text:
Manitoba family displaced by 2011 flood still without permanent home
Published Tuesday, January 12, 2016
A family from the Peguis First Nation in Manitoba, says they may be forced to move for the 16th time since it was displaced by a flood nearly five years ago.
Cheryl and Albert Sutherland say they've been "bounced around" between different levels of government, but still don't know when -- if ever -- they will have a permanent home.
The Sutherlands and dozens of other Peguis First Nation families were forced out of their homes after a devastating 2011 flood swept the community, located about 145 kilometres north of Winnipeg.
They family eventually returned and moved into a prefabricated home purchased by the First Nation with federal funding. But that home turned out to be uninhabitable as well. It was improperly insulated and had various structural and electrical issues, the Sutherlands say.
Their family of 10 had to move into a trailer while the modular home was stripped down right to its concrete foundation.
When the family moved into another home, the children got sick from the mould inside the house, Cheryl Sutherland told CTV News Channel.
The family was then bounced between hotels before they were finally able to rent a home in Winnipeg in December. But they're now unsure if their February rent will be covered.
This week, the Sutherlands spoke to federal officials who said their housing situation is the responsibility of the Peguis First Nation. But they say they haven't received answers from the local government, either.
Numerous attempts by CTV Winnipeg to contact Peguis First Nation Chief Cindy Spence were unsuccessful.
"It's been a struggle over time," Albert Sutherland told CTV News Channel on Tuesday.
His wife said that approximately 30 to 40 other prefabricated homes purchased for the displaced residents of Peguis First Nation were also uninhabitable or in poor condition.
"Someone has to be responsible," she said. "We're getting bounced around from our band to the federal and now to the provincial government. No one wants to take responsibility. Who is going to pay for all the repairs for these homes? Nobody knows."
According to the federal government, there are still more than 2,400 Manitoba First Nations evacuees from floods in 2011 and 2014.
The total cost of housing the evacuees is approaching $140 million.
With files from CTV Winnipeg's Ben Miljure


Their toddler had a fever. A doctor told them to go to the ER. The parents said their child was feeling better. Soon, DCS and cops were at their door.
PHOENIX - After police officers busted down the door of an Arizona home to take a toddler with a spiking fever from his parents, advocates and a state legislator are questioning if a new law intended to protect families' rights is failing.
Officers pointing guns forced their way into the family's home in the middle of the night last month after the Arizona Department of Child Safety called the police for a welfare check on a child with a 100 degree-plus fever and no vaccinations.
DCS officials did not respond to The Arizona Republic's questions about their policies for child welfare checks and warrants, or whether their handling of this family's case was in line with those policies.
Child welfare workers used to be able to remove children without warrants. But under a law that took effect in July Arizona lawmakers designated limited circumstances for removing a child from their parent without a warrant: DCS must have probable cause to believe a child is at imminent risk of harm and there's no less-intrusive alternative to removal or DCS must have probable cause to believe a child is a victim of sexual or physical abuse that can only be evaluated by trained medical personnel.
The case has made its way to a juvenile courtroom and sparked conversation over the balance between parental rights to care for their children versus the power of DCS and doctors.
On Feb. 25, the mother took her 2-year-old boy to the Southwest College of Naturopathic Medicine clinic in Tempe, according to Chandler police records.
It was dinner time. But the toddler's temperature had spiked to over 100 degrees.
The Republic knows the names of the parents and child but it does not typically identify children in the child welfare system.
Police dispatch told the officers that a man at the home had called requesting that they call him. They called, and the man identified himself as the sick boy'sfather.
The father's parents sat on a bench next to a friend of the mother. Lori Ford and Christina Lawler, family advocates with a group calling themselves the Arizona DCS Oversight Group, sat quietly listening and taking notes. Townsend, the state lawmaker, sat near the grandparents. She wanted to see whether the family's rights had been violated.
A lawyer for the state Attorney General's Office, representing DCS, asked the judge to close the hearing to the public. The attorney said members of the news media were in the courtroom and the family had spoken with the media about the case, which he said wasn't in the best interest of the children.
Judge Jennifer Green denied the request to close the hearing but warned everyone that they could be held in contempt of court if they revealed personally-identifiable information about the children or any others mentioned in the hearing.
Attorneys for the parents said the parents had only had one visit with their older children. DCS officials told the parents the toddler couldn't make that visit because he was at a medical appointment.
Investigation: Facts alone don't sway anti-vaxxers. So what does?
Attorneys for the parents argued such evaluations were for people who had a history of mental health issues, which neither parent had. They said the parents weren't hostile, but they were living a nightmare that started with a child's fever. They were woken up in the middle of the night, police busted down their door, brandishing guns and their three children were taken from them, attorneys said. The grandfather did what most people would think they had the right to do – record government officials.
Townsend said parents who don't vaccinate their children because of medical concerns aren't criminals. She worried physicians were using it as a reason to refer parents to DCS.
The judge asked what was delaying placing three children with their grandparents. The state's attorney said the grandparents still needed a home safety check.
Then, she told the parents to remember that the state had them on a family reunification plan and wants them to regain custody of their children.
"The fact that they got the warrant shows it wasn't a matter of exigency by definition — it wasn't something that they were rescuing this child from imminent death," she said. "The expectation of child welfare is we're thinking about the children in the family. We're not talking cartels holding someone who's been kidnapped, we're not talking about a drug bust, we're not talking about a flight risk. We're not talking about any of that. This was a family with a child who has a fever. … We used a SWAT team on a family with a child with a high fever," she said.
The judge's approval of DCS' request for psychological evaluations has created another barrier to regaining custody of their children, he said.
The wait for an evaluation is months, he said.
Lawmakers and family rights' advocates hoped the new law would reduce the number of children being removed by DCS. Child welfare lawsuits in Arizona and across the nation, citing the First and Fourteenth amendment, argued for due process and protections against illegal search and seizure.
Arizona DCS Oversight Group advocates argue what happened to this family is evidence the state is abusing its power and the rights of parents.
"If they can do this to one family they can do it to anyone," said Ford, a member of the self-appointed public watchdog group.
Follow Dianna M. Náñez on Twitter @diannananez.


text:
package mock.tcpClientModule;

public enum MoveCodes {
	TURNEAST, TURNSOUTH, TURNNORTH, TURNWEST, GET
};

redpajama_set_name: RedPajamaGithub


"[A]t this time, I am very concerned, as are other Senators."
"As society evolves, time change and policies have to change with them."
The employee's file raises more questions than it answers.
The complainant alleges supervisors called employees "stupid a** cracker."


All Desktop Users. Administrators and Super Administrators may sync any item accessible to them. All other users may only sync folders within their operating system user profile.
Local folder syncing allows any folder on your computer to be synced with the Workplace"Workplace" describes the Autotask Workplace service in its entirety. service, enabling you to sync projects to the locations most convenient for you.
For Administrators and Super Administrators, these folders can be located anywhere on your local drive, an external drive or a network drive. These synced local folders provide all the same features and functionality as a project. In fact, a local folder that is synced becomes a project within the Workplace OnlineWorkplace Online is the web portal that users within a team can use to access their data and administer their team..
In order to ensure successful folder sync, please review File Types That Should Not Be Synced to Workplace. You must be very careful to not use a folder structure that contains file types that should not be synced, e.g. the OS-created Documents folder within your Windows user profile.
If you wish to sync to a network drive, be sure to select the folder using the Network section of your file browser. DO NOT use a mapped drive!
The Folder Sync tab also allows you to merge a local folder with a project.
This option is particularly useful if the local folder becomes disconnected from the project. Merging the two will allow them to be quickly reconnected. For instance, if you need to replace a machine that is hosting a Workplace DesktopAlso known as the Workplace Desktop app, and in the context of this documentation, simply "the app," Workplace Desktop is the software installed on a computer that is responsible for synchronizing data between the local drive and the cloud. instance syncing to a network volume, this merge option can be used to get Workplace Desktop on the replacement machine back into full operation very quickly.
it resides within the Workplace folder.
Click the icon, available from the menu bar/taskbar. If user action is required, the icon will alternate with and exclamation point.
Select Fix Sync Errors…. This will open a dialog box that will allow you to correct the path to the project on your local machine or unsubscribe from the project.
Pay careful attention to the data within volumes or folders that are synced to projects, taking note of File Types That Should Not Be Synced to Workplace.
As a general precaution, we recommend keeping the number of files in a project to less than 100,000. While there is no limit on the number of files a project may contain, performance will be affected when projects exceed the suggested number of files. The larger the file count in your project, the more likely it is that performance will be impacted. For detailed information, refer to the File Count section of Before You Begin: Projects.
Click the icon in the menu bar > Preferences… > Folder Sync tab.
Create a Project from Local Folder - Select this option to create a new project in Workplace Online from an existing local folder.
Sync Project to Local Folder - Select this option to sync a project from Workplace Online to a local folder of your choosing.
Merge a Project to a Local Folder - Select this option to merge a project with a locally stored copy. This is particularly useful in rare instances where a project must be reconnected with a locally stored copy, such as after a reinstallation of Workplace Desktop.
Follow the instructions, below, for the option you select.
Enter the absolute file path or click Browse… and navigate to the local folder you wish to convert into a project.
Click Create Project to convert the folder into a project and begin syncing.
Select the project to sync.
Only projects that are not already synced locally will be displayed as available to sync. If you wish to sync a project that is already on your machine to a different location, first the project must be unsynced via the preferences on the Workplace Sync Tab or Folder Sync Tab.
Enter the absolute file path or click Browse… and navigate to the location of the local folder that this project will sync to. The local path will be displayed below.
Select Sync Project into local folder to complete the process and begin syncing.
Enter the absolute file path or click Browse… and navigate to the local folder to merge.
Files will be merged. If files in the same location have the same name, the most recent version will be retained. If the older version exists on the device, it will be deleted. If the older version exists in the Workplace service, it will be available under "Previous Versions".
Any local files that do not exist in the service project will be removed.
Any files in the service that do not exist in the local project will be removed.
Workplace Desktop will scan all the files in the local folder, compare them to those on the server, and connect all files that match precisely.
Once all the matching files are connected, a notification will display to confirm that the connection of files is complete and that the remaining files will sync as normal.


