ENGLAND will win every game of their Euro 2020 qualifying campaign as they have no weaknesses.
That's according to former Newcastle and England man Chris Waddle.
The Three Lions smashed Montenegro on Monday evening with a 5-1 victory in Podgorica.
A Ross Barkley brace and goals from Michael Keane, Harry Kane and Raheem Sterling secured another rampant win for England.
They also managed to overcome Czech Republic last Friday in their first Euro 2020 qualifying group game - scoring another five goals in the process.
England now sit top of Group A after winning their fifth consecutive game under manager Gareth Southgate - the first time that's happened since he took over.
And Waddle, who made 62 caps for England, believes that Southgate's side can go the entire qualifying campaign without a loss or a draw.
"It was fully deserved. England are too good for any team in this group," he told the BBC.
"We saw that on Friday too. They are full of confidence and far superior.
Waddle then pointed out one of England's unsung heroes as someone that performed due to the freedom he has in his midfield role.
"Jordan Henderson has got the ability to see a pass and he has been able to do that because he has that freedom behind him," he added.
"He did it against the Czech Republic as well.
"I don't think there's really been a weakness from England in the two games.
Sterling and Kane managed to continue their fine run of form for England, with the latter scoring his third in three games.
Barkley's two goals and assist will impress Southgate, who has yet to nail down a consistent starting midfield three.


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Home > Transport
Lisbon to get second airport, as tourism soars
Thu, Feb 16, 2017 - 7:42 AM
[LISBON] Portugal unveiled plans on Wednesday for a second international airport for Lisbon to cope with record numbers of visitors, some driven away from other Mediterranean sun spots by security fears.
Infrastructure minister Pedro Marques said the little-used Montijo military air base would be modified for commercial traffic because the capital's sole international airport was nearing capacity.
The new airport should be operational by 2021, easing pressure on Humberto Delgado airport, Portugal's main gateway which welcomed a record 22.4 million passengers last year, 11.7 per cent up on 2015.
"The year 2016 was the best year ever for tourism in Portugal and 2017 will be even better," Mr Marques told a news conference at Lisbon airport.
Portugal welcomed 11.4 million foreign tourists last year, a sixth straight record year as security fears lure visitors away from rival sunshine destinations in the Mediterranean and Middle East.
Berlin airport to open in 2020 after nine-year delay
Tunisia, Turkey and Egypt have notably been hit by attacks in recent years which have rattled tourists.
Work on the new Lisbon airport, which will focus on low-cost and medium-haul flights, is expected to begin in 2019.
Passengers arriving at the airport in Montijo will have to travel 13km by ferry or 30km by road into Lisbon.
Portugal, a nation of 10.4 million people, depends heavily on tourism, which accounts for around 10 per cent of the country's gross domestic product.
In 2010 the then Socialist government suspended several major public works projects, including a new Lisbon airport as the country grappled with a debt crisis.
The Portuguese economy has posted modest growth since the country emerged from a punishing three-year 78-billion-euro (S$117.3 billion) EU/IMF bailout in 2014.
9 flights diverted, 50 flights delayed after Changi Airport control tower evacuated
Volkswagen in Canada ordered to pay C$196.5m over emissions scandal
New Boeing CEO stands by 737 MAX, eyeing reset at troubled company

redpajama_set_name: RedPajamaCommonCrawl


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Democracy in India: search for a better governance
Gaurdas Sarkar
Indian parliamentary democracy is a system of democratic governance in India where the Head of the state appoints the leader of the political party holding a plurality of seats in parliament as Prime Minister and he then forms the union council of ministers. This is purely a representative form of democracy and it has been adopted in India by the Constituent Assembly in 1950. This present paper seeks to analyze the economic costs of parliamentary democracy in India. While we are going to analyze economic costs of any form of governance we should first concentrate on the mode of production allowed in the state and subsequently concentrate on the procedure by which this mode of production is being reshaped in the state. Mode of production refers to the forces of production and their interrelationship. Major criticisms labeled against democracy are: (i) There exists no free choice of leadership due to party system involved in democracy (ii) There exists party politics and power struggle among parties(iii) Decision making takes time and (iv) Democracy is regarded as governance of illiterates. Apart from those theoretical criticisms labeled against democracy more strikingly we note that in a representative form of democracy there does not exist any justified desired correspondence between elected representative and his/her electors. Instead we find power monger politicians to appear before election and change of representative through exercise of our voting rights, if we really can, does not yield any fruitful result. Another striking feature of Indian democracy is that people are considered to be little aware of their own benefits and the proponents of representative democracy or so called politicians are the right persons to feel and understand what beneficial for the common people is. Surprisingly they claim to be knowledgeable enough to understand the benefits of their electors and their electors are illiterate enough to fail to understand their benefits. Last but not the least is the administrative costs involved in representative form of democracy in terms of cost of election and allowances paid to representatives. However, this present paper seeks to consider such entire burden of democracy that we do inherit from generation to generation and tries to find out a solution


2002 ("SARFAESI Act") (as amended on 12 August 2016) ("SARFAESI Amendments").
pool to the exclusion of all other creditors of B.
which generally result in recovery of little or none of the outstanding debt.
get title to the asset but can only sell the asset to recover its payments.
especially in the aviation industry.
adjudicated by the Hon'ble Bombay High Court.
regulate receivables financing in India.
raw materials/goods, even though they are in the possession of the buyer.
Ltd. v. Custodian, (2004) 8 SCC 355 making reference to the principle).
assignment other than those specified in section 31".
the bifurcation of legal and beneficial ownership unlike absolute interests.
for proprietary rights and remedies has been acknowledged as well.
sure to exercise the minds of lawyers and courts in the near future.
On the first blush, in discussing the 'death of absolute rights',there is an important aspect- vitally impacting, adversely so,hence requiring to be kept in sharp focus- is the amendment of the Constitution made not long ago. That is the 44th Amendment of 1978.As independently viewed, the violent change reprehensibly ushered in, in the concept of 'property', may be said to have had the effect of driving the last nail on the coffin of 'absolute rights'.
Attention may be drawn to the published article (Lci website) @- LAW vs Case Law on 'FLATS' (MOFA) – Property Law, in which a brief account been given and personal viewpoints shared (ref. opening paragraphs).
A quick question: Does the Code not cover absolute interest under Section 36(4)-rendering apprehension about "all the assets of the company, irrespective of whether or not they are owned by the company, will be considered as part of the asset pool" to rest. Also, the secured creditor under rare circumstances would choose the waterfall of Section 53, but instead realize his interest under Section 52, resulting in deduction of only the resolution costs and not liquidation costs or workmen dues. Would be glad to be corrected/answered.


In this short interview, historian Joseph Crespino discusses his new book, Strom Thurmond's America (New York: Hill and Wang, 2012), a political biography of South Carolina politician Strom Thurmond. Crespino explains how his book challenges the traditional view of Strom Thurmond's politics. He also argues that Thurmond became an "establishment Republican" in the 1980s, and his moderate stance would probably lead him to be run-out of the current Republican Party. Finally, Crespino addresses the controversial topic of Thurmond's African American daughter.
Emory University, Expert Conversations on Strom Thurmond, 2012.


Learn about the Spanish mission system and the daily life at Mission Espiritu Santo.
Tour will cover mission grounds, daily life inside the mission, and the complexities of Spanish and Native American cultures blending.
Contact the park office to schedule a separate tour for larger groups.


SpaceX have opted to slip their next two missions, to allow for corrective work on the upper stage engine. The company's Falcon 9 v1.1 is now set to launch with the SES-8 spacecraft no sooner than November 12, with the Thaicom-6 satellite set to follow just one month later. Both launches will take place from Cape Canaveral's SLC-40 launch complex.
The debut launch of the upgraded Falcon 9 successfully deployed Canada's Cassiope spacecraft into orbit on September 29.
However, after safely deploying its payloads, the upper stage was then set to restart its Merlin VacD engine for a second burn related to SpaceX's ambitions to create a fully reusable launch system. An anomaly with the restart held no mission impact, but the company's CEO and chief designer, Elon Musk, did note they expected to implement corrective actions ahead of the next launch.
"In the case of the upper stage relight, we initiated relight and the system encountered an anomaly and did not complete the relight. We believe understand what that issue is and should have it addressed in time for the next flight of Falcon 9," he noted.
Although details as to what SpaceX plan to do to "iron out" the issue are understood to be proprietary, the company decided to delay the next launch, per L2 information, from November 1 to November 12, to allow engineers to work on the problem.
This next launch will be the Falcon 9 v1.1's debut from SpaceX's SLC-40 at Cape Canaveral, tasked with lofting the SES-8 satellite into a geostationary orbit, a mission profile that requires the upper stage to restart for what will be two required burns.
The spacecraft is a hybrid Ku- and Ka-band spacecraft – the sixth GEOSTAR satellite ordered by SES WORLD SKIES.
Despite the government shutdown impacting on operations involving several space centers, the spacecraft was successfully shipped by truck from Virginia to Florida. allowing it to enter preparation work for its launch.
Pending the successful mission with SES-8, SpaceX will then turnaround their Cape facility for the next Falcon 9 v1.1 launch, realigned to a December 12 NET (No Earlier Than) launch date, per L2 information. This places SpaceX into a stance where they will be launching two missions in the space of a month – a first for the company.
Preparations for this launch are in full swing, with a test firing confirmed to have taken place on Friday at SpaceX's Rocket Development and Test Facility in McGregor, Texas.
Following the series of test firings of the first Falcon 9 v1.1 stages, testing the set of nine Merlin 1D engines together as a set, stages for the upcoming launches are expected to enter and depart from Texas at a faster pace, allowing SpaceX to fulfil what is an increasingly busy launch manifest.
Next year will open with the next Dragon mission to the International Space Station (ISS), known as Spx-3 (CRS-3), with 2014 including what could be up to three Dragon missions in total.
Sandwiched between numerous satellite launches, SpaceX are also hoping to debut their Falcon Heavy launch vehicle – featuring 27 Merlin 1D engines on its first stage.
The launch will take place from the company's SLC-4 launch complex, using the same Transporter Erector that debuted with the Cassiope mission. This device is capable of hosting both the Falcon 9 v1.1 and the Falcon Heavy.
Mr. Musk noted he was pleased with how the pad complex – which formerly hosted Atlas and Titan rockets between 1963 and 2005 – performed during its first launch with the Falcon 9 v1.1.
"The launch site looks like it's in great shape, with the exception of some air conditioning ducts that clearly need to be replaced. The fairing air condition ducts got zapped but the strong back and the erector and the stand itself look like they're in great shape," noted the SpaceX CEO.
(Images: SpaceX and Orbital and additional information from L2's SpaceX Section).


