text:
Q: How to pass raw html from jsx to Api2pdf REST API I'm trying to find the best way to pass my html table data (React JSX) to the api2pdf REST API https://www.api2pdf.com/
I was unable to do so, which led me to reconstruct my whole html data separately then upload it
const fetchReportPdf = async () => {
    await fetch("https://v2018.api2pdf.com/chrome/html", {
      method: "post",
      headers: {
        Accept: "application/json",
        "Content-Type": "application/json",
        Authorization: "*Auth key placed here*",
      },
      body: JSON.stringify({
        html: `

          <title>Daily Report for ${newDate}</title>
          <link
           href="https://cdn.jsdelivr.net/npm/bootstrap@5.0.2/dist/css/bootstrap.min.css"
            rel="stylesheet"
            integrity="sha384-EVSTQN3/azprG1Anm3QDgpJLIm9Nao0Yz1ztcQTwFspd3yD65VohhpuuCOmLASjC"
            crossorigin="anonymous"
          />

                    CIVIL WORKS FOR CONSTRUCTION OF THWAKE DAM EMBARKMENT AND
                    ASSOCIATED WORKS

                  INSPECTOR
                  ${report.User}
                  SECTION:
                  ${
                    report.Section
                  }

          `,
        fileName: `${newDate} ${report.Section} ${report.Shift}.pdf`,
        options: {
          textAlign: "left",
          height: "11in",
        },
      }),
    })
      .then((res) => res.json())
      .then((res) => {
        document.getElementById(
          "Download_Button"
        ).innerHTML = `<a className="Download_Button" href="${res.pdf}" >Download PDF</a>`;
      });
  };

This is the table, combined with fetched data from MongoDB which is stored in state then used in the html code above. Example is the ${report.User}
Placing this fetchReportPdf function in an onClick button generates a response with a download link which i can then access and save the pdf file
Using this method has been useful so far, but now i need to map data from an array in my state.
Mapping it directly inside the html code does not work. So i tried to place a script tag and execute the code from here

report.rocktrip is the state holding the array that i want to map. But the pdf is blank in that section. The script only returns an output when i replace report.rocktrip with the actual array e.g.
{Number_Of_Trips: '45', RockType: '3A'},
{Number_Of_Trips: '32', RockType: '3B'}

But it can't map data directly from my state
I'm probably going about all this the wrong way when i'm certain there is a simpler way of doing this, how can i simplify this process with cleaner code?
Posting the jsx code directly from my component would definitely be ideal, but i don't know how.

A: Solution was to actually use useRef hook to obtain the innerHTML of the targeted div.
import useRef from "react";
const reportRef = useRef();

const fetchReportPdf = async () => {
    const reportHTML = reportRef.current.innerHTML;
    await fetch("https://v2018.api2pdf.com/chrome/html", {
      method: "post",
      headers: {
        Accept: "application/json",
        "Content-Type": "application/json",
        Authorization: "Auth key placed here",
      },
      body: JSON.stringify({
        html: `

          <title>Daily Report for ${newDate}</title>

          <link
            href="https://cdn.jsdelivr.net/npm/bootstrap@5.0.2/dist/css/bootstrap.min.css"
            rel="stylesheet"
            integrity="sha384-EVSTQN3/azprG1Anm3QDgpJLIm9Nao0Yz1ztcQTwFspd3yD65VohhpuuCOmLASjC"
            crossorigin="anonymous"
          />

        ${reportHTML}

          `,
        fileName: `${newDate} ${report.Section} ${report.Shift}.pdf`,
        options: {
          textAlign: "left",
          height: "11in",
        },
      }),
    })
      .then((res) => res.json())
      .then((res) => {
        document.getElementById(
          "Download_Button"
        ).innerHTML = `<a className="Download_Button" href="${res.pdf}" >Download PDF</a>`;
      });
  };


