well. They felt that it was too narrow for their liking. They also had something to say about its limited color schemes, the unfortunate removal of the rock plate, and the hefty weight. It's a conflict-ridden update for a well-known series.
The peregrine is renowned for its speed, reaching over 200 mph during its characteristic high-speed dive, making it the fastest member of the animal kingdom and the Saucony Peregrine 8 live up to their namesake's reputation.
A neutral trail running shoe, within aggressive talon-like outside tread, you won't think twice about taking on tough technical terrain.
These shoes offered me confidence on some of North Wales' toughest trails and got me through the first 100 miles without blisters, sores or chafing. A great shoe from the start!
The design and structure of the shoe are great with sturdy laces that could do with being a touch longer but do the job. I found it breathable for a trail shoe with a mixture of solid and mesh material.
The build quality is good offering a light but secure cradling feeling to the foot, with ample toe protection and nice cushioning around the heel. One slight drawback was that they can feel a little clunky due to the epic grip, but you soon get used to it.
I was excited to get running in them as soon as they were out of the box. They look good - not too flashy in black, grey and blue.
After many puddles, bogs and dusty trails the shoes still display rugged good looks. The PWRTRAC™ sole is impressive to look at and fills you with confidence for when the terrain gets hard; it certainly takes a beating.
They felt good; not too heavy, comfortable and stable. The fit was spot on as it offered slightly more room than the Peregrine 7. A bonus was the flexibility which was unusual but welcome in a trail shoe. The cushioning was soft but not spongy.
Once running, the shoes continued to please. I ran from road to trail in the Snowdonia Marathon and found them to be a great shoe for trail marathons. I would highly recommend as they are not as harsh as fell shoes when on hard ground and offered a bit of a road shoe feel when needed.
This shoe handles grass, road, hard packed trails and hills really well. I ran in them all day with no pain in my legs. I noticed that there wasn't a rock plate inside, but that didn't bother me and haven't noticed any problems with foot stability when running.
After 100 miles plus of training use, I haven't noticed any wear on the outside at all. They still look and feel very strong.
One potential drawback is the grip (although fine for the vast majority). If you hit play, you may notice the weight of the shoe. Depending on your gait, you may find that the sole catches on your calves and this is worth considering before you buy.
Having run in Innov8 X Talon in similar terrain, I found the lugs collected much more clay deposit in the Peregrines. I also found that the water drainage in the Peregrines can be a bit hit and miss and they can feel heavy when wet.
However, they clean up quickly and easily, and in dry and damp conditions they are hard to beat. The shoe offers confidence for road and trail mixed-use running.
They are true to size, not too wide and not too tight. After trying on many size 10s from many different brands and feeling frustrated by the differences, the Peregrines remain consistent in their sizing.
Overall I found security of the upper to be very good and hold my foot comfortably, with very little give even when pushing on steep, technical terrain with varying camber, hopping rock to rock and cornering hard.
With an amazing combination of protection, traction, cushioning and flexibility, this shoe holds its own on a variety of trail surfaces from smooth dirt to extremely rocky and rugged. Our wear-testers liked it most on more technical trails that featured unpredictable, off-camber terrain, mostly because it allowed the grippy outsole to be utilized to the fullest.
The Saucony Peregrine 8 is a running shoe that's made for those who have neutral pronation. It is optimized for the trails. It makes use of an aggressive outsole design to deliver grip on a variety of surfaces. Multidirectional gripping lugs heighten traction when tackling ascents and descents.
Saucony's PWRFOAM is the primary cushioning unit of this iteration in the series. It boasts a responsive ride in a shock-attenuating package. Moreover, it has an EVERUN topsole for an additional rebound capacity with each step. It is worth noting that the rock plate that has graced this model's predecessors has been removed.
The upper unit of the Peregrine 8 has a mesh construction that is open. It's vastly different from the 7th version where the façade is tightly knit. And though printed overlays make up its reinforcement system, their presence in the instep is bolstered by stitches.
The Saucony Peregrine 8 was designed using the standard measurements. It follows the preferences of consumers regarding the sizing scheme. The available widths are B – Medium for the ladies' version and D – Medium for the men's. Its foot-shaped platform mimics the natural shape of the human foot.
PWRTRAC is a rubber material that's designed to be sticky. Its purpose is to shield the rest of the sole unit from the debilitating nature of the trails. It also provides surface traction, which is vital to any running shoe.
Gripping lugs heighten the grip of the Saucony Peregrine 8 on various surfaces. They face multiple directions and are aggressive in prominence, having 6 millimeters in height.
Flex grooves are fashioned all over the sole unit. They allow the wearer to bend the metatarsals naturally for a more agreeable stride.
PWRFOAM is the central cushioning unit of the Saucony Peregrine 8. It offers a springy ride that's also filled with shock-attenuating power. Moreover, its sturdy configuration doesn't allow it to break down or sag easily.
Placed on top of the thicker foam is a full-length EVERUN material. Its goal is to enable a springy ride and energy return when striking and taking off of the ground. This midsole material is also used in the Ride 10 shoe from Saucony.
The mesh material of the Saucony Peregrine 8 has an open construction. It allows environmental air to enter the foot-chamber and maintain a cool and dry experience for the foot.
The overlay system is made using Flex Film. This thin layer covers critical areas that affect the overall snugness of the coverage. It works in conjunction with the shoelaces to deliver a snug yet customizable fit.
The instep part has stitched reinforcements to heighten the efficacy of the overlays and to improve durability.
The forefoot section has a rubberized exterior film. It aims to protect the toes from any debris or surfaces that may cause pain or injury.
RUNDRY is a collar lining that is designed to be soft and smooth against the skin. It has anti-moisture properties that stave off odor-causing sweat or wetness.
Holding the back of the foot in place is a heel counter. It's an add-on that prevents shaky in-shoe experiences and accidental shoe-removals.