Based on Trump's Anti-Immigrant Comments.
"We do not need to speak the same language to play soccer together," one of the event's organizers said.
The tifo on display in the north end of the stadium - the so-called Cauldron - was as impressive.
Raphael Varane may leave Real Madrid Manchester United are stepping up efforts to sign centre-back Raphael Varane away from Real Madrid this summer.
Adelaide United has claimed its first A-League title with a 3-1 victory over the Western Sydney Wanderers in the Grand Final.
Champions League final: Who will go on to write history in Milano?
The stage is set and European football community will be in for yet another memorable Champions League final on 28 May in Milano, there is no doubt about that.
With only one goal standing between the two sides, Real Madrid emerged victorious from their UEFA Champions League semi-final two-legged tie with Manchester City.
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Guardiola wants Arteta at Manchester City.


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text:
Tersilochus luteicornis är en stekelart som först beskrevs av Hellen 1958.  Tersilochus luteicornis ingår i släktet Tersilochus och familjen brokparasitsteklar. Inga underarter finns listade i Catalogue of Life.

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luteicornis

redpajama_set_name: RedPajamaWikipedia


Can Nantes weather the storm?
After reaching the final of the VELUX EHF FINAL4 2018 in only their second season in the VELUX EHF Champions League, HBC Nantes are back in the Last 16 again.
They finished fourth of Group B, behind Paris Saint-Germain, MOL-Pick Szeged and SG Flensburg-Handewitt, a good performance in the group phase.
But in the last few weeks, some off-court issues regarding the near future of the club have arisen. Could it have an impact on Nantes' confrontation with Rhein-Neckar Löwen? The first leg of their Last 16 duel takes place in Germany on Wednesday at 19:00 hrs (live on ehfTV.com), followed by the return in France on Saturday, 30 March.
Slowly the rumours started to become more than just whispers on the shores of the Atlantic Ocean. Over the last two weeks, Nantes announced that some of their most important persons of the last years will leave the club in 2020.
The departure from Nicolas Tournat to PGE Vive Kielce had already been set in October 2017, while Romain Lagarde's transfer to Rhein-Neckar Löwen, Nantes' upcoming Last 16 opponents, was officially confirmed last month.
And now, the club announced that the contracts with Nicolas Claire, the talented centre back, and coach Thierry Anti will also not be extended after the 2019/20 season. Obviously, the news sparked some tension in the media, and then also on the court. Money and egos have come into account and it was getting to everyone in the team.
"I just hope the players won't start shredding each other to pieces now," Anti said recently after a tough loss to PSG in the French league.
It has not become physical yet, but some of the people involved don't seem to be happy about their fate. In French media, Anti said he felt "like a beggar" in front of club president Gaël Pelletier when he learnt he wouldn't get a contract extension. And that he could not understand why the collaboration between him and the club had to end.
And Claire said he would rather get a transfer this summer than having to play one more year with the club knowing he will be leaving in 2020.
It is a new cycle starting in Nantes. Anti has been with the club since 2009, Claire arrived in 2013. "The team will have a totally different face in 2020," said Anti, aware of the simultaneous departures of Tournat and Lagarde.
For the situation to unfold in the build-up to the first game of the VELUX EHF Champions League Last 16 is a pity. But the timing for this kind of news is never ideal.
President Pelletier had no other option as people were going to be unhappy anyway. Things were going to be said. There is so much passion in this club that every member of the team and the staff take everything to their hearts. Anti feels like he will not be able to enjoy the fruit of his labour, after 10 years spent at the club. But his role now is to keep everyone focused.
Will the turmoil have an impact on the end of the season for Nantes? It remains to be seen how the players we will deal with the situation. Nantes have landed in bad weather - and at possibly the worst time of the season.
Powerhouses can often refocus quickly and concentrate on upcoming tasks. In two weeks' time it will be clear if 'Le H' is one of them.


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Legacy systems are difficult to secure.
Securing hardware and software is generally an iterative process, where threats are detected and security patches are created to respond to those threats. But since legacy systems have been around longer and often have fewer users, software developers may not prioritize these fixes. As hackers attack vulnerabilities more quickly, legacy systems can and will become the weak point in your business defenses.
Support for legacy IT is harder to find.
Just like some of the security issues, service and support of older, more proprietary systems is generally less available. That can lead to several challenges: It won't be as easy to find a qualified manager or train someone new, and service costs may be higher than what you'd pay for newer systems. These systems require strategic IT staffing and increased attention.
Legacy systems lack easy integration.
You probably have legacy IT that you'd like to connect with more modern software and hardware, but those bridges may not exist or might be something you and your staff have to build yourselves. That means added workloads, greater needed expertise, and most likely, higher costs. You may also run into compatibility issues for file and data formats.
For these and other reasons, many companies are looking for help in managing legacy IT systems. This is especially true when you're working in a mainframe environment.
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The combination of large capital replacement costs and an aging technician population means that outsourcing mainframe infrastructure and support just makes sense. So, how does mainframe-as-a-service work?
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That's why organizations can see significant cost savings while also limiting risk. The mainframe services provider handles regular maintenance along with necessary upgrades to the IT infrastructure. The user is responsible for just compute, storage, and batch time. Mainframe services are a solid move in response to the challenges presented by legacy mainframe systems.
As you consider the impact of managed mainframe services on a legacy system, look at some of the additional benefits.
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If you're looking for a way to smooth the rough edges of your legacy IT system, managed mainframe services fit the bill. It's the equivalent of moving from an entry-level vehicle to a top-of-the-line sports car, without feeling the financial pinch.


text:
Army reviews Party, political work in 2020
General Luong Cuong, Secretary of the Party Central Committee, member of the Standing Board of the Central Military Commission, and Chairman of the Vietnam People's Army (VPA)'s General Department of Politics, chaired a conference in Hanoi on December 8 to review the armed forces' performance in Party affairs and political work in 2020.
VNA Tuesday, December 08, 2020 18:25
Politburo discusses finalisation of National Party Congress documents
Tuesday, December 08, 2020 16:26
Party, State leader attends national political-military conference
Monday, December 07, 2020 17:57
Party leader chairs Central Military Commission meeting
General Luong Cuong, Secretary of the Party Central Committee, member of the Standing Board of the Central Military Commission, and Chairman of the Vietnam People's Army (VPA)'s General Department of Politics, speaks at the conference. (Photo: nhandan.com.vn)
Hanoi (VNA) - General Luong Cuong, Secretary of the Party Central Committee, member of the Standing Board of the Central Military Commission, and Chairman of the Vietnam People's Army (VPA)'s General Department of Politics, chaired a conference in Hanoi on December 8 to review the armed forces' performance in Party affairs and political work in 2020.
Sen. Lieut. Gen. Do Can, Vice Chairman of the General Department of Politics, said the army has strictly implemented instructions and resolutions from the Central Party Committee, the Central Military Commission, and the Ministry of National Defence, closely followed military and defence tasks, and completed both regular and irregular tasks comprehensively.
Political education, ideological leadership, and communications work were fully performed, contributing to maintaining the Party's ideology battlefield and promoting the determination of officers and soldiers.
The military continues to be the vanguard in the fight against wrong and hostile views, thus ramping up the protection of the Party's ideological basis, he noted.
Special attention has been given to improving the quality of Party building and inspection work, contributing to building strong military Party organisations, Can stressed, noting that the organisation of Party congresses at all levels and the 11th Congress of the Army's Party Organisation were organised based strictly on principles.
The review and supplementation of personnel planning and personnel preparation for Party Committees at all levels in the military in the 2020-2025 term, as well as the introduction of military officers as candidates for the Central Party Committee in the 13th tenure, were implemented seriously and effectively.
Participants at the conference discussed the orientations and tasks for the Party and political work in 2021, stressing the need to promote the Party's absolute and direct leadership in all activities in the army as well as the pioneering role of Party cadres and members, towards further promoting the heroic traditions, position, and prestige of the VPA./.
Topics: Party Building 13th National Party Congress
General Luong Cuong Central Military Commission Vietnam People's Army Ministry of National Defence Vietnam VietnamPlus Vietnam news
Vietnam pledges to support Brunei's ASEAN Chair
Vietnam will support and work closely with Brunei as Chair of ASEAN in 2021 so as to successfully realise set targets and initiatives, Deputy Prime Minister and Foreign Minister Pham Binh Minh said when talking on the phone with Brunei Minister of Foreign Affairs II Dato Erywan Pehin Yusof on January 19.
PM sends condolences to Indonesian President over earthquake, plane crash
VFF leader congratulates Laos on 11th Party Congress
President of the Vietnam Fatherland Front (VFF) Central Committee Tran Thanh Man has sent his warmest congratulations to the Central Committee of the Lao Front for National Construction (LFNC) regarding the recent success of the 11th Congress of the Lao People's Revolutionary Party (LPRP) for the 2021-2026 tenure.
The National Election Council (NEC) on January 19 held a meeting with relevant agencies to prepare for a virtual national conference to popularise the Politburo's directive on the implementation of the upcoming general election.
Top Vietnamese leader congratulates new President of Kyrgyzstan
Party General Secretary and State President Nguyen Phu Trong on January 19 sent a message of congratulations to Sadyr Japarov on his election as President of Kyrgyzstan.
13th National Party Congress: impressions and belief
Foreign diplomats in Vietnam have provided opinions on Vietnam's achievements during its period of "Doi moi" (renewal), most notably its economic development, containment of the COVID-19 pandemic, and the forward momentum of the country.
The people's public security intelligence force must always put itself under the Party's absolute and direct leadership in all aspects, the State President's command, the Prime Minister's united governance and direction, and the Minister of Public Security's concentrated and direct management, PM Nguyen Xuan Phuc has said.

redpajama_set_name: RedPajamaCommonCrawl


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text:
Ingstrup Sogn er et sogn i Jammerbugt Provsti (Aalborg Stift).

