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Rebecca Welch to become first woman referee to take charge of men's FA Cup third-round tie | Football News
Rebecca Welch is set to become the first woman referee to take charge of a men's FA Cup third-round tie.
Welch will take charge of Birmingham City's home tie against Plymouth Argyle, which will be played at St Andrew's on January 8, as the first woman to referee at that stage of the competition.
She became the first female referee to be appointed to an English Football League match earlier this year.
Welch has refereed men's matches in the National League plus elite women's games including the 2017 FA Cup final.
Rebecca Welch is set to make history as the first female referee to take charge of an @EmiratesFACup 3rd round match.
Rebecca will be in the middle for the tie between Birmingham City and Plymouth Argyle on Saturday 8th January 2022.
Congratulations, Rebecca! 👏 #Aspire2Ref
— PGMOL (@FA_PGMOL) December 29, 2021
Welch became the first woman ever to referee a game in the EFL on Easter Monday this year
In April, she took charge of Harrogate's 2-0 Sky Bet League Two defeat at home to Port Vale and in the summer, she was appointed to the EFL's National Group list for the men's professional game.
Welch, 38, became a qualified referee in 2010 and continued her day job as an administrator in the NHS until two years' ago.
Birmingham's meeting with Plymouth in the FA Cup third round takes place at St Andrew's on January 8
The official, who hails from Tyne and Wear, has also overseen games in the Women's Super League and the 2020 women's Community Shield.
In December 2020, she was added to UEFA's elite women's list, joining other female football officials to referee at international games, including Stephanie Frappart of France.
Amy Fearn was the first woman to referee a game in the main draw of the FA Cup when she oversaw Dover beating Corby in the first round in 2013.
The 32 third-round matches for this season's competition will take place between January 7 and 10.
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The Grayson has all of the comforts of your favorite tee, but with an ultra-stylish silhouette! This cotton slub t-shirt dress features a midi-length hem, dramatic side vent details and a chest pocket accent. Measures approximately 47" from shoulder to hem on size small.


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Tag: Dade Heritage Trust
The DuPont Building In Miami
Published on March 16, 2013 March 16, 2013 by Miami Art Reviews Inc.
DuPont Building In Miami
The Historic Alfred DuPont Building in downtown Miami.
Miami Art Review with the Dade Heritage Trust, MDC, Miami DDA, downtown historic walk, March 14th
Old vault doors of the DuPont Bank. — at Alfred I Dupont Building Downtown Miami.
Art Review Miami 2013
photo by Ana Bikic ©2013 All Rights Reserved
Categories 2013, Ana Bikic, Architecture, Art Interviews, Art Miami, Art Reviews, Arts Miami, Design, education, Florida History, Global Art, historic preservations, historical building miami, historical miami, Historical preservation, International Art, land mark, Local History, MDC, Miami, miami architecture, Miami Art, miami art circuits, miami art reviews, Miami Florida Arts History, Miami History, Miami Museums, places to go, world history•Tags 1939, Alfred I. DuPont Building, ana bikic, Architecture, Art Reviews Miami, cultural, Dade Heritage Trust, Design Preservation., Destinations, Downtown, historic building, Marsh and Saxelbye, miami, miami art reviews, Miami Design, Miami Historical Building, Miami Historical Destinations
Saving Miami History
Saving Miami History.
Advocacy For Regional Preservation of Heritage for Economical Stability.
by Wiliiam Coulthard / Edited by Ana Bikic Miami Art Reviews.
Carol Cohan's book Coconut Grove Playhouse back cover Pickering Press 1987
Miami Art Reviews Inc.
A region that relies upon tourism needs an entertainment industry. Historical sites are an integral part of this service orientated economy and the degradation and destruction of cultural interests undermines the formula a region has inherited over the decades and centuries. History is the repeated story that entertains, they are the tourist industry's product line and without them a region is no different than any other as a destination.
Although Miami Dade has beaches,National Parks and a pool side party image, most of our visitors are children and the retired if we include resident's families,snow birds and annual holiday trippers. Their interests are based on more traditional pursuits that require a more intellectual approach to entertainment. Beaches and night clubs, gambling and sports are good for some but to attract an audience appreciation for the arts requires having a strong local history that is more appealing to opera lovers and art collectors, who in turn buy apartments and return each year.
Miami Dade County has an immediate or recent history in comparison to European regions but what interests visitors beyond just the pleasure and joy of visiting is to be entertained, educated and have memorable experiences that can be shared with friends upon returning home. Saving local history plays a vital role when tourists return home, they carry with them the stories behind the places they've visited. A region's history actively stimulates intelligent and curious minds, between natural pleasures of parks and beaches to complete the experience of an exciting and fulfilling trip to their friends. The ancient Romans understood this economic formula providing not just arena entertainment but also galleries of archival history to accompany libraries and monuments. Their tourist cities provided the very best in spas and sports but the most successful cities like Pompey and Pila had preserved and prepared more ancient sites to excite a more affluent and studied clientele.
Miami, Miami Beach and the Miami Dade County, as a whole, must be mindful as it expands to what foot print of the past it wipes away. If an iconic house sitting in full view is the cover picture of an old story related to the region's past with internationally known cultural references; it follows that the home's destruction would bring strong negative feed back from previous and possible visitors. If a City is seen not to care about it's heritage then it is seen not to care about it's visitor's experience. So why should they return? or talk well to others? Persuading for a location based on others opinions and published experiences, a reputation by region or location should be seen as a regional and residential responsibility for everyone wishing to live in a successful area and enjoy the benefits that come from an active tourist economy.
The history, architecture and intellectual property of local myths and stories that enrich the visitors experience of our region are vital to the tourism industry as a whole, without them Miami would be boring and predictable. Our local history adds variety to regional destination and encourages opportunities for creating new local attractions. Preservation is therefore a vital part, not an after thought, it is at the heart of our very image and if we are seen to not care what is torn down, our ineptness to protect our own interests will be ridiculed internationally. Currently the Coconut Grove Playhouse and the famous Star Island Mansion are up for destruction.
Now is the time to save them, like Miami did with the Daily News / Freedom Tower 12 years ago. Developers and their investors must realize history has unique and has brand name status and that the stories behind the history are an intellectual property that belongs to all the region's residents, compromising local stories compromises future potential. Destroying history actually limits future development.
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Contact : Arts@miamiartreviews.com
Categories 1, 2013, Architecture, Art Deco, Art History, art in historical buildings, Art Miami, Artist Advocacy, Arts Miami, attractions south florida, Authors, Books, coconut grove Art Festival 2011, Coconut Grove Art Gallery, coconut grove art history, Coconut Grove Arts, Design, Ecosymbolism Art, education, famous actors, Florida History, historic preservations, historical building miami, international art reviews, land mark, Local History, miami architecture, MIAMI ARTS, Miami arts reviews and culture, Miami Beach, Miami Design, Miami Fashion Week 2013, places to go, Reviews, south florida tourism, Stage performance, Theater, things to do in Miami, torre de la libertad, USA International Artsist, writer•Tags ana bikic, arnold mittelman, biscayne bay entertainment.south florida regional stage, Coconut Grove Playhouse, conserving culture, Dade Heritage Trust, european, famous stage, famous stage productions, George C. Scott, History, hollywood stars, jose ferrer, lisa minelli, miami, miami actors, miami art reviews, Miami Dade County history, miami gangster history, off broadway, preserving history, President Truman, protect the grove Playhouse, richard hiesenbottle, roman, Saving history, south Florida, star island, story telling, theatre, tourism, tourist attractions
Saving The Coconut Grove Playhouse.
Published on March 7, 2013 March 12, 2013 by Miami Art Reviews Inc.1 Comment
Richard Heisenbottle's architectural rendering of a future Coconut Grove Playhouse restored to its 1926.
On Wednesday 27th February 2013, the Dade Heritage Trust heard Commissioner Xavier Suarez, aide J.C. Garrido and architect Richard Heisenbottle, the region's foremost authority on restoration, call for the raising of the Coconut Grove Playhouse to be avoided, offering a plausible solution. To achieve this Governor Rick Scott needs to be inundated with our concern and appreciation for the old Theater and how it's return as a working stage would stimulate the cultural attraction of the whole Coconut Grove Arts scene and the business district to the strengths of former years. The theater has a rich history and is well-known as a brand name, it has an iconic image that reflects the Grove's artistic and expressive heritage which would certainly aid the launching of a new working stage for the region as a whole. Miami now attracts many international events all year-long, any theater with mixed programming appealing to a wider audience and offering facility to host events would be able to partner strongly with the neighborhood hotels and residents' tastes. Performance could be added for the Arts Festival, Comedy nights throughout the year, film openings, corporate and inspirational presentations, conferences, poetry, dance and music recitals, the list of uses a working stage offers to a community is as long as the imagination and creativity the Theater's director is given. Now that we know the building itself is restore-able and safe, we need a business plan for a modern working stage. The Grove's theater was the driving force of it's identity as a location, returning to this formula is a sound investment. Destroying the Playhouse entirely or just as a facade to another empty arcade would be contrary to our community's real concerns. Private schools and gated communities in the center of the business district are contrary to civic planning and they do not attract visitors to the shops and hotels. Theaters have served communities as focal points, the stage is the forum for debate and idea, politically theaters are important places for common voice and vibrant expression, from them comes the confidence of community and with out them the silence is joyless. Save the Grove Playhouse, save a piece of history and save a chance for more to be made. Call the Governor and tell him this is important to reopen a working stage for Coconut Grove.
Miami Dade Commissioner Suarez phone 305-375-5680 or District7@miamidade.gov
Florida Governor Rick Scott phone 850-488-7146 and at rick.scott@eog.myflorida.com
Further reading.
Counter to the current conditions of finance and political issues to solve legal halts; the rich historical heritage associated with the Playhouse is impressive.
Historically it showed film, was restored to stage by famed architect Browning Parker and hosted Black, Jewish and Hispanic artists, from Billie Holiday to the Wizard of Oz.
The stage hosted the premiers of Samuel Beckett's Waiting for Godot, the musical Fame and many other Broadway hits, providing quality national performances. The Playhouse was a premier stage for Off Broadway and International new plays and shows. In 1982, with the Artistic Director actor-director José Ferrer brought regional programs for actors and Arnold Mittleman continued as AD, expanding to touring companies.
The Coconut Grove Playhouse was commissioned in 1926 by the Peacock Family, the symbol of the Grove still today, the architect, Kiehnel, is Miami's very best. The land was given from the Munroe family.
The front facade has Rococo neo spanish features, commanding the southern entrance to the Coconut Grove business district, it has it's own parking, office space and room for two small stages.
Between 1964 and 1965, The Coconut Grove Playhouse was used by The Miami Actors Company.
Among many important artists, most renowned performers, including Maureen Stapleton, Hume Cronyn, Jessica Tandy, Eve Arden, Tallulah Bankhead, Carol Channing, Liza Minnelli, Linda Lavin, Bea Arthur, George C. Scott, Colleen Dewhurst, and Ethel Merman, Neil Simon's The Sunshine Boys, starring Jack Klugman and Tony Randall, and Urban Cowboy, Sherry Glaser's, Family Secrets, Death of a Salesman, starring Hal Holbrook and Elizabeth Franz, actor-director José Ferrer.
In a 2011 Miami Condition report by Ellen Ugiocinni states a $15 million plus matching $5 million had be reserved.
The restoration if done in private hands would match this figure, according to the Architect but double that figure if the City gets involved with the renovation process.
Specific Dates 1926 1955
Architects: Kiehnel and Elliott – 1926
Remodeling by Alfred Browning Parker – 1955
Builder/Contractor: Albert V. Peacock – 1926
miamiartreviews@gmail.com
Miami Art Reviews considers the Coconut Grove Playhouse as important to save as the Freedom Tower,the old Daily News Tower , 600 Biscayne Blvd. It has both cultural and historical heritage for the Grove and the region as a whole. MAR calls for a working stage once again for Coconut Grove.
Categories 1, 2013, Architecture, Arts Miami, coconut grove, Coconut Grove Arts, culture, Design, education, Florida History, Global Art, historic preservations, historical building miami, historical miami, Historical preservation, land mark, Local History, miami architecture, Miami Art, MIAMI ARTS, Miami History, politics, Reviews, South Florida Arts, Theater•Tags . Richard Heisenbottle, actor-director José Ferrer, aide J.C. Garrido., Albert V. Peacock, Alfred Browning Parker, and Ethel Merman., Architecture, Bea Arthur, Broadway, Carol Channing, coconut grove, coconut grove history, Colleen Dewhurst, Commissioner Suarez, Commissioner Xavier Suarez, cultural attraction, Dade Heritage Trust, Death of a Salesman, Eve Arden, Family Secrets, florida history, George C. Scott, Governor Rick Scott, Hal Holbrook and Elizabeth Franz, historical buildings, Hume Cronyn, Jessica Tandy, Kiehnel and Elliott, Linda Lavin, Liza Minnelli, Maureen Stapleton, miami, Miami Design Preservation., Miami History, Munroe family, neo spanish features, Playhouse, rococo, Samuel Beckett's Waiting for Godot, Sherry Glaser's, Tallulah Bankhead, The Sunshine Boys, Theater, Urban Cowboy, urban planning