Triangular galvanized truss, 2-way "L"-style, 425x425mm with 225mm sides, made of ø 25mm steel tube, reinforced with welded ø 6mm wire. This module is comprised on one side of three ø 15mm male attachments, on the other side with three female ø 15,3mm attachments. Link with other modules by coupling of attachments and fixing with three supplied couples of M8x60mm knobs.


Since moving to New York City in 2006, saxophonist, composer, and educator Dan Blake has developed a wide-ranging career as a contemporary composer and performer who "regards tradition as a welcoming playground best approached with a sense of wonder and adventure" (The Boston Globe). He has released three critically acclaimed albums as a leader and has recorded and toured with leading artists such as Esperanza Spalding, Anthony Braxton, Kenny Werner, and many others. Blake holds a Ph.D. from the CUNY Graduate Center, and also produces the annual Concert to Feed the Hungry, working on behalf of poor communities around the world suffering from hunger and malnutrition.


text:
Juan Bautista Muguiro e Iribarren (n. 1786) fue un comerciante, banquero y político español.

Biografía
Nació en la localidad navarra de Aldaz el 13 de septiembre de 1786. Ejerció, junto con su hermano José Francisco, el comercio y la banca a través de la entidad J. Irivarren y Sobrinos, heredada de su tío Juan Bautista Iribarren. Fue capitán de granaderos y participó en la defensa de la plaza de la constitución en julio de 1822, en Madrid. Marchó exiliado a Burdeos. En esta ciudad conoció a Francisco de  Goya, con quien mantenía un lejano parentesco, adquiriendo su pintura La lechera de Burdeos y siendo retratado por el pintor en 1827. Ambos cuadros se conservan actualmente en el Museo del Prado de Madrid.

Al volver a España, durante el reinado de Isabel II, Muguiro participó activamente en política, siendo elegido diputado por la circunscripción de Navarra en las elecciones de 2 de octubre de 1836, y nombrado presidente del Congreso de los Diputados en 1837, cargo que ejerció tan solo durante un mes. Posteriormente fue elegido senador por Madrid hasta 1845.

Referencias

Diputados de España del reinado de Isabel II
Presidentes del Congreso de los Diputados

redpajama_set_name: RedPajamaWikipedia


text:
Niger CJ applauds effort of MacArthur Foundation, NBA towards domesticating ACJA
April 7, 2022 April 7, 2022 Peterideal 0 Comments
By Naseer Sirajadeen, Minna://
The Acting Chief Judge of Niger State, Justice Halima Ibrahim Abdulmalik has applauded the MacArthur foundation and the national Secretariat of the Nigerian Bar Association, NBA for their commitments toward domestication and implementation of Administration of criminal Justice Act.
In her remark at a stakeholders forum in Minna, the Niger state capital, Justice Halima stated that domestication of administration of Criminal Justice act 2015, ACJA, will assist in ensuring speedy dispensation of Justice in the state
Halima reiterated that the passage of the administration of criminal Justice act, will among others address the delay in the administration of criminal Justice, decongest cases in courts and checkmate corruption in the Judiciary.
She called on the Niger State House of Assembly to hasten up in ensuring the speedy passage of the act, adding that Niger state is among the few states yet to domesticate the ACJA.
Speaking earlier, the Chairman Nigerian Bar Association, NBA, Minna branch, Mallam Mohammed Abubakar El-Surur, observed that most of the laws in Niger State were obsolete and called for speedy domestication of the act for quick dispensation of criminal Justice in Niger State.
He stated that no society can survive on obsolete law, urging the state House of Assembly to as a matter of urgency ensure speedy passage of the act.
Also speaking the chairman, House Committee on Judiciary in the Niger State House of Assembly. Hon. Ahmed Bello Agwara assured that the state assembly is committed to ensure the speedy passage of the ACJA act in the state.
He disclosed that the ACJA bill has passed the second reading and already at committee level, saying that the house committee on Judiciary will soon call all stakeholders for public hearing for onward passage of the act.
In his remarks at the forum, the Dean faculty of law, University of Jos, Prof. Alphonsus Alubo,(SAN) observed that the passage of Administration of criminal Justice act, ACJA will assist in bringing succour to the criminal Justice system in Niger State and the nation judiciary system.
Prof. Alubo expressed concerned over the increasing proportion of inmates on awaiting trial across the correctional facilities in the country, describing the trends as unhealthy to the criminal Justice system in the country.
He insisted that the ACJA act if domesticated in the nation's legal system will go a long way to ensuring speedy dispensation of Justice "in our courts and reducing cases in courts"
Prof.Aluba also suggested that the office of the Attorney General and Commissioner Of Justice in the country should take over the prosecution of cases in the lower courts of competent jurisdiction than allowing police to prosecute cases.
He said, "if police must prosecute in court, the police must have to be a lawyer."
← Senate strengthens copyright law, prohibits online duplication
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The Potomac Project launched at a Charles County, Maryland community workshop in June 2016. Rain barrels were painted at community workshops and in classrooms giving individuals of all ages the opportunity to learn more about local water resources. All rain barrels were installed into local infrastructure to help with stormwater runoff into the Potomac River.
Sponsors: Chesapeake Bay Trust, Charles County Office of Sustainability, Coca-Cola Bottling Co. Consolidated, K&B True Value, and James T. Warring Sons, Inc.