I 1800-tallet var Vester Hjermitslev Sogn og Alstrup Sogn annekser til Ingstrup Sogn. Alle 3 sogne hørte til Hvetbo Herred i Hjørring Amt. Ingstrup-Vester Hjermitslev-Alstrup sognekommune blev ved kommunalreformen i 1970 indlemmet i Pandrup Kommune, som ved strukturreformen i 2007 indgik i Jammerbugt Kommune.

I Ingstrup Sogn ligger Ingstrup Kirke.

I sognet findes følgende autoriserede stednavne:
 Brødslev (bebyggelse, ejerlav)
 Bålshøj (areal)
 Ejersted (bebyggelse)
 Grønhøj (bebyggelse)
 Havgårde (bebyggelse)
 Hvorup Klit (bebyggelse)
 Ingstrup (bebyggelse, ejerlav)
 Ingstrup Mejeriby (bebyggelse)
 Ingstrup Sø (areal)
 Kettrup Bjerge (areal, bebyggelse)
 Klitterne (bebyggelse, ejerlav)
 Kringelstederne (bebyggelse)
 Marie Andersens Klit (bebyggelse)
 Munkens Klit (bebyggelse)
 Neest (bebyggelse)
 Nybæk (bebyggelse)
 Romedahls Klit (bebyggelse)
 Skjulsmark (bebyggelse)
 Sønder Kettrup (bebyggelse)
 Søndergårde (bebyggelse)
 Trudslev (bebyggelse, ejerlav)
 Trudslev Kær (bebyggelse)
 Vestermark (bebyggelse)
 Ørnbjerg (areal)

Noter

Eksterne kilder/henvisninger

Sogne i Jammerbugt Kommune
Sogne i Aalborg Stift
Sogne i Hvetbo Herred


text:
layout: page
title: Chrome Cube Software Executive Retreat
date: 2016-05-24
author: Jesse Webb
tags: weekly links, java
status: published
summary: Proin vehicula elit sodales, tincidunt quam et, aliquam ante. Morbi.
banner: images/banner/meeting-01.jpg
booking:
  startDate: 08/08/2016
  endDate: 08/09/2016
  ctyhocn: MGMHHHX
  groupCode: CCSER
published: true
---
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Home Latest News Namatan Short Film Festival 2015 launched
Namatan Short Film Festival 2015 launched
The Namatan Short Film Festival 2015, a festival created for the ni-Vanuatu to express their ideas and their creativity through film, was launched today, 12 February. Co-founded by the Australian High Commission and Vanuatu Broadcasting and Television Corporation (VBTC) in 2012, Namatan is now in its fourth year. In 2014, the finalists' films were shown to over 3,000 people in communities around the country and screened on national television. "Each year, it's exciting to see the passion and creativity of the filmmakers, and the enjoyment communities get from watching films made by ni-Vanuatu, with ni-Vanuatu actors and sometimes even in local language," said Simon Flores, the Australian Deputy High Commissioner at the launch. This year promises to be bigger and better. With the support of Namatan's sponsor Air Vanuatu, the films will be shown in four Vanuatu Islands: Efate, Santo, Tanna and Malekula. In addition, there are also some exciting prizes for the winning films offered by Air Vanuatu, VBTC and Wan Smolbag Theatre. The festival promotes a unique item each year. This year, each film must contain two spinning coins reflecting the game of two-up, to commemorate the 100-year anniversary of the ANZACs' landing at Gallipoli during World War One. The spinning coins also symbolise 'choice' – that everyone has to make choices about their own path in life. Read more.
Source: PACMAS
Previous article2015 promises deeper Pacific regionalism
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Please join us for this concert and craft family event. There will be a skit/musical/concert by the children from BP Learned Mission to be followed by a group sing-along and then family crafts and refreshments. The theme will be friendship, love, and respect – the month of February theme! Family members of all ages invited.


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Catholic Community Response Team bridges gap between Pontiac's poor, wealthier suburbs
By Matthew Wentworth
May 13, 2019 Local
Some of the hundreds of volunteers who contribute to the ministry of the Catholic Community Response Team, a collaborative effort of the 10 parishes of the Pontiac Area Vicariate, are seen near the organization's Pontiac headquarters. The CCRT has been helping Pontiac residents afford basic necessities such as food and shelter for the past 15 years. (Courtesy of the Catholic Community Response Team)
Christian service collaboration between 10 parishes celebrates 15 years helping those in dire straits
PONTIAC — Fifteen years ago, the 10 parishes of the Pontiac Area Vicariate saw the great need that existed in the heart of their community. Living among the poorest of the poor, it was an almost daily occurrence to find someone in need of food, shelter, clothing and other basic necessities.
The epicenter of wealthy Oakland County, Pontiac may be geographically close to its more affluent neighbors in West Bloomfield, Birmingham and Rochester Hills, but economically, the city couldn't be further apart.
Pontiac is a city with great needs. It's long been the center of poverty in one of America's wealthiest counties, a fact that led to the creation of the Catholic Community Response Team (CCRT) in 2004.
"You see the basic inequity," said Barbara Williams, program director for CCRT who's been involved in the nonprofit since its inception. "It's about sharing the wealth that's around Pontiac. It's about living out the Gospel values of faith, friendship and service."
Barbara Williams, director of the Catholic Community Response Team, meets with a client in her office. (Valaurian Waller | Detroit Catholic)
The Catholic Community Response Team is a collaborative ministry of the vicariate's parishes, which include Christ the Redeemer in Orion Township, St. Joseph in Lake Orion, St. Damien of Molokai in Pontiac, Sacred Heart and St. John Fisher in Auburn Hills, St. Benedict in Waterford, St. Andrew in Rochester, and St. Irenaeus, St. Mary of the Hills and St. Paul Albanian in Rochester Hills.
In 15 years, the organization hasn't grown much in terms of staff. But that's a good thing.
"We started with two part-timers and two volunteers," Williams said. "Now, we have three part-timers and 150 volunteers."
Joan Stelzer, one of those volunteers, is amazed when she thinks about all the Catholic Community Response Team has accomplished.
"It's been growing like crazy. The lines are so long, the landlord asked us to do things by appointment," Stelzer said. "Every year, we have thousands of unique clients. We help people manage their lives better."
Volunteers receive dozens of phone calls, and about 10 appointments, every day. The organization provides help with shelter and food, as well as assistance for people to avoid eviction and utility shutoffs, along with security deposits, clothing, personal items and other forms of aid at its location on Franklin Boulevard near the Pontiac Housing Commission.
Young mothers are some of the clients who turn to the Catholic Community Response Team for help.
When the organization was created, St. Vincent de Paul Parish in Pontiac (which later merged to become St. Damien of Molokai) was fielding most of the requests from the community's neediest families and wasn't able to keep up.
"There are a lot of people who need help," Williams said.
Williams sees the work of the 10 parishes as inspiration for the type of inter-parish collaboration that could make a difference across the region.
"I thought it could be modeled across Metro Detroit," Williams said. "Take 10 parishes and have them work together to help. Whatever the emergency is, that's where we help."
April Bonner-Archer of Pontiac was in a desperate situation during the harshest weeks of this past winter. A victim of domestic violence who had spent time in and out of shelters in Pontiac, she had nowhere to go as the temperatures plunged below zero during February's polar vortex.
"Nobody but the Catholic Community Response Team was willing to help," Bonner-Archer said.
The nonprofit provided $500 for a security deposit for an apartment for her and her 16-year-old son. That money, along with her income tax return, allowed her to afford a new place to live.
"By the skin of our teeth, we had a place to stay," Bonner-Archer said.
But that was only the beginning of CCRT's help, as volunteers also furnished her new apartment — a miracle to Bonner-Archer.
"It was like the grace and breath of God came into my life. It was unbelievable," she said. "They're such a giving force. I will always sing the praises of the Catholic Church, and CCRT."
Now, her situation has improved. She's getting more hours at work. "We're barely making it, but we're making it," she said.
Barbara Williams sits among the clothes and personal items that are donated, sorted and delivered by hundreds of volunteers with the Catholic Community Response Team in Pontiac. (Valaurian Waller | Detroit Catholic)
Helping people stay in their homes builds stronger communities, Williams argues. In 2018 alone, the Catholic Community Response Team helped nearly 400 people avoid eviction. The organization helped hundreds more with food, security deposits, rides to work, and much more.
"Fifty percent of our clients don't have cars," Williams said.
CCRT also helped more than 300 children receive school uniforms, and for Thanksgiving, 1,300 received dinners courtesy of the organization's volunteers.
Those who volunteer on a regular basis include the "movers and shakers" — a group of retired volunteers who deliver furniture and necessities to residents in need — and the "miracle workers" — retired women who sort, display and sell donated items to raise money for the organization's efforts.
Williams knows well the impact an organization like CCRT can have on a struggling person, or family. Growing up, her family struggled, but received help.
"My dad was paralyzed from the neck down with polio," Williams said. "People reached out and helped us. Goodfellows brought us Christmas gifts. I've never forgotten what it's like to struggle."
Helping people less fortunate can be a reward in itself, Williams said.
"The gift is in the receipt," Williams said. "You know you're doing the right thing. You get back so much more than you give. People are very grateful. Some want to hug you."
Stelzer feels the impact, as well, and knows it could just as easily be her struggling to get by.
Blessing bags for the areas homeless line the shelves at the nonprofit's Pontiac facility. (Photos by Valaurian Waller | Detroit Catholic)
A young girl smiles during a visit to the CCRT headquarters with her mom.
"It's definitely very fulfilling. In the same sense, I'm kind of humbled. I'm not that special to say that I'm immune to the situation," Stelzer said. "I'm really touched by their situations. My life had never intersected with people who have such needs. It's helped me appreciate everything I have, and makes me so aware. I have a much better appreciation for them."
Another volunteer, Laura Pangori, says seeing the reaction from those who find help through the Catholic Community Response Team makes the volunteers want to do even more.
"It's heartwarming," Pangori said. "Sometimes it's giving a toothbrush, and they say thank you, and you see how grateful they are. It's very humbling."
In celebration of its 15th anniversary, the Catholic Community Response Team held a gala in April to raise funds and to thank its volunteers.
"Anything we get goes to our clients," says Pangori, who served as chairperson for the April 11 event. "It's part of who we are as Catholics. It's seeing the face of Christ in everybody."
To volunteer your time, talent or treasure to the efforts of the Pontiac Area Vicariate's Catholic Community Response Team, call (248) 499-9621 or visit the organization's website or Facebook page.


