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Tag Archives: Sarah Guterman
Sarah Guterman: Celebrating 39 Years Of Musical Wonder
Sarah Guterman always wanted to teach.
She wanted to teach in an elementary school classroom. She wanted to teach music. She wanted to give children the same love for rhythms, melodies, songs and stories that she'd enjoyed growing up.
For 39 years, she's done just that.
Sarah Guterman, doing what she loves: teaching music.
As a kid in Mamaroneck, her family — including her Episcopalian minister father — gathered around the piano. Sarah's mother — a 2nd grade teacher — played.
Sarah graduated from Skidmore in 1975, when there was a glut of teachers. She received 3 offers, though, and chose Westport because — located right on the Sound — it felt like home.
"Of course, I couldn't afford to live here!" she laughs.
Her 1st job was at Hillspoint Elementary School. Then it closed.
She moved on to Burr Farms El. It closed too.
Her 3rd position was Green's Farms. Unbelievably, it closed. "Whenever I got to a new school, people panicked!" she says.
She transferred to Long Lots, when it was K-8. She taught music in the hallway, then had a 3rd grade class.
When a job opened up at Kings Highway 25 years ago, Sarah had a choice: music or classroom. She chose music, and never regretted it.
Sarah Guterman's Kings Highway classroom is packed with musical "stuff."
"This school has a warmth to it," she says. "It's very supportive — the parents and the staff."
The building is "challenging" — there have been ceiling issues, and a room was closed — but "the people are amazing. I'd take people over the physical plant any day of the week."
Her passion is bringing children's literature into the music room. She does it in many ways, including Readers Theater. Sarah explains, "I look for things in books like quatrains that can be sung."
A strong advocate of the Orff Schulwerk music philosophy — she's been past president of Connecticut's OS association, and presents nationally on the curriculum — she appreciates that it "empowers children. They learn to work as a team, be flexible and make adjustments." They do this by using many instruments, and utilizing rhythm and patterns via speech and movement.
A sign in Sarah Guterman's classroom says it all.
In recent years, though, music education — much of education, in fact — has run headlong into standardized testing.
"The new state initiatives this year hit me hard," Sarah admits. "I had to test kids on stuff I hadn't taught, like note-reading, to prove later that I actually did teach it. For the first time ever, I had kids crying."
The result, she says, is that "the whimsy" has been taken out of music education.
"Music is an art," Sarah insists. "To use paper and pen to show data …" She shakes her head in disbelief.
"We're treating children like a product from a factory," she continues.
"Well, they're not. They're living, breathing organisms."
State initiatives — and a national push toward testing — are a major reason Sarah is retiring this month. "After 39 years, if I can't teach my best — it's time," she says.
Throughout her career, she has loved the freedom Westport gave her and her colleagues. "We've been able to develop our own school cultures and passions," she says.
Sarah Guterman and fellow music teacher Carrie Kohlun plan upcoming lessons.
For example, Sarah's choruses have produced plays. She's done recorder ensembles, and dance. She's given up plenty of free time to do it. But she does it because it's what she's always wanted to do.
"I love seeing a child skip out of my room saying, 'That was fun!'" Sarah says. "It feels good to deliver a good lesson, but have them feel like they were playing. We need playfulness at the elementary level."
In retirement, Sarah is not leaving children behind. She'll head to Italy, but when she returns she looks forward to bringing picture books to life through "guest artist gigs."
Sarah smiles. She sums up 4 decades of teaching — all of it in Westport's elementary schools — very simply.
"What a dream!" she says. "I've been able to come to work, sing and tell stories!"
And thousands of boys and girls — some of them now men and women — are better human beings for Sarah Guterman's passionate, creative and loving "work."
Posted in Arts, Children, Education, People
Tagged Kings Highway Elementary School, music education, Orff Schulwerk, Sarah Guterman
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These holiday bistro or gift boxes are really cute! They are great as Christmas gift containers or food containers for cookie exchanges, baked goodies, holiday ornament gifts, or any surprises.
Measures 8.5" across x 10" tall x 4 3/4".
ALL 13 Gift Containers for $25.


Last month (May 2010), opponents of the planned demolition of two streets in Goole, a small town in East Yorkshire, were finally given a public inquiry at which they got to air their objections to the scheme, which is being financed under the last government's Housing Market Renewal scheme. Not that it is likely to make a difference, mind – in March the man behind the national scheme admitted to me in a Big Issue in the North interview that the outcome of these hearings tend to be a foregone conclusion anyway (which residents of course already know). In any case, the results will take six weeks or more to arrive, after which the houses will probably move to council ownership and be bulldozed to make way for new build. Here former resident Gordon Crook, who opposes their clearance, gives his thoughts on the matter.


2015 Body Image, Casa de la Cultura, Del Rio,TX.
2014 Latina y Que, Co -Curator Mas Rudas YLA Mexic –Arte, Austin TX.
Casa De Luz, Luminaria, San Antonio, TX.
Lead artist for indoor public art project in collaboration with AVID Class.
design. Worked with community residents to restore project.
development of design and creation of mural.
development of design, cut tile, installed mosaics.
Designed and created mural in collaboration with high school students.
Assisted lead artist in conceptualizing and creating painted mural.
and Cultures Regional Conference. El Paso TX.


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A *Surfer Rosa* syntax theme for [Atom](https://atom.io/)? Oh My Golly!

![Screenshot](http://mazz.tv/img/rosa-syntax/screenshot.png)

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More than 80 percent of lesbian, gay, bisexual and trans people voted for their district's Democratic House candidate, according to the NBC News Exit Poll.
Democratic candidates enjoyed strong support from lesbian, gay, bisexual and transgender voters nationwide on Tuesday, according to the NBC News Exit Poll. LGBT people made up 6 percent of the electorate in the midterms, and 82 percent of them cast their ballot for their district's Democratic candidate for the House of Representatives, versus 17 percent for their district's Republican House candidate. The exit poll also found LGBT voters supporting Democratic Senate and gubernatorial candidates in strong numbers.
From a demographic perspective, LGBT voters were second only to black voters when it came to supporting Democrats in the midterms. Ninety percent of black voters supported their House district's Democrat, while just 9 percent supported the Republican in the race. LGBT voters preferred Democratic candidates at higher rates than several other demographic groups that are traditionally thought of as Democratic-leaning, including Latino, young and college-educated voters.
The percentage of LGBT voters who identify as Democrats has gone up over the last few election cycles, according to the NBC News Exit Poll. From 2014 to 2018, LGBT voters identifying as Democrats increased 13 points, while the percentage identifying as Republican dropped by 7 points. The percentage of LGBT voters identifying as independent remained relatively consistent from 2014 to 2016, then dropped by 8 points between 2016 to 2018 (Note: Prior to 2016, the NBC News Exit Poll did not ask voters about their gender identity, only their sexual orientation).
When it comes to having a favorable opinion of the parties, the NBC News Exit Poll found 61 percent of LGBT voters only had a favorable opinion of the Democratic Party, 12 percent only had a favorable opinion of the Republican Party, 14 percent viewed neither party favorable and only 6 percent viewed both parties favorably.
Interestingly, the growing support for Democrats and shrinking support for independents does not mean that the self-reported ideology of the LGBT electorate has changed since the last midterm election in 2014. In fact, the NBC News Exit Poll found a nearly identical ideological breakdown amongst LGBT voters even though they increasingly chose Democratic candidates in 2018.
The NBC News Exit Poll found 53 percent of LGBT voters said one reason for their midterm vote was to express opposition to President Trump, 10 percent said it was to express support for him and 31 percent said Trump was not a factor in their midterm vote. Nearly 80 percent of them said the country is going in the wrong direction, and less than 20 percent said it's on the right track.


The Australasian Union of Jewish Students has welcomed the Monash Student Council's rejection of the highly offensive and unproductive Boycott Divestment Sanctions propaganda movement.
The rejection of BDS, which came after extensive AUJS advocacy, was overwhelming. Just 4 councillors voted in favour, 2 abstained, and 11 voted against.
Over 90 AUJS members attended today's meeting, ensuring the voice of Jewish students was clearly heard.
"Today's move represents a through rejection of the hateful and unproductive BDS," AUJS political affairs director Matthew Lesh said.
"BDS incorrectly blames one side, doesn't support a two-state solution, or encourage the necessary ongoing dialogue.
"Moreover, targeting Jewish businesses represents borderline on antisemitism, and is in every sense impractical," Mr Lesh continued.
"Israeli technology is ubiquitously integrated into our lives, from our computers to USB sticks, that simply cannot be boycotted.
Monash student Julian Kowal, who spoke on behalf of AUJS at the meeting, said that the debate turned nasty as Jewish students were called "f--king Zionism scum", and falsely accused of being paid by the Israeli government and serving in the IDF.
Members of the former Monash Socialist Alternative Club, who undertook the offensive activity, were requested to leave the meeting to allow other students to speak.
"The proponents of BDS have no interest in peaceful dialogue or positive outcomes in the Middle East," Mr Kowal said.
"All they seem interested in doing is causing alienation of Jewish students on campus, and throwing around insults."
Today's rejection of BDS comes just two days after Monash Clubs and Societies deregistered Socialist Alternative, severely limiting their access to university resources.
The deregistration was in response to AUJS complaints about an antisemitic rejection of Jewish students from a Socialist Alternative event.
"This deregistration comes after years of Socialist Alternative harassment and intimidation of Jewish students on campus, ranging from yelling insults at kippah-wearing students, to one case of late-night physical assault," Monash Jewish Students' Society president Byran Ladowsky.