redpajama_set_name: RedPajamaCommonCrawl


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WORK BY SERIES
Toward An Unknown Sky
The 2015 CSF Fellowship Exhibition
Scent Of Time
Mouthful Of Silence
Site by Indexbuilt
2015 Charlotte Street Foundation Visual Artist Awards
October 24 - December 16
H&R Block Artspace, Kansas City, MO
Text for the exhibition written by Kelly Shindler, Associate Curator at the Contemporary Art Museum St. Louis.
There is an ambivalence to Misha Kligman's art particularly well suited to whatever he paints. From early allusions to the Holocaust and geopolitical despotism to memento mori and indeterminate landscapes, his swarthy canvases maintain a somber critical distance that befits their futile task of depicting, or at least addressing, historical trauma and our unfortunate penchant to forget. Kligman's works brood over their own inadequacy through bruised palettes, flat picture planes, and an often aggressively large scale (measuring as large as 6 by 7 feet). When they do feature a figure, its contours are never fully defined, receding instead into the background to produce a ghostly effect. Even landscapes, which have become the primary focal point of Kligman's practice over the last several years, exhibit trepidation. A series of Untitled landscapes from the Threshold series (2014) collapses into near-abstraction, their marks sanded down into dedifferentiated color fields of black, purple, red, and yellow. It comes as no surprise, then, that recent works have featured bridges, rafts, staircases, and railroad tracks, among other signifiers of passage and transition. For Kligman's is a restless practice in continual flux. It questions the potential for an image (and therefore a painting) to ever cohere in its address of the ineffable.
More recently, Kligman's work has marked a shift from the external world into an altogether more personal space. He has taken up this subject before, albeit from a historical prompt—the artist grew up in Kazan, Russia, and emigrated to the United States with his family when he was 17, settling in Cleveland upon arrival. His early works in the Mouthful of Silence (2009) and Scent of Time (2010) seriesconfronted the legacy of historical trauma, a subject that held personal resonance for the artist and his family. The landscape paintings in the Threshold (2013) and Without (2014) series that followed also connect to the notion of bearing witness. In this sense, they recall the work of Anselm Kiefer, Sally Mann, Richard Mosse, Zarina Bhimji, and others who imbue landscapes with a charged sense of remembrance.
Kligman's new paintings for the Charlotte Street Foundation Visual Artist Awards bring figure and landscape together, juxtaposing these visual strategies to articulate a number of formal and conceptual tensions. Drawing from the artist's own experience of becoming a father, the paintings play on the push-pull of aloofness and sentimentality in the recognition of one's own mortality that accompanies parenthood. Two of the works feature part-objects—a pair of hands, a pair of feet—while the other two present full portraits of a woman and a boy (the artist's wife and young son), their faces turned either fully or partially away from the viewer. To make them, Kligman worked straight on the canvas, painting in part from photographs he had taken. The immediacy of such direct painting is palpable in the sketchiness of the landscape-backgrounds. Here, landscape for Kligman is no longer a primary narrative or thematic device but rather a classic foreground/background painterly strategy to hold, or perhaps catch, the floating figure. The final works, suspended in a state of unfinish, are brazenly awkward. Hands grasp, feet inch forward, a woman looks toward the future, a boy dreams. Each elicits the space of memory. Commenting on a recent body of work, Kligman offered that his paintings "are hopeful in a sense that maybe a painting can be more than an object but a kind of place where the past and future collide, in the process revealing that which is most hidden—our present." The works in this exhibition martial this hopefulness through an almost Brechtian pictorial staging that denotes a sophisticated art practice—and a life—deep in progress.
Installation images curtesy of H&R Block Artspace and E.G. Schempf
oil on canvas, 72"x84", 2015
Goodnight Nobody