text:
February 02, 2017 News & Opinion » Feature
La Vida No Vale Nada
Migrant Deaths in the Arizona Desert
Migrant Deaths in the Arizona Desert, published by the University of Arizona Press, addresses the tragic results of government policies on immigration. The contributors consist of a multidisciplinary group dedicated to the thousands of men, women, and children who have lost their lives while crossing the desert in search of a better life. Each chapter seeks answers to migrant deaths, speaking to the complexity of this tragedy via a range of community and scholarly approaches. The activists, artists, and scholars included in this volume confront migrant deaths and disappearances in the U.S.-Mexico borderlands as they reflect on the startling realities of death, migration, and public policy. The book was edited by Raquel Rubio-Goldsmith, Celestino Fernandez, Jessie K. Finch and Araceli Masterson-Algar.
A Theology of the Desert
By Alex Nava
Although I was born and raIsed in the desert regions of the U.S. Southwest, specifically in Tucson, Arizona, it was not until I lived else where, especially in Chicago and Seattle for several years, that I began to notice the desert with new, more alert and fresh eyes. I left Arizona to study religion at the University of Chicago and was immediately cognizant of the distinctiveness of my new surroundings. If it is the unique and incomparable saguaro cacti that command one's attention in the deserts of Arizona, in Chi cago it is the buildings and skyscrapers downtown and the skyline along the lake that evoke a feeling of awe. If the immensity of Lake Michigan reminds Chicagoans of their belonging and dependence on nature, the vastness of the desert terrain does the same for Arizonans. As I look back at my time in Chi cago, I am convinced that besides preparing me for a life of study and teach ing, the contrast of this great urban city with my desert experience in Arizona led me to reassess the desert and U.S.Mexico border regions of my upbring ing. Perhaps, in addition to the substance of my theological learning, the dis tance from the Southwest gave me the perspective that I needed to understand and interpret the desert and border regions in a new light.
After graduation and a couple of years in Seattle, I returned to Tucson to teach at the University of Arizona. A passage from T. S. Eliot's Four Quartets kept returning to my mind: "We shall not cease from exploration and the end of all our exploring will be to arrive where we started and know that place for the first time."
Everything was indeed new to me. The distinct, fragrant scent of the sum mer rains falling on the parched desert ground was more poignant than ever. Ah, the wonderful smell of wet creosote bushes. The beauty and rarity of some of the cacti here—the saguaros, the organ pipe, the ocotillo—greeted me as if I were an explorer first entering this territory, a Cabeza de Vaca or Fr. Eusebio Kino. Indeed, I could see how surprising and unexpected some of this terrain might appear to someone who associates the idea of "desert" with Saharalike desolation. The Southern Arizona desert is amazingly verdant and mountain ous. Here the deserts are pregnant with life, home to a great diversity of animal and bird species. If some of the ancient Egyptian monks described the desert as a wasteland, they also saw in it the seeds of a potential paradise, a "desert blooming with the flowers of Christ."2 This vision of a desert in full bloom is easily understood by anyone who has visited the Sonoran Desert regions of the U.S.Mexico borderlands.
But there was something else happening in the desert that interrupted my contemplation of its surprising beauty: a growing number of migrant deaths. In the summer months the reports of women and men, children and infants dying in the desert is as endless and unforgiving as the heat of the sun. Almost inex plicably, every summer for the past several years seems to register a new record of deaths in the borderlands.
In my work with a couple of human rights groups, particularly Humane Bor ders and Borderlinks, I have come face to face with many immigrants begin ning or in the midst of their journey to the north. Over 1,000 immigrants per day pass the doorstep of the small town of El Sasabe, Sonora, Mexico, with dreams that the ancient Israelites must have shared in their exodus from a land devoid of milk and honey. The first time I encountered a group of these pil grims, besides being struck by the number of women and children, I could not help but recognize myself in their sunburned faces, as every American with an immigrant past might understand. If the Statue of Liberty was the welcoming symbol of past generations of European immigrants, the desert of our south ern border is now the symbol of new generations of the tired and poor, of the huddled masses.
However, it is easy for many Americans to repress memories of their immi grant past. Perhaps such memories conjure feelings of insecurity and anxiety that prove too frightening to summon again. Or perhaps we fear that the recog nition of our past as strangers might shatter our confident and selfassured, at times arrogant, identity as "Americans." Regardless, one thing seems quite clear: most of us North Americans have a profoundly shortterm memory. Forgetful ness is our common malady. We need to be reminded, as the ancient Israelites were reminded, that we, too, were once strangers in the land (Deut. 10:19).
While these reflections are motivated by the contemporary events along the border regions of the United States and Mexico, I would also like to consider in what follows some of the historical references to the desert in the Christian tradition as well as in the work of some modern poets before returning to the realities of death occurring in these regions today.
It is not surprising that the geography of the desert occupies a central place in the biblical imagination. The context of the Bible is, indeed, the stark, arid, des olate deserts of the ancient Near East. And it is in this difficult milieu that the ancient Jews interpreted and experienced the Divine, as have the Muslims. To any careful reader, it is clear that the desert landscape influences and informs the way in which God is represented and symbolized in biblical times. It left its mark on the theological language and beliefs of the ancient Jews, Muslims, and Christians. Indeed, one might see the desert as a major character in the biblical texts, beginning with the narrative of Exodus. In Exodus, this charac ter is frightening and untrustworthy. The desert is synonymous with exile and often wears the mask of death. "Was it for want of graves that you brought us out of the land of Egypt. . . . Why did you bring us out of Egypt,to kill us and our children and livestock with thirst?" (Exod. 17:3). The faith in the "prom ised land'" that Moses sought to instill in the Israelites proved to be precarious and fragile when tested in the unforgiving and deathdealing environment of the desert. Even Moses's faith wavers: "Why have you treated your servant so badly? . . . Where am I to get meat to give to all these people? For they come weeping to me and say, 'Give us meat to eat.' . . . If this is the way you are going to treat me, put me to death at once" (Num. 11:10–15). And as we know, Moses dies in the desert. He never made it to the "promised land." Dr. Martin Luther King Jr. also invokes this narrative, fully aware that he, too, may share the fate of Moses: "I may not get to the promised land with you."
Anyone with experience in hot and arid desert regions will be able to under stand the challenging and terrifying countenance of the desert. Inhospitable to human survival, impersonal and unrelenting to human needs and desires, the desert is a location where body and soul are easily wounded beyond recovery. Nothing seems to be in moderation here: the sun is fierce and excessive, deaf to the pleas of pilgrims seeking the refuge of shade. Any traveler to these regions will understand why clouds thus signal the presence of God to the wandering Jews in biblical times. Clouds not only hide the face of God (and hence are metaphors of Divine incomprehensibility) but they also hide the severe face of the sun, providing an exiled people with respite from its damaging power. And clouds, of course, indicate rain. In the Sonoran Desert, however, even the summer monsoon rains come with excess, announcing themselves with violent thunder, piercing lightning, and the suddenness of a flash flood, striking and pounding the earth with a violent force. Even the rains do not know gentleness. The desert terrain itself is immoderate, a parable of immensity, as vast as the sky. Surely to a migrant on foot, the terrain seems endless, a kind of cruel, banal infinitude.
In his study of the symbols of the desert in biblical and Christian thought, George Williams identifies at least four themes in the interpretation of desert: (1) the desert is a wasteland awaiting the blossoming of paradise; (2) the desert is a place of testing and punishment; (3) the desert is the location of God's nup tial union with Israel or the human soul; and (4) the desert is a place of refuge or contemplation.3 Finally, as Bernard McGinn has explained with regard to the mystical traditions, the desert can become a symbol of the incomprehen sible and inexpressible God (the God beyond God).4 In this case, God's nature adopts desertlike characteristics. God is the "Divine Desert."
The Egyptian monks were among the first in the Christian tradition to take to the desert to encounter God (the Jewish community known as the Essenes had already done so at the beginning of the Common Era). Many of the above themes associated with the desert motivate and define their spiritual quests. For one, their journeys to the desert were interpreted as a step in their detach ment from the attractions and distractions of the "world." By withdrawing to the desert, these ascetics would empty and void themselves of the comforts and pleasures of civilization. They welcomed the emptiness of the desert, an abyss or void, as a partner in their search for a naked, unearthly wisdom. Away from the noise of city life, they might hear God in the silence of the desert wind as Elijah once did. For these hermits, the model of the spiritual life was the nakedness and stillness of the desert. And they sought to cultivate this des ert life within the depths of their own souls. Although there are no studies of the spiritual experiences of migrants crossing the desert through Arizona, it is difficult to believe that these immigrants experience the desert in the same way as the hermits did.
In the Middle Ages, Christian monks would appeal to desert metaphors for similar purposes, to advocate a turning away from the emptiness of the world and to sing of the benefits of solitude. In interpreting the desert as an inner condition of the spirit, many medieval monks dreamed of nuptial union with God in the inner recesses of the human heart, not literally in the geography of the desert. The Cistercian monk Isaac of Stella invokes the prophet Hosea in speaking of the followers of Christ in the desert: "They seek the desert and the secret places where they can be open to God . . . where he himself will answer and speak to their heart, as the prophet says: 'I will lead you into solitude and there I will speak to your heart.'"5
In spite of the belief among many Eastern and Western monks that God may be encountered in the simplicity and emptiness of the desert, however, very few of them actually referred to God as desert. Bernard McGinn insists that none of the early monks used desert language to describe the nature of God. It was left to medieval Christian thinkers to create "desert" language about God. Why was this theological language so slow in coming? Is it because the desert was a dwelling place of demons, not God? Was the emptiness and void of the ancient Near Eastern desert too life threatening to ascribe to God? For those monks with longsuffering experiences of the desert, like the migrants cross ing the Arizona desert, was this region too hostile, too fierce to associate with the merciful God of scripture? And finally, why does this reluctance give way to a daring willingness to use desert language to describe God among some medievals?
In the West, it was PseudoDionysius who first connected the Exodus story with the theory of Divine incomprehensibility. With Dionysius, reference to the desert suggested the unfathomable and vast nature of God, a nature that no intellect could plumb or exhaust. In this manner, a disciple of Dionysius, John the Scot Eriugena, expounds on the transcendent nature of God: "A more profound interpretation understands it as the desert of the Divine nature, an inexpressible height removed from all things. It is 'deserted' by every creature, because it surpasses all intellect, although it does not 'desert' any intellect."6 This emphasis on the inaccessibility of the Divine nature to human conception would find a more elaborate and sustained formulation among various German theologians. It was in the verdant forests of Germany, ironically, that desert language of the Divine became more pervasive.
The work of the German beguine mystic, Mechtild of Magdeberg, is a step in this direction. She provides a prescription for dwelling in the desert and for speaking of the Divine.
You shall love nothingness, You shall flee existence, You shall stand alone, And you shall go to no one. . . . You shall drink the water of suffering And light the fire of love with the wood of virtue, Then you will live in the true desert.7
Besides recalling the ascetical traditions of desert language, this remarkable passage indicates a connection between the desert of the inner soul and the Divine Nothingness of the Godhead. In a manner reminiscent of Dionysius or Eriugena, Mechtild names the Divine as a reality beyond being, as a nothing ness or emptiness that exceeds the realm of human knowledge and existence. God is nothing. We see this position even more clearly with Meister Eckhart.
Eckhart explicitly and consistently uses the desert as a symbol of God. In one of his sermons, he discusses the nature of a noble or just person in this way:
Who then is nobler than he who on one side is born of the highest and the best among created things, and on the other side from the inmost ground of the divine nature and its desert? "I" says the Lord through the prophet Hosea, "will lead the noble soul out into the desert, and there I will speak to her heart," one with One, one from One, one in One, one everlastingly. Amen.8
In this passage, Eckhart implies a union of indistinction in which the soul merges into God, or more precisely, into the unnameable desert of God, the God be yond our conception God. In this empty place of Divine oneness, where all human conceptions are empty, the soul is united with the "solitary wilderness" of the Divine: "God's ground and the soul's ground are one ground."
Another German text called the "Granum sinapis" is similar in its theology. One passage describes the journey of the intellect first in climbing a mountain and then in fleeing to the desert.
The mountain of this point, Ascend without activity, O intellect! The road leads you into a marvelous desert, So broad, so wide, It stretches out immeasurably. The desert has neither time nor place, Its mode of being is unique. . . . It is here, it is there, It is far, it is near, It is deep, it is high, It exists in such a way that it is neither this nor that.
The vastness of the desert terrain is an icon of the grandeur and inexhaustible nature of God. Other mystics—and surely many ancient peoples—chose the symbol of the ocean to make this point. The immeasurable depths and darkness of the abyss of the sea was a parable of the unfathomable abyss of the Divine. And the ocean symbol would have a further benefit: the analogy of a river flow ing into the sea would resonate strongly with those mystics seeking union with the Divine Beloved. So, why is it that Eckhart and other German theologians turned to desert language in their Godtalk?
As we have seen, part of the answer is the influence of Dionysius among many German intellectuals in the Middle Ages. Perhaps, however, as McGinn states, this is also explained by the fact that there are more forest deserts in Germany than anywhere else in Europe. Or perhaps the immensity of the des ert sky and the brilliance of the sun proved alluring to these forest dwellers, to a people eager for the feeling of sunlight bathing one's body. Regardless what the exact answer is, it is questionable whether or not these theologians understood the lifethreatening and hostile effects of desert terrain. Perhaps this is why the early desertdwelling hermits, including the Egyptians, were unwilling to ascribe desert language to God. Even if they believed, visavis scripture, that the soul's betrothal to God occurs in the simplicity of the desert, they were too well schooled in the dangers and suffering of desert living to see the desert as a parable of Divine nature. The desert is indifferent, merciless, devoid of forgive ness, a place of demonic dominion, a place of death. If the desert is Divine, then it is a god too ambiguous and uncaring to be revered. A desert god shows signs of cruelty. This kind of god is all too close to the gods of tragedy, to the protests of Shakespeare, for instance: "As flies to wanton boys, are we to the gods, they kill us for their sport."11 Perhaps this is what the biblical figure Job most feared, that his God is not a friend at all, but an enemy. As Job's life is undone by the experiences of physical and spiritual affliction, he files a lawsuit against the Almighty. Is the Almighty responsible for, or at least indifferent to, the suffer ing of his people? Does the Divine, after all, contrary to Eriugena's claim above, desert His people in the scorching heat of the desert?
Such daring questions naturally arise when one tries to make sense of the deaths occurring in the desert regions of our borders today. I, for one, cannot help but share the reluctance of early Christian theologians to name God as desert. In light of the harsh and meaningless deaths of immigrants in the desert regions of the border today, I find myself uneasy with a devotion to the "Divine Desert."
If some mystics saw in the emptiness and nothingness of the desert a symbol of Divine emptiness, they also believed that the latter was a greater reality than anything humans could imagine or experience. Simone Weil put it this way: "Contact with human creatures is given to us through a sense of presence. Con tact with God is given to us through the sense of absence. Compared with this absence, presence becomes more absent than absence." In confronting the absence of God and the emptiness of much of our ideas and beliefs about God, Weil believed that we might clear space for the entrance of the true God. After voiding our lives of false attachments and comforting illusions and in entering a desert experience of vacancy and desolation, we will hear God speak to us "heart to heart." As Weil also knew, however, the experiences of the void or emptiness in history and society are real, destructive threats to the human body and spirit. The human spirit is not invulnerable to the blows of fate and the weight of suf fering. Our modern age seems to sense more acutely the abyss of suffering or the threat of meaninglessness. In our time, a time out of joint, the threat of empti ness seems to fill the air that many great modern intellectuals breathe. Modern expressions of nothingness or emptiness, then, are far removed from the rever ential postures of the classic Christian mystics, or of classical Buddhism, for that matter. Our age appears to be far more troubled. Robert Frost's poem "Desert Places" represents this modern experience of the desert of life:
They cannot scare me with their empty spaces, Between stars, where no human race is. I have it with me, so much closer to home To scare myself with my own desert places.13
This experience of the terrifying countenance of emptiness is already sig naled in early modern times by the figure Blaise Pascal, who cried out in ter ror, "The eternal silence of these infinite spaces fills me with dread." Modern science, witnesses Pascal, emptied the universe of God. For many in modern times, then, the desert becomes a symbol of absence and loss, a representation of the death of God. Needless to say, this brand of emptiness is far removed from the meaningful descriptions of emptiness in Christian mysticism or in Buddhism (sunyata).
When Pablo Neruda wrote of the desert terrain of the mining regions of northern Chile, for instance, he recalled a traditional biblical setting, the desert as prophetic space, but now with characteristics of this modern age. Neruda speaks as a prophet of the old and new, of ancient and modern times. While Neruda's poetry evokes feelings of modern, existential anxieties ("I've come once again to lonely bedrooms, to have a cold lunch in restaurants, and once again I throw my pants and shirts on the floor, there are no hangers in my room, or pictures of anyone on the walls"), he also summons language that echoes biblical precedents, as in his passionate words of the desertdwelling people of northern Chile.
I delivered myself up to the deserts and the man of the slag, came out of his hole, his mute harshness, and I knew the sorrows of my lost people . . . And then I went through streets and told everything I saw, I showed the hands that touched the lumps full of pain, the lodgings of forsaken poverty, the miserable bread and the loneliness of the forgotten moon. And elbow to elbow with my barefoot brother, I tried to change the kingdom of dirty coins.
If the desert prophets of Israel—Amos or Isaiah, Micah or Jeremiah—lived today, one could imagine such powerful words coming from their lips.
In addition to this poignant reading of the desert as a location of suffering and injustice, desert language in Neruda evokes the experience of exile. "I am a wandering son of that which I love," Neruda writes. "I am a wanderer, I live the anguish of being far from the prisoner and the flower." Even before his exile from Chile, Neruda's works resound with a sense of alienation. He speaks to us from the perspective of a stranger and alien of this earth. As the title of one of his great works suggest, Residence of Earth, Neruda wrote a poetry of tempo rary residents, of pilgrims in exile. And his words reflect this tragic sensibility. His poems are filled with plaintive and black tones. Neruda's poetry is an elegy dedicated to all who feel the desolation of desert space and time, perhaps what many of the migrants crossing the desert through Arizona feel.
In Canto General, Neruda's desert language, however, describes the particular anguish of the downtrodden and destitute. In a poem titled "El desierto" ("The Desert"), Neruda describes the nakedness of the terrain and the struggle for life in such landscapes: "The sun breaks its glass in the empty space, and the earth agonizes with a dry and drowning noise of crying salt." In this place "without plants, without claws, without dung, the land revealed to me its naked dimen sion."18 This nakedness, this vulnerability is shared by Neruda the exiled poet and by all refugees and wandering peoples.
As the ancient Israelites knew firsthand, survival in such stark terrain is a battle. In awaiting God, man fights with death in the desert, and for many migrants in Arizona, the desert wins. The great Spanish poet, Garcia Lorca— who describes Spanish culture as death obsessed—pictures death lurking in the empty desert, in this case in a vast dune:
Atop that vast dune —most ancient light— I find myself lost with no sky, no road. The North near to death had switched off its stars. The skies were shipwrecked, slowly rising and falling.19
Here the traveler is lost in the immense dune, oppressed by the darkness of the sky, drowned in the vast sea of arid, scorched terrain. The North is no longer the beacon of freedom. Death has extinguished the light.
In another Lorca poem, Death interrupts the journey of an Andalusian on the way to Cordoba.
Cordoba. Distant and lonely. Over the plain, through the wind, black pony, red moon. Death keeps a watch on me from Cordoba's towers. Oh, such a long way to go! And, oh, my spirited pony! Ah, but death awaits me
Before I ever reach Cordoba. Cordoba. Distant and lonely.
If some Christian mystics interpreted the desert as a location of a possible Divine encounter or even as a parable of the incomprehensibility of the Divine nature, others, including the ancient Israelites, read more ominous and dark signs in the symbol of desert. The desert to these latter figures is a sinister realm where hunger and thirst, unforgiving heat and vast stretches of land become the occasion for death's visitation. In our own times, for too many immigrants from the south, the journey to the North is a battle with these demons. The North is distant and lonely, forever absent, forever unattainable. If it is not the heat and thirst, the cause of countless deaths is the sheer vastness of the desert and the number of miles they travel. Exhaustion comes quickly in this terrain, and diz ziness and confusion often accompany the physical experience of the heat and insatiable thirst. In this condition, it is easy to lose one's way in the labyrinth of the desert. Lorca's description of being lost, of locating neither road nor sky, is a precise expression of many immigrant's experiences. The light summon ing them to the "promised land" of the North has been extinguished, and the sky, dark and undecipherable, hides the way. These desert pilgrims are ship wrecked by the immensity and abyss of the desert landscape. It is not difficult to imagine them repeating the mournful and protesting words of the Israelites, "Was it for want of graves in Egypt that you brought us into the desert to die?" (Exod. 14:11). Our immigrants might echo, "Was it for want of graves in Mex ico and Central America that you brought is to Sonoran Desert to die?"
I opened these reflections by speaking of the surprising beauty of the So noran Desert in Southern Arizona and northern Mexico. If there is a good amount of rain in the winter months, this terrain blooms with an intensity of color and scent and shape. Wildflowers are resurrected during the spring in locations that seem inhospitable to plant life. In staring at this sight, so unex pected, so holy, I recall what the Egyptian monks describe as a "desert blooming with the flowers of Christ." Perhaps for similar reasons, the Tohono O'odham people (the "Desert Dwellers") consider much of this land sacred (especially the mountain of Baboquivari, where the god I'itoi dwells in a cave). It is not an exaggeration to see in this terrain the aesthetical attractiveness of a garden.
I wonder, then, how to make sense of the gardenlike beauty in light of the suffering and deaths of hundreds of immigrants. If the ecology of the Sonoran Desert cannot exactly be described as a wasteland, does not the reality of death witnessed by this terrain justify such a title nevertheless? Perhaps it is a waste land, simply for the spent lives exhausted here if not for geography and flora. Or are there the seeds of a garden experience even here in the midst of death and suffering?
Perhaps what I am asking is the same question posed by many of us: how does one reconcile the stunning, even at times, ecstatic experiences of the beauty of nature with the horror of human history, with the experiences of exile and poverty, violence and war? Surely, Dante, another great poet of the desert, explored this terrain. In Inferno, the pilgrim is lost in the gran deserto (great desert) until Virgil appears and guides him to the Garden of Eden. As many critics have suggested, the metaphor of desert in Dante represents the desert of Exodus and the experience of exile in Dante's own life and in human history. At the same time, Dante alludes to the hope (a hope sustained by the possibil ity of beauty and love) that a garden will reveal itself in the midst of the desola tion and suffering of history. Recall that in Paradiso, the third part of the Divine Comedy, it is Dante's beloved Beatrice who takes over as the pilgrim's guide. It is now love that allures the pilgrim and that impels his will and causes his wings to sprout. It is Dante's experience of love that makes possible the ascent into paradise where he will be astounded and silenced by a vision of God (symbol ized by the rose).
It is not surprising that images of a garden appear in much poetry of the desert, including the Bible. In the ancient Near East, a garden would have been a place of salvation in the context of the threatening desert. In the Song of Songs, for instance, the delights and intensity of love, the rapture of beauty, the sensual joy of both nature and the human body are celebrated in the context of a garden. This garden appears to be a refuge from the trials of history, a Garden of Eden in the context of exile on earth.
Perhaps in these contexts, the garden is nothing else but a symbol of hope. As I look across the expanse of the Sonoran Desert—its gardenlike terrain and awesome immensity—I am filled with ambivalence. I witness beauty everywhere and yet also hear the laments of immigrants burnt by the sun. It is a tragic beauty that I recognize, a beauty that attests to the contradictory and ambiguous face of the human experience. This ambiguity is felt not only in the experiences of beauty and exile, nature and history, love and suffering, but also dwells with the experience of the Holy itself, as Rudolph Otto once sug gested. For Otto, the Holy is a mysterium tremendum et fascinans.22 This power and mystery is felt as an awesome, even terrifying mystery on the one hand and as an attractive, beautiful, trustworthy mystery on the other.
As holy space, the desert wears these different masks, not unlike the ancient god Janus, a god of doorways, thresholds, and borders. He stands on the border and looks north and at the same time south. He stands nowhere, in between two different positions and places, in liminal territory. Janus is a contradictory figure, situated in a location of contradiction. It seems to me that exiles and immigrants—if not us all—wear the masks of Janus, looking toward differ ent cultural and religious horizons with lives marked by contradiction, paradox, and ambiguity. If this is true of the human condition itself, perhaps exiles and migrants understand these facts better than anyone else.
The tragedy of our contemporary border situation, however, remains the fact that the ambiguous and liminal space of the border has now become a gravesite for numerous pilgrims. While some North Americans blame the immigrants themselves for their own deaths (viewing their deaths as a kind of punishment for the sin of illegal trespassing), others see in these deaths a loud cry for a change in border policy. For this to happen, we need the prophetic voices of justice in bib lical texts, in the poetry of a Neruda, Lorca, or Dante joined with the deep spiri tuality of the mystical traditions, traditions that are reflected in images of the Virgen de Guadalupe, for example, that many migrants carry though the Arizona desert. In following the paths of these great prophets, we might be led to the mysterious regions of the human soul, crossing and transgressing the limiting borders that confine and prevent our spirits from exploring new terrain and from discovering new possibilities that would allow us to grow as individuals and as a human community. In following the trails of the border crossers of history, past and present, we might be led to discover the faces of strangers within our very selves and thus to respond to the other with justice and compassion. Perhaps only when this happens will we be able to announce, with T. S. Eliot, that "fire and the rose are one."23 Only then will the roses of the garden bloom in the scorched fire zone of the desert, and we might begin to find credible the hope of biblical texts and mystics that we will be united with God in an ecstatic and consuming love.
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Are you new with Laravel Vue and Axios?, If yes then you are the right place. In this tutorial, I will share with you how to send POST request form data using axios with vue js in Laravel 5.6. You will learn to send post form input data with csrf token and you can access input data in controller method.
If you are learning or working with vue js or angular js project then you should learn and use axios package for http request of GET, POST, DELETE and PUT. In this example we will create one basic example of form and with input data, when user submit form then all data will be send to laravel controller method. we will also pass csrf token on our post method. we will create controller method and return request data and then simply print on front-end side so you can see output.
We will create step by step form and then submit form using vue js and axios. you can see following screen shot. You can also download code and check demo too.
In this step, we will create one post route and return all post form data. So, let's add new route on that file.
In this step, we have to first add setup of vue js and then install npm, so let's run bellow command in your project.