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CHRIS DALE'S METAL MELTDOWN
MANAGERS v PRODUCERS
I've been in the music industry a while now doing different things and young bands sometimes ask me for advice. My answers aren't often helpful, but they don't know that so they still ask.
Sometimes young musicians ask about about managers and producers. It's always the same three questions. What do they do? Do we need them? And who would win in a hypothetical fight between the two?
The short answer to the first question is, managers take care of the business side of the band and producers take care of the recording side of the band.
The answer to the second question yes, you need both because you want to be successful. You'll have to start a band by managing yourselves through some local gigs and producing yourselves on your first bedroom demo, but for big time success you'll need to bring in the professionals on one or both sides. I can't think of a single band that has had major success by both managing and producing themselves. I may be wrong here, but I can't think of one.
A good manager can spread the word through the music industry about your impending success, he (or she) can sort out deals for you (recording, publishing, merchandising, agency, advertising and on and on). They can be your guide and mentor through the tricky times and for this they'll usually ask a meagre 20%. Bargain!
A good producer will take care of your recordings and make them sound great. But more than that he (or she) will bring them in on time and on budget, he'll play to the band's strengths and iron out the weaknesses with subtle hints such as: "let's put a brand new chorus in there, shall we?", "Let's try not to drink too much before recording the solos, shall we?" and "today, let's fire the drummer!"
For this, producers usually charge an up front fee and a small percentage of the record. They're a bargain too.
True, you can record your demos at home and mix them yourself, but without someone being paid to tell you which bits are shit you'll never know until it's too late. That's usually when you sell no copies.
Oh and please note, I did say "good manager" and "good producer". That's not necessarily the first person who happens to like your band, though it might well be. Ideally, like the band, the manager and producer should be good at their jobs. That doesn't mean they have to love the music, that's the fans' job later, but they do have to be able to make other people love the music.
Now we know what managers and producers do, let's look at who would win in a fight between the two. Luckily I got to see one in action once and I can tell you it was a pretty clear mauling. This is how it happened.
I was in a studio with a producer recording some bass for a band. I won't tell you which producer or what band to try to save some dignity for all the parties involved.
The band's manager was coming to the studio one day to see how the new recordings were getting along. One of the band piped up the opinion that the manager really knew what was going on with our music, he really "got us".
In return, the producer commented wisely that it was not important that a manager understand the music as long as he understood the business. He was right. But it's also true that a manager must make the band believe that he likes them. They must think he really "gets them". Bands are odd like that, even the big ones.
To illustrate how little the manager really understood about sound, music and "getting them" the producer set up a little game. During the game, he told us whatever happened he would not alter the sound of what we heard at all.
The manager arrived and it was smiles and handshakes all round. He was keen to hear the new recordings, he said.
"Well, it's not really mixed yet" said the producer "but I'll let you hear a bit".
We all went into the control room and the producer blasted a track that we'd finished out of the speakers at crazy volume. At the end of the song the manager gushed, about how cool it sounded. He definitely really "got it".
The producer was pleased the manager liked it (his job was safe then). Modestly he said: "but of course it's not finished, I still need to do some work on that snare sound for a start".
"Yeah" the manager agreed "it does sound a bit... y'know..."
"Yeah", the producer nodded and leapt up to fiddle with a big graphic equalizer that wasn't connected to the snare sound. Then he moved some unconnected faders around.
"How's this?" he said and put the finished track on again.
The manager nodded, "Yes, that's what I was thinking". The producer had won the match to such an extent that the manager didn't even realise it had begun.
"Good idea" said the producer, he was visibly happy. The manger was happy too, the rest of us were dumfounded. He didn't have a clue really, did he?
But the producer was right: he didn't need a clue.
Producer 1 : Manager 0
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DEAD KOSMONAUT: COLLABORATION OF THE UNDERGROUND SWEDISH METAL SCENE
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WHY DO LEAD SINGERS BEHAVE THE WAY THEY DO?
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IS THERE ANYONE THAT DOESN'T LIKE IRON MAIDEN?
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SCREAM FOR ME SARAJEVO: BRITISH ARMY TELLS HOW CLOSE TO DEATH BRUCE DICKINSON AND BAND ACTUALLY CAME IN 1994
"They had actually taken aim at the vehicle, taken their safety's off..."
UNDISCOVERED KISSTORY - KISS COVER VERSIONS
We're going to sit back and listen to the original versions of all the songs that Kiss have covered on their records
1066 AND HOW THE NORMAN INVASION OF ENGLAND SHAPED HEAVY METAL
These invaders that King Arthur and his brave Knights of the Round Table fought against were the Anglo-Saxons - yes, the English!
'KISS ROCKS VEGAS LIVE' CD AND DVD
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EU REFERENDUM FROM A HEAVY METAL PERSPECTIVE, TAKING THE SWISS EXAMPLE
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UNDISCOVERED KISSTORY - THE KISS GUITARIST AUDITIONS OF 1982 Part 2
...more juicy tales and a plethora of brand new information.
...and the mystery of who actually played guitar on the Creatures Of The Night album.
BEST NEW UK BAND OF 2016 AND THE PHENOMENON OF BIGFOOT HOAXERS IN NORTH AMERICA
"Something very odd is going on in the forests of North America and it's not Bigfoot."
BRIGITTE SCHÖN: 'BRUCE DICKINSON: INSIGHTS: AN INTERPRETATION OF HIS SOLO ALBUMS
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THE IRON MAIDEN-GO WEST PARALLEL UNIVERSE THEORY
He said in one diary he had a singer named as "Bruce" noted down, a phone number and next to it he'd written "Too heavy!"
UNDISCOVERED KISSTORY: VINNIE VINCENT'S WARRIOR
The Full Story Of Vinnie Vincent's Awesome Pre-Kiss Band
UNDISCOVERED KISSTORY: THE KISS DRUMMER AUDITIONS OF 1980
How many and which drummers auditioned for KISS when Peter Criss departed the band in 1980?
MATTHEW TRIPPE RIP
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KISS – LOVE GUN DELUXE EDITION
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MR BIG – KOKO, LONODON
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MR BIG – THE STORIES WE COULD TELL
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UNDISCOVERED KISSTORY I: An Entire Album Full Of Unrelased Songs
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Kiss Reformation Magick
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Exclusive Interview With Geoff Tate
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Morally Worrying Session
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Kiss 'Monster' Review
Thoughts on the lastest Kiss album after hearing it a few times. It is indeed a great album!
The Best Invention Of All Time
Absolute proof that we bass players (including Steve Harris, Billy Sheehan and Bob Daisley) are the best people in the world. Fact!
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The tale of how back in 1994 Bruce Dickinson and his band of merry men (including myself) found ourselves on our way to the besieged city of Sarajevo in the midst of the Bosnian War.
The second part of the story, telling of the practicalities of playing a heavy metal gig in a besieged city.
Our journey home from war-torn Sarajevo and refelctions on the long term effects of war.
Why do bands need managers and producers and more importantly who would win in a hypothecial fight between the two?
Kiss 'Monster' Album Preview
Predictions of what the upcoming Kiss album may sound like. I think it's going to be pretty good!
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Feburary 2012
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Take Your Pick Competition
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What do you do if Banarama offer you their backing vocals for a heavy metal session?
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European Festival Round-Up
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Who's Your Favourite Ozzy Guitarist?
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Recording Bass at Steve Harris' House
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A Column About Columns
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redpajama_set_name: RedPajamaCommonCrawl