text:
Home Collections New York Mendon
Mendon Collections Lawyers
Mark S. Anderson
Bronx, NY Collections Attorney
(800) 696-9529University of Baltimore School of LawUniversity of Wisconsin - MadisonUnited States District Court for the Southern & Eastern Districts of the State of New York and New YorkQueens County Bar Association and New York State Bar AssociationPublic Land Records: The Inevitable Tool for Fraud and the Need for Reform
William Robert Larkin
New York, NY Collections Attorney
(212) 888-5807Brooklyn Law SchoolState University of New York - BinghamtonNew YorkAvvo and AvvoRichmond County Bar Association and New York State Bar Association
Richard Glenn Gertler
East Meadow, NY Collections Attorney
(516) 228-3553Brooklyn Law School1st Circuit, 2nd Circuit, U.S. Supreme Court and New YorkAmerican Bankruptcy Institute, National Association of Consumer Bankruptcy Attorneys...
David H. Relkin
White Plains, NY Collections Attorney
(212) 244-8722Benjamin N. Cardozo School of LawHarvard University, Columbia University, City University of New York - Graduate School & University Center, New School University, Northwestern University and Laval University in MontrealConnecticut, New York and 2nd CircuitNorthwestern UniversityNew York State Bar and Association of the Bar of the City of New YorkBusiness and Commercial Litigation--Fraudulent Conveyances, Web Jurisdiction over out-of-state and foreign Entities...
Yale Pollack
Syosset, NY Collections Attorney
(516) 262-5028Touro College Jacob D. Fuchsberg Law CenterColgate UniversityNew Jersey and New YorkSuper Lawyers, Super Lawyers, Super Lawyers and Super LawyersState Bar of New York
Mitchell A. Nathanson
Garden City, NY Collections Attorney
(516) 568-0000Benjamin N. Cardozo School of LawYeshiva UniversityNew York, United States District Court, Eastern District of New York, United States District Court, Southern District of New York and United States District Court, Northern District of New YorkNew York State Bar
George C. Grasso Esq.
Flushing, NY Collections Attorney
(347) 821-3241The City University of New York School of LawState University of New York - College at Old WestburyNew York, United States District Court for the Eastern District of NY and United States District Court for the Southern District of NYNYC Bar Association and Queens County Bar AssociationThe Arrest Warrants for Omar al Bashir: The Forces of Compliance in International Law and Politics
Stephen Z. Starr
(888) 867-8165University of Southern California Gould School of LawColumbia University and Columbia UniversityCalifornia, District of Columbia, New Jersey and New YorkNew Jersey State Bar, American Bar Association...Corporate Crisis Managers and Disinterestedness Under the Bankruptcy Code and Debt Enforcement & Bankruptcy in Turkey
Michael A. Markowitz
Hewlett, NY Collections Attorney
Touro College Jacob D. Fuchsberg Law Center and Washington University School of LawNew York and 2nd CircuitNassau County Bar Association and Nassau County LegislatureNassau County Bar Association and Jewish Lawyers Association
Thomas Tona
Islip, NY Collections Attorney
(844) 866-2529HofstraNew YorkNYS Trial Lawyers Institute and Justice Lodge No. 753 F. & A.MNo-Fault Automobile Insurance – What is an EIP Claim? and The Healthcare Provider's Guide to NY No-Fault Insurance
Bernard D'Orazio
(212) 608-5300St. John's University School of LawNew York University2nd Circuit, 3rd Circuit, U.S. District Court Eastern District of New York , U.S. District Court Northern District of New York , U.S. District Court Southern District of New York, U.S. Supreme Court and New YorkThe American Lawyer/ALM, The New York Law Journal Reader Rankings, Martindale-Hubbell and GlobalLawExpertsNew York State Bar, New York County Lawyers' Association..."Survey of N.Y. Practice" , 59 St. John's L. Rev. 436 , 1985
Abel L. Pierre
(888) 744-0757Fordham UniversityJohn Jay College of Criminal JusticeNew YorkNational Association of Consumer Law Advocates, The Association of the Bar of the City of New York...
Steven G. Yudin
(212) 608-5300St. John's University School of LawNew York UniversityU.S. Court of Appeals – Second Circuit, New York, U.S. District Court Eastern District of New York and U.S. District Court Southern District of New YorkNew York City Bar Association and New York State Bar
Taran Provost
Poughkeepsie, NY Collections Attorney
(866) 733-2720Brooklyn Law SchoolNew York University and Syracuse UniversityNew York and 2nd CircuitF.E.G.S. and NACBAClinton Lawyer Backs Down, Dow Corning Offers to Settle Out of Court...
Mark Nathanson
(516) 568-0000Brooklyn Law SchoolCity University of New York - City CollegeNew YorkNassau County Bar Association and New York State Bar
Elliott Portman
Hauppauge, NY Collections Attorney
(631) 629-5640New England Law | BostonNew YorkSuffolk County Bar AssocationNew York Creditor's Bar Association and New York State Bar
Andrew M. Ayers
Brooklyn, NY Collections Attorney
(718) 568-0221New York Law SchoolSaint John's UniversityConnecticut, New Jersey, New York, U.S. Supreme Court and MinnesotaDouglas K. Amdahl Inn of Court, Hennepin County Bar Association...The Police Can Do What? Making Local Governmental Entities Pay For Unauthorized Wiretapping and The Financial Action Task Force: The War on Terrorism Will Not Be Fought On The Battlefield
Nyarumba Nota Esq
(646) 808-0750England & Wales, United Kingdom, Anguilla, British West Indies and New YorkInternational Discovery Disclosure Group and The Honorable Society of The Middle Temple
Bradley D. Schnur
Jericho, NY Collections Attorney
(516) 932-4400Hofstra UnivNew YorkNew York State Bar
Kenneth Joel Katz
(212) 460-0047Hofstra UniversityNew YorkNew York State Bar
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The LII Lawyer Directory contains lawyers who have claimed their profiles and are actively seeking clients. Find more Mendon Collections Lawyers in the Justia Legal Services and Lawyers Directory which includes profiles of more than one million lawyers licensed to practice in the United States, in addition to profiles of legal aid, pro bono and legal service organizations.