Corn is the most widely produced crop in the entire world. It is considered as whole grain and vegetable at the same time. Like rice, it is also a staple food in many countries. It is a member of the grass family and grow in a grass-looking stalk and produce ears or cobs. These cobs are used for several food products and ingredients which makes up the 20% of the world's nutrition. Corns usage extends to cosmetics, medicines, fabrics and several materials.
If you are planning to grow corns, these frequently asked questions should provide you the basics to start your own cornfield someday.
1. How long does corn take to grow?
Corn grows between 60 to 100 days. It depends on the variety of the corn and the soil temperature during the growing season. Corn germinates faster when the soil is warmer. So it important to plant corn when the air temperature is between 60 degrees to 90 degrees Fahrenheit.
2. How many ears of corn per stalk?
On average, sweet corn and field corn produce one to two ears per stalk. According to agriculturists, the density of the stalks affects the number of ears that corns produce. The less density, the more space for the corns to grow and produce more ears.
There are varieties of field corns that produce between 6 to 10 ears or cobs depending on the size. These are the baby corns that we typically use in salads and dishes.
3. When is corn season?
The corn season varies per country. Since corn thrives better in warmer temperature, the corn harvest season reflects at the end of the summer to fall season. In the US, planting corns start normally from April to June and the harvest season is from June to October. Tropical countries have longer harvest season due to warm weather all throughout the year.
4. How do you harvest corn?
Harvesting corn is easy. Once corn kernels are mature, just hold the corn ear with your hand and twist it on the side. And then pull the ear and yank hard. Use your other hand to steady the stalk. If you are harvesting sweet corns, preserve or prepare it for eating right away as sweet corns lose their sweetness right after harvesting.
5. How do you know corn is ready to harvest?
There are several signs that you can check. First off, the tassels must be brown. These are the stuff that looks like hair at the top of the cob. If it's still green, that means it is not ready yet. The cobs also start to swell when its ready. And lastly, the kernels must be full and milky. You can check this by pulling back the corn silk and squeezing the kernel.
6. Is corn easy to grow?
Growing corn is not that complicated. Corns require minimal aftercare. It needs warm and healthy soil, at least 6 hours of sunlight and a constant supply of water. Weeding and adding fertilizers might also be needed from time to time.
Aside from the basics, it is important to remember that corn needs other corn to grow and produce kernels. Corns are wind pollinated and need pollens from other corns. This is why it is also important to plant them by rows and about a foot apart from each other.
7. Can I grow corn in my backyard?
It is possible to grow corn in your backyard as long as the location meets the basic needs of the plant. It is important that you have rich soil, proper drainage, and good water supply. And that you plant the corn plants that they can pollinate each other properly.
8. How much sun is needed to grow corn?
Corn is a summer crop so it is best to plant them where it can get a full sunlight. At the minimum, corn requires at least 6 hours of sunlight. Corn is sensitive to cold and susceptible to frost so avoid planting them during the winter season.
9. Does corn need a lot of water?
Corns need water at least once every week or when the soil starts drying. Pour at least 1 inch of water to the soil. It is important to keep the soil moist and keep it from drying. Drought conditions can result in stunted growth of the corn and lack of kernels.
10. Where does corn grow best?
Aside from the warm weather, corn grows best in sandy loam soil. Sandy loam soil is a rich soil composed of sand, silt, and clay. It has good drainage and normally stays moist without being too wet which is ideal for corn growing. Corns also like slightly acidic soil or has a pH scale of 5.8 to 6.8.
Nothing is as exciting as preparing food with fresh vegetables from your own garden. Imagine harvesting lots of tasty tomatoes, carrots, cucumbers, melons, herbs such as Aloe Vera or any other vegetable from your garden. You don't need so much space in your backyard or garden to grow a vegetable of choice.
With proper planning and the right choices, you can get a bountiful harvest of herbs and vegetables grown in your home garden. You won't just get tastier vegetables with a better texture than what you buy from your local grocery, but also get to save money. Gardening is also fun, letting you spend your time productively outdoors in the sun or indoors during cooler months.
Grow various herbs and vegetables in your container vegetable garden. Each has distinct, but attractive foliage, and varying textures and colors, perfect for adding visual appeal to your garden. Swiss chard with red stems, leafy rosemary, red hot pepper, and round midnight basil are some vegetables to consider.
Herbs such as thyme or lemongrass can also make your garden more colorful and attractive. Other ornamental vegetables to add color to your garden include hyacinth beans and scarlet runner beans.
Colorful pots can also brighten your container vegetable garden. Choose containers in bright colors such as red, orange and yellow to grow your herbs and vegetables. Alternatively, pots in neutral colors such as white, black or grey can create a perfect backdrop for your choice of colorful vegetables and herbs as explained above.
Find a pot with multiple openings to grow various herbs such as oregano, dill, rosemary, thyme, chives, and sage. It helps save space and increase yield.
Cucumbers, bitter lemon, pole beans, gourds, vine tomatoes, pumpkins, Malabar spinach, peas, melons, and squashes are examples of vines and climbers you can include in your garden. They make use of vertical space and yield produce in plenty.
Use sticks, cages or trellis to support your vines and climbers, directing them upwards to create a vertical garden. Vertical gardens help make use of the little space you have available in your yard or patio.
Hanging baskets can also optimize vertical space in your garden while still letting you use containers on the ground. Herbs such as rosemary and vegetables such as tomatoes, coriander, and strawberry can successfully grow in hanging baskets. They can also add visual appeal to your vegetable container garden.
Your garden isn't complete without herbs. They're handy in making your meals tastier. Choose at least two herbs to add to your vegetable garden. Select the herbs you like the most and can do well in your geographical location. Consider mint, parsley, oregano, thyme, cilantro, sage, coriander, rosemary, etc. Grow them in pots or containers, window boxes or hanging baskets.
Find unique planters in a stylish design to add visual interest to your container garden for vegetables. Use empty containers in your home to make unique DIY planters for your vegetables. It would also help with recycling such containers, especially those made from plastic.
Alternatively, buy unique planters in varies sizes and shapes to give your garden an appealing look. Other household items such as tires and candle holders can also help come up with exceptional DIY planter ideas.
Asian greens, chilies, and peppers, radishes, spinach, carrots, peas, eggplant, cucumber, squash, lettuce, beans, and tomatoes are productive container vegetables. They do so well when grown in pots, atop being easy to grow. Make sure you pick one and grow in a container to start your garden. Moreover, you'll harvest your vegetable successively many times before replanting your garden.
More than 42 flowers, according to the Tree Hugger, are edible. Flowers such as sunflower, clover, hibiscus, fuchsia, impatiens, jasmine and lilac, among others, are edible. Therefore, they're a perfect addition to any garden. Use them to garnish your meals, make salads or prepare sharbat. Moreover, they add color and visual interest to your garden, making it more beautiful.
Tomatoes are a vegetable often used in the kitchen to prepare salads or even cook meals, making it a must-have in your garden. They're also attractive and bound to add color to your container garden. Choose at least two different varieties to grow in your garden for a bountiful harvest.
Bush Champion, Big Boy Bush, Celebrity, Bush Goliath, Patio F, Early Girl Bush, Tumbling Tom, Window Box Roma, Sweet 100, Sun Sugar, Sun Gold, and Manitoba, among others are ideal for container gardening.
Grow vegetables with varying heights to kick boredom out of your garden. Planters of different heights and sizes can also help achieve the same effect. Place containers of varied sizes and heights in groups to create a layered look for visual appeal. Organize plants according to height with the tallest at the back of your container vegetable garden.
Pot gardens come in handy if you don't have much space to accommodate larger containers. They're ideal for open windows with enough exposure to the sun and small balconies. Grow a few vegetables in a single pot to optimize space you have available for gardening.
Vertical planters are designed with layers of space to accommodate as many vegetables as possible. Find one to grow your greens and fresh herbs vertically to save space for other plants that require more space to grow.
Dwarf citrus fruits varieties such as lemons easily grow in pots and containers. Find a suitable variety to plant in your vegetable or home garden.
Old bookshelves, shoe racks, and plant holders can create more space in gardens to ensure there's enough for all your vegetables. Hanging planters such as baskets and railing planters are ideal for creating vertical gardens in balconies.
Pallet planters and holders, picture frames, pallet planks, layered gutter gardens, apartment hanging gardens, shelves, and staircase stands also come in handy when creating vertical gardens.
Whether you already have some veggies growing in your garden or want to start one from scratch, you won't go wrong with these great tips. Remember to find out the growth requirements of your vegetables and learn to keep your vegetable container garden free from weeds and pests.
Contact us to find out more about vegetable container gardening and what it takes to start a successful garden of veggies in your yard or even indoors.