text:
Macalik takes helm for retiring Chamber director
By Editor on November 1, 2011 2:31 PM Comments Off on Macalik takes helm for retiring Chamber director
Dana Cullins Macalik
(Rockwall) [TheRockwallNews.com] A new Executive Director of the Rockwall Chamber of Commerce has been named by the Chamber's Board of Directors to replace Margie Hooper, who is retiring Dec. 31.
Fourth-generation Rockwall area resident and Rockwall High School graduate Dana K. Cullins Macalik (left) started her new position Oct. 17.
She is the daughter of Douglas Cullins, who was Constable of Rockwall County Precincts 2 & 3 for over 18 years. Her grandfather J.W. Cullins, was a cotton farmer and Rockwall police officer who became the first Chief of Police in Heath. Her great-grandfather moved to Rockwall in the late 1800s to farm cotton.
Margie Hooper
Her sister, Saundra, married the late Regal Realtors co-owner Lance Holland, and Heath City Council member Justin Holland is her nephew.
Macalik was employed since last October as an asset manager for the Federal Department of Housing and Urban Development (HUD) at Home Telos – a division of First Preston Foreclosure Specialists in Dallas.
From 2002-08 she was a realtor with Regal Realtors. From 1997 to 2002 she sold high school yearbooks and class rings for Taylor Publishing and Gold Lance/Balfour.
Macalik graduated from Sam Houston State University in 1983 with a Bachelor's Degree in Business Management.
Since 2002 she's also been a volunteer leader of Rockwall's American Cancer Society "Relay For Life," a volunteer at Rockwall Helping Hands, Rockwall County Youth Fair and the Rockwall County Republican Party.
She has also been a member of the Garland, Lewisville and Ft. Worth Chambers of Commerce.
Hooper had been the Executive Director since April, 2005, after retiring from a 31-year career with Cingular Wireless and SBC Communications. She will stay on through the end of the year to help Macalik with the transition.
About her new position Macalik said she hopes to be instrumental in improving Rockwall County's business climate and quality of life.
"I hope to be instrumental in representing the Chamber's commitment to creating an improved business climate and quality of life for the Rockwall County area," she said.
"From a public affairs standpoint, I hope to implement a cooperative community and economic development program designed to create economic stability and growth."
"From a business assistance and activities standpoint, I hope to provide high quality Chamber activities and events designed to increase new business contacts and opportunities for involvement and increase assistance programs for small businesses."
"From a membership standpoint, I hope to increase overall Chamber membership and actively promote Chamber programs and involvement opportunities."
By J.J. Smith, Publisher at therockwallnews.com, published Tuesday, Nov. 1, 2011.
To submit your news and events, email editor@BlueRibbonNews.com.
Chamber, Dana, Hooper, Macalik, Margie, president, retiring, Rockwall
Macalik takes helm for retiring Chamber director added by Editor on November 1, 2011 2:31 PM