I can see mine, where are you checking for your rank? Not that it really matters much anymore, since pre-alpha key distribution is already fixed and the Leadership board doesn't seem to be determining anything else.
Not in the top 100?
it should have your rank at the top of the page, just like in @Logain screenshot.
I have no problem seeing my rank in the leaderboard.
log out then back in again? head to the quest part and try to trigger a completion.
I think if you're not in top 100, they just don't bother showing atm because the alpha key selection has ended.
@chrightt it doesn't end read the response 1 of last news faq.
Maybe it will help to ask @Specter about, if it is broken or intended.
I think it's broken. I shall inform Prometheus.
The Foundation is broken, there is a bug in the matrix. We should evacuate before we disappear.
hi guys, my rank didn't change, you are looking from what type of browser/configuration ?
@specter could it be a bug when some players are equal ranking the system can't determine a rank and display a null value ?
I could be a bug with a mobile version of website. Mobile version has been known to have some elements on top bar invisible.
Did you try checking from desktop?
Well not sure than because it also shows my rank.


Completed 2010 Non-Residential Photovoltaic (PV) installations are down almost 27% versus the same period of 2009.
Is the application pipeline setting up for a record first half 2011?
For my EU PVSEC presentation, I decided to forgo state forecasts and instead provide 2010 market updates. When I reviewed the CSI (California Solar Initiative) Applications by Month at the California Solar Statistics website, I discovered the Non-Residential installation run rate gap. Using the latest data from September 22, 2010, the 50.8 MW (MegaWatt) of year to date 2010 Non-Residential installations lag the 64.5 MW installed the prior year through September 2009 as shown in the California Non-Residential Solar Installations chart. Another eight days of data is needed for strict comparability, but installs have lagged throughout 2010. The Non-Residential segment includes Commercial and Government / Non-Profit solar PV installations.
The ironic primary cause of the gap was a strong first quarter 2009 for CSI Non-Residential installations during the economic crisis. Projects financed before the economic crisis resulted in a record 18.9 MW of Non-Residential CSI installations completed in January 2009.
It takes about 350 days to complete a Non-Residential project and about 180 days to complete a Residential project.
Non-Residential demand may now be building (we hope). The picture will be clearer in a few more quarters.
Because of CSI project drop out rates, California, national and global factors, increases in demand now do not guarantee a sustained increase in completed MW in the future.
The CSI dropout rate is currently about 18.7%. As of 12/30/2009, about 18.7% percent of reserved MW has dropped out of the Program, representing 19.9% of reserved incentive dollars. This average dropout rate was calculated from the Public Data Export, which draws on data from the 12/30/2009, PowerClerk data, and includes only those applications that have ever been granted a CSI reservation (non-blank "Reservation Reserved" or "Confirmed Reservation" or "Pending RFP" date for non- residential projects, and non-blank "Confirmed Reservation" date for residential projects).
Therefore, the raw CSI Non-Residential application dropout rate is even higher than Confirmed Reservations.
What triggered the April 2010 Non-Residential application spike?
I postulate two main causes for the pseudo blow-off top in CSI Non-Residential applications. First, developers were concerned efforts to extend the Treasury Grant program beyond 2010 would not succeed this year. April 2010 applications had reasonable expectations to meet US Treasury "begin construction" criteria by December 31, 2010. In the California Non-Residential Solar Applications chart, September 2010 Non-Residential applications are again near 2009 levels.
Second, CSI Non-Residential PBI (Performance Based Incentive) levels have been dropping and according to the CSI Statewide Trigger Point Tracker are at Step 8 for Pacific Gas and Electric Company (PG&E) and Step 7 for Southern California Edison (SCE) and the California Center for Sustainable Energy (CCSE), the administrator for San Diego Gas & Electric Company (SDG&E) customers. The CSI PBI Payments per kWh (kiloWatt-hour) for Non-Residential Steps 7 and 8 are shown at the bottom of my EU PVSEC California PV Market slide. I understand clever developers began focusing on Government / Non-Profit solar installations to benefit from the additional $0.10 per kWh PBI.
In turn, the unexpected PBI skew towards the higher Government / Non-Profit levels created a Stop and Go policy situation at the CPUC (California Public Utilities Commission) as they considered CSI program changes. For further details, please see "CPUC Solicits Comments on CSI Budget: Update July 29, 2010: New Assigned Commissioner's Ruling Lifts Hold on PBI, Government/Non-profit Incentive Processing". The twenty (20) day Government / Non-Profit reservation suspension has no doubt decreased application interest since July 2010.
The September 16, 2010 presentation on the Status of the CSI Program ("California's Solar Market") by Molly Sterkel, CPUC Energy Division, observes CSI Installed and Pending Projects account for $1,432 million of the $1,701 million CSI budget and concludes with a "Post-CSI?" slide including the bullet point, "Lower steps cost program least, expected to obtain the most MWs". Let's hope so or a tough and not so sustainable solar PV market may unfold in the second half of 2011 or in 2012.
Ed, Great post and you are correct re: PBI and cash grant status pushing applications in April.
Getting a project from concept to operation is an arduous process full of bottlenecks. I hear now that deadlines specified in the SGIP process in regards to processing of various studies/reports are being ignored as a result of the onslaught of interconnection applications. 2011 may be a record year for installations or, quite possibly, another year where we push thru one bottleneck onto the next. To my knowledge, no one, fruit basket or not, can make the utilities hurry up.


Tell those critters to buzz off with the Outdoor Research Bug Helios hat.
No-See-Um Mesh bug net integrated into the crown.
Ripstop nylon fabric increases the durability of the Helios and resists gnarly wear and tear.
The foam-stiffened brim floats in case you drop your hat into an accommodating river or lake.
External drawcord adjustment in back for proper fit.