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Video of the Day: The Avalanches / The International Space Orchestra's 'Wherever You Go'
Posted by Krypton Radio | Aug 20, 2020 | COVID-19, Music, Science Fiction / Fantasy, Video of the Day
Today, The Avalanches and The International Space Orchestra (ISO) come together to share their collaborative music video for the Australian alt-rock/electronica pioneers' new track, Wherever You Go ft. Jamie xx, Neneh Cherry and CLYPSO. The video, filmed live during lockdown, is a meteorite shower of space science, planet-poking and harp-playing spacecraft operators coming together with The Avalanches' Robbie Chater and Tony DiBlasi in the most cosmic collaboration imaginable. The clip, which marks the first time The Avalanches have appeared in a music video, can be viewed right here.
Pause the Krypton Radio stream while you watch this.
Robbie Chater and Tony DiBlasi of The Avalanches say, "We are forever grateful to Dr. Nelly Ben Hayoun and the International Space Orchestra for a truly magical, inspiring and connective experience. During a hard lockdown, it has renewed our faith in music, humanity and the power of connection, science and love.
"We have so much respect for all those at NASA and SETI Institute and the work they do pushing the boundaries of human exploration, in trying to find the answers to the universe, and who and what lay beyond our neighbourhood."
As a part of their musical collaboration, The Avalanches also worked on developing a sonification of the Arecibo message created by SETI Institute co-founder Frank Drake, who shared the original message with the band. "We would also like to thank Dr. Franck Marchis and Dr. Frank Drake for all their help in deciphering the Arecibo message for inclusion on our upcoming project. It's the first time this message has been translated into music," add Chater and DiBlasi.
Created in 2012, ISO is directed by SETI Institute Designer of Experiences Nelly Ben Hayoun-Stépanian along with musical director Evan Price. Under Ben Hayoun-Stépanian's leadership, ISO has performed sold-out shows on some of California's most prestigious stages – including San Francisco Symphony Hall, The Fillmore and the Hollywood Bowl – with world-renowned, GRAMMY® award-winning artists such as Bobby Womack, Damon Albarn, Beck, Sigur Rós, Maywa Denki and Savages.
Of the collaboration, Ben Hayoun-Stépanian says, "The Avalanches have been working on a space inspired album for a few years now. Researching sounds coming from space, they came across the brilliant work developed by our scientists at the SETI Institute and by the International Space Orchestra. Very quickly, it became apparent that our musical collaboration should focus on further inspiring new perspectives and desires to understand the universe. In the current context we could not make our performance happen in real life, but we decided to make it happen regardless and this performance is the result of our online meetups. We hope that our performance will allow for further curiosity and interest to research further galaxies and extraterrestrial intelligence and life. Working with The Avalanches has been our greatest honour, one of the most cosmic experiences we have encountered. Robbie and Tony are truly inspiring, kind, caring and just too brilliantly talented. Thank you to them for having us at the International Space Orchestra and the SETI Institute a part of their outer-space musical journey."
Released in July 2020 by Astralwerks, "Wherever You Go" ft. Jamie xx, Neneh Cherry and CLYPSO isan epic track that begins with greetings from planet Earth, sampled from The Voyager Golden Record, a gold-plated copper disk launched into space by Voyager 1 and 2 in 1977. The New York Times said, "The track moves from buzzy, beeping, tinkling abstraction to a thumping dance floor" while PASTE Magazine hailed "Wherever You Go" as one of the "Best Songs Of The Week."
And yes, you'll be able to hear this remarkable new track right here on Krypton Radio. What other radio station do you know would have great stuff like this?
ABOUT THE AVALANCHES
On their groundbreaking debut, Since I Left You, The Avalanches presented the world with a totally unique sound, crafted by meticulously combining over 3,500 vinyl samples. This approach set a precedent for dance music, inspiring a whole generation of musicians and producers. Released in Australia in 2000 and in the U.S. and the U.K. in 2001, Since I Left You is now regarded as a modern classic, It was named one of the year's best albums by critics around the world and later placed in the Top 10 of Pitchfork's Top 200 Albums of the 2000s and in the Top 20 of Rolling Stone's Greatest EDM Albums of All Time. The video for the title track won Best Video at the 2001 MTV Europe Music Awards and was named as one of the top music videos of the 2000s by Pitchfork.
The release and subsequent touring in support of Since I Left You was followed by a 16-year radio silence, which was broken with the release of The Avalanches' sophomore album, Wildflower (Astralwerks). It debuted at No. 1 on Billboard's Vinyl Albums chart and atop the Australian Albums chart in 2016. Wildflower earned six ARIA Award nominations and international acclaim, with The Guardian hailing it as "a joyous journey" and Pitchfork proclaiming it "better than just about any music ever made" and "an album that could have been made by nobody but the Avalanches."
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Queen are one of the most successful British rock bands of all time with sales estimated to be somewhere between 150 and 300 million. They have won just about every major award possible in the music and entertainment industry. Regularly voted the greatest frontman of all time, Freddie Mercury fronted Queen from 1970 until his death in 1991. The band was comprised of singer Freddie Mercury, guitarist Brian May, drummer Roger Taylor and bassist John Deacon. Between 2004 and 2009 May and Taylor (minus the retired Deacon) reformed Queen with Free and Bad Company singer Paul Rodgers. They played two world tours and recorded one album, The Cosmos Rocks. Since the Q+PL collaboration came to an end, May and Taylor hooked up with American Idol finalist Adam Lambert; a young and talented singer far more suited to Queen's flamboyant musical output than Rodgers. Queen have been performing sold out shows around the world with Lambert since 2011. There have been no live releases, though fans and critics have raved about them. They headlined the Isle Of Wight festival in 2016 and were regarded as the highlight of the weekend. Some of the band's decisions post-Freddie have been controversial and not so well-received (5ive and Robbie Williams collaborations) but it seems that they have finally hit the nail on the head with Lambert. Who Wants To Live Forever charts the band's musical output since the death of Freddie Mercury.


The following blog was written by Kristina Parnell. Kristina is wife to Sam (who is on staff here at Ethos, heading up our house church and discipleship efforts) and mom to 4 fantastic kids (Eli, Kate, Luke, and Ike). She volunteers in our Ethos Kids area at Marathon, is involved in lots of areas of our church, and she homeschools their 4 children. Sam and Kristina hope this blog will inspire families to step into this season of prayer and fasting together!
My husband, Sam, and I have been digging deep, looking for ways to truly walk out our faith in tangible ways with our children. Eli, Kate, Luke, and Ike range in age from ages 3-9. We take our kids to church, worship with them, and read and memorize Scripture with them. We serve with them. We pray for them. We pray with them.
As we read those Scriptures, we found overwhelming comfort in the fact that we can try to do all the right things as we parent our children, but that over and over in the Word, God saves families simply because a parent had faith in Him. Noah's faith led to the creation of an ark that saved his family. Sarah's faith led to the birth of the family that Jesus descended from. Moses' parents' faith saved a child who would become a great leader for God's family.
The most important part of our fasting and praying in this next month is our faith in God as we sacrifice to make room for more of Jesus.
1. We trust that our faithfulness to God will bless our families.
3. Invite your children to fast with you. This year when we invited our children to join us the responses varied greatly. Our 3 year old wanted to fast from the iPad on Saturdays, our 6 year old wanted to fast from desserts, our 8 year old needed more time to think about it, and our 9 year old is wavering between fasting from schoolwork (insert eye roll) or fasting from chocolate chip waffles (his most favorite breakfast).
4. Set a specific time of day to pray and read together. Mornings work best for our family so we plan to read Awaken: A Prayer Guide with our children each morning and to pray for the names in our packet together.
5. Choose a meaningful Scripture to memorize as a family. We plan to memorize 1 Chronicles 7:14 with our children.
6. Create a checklist that will help your family stay focused. We plan to display a calendar on the refrigerator so we can place a checkmark on each day (or even a set of interlocking rings of paper so the kids can tear one off each day throughout the month).
7. Place a bowl on the center of your table and fill it with strips of paper with the names of the people you are specifically praying for during the month. Every day the parents will pray for all of the names on their lists, but let one child a day pull one name from the bowl and say a special prayer just for that one person.
8. Be open with your children about how you are growing in your faith as a result of fasting and praying daily. Also, be open with them on the days that are harder and you feel your sacrifice more deeply. Ask them to pray for you especially on those hard days!
We would love to hear more ways that you are walking intentionally as a family throughout this month of prayer and fasting. You can connect with us at .


Are you wondering how to stay healthy when you work from home? When it comes to working from home, it can be easy to fall into a routine where you sit all day long at the computer. It can often be hard to stay healthy and even stay awake when sitting all day. It is hard to believe, but even sitting at your computer, staring at the screen and typing a lot of words can drain your energy and keep you from staying healthy. Here are some answers for how to stay healthy when you work from home.
One of the best answers for how to stay healthy when you work from home is to get up and move as often as possible. Sitting at the computer all day long can make a person tired. This is because you are not moving around to get your blood flowing and your heart pumping like it should be. Set a timer and sit at the computer and work for an hour. Once that timer goes off, get up for about 10 minutes and walk around. Try to go outside to get some fresh air. When you are done with your job for the day, go somewhere outside of your house. It doesn't matter if you drive or walk. It doesn't matter if you just go to the store, park, or take a ride to the next town over, as long as you get out once per day. By doing this, you will promote being healthy and staying energized.
It can be hard to get anything done when you have kids running in and out and your spouse talking to you. This is why you need your office space in a room where you can shut the door and get some peace. You don't want to work in the living room or the kitchen because this is your personal space. Keep your professional space and your living space separate so you can focus on the tasks at hand. You also don't want your office to be in your bedroom. That room is strictly for intimacy with your partner and sleep and nothing else.
You want to make sure you have a comfortable chair, but not too comfortable. It needs to be sturdy enough for you to sit on without hurting your back, but not so comfortable that you will get too relaxed and start to fall asleep.
How about ditching the chair every once in awhile and using a stand-up desk? Using one of these will keep you from wanting to fall asleep and will help you burn more calories. The reason for this is because you are not sitting all day.
Make a daily schedule and stick with it. Set times for different tasks and try to get them done in that particular time. Discipline yourself! If you don't do this, you will be all over the place with your work, and then you won't get much done, if anything at all. That will stress you out and stress can make you unhealthy.
How about using one of those ten to 15 minutes of break time to exercise? Schedule your workouts during working hours to help promote healthiness and energy on the job. You can even do exercises at your desk.
You need to keep work on your computer and don't bring it out into your personal space. Maintain a healthy work-life balance by setting schedules, logging your time, and disciplining yourself. That way you have energy for your personal life when you clock out.
It can be easy to stay in your pajamas when working from home. However, you should get showered, dressed, and ready for work every morning. This will help you stay focused, energized, and able to get all of your work done during the day.
You will need to take a lunch break while working, like you would at an actual public office. Keeping healthy food in your kitchen will keep you from eating junk all the time. Keep some healthy snacks stocked up too so you can snack throughout your workday to help keep yourself energized all day.
Using these tips will help you stay focused, energized, and healthy while working from home. What others can you add?