A collection of one or more Performance Co-Pilot (PCP) archive logs may be combined with a control file to produce a PCP archive folio. Archive folios are created using either mkaf (1) or the interactive ``record mode'' services of PCP clients like pmchart (1).
pmafm provides a number of services that may be used to process folios. In particular, it provides support for execution of PCP tools using one or more of the component archive logs within an archive folio.
The target folio is identified by the folio control file folioname . The syntax for a folio control file is described in mkaf (1).
If present, the command and arguments following folioname are interpreted and executed as a single command, otherwise commands are read from standard input.
Archives within a folio are numbered 1, 2, etc. Subsequent commands are restricted to apply only to the designated archives.
Archives within a folio have unique names. Subsequent commands are restricted to apply only to the designated archives.
Validate the presence and format of each file in the folio and the component archives.
A brief reminder of the command syntax. ? is a synonym for help .
Subsequent commands are restricted to apply only to those archives that match the designated hostnames.
Display the contents of the folio. By default the control header and the ordinal number, hostname and archive base name for each archive in the folio. The verbose option causes pmafm to dump the label record from each archive using pmdumplog -l .
The first named archive in the folio is assumed to be associated with the default host for any tool that tries to replay multiple archives from the folio.
Echo on standard output the sh (1) commands required to remove all of the physical files associated with this archive folio.
would run pmval (1) once per archive, with an appropriate -a argument.
Some archive folios are created by tools (e.g. pmchart (1)) that provide sufficient information to allow all of the information in all of the archives of a folio to be replayed.
Execute the known PCP tool on the selected archives. Some PCP tools are able to process multiple concurrent archives, and in this case the tool is run once with the list of all selected archives passed via a -a argument. Otherwise, this command is synonymous with repeat .
Display those archives that would be selected for processing with a repeat , replay or run command.
The restrictions via any hosts and archives commands are conjuncted. These restrictions serve to limit the specific archives processed in the subsequent repeat , replay , run and selections commands. By default, all archives are selected.
Keywords in commands may be abbreviated provided no ambiguity is introduced, e.g. help , hel and he are synonymous, but h is ambiguous.
control files that define the behavior of each PCP tool known to pmafm . This information may be customized or extended, see $PCP_VAR_DIR/config/pmafm/pcp for documentation of the syntax and semantics of these files.
User customization of the control files. All files in this directory are treated in the same manner as control files in the $PCP_VAR_DIR/config/pmafm directory.
mkaf (1), pmchart (1), pmview (1), PMAPI (3), pmRecordSetup (3), pcp.conf (5) and pcp.env (5).


text:
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Home IssuesEdible Aphex Twin – Syro
EdibleMinistry of Cool
Aphex Twin – Syro
written by Robert S. Hummel October 12, 2014
Pity this poor writer. He is tasked with making greater sense of a deliberate musical enigma; with bringing the necessary gravity to a genre touchstone that will likely be ignored by the popular mass; with detailing the thick context surrounding a career that spans nearly 30 years; with providing some sort of opinion about a work of art crafted by a man much smarter than him.
For those of you who have not been following the slow, strange emergence of one of the most anticipated LPs in recent musical history, Syro is the latest entry into the Aphex Twin discography, a vast and iconic body of work in the world of music made with machines. Its mastermind is Richard D. James, a mythic Cornish ginger who, with the exception of a number of low-key pseudonym releases, has sat dormant and invisible upon the reputation and expectation associated with Aphex Twin for the last 13 years.
In the interim, an entirely new generation of hipsters, enthusiasts, musicians and general weirdos has discovered the best of electronic music through Aphex Twin. James has served as a sort of guru-guide for those navigating the scenic, savage, unwieldy landscape of electronica's history. His music has tackled rave, techno, drum n' bass, jungle, ambient, glitch and aggro-funk, among others. More often than not, Aphex Twin has conquered each of them, taking generic features and twisting them into wild, hypnotic sculptures of sound.
Now that this crowd is alive to witness the birth of a new hour's worth of Aphex Twin music, what could be the proper response? Despite the appearance of logoed blimps, bizarre facial distortion, long ironic receipts detailing promotional costs and a multi-part interview with Pitchfork, the Aphex Twin brand is largely hype-proof. Its reputation is one of unblemished genius, ceaseless innovation and unquestioned musical authority.
Indeed, it is rather impossible to respond properly and objectively to something so enormously anticipated as Syro. Just to be able to hear these analog soundscapes, while discovering entirely new sounds along the way, is exhilarating enough for those who have already explored the Aphex Twin frontiers. However, rather than aggressively expanding the boundaries of the electronica world as before, Syro sees James looking more closely at the diversity of life within that world, and, in the process, finding new species to catalog.
The tracks themselves, titled in a way that resembles warped data entry, function as snapshots of these different electronic ecosystems. The clean, restrained density of "minipops 67 [120.2] [source field mix]" gives way to club-ready pieces like "XMAS_EVET10 [120] [thanaton3 mix]" and "CIRCLONT6A [141.98] [syrobonkus mix]," if that club was run out of a black-lit psych ward by Roy Batty in Blade Runner. Others brandish personalities all their own, from the sociopathic sneer of "produk 29 [101]" to the unmedicated schizophrenia of "s950tx16wasr10 [163.97] [earth portal mix]." It is a motley crew of alien noise that combines all the styles and nuances of electronica indiscriminately before exposing them to the psychic radiation of James's mind.
If this description sounds somewhat intimidating, that's because it is. Arguably, though, it is no more impenetrable than any other Aphex Twin release. If anything, it is a thrilling blend of styles that, over time, has the potential to win over certain casual listeners. Besides, there is the remarkable catharsis that comes with the final track, "aisatsana [102]," a Satie-esque piano piece that is so day-lit and organic that it even has the faint sound of birds singing at the low end of the mix. Written for James's wife Anastasia (reverse the track name), it is one of the most sincere moments of his career. It is as if while scrutinizing the maze of paths he's pioneered in the past decades, James has, at long last, stumbled upon something beautiful among all the madness.
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Before I get into our current Sisters Adventures, I thought I would do a little reminiscing on how we came to love cruising the ocean blue. Ships and far off places were introduced to me by my dad, Jack. He was a custom broker in Boston. He often was going to the port to pick up paperwork from a container ship or going with custom inspectors to inspect incoming cargo. It was here that I first fell in love with ships. They were container ships and I learned about the process of importing rugs, furniture, lace, fabric and other items into the United States. I was fascinated about where these items came from and the countries and the customs and people of these far off places. He talked about taking me on one of these freighter ships on a trip.
And then Carnival Cruise Lines brought its first ships into the port of Boston. He saw these wonderful ocean liners and decided we were going on them. Our introduction to the ocean cruise ship was on a trip on the Carnival Mardi Gras from Boston to Bermuda. Bermuda was someplace we were familiar with because it was where we would go for a short vacation when our parents could afford it.Dad thought that this was a wonderful opportunity and he convinced mom to agree to this trip.We excitedly anticipated our very first cruise.
I had two friends and my sister had a friend who wanted to go and so we booked a quad cabin that was a small room with two sets of bunks. My parents booked a cabin for themselves and my sister. All five of us girls actually stayed in our quad cabin with a cot in the middle between the bunks.
We set sail in September from Boston. The memories that are strong are just pieces of the time we spent on the ship. The feeling of being on the ocean and my connection to it as well as to the friends I was with and the people we met are what has remained strongly imbedded in my being.
We left Boston on slightly rough seas. As the night progressed the seas got more turbulent. By morning I knew we were in for a wild ride. The ships staff were battening down the hatches. Decks were cleared. Doors were locked. We were informed by the Captain that we were in for rough seas as a hurricane had developed in the Atlantic Ocean. The ship was lunging and lurching. Walking down the halls straight was impossible.
I was excited! This was a wonderful opportunity to actually experience a hurricane. The Captain, officers and staff were on high alert. Yet I knew that none of them were afraid or worried. They went on about their duties with diligence. Safety of the ship and passengers was their high priority. Their confidence that all would be fine and that the ship would ride out the storm assured me that I had nothing to fear. So I went on enjoying myself, the cruise ship and even the storm.
I can't day the same for many of the other passengers. The officers and staff encouraged the passengers to stay in the main larger areas of the ship, maintain food in their stomachs at all times and to only drink enough water to stay hydrated and not to drink too much otherwise. Many passengers didn't follow the advice. They went to their cabins and were sick and unhappy. Many complained about not being able to enjoy the cruise.
I don't remember anyone in our group having any difficulties or being sick. We enjoyed ourselves. One of my favorite things to do was to go out into the glassed in Promenade and watch the waves going up over the ship and feel the ship going down under and then back up again and lurching side to side. I also would go up to the room where the navigator was where they were tracking the storm and steering course and ask questions and watched the storm's path and listen to the officers deciding the ship's direction. It was here, either going in or coming out, that I would cross paths with my father. Another of our common interests.
We had five teenage girls in our cabin. Our cabin was situated aft off a small corridor off the main port side hallway. There was one other cabin at the end of the corridor. One evening as we were getting ready for dinner, my friend Rose said, "We have to find out who is in the cabin so we can find out if we are disturbing them." So she opened the cabin door and left it open.
Her name was Hilda and we became fast friends. Not only did we stay in touch with her, we would visit her at her spending many weekends at her house. Rose and I even went on another cruise with her and my great Aunt Dot.
As much as the ship's captain and officers did their best to avoid the hurricane it was impossible. The hurricane zigged and we zagged and the hurricane zagged and we zigged. It was a game of sorts but a serious one. As we approached Bermuda we were out of the circulation of the storm but it was still meandering about. We were finally allowed out on to the decks. The ship was being guided by helicopters, a navy ship and even a submarine!
The ship did not pull into port but laid anchor in the harbor. The ship offered the option of returning back to Boston by air. Many of those who were sick or were unhappy did. The captain informed us that if we chose to leave the ship to explore Bermuda we risked getting left behind. If the hurricane turned again and headed towards Bermuda he would immediately pull up anchor and head back out into open seas. If he did there would be a representative from the cruise line at the port to help make arrangements to fly back to Boston.
We had friends staying in Bermuda, at the hotel we always stayed at and so we took the risk. We tendered off the ship and went to the Sonesta Hotel to spend the day. We spent the day sunbathing, swimming and snorkeling having a wonderful day with our friends. Every once in a while my mom would say go see if the ship is still out there. So us kids would climb the nearby cliff and walk out to the point and look. Each time the Mardi Gras was still sitting there in the harbor.
At the end of the day, we returned to the ship. The seas on the way home were not the seas of the hurricane but were still rough. The ship was no longer full of passengers. Those of us who remained had the trip of a lifetime. The shows were spectacular! The food was amazing from breakfast to the mid-night buffet. The music and dancing the night away.
The Captain provide us with a map that detailed both the path of the hurricane and our path as a souvenir. Many of the passengers never wanted to take another cruise again. Instead it excited us and ignited a passion for the ocean and cruise liners in us that endures strong today. And so after a hiatus of raising children, Susan and I have returned to the sea and to the Cruising Adventures we have held in our hearts for all these years.
It is not only a love for each of us individually but it is our connection to each other and our family. And for me especially it is where I carry my dad's love for me in my heart and soul. The ocean is home and family and me.
Susan and I began our cruise adventures on the very first Carnival Ship, the Mardi Gras and then cruised on the Carnival Ship itself. Several years later we sailed on our first maiden voyage of the Carnival Festival. Later this year we will be cruising on the newest Carnival Cruise Ship the Carnival Vista.