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Umar Pulavar Tamil Language Centre is located at 588-C Serangoon Road, Singapore 218226. Umar Pulavar Tamil Language Centre is near Lavender Street; is near Serangoon Road; is near Beatty Road; is near Balestier Road; is near Sturdee Road North; is near Jalan Besar; is near Bendermeer Road; is near Tessensohn Road; Umar Pulavar Tamil Language Centre is geographically located at latitude(1.3151 degrees) 1° 18' 54" North of the Equator and longitude (103.8588 degrees) 103° 51' 31" East of the Prime Meridian on the Map of Singapore or JB.
The locations related to Umar Pulavar Tamil Language Centre are represented by the nearest distances two points and may not be nearest by road. For example, Umar Pulavar Tamil Language Centre is located 105 metres from Sri Vadapathira Kaliamman Temple. Umar Pulavar Tamil Language Centre is located 142 metres from Penang Hotel. Umar Pulavar Tamil Language Centre is located 158 metres from Sturdee View. Umar Pulavar Tamil Language Centre is located 167 metres from Kong Wai Shiu Nursing Home. Umar Pulavar Tamil Language Centre is located 167 metres from Kwong Wai Shiu Hospital.
Sri Vadapathira Kaliamman Temple is located 0.1 Kilometres away from Umar Pulavar Tamil Language Centre. Sri Vadapathira Kaliamman Temple - 1 Photo(s) Featured.
Sturdee View is located 0.2 Kilometres away from Umar Pulavar Tamil Language Centre. Sturdee View - 1 Photo(s) Featured.
Kong Wai Shiu Nursing Home is located 0.2 Kilometres away from Umar Pulavar Tamil Language Centre. Kong Wai Shiu Nursing Home - 1 Photo(s) Featured.
Penang Hotel 0.1km, Asphodel Inn 0.2km, Aqueen Hotel Lavender 0.4km, are places to stay (hotel, service apartment, inn) located near Umar Pulavar Tamil Language Centre.
Eminent Plaza 0.2km, City Square Mall 0.5km, Serangoon Plaza 0.6km, are places to shop (shopping mall, shop houses) located near Umar Pulavar Tamil Language Centre.
Thief Market 1.2km, Malay Heritage, Istana Kampong Gelam 1.3km, Land Transport Gallery 1.3km, are places of interest (attraction) located near Umar Pulavar Tamil Language Centre.
Rainbow Centre Balestier Special School 0.4km, ITE West Balestier 0.6km, Oxford Road 0.8km, are places of learning (school, college, university) located near Umar Pulavar Tamil Language Centre.
Somme Road Playground 0.4km, Townshend Road Open Space 0.8km, Kitchener Green Playground 0.9km, are parks, playgrounds, open fields or commons located near Umar Pulavar Tamil Language Centre.
Umar Pulavar Tamil Language Centre
Sri Vadapathira Kaliamman Temple
Penang Hotel
Sturdee View
Kong Wai Shiu Nursing Home
Kwong Wai Shiu Hospital
Asphodel Inn
Leong San See Temple
Shell Serangoon
Eminent Plaza
Lavender Food Centre
Singapore Khalsa Association
Reliance Building
Hock Siew Tong Temple
Club CSC @ Tessensohn
Esso Lavender
Living Spring Fellowship
Pertain Court
Sex-In-The-City is about 0.3 km away.
Lavender Place is about 0.3 km away.
HIS Sanctuary is about 0.3 km away.
Arulmigu Velmurugan Gnana Muneeswaran is about 0.4 km away.
FAN House is about 0.4 km away.
Somme Road Playground is about 0.4 km away.


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text:
Rutschen ist ein mit Verordnung des Regierungspräsidiums Tübingen vom 15. Oktober 1983 ausgewiesenes Naturschutzgebiet mit der Nummer 4.112. In der Änderungsverordnung vom 9. Dezember 1997 wird der Kletterbetrieb an den Felsen des Schutzgebiets genauer reglementiert.

Lage
Das Naturschutzgebiet befindet sich im Naturraum Mittlere Kuppenalb. Es liegt am Albtrauf südlich von Dettingen an der Erms, westlich von Bad Urach, nördlich der Gemarkung Bleichstetten und östlich vom Gestütshof St. Johann. Der Uracher Wasserfall liegt im Zentrum des Gebiets. Das NSG ist sowohl Teil des FFH-Gebiets Nr. 7522-341 Uracher Talspinne als auch des Vogelschutzgebiets Nr. 7422-441 Mittlere Schwäbische Alb. Das Naturschutzgebiet liegt vollständig im Biosphärengebiet Schwäbische Alb.

Namensherkunft und Geschichte
Im Bereich der Rutschenquelle, die in einem Maar des Schwäbischen Vulkans entspringt, wurden Siedlungsspuren nachgewiesen, die in Zusammenhang mit der vorchristlichen Besiedlung des benachbarten Runden Bergs stehen. Die steile Abbruchkante der Albhochwiese, trug in der Forstbeschreibung Urachs von 1520 noch den Namen "uff langen Velsen" und wurde später "Angelfelsen" genannt. Erst mit dem Bau der Holzrutsche (später einer Eisenrutsche), die ab 1680 begann, wurde der heutige Name "Rutschenfelsen" gebräuchlich. Das auf der Albhochfläche geschlagene Scheiterholz wurde über glatte Röhren, mit großer Geschwindigkeit und weithin hörbarem Getöse, in das Brühltal abgelassen und über die Erms und schließlich dem Neckar nach Stuttgart geflößt.

Um für die Unterbringung der Ochsengespanne zu sorgen, die zum herankarren der Scheite benötigt wurden, kam es 1681 zum Bau des in Anlehnung sogenannten Rutschenhofs, der 1815 durch einen Fohlenstall erweitert und 1828 nach Verkauf durch den Staat an die Gemeinde Bleichstetten jedoch abgebrochen wurde. Heute befindet sich dort ein Grillplatz und eine Schutzhütte.

Schutzzweck
Laut Verordnung ist der Schutzzweck die Erhaltung von Lebensräumen, deren Nutzung wegen der hohen Reliefenergie erschwert ist und die daher naturnah geblieben sind:
 landschaftsprägende geologische Bildungen wie Felspartien und Kalktuffbildungen (Wasserfälle);
 trockenwarme bis humide Laubmischwaldgesellschaften, Felsstandorte mit Trockenrasen und Mauerfugengesellschaften sowie reliktische feuchtigkeitsgebundene Pflanzengesellschaften;
 Lebensräume zum Teil ausgesprochen seltener Insekten und Amphibien sowie engere Lebensräume insbesondere durch menschliche Störungen gefährdeter Fledermausarten und sehr seltener, zum Teil felsbewohnender Vogelarten;
 Grünland zur Vervollständigung der Lebensraumeinheit Wald/Wiese wegen der bestehenden und für die Erhaltung der faunistischen Lebensgemeinschaften notwendigen Wechselbeziehungen.

Flora und Fauna
Im Gebiet sind die gefährdeten Pflanzen Hirschzungenfarn und Pfingstnelke beheimatet. Die stark gefährdete Käferart Alpenbock ist in den Buchenwäldern des Gebiets verbreitet.

Siehe auch
 Liste der Naturschutzgebiete in Baden-Württemberg
 Liste der Naturschutzgebiete im Landkreis Reutlingen

Literatur
  Regierungspräsidium Tübingen (Hrsg.): Die Naturschutzgebiete im Regierungsbezirk Tübingen. Thorbecke, Stuttgart 2006, ISBN 978-3-7995-5175-5.

Weblinks

 mit Schutzgebietsverordnung und Karte

Einzelnachweise

Schutzgebiet (Umwelt- und Naturschutz) in Europa
Naturschutzgebiet im Landkreis Reutlingen
Geographie (Dettingen an der Erms)
Schutzgebiet in Bad Urach
Geologie der Schwäbischen Alb
Schutzgebiet der Schwäbischen Alb

redpajama_set_name: RedPajamaWikipedia


Prima facie is Latin for "on the face of it" or "at first sight." As we mentioned earlier, lawyers like to use Latin words in an effort to feel important. This one is actually one of the more common Latin terms that is a part of the lexicon of most personal injury accident lawyers in Maryland. A prima facie case presents enough evidence for the plaintiff to win their personal injury case, barring any defenses or additional evidence presented by the defendant that got by that "first sight."


Replacing a universal joint is a fairly straight forward affair, but being the quickest thing to replace when investigating driveline vibration or whining noises and having 4 on the vehicle, you can end up replacing them quite frequently. If you do any sort of off roading, water, mud and dust don't help if they are not regularly greased (i.e. daily). Typically, this is what destroys them on an expedition. We used to replace universal joints in Belize like they were going out of fashion.
Coupled with the right installation and attentive maintenance, the frequency of failure can be reduced by picking the right UJ from the swathes of shite on sale.
Not all UJs are born the same.
These are all available to buy under the part number TVC100010! That is to say that they will all fit because they have a 75mm span and 27mm end caps. I have been exposed to these three types and below I will highlight some of the differences in quality between types of universal joints.
Suffice to say, I will start with type C. This is how it came from the factory. Enough said.
Moving on to the reputably branded GKN/Hardy Spicer universal joints, Type B on the left and Type A on the right. To begin with, the boxes are of different quality. The left is cheap and floppy that opens at one end. The right is more sturdy and has a flap on the top.
Side by side, the main difference are the types of seals. Type B on the left has the seals exposed, whereas Type A has a retainer that houses the seal which the end of the cap runs inside. This is much more effective at keeping out dust, water and mud.
When we look directly at the trunnions, we can now start to see a different in construction. Type B (left) has a thinner 16mm diameter, whereas Type A has 18mm. You can also see the seal arrangement on Type A. The end caps are also different sizes. Whilst Type B has a thicker cap wall, Type A has thicker needle rollers bearings.
Below is the genuine Land Rover UJ that has the metal capped seals the same as Type A. It has failed because one of the ends is rusty, so has not been greased properly.
The other 3 journals look in surprisingly good condition, despite the fact that they had been on there for many years. The item itself being of a higher quality meant it was typically capable of doing the job for thousands of miles more, but was let down by its owner on this occasion.
A propshaft rotates at a hell of a speed. The universal joints will oscillate twice per rotation (back and forwards), and they rotate 3.54 times more than the road wheels (diff ratio), meaning each end cap will move about half a million times over 100 miles. How long do you expect a universal joint to last? I would hope at least 25,000 miles with good care, maybe more. That would mean at least 125 million oscillations in that time. Who knows how many millions of rotations this one had seen, even through it had no play on its greased journals.
Knowing what is being asked of a universal joint and being able to directly compare products with different price tags under the same part number, means I know that i'll only ever spend £20 on a universal joint. With the correct installation and regular greasing it should last a long time. If spending twice as much means i'll have to change it three times less, it gets my vote.
On expedition, universal joints will wear very quickly without regular greasing. You may as well fit the best parts available to give yourself a fighting chance of keeping them in good condition.
In summary, if you want the best ones, make sure they have the metal capped seals and GKN stamped on the body.
NB, make sure that you're spending £20 on the HD version, listed as having 18mm roller bearings, e.g. TVC100010.