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Home TCRN Stop Violence against Women!
TCRN
Stop Violence against Women!
Costa Rica Fights an Insidious Enemy
Last Saturday night, in the Ecuadorian city of Ibarra, a man, allegedly Venezuelan, took his former sentimental partner hostage for about 90 minutes. Neither the police nor the numerous witnesses intervened to help the victim. Sadly, the situation had a tragic denouement, as the aggressor stabbed the woman to death.
The man was apprehended, but this crime triggered xenophobic riots against other Venezuelan nationals in the city. Later on, police sources denied that the man was from Venezuela. This is a stark reminder of an age long problem. Gender violence is alive and kicking all over the world. Unfortunately, not even Costa Rica is free from this scourge.
Reflection of an abused women
In 1999, the General Assembly of the United Nations (UN) designated November 25th as the World International Day for the Elimination of Violence Against Women. The UN defines violence against women as "any act of gender-based violence that results in, or may result in, physical, sexual or psychological harm to women, including threats of such acts, coercion or arbitrary deprivation of freedom, whether they occur in public or private life". Spurred by the increasing levels of violence against women, the Costa Rican government has declared the fight against gender violence a national priority.
– In Latin America and the Caribbean, 24 out of 33 countries have regulations against domestic violence, but only nine of them typify different expressions of violence against women.
– In 1996, Costa Rica passed the Law Against Domestic Violence. It was amended in 2010.
– In general, Latin America and the Caribbean have the highest global rate of sexual violence against women in the world and the second highest caused by the current or previous partner.
– Gender-based violence affects negatively the well-being of women and impedes their full participation in society.
– Violence against women and girls is a serious violation of human rights. Its impact can be immediate and far-reaching and includes multiple physical, sexual, psychological, and even fatal consequences for women and girls.
An insidious matter
The acceptance and even showcasing of gender-related violence are not exclusive to any particular culture. It does not only have to do with practices like child marriage and female genital mutilation (FGM) It comprises femicides (female homicides) and less notorious types of violence against women. These can include street harassment, symbolic and political violence, as well as sexual and labor harassment.
For instance, popular cartoon characters such as DC Comics' Harley Quinn and the Joker exemplify how ubiquitous the issue is. Their relationship romanticizes and banalizes the issue. Thus, Quinn is portrayed as a victim, who in spite of being often tormented and beat on by the Joker, always comes back to him, and worse still, one that blames herself for the situation.
We must strive to provide, both at home and at school, examples that encourage mutual respect between the genres and avoid prejudices and stereotypes.
Prevent children and young people from having access to media content that promotes gender violence.
– Create programs to prevent and address violence against women, its causes and consequences. These programs must begin in the early stages of life, through an educational model that promotes relationships of respect and gender equality.
Maybe the most fundamental step to end gender violence is to achieve public recognition and individual awareness of the different ways in which it manifests itself.
Patricia Mora Castellanos, Minister of the Status of Women and Executive President of INAMU has pointed out that "We have to raise our voices so that this violation of human rights will stop".
SOURCEGilberto Barrera
insidious enemy
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Stellaluna the bat, Verdi the snake, and Pinduli the hyena all seek refreshment at a watering hole one hot day, only to find themselves the subjects of a bullying lion's ridicule.
Stellaluna the bat, Verdi the snake, and Pinduli the hyena all seek refreshment at a watering hole one hot day, only to find themselves the subjects of a bullying lion's ridicule. But by sharing stories about building self-confidence, these three misfit animals find wisdom, peace, and friendship.
Based on the popular books by Janell Cannon, this delightful musical is a treat for both children and adults.
"...a lovely treat for families to savor."
"Children will delight in the stories of the misunderstood animals."