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HomeNewsAviationTextron systems awarded contract for second U.S. NAVY Expeditionary Sea Base shipboard...
Textron systems awarded contract for second U.S. NAVY Expeditionary Sea Base shipboard UAS operation
- Aerosonde® UAS Supporting Fourth U.S. Navy Ship with Extended Range ISR Services
NewsAviation
Photo: U.S. Navy
Textron Systems Corporation, a Textron Inc. company, announced that it has been awarded a contract valued at up to $22 million by the U.S. Navy's Naval Air Systems Command (NAVAIR) to provide UAS operational support to the USS Miguel Keith, designated ESB-5. The contract begins in FY23 and has a total potential performance period of five years. This award builds on the four-year extension of USS Hershel "Woody" Williams (ESB-4) earlier this year and joins two DDG-class ships, bringing the total number of U.S. Navy ships supported by the Aerosonde® UAS system to four.
Under this contract, Textron Systems will deploy its Aerosonde UAS to provide extended range intelligence, surveillance and reconnaissance (ISR) services with enhanced mission payloads aboard the ESB-5. The company's Field Service Representatives (FSR) will work alongside the sailors onboard to provide support for a variety of maritime missions.
"There are numerous vessels of opportunity with the Navy that can benefit from consistent multi-INT ISR, through this fee-for-service contract, the Navy can continue to mature future shipboard ISR requirements while supporting existing real-world missions. We are already seeing the benefits for DDG and ESB- class ships, and we continue to optimize our services to deliver the unique operational and logistical capabilities our customers demand in order to accomplish their mission and keep our sailors safe."
Wayne Prender, Senior Vice President, Air Systems.
The Aerosonde system has amassed more than 585,000 flight hours while serving multiple U.S. and international allies. It is designed for expeditionary land- and sea-based operations in austere environments and is equipped for multiple payload configurations. For more than 10 years, Textron Systems has provided turnkey, fee-for-service operations, providing hands-on operational support for customers around the world.
SourceTextron
Aerosonde
NAVAIR
Textron Systems Corporation
U.S. Navy's Naval Air Systems Command
USS Hershel "Woody" Williams
Boeing Delivers First Upgraded AH-64E Apache to Royal Netherlands Air Force
GA-ASI SeaGuardian Begins Operations for Japan Coast Guard
Pratt & Whitney Canada's PT6B-37A Engines to Power Mercy Flight Central's Four New Leonardo AW119Kx Helicopters
Bilateral Air Exercise "MINA II"
Procurement contract signed for the Swiss Air Force F-35A
Azorra Places Order For 20 Embraer E2 Aircraft
MeskAir Flight from Libya diverts to Malta


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ABSTRACT: Trophoblast stem (TS) cells derived from the trophectoderm (TE) of mammalian embryos have the ability to self-renew indefinitely or differentiate into fetal lineages of the placenta. Epigenetic control of gene expression plays an instrumental role in dictating the fate of TS cell self-renewal and differentiation. However, the roles of histone demethylases and activating histone modifications such as methylation of histone 3 lysine 4 (H3K4me3/me2) in regulating TS cell expression programs, and in priming the epigenetic landscape for trophoblast differentiation, are largely unknown. Here, we demonstrate that the H3K4 demethylase, KDM5B, regulates the H3K4 methylome and expression landscapes of TS cells. Depletion of KDM5B resulted in downregulation of TS cell self-renewal genes and upregulation of trophoblast-lineage genes, which was accompanied by altered H3K4 methylation. Moreover, we found that KDM5B resets the H3K4 methylation landscape during differentiation in the absence of the external self-renewal signal, FGF4, by removing H3K4 methylation from promoters of self-renewal genes, and of genes whose expression is enriched in TS cells. Altogether, our data indicate an epigenetic role for KDM5B in regulating H3K4 methylation in TS cells and during trophoblast differentiation. Overall design: RNA-Seq of undifferentiated and differentiated murine shLuc and Kdm5b TS cells
Project description:Trophoblast stem (TS) cells derived from the trophectoderm (TE) of mammalian embryos have the ability to self-renew indefinitely or differentiate into fetal lineages of the placenta. Epigenetic control of gene expression plays an instrumental role in dictating the fate of TS cell self-renewal and differentiation. However, the roles of histone demethylases and activating histone modifications such as methylation of histone 3 lysine 4 (H3K4me3/me2) in regulating TS cell expression programs, and in priming the epigenetic landscape for trophoblast differentiation, are largely unknown. Here, we demonstrate that the H3K4 demethylase, KDM5B, regulates the H3K4 methylome and expression landscapes of TS cells. Depletion of KDM5B resulted in downregulation of TS cell self-renewal genes and upregulation of trophoblast-lineage genes, which was accompanied by altered H3K4 methylation. Moreover, we found that KDM5B resets the H3K4 methylation landscape during differentiation in the absence of the external self-renewal signal, FGF4, by removing H3K4 methylation from promoters of self-renewal genes, and of genes whose expression is enriched in TS cells. Altogether, our data indicate an epigenetic role for KDM5B in regulating H3K4 methylation in TS cells and during trophoblast differentiation. Overall design: ChIP-Seq of undifferentiated and differentiated murine shLuc and Kdm5b TS cells
2018-06-14 | GSE111846 | GEO


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Q: Amazon Cloud Services for Disaster Recovery To simplify our environment, at it's most atomic level, we have a .NET website running on IIS 6 on one server and the website depends on data from a MS SQL 2005 database on another server.
We have duplicated this infrastructure at a geographically distant site for DR purposes. We rsync .NET code files to the remote IIS server. We log ship our SQL data to a remote SQL server.
It seems that we could do something similar in Amazon's cloud. Use EC2 machines backed by EBS volumes. The advantage being that we could use smaller machines at a lower-cost until we actually had a need to fail over, in which case we could spin up much larger machines to handle the load and attach the pre-existing EBS volumes.
This project is only in the discovery/exploration phase and we could benefit from some veteran experience in the community using Amazon AWS. Things that come to mind as being immediately helpful:

*

*Does anyone have any experience running MS SQL Server 2005 in AWS? Performance is bound to suffer for OLTP loads like that generated by database-driven websites, but where did your virtual SQL server work and fail (i.e. disk i/o was crap...we could handle ~5k transactions/sec on our physical server and with a similarly spec'ed virtual machine our capacity was halved).

*In the long-run, after working in all unanticipated costs of operating a DR solution in the cloud, did you actually save any money? Where were the hidden costs?

*If you were moving data up to Amazon in an automated fashion, how were you handling that? Flat files are easy, but if you are running SQL or Exchange, I'm particularly interested in which tools you used.

*Is there a way to write directly to an EBS volume, or are you forced to attach EBS volumes to EC2 instances and work with the OS?

*If you had the misfortune of having to fail over to AWS to handle a production load, how did it perform as a DR solution? Obviously everyone's recovery objectives are different, so I guess I'm really just wondering where AWS was rather elegant/advantageous and where it just fell flat on it's face for you
Other insights and reality checks are all appreciated. TIA for taking the time to share what you know with the community and me.

redpajama_set_name: RedPajamaStackExchange


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Aarhus BSS - Staff portal
You are here: AU Staff Faculties School of Business and Social Sciences News and events News article
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BSS to go first with the new LMS Blackboard
From August 2013 Blackboard is implemented as the new LMS at BSS. Blackboard replaces Campusnet and AULA. There will be a transitional period during which all three systems are operational. Centre for Teaching and Learning is in charge of introducing the system to employees.
2013.01.21 | Andreas G. Jensby
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It has now been decided that the BSS, as the first academic area at AU, will get the new Learning Management System (LMS), Blackboard. As it looks right now, Blackboard is to be used from August 2013, but the exact time will be announced later.
The process is complicated by the fact that Blackboard shall adapt to many specific functionality requirements, and that the deployment of such a system in an organization of BSS 'size takes time and is difficult to plan.
Blackboard will replace the current e-learning systems such as Campusnet, AULA, First Class and others. These systems, however, are kept going until Blackboard is fully up and running and until faculty members supported by CUL have moved the documents, they want to keep, from the previous e-learning systems over into Blackboard.
CUL in charge of introduction
Besides AU IT's major task with the technical part of the job, it will be Centre for Teaching and Learning (CUL) who will introduce the system to all employees and students at BSS.
CUL is at the moment putting the final hand on the plan for the deployment of Blackboard at BSS. As soon as the schedule is ready, specific information will come to all employees.
Administrative conditions, Aarhus BSS
Latest news for employees
New backgrounds for online meetings and an updated email signature (2021.01.15)
New passage between the University Park and the University City (2020.09.16)
5-year AACSB accreditation in place (2020.09.01)
Back to the classroom (2020.08.24)
Back to campus - how have the students been prepared? (2020.08.24)
Handling infection at Aarhus BSS (2020.08.24)
Introduction weeks with academic focus (2020.08.24)
New director of studies at ITKO (2020.08.24)
Climate strategy: AU to launch 44 green initiatives (2020.08.20)
Summer greeting from the executive team (2020.06.25)
Andreas G. Jensby