text:
package com.sedmelluq.discord.lavaplayer.remote.message;

/**
 * All remote message types.
 */
public enum RemoteMessageType {
  TRACK_START_REQUEST(new TrackStartRequestCodec()),
  TRACK_START_RESPONSE(new TrackStartResponseCodec()),
  TRACK_FRAME_REQUEST(new TrackFrameRequestCodec()),
  TRACK_FRAME_DATA(new TrackFrameDataCodec()),
  TRACK_STOPPED(new TrackStoppedCodec()),
  TRACK_EXCEPTION(new TrackExceptionCodec()),
  NODE_STATISTICS(new NodeStatisticsCodec());

  /**
   * The codec used for encoding and decoding this type of message.
   */
  public final RemoteMessageCodec<?> codec;

  RemoteMessageType(RemoteMessageCodec<?> codec) {
    this.codec = codec;
  }
}


text:
Q: C++ to java array conversions How can i convert a short* from c++ to a jshortArray from java?
I'm looking for some documentation online, but it's not easy to find.

A: jshortArray convertShortArrayToJNI(JNIEnv* env, short* arr, size_t count) {
  jshortArray retval = env->NewShortArray(count);
  env->SetShortArrayRegion(retval,0,count,arr);
  return retval;
}

You don't need to free the retval. It is a "local reference", which means that it will be freed by JVM as soon as you return through JNI from the recent call. Unless you are calling it from a native thread, of course...

redpajama_set_name: RedPajamaStackExchange


text:
Dikilitaş is a village in the Besni District, Adıyaman Province, Turkey. Its population is 440 (2021).

References

Villages in Besni District


Did you know that a part of the work Markerna by Carola Grahn is a speech that is engraved into the physical object, or that in Ingeborg Annie Lindahl's work it's possible to see traces of an old settlement that was found next to Kiruna's former town hall, the Igloo?
Find out more about contemporary art, the works in the Transitions exhibition and the artists that created them. On Saturdays in April and May you have the opportunity to participate in an open tour where one of our knowledgeable hosts will guide you around the exhibition.
Open tours take approximately 45 minutes, are free of charge and there's no need to book in advanced. Places are limited, so make sure you come in time to secure your place!