text:
Q: Win32: Anonymous inherited pipes don't close on subprocess exit I have been attempting to use anonymous pipes to communicate with a spawned subprocess via their stdin and stdout, similar to this example.  So far, so good - I communicate with it via WriteFile(), and I read data from it via PeekNamedPipe() and then ReadFile().  Life is good.
However, I'm encountering something distressing - when the subprocess closes unexpectedly, a parent process call to WriteFile() never seems to return any sort of failure state indicating that the pipe has closed, and my parent process happily continues chugging along writing data until I overflow the pipe's internal buffer and block forever.
My setup code looks like this:
// Set up pipes
SECURITY_ATTRIBUTES sec_attrs;
memset(&sec_attrs, 0, sizeof(SECURITY_ATTRIBUTES));
sec_attrs.nLength = sizeof(SECURITY_ATTRIBUTES);
sec_attrs.bInheritHandle = TRUE;
sec_attrs.lpSecurityDescriptor = NULL;

if (!CreatePipe(&midi_process_in_reader, &midi_process_in_writer, &sec_attrs, 0))
{
    DEBUGOUT("Could not initialize midiproc stdin");
    return false;
}

if (!SetHandleInformation(midi_process_in_writer, HANDLE_FLAG_INHERIT, 0))
{
    DEBUGOUT("Could not disinherit midiproc stdin");
    return false;
}

if (!CreatePipe(&midi_process_out_reader, &midi_process_out_writer, &sec_attrs, 0))
{
    DEBUGOUT("Could not initialize midiproc stdout/stderr");
    return false;
}

if (!SetHandleInformation(midi_process_out_reader, HANDLE_FLAG_INHERIT, 0))
{
    DEBUGOUT("Could not disinherit midiproc stdin");
    return false;
}

// Launch the subprocess
PROCESS_INFORMATION proc_info;
memset(&proc_info, 0, sizeof(proc_info));

STARTUPINFO startup_info;
memset(&startup_info, 0, sizeof(startup_info));
startup_info.cb = sizeof(startup_info);
startup_info.hStdInput = midi_process_in_reader;
startup_info.hStdOutput = midi_process_out_writer;
startup_info.dwFlags = STARTF_USESTDHANDLES;

BOOL ok = CreateProcess(TEXT(module), TEXT(cmdline), NULL, NULL, TRUE,
    CREATE_NEW_CONSOLE, NULL, NULL, &startup_info, &proc_info);

The only difference that I can see between the example and my code is that I don't hook up stderr - I want to keep it around for fprintf debugging.
I am probably going to need to go with some sort of "heartbeat" message in the long run, because the subprocess could become a zombie and be completely alive and keep their handles open but never read off of stdin, which would wedge things in a different way.  However, I want to make sure that I'm not missing something in my understanding of anonymous pipes on Windows.

A: You must close midi_process_in_reader and midi_process_out_writer after calling CreateProcess(). Your issue is not because the "inherited pipes don't close on subprocess exit", it is because you forgot to close the pipes in your own process.

redpajama_set_name: RedPajamaStackExchange


Every person now thinks that using big data enhances business performance. This is only true when the big data strategies are carried out properly, and the organization is ready for them. For this article, the latter will be our focus. Apart from helping your company to be ready for big data, the Active Wizards data engineers will also assist in the ideal implementation of big data. The owners, management and the experts have an important role to play in ensuring that an organization is ready to move a step further as far as big data strategies are concerned.
If you are not into harnessing the potential of big data at the moment, this is where you are stuck as an organization. From that situation, you need to jump on the bandwagon. But, is the organization ready to embrace these concepts? All stakeholders must come together and strategize on how to get the best out of this concept. The ride may not be completely smooth since some challenges are always there. Here we will mention some of them.
Educating all involved parties – you can never introduce such a detailed concept as big data without educating the staff, management and other parties who will be using it. Experts need to come on board and train every person on what to expect.
Setting priorities – some tasks must come first while others follow. But, how do you know which ones since this is a new concept? This challenge is not only mind-boggling but can lead to serious hitches if not examined in greater detail. The good thing is experts can conduct pilot tests and identify the priorities.
Financing the project – big data concepts are not cheap to set up. Probably, the company will need a new system altogether, you will need to hire additional employees and buy the necessary hardware. Big data consultants also want their share of pay at the end of the day as well. The best thing is to plan in advance and prepare the budget for these expenses.
The management has a significant role in preparing the company to receive the big data strategy. First, they need to be aware of the benefits that will emerge when the concept is introduced. Likewise, they will prepare the staff for these benefits. When all parties know that use of data to make decisions is important, then there will be minimal resistance when the system is adopted. The management should also prepare past performance files so that they can compare these with performance after big data is introduced.
As the management is preparing the organization to receive the new system, the experts also have a major role to play. They need to assess the current situation with the intention of introducing a highly customized big data system. They also need to propose to the management all the requirements and their costs from the beginning to the end. Finally, the experts must prepare training materials for all parties so that they can learn quickly and not encounter any hitch during the initial use of the big data concept.


A story about Winona Ryder being bullied as a preteen—and her brilliant response years later—has gone viral.
Her personal account was first featured in a biography of the actress by Nigel Goodall, and resurfaced on Twitter thanks to @bleuvaIentine.
In the book, Ryder recalled being singled out on her third day of seventh grade at Petaluma's Kenilworth Junior High for wearing boys clothes and having short hair - inspired by Bugsy Malone.
"I think they thought I was a gay boy" she recounted.
"They slammed my head into a locker. I fell to the ground and they started to kick the s*** out of me. I had to have stitches."
Shockingly, her bullies were not disciplined for their actions instead Winona was the one who suffered the ramifications of this experience.
"The school kicked me out, not the bullies," Ryder explained.
Winona has clearly risen above this horrible experience though as we have just been graced with the second season of the award winning Netflix drama Stranger Things.
However, that doesn't mean she didn't take the opportunity to face her bullies again and give them a piece of her mind.