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NEWS WIRE FAX
CDU top candidate: dash-den-Raab-winner wants to be Mainz's mayor
John Torrendo
The leadership of the Mainz CDU, has voted unanimously in favour of a independent candidate, the 35-year-old Nino Haase, in the mayor election campaign. In the next few days by the circle Board of chosen bearers of hope who grew up in Mainz, especially as the spokesman of the citizens initiative against the "Bible tower," known to the base in two rounds of talks to be presented. The nomination party for the 4. February in the kurfürstliches Schloss castle, scheduled.
Markus Schug
correspondent of the Rhein-Main-Zeitung in Mainz.
F. A. Z.
It was so, that it is the Mainz CDU lack of its own candidates, said the County Chairman, Sabine Flegel at the presentation of the non-party candidate on the 27. October, incumbent Michael Ebling (SPD) is intended to defeat. The Coup had been prepared since August in Quiet, however, till Monday evening, the secret could be kept was, rather, a clear Signal to the citizens that the CDU wanted to go new ways, to bring "fresh Wind into the city hall, old structures break up and win cross-party support for people from all generations for our vision and concepts".
Explicitly have been asked for more fractions, also behind Haase and to support the former speaker of the citizens ' initiative, the Gutenberg Museum, which has prevented the of the city to the lovely woman as an extension of the planned "Bible tower" in April 2018 with the help of a referendum, in the election campaign. It is a matter "to solve the various problems in Mainz," said flail, and the Chairman of the group of Hanns Georg Schönig. It's going to be "restart" for the city. The post geschachere and the back-room politics since the 2009 ruling a traffic light coalition would have to be terminated. Specifically, the CDU pursued two objectives: the municipal elections on 26 October. To win in may and in the fall of the "upper party master," Ebling replace. In order for this to succeed, must prove the Union of courage, a little trust, and also time new, unconventional paths.
Haase includes party admission
A soon-to-be party admission, the 35-year-old chemist Haase from the castle, however, has studied in Mainz and this is his thesis: "I am a political person, but not a party soldier." Nevertheless, we have found in the previous discussions, many of the substantive Compliance, said the former Rugby player who was also used for the Radio and at times a private Start-up companies. Nationally known with his partner in the old town of the living Haase, father of an eleven-year-old son was by his almost ten years of past performance in the Pro-Seven-game show "Schlag den Raab". At the time, succeeded in the Hessian Obertshausen-born all-rounder to conquer in an hour-long Competition, the TV-presenter Stefan Raab, which brought him a profit in the amount of three million euros and thus at a stroke of great economic independence.
In Mainz, it is not lacking, in his opinion, currently, much: Of a traffic concept, which provides plenty of cycle routes and Park-and-ride facilities, and a functioning site management, in order for the City to stay longer, "impassable". It lacked but also to agreements between the Departments, to the new residential and commercial space and, not least, proximity to the citizens. Yet Haase is missing a Vision. By 2030, so his idea should be viewed with a lot of Potential-equipped University town, for example, in the case of the settlement of innovative enterprises play a leading role in the Rhine-Main area. The person responsible in the city hall, he accused, "only on sight" and the loved one with the realization of expensive magnificent buildings, to employ as the town hall redevelopment. His son had to go to the water Park to the Rhine-Hesse, because of the long time neglected the Mainz facility was dilapidated.
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When it comes to electrical equipment, no matter what it may be, it is always going to be best to safe than sorry. ...
We all want one thing- to take education forward. As much as we may disagree, we still want what's best for our future thinkers and creators. Education has never received the voice that it's truly deserved- just check any online newspaper and look for the education section. Keep looking- because you won't find it there. But you will find that section here. We are that culture, and here's what we're all about
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Maya rushes everywhere, as if she is eager to experience as much of life as possible. Sharon takes her out for regular long walks, which they both enjoy, and until now, Maya has never suffered any injuries or lamenesses.
This past weekend was typical: on Saturday, Sharon took Maya along the cliff walk from Bray to Greystones, then after refreshments, they walked all the way back again, making a total of around 10km. Maya enjoyed the exercise, showing no sign of getting tired. Then on Sunday, they went for a shorter walk around the Killruddery estate in Bray. Maya went to bed as normal on the Sunday evening, tired, but with no sign of lameness or discomfort.
It was first thing on Monday morning that Sharon knew that there was something wrong: when she woke up, Maya was outside her bedroom door, as if she had been waiting for her. Maya normally sleeps in the kitchen, and she usually stays there until Sharon comes downstairs.
Sharon talked to Maya, as people often do to their pets: "What's up with you, Maya? Why have you come upstairs?" As if in reply, Maya held up her right front paw, and when she tried to walk on the leg, she couldn't put any weight on it at all. Sharon checked her leg carefully. There was no sign of any cuts or sore areas, so it was difficult to work out what could have gone wrong. There was a dead bee on the kitchen floor: could Maya have tried to play with the bee and been stung? Later in the day, Maya was still refusing to put any weight on the leg, so Sharon brought her in to see me.
The first aim of a vet examining a lame dog is to pinpoint the focus of pain. I examined Maya's leg from the tips of her toes right up to her neck, prodding and poking, twisting and pressing. I soon found where the problem was: in the pad on the second toe in her right front leg. The pad was hot and swollen, and when I touched her there, she pulled away from me. She had no pain or discomfort anywhere else in her leg.
I clipped the fur off the painful toe, expecting to a small injury or scrape, but there was nothing. I checked the underside of the pad, looking for signs of a cut, or even a puncture wound (e.g. if she had stood on a drawing pin), but again, there was nothing. I did notice that the lymph gland in front of her right shoulder was enlarged, which was a sign that her body might be dealing with an infection somewhere in the leg. But her temperature was normal, and she was in great form, wagging her tail and full of her usual energy.
I discussed the options with Sharon: we could do further investigations, such as x-rays and blood samples, aiming to reach a definite diagnosis of the problem. But on the other hand, it was likely that such tests would all prove to be normal. I felt that it was most likely that Maya was suffering from some simple cause of pain, such as a bee sting, or a tiny invisible puncture wound that had become infected, leading perhaps a brewing abscess. I felt that there was a good chance that Maya would improve with a simple treatment, so I sent her home with a course of pain relieving tablets and antibiotics.
I texted Sharon the following morning to check on Maya's progress. The reply was positive: "She's improved, and walking more normally now". She's going to keep resting Maya until she's finished the medication, and with luck, they'll both be back to their usual long walks within a couple of weeks.


The bungalows that dot Davisville have a certain charm. They harken back to the city's earlier days, they create a cosy neighbourhood feel and they're a great option for both downsizers and young families starting out.
Typically hovering around 1,000 square feet, these pre-war homes can offer a comfortable amount of space at a much lower price point than an infill. But there are both pros and cons to a nearly century-old bungalow in Midtown and it's wise to know what you're getting into if you're thinking of buying one.
Yes, a home ages slowly and one that is well-maintained holds up well, but after a certain age, it often needs more than a cosmetic facelift to get it anywhere near the current building code.
Many of Davisville's bungalows date to the early 20th century. Some are more than 100 years old, while others were built in the 1930s. Building standards back then were nowhere near what they are now.
It's almost expected to find knob and tube wiring, for instance. That's how homes were built back then, but good luck trying to get insurance for a home with knob and tube today. Insulation was also rare, or if there was any, it consisted of old newspapers and rags stuffed in crevices. Many a story is told of a century home that's been renovated having decades-old newsprint in the walls.
And while the trend today is to knock down walls and rearrange the main living space into an open-concept floor plan, an older bungalow that's pre-renovation is almost guaranteed to have choppy spaces.
If the home has been regularly updated, and done properly, you've likely found a gem. If it hasn't been renovated, you will have your work cut out for you. Maybe you're thinking you'll buy one of these older homes to tear down and rebuild. That was my thinking when I bought my bungalow, and if that's your plan, having a temporarily dated home may not be a concern. But if you love the charm of the old place and prefer to restore it to its former glory, it's best to be aware of what you're getting.
Find homes for sale, photos and info. Get a top Toronto Agent working for you.
Davisville Village had 8 detached bungalows sold in 2017. They ranged from $828,000 for a 17' x 130' lot with a 1- bedroom, 1- bathroom bungalow on it, to $1,660,000 for a 25' x 142' lot with a 2- bedroom and 2- bathroom home and a private drive. The average price for the 8 bungalows in 2017 was $1,365,250.
2018 has only seen 2 bungalow sales so far (January to March), they averaged $1,250,000.
Leaside had 1 semi-detached bungalow sale in 2017 for $1,078,000 or 16% above the asking price. It was cute and renovated, on a 25' x 134' lot.
There were 12 detached bungalows that sold in Leaside in 2017. The least expensive one being $1,247,000 on busy Southvale. The most expensive one was the one Seymour Real Estate Team sold at 32 Killdeer Crescent, a very quiet and sought after location, for $2,225,000. We were able to generate 13 offers and sold it for 17% above the asking price.
During the first three months of 2018, Leaside had 5 bungalows sales, with the price ranging from $1,500,000 for a 29' x 125' lot, to 2- bedroom, 2- bathroom home which sold at $1,650,000 (94% of the asking price) on a 32'x 130' lot.
239 Manor Road East - Seymour Sold!
See the sold bungalow after 5 days on the market.