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Get To Know – Deerful
Deerful is the solo-electronic project of indiepop academic, Emma Winston. Armed with an array of miniature synthesisers, Deerful's sound is a combination of soaring choral vocals, and twitching processed beats. Debut album, Peach, came out last Summer on WIAIWYA, an album about affirming the ordinary and vital; it was a reminder that whatever was going on in the world, there are still tiny shared moments that make life still well worth celebrating.
Deerful plays our upcoming alldayer alongside the likes of Sweet Baboo, Marine, Adwaith and many more, you can get all the information about the show HERE.
FTR: For those who don't know who is Deerful?
I'm a singer-songwriter, and I write about feelings on tiny synthesisers.
FTR: What can you remember about your first show?
It was at Servant Jazz Quarters in Dalston for the Gare Du Nord showcase in December 2015. It was a ten-artist lineup or something and I only had two songs ready, 'City Bells' and 'Moon Maps', so I played those two. I remember it going completely perfectly but there might be some rose-coloured glasses going on there.
FTR: Why do you make music? Why not another art form?
Music is an incredibly central part of my life. It's like medicine. It plays a huge huge role in my mood and my environment and how I think and feel and function day to day. It's just so important to me and being able to make it myself too is the coolest thing in the world.
I am not a music buff in the conventional sense, mainly because when I fall in love with a song I will listen to that song to the exclusion of all others, hundreds of times, until my brain is completely saturated by it instead of going and finding other music like it. But I can tell you the exact timestamp where a song I love lights up in a particularly wonderful way, I know every lyric and harmony inside out. The internal time and space of a song feels like home to me, in a way that I've never experienced with any other art form.
FTR:What can people expect from the Deerful live show?
Several little synthesisers (maybe a sampler, now, too, if I ever learn how to play the thing reliably). A Game Boy. Beeps and boops. Me monologuing endlessly about whatever rubbish comes into my head in between songs and being completely unable to retain any sort of mystique.
FTR: What's next for Deerful?
Gig-wise: I'm playing Are You Listening? festival in Reading on the 28th of April, then the Scared To Dance alldayer in Dalston on May 5th with Sweet Baboo, Marine, Adwaith, Young Romance, Deerful and Red Red Eyes, which will be my first London show in ages and I'm thrilled about it!
Recording-wise: Album 2. I haven't started it yet. I have been working on music this year but it's almost all been instrumental music for media production libraries. That's done amazing things for my listening and production and mixing skills, and I can't wait to see how that translates into Deerful tracks. I want to make music that's bigger and brighter and poppier than anything I've ever done before and I'm finally starting to acquire the skills to be able to start doing that, which is really exciting. I do have a couple of tracks coming out on various charity compilations (honestly, if you want a new track from me at short notice, I'm a sucker for a good charity compilation) and a possible project in the works with two very talented pals, which is currently under wraps.
So it's sort of a transitional period for Deerful, which I'm not really used to – I tend to be just creating creating creating all the time, followed by crashing. But balance gives you time to think and grow, and I'm trying to make more space for that, not just in music but in everything.
They Listen To…
Photo by Pam Berry
Daphne and Celeste – BB
I don't think I really 'got' Daphne and Celeste the first time round but the revival album is my favourite record of the year so far, and there was a part of me that was really hoping it would blow up and get massive and I'd be able to dissect it with a million other people, but that hasn't happened yet so I'm just unilaterally evangelising about it to anyone who will listen.
It's fantastically odd and eclectic and maximalist but also absolutely pure pop at its core. I picked this track because it has a) chiptune bits; b) the line 'sonic simplicity is considerably overrepresented' in the outro which is a life motto if ever there was one.
Baths – No Eyes
I fell completely in love with Baths when his album Romaplasm came out in December and then all over again when I saw him live in London in March. It was the most intense inspiring live show I've ever seen purely because of his energy onstage – laser-like focus and somehow at the same time completely chaotic and emotional. This song captures a tiny fraction of that intensity I think. Also, those massive snare drums! I could very easily have done this list as just five Baths tracks but I don't think FTR would have been too happy about that.
Final Fantasy – He Poos Clouds
Owen Pallett is probably my favourite musician alive and this was the first song I heard by him – his 2014 album In Conflict has probably been one of my biggest influences stylistically (not that you can tell) but this song has my heart. It's got strings, it's got gay videogame characters, it's got (I think?) a 7/8 time signature, it's got screaming. You may have been made for love, but I'm just made!
Kero Kero Bonito – Forever Summer Holiday
In my opinion nobody does sheer unbridled danceable joy better than Kero Kero Bonito. It's like they wrote a list of all the things that hit the dopamine receptors in my personal brain and then started a music project ticking all of them off at once. Their most recent release is an EP which is kind of more grungy post-C86 guitar indie than their usual super-saturated pop, and it's great, but it doesn't have Fairlight orchestra hit sound effects in, does it, and that's why I'm still stuck on Forever Summer Holiday.
SOPHIE – It's Okay To Cry
I am completely fascinated by SOPHIE. I think she's probably one of the most innovative producers alive, for starters; her sound design across her whole catalogue is bonkers, much of it is almost nightmarishly hard and intense and lurid, and it feels to me like she's driven by what interests her sonically and what she wants to experiment with, rather than fitting anywhere in terms of genre. She was presented as this mysterious faceless voiceless emotionless figure for her first few years in the spotlight. I always had her in my head as the kind of polar opposite of me.
And then she brought out It's Okay To Cry and it's the purest sweetest thing, and she's front and centre sonically for the first time – but still there's this burst of sharp hypercolour sonic euphoria towards the end. I'm convinced that she means every word of it. As a die-hard exponent of sincerity, it's made me love everything else she's made more, too.
Peach is out now via WIAIWYA. Click HERE for more information on Deerful.
Deerful plays our all-dayer May 5th Click for more info
Tagged Deerful, Emma Winston, Get To Know, London, New Music, wiaiwyaBy fortherabbitsmusicLeave a comment
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At present the biggest threat to the monetary union is posed by the anti-European political parties.
The future of the European welfare states: the intriguing role of demography?
Many European countries are currently facing serious challenges related to weak public finances and political populism.
Technological change was never as fast as it is today.
The creation of jobs across Europe remains a key economic and social challenge for the EU.


Jenelle Evans has a notoriously shaky relationship with the reality.
And by that we imply, each time she opens her mouth or begins clacking away on her cellphone, a complete slew of recent traces is put forth into the world.
One of the Teen Mom 2 star's favourite issues to lie about is her personal well being.
Jenelle goes to the hospital pretty incessantly, and every time, her rationalization for her go to appears to haven't any reference to the reality of the state of affairs.
But even when she's not laid up for a suspicious sinus surgical procedure, Jenelle spins extra yarns about her well being than a 3rd grader going through a multiplication quiz he forgot to review for.
Her household in tow (for as soon as) Jenelle traveled to NYC this week for town's spring trend week.
It would not seem to be a state of affairs that might require her to seek the advice of Web MD whereas BS-ing her thousands and thousands of Instagram followers, however that is precisely what occurred.
For starters, Jenelle simply instructed the world that her total household is sick with the flu, together with her 2-year-old daughter, Ensley.
So, perhaps it is not the perfect time to jet off to one of the crucial fast-paced cities on the planet?
As you possibly can see, Jenelle did not take too kindly to the outpouring of concern.
And it is not simply the flu state of affairs that has followers involved for Evans' well being.
Back in September, Jenelle revealed to her followers that she's affected by "esophageal spasms" and can seemingly by no means be capable of fly once more for the remainder of her life.
The revelation got here after she and husband David Eason drove from LA to North Carolina, prompting hypothesis that they had been smuggling some type of contraband.
Just just a few months after that heartbreaking information, Jenelle as soon as once more boarded a flight.
And as is all the time the case along with her many illnesses, she was prepared with a proof when followers identified that none of it makes any rattling sense.
As you possibly can see, Jenelle spun some elaborate mumbo jumbo about how brief, direct flights do not irritate her situation.
Most individuals would most likely simply keep away from flying for some time if their final flight left them "laying on the floor of the plane crying" as Jenelle's did, however what do we all know?
Once they landed, after all, Jenelle and the children rested up to verify their well being was restored in time for the week's occasions.
Just kidding, they instantly went out for ice cream and beer.
Now, once they acquired drunk collectively again in April, David allegedly attacked Jenelle, leaving her hospitalized (once more), so followers had been involved to listen to the 2 of them slurring their phrases throughout an Instagram Live session Wednesday night time.
But don't be concerned — it is all good, as a result of Jenelle caught to beer.
"When I drink beer and not liquor, it's a — total difference," Jenelle instructed the digital camera.
David agreed, including that beer would not make him need to "party all night" like liquor — which is nice, as a result of the couple has a freakin' toddler with them.
Unfortunately, David then perused the beer listing looking for the brews with the best alcohol content material.
It by no means ends with these two.


Three men have been jailed for a combined total of over 20 years for burglaries in Peterborough.
Charlie Edwards, 28, of Queens Walk, Peterborough, Jody Stones, 33, of Eastern Avenue, Peterborough, and Daniel Willerton, 41, of Chesil Walk, Corby, all pleaded guilty to burglary at Cambridge Crown Court last Thursday (February 1).
On Monday, August 14, 2017, at about 10.30am the trio and an unidentified person forced their way into a house in Oilmills Road, Ramsey Mereside, and stole a safe, valuable coins, a digital camera and a watch.
Following the burglary the group left the scene in a red BMW 1 Series which was stolen during a separate burglary in Yaxley a few days before.
A short while after the burglary, a police officer spotted the stolen BMW and began to pursue it, however it was involved in a head-on collision with a Jaguar F Pace in North Bank Road, Peterborough.
Willerton was arrested at the scene and taken to hospital due to his injuries. The three other men in the car managed to flee the scene but left behind the stolen items.
Stones was arrested at his home address three days later after he was identified from CCTV images. During a search of Stones' home, items were located that linked him to two further burglaries.
Edwards was arrested in October after his DNA was found in the BMW.
Detective Constable Tom Adams said: "The total disregard to the law and the safety of the public is disturbing and this sentence reflects how seriously we take burglary and driving offences.
Edwards pleaded guilty to dangerous driving, three counts of handling stolen goods as well as one count of burglary and was sentenced to seven years imprisonment.
Willerton was sentenced to three years and four months imprisonment after pleading guilty to burglary.
Stones pleaded guilty to three counts of dwelling burglary and was sentenced to nine years imprisonment.
He pleaded guilty to burglary charges in relation to burglary at a house in Ferndale, Yaxley, during which jewellery, a laptop and a set of car keys were taken which belonged to the red BMW that was used in the Oilmills Road burglary.
He also pleaded guilty to burglary at a house in George Street, Peterborough, and once inside car keys, fishing gear and cosmetics were taken. Subsequently a blue Peugeot 508 was stolen.
Following Stones' arrest, officers found the stolen laptop and fishing gear in his garden. The handbook to the stolen Peugeot was also found in his bedroom.