These tips have been prepared to provide help and guidance to those new to training and presentation. They will help you to provide effective and consistent delivery. It is assumed that you will be using PowerPoint along with video and a flipchart or interactive whiteboard of some kind.
It is important that you are familiar with the training materials to be used.
These tips are for general guidance only and training needs and training facilities vary considerably. For example, the training room may be little more than an old shed in the middle of a public park, with virtually no training aids or it may be in a new building with a dedicated training room and the latest facilities.
At every stage, the trainer is encouraged to add and highlight preferences and draw on previous experiences to enhance the presentation of the training.
The overall aim is to instigate change.
Remember training is about "what we want people to do differently" after the event - not what they thought most interesting or just informative.
Study your training materials thoroughly - if videos are to be shown, watch them to ensure they are appropriate and that you are aware of the content. Think about how you can integrate them into the course in a meaningful way. Consider the learning points that you wish to highlight and anticipate any questions that may result from the screening. Check your PowerPoint presentation and read any background notes carefully.
Note the video's running time and identify any places where you may wish to pause to add comments i.e. additional information, personal experiences or recent examples relating to your company activities and environmental aspects.
Having studied the material it is recommended that you prepare your own "script" which you will need to refer to throughout the event, noting syndicates and their time management, breaks and most importantly the course objectives.
Highlight points in your script where you may need to stress key learning points or quote work related examples, particularly ones relevant to your current audience.
Consider the audience. Be sure you have a complete list of the participants including first names, job titles/roles within the business, department and any additional information which may help you prepare syndicate groups.
Anticipate questions and prepare answers. You may prefer to keep reference sources to hand.
Check each position to make sure there is a clear view of the screen and any other visual aids.
The room should be well lit but without direct lighting onto the screen.
You may have to dim the lights for your PowerPoint or video presentation depending on the brightness of the projector. Try sitting at the back of the room. Will all the slides be visible in the ambient light of the room? Will the sun be shining through during your performance? If necessary close curtains or adjust blinds.
Can you hear the audio from the video?
The temperature should be "comfortable" and distractions should be avoided where possible. Consider the best way to avoid or cope with interruptions: pagers, mobile phones, external noise and activities.
It is important to consider how people learn if you are to make your delivery effective. Think about how you can help people to do things differently after the event and change their behaviour to improve overall performance. Some people learn from interacting with and questioning others, some prefer visual information, some learn better by listening.
If we are to make our training events effective, we do need to cater for these learning preferences. This means you should design your course so that it includes visual aids that have meaning – that help to explain, describe and clarify and not just provide a pretty picture that adds a wallpaper background to your presentation. Consider how you use your voice – your tone, stress, pitch and the use of pauses. These can influence your audience far more than the words alone. Video of course adds action, as well as words and music to the event and should be used where appropriate as it delivers to both the auditory and visual channels simultaneously.
In addition don't forget the power of the group learning experience and to include role-play and team exercises in the programme wherever there is time and opportunity.
Different seating arrangements suit differently shaped rooms, so choose the seating plan which will be most appropriate to the venue and the size and nature of the group of people who will be attending.
Three styles of layout are suggested - "horseshoe", "cabaret" or "armchair".


Go read Part 1 if you missed it. You can read Snooty's point of view, with different pictures, here and here.
After a great nights sleep we woke to have coffee and AG's famous sourdough start pancakes. Now I am not a pancake fan, at all. These pancakes were amazing. While AG tended to the meat, her dad tended to the pancakes.
This breakfast was going to give my newly gallbladder free body a workout! I ate bacon, sausage and four, yes count 'em, FOUR pancakes. Pretty good for someone who doesn't even like pancakes.
After we reluctantly said goodbye to our wonderful hosts we made the long trek to Des Moines where Snooty met the Brute Squad and made friends with Fiona, who doesn't take to new people very well. Snooty also made fast friends with AG's youngest daughter who joined us for dinner at Barnacles in Des Moines. Snooty might have had an oyster shooter or two! Three of us might have had cocktails!
The next morning we were scheduled to meet AG at the Pub for brunch but she wasn't feeling well. Handy Man, Drill Daughter and I ended up taking Snooty to Salty's on Alki for their award winning Sunday brunch. The restaurant is right on the water and has an amazing view of downtown Seattle. After we gorged were pleasantly full we took a walk along Alki Beach and enjoyed the beautiful sunny day and the water.
Some words about Snooty... She is exactly like you would picture her to be from her blog. She's funny, sweet, honest, generous and seriously pretty! Her child like wonder at all the new things she saw and experienced thrilled me. Seeing Seattle and the other parts of WA State through her eyes really made me appreciate what we have here in our little corner of the world.
I will welcome Snooty back to my house whenever she wants to visit!
If you haven't read it already and are interested the first of my trip to San Diego post is here and here you will find my confession about San Diego.
I'm pretty sure I was the only one excited about going to the Maritime Museum of San Diego and I was excited for one reason, Ghost Hunters.
They investigated the Star of India, the worlds oldest active ship and a California and National Historic landmark. So of course we had to check it out.
We saw some creepy stuff, but no ghosts.
Another boat Ghost Hunters investigated was the Berkeley. It's an 1898 steam ferryboat that operated for 60 years on San Francisco Bay. It is also a California and National Historic landmark. This boat was interesting to me because my Great-Grandfather was a ferryboat captain in Seattle and later his son, my uncle Jack, was a ferryboat captain too. When we would travel to Bainbridge Island he would let me "drive" the boat! Super cool when I was 7 years old.
Nothing weird or ghost-like to be seen on this boat either.
We also checked out H.M.S Surprise which is a replica of a 18th Century Royal Navy Frigate. It was used in the movie "Master and Commander" and in the 4th Pirates of the Caribbean movie. Even before I knew it was going to be used in the next Pirates movie I thought it looked like the Black Pearl. It was a fun ship to tour.
I'm not interested in reliving the tour we took of a B-39 Soviet Attack Submarine, but for the good of this blog post I will, just a little.
We had to climb through 4 of these holes in various spots along the way.
I'm ever so slightly claustrophobic. I'm ok, until I start thinking about it too much, then the hyperventilating starts, then the hot flashes, but I survived.
It turned out that even though I was the only one truly excited about the Maritime Museum everyone loved it and had a great time!
Stay tuned for my next San Diego adventure post!


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*BRAND NEW BUNGALOW* 3 bedroom, 2 bath / shower room detached bungalow built in 2018-19 with double length CARPORT + SOUTH FACING GARDEN. Available for immediate occupation. NO CHAIN. This tucked away bungalow comprises: paved path with timber railings leads to the front door. L-shaped Entrance Hall with Karndean flooring, consumer unit, loft hatch, double width storage cupboard plus lighting, 2 radiators and ceiling downlighting. Open plan Sitting / Dining Room with continuation of the oak effect flooring, windows and double doors opening onto the rear garden, space for table and chairs in the dining area and open access into the Kitchen fitted with an attractive range of units at eye and base level, wood effect worksurfaces, inset 4-ring electric hob, oven below & filter over, soft close drawers, integral fridge / freezer, built-in washing machine and dishwasher, 1 ½ bowl single drainer sink unit plus arched mixer tap, cupboard housing 'Worcester' gas fired boiler. Master Bedroom fitted carpet, radiator, several power points, TV point, front window. En-Suite Shower Room fitted with a modern tiled shower cubicle, low level WC, wash basin with drawer below, wall mounted mirror with lighting, opaque from window and extractor. Bedroom 2 fitted carpet, radiator, several power points, TV point, rear window. Bedroom 3 fitted carpet, radiator, several power points, TV point, front window. Family Bathroom fitted with a modern white suite, enclosed bath with mixer tap, shower unit + screen, low level WC, wash basin + drawers below, tiled floor heated towel rail and opaque rear window. Outside: to the front is a shared area of tarmacadam drive leading to the attached 31'8 x 10'3 block paved Parking Area / Carport timber built with power points and lighting. Gated access front the front into the 38' x 28' South Facing Rear Garden with a full width paved patio adjoining the rear of the property, lawn plus timber fenced boundaries. The property is conveniently situated for all village facilities, including primary school, shop, pub and open countryside.
This brand new detached bungalow sits in a tucked away position. Offered for sale with No Chain + Vacant Possession.
The property is situated in a tucked away position in the far corner towards the end of Hillcrest Lane in the popular village of Scaynes Hill which is only 3 miles to the east of Haywards Heath, which offers an extensive town centre providing shopping and leisure facilities. Scaynes HIll offers a pub/restaurant, church, village hall and service station/convenience store. Newick is 3.5 miles to the east with a village green, shops and several pubs/restaurants. The nearby countryside is interspersed with footpaths and bridleways linking with Chailey Common Nature Reserve and other nearby beauty spots include the Ashdown Forest and Ditchling Common.
Schools : St Augustine's Primary School in Vicarage Lane (0.6 miles) Chailey Secondary School, South Chailey (5.5 miles) Oathall Community College, Lindfield (3 miles). The local area is well served by several independent schools including; Great Walstead (1.9 miles) and Ardingly College (4.9 miles).
Station : Haywards Heath mainline railway station (3.5 miles) Fast and regular services to London (London Bridge/Victoria 47 mins), Gatwick Airport (15 mins) and Brighton (20 mins).
The property is conveniently situated for all village facilities, including primary school, shop, pub and open countryside.


text:
Вахрушев — железнодорожная станция Сахалинского региона Дальневосточной железной дороги. Названа по одноимённому посёлку.

История

Станция открыта в 1936 году составе пускового участка Макаров — Поронайск.

В 1939 году в 12 километрах от станции началась разработка угольного месторождения (ныне станция Вахрушев-Угольный), и от станции к нему был проложен подъездной путь.

Деятельность

По параграфу станция способна осуществлять небольшие грузовые отправлений со складов и на открытых площадках, приём вагонов с грузовой станции Вахрушев-Угольный, а также продажу пассажирских билетов. На станции останавливаются все пассажирские поезда (кроме поезда № 001/002), курсирующие между Южно-Сахалинском, Тымовском и Ногликами.