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Matt Smith and Claire Foy on new socially-distanced production of Lungs: "Something vital's missing"
The former The Crown co-stars "didn't realise" how much they relied on being in each other's physical spaces for The Old Vic theatre production.
By Flora Carr
Tuesday, 30th June 2020 at 9:02 am
Matt Smith and Claire Foy have spoken about reprising their latest onstage roles for a socially-distanced production of Lungs, in which they must perform two metres apart at all times.
The actors, who first co-starred in the first two seasons of Netflix's The Crown, play a middle-class couple debating the effect that having a baby will have on the environment. The production is live-streamed, and will raise money for the Old Vic.
Foy revealed she felt "something vital [was] missing" in this new version. Speaking to The Guardian, she said, "I knew that in this play we depended entirely on our connection and the other actor's performance, but I didn't realise how much I relied on being in each other's physical space – being able to touch one another and engage in that way.
"It's making me a bit blue because you lose an element of what being an actor is. There is something vital missing. But I don't think that it's going to be any less because of that, but it can't be like this for ever!"
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Although the onstage distance between the actors is partly solved by camera trickery, Smith teased, "I've threatened Claire that I might break all lockdown rules during the play and kiss her anyway."
The pair also spoke about how they became friends on the set of The Crown, where Foy played a young Queen Elizabeth II and Smith her husband, Prince Philip. Lungs provided the opportunity for a reunion.
"We're friends," said Foy, "and after The Crown we said, 'Wouldn't it be fun if we did something together again?' I didn't know if anyone would let us and then we independently read this play and went, 'Shall we just do it?'"
You can stream Lungs on the Old Vic's website until 4th July. If you're looking for more to watch, check out our TV guide.
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Post Preemptive Strike
Log Archive » Past Logs Prior to 2008 » Post Preemptive Strike
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Elisabeth and Monica are sent back to protect Jaiden, but find tracks in the dirt ahead of them.
The sheep ranch home is deathly quiet. There's an iron scent to the air, vaguely stormy for all that the late spring sky is clean and blue, endless save for inexplicable paintbrush stroke clouds that make cat claw patterns against otherwise unblemished cyan. The air is warm and dry, but not still, restlessly ruffling the dry-stick brush that scraggles out from dusty dirt, where grass grows in both green and yellow. Bird shrieks come clattering from the thick of white-barked trees westwards of them, scarred through with dirt road and iron gate, and beneath the ozone scent in the air, there's the smell of sheep cattle.
The flyscreen door of the house bangs against its hinges when a backdraft beats it out from its frame to swing, gravity pulling it back again. No one comes running to fasten the door.
The three have appeared in the rural landscape, and with the house being the only identifiable landmark in sight, they've begun moving for the squat building. The outdoors is a mix of arid and fertile, somehow, with determined desert bush and bare limbed trees with leaves like armor growing in through the powdery quality of Australian soil, sand and dust and dirt of clinging brown, rather than rich, damp blackness that promotes growth.
There are tracks in the dirt ground, headed for the house. The door clacks open and shut again. Someone's been here before them.
"Wow…. Jaiden was not kidding that this place could be deadly," Elisabeth murmurs, looking around. She had enough warning to grab the backpack that she'd already packed for this trip, anticipating that once Hiro Nakamura arrived she might not have time to actually pack. So there are some things in her backpack geared toward survival in the desert — Jaiden didn't know when we'd be showing up in his life, but he'd said the Outback and a large portion of his adulthood were in dry, arid places. So she took a chance. There are some survival rations and assorted sunscreen and clothing that she can carry with her easily.
There's a glance at her two companions. "Nakamura…. what year is it?" she asks him as they walk toward the homestead. It'd be good to at least know that much. She hasn't questioned him overmuch since he arrived to take them back in time.
Monica's packing really had more to due with guns. But this is mostly because she's had a hectic week and didn't think ahead like Liz. But her weapons, those are pretty much always ready, regardless. So she's a bit less ready for the challenges the Outback or desert or… sheep might bring them. But if bad guys show up, boy howdy is she ready.
"And is Jaiden here?" she adds to Liz's question. "It looks deserted." But then… maybe that's normal? She's not entirely sure what to expect.
"1994. November." It sure doesn't feel like November, on this end of the world. "And I am not sure."
These answers, a mix of concrete fact and uncertainty, from the samurai moving alongside the women. "I only know that we are in the correct time and place in order to correct the flow of history, and I believe that this is his home," Hiro explains. The collar of his shirt is open against the heat of the day, but he doesn't seem inclined to stay for the duration of the event — he rarely does. His walk is slowing down once a scant glance over the house confirms to him that this is the place, before he turns towards the women.
"For now, I must leave you. I will come back when…" And he trails off, as if only just registering what Monica had just said, perhaps pause punctuated by that continual swing of he door. A beat as he regards that shadowed gap of a front entryway, and then, "I think you are correct." His hand goes up to grip the hilt of his sword, and he withdraws the blade.
Ugh… great. Coming up on midsummer in this part of the world. Yay. Elisabeth pauses in her forward motion and glances at Nakamura. There's a brief nod. "We'll see you when it's over," she murmurs quietly. She doesn't mention that has zero idea of the world situation in this timeframe because frankly, it doesn't seem relevant. What does seem relevant is that the homestead itself appears deserted and there is supposed to be a teenaged boy somewhere in the vicinity. Liz did quiz Jaiden some about his past to try and get a feel for what to expect at various points of his life, though. She murmurs to Monica, "Hand me a weapon, please? But both of you keep them out of sight, just in case. This is not a war zone." Not yet, anyway. She tips her head slightly and starts enhancing the soundwaves that are incoming so as to listen for movement, heartbeats, scrabbling…. anything to pinpoint a living being.
It's not the pause that gets Monica's attention, but the fact that the man draws his sword. It's things like that that make her day, really. She does pull out a pair of pistols, though, passing one to Liz, hidden behind the way she pivots. Her own is slid into the back of her waistband, covered by her shirt. Just in case it isn't deserted. "I take it we might be expecting company, though, huh?" It's sort of a general question, likely meant for Hiro, but without the expectation that it'll really be answered.
Hiro twitches a glance Elisabeth's way, pausing, before he nods back to her in some semblance of gratitude, and trust that the two heroes he's brought along can handle it. Whatever 'it' happens to be, this round.
Perhaps he would have stayed, had Rhys been able to mention that part.
As Elisabeth expands her range of hearing, she'll be able to detect the sound of something before they're forced to enter the unknown. A heart beat, one that's a little sped up but not too unnaturally so. Emotion over speedster, angry or upset or panicked. Tight breathing, too, a scrabbling of limbs on the ground as someone tries to get to their feet. They seemed to be the only one within the house, too.
Elisabeth slips the weapon into the back of her jeans, keeping it safetied. In a tone that remains casual and easy, laced with a calming subsonic as much as she can, the blonde calls just loud enough to carry, "Hello the house? Anyone home?" Her accent clearly marks her as not from around here. There's a slant of a glance toward Monica, a gesture indicating that she's hearing something and it's only one source.
"Man. I was sort of hoping to see him use that thing," Monica says to Liz with a crooked grin as Hiro poofs back into time somewhere. But she falls silent as the blonde calls toward the house, looking ready to go, whatever pops out of there. Particularly when she notes there's something in there. Monica's gaze slides over to the house… watching. Ready.
Elisabeth gestures Monica to take a flanking position and murmurs very low, "Do not pull a weapon unless shots are actually fired at us." Then she starts walking forward. "Hello?!" she calls again, making a point of walking up the steps in a casual way. "Hey, I don't want to just walk into someone's home, but we could really use some water. And maybe a phone?" She approaches the door cautiously, but not creeping up on it — as any visitor might — and peeks inside, still listening carefully for anything that might indicate an attack coming her way. "Hey, anyone home?"
"You got it," Monica says as far as the weapon thing goes, but it's perhaps worrying how she looks about ready to grab all the same. when they get to the door, she lets Liz call out, waits for a few moments, then she reaches to slip the screen open enough for her to slip in. Quietly. To have a look around. She still isn't pulling a weapon, but she's checking the place out.
Charlene Mortlock is not difficult to find. There's a slight thud from where Jaiden would have remembered the kitchen to be, a knee connected with the floor as someone staggers. A woman in high-waisted jeans and a simple blouse is trying to get back up off the floor, her hair in loose tangles and streaky red draining from a mild head wound that is not as deep and serious as the amount of bleeding would suggest, ruby red clotting in the corner of her eyebrow. Hands gripping the edge of kitchen counter, she doesn't seem to hear nor care, particularly, that there are more people in her home.
More telling, though, is something dark and shadowed around her throat. It might be bruises, until one notices that it's moving. A living tattoo that winds around her throat, and in its sinuous pattern and the flashing of scales, it appears to be the image of a snake. And it also seems to be slowly dispersing, fragmenting into fading tendrils of colour as if to release its choking hold.
And if the mottled red of her face is to be of any indication, the reedy gasps of air, then it is also probable that it really had been choking.
What. The. Fuck? Elisabeth moves quickly into the kitchen. "Ma'am? Ohmygod. Ma'am, are you all right?" For the moment, the blonde is going to not give away that she's seen the whole snake-thing go on. Is it a power of the woman's own, or a power of someone attacking her? Liz has zero way to know. She moves to help the bleeding woman to her feet. She'll trust Monica to cover them both if it turns really bad ugly.
And that's just what Monica does, moving deeper into the house and checking through doorways and windows, just in case, before she comes back to hover nearby. She's doing that silent body guard thing she's picked up since going to work for Redbird. She's just missing the sunglasses.
They seem to be alone, at least for now, as Charlene takes Liz's help gratefully and for now, without question. The snake-thing is fading faster and faster, and with it comes the woman's ability to breathe, though her eyes hold a saline quality to them, on the verge of tears. Angry ones, if Elisabeth is able to tell between the different kinds. There's a puncture wound just visible on her forearm. "S-some— s— " She sends a glance towards Monica, alarmed, then to Elisabeth.
She tenses, as if expecting them to attack her — but the fact that she isn't making a preemptive strike of her own probably means that Liz's soothing voice probably helped. "Are you looking for him too?" is roughed out, eventually.
Shit. Shit, shit, shit. "Actually, we're looking for them," Elisabeth says softly. "To keep them away from him. Did they get to him?" she asks urgently, her expression both sincere and fearful for Jaiden's safety.
"We're here to help," Monica says as she looks back over to the woman and Liz. "I know it's the worst time to be answering questions, but whatever you can tell us about what's happened can help."
Charlene is slowly getting her breath back, shaking her head at the question of did they get him. "No, no. Jaiden was out, I was j-just tidying. Then this man attacked me, askin— he was asking me where Jaiden was. I said that I didn't know, and then he started— he strangled me." She can't really articulate the idea of being throttled without hands involved, but doesn't try, her own drifting up to touch her unbruised throat.
"Then he and this other man appeared and they— they left." If the cautious dart of her stare can be readily analysed, that's probably code for disappeared. "What do they want with Jaiden? Are they— I have to go. What if they find him?" She makes a move to grab keys off a hook on a cork board, and almost swoons at her own sudden movement.
Elisabeth's hands are quick to steady Charlene Mortlock. "They believe that he …. knows something, and they want him out of the picture. I don't think he does, but we were sent here to help." She urges the mother gently, lacing her voice with reassurance. "Mrs. Mortlock, let us come with you to get him. We'll get him under cover and then we'll deal with the men, all right?"
"We can make sure he's safe, I promise you that." Because… they already have. So they're going to now? Or something. Time travel. Monica doesn't jump in to crowd the woman, but she stands sort of beside and behind Liz, "And it'll be better for you not to drive alone, just in case they try to come after you again, too."
There is some decision made, behind Charlene's eyes — helped along by necessity, anxiety, and her own pounding head. She takes the car keys down off the hook and clenches them in a fist. It would be nice, if Bill were home. Not that she defers to the man in the house for all critical situations, but at least he'd be another opinion to sway her conflict of trusting two strangers after being attacked by one just prior. But her own lack of choice seems more apparent than other options, and she nods her agreement.
"I'll take you there now."
The ute doesn't provide much room. Elisabeth gets to ride shotgun, with Monica climbing into the open back of the vehicle, Charlene behind the wheel and too focused to let her own shaken demeanor get the best of her. Steely determination is locked in her jaw, and the girls experience a rather rough but very efficient high-speed drive through Australian bush, dust kicking up but the truck moving too swiftly for it to bother Monica very much at all. Despite being out in the open, it's the action mimic that gets the 360 degree view of the terrain, although no threat presents itself yet. They go down a rambling dirt trail that cuts through the tall, rough-leaved trees, and scraggly brush.
"My name's Charlene, by the way," the woman introduces herself after a couple of minutes of driving, not taking her eyes off the road. "You— and your friend?"
Once they're in the vehicle and heading out that way, Elisabeth replies, "Elisabeth and Monica." She could be lying, but she doesn't really appear to be. "Charlene, I need you to describe them for me." Over the wind, her voice carries just fine. "Tell me everythign you can remember about what they said, and most especially about what they did. It's my understanding that they've got … some skills that apparently come straight out of a rotten science fiction movie. Is that correct?"
"It's nice to meet you, Charlene. I'm just sorry it's under these circumstances." Monica's voice, it doesn't carry so well, though. She listens in, but the mimic busies herself with playing lookout, watching to see if these mystery men are going to try to get the drop on them out here.
"Me too!" carries out to Monica's perch, but Charlene falls silent after, squinting pensively before she concedes, with a tip of her head: "Something like that. The first bloke— tallish, probably in'is forties. Had an accent on 'im. I didn't hear him come in, I just stepped into the kitchen and he was there. He grabbed my arm, and he stabbed me with something— " She angles her hand to show the wound. "And that's when I started choking. But he wasn't touching me."
She swallows, working her white-fisted hands around the grip of the steering wheel. "I figured it was poison or something, but it felt like something 'round my neck. Then this other man — older, much older, white hair — just sort've appeared, out of thin air. They argued a bit — I think about killing me." Breathe in, breathe out, shakily. "Then they both disappeared the way they came, and I felt better. Then you girls showed up."
Opening her mouth to probably ask questions in return— but Charlene's jaw is snapping shut hard enough to bite her own tongue when the ground in front of the speeding ute simply collapses beneath the front wheels. The nose of the vehiclesharply dips, as if the road ahead had been constructed of a soft, thin shell of dirt as opposed to solid ground, and with a roar of upended tires, stays stuck. The sudden loss of momentum tips Monica forward, practically throws her over the top of the cab, her power given a split second to kick in.
Charlene is slumped unconscious next to where Elisabeth is only suffering aches from the sharp halt, the mother's head impacting off the steering wheel. Seatbelt holds the audiokinetic up from pitching into the cracked wieldsheld, and earth on either side of the front end of the vehicle traps the front doors, with only the window behind Elisabeth remaining as an exit.
The engine sputters, dies.
Weeeeellllll, shitfuck. Elisabeth is thrown forward in spite of the hand she tries to brace on the dashboard, slamming about the seat. Her breath is knocked out of her by the jolt of the seatbelt on her sternum. That's gonna leave a serious mark. And she's stunned for a long moment. In the seconds it takes her to suck in a breath, Liz is already reaching for the seatbelt's buckle and attempting to pinpoint where the hell there are other people nearby.
And that power does kick in. When Monica is tipped forward, she just uses the momentum to jump to the top of the cab as they fall down this sinkhole, and from the cab, leaps over to the wall of this new hole and flips herself up over the edge to roll and land up on her feet. She'll count that as first shots fired, apparently, because her gun is pulled as she stands upright. Her gaze scans the horizon. Where the heck are they…
They're in rural New South Wales, where the closest piece of civilisation might be the bridge they crossed over the running stream a few minutes ago, and beyond that, the ranch house. A dry breeze is blowing through, teasing at Monica's hair and clothing as she evaluates the terrain, mostly just more dirt road, the sparse, pale trees, and the sound of running water nearby.
For Elisabeth, her vantage point is less fortunate — but the back window will give under some pressure with one of the corners already loose from its hinges, allowing her to emerge into the awkwardly angled truck bed, and into the wider world.
There's a hiss in the air, and by the time Monica is turning towards the sound of it, she'll see it — a preternatural dust cloud that seems strong enough to bring with it pebbles, even small rocks, all in a haze of grey-brown hurtling down the road and in the direction of the stuck ute and the women nearby it. It shreds the leaves off overhanging branches, and ignores the lightly mild wind.
Through the haze, there's a silhouette in the distance, his arms lifted as if in worship.
The sibilant hiss is more than enough for Elisabeth to work with and, enraged by the fact that these bastards are going after Jaiden Mortlock as a child, she cuts loose with her own ability. Honing that sound, lacing it with vibration, she has zero intent for that fucker to remain alive. Anyone want pulped internal organs for lunch?
Monica spots the dust devil coming her way fist, and she lets out a quick, "Liz!" But the other woman is already on it. And the silhouette, too. Of all the time to not have borrowed Jessica's favorite sniper rifle. Even as Liz is letting out her sonics, Monica is firing with what she's got toward that silhouette.
Soundwaves hit dust cloud, and even if the latter is moving swiftly, it can't really match sonic speeds. Though scraping dust is left to fall as it may in runoff momentum, fist-sized rocks are still rocketing towards them with preternatural momentum. One clips Elisabeth's shoulder hard enough to spin her, and hot pain bursts up the side of Monica's face bulleting pebbles only barely miss breaking anything particularly vital.
But there's all the punishment they get, and it's light, in comparison to the receiver.
It staggers back, before a bullet seems to buckle the figure completely, and before they can tell if he's dead or alive, he's simply edited out of existence. But not before there's the sound of something rumbling, nagging at Elisabeth's sense, the phonon shift of sound reverberating up the plates of the earth.
"Move, move, move!" Elisabeth barks, scrambling back to the vehicle to try to free Jaiden's mother before she dies in a sinkhole or something AWFUL like that. "We gotta go!"
Oh Monica moves alright. But she crazy and runs right for where that figure is disappearing over there. Liz can handle Charlene, after all, and Monica's too hopped up on adrenaline to think quite straight. Charge! is really more like it.
The ground is starting to move — enough that even in Monica's box of tricks, the woman is forcibly thrown to her knees mid-run, dirt road scraping tracks up her shins. The haze of the prior dust cloud is still thick in the air, left to settle as it may, but she can see clearly enough that the road is empty ahead of her. And still, the ground rumbles in discontent. Fortunately for Elisabeth, Charlene is rousing by the time she's brought to, helping herself out of the car by the time the audiokinetic is reaching her arms inside.
A rocky, unbearable, earth-deep groan as the car shuddering beneath the two ladies, and they're spilling out of the bed, onto the road, staggering away just as the jeep is dragged down into an impossible crevice that splits through the road like rotten fruit, breaking up cracks beneath Monica's hands and knees.
And then, with a final plume of dust, the vehicle is almost gone completely, near verticle, with its tail end peaking through dirt and sand. Silence reigns alongside chattering birds, and dust, once more, works itself to settle.
"…mum?"
An uncertain voice turns heads, as the stick figure sight of a young, freshly teenage boy emerges in the trees. Dressed in dirt-tracked jeans, a shirt that's been stripped off and used to protect his head from the sun, the lightly freckled, dusty face of a young Jaiden Mortlock simply blinks at the commotion, blessedly unharmed, totally oblivious.
This may all take some explaining.
_elisabeth_hiro_monica_samuelbutterflies