Being Investigated or Charged for Tax Fraud?
Tax fraud is a serious offense and the IRS does not mess around when it comes to prosecuting someone they feel has committed this crime. If you are facing charges for any kind of tax fraud, it is crucial that you get the help of an attorney. A skilled and knowledgeable Miami tax lawyer at the Law Office of A. Antonio Tomas, P.A. has helped clients facing charges for a variety of tax controversies, tax evasion as well as tax issues requiring litigation, etc. Tax Attorney Tomas has represented clients at IRS audits and helped clients get a relief from their tax debt or tax liability by negotiating with the IRS for an Offer in Compromise or installment agreement. He may be able to help you avoid very serious consequences for a tax fraud conviction.
The penalties for tax fraud vary depending on the exact type of fraudulent act allegedly committed. Willful tax evasion is a felony offense and can result in up to 5 years in jail plus $100,000 to $500,000 (for a corporation) in fines for each count of evasion. Fraud crimes such as sales tax fraud, failing to report income, failure to file a tax return or filing a false tax return can result in civil and criminal penalties being assessed for each instance of the offense. You will need a dedicated and aggressive tax fraud lawyer with criminal defense experience representing you if you are facing these serious charges.
If you are being investigated or already charged for tax fraud, call us immediately. Likewise, if you suspect that the IRS will be commencing an investigation into your personal or business finances for a tax crime, there is no time to waste! An attorney may be able to help you avoid jail time and thousands of dollars in fines for tax fraud.
Contact a Miami tax attorney at the office as soon as possible for an initial consultation.


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The special operator ++ requires a term to appear in the document results, but not necessarily the sentence results. This is useful if a user wants to constrain the search to documents about a term, yet not require that the sentence results from those documents contain the term. The ++ operator must immediately precede the query term, with no intervening white space, and there must be white space before the ++ operator, as in
book ++clubs
Note that since ATG Search applies morphology and term expansion by default, the ++ operator applies to the query index term plus all of its expansions. To require a literal term in the document results, the query can use the double-quote operator with the ++ operator, as in book ++"clubs". Multiple terms with the ++ operator form a Boolean AND of those terms; all of them must appear in the documents of each result.
The operator +| requires a term to appear in the document results, but not necessarily the sentence results, in the same way as the ++ operator. Unlike the ++ operator, however, multiple terms with the +| operator form a Boolean OR; at least one of them must appear in the documents of each result. This is useful for situations where there are alternative terms that reflect the overall content that the user wishes to search within.
Note that a single query can have terms that use each of these operators. First, the terms with the ++ operator are used to constrain the document candidates to those which contain all of these terms. Next, the terms with the +| operator are also used to further constrain the document candidates to those which contain one of these terms. Finally, the terms with the + operator are used to restrict the sentence results to those that contain these terms.