Ссылки
 Вахрушев в «Транслогисте»
 Расписание поездов по станции Вахрушев в Яндексе
 История железных дорог Сахалина на «Сайте о железной дороге» Сергея Болашенко

Станции Сахалинского региона Дальневосточной железной дороги
Железнодорожные станции и платформы Сахалинской области

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text:
Appointments, Faculty and Staff
Swift Appointed Associate Dean for Education
Dr. Edward Swift, longtime chair of the Department of Operative Dentistry, was recently appointed as the school's new associate dean for education. This appointment became effective last month.
"It is a real privilege to serve as the associate dean for education at the UNC School of Dentistry," said Swift. "The school has a long tradition of enrolling and educating excellent students, and I hope to continue that tradition."
Swift's responsibilities as associate dean include the oversight and implementation of the current predoctoral (DDS) curriculum and new initiatives, acting as the point person for the school's preparation and self-study for predoctoral accreditation, and ensuring compliance with University policies. Additionally, Swift will oversee other activities of the Office of Academic Affairs, including admissions and student affairs, faculty development, and inter-professional education.
"In his new role, Dr. Swift serves as the chief administrative officer responsible for fostering excellence for all of our academic programs: DDS, advanced dental education, dental hygiene and dental assisting, for more than 500 students and residents," said Jane Weintraub, dean of the UNC School of Dentistry. "I am confident that he is up to this task. His exemplary dedication to the school was recognized and honored last spring by all four DDS classes with the UNC Community Leadership Award at the annual Spurgeon Banquet."
Prior to this appointment, Swift served as associate dean for education in an interim capacity. He also was previously the interim associate dean for student clinics and chair of the Department of Operative Dentistry. He earned his DMD from the Medical University of South Carolina and his master's degree in operative dentistry from the University of Iowa.
Categories Appointments, Faculty and Staff


text:
About Ian
News + Info
Videos + Lectures
Home / Podcasts / S4 Ep 02: Open Water Swimming
S4 Ep 02: Open Water Swimming
With special guest: Bec Johnson and Paul Blackbeard
In this episode of Sleep4Performance Radio, we welcome Bec Johnson and Paul Blackbeard. Returning as co-host for her second appearance on S4P Radio, Bec is the CEO and co-founder of the Type 1 Diabetes Family Centre, in Stirling, a non-profit that connects, supports and inspires people living with type 1 diabetes. Diagnosed with type 1 in 2001, Bec believes there are no limits to life with diabetes, and is undertaking a solo crossing of the 19.7km Rottnest Channel, the Port to Pub 25km Ultra and a double-crossing of the Rottnest Channel in February, March and April 2020. Her campaign, Life without Limits, aims to raise $85,000 for the Type 1 Diabetes Family Centre.
With a range of board, senior management and strategic roles; Paul Blackbeard is Chairman of Echo Community Services, Owner of Argil International and Co-Founder of Zuberant Life. Additionally, Paul is a passionate swimmer who has achieved multiple records and been ranked number 1 in the world in 3 different water sports. In 2015, Paul was named as one of the 50 Greatest Watermen in Open Water Swimming History. In this episode, we cover all things Open Water Swimming including the Rottnest Channel Swim, training and motivation, diet and nutrition, strength and conditioning, recovery and more!
You can follow Bec on LinkedIn and Facebook. You can follow her Life without Limits swim campaign here and donate here.
Follow Paul on LinkedIn, Twitter or Facebook
Recommendations and readings discussed throughout the episode:
Paul's free application – https://apps.apple.com/au/app/wisdom-circle/id1296239401
BOHO beautiful yoga channel – https://www.youtube.com/user/cexercize/featured
Swimming Strong eBook – https://www.formidablestrength.com.au/ebooks
Bowflex Machine – https://www.youtube.com/watch?v=CMVDhv-c5Mg
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SUP's Most Inspirational Performances in 2019
In 2019 there were incredible performances and feats that we didn't know were possible. Here we list the top 7 most inspirational athletes and performances of 2019.
Paris SUP Open Ends The Racing Season With a Bang
With 1,000 athletes taking off in the dark to paddle the iconic Nautic Paddle route west along the River Seine, Paris came alive for the final day of action at the Paris SUP Open, the climactic final event of the 2019 APP World Tour.
Agios Nikolaos Selects Greek National Team for ISA
Greece hosted for the 5th year in a row the Agios Nikolaos on SUP event, one of the most important SUP events in Greece and an official stop of the Eurotour SUP Grand Slam Europe, with entries from all around the world.
Zane & Fiona Return as Champions at 2019 Master of the Ocean
The final day of 2019 Master of the Ocean, which also happened to fall on Feb 27th, Dominican Independence Day. did not fail to disappoint those in attendance. With a $10,000 US prize purse up for grabs, which was donated by Casa Lina, those athletes still in the hunt for a podium finish were keen to take home a win and some cash.
Fiona Wylde Wins Sunset Beach Pro in Solid Surf
After a dramatic and challenging day of competition, Fiona Wylde has been crowned the Women's Sunset Beach Pro Champion for 2019.
#IPADDLEFOREQUALITY Where Are We Now?
It was October 20, 2017. Three days before the 2017 Red Bull Heavy Water, one of the world's most prestigious stand up paddle races and the APP World Tour's final stop. The invite-only event had garnered the attention of the competitive SUP community as many of the world's top stand up paddlers were ready to battle for the crown in intense conditions.
Darkhorses & Vets Take Over 2018 Pacific Paddle Games
Last weekend the Pacific Paddle Games attracted the majority of the World's best and brightest competitive paddlers for the grand finale of the SUP racing season. The weekend was action packed and did not disappoint. Here's how it all went down:
SUPIA Gathers Movers and Shakers for Decisions on SUP Racing
The annual SUPIA Summit that began on Wednesday, October 3, sparked conversations surrounding the current state of the SUP racing scene and where the industry is headed.
Inside The 2018 Columbia Gorge Paddle Challenge With Fiona Wylde
What an amazing weekend it was! We were fortunate to be greeted with a hefty breeze all weekend for the 8th Annual Columbia Gorge Paddle Challenge, creating epic downwind conditions and a very technical course race!
Grom Take Over at 2018 Gorge Paddle Challenge
The highly anticipated Columbia Gorge Paddle Challenge returned to the infamous Hood River over the weekend and the excitement from the weekend has the industry buzzing. The biggest takeaway from the event: the SUP youth is a force to be reckoned with.
Event Disorganization Taints Intense Competition in Hossegor
We are deep in the midst of racing season and things continue to get more interesting. Last weekend the elite SUP field took over the southern commune of Hossegor in France for the Hossegor Paddle Games - stop #6 of the Paddle League World Tour and week 8 of the Euro Tour.
Marcus Hansen and Sonni Honscheid Victorious at Air France Paddle Festival
The Air France Paddle Festival took Tahiti by storm, with one of the most intense races the sport has seen. Around 300 paddlers came out to participate in the 8k Lagoon Race, 24k Elite Race, and 4k Fun Race, alongside a huge crowd of local supporters from the community that joined in on the action.


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Florida Senate rejects ban on assault weapons
by Lyca Smith | Mar 5, 2018 | Top News
Florida Senate rejects ban on assault weapons Florida state senators rejected a proposal to ban assault weapons, and voted for a measure to arm some teachers, weeks after 17 people were killed in the deadliest high school shooting in U.S. history. Linda So reports....
Florida governor proposes tighter gun restrictions
Florida governor proposes tighter gun restrictions Florida Governor Rick Scott announced a proposal on Friday to increase restrictions on buying guns and to strengthen school safety measures after a gunman killed 17 people at a high school in the state last week....
Florida school shooting timeline
by Lyca Smith | Feb 16, 2018 | Entertainment
Florida school shooting timeline http://a57.foxnews.com/media2.foxnews.com/BrightCove/694940094001/2018/02/16/60/60/694940094001_5734979094001_5734967071001-vs.jpg A timeline of the deadly shooting at Marjory Stoneman Douglas High School in Parkland, Florida. FOX...


There are a few issues that can arise during the recovery period after a dental surgery or procedure. It is important for you to have an basic understanding of these issues if you have recently had work done or are planning to have work done soon. A basic understanding of these issues will mean it is more likely that you will pick up on any signs of a dental problem during the recovery period, so it can be treated quickly and efficiently.
Pain after a dental procedure is to be expected, however, if the pain persists or worsens within three days, there could be an infection. If you are still in pain three days after your procedure, contact your dentist or surgeon for further instruction.
Osteomyelitis is a bone infection that can occur after a dental procedure, and cause great pain in your jaw. Besides prolonged pain, a fever is another sign that you have an infection and you should call your dentist immediately.
If you are prescribed an antibiotic, remember to completely finish the medication to prevent any infections.
Excessive bleeding can occur after a dental treatment. Although bleeding is common, it should not persist for longer than a few hours after a procedure. You should contact your dentist, who will stitch or suture the wound closed.
When dealing with the pain you may experience after a dental procedure, always take the medication as directed by your dentist. Do not take over-the-counter medication in addition to the medication provided by your dentist. You can hurt yourself or make yourself sick by taking too much medication. Always consult your dentist before taking other medications after a dental procedure. Trying to deal with the pain in ways not prescribed by your dentist could promote other dental issues.
48 hours of rest is recommended after a dental treatment, as it aids in the healing process. Strenuous physical activity, drinking from a straw, or smoking can increase your chance of opening any healing wounds or stitches and increase your risk of getting an infection.
Always follow any instructions your dentist may give you after your surgery, and keep to any check up appointments after a dental procedure. These check up appointments will ensure that the recovery and healing process is progressing as planned.


November 2, 2017 – Podcast from DM Radio.
Filip Ponulak, Principal Data Scientist at Site 1001, and other data experts are interviewed for DM Radio's segment, "The Bigger They Come: Why IoT is Different". Filip discusses advancements in big data & the Internet of Things, and how Site 1001 is utilizing those technologies to allow buildings to literally talk to their owners, operators and occupants.
Filip's segment begins at the 7:22 mark.