Click on enquire now to visit the clubs website and email address.
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A community group for retired Brunswick residents.
Slogan: A community group for retired Brunswick residents.


text:
/*
    HMAC-MD5 is still secure despite the ease of producing collisions in MD5.
    See Mihir Bellare paper "New Proofs for NMAC and HMAC: Security without Collision-Resistance" (June 2006)

    Using HMAC construction:
        HMAC(x) = h(k || p1 || h(k || p2 || x))
        h() = MD5 hash
        p1,p2 = distinct padding to bring k up to the block size
        p1 = 0x36 repeated, p2 = 0x5c repeated

    Diverges from usual implementation by using little-endian rather than big-endian input
*/

#ifndef HMAC_MD5_HPP
#define HMAC_MD5_HPP

#include <cat/crypt/hash/ICryptHash.hpp>

namespace cat {

class CAT_EXPORT HMAC_MD5 : public ICryptHash
{
protected:
    static const int DIGEST_BYTES = 16;
    static const int WORK_BYTES = 64; // bytes in one block
    static const int WORK_WORDS = WORK_BYTES / sizeof(u32);

    u32 CachedInitialState[4]; // Cached state for H(K||inner padding)
    u32 CachedFinalState[4];   // Cached state for H(K||outer padding)

    u64 byte_counter;
    u32 State[4];
    u8 Work[WORK_BYTES];
    int used_bytes;

    void HashComputation(const void *message, int blocks, u32 *NextState);

    // Unsupported modes
    bool BeginKey(int /*bits*/) { return false; }
    bool BeginKDF() { return false; }
    bool BeginPRNG() { return false; }

public:
    ~HMAC_MD5();
    bool SetKey(ICryptHash *parent);
	void RekeyFromMD5(HMAC_MD5 *parent);
    bool BeginMAC();
    void Crunch(const void *message, int bytes);
    void End();

	// TODO: Strengthening is not supported right now
    void Generate(void *out, int bytes, int strengthening_rounds = 0);
};