text:
Tag Archives: Simon Ravenhill
Camptastic!
THE MYSTERY OF IRMA VEP
Blue Orange Theatre, Birmingham, Friday 3rd May, 2019
Charles Ludlam's camp classic is more well-known in the USA than on this side of the pond. A two-hander that parodies Victorian melodrama, Gothic romances, and creaky old horror films, this is a chance for a pair of actors to showcase their versatility and, equally importantly, their quick-change skills. Lady Enid, second wife to Lord Edgar, pries into the history of the family estate of Mandacrest. She unearths a tale of vampires, werewolves and Egyptology, while beyond the French windows, a wolf preys on lambs, spreading terror…
Stuart Horobin is great as stuffy Lord Edgar, more tweed than man, clinging to the memories of his late first wife. Horobin throws himself into his roles with gusto: Edgar conjuring a long-dead Egyptian queen, for example; or as dour housekeeper Jane, serving up huge dollops of exposition.
He is joined by Darren Haywood, his match in wide-eyed histrionics. Haywood is a hoot as stable man Nicodemus, stumping around on a 'wooden' leg, and he's magnificent as the lip-quivering Lady Enid. His appearance as the reincarnated mummy is a highlight – in fact, whenever he's on stage, which is most of the time, he delivers, in a consistently funny performance that is a real treat to behold.
Both actors handle the florid verbiage Ludlam liberally doles out with conviction. The dialogue paraphrases the likes of Shakespeare, Wilde and Poe and is riddled with daftness and peppered with some choice double entendres – I could always do with more of these. Ludlam's script comes across as somewhat patchy but director Simon Ravenhill keeps the laughs coming with some delicious bits of comic business. Nicodemus screwing his wooden leg back on, for example, or the hilariously pedestrian werewolf transformation scene.
In the end, it's the playing not the material that proves the more entertaining. Not so much Hammer, as Sledgehammer Horror, this is a case of the high quality of the production compensating for any weakness in the script, making for a hugely entertaining evening that deserves to be seen by greater numbers.
Darren Haywood in a publicity shot
Leave a comment	| tags: Birmingham, Blue Orange Theatre, Charles Ludlam, Darren Haywood, review, Simon Ravenhill, Stuart Horobin, The Mystery of Irma Vep	| posted in Review, Theatre Review
GRIMMS FAERY TALES
Blue Orange Theatre, Birmingham, Saturday 22nd December, 2018
The festive offering at the Blue Orange this year is a trilogy of tales, familiar stories with a twist. Performed by a talented ensemble of five, the stories comprise an entertaining anthology, suitable for all the family.
First up is Rapunzel, directed by Oliver Hume, setting the tone and the style. The actors share narration and adopt a larger-than-life style that's not quite panto, but not far off. For the most part, they play it straight, even though the script is witty. Hume's staging is deceptively simple; there's some sophisticated storytelling going on here.
Simon Ravenhill's Little Red Riding Hood (directed by Marcus Fernando) is a more overtly comic, almost cartoonish affair, with heightened physicality and even some chasing around with Yaketty Sax blaring out!
Finally, we have Mark Webster's Rumpelstiltskin, a return to the style of the opener but with added atmosphere: cast members remain onstage, supporting the main action – like the spinning of the straw, for example.
The stories are performed by a fine quintet. James Nicholas is wonderful as a high-camp Witch, a rather butch Granny, and a splendidly creepy Rumpelstiltskin. Adam Simmons is appealing as Rapunzel's Prince, perfectly arrogant as the avaricious, gold-hungry Prince, and charming as a Narrator. Alan Nikitas delivers long-suffering peasants and fathers, but really shines as an exasperated Big Bad Wolf that is a real treat to see. Rebecca Ross supports as mothers, guards, and is especially good fun as a felonious Goldilocks, menacing all who cross her path. Playing the heroines in all three stories, Stephanie Grey delights as the imprisoned princess, the put-upon Gretchen, and especially as a garrulous Little Red Riding Hood.
The action is slick, engaging and funny. The adaptations are clever enough to amuse the adults, and the lure of the original stories still has the power to enchant and enthral the children.
Perfectly charming and thoroughly enjoyable, this is a production that will hold you in its spell, and it's all rounded off with a sweetly sung rendition of Auld Lang Syne. Glorious rather than grim.
Alex Nikitas and James Nicholas squaring up as the Wolf and Granny
Leave a comment	| tags: Adam Simmons, Alex Nikitas, Birmingham, Blue Orange Theatre, Grimms Faery Tales, James Nicholas, Little Red Riding Hood, Marcus Fernando, Mark Webster, Oliver Hume, Rapunzel, Rebecca Ross, review, Rumpelstiltskin, Simon Ravenhill, Stephanie Gray	| posted in Review, Theatre Review
Out for the Count
Blue Orange Theatre, Birmingham, Thursday 11th October, 2018
Dracula is one of those characters that has become part of global culture; like Tarzan or Peter Pan, everyone has heard of him, thanks in no small part to the innumerable film versions of the story and its spin-offs. The original Bram Stoker novel can come as a surprise to first-time readers due to its epistolary nature: the story is told through letters between the characters, so it has multi-first-person viewpoints. Here Mark Webster's faithful-ish adaptation makes great use of characters reading what they are writing, or from letters they have received, often as preludes to flashbacks or reconstructions of incidents.
It gets off to a strong start with Adrian Rosu capturing our attention as a Sea Captain making entries in his log. Rosu's authentic Romanian accent (he's from that part of the world) immediately evokes the atmosphere as he recounts incidents in which a mysterious figure on board picks off his men. Webster begins the play with the arrival of the Count in England – the book's opening events (Jonathan Harker's experiences at Castle Dracula) are saved for later in extended flashbacks. Rosu also appears as Harker, giving his RP accent an airing, and clearly portraying the various stages of Harker's health, pre- and post-Transylvania.
Taresh Solanki is a nervy, passionate Doctor Seward, while Chris Del Manso's Professor Van Helsing is authoritative and eccentric without going over the top, in a commanding performance. Nisaro Karim is a tall and burly Arthur – is the character American? I can't remember and I can't tell. Karim doubles as a tall and burly Count; in these scenes Karim's stage presence is stronger. His Dracula towers over proceedings. You wouldn't want to mess with him.
The female members of the cast are uniformly excellent. Nichola Woolley's perky Lucy really comes to life, ironically, when the character joins the ranks of the undead. Danica Corns's Mina has fortitude – this is no shrinking-violet, damsel in distress. Kaz Luckins is compellingly wild-eyed and intense as a gender-swapped mental patient, the zoophagous Renfield, but it is Carys Jones who makes the strongest impression of all in a range of roles: asylum warder Hennessey, Sister Agatha, Lucy's mum…
Director Simon Ravenhill's set is multi-purpose, coming into its own when two or three scenes are staged concurrently, the action cross-cutting between them. The intimate, even cosy, stage at the Blue Orange, means we can take it all in, without having to move our heads like spectators at a tennis match. There is a lot going on but it is skilfully presented so that we never lose focus. The action sequences, the outbursts of violence, are very well staged.
Dean Bowyer's lighting makes shrewd use of red and green colour washes, and the occasional chilly blue. Mark Webster's sound design successfully evokes scenery: crowds etc, while also providing a great deal of the eeriness. Renfield's flies, for example, and the otherworldly voices of the vampire women, which are extremely well done.
Inevitably, I suppose, it's a very wordy piece and it runs a bit long, but the sterling efforts of the strong cast keep us hooked – even if we are familiar with the tale. There are a few instances when the energy drops a little but, this being the first night of the run, I am sure things will tighten up as the week progresses.
An atmospheric, tonally perfect piece with moments of menace and an unusual twist at the end I didn't see coming, this production is definitely worth an evening of your time.
Dead on his feet: Nisaro Karim as Count Dracula
Leave a comment	| tags: Adrian Rosu, Birmingham, Blue Orange Theatre, Bram Stoker, Carys Jones, Chris Del Manso, Danica Corns, Dean Bowyer, Dracula, Kaz Luckins, Mark Webster, Nichola Woolley, Nisaro Karim, review, Simon Ravenhill, Taresh Solanki	| posted in Review, Theatre Review
Blooming Great
Blue Orange Theatre, Birmingham, Saturday 5th August, 2017
Frances Hodgson Burnett's celebrated children's novel first appeared in 1911. It wasn't quite that long ago when I read it but various film and stage adaptations of it have kept the story and characters in my mind over the years. Now comes this new version by Simon Ravenhill and it's a corker. With only a cast of four, Ravenhill delivers the whole book and while the action moves swiftly, it never feels rushed. The pacing is spot on, allowing key moments to develop and play out while keeping the plot ticking along.
Nicolette Morgan is our heroine, the orphan Mary Lennox, returning from India to an England she has never known. Accustomed to being dressed by her Ayah, Mary is a fish out of kedgeree and, pretty much left to her own devices, continues to feel unloved and unwanted by all and sundry. Until she begins to make friends, that is. Morgan is excellent, giving us young Mary's wilfulness and vulnerability without playing down to the character's age.
She is supported by three versatile character actors who populate the rest of the story with quick changes and varied characterisations – it's easy to forget there's only four of them in it, and such is the transformative nature of the costumes and the actors' skills, it's hard to believe that the fearsome housekeeper Mrs Medlock is played by the same actor (Dru Stephenson) as the likeable, green-fingered, Doctor Doolittle-ish young boy, Dickon. Lorenna White bobs and chatters as chambermaid Martha, and really comes into her own as the tantrum-throwing invalid Colin. James Nicholas brings stature to the piece in a range of authoritarian roles: the Doctor, the hunchbacked Mr Craven, a colonel. This is a top-drawer quartet in a high-quality piece.
Simon Ravenhill also directs, getting his cast to work hard to keep things going, and there are plenty of pleasing touches, simple but so effective: a four-poster bed dominates the set, and a free-standing but movable door helps give the sense of the rambling country manor house to which Mary is consigned. Puppets are used sparingly for that extra touch of animal magic. The detailed costumes and the odd piece of furniture convey the period setting but it's the actors that drive the piece. Ravenhill's script uses Burnett's words but allows the characters to interact rather than resorting to narration. I will admit to having something of a Pavlovian response to the Indian music used to underscore the scene changes. By the interval, I was craving a vegetable madras.
A faithful and classy production of a classic story with a child-friendly running time, this is a captivating and well-tended Secret Garden that touches the heart and is yet another example of the excellent work produced at the Blue Orange. The book's message remains: what is left neglected will wither and spoil. And that works for people as much as plants.
Leave a comment	| tags: Birmingham, Blue Orange Theatre, Dru Stephenson, Frances Hodgson Burnett, James Nicholas, Lorenna White, Nicolette Morgan, review, Simon Ravenhill, The Secret Garden	| posted in Theatre Review
Getting Wood
NIGHT OF THE BRIDE OF PLAN 9 FROM OUTER SPACE
The Blue Orange Theatre, Birmingham, Thursday 1st September, 2016
Writer-director Simon Ravenhill cobbles together scenes and characters from three films by the infamous director Ed Wood. Three of the worst films ever made. Alien invasions, raising the dead, mad scientists, and an atomic octopus all rub along together in this madcap comedy in which a cast of five rush around to populate the stage with a range of characters.
It is an absolute scream. Melodramatic and camp in the extreme, the show uses Wood's inarticulate sensationalism to intentionally comic effect. Here we laugh with them rather than at Wood's ineptitude. It's a gloriously funny show that subverts the crapness of its origins into slick and silly slapstick.
Simon Garrington appeals as handsome hunk of a leading man Dick, who has trouble keeping his shirt on. Stuart Horobin impresses as mad scientist Vornoff and army colonel Edwards. Kaz Luckins stalks hilariously across the stage behind long fingernails as a vampish ghoul. Richard Nunn makes a remarkably eloquent grunting zombie. But it's Rebecca Rochelle who absolutely shines as leading lady Janet, replicating the style of the B-movies with every arch of her eyebrow. The cast manage to instil energy into Wood's risible dialogue and throw themselves around with gusto, pulling off quick changes and a variety of broad characterisations that emulate the quirks and mannerisms of the films' original casts. There is a lot of desk-slapping and heightened posturing. What Wood's actors did from lack of talent, Ravenill's accomplish with aplomb.
Ravenhill wrings laughs out of every second, keeping proceedings on the right side of shonky. Video projections complement the action and add to the fun. And I absolutely loved the ray gun fashioned from a blender. It's a show that rejoices in its source material, pulling off with skill and talent what Ed Wood did unintentionally.
A sheer delight from start to finish, this production deserves a bigger audience and a longer life. Running until September 10th, there are still tickets available from blueorangetheatre.co.uk or 0121 212 2643
Leave a comment	| tags: Birmingham, Ed Wood, Kaz Luckins, Night of the Bride of Plan 9 From Outer Space, Rebecca Rochelle, review, Richard Nunn, SImon Garrington, Simon Ravenhill, Stuart Horobin, The Blue Orange Theatre	| posted in Theatre Review
Blue Orange Theatre, Friday 29th April, 2016
Oscar Wilde's comic masterpiece is a challenge for any group. The wordy, witty epigrams in which the characters converse take a certain kind of delivery, to make them sound fresh and clear with their 'punchlines' sharp. Does this new production at the Blue Orange deliver?
From the off, Harvey Bassett's exuberant Algernon amuses, in his powder blue suit and his upper-class-twit accent – it's not overdone, thank goodness, and works brilliantly. Bassett manages to get his lines out through a mouthful of cucumber sandwich. It takes a while longer to warm to Benjamin Darlington's Jack – a tightly wound characterisation, he could blow a fuse at any second – but he maintains his energy throughout and delivers a comically expressive performance of a man a hair's breadth from a panic attack.
Karen Whyte's Gwendolen is also a rounded and sustained comic creation: a minx, using her height to show she can be as imperious as her mother. There are some exquisite moments with Megan Strachan's perky Cicely that are superbly timed. As the formidable Lady Bracknell, Elizabeth Bracknell looks and sounds the part but she needs to take care that lines, some of them rather convoluted, don't fizzle out and lose their impact.
As the dotty Miss Prism, Jennifer Rigby plays it broad – and gets a lot of laughs – but for me it's the hard-working and versatile Neville Cann who both takes and, as Merriman, brings the cake! Appearing as two butlers (his Lane is a lugubrious delight) and as the cleric Dr Chasuble (a set-up involving some quick changes) he gives a model lesson in how to deliver Wilde.
Ian Craddock's simple set design is adaptable to suggest the locations of each of the three acts but it's Simon Ravenhill's costumes that evoke the end of the 19th century. On the whole, director Oliver Hume paces the action well, and there are some hilarious moments of comic business, touches of physical comedy to offset the verbal fireworks, although I feel some of the ideas are a little too large for the Blue Orange's intimate space: the collective gasps at the revelations in the final act, for example – I am nit-picking perhaps; this is a really enjoyable evening's entertainment, with Wilde's wit effervescently delivered by a charming company.
A frothy confection of a play that tickles the ribs throughout, with many laugh-out-loud moments, The Importance of Being Earnest remains one of the funniest plays ever written, a celebration of the trivialities of life, and is satisfyingly presented in this small-scale and effective production.
Earnest bunch: The Cast
Leave a comment	| tags: Benjamin Darlington, Birmingham, Elizabeth Brooks, Harvey Bassett, Ian Craddock, iv s, Jennifer Rigby, Karen Whyte, Megan Strachan, Neville Cann, Oliver Hume, Oscar Wilde, review, Simon Ravenhill, The Blue Orange Theatre	| posted in Theatre Review


I'd like to see a command 'toggle' added so that one can toggle a binary switch. I know that using the ZAutomation interface, you can set /command/on and command/off but if you use /command/toggle, nothing happens. I've already modified my local copy of DummyDevice to add a toggle option (as well as the cool icons for switches) but I can't find code that handles commands to real switches.