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Posts tagged with "Public Art Fund":
AN rounds up must-see exhibitions to catch this summer
Summer is a great time to explore the world of art and architecture, whether through tours of an exquisitely restored historic house or through online exhibitions that celebrate the cutting-edge work of the Bauhaus. Here are some openings you might have missed:
Just: The Architectural League Prize Exhibit
June 21 - July 31, 2019 66 Fifth Avenue New York, NY 10011
In an exhibit closing today, The Architectural League of New York has put work by the winners of its 2019 Architectural League Prize on display, a coveted award that has been recognizing promising young architects since 1981. Provocative models, drawings, and installations produced by the six winners have been assembled in the Sheila C. Johnson Design Center at the Parsons School of Design.
The work selected for display covers a wide range of scales and media. With honorees hailing from cities across the United States and Central America, the exhibit gives visitors the opportunity to engage with a diverse array of perspectives and thematic focuses that relate to architecture, urbanism, and the design world at large.
Big Ideas Small Lots
August 1 - November 2, 2019 526 LaGuardia Place New York, NY 10012
Starting tomorrow, New York's Center for Architecture will exhibit winning submissions from Big Ideas for Small Lots NYC, a competition jointly organized by the NYC Department of Housing Preservation and Development (HPD) and the American Institute of Architects' New York chapter. The competition asked designers to propose ideas for converting small-scale, difficult-to-develop lots across the city into viable affordable housing. Five finalists, including Palette Architecture and Michael Sorkin Studio, emerged from an initial pool of 444 proposals. The exhibition highlighting their work will be on display from August 1 until November 2.
Changing Signs, Changing Times: A History of Wayfinding in Transit
Through November 6 Grand Central Terminal New York, NY
The New York Transit Museum is hosting an exhibit on wayfinding in its satellite gallery at Grand Central Terminal. On view through November 6, the exhibit includes objects, photographs, and other archival materials exploring the evolution of signage in New York's transit system. The items, which come primarily from the museum's own collection, shed light on the changing needs of transit users and the ways in which designers have addressed those needs over time.
The gallery is located just off the Main Concourse in the Shuttle Passage, next to the Station Masters' Office.
Bauhaus: Building the New Artist
Earlier this summer, the Getty launched an online exhibition as a complement to Bauhaus Beginnings, a gallery exhibit on display at the Getty Research Institute in Los Angeles, California. Planned as a centennial celebration of the Bauhaus' groundbreaking approach to architectural education, the web-based exhibition features historical images from the Getty's archives and information about the Bauhaus, as well as opportunities for visitors to test exercises crafted by the school's pioneering luminaries, including Josef Albers and Vassily Kandinsky.
Dilexi: Totems and Phenomenology
June 22 - August 10, 2019 Parrasch Heijnen Gallery 1326 South Boyle Avenue Los Angeles, CA 90023
Parrasch Heijnen Gallery in Los Angeles is displaying counter-cultural works of art from San Francisco's Dilexi Gallery, including pieces by Arlo Acton, Tony DeLap, Deborah Remington, Charles Ross, and Richard Van Buren. Much of the art featured in the exhibition, which ranges in media from photography to sculpture, uses nontraditional materials and explores the very nature of perception.
Pope.L: Conquest
New York's Public Art Fund will present Pope.L's most ambitious participatory project yet. Pope.L: Conquest will involve over one hundred volunteers, who will relay-crawl 1.5 miles from Manhattan's West Village to Union Square. According to the Public Art Fund, participants will "give up their physical privilege" and "satirize their own social and political advantage, creating a comic scene of struggle and vulnerability to share with the entire community."
Pope.L has organized more than 30 performance art projects since 1978, but this will be the largest of the bunch. The crawl will take place on September 21, beginning at the Corporal John A Seravalli Playground.
It Might Be a Place (for LLH), as part of Unfoldingobject
June 20 - August 11, 2019 Concord Center for the Visual Arts 37 Lexington Road Concord, Ma 01742
The Concord Center for the Visual Arts in Massachusetts is displaying an installation by James Andrew Scott as part of its ongoing exhibition Unfoldingobject. Curated by Todd Bartel, the exhibit compiles collages by 50 different artists, each of whom has a distinct interpretation of the medium. Scott's work, which is integrated into a skylight in the gallery building, presents a dramatic series of irregular pyramids that protrude from the ceiling at different angles. The entire exhibition is on view through August 11.
Felix Gonzalez-Torres's black billboard returns for WorldPride NYC
This June, the Public Art Fund will install the seminal billboard, Untitled, 1989, by Cuban-American artist Felix Gonzalez-Torres in honor of the 50th anniversary of the Stonewall Uprising and WorldPride New York City. Set to rise above Sheridan Square's Village Cigars at the intersection of Christopher Street and 7th Avenue, the powerful project will be on view throughout the month. Untitled, 1989, the first of Gonzalez-Torres's iconic billboard artworks, was originally commissioned by Public Art Fund 30 years ago for the exact location it will be placed this year. The piece commemorated the 20th anniversary of the historic 1969 riots that helped catalyze the gay rights movement. Gonzalez-Torres's large-scale signs—all of which feature two lines of white text set across the bottom of a black background—were designed to look like non-artworks and non-ads. "Gonzalez-Torres had a deep belief in the right for individual viewers to experience and interpret the work on their own terms," the Public Art Fund stated in a press release. There isn't a single label or an artist's signature accompanying the installation. Untitled, 1989 reads the following:
People With Aids Coalition 1985 Police Harassment 1969 Oscar Wilde 1895 Supreme Court 1986 Harvey Milk 1977 March on Washington 1987 Stonewall Rebellion 1969
As a series of moments and monumental figures with dates beside them, the text isn't set up in chronological order. It also doesn't distinguish between public and private histories. It's open to interpretation by the viewer, but also stands as a "visual reference, an architectural sign of being, a monument for a community that has been 'historically invisible,'" according to the statement which cites Gonzalez-Torres's vision for the billboard. "Direct public engagement is fundamental to [Gonzalez-Torres's] artistic practice, which expanded the possibilities for creative expression both within and beyond the museum walls," said Public Art Fund Director and Chief Curator Nicholas Baume. "His integration of personal and political content that can bring about both awareness and action in the view has continued to inspire artists and audiences." Untitled, 1989 is presented in collaboration with The Felix Gonzalez-Torres Foundation with support by Google. It will be on view from June 1 to 30, 2019, in Sheridan Square across the street from the historic Stonewall Inn.
Tony Oursler's Tear of The Cloud activates a Riverside ruin
In multimedia artist Tony Oursler's site-specific installation Tear of The Cloud, commissioned by the Public Art Fund (PAF), five video projections converge onto the gantry of Manhattan's landmarked West 69th Street Transfer Bridge and its surroundings in Riverside Park. The images that unfold at the banks of the river comprise a nodal network of symbols, texts, and figures from both reality and myth to establish a vertiginous system of ideas and themes that illuminate the complex and still-evolving past of the Hudson River Valley. The histories and historiographies of this region have been a site of recurrent interest for Oursler since his first mature efforts in the early 1980s. Illuminated by a flowchart designed by the artist and displayed on one of the five projection booths that surround the gantry, the subjects of the video sequences range from the Headless Horseman to Timothy Leary, Morse code, the 19th-century utopian community Oneida, digital facial recognition technology, and the Manhattan Project. Approached from the south, dreamy music accompanies the crouched bodies of various youths crawling across the trusses slanting into the water. This soon gives way to the disembodied faces of various actors reciting characteristically enigmatic phrases written or found by the artist. To the right, a weeping willow gently bends toward the river, its swaying branches animating a montage of sequences projected onto its foliage. The primary structure of the bridge acts as the support for the most extensive section of the work, where a series of scenes describe the evolution of various systems of information distribution across the last few centuries. This theme is apt, as the bridge, which was built in 1911, once functioned as a dock that assisted the transfer of railroad cars to the barges that connected Manhattan to the Weehawken Yards in New Jersey. To the north of the structure, a projection onto the salty waters of the Hudson is visible—and audible—from the pier, providing deeper insight into some of the characters who inhabit the scenes projected onto the gantry. For example, we learn that Dexter and Sinister are the problematic names of a sailor colonist and a Lenape Native American, respectively, who uphold the 1915 official Seal of the City.  The northern face of the gantry provides a portraiture-type space for some of the most primary characters in Oursler's repertoire, including the figure that heads his flowchart: an anthropomorphic white horse head in the form of a knight chess piece. "Reprogram is everything," she states, reciting a series of chess moves as her image slowly slips off the gantry's supporting beams. Manifesting the flow of information through a site designed to aid the shipment of raw materials, Tear of The Cloud embodies the rhizomatic complexities of the present moment through the archival impulse that brings us the region's past. Tear of The Cloud is on view Tuesday through Sunday from 7:00 p.m. to 10:00 p.m. in Riverside Park through October 31. The artist will discuss the work during a talk at The New School's Tishman Auditorium on November 1.
New York fireboat gets a little razzle dazzle courtesy Tauba Auerbach
During World War I, British artist Norman Wilkinson invented the dazzle camouflage technique, also known as razzle dazzle, by painting warships with geometric patterns of contrasting colors to confuse the enemy about the ship's course. American artist Tauba Auerbach was inspired by the war tactic and has transformed a retired fireboat into a public art piece co-commissioned by the Public Art Fund and the World War I centenary art commissioner 14-18 NOW. Auerbach painted the fireboat John J. Harvey with a head-turning pattern featuring the historic vessel's original red and white colors. She made bold brushstrokes across the body of the ship, drawing swirling curves and flowing shapes from stern to bow. According to a statement from 14-18 NOW, Auerbach's piece, titled Flow Separation, is a "visualization of the physics of fluid dynamics," and its design "incorporates the movement and behavior of water." The ship is part of a larger series of dazzle ships co-commissioned with the British contemporary visual art festival, Liverpool Biennial, and is supported by Bloomberg Philanthropies. It will be stopping at different spots in New York Harbor throughout the summer and the public can enjoy trips aboard the vessel for free on weekends through May 12, 2019. Use this link for the full schedule and tickets.
Public Art Fund announces three solo, mobile summer commissions
Public Art Fund has announced a series of projects to be on view this summer across New York City. First to be unveiled on June 9 will be Austrian artist Erwin Wurm's Hot Dog Bus, an overstuffed converted Volkswagen Microbus that will distributing free hot dogs at multiple Brooklyn Bridge Park locations. Hot Dog Bus uses the visual language of Wurm's Fat Car series and adapts the concept behind his 2015 Curry Bus, presented during his solo show at Kunstmuseum Wolfsburg, to serve one of New York's defining street foods. The project continues Wurm's interest in eliding the notions of "viewer" and "participant" by creating sculpture that invite action and involvement. Another mobile and participatory installation, Tauba Auerbach's Flow Separation, will follow Wurm's on July 1. Inspired by the angular and energetic "dazzle" camouflage used on ships in World War I and culling upon her experience as a sign painter, Auerbach will redesign the exterior of the historic fireboat the John J. Harvey with abstract patterns inspired by experiments with fluid dynamics. The boat will be anchored at various points around the harbor and will even offer free public trips onboard. The project was co-commissioned with 14–18 NOW, a British arts organization working to commemorate the centenary of WWI. The final project to be unveiled this summer will be B. Wurtz's Kitchen Trees, opening on August 7th. Wurtz has devised "trees" of common kitchen products growing to as much as 18 feet high and 12 feet wide, designed to respond to the specific environment of City Hall Park. The whimsical sculptures not only play with the sense of value in art by leveraging everyday objects, but also highlight Wurtz's concern with recycling and reuse. Kitchen Trees will be Wurtz's first public commission.
Ai Weiwei's fences take on borders and belonging in NYC exhibit