} // namespace cat

#endif // HMAC_MD5_HPP

redpajama_set_name: RedPajamaGithub


text:
Congregation Etz Hayim
Tzedakah Touts
This Week at Etz Hayim
Casino Night and Auction
Israel Fest
Artist Expo
Sukkot in Spring
Website Form Library
2019 Summer Camp Information
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Class Updates
Kitah Gan (K)
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Religious School Forms & Calendar
Religious School Staff
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CEH Library
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Bridges to Independence
Good Deeds Day
Mozaic Project for Syrian Immigrants
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Participate in Services
Potluck Shabbat
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A Daily Dose of Jewish Wisdom Right To Your Cell Phone and Inbox
Yahrzeit Observances
Legacy Giving Program
Our Fellow Donors
Member Touts & Testimonials
Help Our Schools
Jewish Artists in the Smithsonian Recap
December 28, 2019 Adult Education, Chronicle, Community Interest, EventsEtz Hayim Office
On December 15, 2019, CEH's Adult Education program sponsored a trip to the Smithsonian American Art Museum led by Deborah Kaplan, CEH member and SAAM docent. CEH members and their families enjoyed a 90-minute tour of paintings and sculptures created by Jews who immigrated to the U.S. between 1880 and 1920. The tour then moved forward in time and explored the influential work of Jewish American artists in the second half of the twentieth century. The tour finished in the elegant but often bypassed Luce Gallery on SAAM's third floor.
Deborah provided a wealth of information about the artwork and artists that the group encountered. In the earlier time period (1880 – 1920), there was a tight knit community of Jewish artists in the US. Many knew each other and worked together in government-sponsored programs such as the Public Works of Art Project. The group learned about Jewish artists such as Frank C. Kirk who painted in the style of Social Realism, which depicts the life of poor people and the working class in positive ways. The group also saw and discussed art by Moses Sawyer, Adolph Gottlieb, Ilya Bolotowsky, Louise Nevelson and Helen Frankenthaler. We learned about different schools of art and techniques including Abstract Impressionism, Avant-Garde, and Color Field Painting. Several participant remained after the tour to explore the Luce Gallery which features a unique visible art storage program.
Congregation Etz Hayim offers a diverse schedule of Adult Education programs including Torah study, tefilla how-tos, Jewish values, and social justice. The 2019-2020 schedule is available on our website under the Education tab. CEH is grateful for the Jean Koshar and Samuel Rothstein Memorial Fund which supports our Adult Education program.
B'nai Mitzvah Profile: Jacob Coleman
November 22, 2019 Chronicle, Community Interest, Events, Religious SchoolEtz Hayim Office
Jacob Lybcher Coleman
Where were you born?
Sibley Hospital. Washington DC
What is the date of your Bar Mitzvah?
How long have you been in our Religious School? What is your favorite subject?
Since kindergarten
What Haftarah will you be chanting?
Vayishlach
Has anyone else in your family become a Bar or Bat Mitzvah here?
What school do you attend? What is your favorite subject?
Gunston Middle School
What are your hobbies or extra-curricular activities?
Design and Engineering Club, baseball, flag football, watching football and playing video games
Getting a good grade in school
Please write a thoughtful statement about what becoming a Bar Mitzvah means to you.
Growing up and becoming an adult in the Jewish Community
Library Shabbat Recap
November 21, 2019 Chronicle, Community Interest, Events, Religious ServicesLaura Naide
On Friday, November 15, 2019, our congregation celebrated the re-dedication of the library. This event was well-timed to coincide with Jewish Book Month which takes place annually in November. To recognize these occasions, there was a special presentation during Shabbat services and our oneg was held upstairs in the library.
During services, Laura Naide and Marcia Zimmet spoke about the effort to refurbish the library and the importance of books to the Jewish people. Over the past three years, many volunteers transformed the CEH library. We removed over 2000 books and either donated, recycled, or buried them depending on their condition and contents. We logged the remaining 1000 or so books into an online database, adding bar codes and Dewey decimal classifications. Edgar Rendon did a beautiful job painting the room and we purchased a new rug and bookshelves. The Rosman family donated a couch and loveseat. The Cohen family donated a large screen tv so our students could watch movies. Marcia Zimmet donated many beautiful items of Jewish art. And our rabbi, Lia Bass, made a beautiful quilt to add warmth and color to the room.
Marcia Zimmet reminded congregants that Jews are known as the "People of the Book." She shared many Jewish references to the holiness of books. For example, in 998 CE Rabbi Hai Gaon commented that "three possessions should you prize. a field, a friend and a book." Rabbi Shamuel ha Nigid, a Talmudic scholar in the early 11th century wrote "the wise of heart will abandon ease and pleasure for in his library he will find treasures." And Rabbi Yehuda ha Levi, a poet of the 12th century wrote of the importance of books by commenting: "my pen is my harp and lyre, my library is my garden and orchard."
We hope that all congregants will make the trip upstairs to spend time in our library. Our online database can be accessed at www.tinyurl.com/cehlibrary. Please use this resource to find books on whatever Jewish topics are of interest to you! If there are books you think should be in our collection, send your suggestions to Laura Naide at school@etzhayim.net.
Thank you to Laura Naide, Marcia Zimmet, Marcy Burka, Edgar Rendon!
Don't forget to join us for Adult Education: What Five Books Should You Read to be An Educated Jew? On Sunday, February 2 at 10:15am.
2019 Artist Expo & Bake Sale Recap
November 12, 2019 Chronicle, Community Interest, EventsEtz Hayim Office
The CEH building came to life on Sun, Nov 10, with artists, shoppers, face painting and a bake sale piled high with goodies.
A huge thank-you goes to the many, many volunteers who made this event possible. Whether they baked, helped with set-up or advertising, made vendor lunches, welcomed and directed customers, staffed the bake sale, ran errands for the vendors on Sunday, took photos for our website or worked on clean-up crew, these people brought the event to life, in alphabetical order.
Chris Kagy
CJ Burka
Courtney Schwartz
Danielle Tannenbaum-Pasch
Debbie Ainspan
Edgar Rendon
Elisa Rosman
Eva Kleederman
Harris Lechtman
Jacob Coleman
Jane Baldinger
Jeanne Briskin
Jonathan Golner
Jordan Fried
Laura Hill
Laura Naide
Leslie Sorkowitz
Linda Sparke
Marcy Burka
Marina Grayson
Mike Stein
Mimi Youkeles
Nancy Bondy
Patricia Citro
Rabbi Lia Bass
Rachel Waldstein Kagy
Roberta Wasserman
Scott Burka
Come join us for the next Adult Education session: What the Hell? Jewish Belief in the Afterlife on Sunday, November 24 at 10:15am.
"Justice for All? Ethics from Our Bible," presented by the Haberman Institute for Jewish Studies Recap
November 8, 2019 Adult Education, Community Interest, EventsLaura Naide
On Tuesday, November 5, the Haberman Institute for Jewish Studies presented a lecture entitled "Justice for All? Ethics From Our Bible," at Congregation Etz Hayim. The speaker was Professor Jeremiah Unterman who is a Resident Scholar at the Herzl Institute – Machon Herzl. Approximately 35 people attended.
Professor Unterman discussed how the ethics of the Jewish Bible represent a significant moral advance over other Ancient Near East cultures. He spoke about how the Bible's unique conception of ethical monotheism and innovative understanding of covenantal law form the foundation of many Western civilization ideals. He compared secular legal codes (e.g., the Code of Hammurabi) with the ethical underpinnings of Jewish jurisprudence. He summarized his presentation by connecting the biblical texts to the persistent themes of our times: immigration policy, care for the less privileged, and attaining hope for the future despite destruction and exile. A recording of Professor Unterman's presentation will be available at http://podcast.habermaninstitute.org/
The Haberman Institute for Jewish Studies provides adults with high quality in-depth encounters with Jewish thought, history, and culture. Congregation Etz Hayim is proud to partner with the Institute to bring this learning to our community and hopes to continue the partnership in coming years.
If you enjoyed this event, please attend an upcoming CEH Adult Education class. The next class is Sunday, November 24 from 10:15 AM – 11:45 AM. Rabbi Bass will teach a class entitled: "What the Hell? Jewish Belief in the Afterlife."
CEH Social Action Event – Refugee and Immigrant Crisis: The Jewish Response
November 7, 2019 Community Interest, Events, Social ActionEtz Hayim Office