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NYPD: Occupier arrested after dumping human waste
March 21, 2012 Updated: March 21, 2012 9:05 p.m.
NEW YORK — Police say an Occupy Wall Street protester has been arrested after they say he was caught on video surveillance dumping a concoction of human urine and feces at two downtown Manhattan locations.
Police released video Wednesday showing several people pouring a container of the alleged waste matter down a stairway at an open-air plaza at the corner of Nassau and Cedar streets on March 14. About 20 minutes later, one of the suspects is seen dumping a bucket of the substance inside a Chase ATM vestibule.
Police say 25-year-old Jordan Brooks Amos, of Philadelphia, was arrested Friday on charges including unlawful possession of noxious matter and driving without a license. Police also say a stun gun was found in his vehicle.
— Associated Press


Ring properties for square matrices. This contribution contains an operational formalization of square matrices. (m,n)-Matrices are represented as vectors of length n. Each vector (a row) is itself a vector whose length is m. Vectors are actually implemented as dependent lists. We define basic operations for this datatype (addition, product, neutral elements O_n and I_n). We then prove the ring properties for these operations. The development uses Coq modules to specify the interface (the ring structure properties) as a signature. This development deals with dependent types and partial functions. Most of the functions are defined by dependent case analysis and some functions such as getting a column require the use of preconditions (to check whether we are within the bounds of the matrix).