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USS Bell (DD-95)
For other ships of the same name, see USS Bell.
Namesake: Henry H. Bell
Builder: Bethlehem Shipbuilding Corporation, Fore River Shipyard, Quincy, Massachusetts
Laid down: 16 November 1917
Launched: 20 April 1918
Commissioned: 31 July 1918
Decommissioned: 21 June 1922
Struck: 25 January 1937
Fate: Sold, 18 April 1939
Beam: 31 ft 9 in (9.68 m)
Armament: 4 × 4" (102 mm), 12 × 21" (533 mm) torpedo tubes
The first USS Bell (DD-95) was a Wickes-class destroyer in World War I. She was named for Rear Admiral Henry H. Bell.
Bell was launched 20 April 1918 by Bethlehem Shipbuilding Corporation, Fore River Shipyard, Quincy, Massachusetts; sponsored by Mrs. Josephus Daniels, wife of the Secretary of the Navy, Josephus Daniels, and commissioned 31 July 1918, Lieutenant Commander D. L. Howard in command.
From August to November 1918 Bell convoyed troop ships across the North $3 and in December formed part of the escort for George Washington carrying President Woodrow Wilson from New York to Brest, France. Bell continued serving with the Atlantic Fleet until placed in reserve in June 1920. She was decommissioned at Portsmouth Navy Yard 21 June 1922. Bell remained out of commission until August 1936 when she was declared in excess of the limits imposed by the London Naval Treaty of 1930 and reduced to a hulk. She was subsequently sold.


The meaning of dreams was discovered by the psychiatrist and psychologist Carl Jung. His work helps you understand the messages of the unconscious mind that produces your dreams.
I could continue the research of a psychiatrist, discovering how to cure all mental illnesses by obeying the unconscious guidance in dreams because I trusted the unconscious sanctity. I could continue Jung's research because I was an artist. I was a literature writer who had an extraordinary talent inspired by the unconscious mind. I also had studied in a Catholic school for twelve years; even though I lost my faith when I was 15-years-old and I suffered from a tragic car accident.
Carl Jung couldn't understand the real meaning of the unconscious wisdom, even though he recognized that the unconscious mind was wise. He was not an artist able to perceive the artistic messages of the unconscious mind that produces our dreams. He couldn't see many things. He also ignored the meaning of his own religion.
Jung didn't know the answer for many religious questions. He left many unanswered questions for the theologians. He analyzed the truth with a scientific mindset.
I was a philosopher because I was a literature writer who used to write about the meaning of life, and about how to find happiness while living in a crazy world. So, I could perceive the art, the philosophical thoughts, the sensitivity, and the sanctity of the unconscious mind. I could also recognize that the unconscious words were like Jesus' words, or like Confucius' words. They were words that contained unlimited wisdom, which gave many answers for many questions at the same time.
This means that the importance of art, philosophy, and religion for the comprehension of the scientific meaning of dreams is tremendous.
Jung had analyzed the meaning of many symbols for all civilizations. However, he didn't have the artistic, philosophical, and religious spirit one needed to have in order to completely understand the link existent between science, art, philosophy and religion. Someone else had to make this part of the research and complete his mission.
Thanks to the translation of symbolic meaning of my literary work according to the scientific method I could better understand the meaning of dreams and have a direct communication with the unconscious mind. I accepted obeying the unconscious wisdom with a religious attitude, after recognizing the divine origin of the unconscious mind.
This means that I had the right attitude before the unconscious divinity, and this is why I could better understand the meaning of dreams and the importance of the dream messages, since the dream images are God's words.
The fact that I could clarify and simplify Carl Jung's complicated and obscure method of dream interpretation for obeying the unconscious guidance proves that this guidance was correct. Without this superior guidance, an ignorant creature like me would never be able to discover more than Jung, or simplify anything.
Thanks to my work, today you know that when you learn how to translate the meaning of dreams according to the scientific method you are able to immediately understand God's words in dreams. You also know that you can completely trust these words.
This is a spectacular alternative that is changing the route of our history. Now everyone can directly talk with God through dream messages and find relief. Thanks to Carl Jung's discoveries and thanks to my discoveries after continuing his research, today the dream language is clear and simple.
Now you only have to follow the guidance you have after understanding the divine messages in dreams. This is the most important part. Understanding God's words in dreams is a simple matter today. However, will you obey the guidance you have?
God demands humbleness and goodness from you, even though you are ignorant, lazy, and selfish. God doesn't forgive your sins. God wants to transform you into a perfect human being, who will able to attain wisdom and find authentic happiness.
Will you accept to correct your mistakes? Will you abandon your pride? Will you be generous?
Your mental stability depends on your dignity. If you'll respect the teachings of your religion you will acquire sound mental health. The unconscious mind gives you similar lessons in dreams. However, the unconscious lessons are detailed, and you have many scientific explanations.
The divine unconscious mind teaches you the functioning of the human brain. You learn how everyone's brain works. This is a very interesting discovery.
The knowledge you acquire through dream messages goes beyond the limitations of your historical time.
When you obey the divine guidance you become a true genius. You have this potential, but your wild conscience steals all your brain power. Through dream therapy you learn how to transform your anti-conscience (wild conscience) into a positive component of your human conscience. In other words, you learn how to eliminate the violent, immoral, and cruel tendencies you have inherited into the primitive side of your brain.
Now you have scientific explanations for all religious mysteries, and religious explanations for all scientific discoveries. The knowledge given by the unconscious mind in dreams enlightens your road, eliminating the darkness of your ignorance.
God demands from you what you can do in order to save your spirit from eternal hell. If you act like a hypocrite who merely pretends to obey God's guidance you'll regret not having done what you should while you could. God is very demanding because you are too imperfect.
You must be purified the fastest possible.
However, God is very generous. He sends you information, predictions, clear directions, and a lot more in your own dreams in order to help you become a perfect human being. God is patient when you are learning and transforming your personality.
You only have to obey the guidance you have like a good patient and student in order to attain wisdom and find authentic happiness that lasts for life. This happiness is real because it is based on your perfection. In order to be truly happy you must give happiness to the world. You must learn how to be peaceful, generous, sincere and humble, and always show compassion to everyone.
Excellent resource. I do a lot of reading in classical philosophy, but I have been branching out further into more contemporary philosophy. Thank you for the posts.


text:
package org.uiautomation.ios.UIAModels;

// TODO freynaud use that for tap at least.
public class UIAPoint {

  public double x;
  public double y;