On Sunday, November 3, Congregation Etz Hayim's Social Action Committee hosted a panel of representatives from local chapters of four non-profit organizations working to mitigate the practical and legal hardships that refugees, asylees and other immigrants face in our community. The representatives provided an historical perspective on U.S. immigration policy, an alert about recent executive action allowing states to ban refugees, and an explanation of the particular issues presented by unaccompanied youth and alien ("honorary") veterans of the U.S. armed services. Importantly, they outlined the mission and activities of their individual organizations, including the many ways that volunteers can serve as force multipliers in rendering assistance to immigrants (e.g., accompanying subjects to ICE check-ins, providing information on legal rights, political advocacy, material support). After the formal remarks, there was a lively Q&A, which elicited additional substantive information from the expert presenters.
Participant organizations included:
Congregation Action Network/Faith in Action, whose member congregations in the DC/MD/VA region provide support and practical assistance to neighbors, friends, and family who fear being detained, deported or profiled. (Mary Lareau, Northern Virginia Cluster Leader, https://www.congregationactionnetwork.org/).
CASA In Action, the Mid-Atlantic region's largest electoral organization fighting for immigrant rights. (Miguel Carpizo-Ituarte, Virginia Lead Organizer, https://www.casainaction.org/).
Just Neighbors, which provides immigration legal services to low-income immigrants and refugees in Virginia (Erin McKenney, Executive Director, https://www.justneighbors.org/).
Lutheran Social Services, which resettles displaced refugees and provides them wellness and health education and other practical services. (Dana Lea, Director of Community Outreach, https://www.lssnca.org/).
In addition to hosting the formal panel, CEH opened the event to representatives from other immigration advocacy groups to bring their organizations' materials and speak individually with audience members after the formal portion of the program. Staff from The Hebrew Immigrant Aid Society (HIAS) and Sanctuary DMV set up information tables and fielded questions from attendees, many of whom added themselves to mailing and volunteer lists. This CEH event provided a forum for engaged and compassionate congregants of the Northern Virginia Jewish Community and other faith groups to learn about and take action on behalf of immigrants in crisis, honoring the religious and ethical dictate to "welcome the stranger."
B'nai Mitzvah Profile: Ian Alcorn
October 28, 2019 Chronicle, Community Interest, Events, Religious ServicesEtz Hayim Office
Ian Robert Alcorn
Preschool to present. Favorite subject: Jewish History
Hayeii Sarah
My sisters: Jenna and Dalia
Drawing, soccer, martial arts (I am a black belt in mixed martial arts), dance
Black belt in mixed martial arts!
Becoming a Bat Mitzvah is an important coming of age event and is a way of maturing as a person
B'nai Mitzvah Profile: Matthew Herzfeld
October 28, 2019 Chronicle, Events, Religious School, Religious ServicesEtz Hayim Office
Matthew Fogarty Herzfeld
Etz Hayim preschool & religious school since Kindergarten. Favorite subject – history
Isaiah – Haftorah B'reisheet
What school do you attend?
Williamsburg Middle School
Baseball, hockey, basketball, piano, ultimate frisbee
What accomplishments are you proud of? Preparing and getting through Bar Mitzvah. Making the Arlington Senators travel baseball team. Piano spring festivals.
It means I will feel more like an adult. I will be viewed as an adult in the Jewish community and expect myself to act more like an adult.
The Northern Virginia Jewish Film Festival (NVJFF) is coming to Arlington!
October 28, 2019 Chronicle, Community Interest, EventsEtz Hayim Office
The JCC's Northern Virginia Jewish Film Festival will take place from Thursday, November 7 to Sunday, November 17. CEH will be sponsoring a screening of The Keeper at the Arlington Cinema & Drafthouse on Wednesday, November 13 at 7:30 p.m.. Members can purchase tickets with the discount code below.
Wednesday, November 13, 7:30pm · Arlington Cinema & Drafthouse
Marcus H. Rosenmüller | Drama | U.K. | English, German | 113 min
The fascinating true story of forgiveness about Bert Trautmann, a WWII German soldier and prisoner-of-war, who, against a backdrop of British post-war protest and prejudice, becomes a footballing icon by securing the position of Goalkeeper for Manchester City. His signing causes outrage but Bert receives support from an unexpected direction: Rabbi Alexander Altmann, who fled the Nazis. Bert's love for Margaret, an Englishwoman, carries him through. His winning career includes years of devoted performance on the field including playing with a broken neck in the 1956 FA Cup Final. Fate soon twists the knife for Bert and Margaret, when their love and loyalty to each other are put to the ultimate test. The film features Downton Abbey's John Henshaw and Harry Melling, who played Dudley Dursley in the Harry Potter series. Can you spot them?
To purchase discounted tickets, go to the Jewish Film Festival website and click "buy tickets" for The Keeper.
Click "Enter a Password or Discount Code" in the "Get Tickets" section
· A space to type your code will appear; Type Etz Hayim there. This is a case-sensitive code.
· Click "Show Available Tickets." The group rate will appear in yellow above the general ticket price.
· Select the number of tickets
· Click "Add to Cart" and follow the prompts to check out
Martyrology By Alan Savada
Each year the Rabbi comes to us asking what part of the service we are interested in pontificating on. At the start, I gracefully accepted my assignments, but as time wore on, I became brave enough to ask for specific ones. So after speaking on the Martyrology two years ago, I specifically begged to return to the same part of the service this Yom Kippur. There is a very good reason for this—this summer we spent a good deal of time in Greece visiting various places such as Corfu, Olympia, Crete, Mykonos, Rhodes, Santorini, and of course, Athens, not to mention the neighboring port of Kusadasi, in Turkey, where one finds the monumental archeological site of Ephesus.
While these places are all different, the one thing many of them have in common is a past Jewish community. Jews came to Asia Minor and Greece as early as the 5th century BCE, after the destruction of the First Temple, and we have written records of a community in Ephesus which had apparently existed for hundreds of years by the early Common Era. The most famous site at Ephesus is the Celsus Library, whose floor contains a faint etching of a menorah! In addition, there are many stones bearing Jewish symbols that have been recycled over the centuries, which lead scholars to believe the community had a synagogue here.
Heading about 75 miles south, just off the coast we come to the ruins of Priene near Miletus, where a large stone was found with a menorah relief. The stone, now in a nearby museum, led to the 19th-century discovery of a similar synagogue dating to the 4th to 7th century CE, hundreds of years after nearby Ephesus. The designs are clear as we saw the tumbled stones of a small building, in ruins, where once Jews worshipped for centuries. Sadly, these are the only remains of a once-thriving Jewish community. We will probably never know what happened to them.
Few tourists in Greece hit the port of Gythio or Gythion, the ancient seaport for Sparta, located on the southern tip of the Peloponnese peninsula. We stopped there in July and hired a brilliant guide to take us to the famous caves at Diros on the opposite side of the Mani Peninsula (the so called middle finger of the Peloponnese). Our guide Dmitris turned out to be an archeologist who knew much more than we could ever dream of, as he had worked on many excavations in the region over the years. There is a long tradition of a now long-gone "Romani" Jewish community in the Mani region, and nary any proof of their existence. Dmitris told us of an excavation he had worked on, under a new resort hotel that was going up several years earlier. On our return to DC, I received an email from him with yet-unpublished photos he had taken at this site, which is now closed to the public. The mosaics are clearly symbolic of a menorah and are faintly akin to many we see in similar sites in Israel today. Sadly the hotel is built, the mosaics are hidden to us, and we will probably never truly know the extent of this Jewish community, which has now been assimilated beyond recognition.
When we speak of the Jewish community in this ancient region, it is of millennia, as it is clearly the first place Jews ventured to the north and west of Israel. Of course, this does not include the Exodus trip to the south, nor the exile to Persia to the east after the destruction of the First Temple.