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5 Seconds of Summer Perform "Good Girls" & Sing #FallSongs on the Tonight Show
Thursday was a big day for 5 Seconds of Summer! The band got to play on the Tonight Show with Jimmy Fallon!
The band took the stage to perform their new single (and one of our favorite songs from their album) "Good Girls." The guys also showed up at the beginning of the show for one of Jimmy's fun hashtag segments. This segment was all about fall songs so 5SOS sang some reworked versions of Blink-182, Jay-Z and even themselves.
Also, backstage the band talked about the first albums they ever bought. Watch all the videos below.
ALSO READ: From Script to Screen: Go Behind-the-Scenes of "Kingdom" with Nick Jonas, Matt Lauria
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calum hood
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Simone Biles, Aly Raisman & The Final Five Visit Hamilton & Play Hilarious Game of Hungry Hungry Humans on Tonight Show
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Trial Court May Reopen a Suppression Hearing
By Brandon Barnett | Suppression
In 1996, the Texas Court of Criminal Appeals held in Rachal v. State, 917 S.W.2d 799, that when reviewing a trial court's decision on a motion to suppress, an appellate court should look "only to the evidence adduced at the suppression hearing," unless the "suppression issue is consensually re-litigated by the parties during trial on the merits."
In a recent case in the CCA, Black v. State, the Appellant, who was convicted at trial of possession of methamphetamine with intent to deliver, argued on appeal that:
a trial court, once it has ruled on a pretrial motion to suppress, lacks the authority to "re-open" the suppression issue unless the defendant has "made an election" to do so by either subsequently re-raising the suppression issue himself or acquiescing in the State's reintroduction of the issue at trial.
Appellant relied on the CCA's holding in Rachal to support his position. The State countered by arguing that the Rachal holding "speaks only to a limitation on what is available for appellate review of a trial court's ultimate ruling on a pretrial suppression motion," and not to the trial court's authority to re-open a suppress motion. The CCA agreed with the State.
In an 8-1 decision that relied largely on a 1993 Court of Appeals opinion (Montalvo v. State, 846 S.W.2d 133 (Tex. App.—Austin 1993, no pet.)), the CCA explained:
A pretrial ruling on such a motion is interlocutory in nature. As such, it should be regarded as just as much the subject of reconsideration and revision as any other ruling on the admissibility of evidence under Rule 104 of the Texas Rules of Evidence, which a trial court may revisit at its discretion at any time during the course of a trial.
In Black's case, the CCA went on to hold that the trial court had the discretionary authority to reopen the suppression hearing, even mid-trial, to allow the State to present additional evidence. To clarify that its current holding in Black did not disturb previous precedent, the CCA expressed a general rule and a corollary rule that explain what evidence appellate courts should consider when reviewing motions to suppress.
GENERAL RULE: In cases in which the trial court is never asked, or is asked but declines, to exercise its discretionary authority to reopen the suppression hearing, appellate review of its ruling on the motion to suppress is ordinarily limited to that evidence presented at the pretrial hearing – the evidence that was before the court at the time of its decision.
The exception to the General Rule, the CCA provided, was "if the parties consensually broach the suppression issue again before the fact-finder at trial, the reviewing court should also consider" that evidence in gauging the propriety of the trial court's ruling on the motion to suppress.
COROLLARY RULE: If at any point before the conclusion of final arguments at trial, the trial court should exercise its discretionary authority to reopen the suppression hearing, the reviewing court should also consider whatever additional evidence may be spread on the record bearing on the propriety of the trial court's ultimate ruling on the motion to suppress.
The CCA affirmed the holding of the 10th Circuit Court of Appeals which affirmed the trial court's judgment.
Judge Meyers dissented, and is of the opinion that the trial court erred by reopening the suppression hearing without the defendant's consent.


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This weekend, April 21-23, eEuroPartsare debuting the brand new eEuro Saab 9-3at Watkins Glen International at their third season opener for American Endurance Racing (AER). They're entering the third year of their partnership with AER as the official parts sponsor.
As some of you have been following, they've been building a Saab 9-3 race car to be competitive as a class 3 race car at AER. This new car is brandishing a tuned 4cyl turbo B207 engine using Wiseco forged pistons and Molnar forged H-Beam connecting rods.
The engine is connected to a huge Do88 intercooler on one side, and a fat Krona 3in Downpipe on the other, this eEuro Saab 9-3 is lean and mean, with plenty of room to breathe. In the cockpit eEuroParts team have a fully integrated RaceCapture digital telemetry system by Autosport Labs that will be broadcasting live online for anyone to watch, more on that later.
They are trying something new this year with 3 ways to follow along live. You'll want to bust out your 3 monitor NCIS computer system because they will be broadcasting a number of things LIVE.
complete report with race and race around, see on the eeuroparts page.
NEVS asks: What's your SAAB story?


Email messages are often short and are considered a quick way to communicate.
guidelines to produce positive results.
sure the content is clear and succinct.
catch every error, so be sure to proofread your email messages carefully.
Avoid using abbreviations for words, as you might when texting via your cell phone.
other punctuation correctly to ensure that your sentences are easy to read.
usually work well in emails.
important when your name is not part of your email address.


Ben Howe is an Australian artist (born in London) who paints hyperrealistic depictions of sliced and crumbling faces. His series "Surface," featured here, explores in mind-bending detail the "density, flexibility, and texture of human flesh." In some cases, the texture of stone is replicated, giving the images and their clean compositions a statue-like appearance. Recurring in his work are the themes of time and consciousness, and how these ephemeral concepts manifest unseen in the physical body; as skulls unravel into ribbons and faces collapse into clean slices, there is a profound sense of disjointed identity and sorrow, and in some cases, a feeling of tranquility that arrives through the unravelling and surrender of the mind. View more of Howe's captivating work on his website and Instagram.


Rick Neitzel is an exposure scientist whose research focuses on the characterization of exposures to noise, heavy metals and other ototoxins, psychosocial stressors, and injury risk factors, as well as a range of adverse health effects associated with these exposures. His work, and the work of his team in the UM Exposure Research lab, takes place in occupational and community settings both domestically and abroad. He is particularly interested in incorporating new methodologies and exposure sensing technologies into research, and also has a strong interest in translating his research findings into occupational and public health practice. He directs the UM Risk Science and Human Health Certificate program, and is also Director of the Pilot Project Research Grant Program of the UM Center for Occupational Heath and Safety Engineering.
Prior to his appointment to the faculty of the UM Department of Environmental Health Sciences, he worked as a Research Scientist in the University of Washington Department of Environmental and Occupational Health Sciences from 1998-2011. He has been a Certified Industrial Hygienist since 2003.
Watch Rick talk about ideas of public health practice concerning noise exposure.
Learn more about noise exposures associated with various jobs and industries via our Noise Job Exposure Matrix.
There is currently a great deal of focus in occupational and environmental health on emerging technologies and their potential impacts on human health. However, as important and intriguing as these emerging issues are, there are many existing hazards that we have known about for years, decades, and even longer, and yet continue to grapple with.
To help address these important human health issues, the research of the Exposure Research Lab focuses on the application of novel exposure- and health-related sensing technologies to evaluate exposures to noise and other physical hazards; on assessment of auditory and non-auditory health effects associated with noise exposure and exposure to ototoxic agents; and on characterization of injury risk associated with noise exposure and transportation-related activities, with a particular focus on bicycling.


text:
Q: Interact with linux server using java JSCH I have created java program using JSch class. Program successfully execute the (ls, cd, change) commands. These commands dint need any inputs. But while executing the /usr/ses/b/kr command it require the password.
Can you please reply how I can send password to linux server using JSch. Or there is any another way?
((ChannelExec)channel).setCommand("/usr/ses/b/kr;");

A: You should set StrictHostKeyChecking property "no" and channel should be set shell.as following.
    String username = "xxxyyyzzz";
    String password = "aaabbbccc";
    String host     = "192.168.1.1"; // sample ip address
    if(command.getText().toString() != ""){
        JSch jsch = new JSch();
        try {
            session = jsch.getSession(username, host, 22);
            session.setPassword(password);

            Properties properties = new Properties();
            properties.put("StrictHostKeyChecking", "no");
            session.setConfig(properties);
            session.connect(30000);

            channel = session.openChannel("shell");
            channel.setInputStream(bais);
            channel.setOutputStream(baos);
            channel.connect();

        } catch (JSchException e) {
            // TODO Auto-generated catch block
        }
    }
    else{
        //
    }

redpajama_set_name: RedPajamaStackExchange


Many people escape their humble origins to pursue the American dream of opening a restaurant that reminds them exactly of that humble origin. For a restaurant without the schadenfreude, Panevino.
In addition to their massive list of Italy and Washington wines, PV's offering signature 'tails like the gin/lemon juice/Campari Panevino Punch, and straightforward happy hour options like Penne Al Pesto and an Italian sausage/spicy red sauce Fusilli Salsiccia, all for under $5 -- cheap enough to leave you with scratch to pursue your own American Dream of affording dinner.


text:
Adelbert
"Duke"
ADELBERT KIRK SR., known to friends and family as Duke, was born in Camden on October 5, 1918 to William H. Kirk and his wife, the former Nellie Apgar Hinkson. The family, which then included older siblings William H. Jr., Thomas, and Harriet, lived at 843 Grant Street in North Camden when the Census was taken in 1920. By April of 1930 the family had moved to 908 North 9th Street, and five more children had joined the family, Archibald, Nellie, Alberta, Mary, and Marvin. Two more children came after-
wards, Ina May in December of 1930 and Franklin in 1937. Sadly, Harriet and Franklin died in childhood.
Young Duke Kirk attended schools in Camden through the 7th grade and then, like the majority of boys of his era, went to work. By the end of the 1930s his parents had moved to 1120 North 17th Street in Cramer Hill.
On September 30, 1940 Duke Kirk enlisted in the United States Army Reserve, serving with the 112th Field Artillery Regiment which was based in Camden. The unit was called to active duty on January 27, 1941 as the United States activated its reserve Army units in response to the growing tensions with Japan and the ongoing war in Europe. After serving in the South Pacific he returned to Camden after the war. The October 1956 New Jersey Bell Telephone Directory show him living at 832 Birch Street in North Camden..
Duke Kirk was appointed to the Camden Fire Department on November 16, 1956 and reported for duty the same day. He was assigned to Engine Company 3 at 1813 Broadway.
Duke Kirk had moved to 2029 Westminster Street in East Camden's McGuire Gardens public housing project by the fall of 1959. In later years he lived at 1036 Bergen Avenue in Cramer Hill.
After 25 years of distinguished service, Duke Kirk retired on December 1, 1981. He was last a resident of Williamstown, New Jersey where he passed away on June 30, 1989.
His son, Adelbert Kirk Jr., known to one and all as Joe Kirk, followed his father into the Camden Fire Department on January 8, 1968. Joe Kirk served for over 32 years before retiring on April 1, 2000.
Engine Company 3 and the 3rd Battalion in quarters, Broadway & Ferry Avenue, South Camden. 1956.
Left to right, standing: Chief Joseph Guarino, Fireman John Chudzinski, Captain Edward Tyszko, Fireman Ernest Tartaglia, Fireman Santo DiMaggio; Kneeling: Fireman Adelbert "Duke" Kirk, Fireman Angelo Borghero.