In Cuba, scientists have eliminated HIV transmission from mother-to-child, showing that an end to the HIV and Aids epidemic is fathomable.
According to CNN, a World Health Organization spokesperson says Cuba was also the first to stop the spread of syphilis from mother-to-child.
In 2013, only two babies were born with HIV and five with congenital syphilis in Cuba, compared to 240,000 globally, even lower than the 400,000 infected in 2009. The organization is aiming to have less than 40,000 new child infections in 2015.


When Should I Update My Business Headshot?
As a business professional, having an up-to-date headshot is a necessity. As we've discussed before, there are valid reasons to make sure that your business headshot reflects the image you wish to portray.
Looking for a unique holiday gift for your employees or organization's members? Trying to find new strategies for corporate marketing and employee incentive programs?


I went to the March Madness sale at Woodcraft today and came home with a new benchtop drill press and I grabbed up an Orion mortising attachment while I was there. I caught the eary bird part of the sale so I got an additional 5% off. The drill press retails at Woodcraft for $249.99. For the eary bird deal they take the additional 5% off after they apply the 10% discount so it ended up costing me about $214 before sales tax.
It's a 13" drill press with a 1/2 hp motor. Pretty much all the benchtop drill presses I've been looking at had 1/3 hp motors and I have to say that the bigger motor definitely drew me to this one. They also had a smaller Rikon (I think it was 12" with a 1/3 hp).
It went together smooth as silk, there wasn't much work to the assembly at all. Just bolt the column to the base, slide the head on the column, attach the hand wheel, install the belts, slide the chuck on the arbor and drive it home with a mallet.
It's got 16 speed settings ranging from 220 rpm – 3600 rpm. Changing speeds is a pretty standard belt/pulley type adjustment. The base and the table are cast iron with a steel column. It is definitely sturdy and runs vibration free with a very quiet motor.
Table height adjustment is smooth and requires very little effort but the worm gear is a little sloppy. The table rotates 360 degrees around the cloumn without a problem and has a 45 degree tilt left and right.
In order to adjust the tilt you have to get up under the table with a wrench and the locking nut is not the easiest to get at but it works and holds the table securely.
On the down side. The hand wheel is cool to look at but it doesn't give you a lot of leverage, you almost feel like you need to put two hands on it.
The on/off switch is right out in front of you and easy to get at but as far as controls go, thats the only one that's easy to get at. It's got a clutch type depth stop that is set with a thumb screw on the hand wheel.
Using it will be a challenge if you've got big hands.
It does have a tension adjustment handle for the belts wth locking knobs so tension adjustments are easy and can be done without wrenches. But the tension adjuster is mounted right behind and painfully close to the handwheel.
It's a knuckle buster for certain.
I also learned that it's got an odd sized quill which makes installing the Orion mortisng attachment a bit dicey. Mortising attachments seem to be sized for quill diameters of 2 5/8" with adapters to fit 2", 1 7/8", and1 1/2". The quill on this press is 2 3/16".
The Orion mortising attachment retails for $119, after the sale it cost me a little over $100.
You can make it work on this press if you use the 2" adapter and get up on the spindle just above the quill but then you're only clamping down on the bottom half of the adapter and you don't really have enough room at the chuck, especially if you're using smaller diameter mortising bits. I'm going to solve this problem with a visit to the machine shop to have a custom adapter made.
I was able to get the 1/2" mortising bit in it and run a couple of test mortises.
The funky handwheel on the drill press gets in the way of the clamping lever on the mortising attachment so you have to angle it slightly to make things a little easier.
I really like the fence on the Orion. The supports and hold downs are sturdy and easy to use. The fence attaches to the drill press column and has a gear driven depth adjustment. They call it a micro adjust but I think that's being a bit generous. It was very sloppy when I first assembled it but there are adusting screws that let you dial it in. After I did that it was tight and smooth.
The Orion comes with 1/4", 5/16", 3/8", and 1/2" chisel and bit assemblies. The ones that come with it are ok but I can see myself picking up a set of CMT's at some point in the future.
All in all I think the Rikon is a good drill press for the money and Orion mortising attachment is definitely a keeper.
-- I've cut that board three times and it's still too short!
I've seen a lot of mixed reviews on the mortising attachments for drill presses. I'm glad you found one that works for you. Overall, it sounds like you got a couple of good deals.
nice review. it seems like a good drill press. speaking of bench top drill presses Craftsman has one that has 2/3 hp with 3+ inch stroke (good reviews also) on sale every once in a while for 149.99 dollars.
good luck with your new toy.. I hit the madness and got a bunch of stuff I needed too.
I've gotten a mixed bag of reviews on mortising attachments too junior and I was on the fence about buying it. I originally set out to buy a mortiser but my drill press desparately needed replacing. I picked it up from a buddy about 10 years ago, he had it for about 5 years and originally scavaned it from a machine shop that was closing it's doors and god knows how long they had it. The motor was starting to smell burnt if I ran it too long and because the motor was a goofy frame size a replacement would have cost me $150 so I decided to retire it.
All the mortisers that I was looking at had 1/2 hp motors and since this press had the same size motor I decided to give it a shot and see if I could kill 2 birds with one stone. I have to say that there is a phenominal difference between the amount of leverage you get with the handle on a mortiser vs. what you get with this press though and I still haven't had a chance to really run it through the paces because of the adapter issue, so I may still be dissapointed with my decision.
Good deal! Don't run out & buy the CMT bits till you give the original bits a good sharpening. See Karson's post: http://lumberjocks.com/reviews/product/259. I bought some high $ bits only to find out after sharpening the originals that they work just fine in qswo.
Keep us updated shaun. I've been looking at both but there's just something about spending that much cash on a machine that does only job. I took some time to look at your projects you've posted and I wanted to tell you that I think you're doing some great work. And loved your writing about the air compressor. That's a victory for us woodworkers….... Thanks for the reply.
Your Mortise attachment looks good. I bought one a few months ago and just have had hell with it as the arbor kept rattling out , after applying a heavy pressdown to tighten it in i broke the table clamp, all fixed and welded. it works ok now. So my thoughts are if you have lots of mortises to do then a dedicated mortiser is better however your set up looks strong .
Very well done review I really appreciated the use of the photos like they ,say a picture is worth a thousand words.
I went ahead and went straight to a dedicated mortiser, I have the Jet floor model, and I do love it, and have no regrets what so ever.
What I really wanted to know is, what do you think about the Rikon seen as some time has now past?
I have a real piece of crap 17" Delta floor model, I have had trouble since the moment I first touched the box it came in.
down the defective bolts and send replacements.
I have a Power Craft Pro Gold Series 16 speed drill press that looks identical to this one, except no goofy feed handle, on/off switch on the left, and a cream-colored housing for the drive belts. I bought it used, and appeared to be in great working order, except when the spinning bit is put under a load, the front belt skips – I can't get enough tension on the thing. I suspect that the tension lever is broken. When I turn it it seems to not engage anything. Any experience with this on your Rikon? My next step is to dismantle and troubleshoot, but want to avoid that if necessary.
Thanks for putting such a solid Rikon Drill Press Review together.
Love the photos! Looks like you got yourself a bargain there.
Hi, I only joined and/or posted here to get the word out that as a recent Rikon 30-120 purchaser, I as well did not like the cast iron heed handle. In reviewing parts lists for their other models, I noticed that the feed handle on the 30-140 looked like it may be able to be used on the 30-120. I emailed the company and they responded that it is possible and has been done. They shipped out the parts to me for around $40.
The installation is incredibly simple and takes about 5 minutes.
Firstly, remove any bits and lower the work table so the chuck can bottom out without hitting anything.
The old hub is connected to the feed handle and passes completely through the head unit and comes out on the other side. There are two nuts that thread on to the hub and hold the torsion spring cap/spring in place. Remove the outer lock nut, and then carefully remove the second nut, not dislodging the torsion spring cap.
The torsion spring is under constant tension and so must be removed carefully. The spring cap is notched and there is a "bump" cast into the head unit that the notches lock on to. Using the tab of the spring sticking out of the spring cap for leverage, firmly take hold of the spring cap and wiggle it off of the bump so then you can release the tension in the spring by letting the cap spin freely in your hand. Do a little at a time for obvious reasons. The quill will now drop freely and bottom out. The hub and feed handle can now come out at this time.
Slide the hub out of the head unit and remove the depth stop from the old hub and place it on the new hub and tighten.
Insert the new hub/depth stop into the head unit until it seats in place.
The hub shaft is threaded and split on the end where the spring goes. The split is how the spring maintains its tension and returns the feed handle up. Guide the end of the spring into the split (mine took a little coercion) and slide the spring/cap onto the shaft until it is near the head unit.
Thread the first nut onto the shaft just so it has some bite. (This will save time and effort when you need to lock down the spring/cap when you get the tension wound up).
Start winding the spring by turning it counter-clockwise. Use the notches in the cap to lock onto the bump so you can readjust your hand and keep winding. Eventually, the quill will be drawn back up. Turn the nut you threaded on the hub until it holds the spring cap in place.
Install the 3 feed handles onto the hub and tighten. Feed the quill down a few times and ensure the quill snaps back to the top when you release. If it doesn't, loosen the lock nut enough to continue winding the torsion spring. Once you get sufficient tension, lightly tighten the nut, and install the second nut and lock that down onto the first. If you tighten the nuts too much, you will not be able to feed the drill, or it will be difficult. Simply loosen the outer nut, and then loosen the inner nut until the feed is smooth and easy. Retighten the nuts.
You are done. Enjoy your new feed handle.