Our journeys also took us just to the east to Rhodes, a mere 400 miles from Israel, where Jews were inhabitants of the island for centuries. Today we find the remains of a Jewish quarter that flourished after the Inquisition due to the influx of Sephardi Jews from Spain and Italy. As late as the end of World War I, over 4000 Jews lived here, flourishing amongst the locals with four synagogues, a Jewish school, and a yeshiva. By the time of the Nazi occupation, one half the Jewish population was gone. The remaining 1,522 souls were deported to their deaths in what is called "the longest march," a 9-day trip by cargo boat to Athens and then a 13-day cattle wagon train to Auschwitz. Our guide spoke about her grandmother who harbored a Jewish man during the war. He managed to survive, along with 150 other Jews. Today, one synagogue remains and still functions. Kahal Shalom was built in 1577 and is a true gem with mosaic floors and a history worthy of any museum. Before the war it housed an 800-year-old Torah, which was miraculously saved by a Turkish religious leader. Sadly, the people are gone now and the community members number only in the dozens. While there, we witnessed the end of a ceremony, overseen by local priests and the chief Rabbi from Athens, commemorating the 70th anniversary of the end of the Holocaust.
Corfu's Jewish community is not as old (due to its location in the Ionian Sea on the west coast of Greece) but still can trace back to the 12th century, when the community started to grow and always lived in peace with the locals. Many came from Italy, just across the sea, especially during the Inquisition. By the end of the 19th century over 7,000 Jews lived on the small island. Jews, sadly, can not seem to be free of hatred from others, and in 1891 a blood libel ravaged the community. It was actually a Jewish girl, who had been falsely recorded as being a Christian girl, who was murdered. This led to insecurity and an exile of nearly 5,000 souls, mostly to Alexandria and Italian cities. The community was further reduced to about 2,000 people, yet the four synagogues on the island still flourished. On June 9, 1944 all these Jews were rounded up and 91% of them were taken, along with the 67,000 other Greek Jews, to the camps in central Europe. 1,700 were executed 20 days later. Of the 300 forced into hard labor by the Nazis, only 150 survived—a mere 7.5% of the entire community. Half of them emigrated to the US, Israel, and elsewhere, while about 75 returned to their homes. Only one synagogue, La Scuola Greca, which dates to 1650, remains in Corfu. The island's Jewish population today is about 55. In 2011 an arson attack on the shul destroyed many siddurim—even today this small island community struggles to subscribe.
The last place I will speak of today is Chania, on the largest Greek island of Crete, under 500 miles from the Israeli coastline. Here the Jewish community began approximately 2,300 years ago; little is known of this community that existed for so long. The roughly 300 Jews that remained on the island at the beginning of World War II were herded onto a cargo ship headed for Auschwitz. In a twist of fate, the British torpedoed the ship and nobody survived. No Jews ever returned to settle on Chania.
The synagogue here remained in ruins over the postwar decades. It was used as a dump, urinal, and kennel. In 1996, one benevolent and kind gentleman, Nikos Stavroulakis, half Greek Orthodox and half Turkish Jew, decided Chania needed a synagogue. He made it his mission to reconstruct the completely desecrated building and its mikva. After three years of painstaking work, the small Romaniote Greek synagogue reopened. Today, the mikva functions, fed by a spring, and an etrog tree stands in the front courtyard, bearing the largest etrogim I have ever seen in my life! The rear courtyard holds the tombs of the rabbis, some hundreds of years old, and a memorial to those who perished in 1944. Services were held here for some time, basically run by a few locals who had tourists to help out, but two arson attacks occurred in 2010. Now, it takes a special event or occasion to bring worshippers; the synagogue is mostly a museum for tourists. All that is left is for us to pray for the safety of those who are trying to revive our faith. Mr. Stavroulakis passed away two years ago at the age of 85 after reviving this amazing 1645 shul in a community that had existed for over two millennia, but did not have a single Jewish resident anymore. The name of that synagogue is Etz Hayyim.
The views and opinions expressed herein are those of the authors and do not necessarily reflect those of the Synagogue or Board of Directors.
Contact Etz Hayim
E-mail: office@etzhayim.net
A Message from Rabbi Bass
Message from CEH President
Thoughts on Inclusivity. By Leslee Friedman.
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Within the LGBT world, notions of generations circulate too. People refer to the Stonewall generation or the separatist generation to describe an experience that distinguishes them from other gays or lesbians. Whatever the label, the assumption is that our generation, however defined, makes us who we are. As we move through life, the world changes, and we don't. It's as if we're trapped forever in a bygone time.
I think what draws me to Valerie Taylor, the pulp novelist I wrote about in my last column, is that she resisted this pigeonholing. Though she lived to be 84, she flat-out refused to remain stuck in the box of a particular coming-of-age experience. She always remained a woman of the moment, a woman who changed with the times.
Velma Nacella Young ( Taylor's birth name ) was born in 1913 in Aurora, Ill., when it was still a small town beyond Chicago's sprawl. Her family had little money but plenty of books and, when Velma had the chance to attend college, she seized it. Two years at Blackburn College in Carlinville, Ill., gave her credentials to teach at country schools. They also made her a socialist. This was in the middle of the Depression, and lots of Americans were seizing socialist ideas of economic justice.
In small town America in the 1930s, there weren't many images of lesbian life. Nor was it common then for a woman to support herself. And so Velma Young, like who knows how many women-loving-women of her generation, got married. She had three sons with her husband, William Tate. But he proved to be 'an alcoholic no-good bum' and, after 14 years of marriage, Velma took her sons and left. While much of white America was entering the 'Father Knows Best' era of idealized family life, she was breaking out of the housewife box.
Writing was her way out. Velma had been composing stories and poems since childhood. In 1952, using the pseudonym of Valerie Taylor, she published, in her words, a 'raunchy heterosexual love story' titled Hired Hand. With the $500 she received for it ( a solid chunk of cash in those days ) , Taylor—as we'll now call her—'went out and bought two dresses and a pair of shoes, got a job, and consulted a divorce lawyer. ... That was a good little royalty check,' she recalled, many years later.
Despite the huge sales of pulp novels, authors did not receive a fair share of royalties, and Taylor always needed a day job to support herself and her sons. But she wrote steadily, moving decisively into the lesbian pulp genre. She published Whisper Their Love, and then The Girls in 3-B. In the 1960s, Taylor wrote a series of linked novels with unambiguous titles like Stranger on Lesbos and A World Without Men.
The increasingly overt subject matter of her books reflected the change in Taylor's life after leaving her husband. She was now romantically interested in women. But lesbians in Chicago in the 1950s, as Taylor reminisced, 'didn't have the underground network the men had ... There was a lot of loneliness.' Lesbians as well as gay men were cautious about revealing themselves: 'in those days, you'd lose your job if you ever came out,' and a single mom raising three teenagers could not risk being out of work.
Over time, Taylor developed a circle of friends. But her first sense of lesbian 'community' came through The Ladder, a magazine produced by the Daughters of Bilitis, a lesbian homophile organization. It began publishing in 1956, as the lesbian pulp boom was taking off. From its start, The Ladder paid attention to lesbian culture and literature, and it reviewed Taylor's work. Taylor came to know Barbara Grier, who wrote most of The Ladder's literary columns. She also corresponded with lesbian writers like May Sarton, Elsa Gidlow and Jeannette Foster.
Taylor's visibility as a writer meant that many small-town lesbians wrote to her and asked for advice in meeting other lesbians. She'd tell them to sit at a drugstore lunch counter with a copy of The Well of Loneliness or with a Beebo Brinker lesbian pulp. If a woman exhibited signs of interest, she was probably a lesbian. Such were the challenges of building community in the 1950s.
When lesbian feminism and gay liberation exploded into life in the early 1970s, most of Taylor's generation kept a distance and remained discreetly in the closet. Not Taylor. She jumped in with both feet. In 1973, she was one of the featured speakers at the noon rally at Civic Plaza during Pride Week. Acknowledging that she was older than almost everyone else there, Taylor introduced herself as a representative of 'the gay grandmothers of America.' The next year, she helped Marie Kuda organize the first of several annual Lesbian Writers Conferences that brought together women from around the country. Taylor gave keynotes at more than one of them.
She might have added that she had helped build it.