  public UIAPoint(double x, double y) {
    this.x = x;
    this.y = y;
  }

  public double getX() {
    return x;
  }

  public double getY() {
    return y;
  }

}


text:
Used machinery offer
INDUSTRIAL AGENCIES
MAINTENANCE & SPARE PARTS
Elbit Vision Systems Ltd. (EVS), is a global leader in the field of Automatic Optical Inspection (AOI), implemented in the production and quality control of fabrics and web, since 1992.
Our innovative systems improve product quality and increase production efficiency in hundreds of installations worldwide. They operate a wide range of applications in the manufacturing of: textiles for the Automotive Industry, technical fabrics, apparel, home furnishing and non-woven materials, flooring, composite materials, coated fabrics, Denim, glass fabrics for printed circuit boards, plastic films, metal and more.
With more than 400 installation throughout the world, EVS is a leader in the inspection field -
Sacconaghi is EVS' exclusive agent for the Italian Market since 1992 -
PRODUCT & INSPECTION PROCESS
The inspection process of EVS on textile fabric it is based on a 3 stage process of inspection that starts with:
Inspection off-line of dyed and finished products
IQ-TEX for the inspection of fabric and the detection of weaving – finishing and dyeing defects at the end of the finishing process, for example on exit of a stenter frame. All the defects are mapped and catalogued and sent to a computer - all the info will then be used for the second step of the process.
Along with IQ-TEX, the SVA ( Shade Variation Analyzer ) can be put inline with the IQ-TEX or stand alone. The purpose of SVA is to check for shade variations from side-to-side or beginning-to-end.
Post Inspection Unit
Second step of the process of inspection is the Post Inspection Unit – where all the data gathered are analyzed by the quality inspector/operator for cut optimization –
Automating Cut Optimization –
The purpose of this stage is to automatically stop the specific cutting table at the points of interest (cutting points). After reviewing defects & color problematic zones in the Video Album, and creating a cutting map, by implementing the Cutting Plan Optimization Program, the rolls' data is transferred via network to the DMSS-T unit installed on the cutting table
Elbit Vision Systems Receives ISO Certification & CE Mark for Its IQ-TEX4 State-of-the-Art Visual Inspection System
CAESAREA, Israel, Aug. 27, 2012 (GLOBE NEWSWIRE) -- Elbit Vision Systems Ltd. (OTCBB:EVSNF), a leading global provider of vision technology for automatic surface inspection and in-line quality monitoring systems, announced today that it has recently received ISO certification and CE mark for its state-of-the-art visual inspection system, IQ-TEX4.
EVS received certification for ISO 9001 from the Standards Institution of Israel. Additionally, the Company's new IQ-TEX4 product, has been tested and certified as CE compliant by Hermon Laboratories TI, a leading provider of automatic telecom testing instruments for world-wide regulatory and industry standards including analog FXS & FXO, Acoustic, Cellular, VoIP, xDSL, T1/E1, and ISDN PRI equipment.
Sam Cohen, CEO of EVS commented, "I am delighted that EVS has received ISO 9001 certification and our new IQ-TEX4 system has also received the CE mark. These two very important accreditations show our commitment to our customers' satisfaction, as well as the quality and reliability of our products. We continuously strive to exceed global standards by ensuring that all of our products are certified to the highest standards."
About Elbit Vision Systems Ltd. (EVS): www.evs.co.il
EVS offers a broad portfolio of automatic State-of-the-Art Visual Inspection Systems for both in-line and off-line applications, and process monitoring systems used to improve product quality, safety, and increase production efficiency. EVS' systems are used by over 650 customers, many of which are leading global companies.
The Elbit Vision Systems Ltd. logo is available at http://www.globenewswire.com/newsroom/prs/?pkgid=14161
This press release and other releases are available on www.evs.co.il
Company Contact Information:
Yaron Menashe, CFO
yaron@evs.co.il
EVS spare parts
MAAG-IQ-TEX
On-loom
Sacconaghi Monaco s.r.l.
Via San Gregorio, 12 I- 20124 Milano
E-mail: info@sacconaghi.it


text:
Rachmaninoff: All-night Vigil
2015 GRAMMY Award winner for "Best Choral Performance"
2015 GRAMMY Award nomination for "Best Engineered Album, Classical"
5 Stars I "The US conductor Charles Bruffy and the Phoenix and Kansas City Chorales have long been
outstanding interpreters of this repertory and their performance has a devotional intensity that is often
overwhelming."
"This is easily the best-sounding of all Rachmaninoff Vigils that I have heard, and there are a number of
them out there now that are well worth consideration by all who love this music."
— Audiophile Audition
"This is an impressive account of a very great masterpiece… This combined choir is of truly exceptional
quality, the occasional solos are excellently taken and the recording, in a most suitable venue, sets
this great work as it should be experienced aurally."
— International Record Review
"beautifully balanced… Intonation is spot-on throughout… ultra-smooth blend."
— Gramophone
"Rachmaninov's All-night Vigil, sometimes referred to as Vespers, is the "crowning achievement of the
'Golden Age' of Russian Orthodox choral music". However strict the composition, in this performance, the
75 minutes that it takes present rapturous music from the soul, divine in its import and casting a liturgical
spell but also something beyond that: in purely musical terms there is something for believers and
non-believers alike. I have now become smitten with these fifteen settings (after a few misses over the
years). The combined Chorales and Charles Bruffy present the sacred nature of this music while
giving it an expressive and rapt glow that really takes it to the listener's senses. Chandos's recording
– made in Kansas City, in the Cathedral of St Peter the Apostle – is ideally spacious yet focussed, superbly
capturing the dedicated and deeply responsive performance. The booklet includes an excellent note as
well as Cyrillic and English texts. A revelation!"
— Colin Anderson, Hi-Fi Critic
"superb" - The New York Times
"stunning" - International Record Review
"truly exceptional" - Classical MPR
Two GRAMMY nominations for Rachmaninoff: All-night Vigil news release >
Sample Track:
#1 debut on Billboard Traditional Classical chart
#3 debut on Billboard Classical chart
#1 on three Amazon sales charts: Opera/Vocal, Chamber, & Classical
#2 on iTunes Classical chart
iTunes Editor's Choice and featured on iTunes Radio as a First Play
#13 on Billboard Heatseeker & #39 on Billboard Independent Albums
5 weeks on Billboard Charts


text:
Timing, Intensity of Oral Sex Are Risk Factors for HPV-OPC
MONDAY, Jan. 11, 2021 -- In addition to number of oral sex partners, timing and intensity of oral sex are independent risk factors for human papillomavirus-related oropharyngeal cancer (HPV-OPC), according to a study published online Jan. 11 in Cancer.
Virginia E. Drake, M.D., from Johns Hopkins University in Baltimore, and colleagues enrolled HPV-OPC patients and frequency-matched controls in a multicenter study from 2013 to 2018. Participants completed a behavioral survey to examine novel risk factors for HPV-OPC.
Data were included for 163 HPV-OPC patients and 345 controls. The researchers found that the odds of HPV-OPC were significantly increased with lifetime number of oral sex partners (>10 partners: odds ratio, 4.3). Significantly increased odds of HPV-OPC were seen for younger age at first oral sex (<18 versus >20 years: adjusted odds ratio, 1.8) and oral sex intensity (more than five sex-years: adjusted odds ratio, 2.8) after adjustment for number of oral sex partners and smoking. Associations were seen between type of sexual partner and HPV-OPC, such as older partners when a case was younger (odds ratio, 1.7) or having a partner who had extramarital sex (odds ratio, 1.6). Increased odds of HPV-OPC were seen in association with seropositivity for antibodies to HPV16 E6 and any HPV16 E protein.
"We have uncovered additional nuances of how and why some people may develop this cancer, which may help identify those at greater risk," Drake said in a statement.
One author disclosed financial ties to the pharmaceutical industry; a second author disclosed ties to the medical device industry.
Interventions to Increase HPV Vaccine Coverage Cost-Effective
MONDAY, Nov. 16, 2020 -- Three interventions for increased human papillomavirus (HPV) vaccine coverage are cost-effective, according to a study published online Nov. 16 in...
HPV Vaccine Generally Well Tolerated in Males
WEDNESDAY, Nov. 4, 2020 -- Human papillomavirus (HPV) vaccines are safe and well tolerated in males, with few reports of adverse events, according to a study published online Nov....
HPV Vaccination Tied to Decrease in Invasive Cervical Cancer Risk
THURSDAY, Oct. 1, 2020 -- Quadrivalent human papillomavirus (HPV) vaccination of girls and women aged 10 to 30 years is associated with a reduced risk for invasive cervical...


Gran Forno Pronto Gran Forno Pronto has really grown up since if first opened. On my first visit here, it was a cold empty space where you could only get some pastries and illy coffee….
Photos from the kitchen at the Gran Forno Bakery.
Our talented Italian bakery team has now opened an authentic Italian restaurant, Gran Forno Pronto. The restaurant has the look and feel of a bustling Roman trattoria.
It is the best of Italian eating—informal, attractive decor, tasty and healthy food, and modest prices.