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Review: Richmond Symphony
with cellist Nicholas Tzavaras
April 27, Second Baptist Church, Richmond
The Richmond Symphony's April Masterworks program was meant to culminate this season's celebration of works introduced by Beethoven 200 years ago – in this instance, the Fourth Symphony and "Coriolan" Overture, premiered in the same concert on March 5, 1807.
The weekend's concerts, however, have become performances in memory of Alan Paterson, the orchestra's longtime principal horn player, and Mstislav Rostropovich, the great Russian cellist. (More on each in previous posts.)
In another case of seemingly prescient timing, Nicholas Tzavaras, cellist of the Shanghai Quartet, was already set to play Tchaikovsky's "Variations on a Rococo Theme," a work Rostropovich knew well and played often. (The piece also has a prominent horn solo, which Paul La Follette played almost elegaically.)
Tzavaras gave the Tchaikovsky an appropriately light touch, playing with generally lean sonority, but without underplaying the set's richly lyrical sections. As might be expected of a chamber musician, he was attentive to his colleagues onstage – notably, in his duet with flutist Mary Boodell in the fifth variation.
Tzavaras also displayed some uncharacteristic waywardness of pitch and a tendency to slide into (and occasionally past) notes. He looked to be having trouble keeping his instrument firmly anchored, a distraction that presumably will be dealt with before subsequent concerts.
Mark Russell Smith led two of the best performances of Beethoven this orchestra has given in recent years. The musicians played with burnished sonority, surging dynamism and keen attention to internal details, especially of string orchestrations. These concerts use a larger complement of lower strings than those mustered for the Fifth and Sixth symphonies in the separate Beethoven Festival series, and the difference in "bottom" is striking and welcome.
The "Coriolan" is the most overtly theatrical of Beethoven's overtures, and Smith fashioned an operatic reading, with its turbulence, tension and yearning etched in high relief. His pacing of the Fourth Symphony was slightly broader, and the orchestra's sound more wide-bodied; but the percolating figures and rhythmic sharp turns that animate this work were clearly audible and cleanly rendered.
The program repeats at 8 p.m. April 28 at First Baptist Church, Monument Avenue at Boulevard in Richmond, and 8 p.m. April 29 at St. Michael Catholic Church, 4491 Springfield Road in Glen Allen. Tickets: $20-$60. The April 29 concert airs live on WCVE (88.9 FM) in Richmond and WCNV (89.1 FM) in Heathsville. Information: (804) 788-1212 or www.richmondsymphony.com
Alan Paterson (1949-2007)
Alan Paterson, principal horn player of the Richmond Symphony, died April 27 after a nearly yearlong battle with brain cancer.
Mr. Paterson, who earned degrees from Oberlin College and Temple University, joined the Richmond Symphony in 1974 and performed under three of its four music directors. He played in the symphony's woodwind and brass quintets, led the Richmond Youth Wind Ensemble, served the orchestra in several administrative posts, including personnel and stage manager and librarian, and appeared as a soloist on numerous occasions.
He served for two years (1985-87) as principal horn player of the Orchestra of the Maggio Musicale Fiorentino in Florence, Italy, then conducted by Zubin Mehta, and played in the Chamber Orchestra of Musicus Concentus under Lorin Maazel's direction.
He was a member of the faculties of Virginia Commonwealth University, the University of Richmond and the Summer Residential Governor's School for Visual and Performing Arts.
His son, Ian, plays trumpet in the Richmond Symphony Youth Orchestra and Richmond Youth Wind Ensemble.
Mr. Paterson's wife, Barbara, and family ask that memorial contributions in his memory be made to: Richmond Symphony, 300 W. Franklin Street, #103E, Richmond, VA 23220.
A memorial service and concert will be held May 20 at First Baptist Church in Richmond.
Mstislav Rostropovich (1927-2007)
Mstislav Rostropovich's death, on April 27 in Moscow, reportedly from cancer, silences not just one of the greatest musicians of the past century but one of the few cultural figures of our time to exert real moral authority in politics and statecraft.
Known almost universally as Slava – the nickname is Russian for "glory" – Rostropovich was a protégé and exponent of Prokofiev, Shostakovich and other leading composers of the Soviet Union. As his fame spread beyond his homeland, he formed close associations with Western composers such as Britten and Bernstein. He was the inspiration and/or dedicatee of works for cello by those figures as well as Walton, Auric, Kabalevsky, Miaskovsky, Lutoslawski, Panufnik, Messiaen, Schnittke, Dutilleux, Pärt, Penderecki, Foss and Kancheli. (That's a partial list, from the obituary in The New York Times.) No musician of his generation, and few others in musical history, worked as closely with so many composers.
Those associations and the musical fruit they bore, and Rostropovich's robustly virtuosic interpretations of standard cello literature, well-documented in audio and video, form an artistic legacy that ultimately will outshine his role as a Soviet dissident in the 1970s and activist for democracy in Russia and other former East Bloc states. (The fragility of his political legacy was painfully evident in his last public appearance, a celebration of his 80th birthday at the Kremlin, at which he was toasted by the budding autocrat Vladimir Putin.)
Rostropovich the cultural freedom fighter will be remembered longer and more fondly in this part of the United States, thanks to his direction of Washington's National Symphony (1977-94). During that period he made the orchestra a refuge for émigré musicians and a sounding board for musical critiques of the Stalinist mindset, from Shostakovich's rowdy satire "Rayok" to Penderecki's wrenching "Polish Requiem." No dissident of the era had a more public platform, and Slava was masterful at using it.
His passions and enthuasiasm, in art and life alike, were irresistible. In his presence you were embraced, figuratively when not literally. Whoever coined the term "charm offensive" might have had Slava in mind. He dazzled Washington.
As a conductor, Rostropovich thrived on tension and the big rhetorical gesture, which he used to powerful effect in Russian music, especially Shostakovich's. His ear for refined sonority did not extend much past the string sections, his technical control of the orchestra was often shaky, and his readings of non-Russian scores could be quite eccentric. (He took to English music, thanks no doubt to Britten, and developed surprising fluency in contemporary American music.)
He was at his best performing within the Russian tradition and collaborating with living composers. Forming an emotional bond was intrinsic to his music-making.
For Slava, in music and life beyond music, if it mattered it was personal.
Review: Netherlands Bach Society
Bach: Mass in B minor
April 24, University of Richmond
Performing Bach's Mass in B minor five times in six days, with a 3,000-mile journey between the fourth and fifth performances, is a pretty convincing scenario for highbrow hell week. That's what Jos van Veldhoven and his Netherlands Bach Society put themselves through, starting an American tour on April 18 in New York, continuing on to Ann Arbor, Berkeley and Seattle before their April 24 finale in Richmond.
The ensemble's 15 singers and 22 instrumentalists sounded unfazed by the mileage. If anything, they sounded more keenly attuned for having undergone such concentration on a single work. Especially this work: The Mass in B minor is immense, very complex in its part-writing, very demanding technically; new balances and textures, different emotional modulations and expressive flourishes, await discovery or exploitation in every performance.
Much has been made of the "intimate" approach the Netherlands Bach Socuety takes to Bach's major choral works. Its vocal forces – 10 "ripienists" and five "concertists," or soloists who also join in the choruses – are far less numerous than those typically employed, even by historically informed troupes. The society's string contingent – three first violins, two seconds and single viola, cello and double-bass – is also decidedly compact.
The group did not sound downsized in the University of Richmond's Camp Concert Hall, a 600-seat venue whose acoustical clarity and level of resonance are ideal for pre-modern instruments and the straight tone of early music singers. The ensemble played the room expertly, projecting across an unusually wide dynamic range, filling the space in the most exuberant choruses but making some of its strongest musical points with a few voices at low volume.
Veldhoven does not belong to the lickety-split school of early music conductors. In the Kyrie and other graver sections of the Mass, his tempos were quite measured – more Klemperer than Gardiner – and his treatments of fast sections, while brisk, were never breathless, always aware of their dance origins and inflections.
The most audible departure this group makes from standard-issue Bach is the extra emphasis it gives to the affectus, or tonal-emotional vocabulary, of this music. The sighing figure that underlies the Kyrie is rarely as potent as it was in this performance; likewise, the vivid effects of crucifixion, death and resurrection in the Credo. Veldhoven also played up strong contrasts, as between the Osanna and Benedictus.
The solo voices, paced by countertenor Matthew White, tenor Charles Daniels and soprano Johannette Zomer, were well-matched and struck a nice balance between baroque stylishness and emotional authenticity.
Add to that pinpoint accuracy in choral singing and fine instrumental solos, especially by the concertmaster, Johannes Leertouwer, and flutist Marten Root, and the sum was a performance of extraordinary fluency, vitality and depth.
with violinist Jessica Lee
April 20, Bon Air Baptist Church, Richmond
The Richmond Symphony's final Beethoven Festival program was set more than a year ago, but seemed almost prescient on what turned out to be a day of mourning for the victims of the April 16 rampage at Virginia Tech. The musical and emotional trajectory of Copland's "Appalachian Spring," Vaughan Williams' "The Lark Ascending" and Beethoven's "Pastoral" Symphony punctuated a tragic week on a note of hope and renewal.
"The Lark Ascending," the tone poem Vaughan Williams wrote during World War I and introduced in 1921, sounded more human than avian, with an earthy bittersweetness underlying its fine threads of melody, in the hands of violinist Jessica Lee. The Richmond-born prodigy, who went on to Curtis and Juilliard and won first prize in the 2005 Concert Artists Guild International Competition, performed with fluency and spontaneity, building her interpretation from a heartfelt but scrupulous reading of the solo-violin soliloquy at the center of the work.
Conductor Mark Russell Smith chose the original chamber orchestration of "Appalachian Spring," but led the concert suite rather than the original ballet score. The clean, unaffected sonorities of clarinetist Ralph Skiano and flutist Mary Boodell and alert accents of pianist John Walter compensated for a string ensemble that started out sluggishly.
Beethoven's "Pastoral" is one of the most difficult symphonies in the repertory. It is chamber music on symphonic scale, evenly distributing music-making among many instruments. Phrases are commonly passed among sections or soloists. Rhythms often sound afloat or aloft. Sound effects, evocative asides and bits of musical humor need to be heard, but shouldn't make more than passing impressions in the lyrical sweep of this symphony.
Smith led a classically scaled orchestra, with 22 strings and with first and second violins divisi, in a nicely paced, well-articulated account. Low strings sounded underpowered in Beethoven's flat-footed dances, but otherwise a merry assembly tended the garden with energy and enthuasiasm.
The program repeats at 3 p.m. April 22 in Blackwell Auditorium, Randolph-Macon College in Ashland. Tickets: $27. Information: (804) 788-1212 or www.richmondsymphony.com
My profile of Jos van Veldhoven and his Netherlands Bach Society, performing Bach's Mass in B minor April 24 at the University of Richmond, is in print in Style Weekly and online at:
http://www.styleweekly.com/article.asp?idarticle=14208
Tuesday Evening Concerts 2007-08
The Tuesday Evening Concerts, the chamber-music series presented at the University of Virginia in Charlottesville, has announced its 2007-08 season. Dates, artists and repertory include:
Oct. 9 – Baritone Christian Gerhaher and pianist Gerold Huber in Schubert's "Die schöne Müllerin."
Oct. 23 – Kalichstein-Laredo-Robinson Trio and Miami String Quartet in Schubert and Chausson.
Nov. 13 – Les Violons du Roy chamber orchestra, with soprano Karina Gauvin and countertenor Robin Blaze, in Vivaldi and Pergolesi.
Feb. 12 – Pianist Piotr Anderszewski, program TBA.
March 25 – Violinist Nikolaj Znaider in Bach, Beethoven, Ives and Brahms.
April 8 – Akademie für alte Musik Berlin chamber orchestra in Vivaldi, Marcello, Bach, Erlebach and Graun.
April 29 – Orkis-Hardy Duo, from Kennedy Center Chamber Players, in all-Beethoven program.
All concerts are at 8 p.m. Tuesdays in Cabell Hall at UVA.
Subscription information: (434) 244-9505 or www.tecs.org
Q&A: Midori
Midori, the onetime pre-teen violin prodigy from Japan by way of Dorothy Delay's Juilliard studio, will turn 36 later this year. She was not the typical prodigy, showing off pyrotechnics and tugging a little too insistently at the heart strings; a thoughtful and probing musician since youth, she has matured into an artist of refinement, sensitivity and, above all, clarity.
Midori (a condensation of her full name, Goto Mi Dori) performs on April 21 at the Garth Newel Music Center, near Warm Springs in Bath County in western Virginia. Her recital, with pianist Robert McDonald, highlights a group of spring concerts, a taste of the center's summerlong weekend series.
Details on Midori's recital are in the April calendar, and on the Garth Newel season at: www.garthnewel.org
I recently interviewed Midori via e-mail about her collaboration with the Finnish composer Einojuhani Rautavaara on a new work, "Lost Landscapes," which the violinist is introducing this spring, and about her views on the state of her art. (Questions are in italics.)
In your April 21 Garth Newel recital, Rautavaara's "Lost Landscapes" is preceded by Beethoven's "Spring" Sonata and followed by Hindemith and Strauss sonatas. "Framing" new music with older music is common in concert programs. Do you seek to select surrounding pieces that may be complementary or place the new work in a stylistic context or on some sort of musical-historical continuum?
It is always a great pleasure to incorporate a musical composition of our time in a recital program. We select and arrange our recital programs to have an interesting yet cohesive flow between the pieces, and seek to balance various musical elements such as texture, sound and style.
A few months ago, I interviewed Richard Stoltzman about his working with Rautavaara on a new clarinet concerto. Their interaction was extensive, and the finished product was to a significant degree a collaboration between the composer and performer. Did you and Rautavaara engage in that kind of back-and-forth on technical issues, length, suitability of the music to the instrument, reconciling your artistic personality with his?
Mr. Rautavaara and I corresponded as he was writing "Lost Landscapes," and I did visit him a few times in Helsinki while he was working on the piece. I believe that these communications were a natural exchange of our personalities, and after all, we would not have pursued the collaboration if either of us felt that there were irreconcilable differences in our artistry. What resulted is a deeply personal piece from a master composer, and I am delighted to play it.
Some musicians and observers detect a renewal of interest in classical music, especially contemporary and experimental music, occurring "under the radar" of the music industry and mass media. Do you feel freer to program new or little-known music today than you did, say, 10 years ago?
Around Christmastime 2004, I was fortunate to have been able to present my first all-contemporary recital program in Japan with pianist Robert McDonald, and we recreated the New Music Project in a recital tour of the U.S. in spring 2006. I have always been interested in modern works, but this was the first time I was able to offer a concert entirely comprised of music written during my lifetime. I think that the simple fact that I was able to do this both in Japan and in America gives some indication toward a growing interest and acceptance of contemporary music.
Along the same line, do you find your audiences more willing to experience the new or unfamiliar than they were in the past?
Despite making small steps toward wider acceptance, it is still generally believed in the business that contemporary music is indecipherable to most audiences. For some new listeners, particularly younger people, simply having an open mind for new sound experiences greatly enhances the adventure of a new music concert. I have also realized that providing the audience with background information about the composer could sometimes be helpful for them to feel more connected to the composer, which makes the listening a more personal experience.
What can performers do to help people relearn the art of "pure" listening?
Performers need to do whatever we can to help avoid alienating our audiences, and to ensure that listeners don't simply have a generic experience.
April 13, Second Baptist Church
April 12 was the 150th anniversary of Edward Elgar's birth. The Richmond Symphony marks it with performances of the "Enigma" Variations over the weekend. That's more recognition than the anniversary is getting from most American orchestras.
The British are more creatively dissing Sir Edward: Just in time for the anniversary, his picture is being removed from the £20 note.
In their April 13 concert, conductor Mark Russell Smith and the Richmond Symphony presented the Elgar alongside two other familiar sets of orchestral variations, Brahms' "Variations on a Theme of Haydn" and Hindemith's "Symphonic Metamorphosis on Themes of Carl Maria von Weber."
(The Hindemith was a late substitution for Shostakovich's Violin Concerto No. 1. The symphony's concertmaster, Karen Johnson, who was to be the soloist, is recovering from a broken left pinky finger. She now plans to play the Shostakovich on May 18, 19 and 21.)
Oddly, in the company of Germans "Enigma" sounded less indebted to German romantic tradition than this piece commonly does. That indebtedness is why Elgar is viewed by many modern English musicians as "the composer everyone who came after wanted to shake off," as Norman Lebrecht remarked in an anniversary program on the BBC.
Smith and the orchestra performed the Elgar with ears cocked for bits of color and nuances of inflection and dynamics – almost as if it were French music.
They gave the big, bronzed sonorities of the opening theme, the great "Nimrod" variation and the "E.D.U." finale their due, with bassoons and horns supplying an unusually textured bass. The orchestra's best work, though, came in more lyrical or fanciful sections, paced by string figurations in "H.D. S.-P." and solos by cellist Neal Cary, violist Molly Sharp and clarinetist Ralph Skiano in the lyrical variations.
A similarly fine-tuned sensibility informed the Brahms and Hindemith. Why aren't these works paired more often? Each begins as a German's take on a Viennese musical convention – in Brahms' case, a chorale of Haydn's time (but not by Haydn) sung by Harmonie (wind octet); in Hindemith's, a gypsy dance garnished with "Turkish" percussion – and each proceeds as a playful, at times splashy, modernization of tradition.
Smith and the orchestra gave a polished account of the Brahms, bringing out its internal voicings and rhythmic currents while keeping it moving and singing. Up against exuberant brass and percussion, strings sounded recessed and their dynamism underplayed in the Hindemith.
The program repeats at 8 p.m. April 14 at First Baptist Church, Boulevard at Monument Avenue in Richmond, and at 8 p.m. April 16 at St. Michael Catholic Church, 4491 Springfield Road in Glen Allen. Tickets: $20-$60. Information: (804) 788-1212 or www.richmondsymphony.com
Josh & Jer
The widely remarked-upon story, by Gene Weingarten in The Washington Post, on violinist Joshua Bell busking in a Washington Metro station:
http://www.washingtonpost.com/wp-dyn/content/article/2007/04/04/AR2007040401721.html?hpid=artslot
The funniest remark upon it, by Bell's sometime recital partner, pianist Jeremy Denk:
http://jeremydenk.blogspot.com/2007/04/area-pianist-ignored-at-local-starbucks.html
Chamber Music Society of Williamsburg 2007-08
The Chamber Music Society of Williamsburg has announced its lineup for the 2007-08 season. The group presents concerts in the Williamsburg Library Theatre, usually sold out on subscription.
Dates and artists for the coming season:
Sept. 18 – Claremont Piano Trio.
Oct. 30 – New Zealand String Quartet.
Dec. 4 – Da Ponte String Quartet.
Jan. 29 – Trio Fedele.
Feb. 19 – Gryphon Piano Trio.
March 18 – Formosa String Quartet.
No program details were announced.
Subscription information: (757) 229-8723 or http://chambermusicwilliamsburg.org/
NSO taps Fischer as interim chief
Iván Fischer will serve for two seasons as principal conductor of Washington's National Symphony while the orchestra searches for a successor to Leonard Slatkin as music director.
Fischer, founder and director of the Budapest Festival Orchestra, was named the NSO's principal guest conductor last season. He will conduct for eight weeks in 2008-09, seven weeks in 2009-10.
The NSO joins other major American orchestras – Chicago, Philadelphia, Detroit – that have opted for several seasons of interim leadership while they search for new music directors.
Slatkin steps down as music director of the NSO at the end of the 2007-08 season.
Gustavo Dudamel, the 26-year-old Venezuelan conductor who will succeed Esa-Pekka Salonen as music director of the Los Angeles Philharmonic in two years, is the brightest shooting star to streak into the classical firmament in years. His background is inspiring, his ethnicity is intriguing, and by all accounts he is a charismatic presence onstage.
Dudamel is a product of Venezuela's outstanding music-education system for young people. He began as an 11-year-old violinist in the Simón Bolivar Youth Orchestra and started conducting at 15. In 2004 he won a conducting competition in Germany, among whose judges were Salonen and Ernest Fleischmann, the former general manager of the LA Philharmonic. Dudamel signed a recording contract with Deutsche Grammophon and embarked on guest engagements with major orchestras.
He made his debut with the LA Phil in 2005 in the Hollywood Bowl, first conducted the orchestra on its main stage in Disney Hall last year, also has conducted in Milan, Boston and Chicago, and debuts in Berlin, Vienna and New York next season. He is the incoming principal conductor of the Göteborg Symphony in Sweden and will continue to work with the Simón Bolivar Youth Orchestra in Caracas.
As Mark Swed noted in the Los Angeles Times, LA likes young conductors. Zubin Mehta and Salonen were 26 and 34, respectively, when they were appointed. (Oldsters Carlo Maria Giulini and André Previn served between them.) And Dudamel seems a good match for a region with a growing Latino population.
Salonen's LA Phil has been a leading sounding board for contemporary music among American orchestras. Dudamel's reputation to date has ridden on performances of standard repertory – his debut recording paired the Beethoven Fifth and Seventh symphonies; in modern and contemporary music, he appears to be a blank slate.
A not-unlikely scenario: Salonen, who will continue to live in LA (primarily employed, he says, as a composer) and maintain an association with the orchestra, becomes its modern-music laureate, à la Pierre Boulez, while the charismatic young Dudamel wows 'em with warhorses.
'Some nuts sound better than others'
– Margaret Leng Tan, as she places nuts and bolts in a piano for John Cage's prepared-piano music
That's from "The MTT Files," Michael Tilson Thomas' new series on (mostly modern) music, from American Public Media and MTT's San Francisco Symphony. In Richmond, WCVE (88.9 FM) plans to air the series at 2 p.m. Sept. 10-19.
Meanwhile, you can hear the first episode, "You Call That Music?!" on music's relationship (and debt) to noise, at:
http://americanpublicmedia.publicradio.org/programs/mtt_files/mtt_01.shtml