Vancouver Island – Island Health is thrilled to announce it has earned two Gold Apple awards and an Award of Merit at the 2017 BC Health Care Awards. An independent panel of 18 judges made up of community, academic and business leaders selected the winners from more than 100 submissions. The BC Health Care Awards celebrate excellence and innovation by recognizing teams and individuals whose achievements and actions inspire others.
Award description - A Health Care Hero goes above and beyond to make a difference in health care. Their passion and dedication is evident in everything they do. Whether it is a long-time employee being nominated for a lifetime of achievement or a fresh face who has made a difference in a short time with their dedication and enthusiasm, a Health Care Hero is someone who colleagues can look to for inspiration.
Award description - The Top Innovation award goes to the health authority for a project or best practice that has brought fresh ideas, ingenuity or superior problem-solving skills to the health field, and has resulted in positive and lasting change, making the top innovation a model for others to follow.
Award Recipient – The ISCT program involved using a secure smartphone app or desktop computer to send messages between pharmacists, nurses, doctors and switchboard. The system saw quicker response times than traditional paging and allowed for more information sharing to better convey the level of urgency of the message.
Award description - The Collaborative Solutions award recognizes the collective efforts of a team that has yielded positive outcomes. This collaboration could be within one site or across multiple sites and with non-health partners, interregional projects or team collaborations. The project should demonstrate how an integrated approach yielded better outcomes for staff and/or patients.
Award Recipient - The Victoria Sexual Assault Clinic provides confidential and accessible medical exams and support to recent survivors of sexual assault. Services include forensic and medical exams, crisis support, options for reporting to police, and connections to community supports and resources.


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studied by scientists at the Imperial College.
surgery of an 8 year old girl with burnt and fused fingers was successfully performed by a 7 year old Akrit Jaswal.
across the world. The video on right shows the process of the surgery performed by Akrit.
anatomy. At the age of 5, Akrit started reading books of Shakespeare and also assembled a library of medical textbooks.
study BSc undergraduate course in medicine in a medical university of India while he was only 12 years old.