In Good Fences Make Good Neighbors, a new exhibition by Ai Weiwei presented by the Public Art Fund, the artist and activist takes on the security fence as a medium for urban intervention, with New York City as his canvas. Some of the works might be easy to miss, like the chain link fences suspended over a gap between two buildings on East 7th Street, just steps from Ai's old basement apartment. But others, like the monumental Gilded Cage at Doris Freedman Plaza in Central Park, or Arch, nested under the Washington Square arch, are unmistakable and grandiose. The exhibit, which spans the five boroughs, opens to the public on October 12 and is comprised of more than 300 pieces. Like the Robert Frost poem it references, the show examines the tension and contradictions surrounding borders and those excluded by them, inspired by Ai's concerns about the global refugee crisis and related geopolitical conflicts. Many of the city sites selected by Ai, once a New York immigrant himself, also have close ties to histories of immigration, protest, and free speech. For the artist, the exhibition became an opportunity to utilize the existing infrastructure of New York City as a scaffolding for public art. From lampposts and flagpoles as well as on the public bus shelters dotting the city, Ai has installed a range of two- and three-dimensional works that combine fencing material with his cell phone shots of border checkpoints and refugee encampments. The images the exhibit has hung from lampposts throughout the city are delicate portraits stamped out of a black mesh fabric, and feature archival shots of Ellis Island entrants, notable refugees and immigrants like Nina Simone and Emma Goldman, and contemporary faces of displacement and exile, such as Iraqi refugees. Ai Weiwei also resurrects some familiar metaphors from his oeuvre, especially the birdcage. It becomes an inhabitable monolith in Gilded Cage, with turnstiled arcades forming the outer perimeter and a clearing in the middle that frames the sky and the surrounding foliage of Central Park. In Arch, the birdcage that blocks the Washington Square arch is shot through with a mirrored portal shaped into a silhouette of two people, a reference to a Duchamp work that also suggests how cages can become doorways, or hint at the inevitability of human migration despite the barriers that are erected. Circle Fence, which rings the Unisphere in Flushing Meadows Corona Park in Queens, is grand on a different scale, essentially forming a low 1,000-foot-long soft fence that doubles as a collective hammock and seating. Here the fence does not resemble a jail or barrier, but the mesh netting stretched over the fence posts still blocks movement even as it invites the public to lie down and relax. More quotidian fences clamp around the columns of Cooper Union's facade or swing as pixelated banners from the Lower East Side's Essex Market. Their unobtrusive presence echoes Ai Weiwei's belief that fences tap easily into existing structures of power and don't require a separate infrastructure to be erected. Or, as Public Art Fund's Chief Curator Nicholas Baume stated, Ai's works show "what we have thought was open can suddenly be closed." The full list of works and venues for Good Fences Make Good Neighbors can be found here. The exhibit will be on view through February 11th.
Ai Weiwei public artworks are coming to New York CIty, here's where to find them
Thanks to the Public Art Fund (PAF), New Yorkers will be able to find art from Chinese artist Ai Weiwei in all five boroughs, commencing October 12. Titled Good Fences Make Good Neighbors, Ai's work falls on PAF's 40th anniversary and features 18 sculptural installations, 200 two-dimensional works, and 100 documentary images. Ai, who studied Western modern and contemporary art in New York City as a student in the 1980s, reflects current global geopolitics and international migration in his work. Some of Ai's installations, such as a metal cage under the Washington Square Arch, are site specific, whereas others, like a new series of more than 100 images found on JCDecaux bus shelters and newsstands, as well as LinkNYC kiosks, are not. With regard to the latter, the documentary photographs will be paired with quotes from poets and writers and will touch on global displacement. These will appear in all five boroughs, as will 200 lampposts banners that have images of displaced people on them. As for the other large-scale sculptural installations, these can be found at the Doris C. Freedman Plaza in Central Park; the Unisphere, at Flushing Meadows Corona Park, Queens; 48 East 7th Street, East Village; 189 Chrystie Street, Lower East Side; 248 Bowery, Lower East Side; The Cooper Union for the Advancement of Science and Art, Astor Place; Essex Street Market, Lower East Side; and ten JCDecaux Bus Shelters in Downtown Brooklyn and Harlem. "Ai Weiwei is unique in having combined the roles of preeminent contemporary artist, political dissident, and human rights activist in such a prominent and powerful way," said Public Art Fund Director & Chief Curator Nicholas Baume in a press release. "In many ways, Good Fences Make Good Neighbors is the culmination of his work to date. It grows out of his personal experience of 'otherness,' his distinguished practice as both artist and architectural designer, as well as his intensive research on the international refugee crisis and [the] global rise of nationalism. At the same time, his long and formative history with New York has been deeply influential in the development of this exhibition." Ai will create variations on the fence—from metal chain link to synthetic netting—to form interventions that adapt to their sites, as if growing out of urban space and changing how we relate to the fence and our environment. Good Fences Make Good Neighbors runs through February 11, 2018.
Anish Kapoor brings an endless swirly to Brooklyn
Anish Kapoor has brought a liquid sculpture to the Brooklyn waterfront for his latest work of public art. Descension is a hot tub katabasis, an endless swirly into the depths of Brooklyn Bridge Park. The water, sculpted by a funnel, dialogues with the continuous flow of the East River and traffic over the Brooklyn Bridge in the near distance. At 26 feet in diameter, the piece, presented here by the Public Art Fund, builds on Kapoor's longtime exploration of emptiness (and could also be seen, depending on your politics, as an apt metaphor for the state of the world today.) Up close, its foamy surface—and gurgling machinations—feels peaceful. For safety reasons, a thin white rail encircles the piece to prevents toddlers and Pomeranians from drowning, but also creates distance between the visitor and the void. A video of the installation can be seen below.
Previously, Kapoor has installed Descension in Italy, India, in Paris's Seine, and in the garden at Versailles. Here in Brooklyn, "Anish Kapoor reminds us of the contingency of appearances: our senses inevitably deceive us," said Public Art Fund Director and Chief Curator Nicholas Baume, in a prepared statement. "With Descension, he creates an active object that resonates with changes in our understanding and experience of the world. In this way, Kapoor is interested in what we don't know rather than in what we do, understanding that the limit of perception is also the threshold of human imagination."
This is the nonprofit's fifth year in Brooklyn Bridge Park, but it's not the first time the Public Art Fund has exhibited work by the London-based artist. In 2006, the group brought Kapoor's Sky Mirror, a 35-foot-wide concave mirror, to Rockefeller Center.
"The fact that this is free [to visit] matters," Kapoor said, at a press conference yesterday. "We believe that art liberates us, opens us, frees us, to have it as open access is a terrific thing," a particularly rich observation from an artist who's unapologetically hoarding the blackest black on earth. Descension is on view through September 10 at Brooklyn Bridge Park's Pier 1.
Liz Glynn turns a corner of Central Park South into a Gilded Age living room for all
For her Public Art Fund piece in Central Park, artist Liz Glynn has spilled the contents of a super-rich enclave out onto the sidewalk for all to enjoy. Open House's cast concrete furnishings, laid out on a public plaza at the southeast corner of Central Park, reference the interiors of one of Manhattan's most famous Gilded Age mansions. Notably, the now-demolished home of politician William C. Whitney featured a 1,000-person ballroom, the kind of mahogany-and-silk fantasia where Ellen Olenska might have caught Newland Archer's eye. Gracing a corner just eight blocks north of the exhibition, the Stanford White–designed home was a lavish gathering place for New York elite. Turn-of-the-century society mingled in its ballroom, one of the grandest private spaces in the city, luxuriating on real and reproduction 18th-century French furniture. Glynn, who's based in Los Angeles, reproduced 26 of those couches, chairs, footstools and graceful entryways in concrete—a material of the people, she told The Architect's Newspaper, that she chose for its associations with working-class modernist housing, particularly in the work of Le Corbusier. The spacious outdoor interior (what Glynn calls her "ruin") was informed by archival research into the gracious homes of old New York, when (like now) the gap between the haves and have-nots defined the production of space in the city. The work reflects too on the decadence of today's ultra-rich, whose tastes shape the New York skyline into wastebaskets and all-glass everything. By turning the private into public, Glynn questions how social class in the city is performed and displayed. "In putting together this exhibition," said associate curator Daniel S. Palmer, "we asked, 'How can we make something that engages the entirety of the plaza, and make this an embodied architectural space?'" Although it officially opens tomorrow, New Yorkers were already making the most of their new living room. A woman was lounging in one of the armchairs, applying chapstick, while another scooped her pug up onto a couch to chat with a friend. To withstand three seasons' worth of weather but allow for design flexibility, the GFRC concrete was blended with an acrylic polymer that allowed Glynn to imprint patterns into the cushions, while decorative wood details are rendered evocatively in the same material. The furniture retains the elegance of its Whitney predecessors, but at 500 to 900 pounds apiece, they are theft-proof and durable enough for ten thousand butts. Open House is on view through September 24 at Doris C. Freedman Plaza, at the northwest corner of 60th Street and Fifth Avenue.
Anish Kapoor will install a dark, ominous whirlpool at Brooklyn Bridge Park
British artist Anish Kapoor will bring Descension to Brooklyn Bridge Park. The work is as dystopic as its name implies: A dark whirling funnel of water will descend down into an abyss, adjacent to the East River at Pier 1. Descension sees Kapoor's desire to coalesce negative space and energy finally realized, coming in the form of a 26-foot-wide whirlpool. To create the dark look, an all-natural black dye will be used to evoke the sensation that the water's journey is never-ending. Perimeter railing that traces the pool's circumference will stop audiences plunging into the illusory chasm, but will allow them to peer over, perhaps creating a swirling sinister phone-swallower in the process. The concept was first conceived in India (Kapoor's country of birth) at the Kochi-Muziris Biennale that ran from 2014 to 2015. There he exhibited the work as an interior piece, though later he furthered the idea in Versailles, France, exhibiting Descension as an outdoor work. Descension has also made an appearance in Italy where it was exhibited inside the Galleria Continua, a disused cinema theater. "Anish Kapoor reminds us of the contingency of appearances: our senses inevitably deceive us. With Descension, he creates an active object that resonates with changes in our understanding and experience of the world," said Public Art Fund Director and Chief Curator Nicholas Baume in a press release. "In this way, Kapoor is interested in what we don't know rather than in what we do, understanding that the limit of perception is also the threshold of human imagination." The Public Art Fund—a non-profit arts organization which receives public and private support—is celebrating its 40th anniversary this year. "We're thrilled that Anish's newest work will be a highlight of this anniversary season, more than a decade after his outdoor debut with us," added Baume. Descension will be on view from May 3 to September 10 this year.
100 screens host public art throughout New York City
When almost everyone stumbles blindly through the city, glued to a phone, a new series of digital works from the Public Art Fund is asking New Yorkers to pause their small screens to look at art on bigger screens around the city. Now through March 5, the nonprofit will display Commercial Break at roughly four sites: the Brooklyn Barclays Center's circular LED marquee; the Westfield World Trade Center mall in lower Manhattan; hundreds of porn-free LinkNYC kiosks; and on one of the most famous screens of all—a Times Square billboard. Notably, this is the organization's first show to simultaneously display work in all five boroughs. Commercial Break's antecedent is the Public Art Fund's Messages to the Public, a series that ran on a Times Square lightboard through most of the 1980s, displacing the usual ads. Similarly, the 23 participating artists in this show interrogate the omnipresence of digital imagery, especially advertising, and its effect on real spaces, online and off. The Public Art Fund's website is the final venue—work by Casey Jane Ellison is paired with showtimes and more information about each IRL site.
Take a trip through this redwood forest in downtown Brooklyn tomorrow
Instead of staring out the window into the gloomy morass of this weekend's unrelenting rain, head over to downtown Brooklyn tomorrow for the opening of a real—and really small—public forest. Artist Spencer Finch has set up a 4,000-tree glen in MetroTech Commons for his latest solo exhibition, Lost Man Creek. In partnership with Save the Redwoods League, Finch has recreated a 790-acre chunk of California's Redwood National Park at 1:100 scale. The height and placement of the thousands of scaled-down redwoods, ranging from one to four feet tall, mimic the topography of the real redwood forest (although the trees there reach heights close to 400 feet). "Through both a scientific approach to gathering data—including precise measurements and record keeping—and a poetic sensibility, Finch's works often inhabit the area between objective investigations of science and the subjectivity of lived experience," said exhibition organizer and Public Art Fund associate curator Emma Enderby, in a statement. "In a world where climate change is at the core of societal debates, Finch's installation in the heart of one of the most urbanized neighborhoods of the city presents us with the universal reality of nature's power to awe and inspire, and the importance to remember and protect such wonders." Visitors will be able to view the triangular patch of nature from a platform or at ground level. A custom-rigged irrigation system will keep the redwoods alive (although they'll probably get more water here than in their native, water-deficient California). Like the old-growth redwoods, Lost Man Creek will be around for awhile: The exhibition opens tomorrow and remains on view through March 11, 2018. The work is reminiscent of Michael Neff's suspended forest at the Knockdown Center, although Neff prefers his conifers dead.