text:
Roger Ailes Resigns; Rupert Murdoch Takes Over as Acting Fox News CEO
By Mark Joyella on Jul. 21, 2016 - 4:19 PM
"I will not allow my presence to become a distraction from the work that must be done every day to ensure that Fox News and Fox Business continue to lead our industry."
Gretchen Carlson's Lawsuit Accuses Steve Doocy of Harassment
By Mark Joyella on Jul. 6, 2016 - 12:45 PM
Complaint says Doocy refused "to accept and treat her as an intelligent and insightful female journalist rather than a blond female prop."
Crime News | Fox News
Does Media Showing Terrorist's Face Provide 'Free PR' to ISIS?
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Megyn Kelly: 'It Was a Dark Moment'
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Fox News Is No. 1 for 4 Weeks Straight
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Fox News Finishes 2015 As No. 1 Brand on Facebook
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FNC racked up 206 million likes, shares and comments in 2015.
Bill Hemmer Discusses Ground Reporting in Paris, the French People's Willingness to Strike Back
By Brian Flood on Nov. 23, 2015 - 12:15 PM
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Fox News to Debut Series of 'Watters World' Specials
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"Jesse's...Watters World segments on The O'Reilly Factor have proven extremely popular,"
Scoreboard: Sunday, Oct. 18
By Mark Joyella on Oct. 20, 2015 - 4:30 PM
At 7 p.m. ET on Sunday, Fox News had the rare experience of falling to fourth place in the demo.
Cable Network Ranker: Week of June 29
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Fox News Channel averaged 1.5 million viewers between 8-11 p.m. ET, behind only USA, Discovery and TNT.
Social Media Community ManagerSuccessful AD Partnership, LLCRemote, Remote


text:
Q: How can I make a POST request in a VSCode extension I want to make a VSC extension that involves posting to my API, however when I write my fetch syntax out to POST to my server, it doesn't work. So I thought maybe I need to add node-fetch, so I did
npm i --save node-fetch
and it says This expression is not callable. and once again, it still can't make the POST request.

A: I have used axios to post to a URL:
import * as FormData from 'form-data';
import axios from 'axios';

          const form = new FormData();
          form.append('srcmbr', save_folderContent.srcmbr);
          form.append('srcfName', save_folderContent.srcfName);
          form.append('srcfLib', save_folderContent.srcfLib);

          const headers = form.getHeaders();
          headers['Content-length'] = await form_getLength(form);
          {
            const result = await axios.post(
              `${serverUrl}/site/common/rmvm-srcmbr.php`, form,
              { headers, });
            console.log(`delete-srcmbr ${result.data}`);
          }

export function form_getLength(form: FormData)
{
  return new Promise((resolve, reject) =>
  {
    form.getLength((err, length) =>
    {
      resolve(length);
    });
  });
}

A: I forgot to add .default at the end of the axios require.
so it would be
const axios = require('axios').default;
IF YOU'RE USING TYPESCRIPT PLEASE REFER TO @RockBoro 's POST!!!

A: With node-fetch you can do something like this:
const fetch = require('node-fetch');

async function main () {
  const myUrl = 'https://api.example.com/route';
  const myData = {};

  const response = await fetch(myUrl, {
    method: 'POST',
    body: JSON.stringify(myData),
  }).then((response) => response.json());

  console.log(response);
}
main();


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A federal commission will soon make recommendations that could change how immigrant children and their families enter the country, where they settle, and how they are treated.
Many observers predict that the nine-member, bipartisan U.S. Commission on Immigration Reform will be a driving force on immigration policy. The panel, which is looking at both legal and illegal immigration, will offer its first recommendations to Congress at the end of the month.
The commission does not plan to challenge the landmark 1982 U.S. Supreme Court decision, in Plyler v. Doe, that requires schools to educate all students without regard to immigration status. But it will be studying everything from the country's refugee-resettlement policy to managing the U.S.-Mexican border, including the possibility of federal aid to help states bear the burden of providing services to illegal immigrants.
Part of that burden is the cost of educational services. The 1990 Census counted roughly two million foreign-born school-age children. The Urban Institute estimates that children of immigrants will make up nearly a quarter of the nation's school-age population by 2010.
Created in 1990 and headed by former Rep. Barbara C. Jordan, a Texas Democrat, the commission has held numerous hearings since last year on immigration's social and economic impact.
Ms. Jordan, who has a well-known civil-rights record but essentially no background in immigration policy, plans to deliver the group's first formal recommendations to Congress on Sept. 30, with more hearings and reports to come before its mandate expires in 1997.
Many observers said that both the Clinton Administration and Congress are waiting for the panel's input before proposing legislation in the area of immigration reform, a hot political topic at both the state and federal levels.
"The commission is really the only game in town," said Frank Sharry, the executive director of the National Immigration Forum, which represents some 200 groups ranging from trade unions to civil-rights organizations.
Although the panel represents a wide political spectrum, its executive director, Susan Forbes Martin, said there is already a consensus on one contentious point: The country's estimated 3.4 million illegal immigrants should not receive government benefits except in "emergency" situations or where there is a "welfare interest."
However, that exception would include public elementary and secondary education, child immunizations, and child-nutrition programs, Ms. Martin said.
Some of the panel's preliminary proposals, which Ms. Jordan briefly outlined at a Senate hearing last month, already have drawn criticism from groups such as the National Council of La Raza and the American Civil Liberties Union.
For example, immigrant-rights advocates strongly oppose creation of a national data registry that employers would use to verify whether a potential employee was qualified to work legally. Many advocates said it would lead to the adoption of a national identification card, because without such a card there would be no easy way to show that a valid Social Security number belonged to the person applying for the job.
The "climate" that such an I.D. card would create would have a "devastating impact on people's confidence in sending their kids to school," said Lucas Guttentag, the director of the A.C.L.U.'s immigrant-rights project.
Although the panel has repeatedly said that the registry would be used only in the workplace, many observers said that once such a system was created it would be difficult to prevent abuses of it.
"There are definitely some deep educational concerns," said Eugene E. Garcia, the director of the Education Department's office of bilingual education and minority-languages affairs, who represents the department at the commission's meetings.
"I see the potential for abuse in schools," he said.
Although the panel has said that it does not plan to challenge Plyler v. Doe, many immigrant-rights advocates said they are concerned about the presence of one panel member who is attempting to do just that.
"It's hard to imagine that someone who's authored Proposition 187 does not have a political agenda to fight for" on the panel, said Arturo Vargas, the vice president of the Mexican-American Legal Defense and Educational Fund.
Mr. Ezell, however, likened such critics to "Chicken Little saying the sky is falling," and said last week he does not intend to bring up the proposal at all.
"My agenda is not to push the California problem onto the commission," he said. "We only need one state to do what California will do in November to get this back to the Supreme Court."
With lawsuits pending in which states heavily affected by immigration--such as California, Florida, and Texas--demand that the federal government reimburse their cash-strapped treasuries for the cost of providing educational and other services for illegal immigrants, such "impact aid" for states is a hot-button issue.
And education has long been a sore spot for states serving many immigrants. Per-student funding for the Education Department's emergency-immigrant-education program has dropped 44 percent since 1989, to about $35 a student.
But the commission will not recommend in the Sept. 30 report that states receive education aid, Ms. Martin said. The reason, she said, is that nobody knows how many illegal-immigrant children are in American classrooms.
There are estimates, but many are based on assumptions about the illegal population in general, about which there are conflicting data as well.
Next year, the commission plans to convene a panel through the National Academy of Sciences to recommend improved techniques for estimating the illegal-immigrant population. An upcoming report by the Office of Management and Budget is also expected to contribute to the debate by analyzing how states have come up with their cost estimates and providing models for improved estimates.
The commission will not, as some advocates feared, ask states to present a "bill" for their immigration costs, which presumably would have included estimates of education costs. That could have required schools to ask students to declare their immigration status, which would violate federal privacy laws.
In any case, Ms. Martin said, federal aid is not likely to cover all the costs states are seeking reimbursement for.
Another goal of the panel is to foster communication between different levels of government about immigration matters, and to formalize a national "chain of command" that could make and carry out plans for immigration crises.
"We want to make sure that communication is not just happening on an ad hoc basis contingent upon the personalities of the people involved," Ms. Martin said.
This could be of direct benefit to school systems struggling to anticipate the number of new immigrant students they will have to serve.
Apart from getting information from the news media, some top Dade officials said they talk regularly with the U.S. Coast Guard to find out how many immigrants are being spotted on the waters around the Florida Straits--and how many might be children.
"I think we can have a national policy that tells us when students are coming and where they may be going," Mr. Garcia said. "Right now it's more hit or miss."