text:
ESE parents left in the dark about mask policy
By Samantha Sosa
Orange County Schools
Mask policy for ESE students discussed in Orange County
Some parents thought their children would be exempt from mask requirements due to the exceptional student education waivers.
LAKE MARY, Fla. - Exceptional Student Education (ESE) parents originally thought their students would be exempt from certain face-to-face school reopening guidelines, particularly those that require students to wear face masks.
However, parents like Emily Carreon were left with questions after hearing comments at Tuesday's Orange County School Board meeting.Dr. Barbara Jenkins, Orange County Public Schools Superintendent, said the state has made firm recommendations on all children wearing face masks with the exception of having medical conditions.
She said there would need to be more discussion when it comes to students who are part of ESE programs.
"The issue around ESE students or someone who cannot, for various reasons, wear a mask; we are going to need to revisit because it is a department of health's recommendation that if they cannot wear a mask, they should probably be on one of the other platforms for their learning," she said. Dr. Jenkin's then paraphrased statements from the FDOH: "If they have an exceptionality or special needs, to exempt them from the mask, you are then putting them at risk to put them in a school setting."
The school district's current policy requires a doctor's note for medical health conditions. Emily Carreon, whose son is on the autism spectrum, has concerns about how inclusive that language is.
"There is a whole different side of it too," she said. "Not all children are immunocompromised, but have sensory processing disorders, have behavioral issues, have a gambit of things that don't fall under medically fragile. It's unfair to say if they don't wear a mask if they can't wear a mask, then they shouldn't be coming to school."
Many families depend on face-to-face services provided at public schools. That is why Carreon believes it is important for the district to figure out a way to make face-to-face learning possible for ESE students, even if the students can't wear masks.
"It really impacts the ESE population. They're already not receiving the services that they need. Distance learning taught us that. They didn't receive their speech services, their OT services, so face to face is really the option that works best for most ESE kids," she said.
When asked to clarify mask policy for ESE students, a media relations manager for the Orange County School District said the policy is still being discussed.
"Our Medical Advisory committee discussed this at yesterday's meeting and have not made a final recommendation."Final recommendations from that committee will be discussed at Monday's special school board meeting.
DeBary woman attacked by a bear shares terrifying story with FOX 35


Our members are participating in the A-Z Blogging Challenge for 2018 with the theme People of My Place. Today's entry is from Steve Pickthall.
Levi Henry Nutbeem of New Fishbourne, Sussex is the man in question. Levi was baptised in Chiddingfold, Surrey in 1860 and spent his early life in Petworth, a town about 17 miles away from New Fishbourne where he is shown on the 1891 census as a "baker and confectioner". I don't know what prompted the move to New Fishbourne, but he appears in trade directories from 1899 up until at least 1938 (the latest directory I have available - see here) in various combinations of baker with either grocer or post office. Perhaps he became aware of an opening in New Fishbourne and was looking to better himself - a baker is not listed specifically in any of the earlier trade directories for New Fishbourne.
The 1911 census summary places the baker's shop very precisely between the Wesleyan Chapel and the Woolpack Inn - food for the soul, food for the body and food for mind all in a row. The Wesleyan chapel was demolished 1971 but the Woolpack is still there, although now in a more modern guise as it was rebuilt in 1937.
Levi Nutbeem and his wife Louisa (nee Soal) are listed in the 1911 together with three of their five children - their eldest son Albert Edward was an Insurance Agent and is enumerated as living next door. He also appears in a number of the trade directories mentioned above. Another son, Harold died in his middle teens.
Levi died in 1949 (preceded by his wife in 1948) and left £4079.25. Probate was granted to his son Albert Edward and daughter Louie Fletcher.
As I have mentioned in previous articles, I am fascinated by newspapers and the "flesh" that they add to the "bones" of our ancestors. In the Chichester Observer of 16 December 1914 it shows that the property was for sale (Levi was a sitting tenant at £30 per annum) and there is a description of the shop, living accommodation and outbuildings including stable, hayloft and pig-pens.
Various newspaper articles point to a celebration of a Golden Wedding Anniversary in 1932, Concerts for the Band of Hope Society (a temperance organisation), sporting triumphs (and disappointments) in football, cricket and indoor bowls, being involved in organising public events such as theatrical performances and talks – too many to mention, but it paints a picture of the family being at the heart of the community and well-known. There is even a report of one of the boys feeding buns to passing elephants. Not that New Fishbourne was noted for its exotic animals, but the circus was coming to town and so the animals and artistes paraded through the village.
One last thing to mention. Local author Kate Mosse uses the Nutbeem bakery shop in her book "The Taxidermist's Daughter" (2014).


XXXX Queensland Maroons coach Kevin Walters said he was hopeful that star halfback Cooper Cronk would be fit to play tomorrow night.
Fielding questions at today's media call - Walters said he understood how important Cronk was to the make-up of the team; but was not willing to risk him if he was not 100%.
See the full media session above.


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