text:
Elvis Presley feat. Royal Philharmonic Orchestra
Album: Christmas with Elvis and the Royal Philharmonic Orchestra (Deluxe)
Christmas with Elvis and the Royal Philharmonic Orchestra (Deluxe)
Tutti i testi dell'album Christmas with Elvis and the Royal Philharmonic Orchestra (Deluxe) (Elvis Presley feat. Royal Philharmonic Orchestra)
Santa Claus Is Back In Town - with The Royal Philharmonic Orchestra
White Christmas - with The Royal Philharmonic Orchestra
Here Comes Santa Claus (Right Down Santa Claus Lane) - with The Royal Philharmonic Orchestra
Merry Christmas Baby - with The Royal Philharmonic Orchestra
I'll Be Home for Christmas - with The Royal Philharmonic Orchestra
Winter Wonderland - with The Royal Philharmonic Orchestra
Santa Bring My Baby Back (To Me) - with The Royal Philharmonic Orchestra
Silver Bells - with The Royal Philharmonic Orchestra
Oh Little Town of Bethlehem - with The Royal Philharmonic Orchestra
Tutto su Elvis Presley feat. Royal Philharmonic Orchestra
Altri testi


Let's talk about empathetic customer service.
As a parent, you sometimes need to keep secrets. My nearly 2-year-old son has a stuffed brontosaurus that he loves. He hasn't seen it for a few days. That's because Dad found it collapsed outside in the front yard, missing an eyeball. It seems dogs love dinos, too.
To head off an international incident, I got on the website of the stuffed animal company. But I couldn't find an exact replacement dino. So I filled out their web form and explained the situation.
The phone rang, less than an hour later.
I was impressed. In 2019, to get a call at all from a web form of a large company is a major outlier. But to have one in under an hour? By a person who had taken the time to read my note, understand it, and call with a solution? That's sadly very rare.
The company was under no obligation to do anything for me. But they did a lot. Sure, the rep gave me a 50%-off promo code. We've all done that in service to our customers, and price wasn't an issue for me, because the transaction needed to happen. But the value she really gave to me was in the personal effort she expended on my behalf. I wouldn't be writing about it if I'd received just a promo code.
Too often, we think that our product is all we have to solve problems and influence people. Your product is not your only currency.
Consider how empathetic customer service might improve your customer interactions. Take your product out of the mix for a moment. What other value do you currently provide (or could you provide) that would be meaningful to the customer, but cost you little, or better yet, nothing? Would these things inspire a customer to write about you as I've done above? Discuss with your team.