Saturday morning while I prepared to take a light jog through downtown Culver City, I had the crazy idea of taking tourists on a "wicked" one hour walking tour through the scandalous history of the "Heart of Screenland." It made perfect sense since I enjoy sharing the darker side of our show biz town whenever friends drop by. I enjoyed the thought for a moment. Then reality seeped in and the idea of organizing, publicizing and being responsible for such an endeavor seemed like more of a burden than fun. So I picked up where I left off - headed out the door and started my jog.
I am so glad I asked. Soon we were having a great time together. I was enjoying solving the riddles with them and adding whatever interesting trivia I knew regarding each of the landmarks we identified.
"We should have you join us, we'd win for sure!" said the young lady with a big smile.
After deciphering a couple more riddles we went our separate ways. But before I left they insisted I take a photo with them and said that they were going to dedicate this scavenger hunt to me. Their names were Eldhose and Pinku. In our short time together I learned that the young couple grew up in India and met through, as they put it, "the Indian version of Match.com." They explained how their parents found them for each other "but the decision to get married was ours to make." Three years later they still seem like newlyweds.
I told them about the crazy idea I had before my run, how I was happy I got to live it out in this unique way with them and that if it weren't for me spraining my ankle it would have never happened.
"It was serendipitous!" said Eldhose.
Thank you, Eldhose & Pinku for being all the proof I need that; in my world, nothing ever goes wrong.
Pinku, Darrell & Eldhose in the "Heart of Screenland," downtown Culver City.
*Right as I finished writing this Eldhose sent me an unexpected Facebook message to ask how I was and to let me know that he and Pinku are going to be doing another "CityRace" urban adventure hunt. One more coincidence, and reassurance, that I'm in the right place doing the right thing, right now.


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LJ Minor
My Most Viewed
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L.J.Minor@salford.ac.uk
School of Arts & Media
MediaCityUK, Room 2.08a, 2nd Floor Salford Quays M50 2HE
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television studies, feminist television studies, women's authorship, women's labour in the media industries, social class, comedy, representations of gender, performance
Lecturer in Television Studies
I undertook my AHRC-funded PhD at the University of Leeds, completing my research in 2021. For my PhD project, I sought to 'reclaim' the contribution of contemporary British female writer/performers to the TV comedy genre in the period of the 2010s. By examining a select few case studies and working with texts, para-texts, and the contexts of cultural production, my project expanded the understanding of comedy as craft through female authorship and an intersectional lens. I am currently in the process of converting my thesis into a monograph for Edinburgh University Press. Upon completing my PhD, I worked as Lecturer in Film and Media at the University of Leeds until 2022, when I joined the University of Salford as a Lecturer in Television Studies. I have presented my research at conmore...
I undertook my AHRC-funded PhD at the University of Leeds, completing my research in 2021. For my PhD project, I sought to 'reclaim' the contribution of contemporary British female writer/performers to the TV comedy genre in the period of the 2010s. By examining a select few case studies and working with texts, para-texts, and the contexts of cultural production, my project expanded the understanding of comedy as craft through female authorship and an intersectional lens. I am currently in the process of converting my thesis into a monograph for Edinburgh University Press. Upon completing my PhD, I worked as Lecturer in Film and Media at the University of Leeds until 2022, when I joined the University of Salford as a Lecturer in Television Studies. I have presented my research at conferences including Comedy and Power (Mixed Bill), Overlooked Women in Film and Television (CATHICon), Class and Contemporary UK Film & Television (London Metropolitan University), and Doing Women's Film & TV History (WFTHN). I am also currently a member of BAFTSS (British Association of Film, Television and Screen Studies), MeCCSA (Media, Communication and Cultural Studies Association), and WFTHN (Women's Film and Television History Network).
PhD in Media Studies (University of Leeds); MRes in Film and TV Studies: Distinction (Keele University); BA (Hons) in Film Studies and English Literature: 1:1 (Keele University
1. Michaela Coel's Chewing Gum: Redefining 'Unruliness' in London's East End 58 40
2. Alma's (Not) Normal: normalising working-class women in/on BBC TV Comedy 30 17
3. Shameless television: gendering transnational narratives 13 2
4. 'U OK hun'? Classed femininities, meme culture and locating humour in the celebrity 'hun' 6 3
Minor, LJ ORCID: https://orcid.org/0000-0001-8567-3762 2022, ''U OK hun'? Classed femininities, meme culture and locating humour in the celebrity 'hun'' , European Journal of Cultural Studies .
Minor, LJ ORCID: https://orcid.org/0000-0001-8567-3762 2022, 'Alma's (Not) Normal: normalising working-class women in/on BBC TV Comedy' , Journal of British Cinema and Television . (In Press)
Johnson, BL and Minor, LJ ORCID: https://orcid.org/0000-0001-8567-3762 2018, 'Shameless television: gendering transnational narratives' , Feminist Media Studies, 19 (3) , pp. 364-379.
Minor, LJ ORCID: https://orcid.org/0000-0001-8567-3762 'Michaela Coel's Chewing Gum: Redefining 'Unruliness' in London's East End' , in: UK and Irish Television Comedy: Nation, Region and Identity , Palgrave Macmillan. (In Press)
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LSU Tiger Stadium
An announcer named Dan Borne is heard saying, "It's Saturday Night in Death Valley and here come your Fighting Tigers of LSU," as the LSU Tigers football team approaches the stadium. Every devoted follower still gets chills whenever they consider this piece of information nowadays. Since 1987, Tiger Stadium has been widely regarded as the stadium that presents the most difficult for an opposing team to compete in. As a direct result of this conclusion, polling was carried out by the College Football Association in 1987, Sporting News in 1989, Gannett News Service in 1995, and Sport Magazine in 1998. Check it out.
ESPN bestowed the title of "the hardest venue to play" for Tiger Stadium in 2007. According to what I've heard them state, "Tiger Stadium is by far the loudest stadium in the country." I quote them on this. In 2009, the writer Chris Low for ESPN selected Tiger Stadium as having the finest Saturday night atmosphere in the country; out of the 12 venues, they're a part of the league. In 2015 and 2016, contributors to USA Today, Laken Litman and Steven Ruiz, ranked Tiger Stadium at the top of the 14 sites used by the league.
Tiger Stadium Information
A stadium in Death Valley is recognized across the college football community for its prominence. Any away team would be foolish to compete in an outdoor match at this location. This is Tiger Stadium, which can be found on the campus of Louisiana State University in Baton Rouge, Louisiana. Since 1924, this venue, which was precisely designed and constructed, has served as the home stadium for the LSU Tigers football team.
Tiger Stadium had only 12,000 spectator seats available for spectators when it first opened in 1924. The stadium's current seating capacity is 102,321, which was increased due to past renovations and extensions. Currently, it is the fifth-largest stadium in the National Collegiate Athletic Association (NCAA), the third-largest stadium in the Southeastern Conference, and the sixth-largest stadium in the entire world (SEC).
Only the lower halves of the sideline grandstands on the east and west sides of the field, which make up the bulk of the current stadium, were built when the area was first constructed. Eight years after its first premiere, the existing grandstands had an additional 10,000 seats added to them (1931).
By adding 24,000 seats to the north end zone of LSU Tiger Stadium in 1936, The capacity of the stadium increased. The stadium was designed to resemble a horseshoe and is now more than four times its original size. Initially, financing for dormitories was included in the state budget rather than funds to enlarge the sitting area. It is reported that Governor Huey P. Long, who had taken a personal interest in LSU for a considerable time, did so. He issued orders that called for the erection of dormitories that they're topped with chairs. However, in a feature that ESPN published in 2015, Bud Johnson, who was at the time the director of the athletics museum and a former LSU sports information director, said that the notion was initially conceived by LSU's athletic director, T. P. "Skipper" Heard. He observed that the governor had made several different aid options available.
Despite being built, these dorms hadn't been occupied by 2015.
One of the things that set Tiger Stadium apart from other venues is the yard lines that have been painted on the turf. The yard lines at Tiger Stadium end in a "5", which differentiates them from the yard lines at other football stadiums. Most stadiums only use yard lines that end in "0" to indicate their playing fields.
If you find yourself in Baton Rouge, make it a point to stop by the enclosure that Mike the Tiger calls home. It is located between Tiger Stadium and the Pete Maravich Assembly Center. The fact that a genuine tiger serves as their mascot elevates its status beyond that of a simple symbol.
There are also some differences between the goal posts at Tiger Stadium at LSU and those at other modern stadiums. Because the goal posts are designed in an odd "H," the team may enter the field via the goal post located in the north end zone. Tiger Stadium is one of only three college stadiums in the United States associated with institutions that play in the Football Bowl Subdivision that still have H-type goal posts.
The crossbar from the goalposts positioned in the north end zone of Tiger Stadium from 1955 until 1984 can now be seen affixed to the ceiling above the entrance from the LSU dressing room onto the field. This location has remained the same since the stadium opened its doors in 1923. On the horizontal bar, the word "WIN!" has been sprayed in spray paint. Each player has made it a habit and a part of their superstition to touch the bar as they leave the locker room for the first time before entering the field.
TIGER STADIUM RULES
Outside of professional news media members, visitors at Tiger Stadium are not allowed to own video cameras.
There is a strict no re-entry policy. You need to have an unscanned new ticket to re-enter the building.
Smoking and using any tobacco product on the LSU campus is strictly forbidden. This restriction applies to everyone present on the LSU campus at the time it is in effect, including students, staff members, administrators, contractors, and guests. The regulations prohibit using tobacco. Products include electronic cigarettes, cigars, smokeless tobacco, snuff, pipes, or chewing tobacco.
Any seat that prevents a fan sitting in an adjacent chair from experiencing comfort or satisfaction (whether from the front, the back, or the side) is not allowed. Only stadium seat cushions completely devoid of pockets and other storage areas will be permitted. There is no seat at Tiger Stadium that cannot accommodate a stadium seat with a width of 16 inches or less.
Every single person who enters Tiger Stadium will go through a security screening.
Hurling things from the stands is completely forbidden and will result in the user being ejected from the venue immediately.
Inside Tiger Stadium, umbrellas are not permitted in any capacity. During the security area's sweeps, any umbrellas left at the gate or entry will be taken and thrown away.
Tiger Stadium requires a valid ticket from every single individual, regardless of their age.
To learn more, contact them at (225) 578-2184. or visit their website. View more.
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Serving the whole Baton Rouge and surrounding areas