text:
Ellen Kirkbride
1771–1857 (Age 86)
Pateley Bridge, Yorkshire, England, United Kingdom
The Life of Ellen
When Ellen Kirkbride was born in 1771, in Pateley Bridge, Yorkshire, England, United Kingdom, her father, Thomas Kirkbright, was 35 and her mother, Sarah Beecroft, was 31. She married Robert Bradbury on 7 June 1798, in Ripon, Yorkshire, England, United Kingdom. They were the parents of at least 4 sons and 3 daughters. She died in 1857, at the age of 86.
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Learn about Ellen's homeland.
Put your face in a costume from Ellen's homelands.
Family Time Line
Spouse and Children
Parents and Siblings
Robert Bradbury
Marriage: 7 June 1798
Sarah Bradberry
Barnabas Bradberry
Betty Bradberry
William Kirkbright Bradberry
Elizabeth Bradbury
Male1770–1815 • Male
Female1771–1857 • Female
Ripon, Yorkshire, England, United Kingdom
Female1802– • Female
Male1808– • Male
+2 More Children
Thomas Kirkbright
Sarah Beecroft
Betty Kirkbride
Thomas Kirkbride
Barnabas Kirkbright
James Kirkbride
World Events (6)
1801 · The Act of Union
The Act of Union was a legislative agreement which united England, Scotland, Wales, and Ireland under the name of the United Kingdom on January 1, 1801.
The defeat of Napoleon Bonaparte at Waterloo marks the end of the Napoleonic Wars. Napoleon defeated and exiled to St. Helena.
1821 · New Ouse Bridge Completed
The original Ouse Bridge collapsed in 1154 under the weight of a crowd that was on it. In 1367, after the bridge had been replaced with stone and became the site of the first public toilets. In 1564-1565 the bridge was finally done being repaired. In 1810 and 1818 the bridge was dismantled to make way for a new Ouse Bridge design and completed in 1821.
Scottish and northern English: habitational name from a place in Cumbria near Carlisle, so named from having a church ( see Kirk ) dedicated to St. Bride or Brigid (cf. Kilbride ).
Dictionary of American Family Names © Patrick Hanks 2003, 2006.
Possible Related Names
Kilbride
Ellen Kirkbride, "England Births and Christenings, 1538-1975"
Ellen in entry for Barnabas Bradberry, "England Births and Christenings, 1538-1975"
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The Nigerian economy fully returned to a growth trajectory at the end of the first half of 2017. This growth was as a result of buffering oil prices and improved oil production. The cycle had completely receded from earlier negative reversals at the end of the second quarter of 2017, thus generating an expansion in Gross Domestic Product (GDP) by 0.55% in the same quarter. Earlier price pressure witnessed throughout 2016 had begun to soften as the effect of base year weaned.
Thus, the macro picture is already showing positive signs due to improvement in the health of leading indicators such as GDP, Purchasing Managers' Index, and balance of payment, nominal currency and inflation. Regardless, the Monetary Policy Committee maintained a tight monetary cycle throughout the second quarter of 2017, as it focused on inflation and exchange rate stability.
FBNHoldings (FBNH) in Q2 2017 generated interest income of N117.6 billion, reflecting a 3.1% growth and 37.2% growth on a quarterly and yearly basis, respectively. This growth steams from improved macro condition coupled with slight increase in the cost of funds from 3.4% in Q1 2017 to 3.5% in Q2 2017. When compared to H1 2016, FBNH's interest income grew by 37% to reach N231.7 billon in the second half of 2017.
The bank's non-interest income rose by 8.7% from N24.2 billion in Q1 2017 to N26.3 billion in Q2 2017. Non-interest income on a year on year basis fell sharply by 46%, as a result of a high base and fizzling out of revaluation gain earlier experienced in 2016. Gross earnings at the end of the H1 2017 stood at N289billion reflective of an 8% growth on a year on year basis, thereby underlining the bank's strong earning capacity.
FBNH's operating expenses fell by 8.6% from N55.7 billion in Q1 2017 to N50.9 billion in Q2 2017. However, the cost to income ratio of the bank has increased from 53.3% in Q1 2017 to 54.4% at the end of Q2 2017. In addition, FBNH has embarked on an aggressive loan recovery policy which will see it reclassifying its loan and give it ample room to clean up its balance sheet and strengthen stock taking.
FBNH's operating profit in Q2 2017 fell to N15.5 billion against N19.9 billion in Q1 2017. Similarly, PAT reduced to N13.0 billion in Q2 2017 as against N15.7 billion in Q1 2017. The fall in operating profit and PAT was as a result of exhaustion in revaluation gains combined with slight deviation from earlier cost compression measures, thus making its bottom line more volatile.
FirstBank's capital adequacy ratio (CAR) dipped from 17.8% in Q1 2017 to 17.6% in Q2 2017, still making it higher than the regulatory prudential ratio of 15%. At the same time the bank's gearing ratio fell from 64.6% in Q1 2017 to 62.9 Q2 2017.
Certainly, the bank's ability to leverage on its cost of risk and the depth of its deposit base will improve its earning capacity. It is also expected that as macro condition improves fused with stable oil prices such dynamics will provide the needed support for the bank's loan recovery drive, given its high exposure to the oil sector.
At the same time it is important for the bank to improve its capital adequacy ratio, improve asset quality, cost-to-income ratio, sustain its aggressive loan recovery drive and more importantly improve synergy across all arms in order to bolster the non-interest income stream.
8. Is FBNH a good buy?
16. Is FBNH the Rick Grimes of Nigeria?
19. FirstBank Partners Nigerian-British Chamber of Commerce to drive MSME Growth.


text:
KYLIN NEWS
INDEUSTRY NEWS
FUTURE CITIZEN NEWS
Did you know that offering citizenship rights to domestic animals has been proposed?
Sue Donaldson and Will Kymlicka – who have written extensively on animal rights, for example in Zoopolis – note in their chapter in the Oxford Handbook of Citizenship that citizenship has a 'long history of internal exclusions by which women, racialized castes, property-less workers, [indigenous communities] and others were deemed unable and unworthy of being equal participants in political decision-making'. Something similar may currently be said of children and people with cognitive disabilities, as they 'are still relegated, both de facto and de jure, to the status of passive subjects, not active citizens'.
The chapter by Donaldson and Kymlicka, however, focuses on yet another 'striking case of internal exclusion', namely that of domesticated animals. They take issue with what is called the 'capacity contract', which runs deep in the Western tradition and by which some members of society are deemed to be naturally governed by others. In other words, a society divided into first-class participating citizens and passive (and oppressed) second-class wards, the latter obviously being 'limited in their ability to self-organize and to fight for political power'.
Criticism of the capacity contract is often countered with the argument that the wards enjoy passive representation through their guardians or trustees. However, the authors' example that the five major illnesses affecting children in industrialised societies are all environmentally related shows that the adults' interests in wealth creation and the convenience of car culture have prevailed. On a side note, it is not surprising given the ongoing failures of the passive representation system that underage children are now taking the initiative in asking for real climate change prevention measures.
The authors therefore suggest to instead adopt a membership model under which citizenship is tied 'to being a member of society, a stakeholder, or a subject of the law'. While traditional commentators feel there is no alternative to the status of passive wards of children, the mentally disabled and animals given their lack of linguistic agency to participate politically, Donaldson and Kymlicka rightly point out that these groups are communicative about, for example, the sorts of activities and relationships they want to engage in. Given their capacity for communication, reasoning, understanding, empathy, responsibility and self-restraint, the current language-centred status quo is said to be theoretically arbitrary and democratically unjustified:
So long as individuals can assert their political claims as linguistic agents, we accept a strong duty to remove potential barriers to their equal and effective participation. But is someone falls below the threshold of linguistic agency, we renounce any obligation to solicit their input or to facilitate their participation, and indeed in many cases legally prohibit their participation, and consign them to the status of passive wardship.
A paper by Anne Peters, part of a symposium on the future of the Universal Declaration of Human Rights on the occasion of its 70th anniversary, complements the chapter by Donaldson and Kymlicka by arguing for the recognition under international law of the personhood of nonhumans. She submits that as long as animals only benefit from protective rules, their welfare is but one interest among others. By contrast, animal rights 'would allow a fair balancing in which the proper value of fundamental animal interests … could be integrated'.
While Peters's argument may still seem utopian to some, the interests of animals and the environment are now represented in the parliaments of different countries, for example in the Netherlands through the Party for the Animals. Those who frown upon this trend might be convinced by research referred to by Peters which suggests that the belief in a rigid human/animal divide seems to condone the dehumanization of humans. Not for nothing, a Universal Declaration on Animal Rights which was drafted by an NGO coalition in 1978 on the occasion of the UDHR's 50th anniversary stated in its preamble that 'the respect of humans for animals is inseparable from the respect of man for another man'.
Author: Dr. Olivier Vonk
© Kylin Prime Group 2019


text:
Colombia says 3,177 pregnant women have Zika virus, but no birth defects, yet
A medical researcher works on results of tests for various diseases, including Zika, at the Gorgas Memorial laboratory Panama City, Friday, Feb. 5, 2016.
Image: AP Photo/Arnulfo Franco/Associated Press
By The Associated Press 2016-02-07 17:31:03 UTC
Colombia's President Juan Manuel Santos said Saturday that there's no evidence Zika has caused any cases of the birth defect known as microcephaly in his country, though it has diagnosed 3,177 pregnant women with the virus.
Santos also announced that a U.S. medical-scientific team will arrive in Colombia to help investigate the mosquito-borne virus.
Brazilian officials say they suspect Zika is behind a seemingly unusual number of microcephaly cases, in which children are born with unusually small heads. The link is not confirmed, but it has helped prompt the World Health Organization to declare an emergency over the virus.
Santos says Zika apparently has affected more than 25,600 Colombians overall.
See also: Brazil warns pregnant women not to kiss due to Zika virus
Colombian officials said Friday that three people had died of the paralyzing Guillain-Barre syndrome they attributed to cases of Zika.
To date, the mosquito-borne virus has spread to more than 20 countries in the Americas.
With global concern over the Zika virus growing, health officials are warning pregnant women to be careful about who they kiss and calling on men to use condoms with pregnant partners if they have visited countries where the virus is present.
The flurry of recommendations began in Brazil, where a top health official said that scientists have found live virus in saliva and urine samples, and the possibility it could be spread by the two body fluids requires further study.
Still, it may be too soon to expect a microcephaly spike as the pregnant women who have been diagnosed with Zika haven't delivered their children yet.
Topics: colombia, Parenting, World, Zika outbreak, Zika virus